The State Hermitage Museum Annual Report 2018

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THE STATE HERMITAGE MUSEUM ANNUAL REPORT n 2018 CONTENTS

General Editor 4 The Year of Piero della Francesca Mikhail Piotrovsky, General Director of the State Hermitage Museum, 6 State Hermitage Museum. General Information Full Member of the Russian Academy of Sciences, 16 Awards Full Member of the Russian Academy of Arts, Professor of St Petersburg State University, 22 Composition of the Museum’s Collection Doctor of History 38 Permanent Displays 44 Temporary Exhibitions 90 Restoration and Conservation EDITORIAL BOARD: 98 Publications Mikhail Piotrovsky, 115 Electronic Editions and Multimedia Projects General Director of the State Hermitage Museum 118 Conferences Georgy Vilinbakhov, 127 Dissertations Defended Deputy Director for Research 130 Research Trips Svetlana Adaksina, Deputy Director, Chief Curator 134 Archaeological Expeditions Marina Antipova, 156 Restoration and Reconstruction of Museum Buildings Deputy Director for Finance and Planning 164 Structure of Visits to the State Hermitage in 2018 Alexey Bogdanov, Deputy Director for Maintenance 165 Educational Events Mariam Dandamaeva, 180 Special Events Academic Secretary 187 Agreements Signed Elena Zvyagintseva, 190 The State Hermitage Museum International Advisory Board Head of the Publishing Department 194 Guests of the Hermitage Larissa Korabelnikova, Deputy Head of the History and Information Service 202 Hermitage Friends’ Organisations Ekaterina Sirakanian, 216 Hermitage Friends’ Club Head of the Development Service 218 Financial Statements of the State Hermitage Museum 220 Principal Patrons and Sponsors of the State Hermitage Museum in 2018 224 Staff Members of the State Hermitage Museum EXECUTIVE GROUP: Alexander Butyagin, Vera Chudinova, Irina Dalekaya, Mariam Dandamaeva, Ekaterina Danilina, Ludmila Ershova, Victor Faybisovich, Larissa Korabelnikova, Elena Kuzminykh, Regina Mamedova, Anna Matyukhina, Svetlana Philippova, Natalia Polevaya, Marina Stepanova, Elena Zvyagintseva

This year culminated in a unique exhibition of works by Piera della Francesca, which be- and a retrospective display of works by Hungary’s pride and joy, Mihály Munkácsy, were came a pinnacle of many years of cooperation with the Hermitage • Italy Centre. Such exhibi- all fantastic celebrations in their own right. tions only happen once every few decades. A unique selection of rarities from many museums Kazan, Vyborg, Sidney, Paris, the Hermitage centres and friendly museums took over some and an elegant design conjured up a mood of extraordinary purity suggested by those radi- of our exhibitions and showed them to at least a million people. This has long been business ant paintings, some of them finally side by side after many years apart. This exhibition was as usual, but we have been modest enough not to include this million in our museum statis- the Hermitage’s own special way to launch the Year of Leonardo da Vinci, and it was followed tics. The statistics also demonstrate that the Hermitage is earning over half of its budget. by a whole range of events focusing on the image of Leonardo, reminding us how many This looks good, but based on the practices of other museums, we believe that state subsidies remarkable masters Italy produced beyond the once-standard list of names. ought to account for at least 60%, otherwise the museum can be tempted to deviate from We have seen the completion of many other initiatives this year. The Hermitage was presented its humanitarian mission and veer into commerce. with a Field-Marshal’s baton made for Alexander II. The decision to use the endowment to buy Books published by the Hermitage often become works of art worthy of inclusion in muse- exhibits resulted in the purchase of Aurora by Anselm Kiefer (an echo of a Hermitage exhibi- um collections. The Hermitage field expeditions are multiplying and expanding; the scope tion) and The Silent Sea by Bill Viola (which was also on display in the Hermitage). Reflections of current field research challenges ranges from the Scythians to the origins of the European on new themes to be added to the collections prompted the decision to focus on purchasing Neolithic. The new tradition of celebrating Hermitage Days outside St Petersburg has also relics of the Mahdist Revolt in Sudan, which has typological affinities with Shamil’s uprising. proved a success. The Days of the Hermitage in the Sultanate of Oman and the Days of Oman The unveiling of the permanent exhibition of Turkish art provided the finishing touch to the in the Hermitage had a special ring to them. This new form of interaction between museums suite of rooms dedicated to the medieval Near East: Byzantium, the Caliphate, the Mamluks, makes it possible to show to the world both the Hermitage collections and the Hermitage itself the Ottomans. The opening of a grand hall of vases marked the return of exhibits to all the as a single holistic body. Classical rooms. It is this unity of challenges and actions that our annual report is called upon to demonstrate. The Piero della Francesca exhibition was exceptional even when viewed alongside a whole It grows in volume every year, so its production is inevitably delayed. But we strive to present constellation of “star” exhibitions. The large-scale exhibition of the Kabakovs titled “Not everything that we are proud of. The museum calendar is designed to be noted for centuries. Everyone will be Taken into the Future” arrived from the Tate Gallery and then moved to the Tretyakov Gallery. A splendid display from the private American Leiden Collection containing rare masterpieces of the Golden Age of Dutch art served as a forerunner of the Year of Rem- brandt and reminded us that private collectors are not daunted by the ban on exhibition exchanges that affects official US museums. Italian art made itself heard with “The Lombards” Mikhail Piotrovsky and a major exhibition on Arte Povera, one of the key artistic trends in 20th-century Italy. General Director, the State Hermitage Museum Philosophical reflections about today’s virtual world and its art were suggested by the Hermit- age exhibition on trompe l’oeil and a joint exhibition exploring the use of technical innovation as a source of artistic inspiration. A dialogue of two museums, the Hermitage and the Vien- nese Kunsthistorisches Museum, attracted the leaders of Russia and Austria as well as ordi- nary museum-goers. Different exhibitions showcasing Russian furniture, Oriental manuscripts

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FOUNDING OF THE MUSEUM MUSEUM BUILDINGS The foundation date of the museum is considered to be 1764, when Empress Catherine the Great acquired an impressive collection of paintings from the Berlin merchant Johann Ernest Gotzkowsky. Winter Palace. 1754–1762 The museum celebrates the anniversary of its founding each year on 7 December, Architect, Francesco Bartolommeo Rastrelli. St Catherine’s Day. Reconstructed by Vasily Stasov after a fire in 1837 Small Hermitage. 1763–1775 STATUS OF THE HERMITAGE Architects, Yury Velten and Jean-Baptiste Vallin de la Mothe In a Decree by the President of the Russian Federation dated 18 December 1991 the State Hermitage Museum was included into a list of the most valuable objects of national heritage. Old (Large) Hermitage. 1771–1787 In a Decree by the President of the Russian Federation dated 12 June 1996 the State Hermitage Architect, Yury Velten Museum was placed under personal patronage of the President of the Russian Federation. Hermitage Theatre. 1783–1787 In a Decree (No. 984) dated 29 November 2011 the new Statutes of the State Hermitage Museum, Architect, Giacomo Quarenghi as a federal government funded institution, were approved. According to the Statutes the Government of the Russian Federation is to act as the museum founder. New Hermitage. 1842–1851 Designed by architect Leo von Klenze; constructed under supervision of architects Vasily Stasov and Nikolay Efimov OFFICIAL NAMES The State Hermitage Museum Federal Government Funded Cultural Institution; The State Hermitage Reserve (Storage) House of the Winter Palace. 1726–1742, 1830, 1878 Museum; The Hermitage Architects, Domenico Trezzini (?), Carlo Giuseppe Trezzini and Nikolay Bekker In honour of the State Hermitage Museum, according to the Official Certificate of the International Menshikov Palace. 1710–1727 Astronomic Association and the Institute of Theoretical Astronomy of the Russian Academy Architects, Giovanni Mario Fontana and Georg Schedel of Sciences dated 11 April 1997, a minor planet registered in the International Catalogue of Minor Planets under No. 4758 was named Hermitage. General Staff Building (former Ministry of Foreign Affairs and Ministry of Finance Building). 1819–1829 LEGAL ADDRESS Architect, Carlo Rossi 34 Dvortsovaya Naberezhnaya (Dvortsovaya Embankment), 190000 St Petersburg, “Staraya Derevnya” Centre for Restoration, Conservation and Storage Russian Federation Completion of the first phase – 2003, completion of the second phase – 2012 ARCHITECTURAL COMPLEX OF THE MUSEUM Stock Exchange. 1805–1810 The museum complex consists of the Winter Palace, Small Hermitage, Old Hermitage, Architect, Jean-François Thomas de Thomon Hermitage Theatre, New Hermitage and Reserve (Storage) House (30–38 Dvortsovaya Embankment); Eastern Wing and the Arch of the General Staff Building (6–8 Palace Square); Menshikov Palace (15 Universitetskaya Embankment); “Staraya Derevnya” Centre for Restoration, Conservation and Storage (37 Zausadebnaya Street); Imperial Porcelain Manufactory Museum, MAIN COLLECTIONS ENTERING THE MUSEUM SINCE ITS FOUNDATION located on the premises of the Imperial Porcelain Manufactory Public Company 1764 – Johann Ernest Gotzkowsky collection (151 Prospekt Obukhovskoy Oborony) and Stock Exchange (4 Birzhevaya Square). 1768 – Count Heinrich von Bruhl collection 1772 – Baron Pierre Crozat collection 1779 – Lord Walpole collection 1781 – Count Baudouin collection 1787 – Cabinet of carved stones of Duke of Orleans 1814 – Collection of Josephine Beauharnais from the Malmaison Palace 1861 – Marquis Gian Pietro Campana collection 1884 – Alexander Basilewski collection 1885 – Collection of the Arsenal in Tsarskoye Selo (now the town of Pushkin) 1910 – Pyotr Semenov-Tyan-Shansky collection After 1918 The Hermitage also received the socialised collections of the Russian aristocratic families Sheremetev, Stroganov, Shuvalov, Yusupov, as well as the famous collections of Sergey Shchukin and the Morozov brothers and others. 1835 – Collection of the museum of the (Baron Stieglitz) Central Higher School of Technical Drawing 1950 – Collection of banners and banners’ accessories, banners’ graphics, the archives from the Artillery Historic Museum 2001 – Collection of the Lomonosov (Imperial) Porcelain Manufactory Museum THE HERMITAGE IN NUMBERS FOR 2018

EXHIBITION CENTRES OF THE STATE HERMITAGE OUTSIDE ST PETERSBURG Hermitage • Amsterdam The Netherlands, Amsterdam (exhibition area about 2,195 m2) Total area (buildings) 233,345 m2 Hermitage • Italy Italy, Venice Hermitage • Kazan Russia, Kazan (exhibition area about 1,381.3 m2) Exhibition area m2 2 100,000 Hermitage • Vyborg Russia, Vyborg (exhibition area about 420 m ) Exhibition rooms 542 HERMITAGE WEBSITE https://www.hermitagemuseum.org Accounted for exhibits “IN FOCUS” PROJECT 3,178,263 http://e-expo.hermitage.ru (as of 1 January 2019) VIRTUAL ACADEMY http://www.hermitagemuseum.org/wps/portal/hermitage/learn/virtual-academy Restored 4,663 exhibits STATE HERMITAGE IN SOCIAL NETWORKS ВКонтакте – https://vk.com/hermitage_museum Facebook – https://www.facebook.com/state.hermitage Twitter – https://twitter.com/state_hermitage Total number of visitors Instagram – https://www.instagram.com/hermitage_museum 4,293,577 YouTube – https://www.youtube.com/user/thehermitagemuseum Official museum website visits 2,307,977 Subscribers to official Hermitage pages HERMITAGE MAGAZINE HERMITAGE NEWS NEWSPAPER in social networks 1,434,037 HERMITAGE RADIO

ORCHESTRA OF THE STATE HERMITAGE Guided tours 36,565 Lectures 599 Educational events 185 Study groups and clubs for children 42

Archaeological expeditions 29 Conferences 29 STATE HERMITAGE MUSEUM. GENERAL INFORMATION

DIRECTORATE OF THE STATE HERMITAGE BOARD OF TRUSTEES MUSEUM OF THE STATE HERMITAGE IN 2018

Mikhail Piotrovsky Vladimir Potanin General Director, President of Interros, Full Member of the Russian Academy of Sciences, Chairman of the Board of Trustees Full Member of the Russian Academy of Arts, Alexander Avdeev Professor of St Petersburg State University, Ambassador of the Russian Federation to the Vatican Doctor of History Leonid Blavatnik Georgy Vilinbakhov President of Access Industries Deputy Director for Research, Chairman of the Heraldic Leonid Fridland Council at the President of the Russian Federation, President of Mercury Professor of St Petersburg State University, Doctor of History German Gref President and Chairman of the Board of OJSC Sberbank of Russia Svetlana Adaksina Deputy Director, Chief Curator Alexey Kudrin Dean of the Faculty of Liberal Arts and Sciences in St Petersburg Marina Antipova State University Deputy Director for Finance and Planning Pierre de Labouchere Alexey Bogdanov Deputy Director for Maintenance, Yury Lubimov Senior Lecturer of St Petersburg University of State Fire Service, Deputy Minister of Justice of the Russian Federation Candidate of Technical Sciences Mikhail Piotrovsky Nikolay Kalach, General Director of the State Hermitage Museum Acting Deputy-Director for Construction Anton Siluanov Elena Mironova Finance Minister of the Russian Federation Chief Book-Keeper Mikhail Shvydkoy Special Representative of the President of the Russian Federation for International Cultural Cooperation David Yakobashvili Vice President of the Russian Union of Industrialists COLLEGIATE BODIES and Entrepreneurs OF THE STATE HERMITAGE MUSEUM CORPORATIVE MEMBERS ACADEMIC COUNCIL OF THE STATE HERMITAGE CJSC JTI Marketing & Sales RESTORATION COUNCIL JSC Gazprombank BOARD OF CURATORS EDITORIAL COUNCIL EDITORIAL BOARD OF COLLECTION CATALOGUES SPECIAL ENDOWMENT FUND MANAGEMENT EDITORIAL BOARD OF THE REPORTS OF THE STATE HERMITAGE MUSEUM FOR THE DEVELOPMENT OF THE STATE EDITORIAL BOARD OF PEDAGOGICAL AND EDUCATIONAL HERMITAGE MUSEUM EDITIONS Board of Trustees of the Fund: EXTERNAL POLICY COUNCIL Alexey Kudrin, Mikhail Piotrovsky, Vladimir Potanin, INTERNET SITE COUNCIL Evgeny Satanovsky and Alexander Sokurov EDUCATION AND METHODOLOGY COUNCIL Board of Management of the Fund: SECURITY COUNCIL Larissa Zelkova, Svetlana Adaksina and Marina Tsyguleva ENGINEERING SUPPORT SERVICES COUNCIL ARTS COUNCIL HERMITAGE XXI CENTURY FOUNDATION MUSEUM STRUCTURE AND STAFF COMMITTEE EXHIBITION COMMITTEE Board of Trustees: PERMANENT DISPLAY COMMITTEE Mikhail Piotrovsky, Chairman of the Board of Trustees EXPERT PURCHASING COMMISSION Nikolay Kropachev, Rector of St Petersburg State University RESEARCH GRANT COMMITTEE Yury Lubimov, Russian Federation Deputy Minister of Justice ARCHAEOLOGICAL COMMITTEE Head of the Board of Management Zorina Myskova

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STATE HERMITAGE RESEARCH DEPARTMENTS

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

DEPARTMENT OF THE ARCHAEOLOGY OF EASTERN EUROPE AND SIBERIA Founded in December 1930 on the basis of the former Department of Antiquities. The Department consists of two sectors – Sector of the Forest and Forest-Steppe Zone of Eastern Europe and Sector of the South of Eurasia. Its collections include approximately 750,000 objects. The Department has 37 staff members.

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

DEPARTMENT OF WESTERN EUROPEAN FINE ARTS One of the oldest and largest departments in the Hermitage, it consists of four sectors: Painting of the 13th to 18th Centuries; Painting of the 19th to 20th Centuries and Sculpture; Drawings; Prints. The Department’s collections boast approximately 400,000 objects. The Department has 66 staff members.

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

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

NUMISMATICS DEPARTMENT It is one of the oldest departments in the Hermitage. The first coins were purchased by Catherine the Great in 1764. It contains 1,200,000 items and consists of two sectors: one deals with works from antiquity and those from Asia and Africa, the other comprises numismatic pieces from Europe and America. The Department has 26 staff members.

ARSENAL The Department was founded in 1972 on the basis of the collection of arms and armoury kept in the Oriental and Western European Fine Arts Departments. The Arsenal consists of two sectors: Sector of Arms and Armoury and Sector of Military Heraldry. The former boasts some 16,000 superb examples of arms and armaments from various epochs and countries. The Military Heraldry Sector has over 60,000 items, including banners, their accessories and military graphics. The Department has 15 staff members.

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MENSHIKOV PALACE documents in the middle of the 19th century when the first photographic works appeared, but Founded in February 1981 as “Menshikov Palace. Russian Culture in the First Quarter the photo archive was set in the 1920s. At the moment it includes 75,134 negative images and about of the 18th Century” Sector within the Department of the History of Russian Culture. The status 1,000 photographs. The Department has 9 staff members. of department was received in 1996. Most noteworthy are the interiors with their original 18th-century furnishings. The Department has 25 staff members. REGISTRAR DEPARTMENT The Registrar Department catalogues the objects kept in the Hermitage, issuing all the necessary IMPERIAL PORCELAIN MANUFACTORY MUSEUM documents concerning their inventory and keeping. The Department has 37 staff members. Founded in February 2001 on the basis of the historical collection at the Lomonosov Porcelain Manufactory Museum. Presently, the Department boasts over 30,000 items, the most part of which consists of objects made at the Imperial, then the Lomonosov and from October 2005 again SECTOR OF NEW ACQUISITIONS the Imperial, Porcelain Manufactory. The Department has 9 staff members. The Sector was organised in 2000 with the main aim to ensure the fruitful activity of the Hermitage Expert Purchasing Commission on the completion of the State Hermitage stocks. The Sector has 6 staff members. MODERN ART DEPARTMENT Founded in 2009, the Department organises temporary exhibitions and forms the collections of contemporary art. The Department has 7 staff members. DEPARTMENT OF SCIENTIFIC RESTORATION AND CONSERVATION Restoration activities have been carried out in the Hermitage ever since the 1760s when the Picture Gallery of the Hermitage was founded. The Department consists of fourteen restoration laboratories DEPARTMENT OF THE HISTORY AND RESTORATION OF ARCHITECTURAL MONUMENTS for scientific restoration of easel painting, tempera painting, mural painting, Oriental painting, The Department was founded on the basis of the Department of the Chief Architect of the Hermitage graphic works, sculpture and semi-precious stones, applied arts, objects made of organic materials, in 1992. It is responsible for the conservation of the unique architecture of the museum’s buildings, textiles and water-soluble paintings, precious metals, timepieces and musical mechanisms, furniture, as well as the adaptation of the buildings for modern use. It also provides scientific support chandeliers and photographs. The Department has 148 staff members. for restoration activities. The Department has 15 staff members.

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

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

RESEARCH LIBRARY One of the oldest and largest museum libraries in Russia specialising in art history, it has been an integral part of the Hermitage since its foundation. The Library grew from the private collection of Empress Catherine the Great. At the present moment the Library holds over one million volumes on art, history, architecture and culture in most European and many Oriental languages. The Department has 48 staff members.

DEPARTMENT OF MANUSCRIPTS AND DOCUMENTS Founded in 1980, the Department consists of document and photograph archives, the latter includes a collection of photographs and negatives. The archives were founded in 1805 and at present contain 69 funds, among them are 65 private archives and 110 inventories. 41,087 items were catalogued in the Hermitage’s archives between 1767 and 2015. The Hermitage began receiving photographic 14 15 AWARDS AWARDS

MIKHAIL PIOTROVSKY PRESENTED WITH A MEDAL MARKING THE 100TH ANNIVERSARY MIKHAIL PIOTROVSKY PRESENTED WITH THE AWARD OF COMMANDER OF THE EGYPTIAN PRESIDENT GAMAL ABDEL NASSER AND A MEMORABLE LABEL OF THE ORDER OF ARTS AND LETTERS FROM THE ASSOCIATION OF THE BUILDERS OF THE ASWAN DAM On 9 December 2018, during the traditional formal ceremony marking St George’s Day, Sylvie Ber- On 9 February 2018 in the new building of the Russian National Library, as part of the events mark- mann, Ambassador Extraordinary and Plenipotentiary of the Republic of France in the Russian Federa- ing the centenary of the birth of Gamal Abdel Nasser, President of the Arab Republic of Egypt and the tion, presented Mikhail Piotrovsky with the insignia of Commander of the Order of Arts and Letters. United Arab Republic, Mikhail Piotrovsky was presented with a medal commemorating the President’s The order is awarded in recognition of contribution to the promotion of arts and letters in France and 100th anniversary and a memorable pin label from the Association of the Builders of the Aswan Dam. worldwide.

MIKHAIL PIOTROVSKY PRESENTED WITH THE ORDER OF MERIT TOKENS COMMEMORATING THE 80TH ANNIVERSARY OF THE FIRE AND RESCUE SPORT OF THE FEDERATIVE REPUBLIC OF GERMANY PRESENTED TO MIKHAIL PIOTROVSKY AND GEORGY VILINBAKHOV

On 24 May 2018 Rüdiger Freiherr von Fritsch-Seerhausen, Ambassador Extraordinary and Plenipoten- On 20 February 2018 Mikhail Piotrovsky and Georgy Vilinbakhov were formally presented with tokens tiary of the Federal Republic of Germany to the Russian Federation, presented Mikhail Piotrovsky with commemorating the 80th anniversary of the fire and rescue sport issued by the Russian Ministry for the cross of the Order of Merit of the Federative Republic of Germany. Emergencies in 2017.

Mikhail Piotrovsky awarded the Order of Merit of the Federative Republic of Germany © Eugen von Arb

Mikhail Piotrovsky awarded the special order for his considerable Mikhail Piotrovsky presented with the insignia of Commander contribution to the promotion of Russo-Yemeni relations of the Order of Arts and Letters

MIKHAIL PIOTROVSKY PRESENTED WITH A CERTIFICATE OF GRATITUDE GEORGY VILINBAKHOV PRESENTED WITH THE CERTIFICATE OF APPRECIATION FROM THE GOVERNMENT OF IRAN FOR PROMOTING RUSSO-IRANIAN CULTURAL TIES OF THE RUSSIAN FEDERAL SERVICE OF NATIONAL GUARD TROOPS

On 3 September 2018 in Moscow’s Maly Theatre, during the gala ceremony marking the opening On 20 February 2018 Georgy Vilinbakhov was awarded a Certificate of Appreciation by the Russian of the Iranian Cultural Days in Russia, Mehdi Sanaei, Ambassador Extraordinary and Plenipotentiary Federal Service of National Guard Troops for his assistance in performing tasks and exercising powers of the Islamic Republic of Iran to the Russian Federation, presented Mikhail Piotrovsky with a Certifi- entrusted to the troops of the Russian Federation National Guard. cate of Gratitude from the Government of Iran for promoting Russo-Iranian cultural ties.

AWARDS FOR STATE HERMITAGE RESTORERS MIKHAIL PIOTROVSKY PRESENTED WITH SPECIAL AWARD FOR HIS CONTRIBUTION TO PROMOTING RUSSO-YEMENI RELATIONS On 29 June 2018, in the St Petersburg State Academic Capella, during a ceremony marking the Day of the Restorer, Vice Governor of St Petersburg Igor Albin presented awards to outstanding Hermitage On 31 October 2018 on Yemen Day, to mark the 90th anniversary of the establishment of diplomat- restorers. ic relations between Russia and Yemen, Laswar Alkhader Nasser, Rector of the University of Aden, Honorary Restorer awards (First Class) and the St Petersburg Government Award “For contribution presented Mikhail Piotrovsky with a special award for his considerable contribution to the promotion to the development of the restoration field in St Petersburg” were presented to T. Baranova, Head of Russo-Yemeni relations. of the Department of Scientific Restoration and Conservation, and E. Gerasimov, Senior Art Restorer at the Laboratory for Scientific Restoration of Easel Painting. The award of merit is a recognition of contribution to the field of restoration. The First (highest) class is presented to experts in the area of restoration and promotion of the restoration field with a track record of at least 30 years, and those taking part in the restoration of especially valuable items of cultural heritage.

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WINNERS OF THE COMPETITION FOR THE VLADIMIR POTANIN CHARITABLE FOUNDATION AWARDS

In 2018 50 museum employees were awarded the Vladimir Potanin Foundation grants for implement- ing projects of the greatest importance for the Hermitage. The grant nominations are considered by the Hermitage Academic Grants Commission; the list of recipients is approved by the museum’s Academic Council.

THE OPEN COLLECTION CATEGORY DESIGN V. Korolev CREATION OF PERMANENT EXHIBITIONS Project development and installation of temporary displays E. Arsentyeva, E. Dmitrieva “The Age of Rembrandt and Vermeer. Masterpieces from the Leiden Creation of the permanent exhibition on “Classical Glyptics. Collection”. Gems from Ancient Greece and Rome”. D. Sadofeev CREATION OF INDIVIDUAL TEMPORARY DISPLAYS INVOLVING Creation of the permanent exhibition on “The Art of the Islamic EXHIBITS FROM THE HERMITAGE Near East: the Ottoman Empire”. N. Bakhareva N. Tarasova Preparation and implementation of the exhibition project Creation of the “Costume Gallery” open storage space “Catherine the Great, Empress of All the Russias. at the “Staraya Derevnya” Restoration, Conservation and Storage From the Collection of the State Hermitage”. Klovićevi Dvori Centre. Gallery in Zagreb, Croatia. A. Furasyev PUBLICATIONS Creation of the permanent exhibition on “Europe during the Great Migration Period and Early Middle Ages”. COLLECTION CATALOGUES The Hermitage Days. DELIVERY OF EXHIBITION EQUIPMENT Yu. Gudymenko Gala ceremony marking “Nineteenth-Century Russian Painting”. A. Plotnikova St George’s Day State Hermitage Publishers, 2017. Procuring exhibition equipment for the permanent exhibition on “The Art of the Islamic Near East: the Ottoman Empire”. I. Sokolova “Dutch Painting. Seventeenth – Eighteenth Centuries”. State Hermitage Publishers, 2017. STATE HERMITAGE EMPLOYEES PRESENTED WITH COMMEMORATIVE TOKENS CREATION OF INDIVIDUAL TEMPORARY DISPLAYS INVOLVING EXHIBITS FROM THE HERMITAGE PUBLISHING As a tribute to tradition, as part of the Hermitage Days, the museum and the Crystal Jewellery House T. Kosourova presented three employees with commemorative tokens made by the jewellers of the Smolensk Diamonds Preparation and implementation of the exhibition project EDITING Company Group Ltd. The token, which looks like a stylised museum logo made of white gold, is deco- “Fantasia in Threads. Western European Lace and Glass E. Dianova rated with Russian-cut diamonds. This year the diamond awards were presented to: of the 16th to 19th Centuries” and the accompanying catalogue. Catalogue “Georg Friedrich Schmidt (1712–1775). A. Ermolaeva The Royal Engraver”, catalogue “Mihály Munkácsy”, Natalia Mavrodina, Preparation and implementation of the exhibition project monograph by V. Matveev, “Sundials, Nocturnals and Moondials Senior Research Fellow at the Western European Applied Arts Department; “‘In Memoriam…’. Marking the 300th Anniversary of the Russian in the State Hermitage Collection”. Galina Yastrebinskaya, and Novo-Nakhichevan Diocese of the Armenian Apostolic E. Krutova Chief Librarian of the Laboratory for Scientific Restoration of Graphic Works; Church” and the accompanying catalogue. “The First Catalogue of the State Hermitage Picture Gallery”. N. Guseva A. Rodina Elena Rudakas, Preparation and implementation of the exhibition project Catalogues of exhibitions “Arte Povera. A Creative Revolution”, Art Restorer at the Laboratory for Scientific Restoration of Graphic Works. “‘Furniture for a body’s every whim’. The Age of Historicism “‘Furniture for a body’s every whim’. The Age of Historicism in Russia” and the accompanying catalogue. in Russia”, “‘In the land of Dilmun where the sun rises…’. N. Tetruashvili Archaeological Treasures from the Bahrain National Museum Preparation and implementation of the exhibition project “Ilya 3rd – 1st Millennia BC”, “Sergei Eisenstein. October in the Winter and Emilia Kabakov. Not Everyone will be Taken into the Future”. Palace”. Yu. Pyatnitsky DESIGN Preparation and implementation of the exhibition project D. Gaskevich “Orthodoxy and the Holy Land. Alpha & Omega”. Exhibition catalogues: “‘In the land of Dilmun where the sun E. Solomakha, V. Fedorov rises…’. Archaeological Treasures from the Bahrain National Preparation and implementation of exhibition projects: Museum 3rd – 1st Millennia BC”, “The Voice of the Time. Soviet “The Winter Palace and the Hermitage. 1917. History was Made Porcelain: Art and Propaganda”, “Arte Povera. A Creative Here”, The State Hermitage; “Romanovs and Revolution. Revolution”, “The Lombards. A People who Changed History”, The End of Monarchy in Russia” at the Hermitage • Amsterdam “‘Furniture for a body’s every whim’. The Age of Historicism Centre. in Russia”, “Sergei Eisenstein. October in the Winter Palace”.

18 19 AWARDS

CREATION OF MULTIMEDIA PROJECTS E. Kozlova O. Zharkovskaya Restoration of the scuplture of Mary Magdalene by a master from Creation of a multimedia set for the temporary exhibition Nuremberg. “The Winter Palace and the Hermitage. 1917. History was Made V. Korobov Here”, and a virtual tour on the State Hermitage website. Restoration of the painting Toilet of Judith by Ferdinand Bol. G. Mirolyubova O. Mashneva Development of a multimedia academic catalogue “Pages from Restoration of 93 drawings from albums “Plans and Façades the Russian Past in 19th-Century Lithographic Portraits”. of Tsarskoe Selo Palaces and Separate Buildings Compiled S. Morozov and Executed by P. Neelov”. Creation of a multimedia set for the temporary exhibition V. Molotkov, T. Pankova “The Winter Palace and the Hermitage. 1917. History was Made Restoration of the model sledging slide. Here”, and a film for the exhibition “Sergei Eisenstein. October A. Nikolsky in the Winter Palace”. Restoration of the painting Satyr and Baccante by Nicolas Poussin. N. Pavlukhina PRESERVATION OF MUSEUM COLLECTIONS Restoration of a red-figured Attic krater of the 4th century BC. CATEGORY A. Ryadova Restoration of a horsecloth with coats of arms, orders STORAGE ITEMS PROCESSING, TRANSFER AND ACCEPTANCE and monogram of N. Korf. M. Blyumin, Yu. Efimova Completion of acceptance for permanent storage of a collection Yu. Spiridonov of objects made of precious stones in the 18th – first quarter Pre-restoration study of the Calvatone Victory sculpture. of the 19th century. A. Shapran I. Zakharova Restoration of a priest’s phaelonion. Completion of acceptance for permanent storage of a collection of manuscripts and documents. THE MUSEUM STUDIES CATEGORY K. Kravtsov DISSERTATIONS DEFENDED Completion of acceptance for permanent storage of a collection S. Voronyatov of coins from Sogd, Khwarezm, the Sassanids, Islamic countries, Defence of a Candidate of History dissertation on: “Sarmatian Georgia and Armenia. and Southern Baltic Cultural Impulses in the Post-Zarubinets E. Lepekhina Antiquities of the Rakhny-Pochet Horizon (Second Half Completion of acceptance for permanent storage of a collection of the 1st to the Early 2nd Century AD)”. of hoards of Russian coins, as well as Russian coins T. Kharitonova of the 17th –18th centuries. Defence of a Candidate of Psychology dissertation on: “Social M. Postarnak and Psychological Characteristics of Visitors in a Museum Completion of acceptance for permanent storage of the collection Communication Situation (On the Example of the Hermitage “Coins and Amulets from the Far East and South-East Asia”. General Staff Building)”. T. Furasyeva Completion of acceptance for permanent storage of a collection COMPLETION OF MONOGRAPHS AND OTHER ACADEMIC of hoards of Russian coins. PUBLICATIONS A. Kononovich CATALOGUES Acceptance for permanent storage of a collection of archaeological K. Chernyshev finds from the excavations led by V. Beletsky in Pskov after 1973. “Khotyn Hoards in the Hermitage Collection”. Hamburg, 2018 L. Shatilova Compilation of a new five-volume inventory of the collection THE MUSEUM AND SOCIETY CATEGORY of livery and decorative equipage ornaments under the “ЗУП” code. DEVELOPMENT AND IMPLEMENTATION OF RESEARCH AND EDUCATION PROGRAMMES COMPLETION OF RESTORATION PROJECTS L. Frolova M. Vasiliev Development and implementation of research and educational Restoration of an inlaid wardrobe encrusted with mother-of-pearl, programmes for temporary exhibitions: “The Age of Rembrandt ivory, valuable wood. and Vermeer. Masterpieces from the Leiden Collection”; “Imperial O. Dzheniya Capitals: St Petersburg – Vienna. Masterpieces from Museum Restoration of the painting by Hendrick Bolidanus, The Crucifixion Collections”. with Saints, the Virgin, St John the Apostle and Mary Magdalene. M. Zherve Repeat restoration of the unique Guards mural from Panjakent.

20 COMPOSITION OF THE MUSEUM’S COLLECTION

As of 31 December 2018 a total of JJ MOST NOTABLE ACQUISITIONS OF 2018 3,178,263 exhibits were accounted for in the State Hermitage Including Paintings 17,165 Graphic works 625,889 Sculptures 12,814 Pieces of applied art 358,938 Numismatic items 1,125,975 Archaeological artefacts 808,695 Rare books 360 Weapons and armour 14,016 Documents 2,853 Photographs 60,521 Historic technological devices 2,609

Printed works 295 FIELD-MARSHAL’S BATON Other exhibits 148,133 Julius Keibel’s workshop. St Petersburg. 1878–1879 Stamps: master Keibel; gold grade: 72 Gold, silver, diamonds, emeralds, enamel; gilding, embossing, engraving. Length 48.9 cm exhibits (in Inv. Nos) came to the State Hermitage collection in 2018 as gifts, Donated by an anonymous arts patron 8,500 Presented by President of the Russian Federation Vladimir Putin during his official visit in October 2018 through the Expert Purchasing Commission and from archaeological expeditions. The baton was made in the tradition of the St Petersburg jewellery school in the second half of the 19th century. Julius Keibel came from a family of St Petersburg jewellers who reached prominence in the late 18th century and received commissions from the imperial court. The baton was commissioned to mark the acceptance of the Field-Marshal rank by Alexander II but it was never required by the tsar. In 2018 the storage collections (in Inv. Nos) were audited against the inventory documentation On 16 December 1894 it was presented to Field-Marshal General Iosif Gurko. After the Field-Marshal’s death his son returned the baton to His Imperial Majesty’s Office in 1908. Collection “Russian art glass” 3,745 Until now there has only been a single example of a serving Russian Field-Marshal’s baton in Russian state collections, which is currently in the Diamond Fund. This is a baton made from a design by L.-D. Duval (1775) that is said to have belonged to Pyotr Rumyantsev. The batons Collection “Russian contemporary glass” 161 designed by L.-D. Duval and J. Keibel belong to two distinctly different types, and both are unique. Collection “Ethnographic collections of Central Asia” 16,403 The artistic, historic and cultural value of the baton acquired for the Hermitage collection is not in any doubt. It will be on display as part of the museum’s permanent exhibition. Collection “Monuments of culture and art of the Ancient East” 16,403

Part of the collection “Antiquities of the Eneolithic and Bronze Age from Eastern Europe and the Caucasus” 28,843

Part of the collection “Antiquities of the Caucasus (‘Koban bronze’ and ‘Foreign group’)” 14,698

Part of the collection “Antiquities of Central Asia” 4,860

Collection “Chinese ceramics” 3,026

Audit of the safe storage documents and simultaneous stock-taking of museum items 647,904

Audit of the presence and preservation of exhibits for timely conservation 35,672

Audit of the presence and preservation of museum items when transferred from one curator to another during preparation of temporary exhibitions 547,723

Audit of the presence and preservation of museum items when transferred from one curator to another for permanent storage 555,146

22 23 MOST NOTABLE ACQUISITIONS OF 2018 MOST NOTABLE ACQUISITIONS OF 2018

DAVID TENIERS THE YOUNGER (1610–1690) BUST OF EMPRESS CATHERINE II AS MINERVA RURAL LANDSCAPE (PART OF A TABLETOP ORNAMENT APOTHEOSIS Flanders. 17th century OF CATHERINE THE GREAT) (THE RUSSIAN PARNASSUS) Paper, black chalk, brown-grey background brush. 19.2 × 34.1 cm Sèvres Porcelain Manufactory. France. 1906 Acquired through the Expert Purchasing Commission Model sculpted by Louis-Simon Boizot Biscuit (unglazed) porcelain. Height 23.5 cm; base diameter 5.8 cm David Teniers the Younger is one of the most prominent masters Gift from D. Gachko of the Flemish school of painting at the time of its flourishing. Unlike his many surviving paintings, only a few of his original draw- The centrepiece of the tabletop ornament for the Cameo Service called The Russian Parnas- ings have come down to us. The majority of them are quick sketches sus (1779) laid the foundation of the Hermitage collection of Sèvres pieces. Such a large, of individual figures or groups of figures made in preparation for multi-figure composition made of unglazed porcelain is unique. The only extant analogue the artist’s paintings; it is only rarely that they can be considered is in the National Ceramics Museum in Sèvres. “A masterpiece of mythological allegory” independent graphic works in their own right. It is this rare type made from a design by the sculptor Louis-Simon Boizot looks like a rock, with the mus- that the landscape sketch purchased by the Hermitage belongs to. es of Painting, Sculpture, Music, Architecture, Astronomy, allegories of Truth and Time, Executed in a complex technique which combines black chalk with as well as Agriculture represented as Ceres with a small earth-tiller. The rock is crowned a brush washing, this sheet may have been created as a finished with a Classical column on top of which there used to be a bust of the goddess Minerva product made for sale. The drawing manner is very typical of Teniers symbolising Empress Catherine the Great. It is quite likely that the bust was lost in the late and leaves no doubt as to his authorship. The drawing carries a very 18th century. authentic monogram which has the same letter shapes and is placed Following the visits of Emperor Nicholas II to France in 1896 and 1901, sculptural portraits in the same part of the sheet as other well-known samples of the of Russian tsars and tsarinas were made at the Sèvres Manufactory based on the surviving artist’s signature. Landscapes by Teniers which are close in nature 18th-century models. Among them was a bust of Catherine II as Minerva cast in 1906; the same to this drawing can be found in the Netherlands Institute and the that formed the ideological core of the Russian Parnassus. The opportunity of receiving the bust Louvre Museum in Paris, the Courtauld Institute in London and the Cabinet of Engravings in Berlin. of Catherine as a gift gave a logical conclusion to this masterpiece of Sèvres porcelain sculpture The Hermitage, famous for its exceptionally rich collection of paintings by Teniers, only had a few and made it fit for exhibitions as it was in full compliance with historical authenticity criteria. of his drawings, without a single landscape represented among them, so the purchase of this work was a significant addition to the Hermitage collection. DECREE BY THE JIAQING EMPEROR: A HORIZONTAL SCROLL WITH TEXT IN CHINESE AND MANCHU China, the Great Qing Empire. 1799 UNIDENTIFIED ARTIST Ink on silk; calligraphy. 30.5 × 184 cm PORTRAIT OF EMPEROR NICHOLAS II Gift from Yu. Varshavsky IN THE PRE-1907 UNIFORM OF THE SEMENOVSKY GUARDS REGIMENT At one of the events at the Friends of the Hermitage Club, Yury Varshavsky said that it was “inappropriate to go visiting without a present” and presented the museum an ancient scroll Russia. Late 19th – early 20th century Yury Varshavsky presenting the scroll bearing a decree by the Jiaqing Emperor (Yongyan), the fifth emperor of the Manchu Qing Oil on canvas. 80 × 66 cm (oval, lit); 102.6 × 85.7 cm (frame) to the Hermitage Museum dynasty (1644–1911/1912), who reigned in 1796–1820. Gift from A. Vilkov The horizontal silk scroll consists of five differently-coloured parts. On either side, there are images of two dragons, symbols of supreme power, which frame the Chinese and Manchu inscriptions, serving as “headers” of the This canvas stands out among the various portraits of Nicholas II decree. The decree itself is presented as parallel Chinese and Manchu texts which take up two parts each, on the right and the left because of its saturated colour scheme and expression. The military sides of the scroll. uniform and awards are reproduced with historical accuracy, and The third – central – section of the scroll contains two red stamps made by the Large Square Imperial Stamp measuring the artist is extremely precise in his drawing and technique. The gift 13 × 13 cm, with Chinese and Manchu inscriptions. Both stamps overlap the lines of the Chinese and Manchu texts containing from A. Vilkov is meant to mark the tragic anniversary of the execu- the date of the decree. In the Chinese text: “The Jiaqing [Era], fourth year, fourth moon (month), eighth day”, which corresponds tion of the imperial family. to 8 May 1799. The scroll reflects the coexistence of two cultures in China during the reign of the final imperial dynasty: Chinese and Manchu. The Qing ruling house and the majority of the social elite of the time belonged to the latter.

24 25 MOST NOTABLE ACQUISITIONS OF 2018 MOST NOTABLE ACQUISITIONS OF 2018

COMPOSITION: A CERAMIC DISH WITH RELIEF, GLAZING AND GILDING REPLICATING A CHINESE PIECE Workshops of the Central School of Technical Drawing (named after A.L. Stieglitz) (?). St Petersburg. 1920s Gilt bronze mount: France. 1740s – 1750s. Bronzer J.-A. Meissonier (?) Height 17 cm (total); mount and handles diameter 67 cm Gift from Yu. Abramov

A ceramic dish in a gilt bronze mount turned out to have a complex provenance. Study and research of various materials made it possible to reconstruct the history of the artefact. In the late 17th – 18th century it became fashionable in France to produce gilt bronze mounts for Chinese porcelain pieces. One of such compositions, a “Pot-pourri vase on a tray dish”, was assembled in France in the 1740s or 1750s from Chinese pieces produced in the 1400s – 1450s of ceramics with olive-green celadon glaze: a large tray and two bowls. The Chinese pieces were mounted in gilt rocaille bronze, possibly the work of the famous French bronzer J.-A. Meissonier (1693–1750). The assembly arrived in Russia in the middle-second half of the 18th century, during the reign of Empress Elizabeth or Catherine the Great, but the earliest extant references to it date back to the early 19th century, mentioning the collection of Empress Maria Fyodorovna, spouse of Emperor Paul I. The “Pot-pourri vase on a tray dish” was kept in Tsarskoe Selo, in the Maria Fyodorovna memorial chambers until the 1920s. After the revolution the piece was handed over to the “Antikvariat” organisation, and its traces were lost. The mounted dish, which ended up in a private collection, was difficult to attribute. The shape, patterns and material make the ceramic look like Chinese ware, but this hypothesis was questioned. The bronze shows traces of alterations, which further complicated the attribution of this artefact. One of the Chinese pieces kept in the Hermitage, a ceramic dish with celadon glazing dated to the first half of the 15th century and transferred to the museum in the 1930s, looked like the original which served as the prototype for the replica. For some reason, the Chinese tray was separated from the French mount, and the Russian replica was assembled instead. The removable pot-pourri vase composed of two bowls in a gilt bronze mount was sold abroad. In 2001 it re-emerged at the Christie’s auction in London. Today a gift from Yu. Abramov has made it possible to restore a part of this assembly. The 15th-century Chinese ceramic dish with celadon glaze was once again reunited with the French gilt bronze mount made in the mid-18th century.

A WARRIOR’S SUIT OF ARMOUR FROM THE TIME by a participant of the Mahdi uprising in Sudan, which is what makes them so interesting. The set is OF THE MAHDIST UPRISING supplemented by a Mahdi banner (a white canvas with a sewn on floral pattern in red, yellow, blue, Sudan. 1880s and light-blue colours). The green stripe carries inscriptions in Arabic reading O Allah O Muhammad, Steel, leather, lizard (monitor) and crocodile skin, cotton fabric, thread, wood; beating, and a quotation from the Quran and medallions with names of the righteous Caliphs. ring mesh weaving, sewing, tanning, white and yellow metal incising, etching, welding, carving In the second half of the 19th century the British influence over Sudan grew, and the Englishman Charles Gordon became Governor General. British policies brought about the emergence of a strong protest movement which had a religious aspect to it. In 1881 the popular religious leader Muhammad Ahmad A MAHDI BANNER proclaimed himself the Mahdi (Messiah) and headed the revolt against the European colonial adminis- Sudan. 1881–1899 tration and the Turco-Egyptian civil service. As a result, Sudan remained an independent Mahdist state Silk, canvas, metal (attachment rings); applique. 170 × 80 cm for thirteen years, and the united West and Central Sudanese tribes became its regular army. The Mahdists were famous for their bravery and their incredible fighting spirit, which probably was Gift from S. Girdin a major factor in their victory over British troops. The Mahdists’ chief weapons were the traditional swords, daggers of various types, spears and axes which were used in different religious rituals by Mus- This warrior’s suit of armour from the times of the Mahdist uprising in Sudan (1881–1898) consists lim mystics, the Dervishes, that the Mahdist warriors believed themselves to be. of the following components: a set of protective armour (helmet, chainmail, jubbah); a hippo-skin shield; a spearhead; a dervish axe; a two-bladed dagger with a sheath. All of these objects come from the area of present-day Sudan and are dated to the 1880s. They form a single full suit of armour worn 26 27 MOST NOTABLE ACQUISITIONS OF 2018 MOST NOTABLE ACQUISITIONS OF 2018

SILVER PAYMENT INGOT Ancient Rus. 13th – 14th centuries Silver; casting. 126 × 15 × 16 mm Acquired through the Expert Purchasing Commission

The payment ingot dates back to the so-called coinless period in the history of Ancient Russia in the 12th – 14th centuries. In the ab- sence of coin minting within the country and whenever the inflow of foreign coins grew scant, gold and silver ingots remained the only form of metal-based currency circulation in Russian principalities of the pre-Mongol and post-Mongol periods. There are several types of silver ingots, named after the places where they were first found and distribution locations: Kiev, Chernigov, Novgorod, Lithuania or the Volga region. The newly-acquired payment ingot from Novgorod is typologically of a transitional type between the Novgorod silver grivna (stick) to a “humpback” ingot (rouble) which was in circulation in the 13th and 14th centuries. The State Hermitage collection numbers over three hundred ingots of this type which come from hoards and various private collections. Most of them bear traces of being in monetary circulation, the so-called “counting notches” on one of the edges of the ingot, as well as scratched graffiti (inscriptions or symbols). Such ingots are a very valuable source of information about the currency circulation and foundry industry in medieval Russia.

ORDER NO. 329 DATED 17 SEPTEMBER 1921 ISSUED BY GENERAL WRANGEL, COMMANDER-IN-CHIEF OF THE RUSSIAN ARMY, AWARDING THE ORDER OF ST ANNE, THIRD CLASS, TO GUNNAR BROMAN, ATTACHE OF THE DIPLOMATIC MISSION ANSELM KIEFER (B. 1945) OF THE KINGDOM OF SWEDEN IN CONSTANTINOPLE. THE YACHT LUKULL 1921 AURORA Paper. 33.6 × 21.7 cm (folded) France. 2015–2016 Oil, acrylic, emulsion, shellac, lead on canvas. 280 × 380 × 12 cm; first part 280 × 190 × 12 cm; second part 280 × 190 × 12 cm COPY OF ORDER NO. 329 DATED 17 SEPTEMBER 1921 ISSUED BY GENERAL Purchased with funds from the Vladimir Potanin Charitable Foundation, Special State Hermitage Development Endowment Management Fund, and the Hermitage Foundation UK WRANGEL, COMMANDER-IN-CHIEF OF THE RUSSIAN ARMY, AWARDING THE ORDER OF ST ANNE, THIRD CLASS, TO GUNNAR BROMAN, ATTACHE OF THE DIPLOMATIC MISSION In 2017 the Hermitage hosted a large personal exhibition of the artist entitled “Anselm Kiefer, for OF THE KINGDOM OF SWEDEN IN CONSTANTINOPLE, IN FRENCH. THE YACHT LUKULL 1921 Velimir Khlebnikov”, which offered the opportunity to display his new series of 30 works for the first time. One of the centrepieces of this exhibition was the painting Aurora, purchased by the State Hermit- Paper. 330 × 203 mm age in 2018. Gift from Sincona Swiss International Coin Auction AG Here, Kiefer’s trademark stark German landscape is saturated with the water of a wide lake and the thickets of an ancient forest. A dented rusty hull of a ship named The Aurora is inextricably entangled The South Russian Military Force commanded by Anton Denikin, in a mass of branches, water and paint. Its fate is to be stuck there forever, becoming a dark-brown fea- an association of military detachments which had different awards ture of the landscape, which could well consist of indistinguishable remains of similar ships. The uneven, policies, were confronted with the need to decorate individuals who ragged and grimy surface of the canvas merges with the colours of nature itself, whether abandoned distinguished themselves in special ways. In early 1919 a commis- by humans or not yet colonised by them. The black streaks that transverse the image remind onlookers sion created to this end concluded that it was necessary to restore of the ashes and soot of fires, revolutions, wars and history itself. the practice of awarding orders and medals. But this decision was The work is a vivid demonstration of the wide range of materials used by the artist in his creative pro- never enshrined in law. This was the policy adhered to by Denikin’s cess: taking acrylic paints as his base, Kiefer achieves the three-dimensional feel of this image by adding successor, Lieutenant General Pyotr Wrangel, under whom the pastose brush strokes in oil, emulsion and shellac, as well as three-dimensional objects (a metallic model South Russian Military Force was officially renamed the Russian of a submarine) to the surface of the painting. Army. Despite this, Russian awards of lower classes based on orders One of Velimir Khlebnikov’s central ideas, that of endless cyclicity of momentous military clashes which signed by both Commanders were presented to foreigners. One such happen on land and on sea once every 317 years, makes Anselm Kiefer reflect on the themes of war document was gifted to the Hermitage. The order was signed on the and piece, the transience and finality of all human aspirations, the inexorability of fate; all of these are yacht Lukull, which sank less than a month later after colliding with reflected in Aurora. the Italian steamer Adria.

28 29 MOST NOTABLE ACQUISITIONS OF 2018 MOST NOTABLE ACQUISITIONS OF 2018

BILL VIOLA (B. 1951) THE SILENT SEA 2002 Colour video on LCD display mounted on a wall. 10:07 min Gift from the Vladimir Potanin Charitable Foundation, 2018 Equipment provided by the PRO ARTE Foundation

Bill Viola is a contemporary American artist, one of the classics of video art who laid the foundations for the evolution of this genre. Bill Viola’s works have been displayed by the world’s major museums. The video installation The Silent Sea (2002) was first presented at a temporary exhibition at the Hermitage in 2014 and now purchased for the museum’s permanent collection. Viola’s art aims to demonstrate how the expressive potential of video art can extend and supplement the pictorial tradition. The video installation The Silent Sea focuses on the universal “language of emotions”. If an artist is able to paint only one, the most expressive mimic phase, video makes it possible to portray a feeling as it develops and becomes more and more visible on a face. The characters in Viola’s group portrait demonstrate the whole spectrum of psychological states. Slow-motion shooting, one of Viola’s key devices, along with the silence that accompanies the video, transforms this process into a meditative spectacle. By presenting a dramatic emotion in a detached manner, the artist communicates to the audience a philosophical, contemplative attitude to the passions which overcome human beings.

PIERO PIZZI CANNELLA (B. 1955) Five canvases by the Italian artist Piero Pizzi Cannella were gifted to the Hermitage by the author with mediation by the Italian Con- sulate General in St Petersburg. They were first presented among SALON DE MUSIQUE 28 works by the artist at his personal exhibition “Salon de musique 2016 and Other Paintings by Piero Pizzi Cannella” held at the Hermitage Canvas; mixed technique. 300 × 210 cm in 2017. Painted in 2012–2016, they reflect a later period in the artist’s career, with a new thematic range and set of technical devices. SALON DE MUSIQUE The large canvas Salon de musique (2016) belongs to the epony- mous series created specially to be displayed in our museum and 2012 inspired by the chandeliers which adorn the state rooms of the Her- Canvas; mixed technique. 50 × 40 cm mitage. The artist used photographs in his work, but not a single chandelier was copied directly; instead, they were transformed into TO SPEND NIGHTS BY THE SEA images stripped of their erstwhile materiality and weight. They show 2014 through the canvas like a mirage. Attributes of palace life seem Canvas; mixed technique. 49 × 73 cm to be repositories of memories about the lavish receptions held at the Russian court, now a thing of the past, which is commemorated UNTITLED in its way by the Hermitage. The museum was also gifted Salon 2014–2015 de musique (2012), the small-scale painting which became a point Canvas; mixed technique. 48 × 73 cm of reference for the entire subsequent series.

MUSICAL STAVE 2015 Canvas; mixed technique. 70 × 50 cm Gift from the Italian Consulate General in St Petersburg

Salon de musique. 2016 30 31 THE STATE HERMITAGE ACQUISITIONS OF 2018

JJ THE STATE HERMITAGE ACQUISITIONS OF 2018 Tsakhiagiin Elbegdorj M. Rudkovskaya DEPARTMENT OF WESTERN EUROPEAN APPLIED ARTS Sculpture portraying a horseman in traditional Altar canopy with images of crosses and vines Mongolian costume Made ahead of the Hermitage exhibition Gifts: Mongolia. Early 21st century “Orthodoxy and the Holy Land. Alpha & Brass, stone, wood; casting Omega” (18 September 2017 – 14 January Donated by an anonymous arts patron. 2018) Presented by President of the Russian Federation Vladimir Putin during his official D. Tal Designer: M. Rudkovskaya THE ARSENAL DEPARTMENT N. Pankov R. Minasyan Alpha & Omega Company. St Petersburg. 2017 visit in October 2018 Photograph: Monastery of St Sabbas, Fabric, silk, gold, and silver threads; hand Gifts: Field-Marshal’s baton Kris and sheath mounted in a frame, in a case Sword shard (Type V) the Judaean Desert and machine sewing Indonesia. 20th century (?) Western Europe. 10th century Julius Keibel’s workshop. St Petersburg. Israel. 2015 1878–1879 A. Vilkov Metal, wood, fabric, coloured glass (?), Iron; beating Archival (acid-free) paper, jet printing cardboard, velvet, ribbon, copper alloy, glue; Acquired through the Expert Purchasing Gold, silver, diamonds, emeralds, enamel; Unidentified artist beating, carving, stamping Photograph: The Site of the Baptism Commission: gilding, embossing, engraving Portrait of Emperor Nicholas II in the Pre-1907 THE ARCHITECTURAL ARCHAEOLOGY on the River Jordan Writing case Uniform of the Semenovsky Guards Regiment D. Gachko V. Korolev SECTOR Israel. 2015 Bukhara. 1276 AH / 1859–1860 Russia. Late 19th – early 20th century Archival (acid-free) paper, jet printing Master Mulla Sharif Kashgari Oil on canvas Infantry sword belt for Guards Heavy Infantry, Gift: Bust of Empress Catherine II as Minerva (part Leather, stamping of a tabletop ornament Apotheosis of Catherine 1809 template S. Girdin A. Varfolomeev Russia. First third of the 19th century S. Maksimov Writing case the Great) (The Russian Parnassus) Leather, white pigment, varnish, brass, beating Works of traditional African art Sèvres Porcelain Manufactory. France. 1906 Stove tile Central Asia (Bukhara?). 1309–1310 AH / Tips of ‘alams Territory of present-day Ghana, Nigeria, Model by L.-S. Boizot Red clay, tin glazing, cobalt oxide; moulding, 1891–1893 Northern India. 18th – 19th centuries Democratic Republic of Kongo, Cameroon, Biscuit (unglazed) porcelain A. Moskvitina firing, painting Leather, stamping Brass; casting, carving, engraving Nigeria, Mali, Gabon, Côte d’Ivoire. Flag of CCM Party (Chama Cha Mapinduzi, 19th – 20th centuries Sculpture Bodhisattva Seated in a Free Position Yu. Aristakov Wood, clay, kaolin, pigments, plant fibres, glass on a Rock Yu. Abramov “Revolution Party”) THE ORIENTAL DEPARTMENT Zanzibar. 2015 and coral beads, thread, fabric, metal; carving, China. Ming Dynasty (1368–1644). Cabinet with Boulle decoration A pair of duelling swords and a pair Synthetic fabric, paint, printing,machine work Gifts: engraving 16th – 17th centuries Russia (?). Second half of the 19th century of duelling rapiers 14 pieces Wood, priming, paint; carving Wood, brass, glass, bronze, tortoiseshell Flag of CUF Party (Civic United Front) imitation; veneering, Boulle style encrustation, Western Europe. Second half of the 19th century Yu. Varshavsky Zanzibar. 2015 Flask-shaped vase casting, embossing, gilding Steel, galuchat leather, wood, leather, wire; A. Akseshin beating, casting, embossing, etching, engraving Synthetic fabric, paint, printing,machine work Decree by the Jiaqing Emperor: a horizontal China. Qing Dynasty (1644–1911). Late 18th – Half-cabinet with Boulle decoration Bag (jaka) early 19th century Agitation outfit of CUF Party scroll with text in Chinese and Manchu Russia (?). Second half of the 19th century Nigeria. Early 21st century Bronze; cloisonne and champleve enamel, V. Kurtyshev China, the Great Qing Empire. 1799 Wood, brass, black marble, bronze, tortoiseshell (Civic United Front) Leather (monitor lizard leather, sheepskin), polishing, gilding Ink on silk; calligraphy imitation; veneering, Boulle style encrustation, A pair of duelling swords Zanzibar. 2015 fabric, metal, plastic; weaving, sewing casting, embossing, gilding Klingenthal, France. Third quarter of the Synthetic fabric, paint, printing,machine work A matching pair of bracelets Yu. Abramov Central Asia (Khwarezm?). Mid-19th – 19th century Incense burner (kaskon turaren wuta) early 20th century Steel, galuchat leather, wood; beating, casting, V. Meshcheryakov Kano State, present-day Nigeria. 2017–2018 Danilo Tyurk Composition: a ceramic dish with relief, glazing Silver; casting, embossing stamping, engraving Clay, pigments; painting Flag and gilding, replicating a Chinese piece 2 pieces Vase Workshops of the Central School of Technical Rogaška Slatina, Slovenia. Rogaska Egypt. 20th century Mahinda Rajapaksa S. Girdin Silk, applique Drawing (named after A.L. Stieglitz) (?). Bracelet Manufactory. Early 21st century St Petersburg. 1920s Southern Burkina Faso west of the White Crystal glass; mould casting, pressing, gilding A warrior’s suit of armour from the time France. 1740s – 1750s. Bronzer Inlaid wood display Jungle Animals Volta, territory of present-day Northern Ghana. Sri Lanka. Upul Wood Art. Early 21st century of the Mahdist uprising A. Gulyaev J.-A. Meissonier (?) Farefare (Frafra) / Lyélé (Gurunsi) people (?). Different species of wood; applique, painting Sudan. 1880s Gilt bronze mount Late 19th – early 20th century V. Faibisovich Steel, leather, lizard (monitor) and crocodile Set of tin soldiers. Military-historical miniature Copper alloy; casting Jug skin, cotton fabric and thread, wood; beating, Guards Cavalry of Nicholas I Ministry of Culture and Tourism, A. Nikolaeva USA. 2003. By A. Stisser ring mesh weaving, sewing, tanning, white and By A. Gulyaev Republic of Azerbaijan Russia. Early 21st century Colourless and black glass; mould blowing yellow metal incising, etching, welding, carving V. Zubarov THE MENSHIKOV PALACE DEPARTMENT Tin, oil, varnish; casting, painting Carpet with inscription along the lower border Photographs from the Western Wall Series (20) A Mahdi banner Acquired through the Expert Purchasing Ch. Ross Photography: Israel, Jerusalem. 2012. Prints: Marking the 250th anniversary of the State Sudan. 1881–1899 Acquired through the Expert Purchasing Russia. 2017 Hermitage from the Ministry of Culture Commission: Silk, canvas, metal (attachment rings); applique Buckle in the shape of a hound Commission: Archival paper, jet printing and Tourism, Republic of Azerbaijan Christopher Ross Azerbaijan. Quba-Shirvan Group. Paul Petit, from an unknown original painting Shield USA. 1986 Early 21st century Portrait of Prince Alexander Menshikov, Masai, Kenya. Late 19th century Algerian (?) flyssa A. Mamedinov Nickeled and gilded pewter; glass Wool, cotton; velvet technique Lieutenant Captain of the Horse Guardsmen Wood; leather; tanning, carving, weaving, Algeria (?). Mid-19th century between 30 April 1726 and 9 September 1727 painting Steel, brass, wood; beating, carving, embossing, Azat Mamedinov. Painting reproducing Buckle in the shape of a frog St Petersburg. 1852 soldering, welding the cave painting from Turpan portraying Sheikh Hasina Christopher Ross Lithograph on paper Shield and little spear a female musician playing a flute, USA. 1981 Zulus, South Africa. Late 19th century Embroidery with an image of adolescents Nickeled and gilded pewter; glass with Uighur inscriptions Unknown engraver from a design by K. Brož Leather, wool; tanning, weaving; wood, iron, DEPARTMENT OF EASTERN EUROPEAN Turpan – St Petersburg. 2015 flying kites Bangladesh. Early 21st century from an original painting by A. Sauerweid copper alloy; carving, beating, braiding AND SIBERIAN ARCHAEOLOGY Oil and tempera on canvas; mixed technique M. Artsinovich Fabric; embroidery Portrait of Grand Duke Tsarevich Alexander Gifts: B. Kuznetsov Nikolaevich in field uniform of the First Cadet A Hunter from the Orion Constellation K. Samosyuk Corps Grenadier Company O. Korostelev P. Afanasyev Russia. 1882 Russia. 2017 Calling card of Count Alexander Grabbe, Tangka with an image of the Green Tara Lithograph on paper Black quartzite; carving adjutant to HRH Grand Duke Mikhail Palstave axe (flanged axe) China. 2016 (?) Nikolaevich Western Europe. Second half of the Mineral paints and gold leaf on canvas Russia. Late 19th – early 20th century 2nd millennium BC Ink on paper Bronze; casting 32 33 THE STATE HERMITAGE ACQUISITIONS OF 2018 THE STATE HERMITAGE ACQUISITIONS OF 2018

S. Brikker Pendant in the shape of dragonflies The Fondazione Archivio Antonio Ligabue DEPARTMENT OF THE HISTORY S. Romanenko E. Ustinova René Lalique OF RUSSIAN CULTURE Fabric fragment from an Art Nouveau Paris. 1900s Antonio Ligabue Russian artistic varnishes Blazer. Formerly owned by the Soviet embroidered cushion Gold, enamel, aquamarine, diamonds Self-Portrait Gifts: Russia. 1940s – 2000s and Russian actor and director, Art Director Europe (?). 1900s Italy. Last quarter of the 20th century Papier-mâché, metal, varnish; painting of the Chekhov Moscow Art Theatre Wool; machine velvet weaving Necklace Bronze; lost wax method casting, wood E. Posetselskaya 4 pieces Oleg Tabakov Artist: V. Chernova USSR (?). 1980s E. Posetselskaya N. Mavrodina “Zavod Kast”. St Petersburg. 2014 Antonio Ligabue V. Fedorov Domestic animal skin, silk twill, padding, White gold, agates, diamonds; carving, Panther The Window silk thread, plastic Art Nouveau damask tablecloth embroidered polishing, mounting, encrustation, cutting Italy. Last quarter of the 20th century St Petersburg. 2014 Hat box Bronze; lost wax method casting, wood Cardboard; dry pastels, in a wooden frame under Revel, Russian Empire. A.M. Luter Mechanical with floral patterns Razgulyaev-Blagonravova LLC Russia (?). 1900s glass Wood Processing Joint-Stock Company. 1900s Linen thread; damask weaving Wood; leather, metal Domestic garments and footwear inspired DEPARTMENT OF WESTERN EUROPEAN Acquired through the Expert Purchasing Commission: N. Zaltzman by the works by Kazimir Malevich Carpet tablecloth FINE ARTS D. Golikman The Razgulyaev-Blagonravova brand 2007. Russia (?). First half of the 20th century Joseph Kapelyan Gifts: François de Troy St Petersburg Wool; machine and carpet weaving Jerusalem Suitcase Male Portrait Cotton fabric, domestic animal skin, synthetic Israel. 2009 Russia. Early 20th century France. 1710–1715 (?) thread; hand- and machine-made, applique Art Nouveau embroidered tablecloth fragment Italian Consulate General in St Petersburg Paper; etching, chiselling Wood, metal, leather Russia (?). Early 20th century Oil on canvas 4 pieces Velvet, silk thread; embroidery Paintings by Piero Pizzi Cannella N. Gavrilova Italy. 2012–2016 Balthasar Denner T. Novikova KAVERING LLC Canvas; mixed technique Portrait of Louis Rudoplh, Duke Z. Brusnitsyna Women’s underdrawers 5 pieces of Brunswick-Wolfenbüttel Wave composition CYRILLE GASSILINE evening blouse T. Novikova Russia. Late 19th – early 20th century Light lace shawl Germany. 1730 Cotton fabric; embroidery, lace and evening skirt from the Spring-Summer 2016 Oil on canvas Rostov-on-Don Creative Retreat of the Union Western Europe. Late 19th century L. Haskell of Artists. Late 1980s 3 pieces collection Designer: Kirill Gasilin Linen; weaving Glass, metal, hot-furnace blowing, gluing Unidentified artist (Giacomo Quarenghi?) Johann Daniel Bager Bed linen Moscow. 2016 Emperor Paul I (?) Lying in State Surrounded Still-life with Peaches and Grapes Acquired through the Expert Purchasing Russia (?). Early 20th century Silk, synthetic fabric, silk organza, metallic by the Guard of Honour Germany. 1782 I. Shabut Silk and cotton fabric, silk thread; weaving, sequins, coloured thread, metal zip, hooks Commission: Russia. 1801 Oil on wood Flower-shaped pendant from the Henri embroidery Paper, quill, ink, ink tinting China cupboard unit David Teniers the Younger Rousseau’s Forest collection F. Khalafova Paris. c. 1900. Cabinetmaker Le Coeur. Bronzer Designer: Irina Shabut A. Tikhonova Rural Landscape Formal Rococo Revival style dress Luxury Maison Bagues N. Lobanov-Rostovsky Flanders. 17th century St Petersburg. 2016 A formal urban women’s outfit Frame: oak; veneer: maple and bird’s eye sugar Paper, black chalk, brown-grey background Limoges porcelain, transparent enamel, crackle, and Splendour Georges Rouault Yaroslavl; St Petersburg (?) Fashion designer Fakhriya Khalafova maple, bronze, metal; veneering, casting, brush white alloy embossing, gilding Miserere 1900s – 1910s Baku, Azerbajan. Fakhriya Khalafova Fashion Paris. Édition de l’Étoile filante. 1948 Cornelis Saftleven Satin, cotton fabric, cotton thread, metal, and Design Centre. November 2017 I. Solovyova Lidded shot glass decorated with the image Paper, helioengraving, etching, aquatinte, Sketch of a Seated Soldier with a Pipe ebony, machine-produced lace; hand- Silk taffeta, beads, sequins, lace; embroidery, copperplate (?), reservage (?), dry point, tape; and machine-made hand- and machine-made of the German State Eagle (1888–1918) in His Mouth Game pieces Schreiberhau, Germany. Josephine Glassworks. case: cardboard, fabric, parchment, metal, Holland. 17th century Russia. Late 19th century Formal dress Inobtrusive Luxury c. 1890 stamping E. Maslovskaya Paper, black chalk Ivory; carving, encrustation with tinted brush Fashion designer Fakhriya Khalafova Transparent brown-tinted glass; blowing, 58 pieces 167 pieces Baku, Azerbajan. Fakhriya Khalafova Fashion painting, hot-furnace blowing Ottavio Leoni Women’s brown leather heeled high-laced boots Enea Vico with cotton lining and Design Centre. 2014 Portrait of a Youth M. Suslov Chiffon, silk net, beads, spangles, coloured glass, Vase with primrose design Sacrifice Italy. 17th century Petrograd (?). 1910s Nancy, France. Émile Gallé’s Manufatory. Italy. 1542 sequins, decorative stones; embroidery, hand- Green-grey paper, black and white chalk Rococo Revival armchair Natural leather, cotton fabric, cotton braids, 1904–1907 Paper, chisel engraving and machine-made Russia. 1850s – 1880s metal; stamping, hand- and machine-made Three-layered glass: colourless with pinkish A Swiss artist (?) Coniferous species, applewood, fabric; carving and green-brown overlays; etching, chemical Agostino Veneziano from an original Formal dress Magnetism of the East A Mercenary Playing Bagpipes Ch.-M.-F. Chadi-Brechard Fashion designer Fakhriya Khalafova background and interior surface matting by Raphael (?) First half of the 16th century “Oriental” armchair Baku, Azerbajan. Fakhriya Khalafova Fashion Phaeton Paper, quill in shades of brown Russia. 1880s – 1900s Boa Vase with landscape design Italy. First third of the 16th century and Design Centre. 2014 Wood, cotton chintz, tassels, braids; turning, Western Europe. First third of the 20th century Natural silk, crepe-chiffon, sequins; hand- Klostermühle, Southern Bohemia Paper, chisel engraving Alessandro Algardi (?) applique Ostrich feathers, silk thread; hand-made and machine-made (present-day Czech Republic). Johann Loetz Relief Saint Ignatius Loyola with Saints Widow Firm. 1920s Charleston dress M. Bashmakov and Martyrs of the Jesuit Order A. Noykin Two-layered glass; etching Rome. c. 1629–1630 (?) France. 1925 Acquired through the Expert Purchasing Engraved editions with 1,210 original plates Marble Wall cabinet (medicine cabinet) Silk tulle, beads, dequins, silk thread; Commission: Chameleon tray France; Switzerland; USA. 1900–1971 embroidery, hand-made Nancy, France. Brothers Daum & Co. Nancy Russia. 1900s Paper, cardboard, fabric, typographic printing, Peter Edward Stroehling Wood, metal; painting, carving N. Dmitriev-Orenburgsky Glassworks. c. 1930 lithography, xylography, engraving over metal, Pressed glass, pâte de verre technique; etching, Portrait of N. Suponev (?) P. Abramov A Young Family on a Walk template printing, coloured paper applique 1800–1801 Russia. 1890s carving Z. Brusnitsyna 20 pieces Ivory, watercolour, gouache; gold, silver, glass; European-made outfits Cardboard, watercolour, white pigment, pencil; Abundant Grape Harvest vase paper, crayon Lidded snuffbox encrusted with thirteen wood Western Europe. 1930s – 2000s wood, glass Natural and artificial silk, velvet, brocade, silk, Jablonec nad Nisou, Czechoslovakia. Design E. Shchukina species. Inside: a notebook page with a scheme gauze, cotton, repp, twill, knitwear, synthetic Nicolas de Fer by Frantisek Pazourek for Curt Schlevogt, and list of wood species Rockwell Kent fabrics, artificial leather, artificial pearls, beads, Plan of the Poltava Battle produced by the Riedel Manufactory. Russia (?). Late 19th century sequins, spangles, metal, plastic; embroidery, Paris. 1714 Model: c. 1935 Farewell Wood, metal; encrustation Malachite glass; pressing USA. 1962 bead weaving, hand and machine sewing Wire-wove paper, etching Lithograph on paper 10 pieces

34 35 THE STATE HERMITAGE ACQUISITIONS OF 2018 THE STATE HERMITAGE ACQUISITIONS OF 2018

K. Heusler, Ch-H. Schoenberg Kerchief with a theme commemorating Bright Day decorative tray Acquired through the Expert Purchasing The Vladimir Potanin Charitable Foundation Milkmaid Sheet from the Peddlers the 300th anniversary of the Romanov House Imperial Porcelain Manufactory JSC. Commission: Non-Commercial Charitable Organisation of St Petersburg Series Kostroma Governorate Razorenov Brothers St Petersburg. 2016 St Petersburg (?). Late 18th century Manufatory. Russia. 1910s Painting by N. Troitskaya Collection of Kufic coins Bill Viola Etching, chiselling Cotton fabric; mechanic printing Porcelain; overglaze polychrome painting, Yemen, South Caspian Sea Region, Central Asia The Silent Sea gilding and the Volga Bulgaria. 9th – 10th centuries 2002 Unknown photographer Four napkins with monograms of Emperors Silver; minting Colour video on LCD display mounted on a wall. 10:07 min Portrait of a Young Woman from the Vengerov Alexander III and Nicholas II V. Levshenkov 14 pieces Family (?) Holland (commissioned by the Russian court). Equipment provided by the PRO ARTE Kiev (?). 1850s 1884–1917 Cup Silver payment ingot Foundation Ancient Rus 13th – 14th centuries Daguerreotype, metal plate, glass, cardboard, Linen thread; Jacquard weaving Irbit, USSR. 1943 Silver; casting paper 4 pieces Sculpted by P. Shuriga E. Kovylina Diatomite Table-top stamp shaped like a bulldog’s head Round mahogany table Women’s underdrawers and bonnets Elena Kovylina Gambs Brothers Firm (?). St Petersburg. Russia (?). Late 19th – early 20th century Sugar-bowl with “bindweed” pattern with the owner’s name: “N.D. Lantratov” Film Equality Late 1830s – early 1840s. From a design Fabric, lace; embroidery, mother-of-pearl State Porcelain Manufactory. USSR. 1923 Yekaterinburg, Russia. 19th century St Petersburg. 2014 by A. Bryullov 11 pieces Design by R. Wilde Rock crystal; carving Single-channel colour video with sound. Mahogany (veneering), coniferous species Porcelain; overglaze polychrome painting, Token commemorating the 300th anniversary 7:58 min (frame); carving Over-corset basques gilding England, Russia (?). Late 19th – early of the Arkhangelsk Pilot Society Decorative red enamelled bowl 20th century Russia. 1913 Acquired through the Expert Purchasing Karl Fabergé Firm, N. Petrov’s workshop. Fabric, lace, mother-of-pearl; embroidery NUMISMATICS DEPARTMENT Brass, enamel; stamping Commission: St Petersburg. 1904–1908 7 pieces Silver, enamel; gilding, guilloche, casting, Gifts: Coin commemorating the 60th anniversary Anselm Kiefer granulation Underwear samples of Tom C. Bergroth Aurora England, Russia (?). Late 19th – early Sincona Swiss International Coin Ernst Nordin France. 2015–2016 Snuffbox for two varieties of tobacco with 20th century Sweden. Undated [2011] Auction AG Oil, acrylic, emulsion, shellac, lead on canvas hinged lids decorated with miniature portraits Fabric, lace, mother-of-pearl; embroidery Copper; minting Purchased with funds from the Vladimir Potanin 5 pieces of Sophia Dorothea of Hanover, Queen Consort Order No. 329 dated 17 September 1921 issued Charitable Foundation, Special State Hermitage Development Endowment Management Fund, of Prussia, and Frederick II the Great of Prussia Underwear items by General Wrangel, Commander-in-Chief and the Hermitage Foundation UK Europe (?). Second half of the 18th century Russia. Late 19th – early 20th century of the Russian Army, awarding the Order DEPARTMENT OF MANUSCRIPTS Jasper, mother-of-pearl, brass; painting, gilding Cambric, linen, lace; embroidery of St Anne, Third Class, to Gunnar Broman, AND DOCUMENTS 7 pieces Pipe shaped like Leda and the Swan. With Attache of the Diplomatic Mission of the Acquired through the Expert Purchasing amber mouthpiece. In a case Bed linen samples Kingdom of Sweden in Constantinople. Commission: Karl Reichel’s Firm. Europe. Late 19th century Russia. Early 20th century The Yacht Lukull 1921 Meerschaum, amber, leather, fabric, metal; Cotton fabric and thread, linen fabric, tulle, Paper Set of documents dating to 1917–1928 from carving machine-made lace; embroidery the personal archive of artist and architect Copy of Order No. 329 dated 17 September 4 pieces Nikolay Baklanov (1881–1959) Lacquer artworks by Russian and German 1921 issued by General Wrangel, Commander- 9 pieces masters from the first half of the 19th to the Kerchief with an ornamental band of sickles, in-Chief of the Russian Army, awarding the 20th century hammers, scythes and sheaves of wheat Order of St Anne, Third Class, to Gunnar Set of drawings and photographs dating Fedoskino, Mstera, Kholuy, Palekh, Russia; V. Slutskaya Factory. Leningrad. Late 1920s – Broman, Attache of the Diplomatic Mission to 1926–1949 from the personal archive the Stobwasser Factory, Germany early 1930s of the Kingdom of Sweden in Constantinople, of artist and architect Nikolay Baklanov Papier-mâché, varnish; painting Cotton fabric; printing in French. The Yacht Lukull 1921 (1881–1959) 20 pieces Paper 10 pieces Ladies’ cigar case Karl Fabergé Firm, H. Vigstrom’s workshop. IMPERIAL PORCELAIN MANUFACTORY S. Eremeeva St Petersburg. 1908–1918 DEPARTMENT OF MODERN ART MUSEUM DEPARTMENT Commemorative plaquette from the Silver, gold, pearls, enamel; guilloche, gilding, Gifts: embossing Gifts: Municipality of Reggio di Calàbria with a medal on a velvet board The Hermitage Foundation UK Italy. Late 20th century Set of crystal glasses Imperial Porcelain Manufactory JSC Vladimir Governorate Gus Khrustalny Factory. White metal, cardboard, bookbinder cloth, Hani Rashid Russia. 1900s Chechnya installation (“Serega, come home...”) velvet Hermitage – Moscow Museum of Contemporary Glass, crystal; blowing, cutting, polishing Vostochny Express firm Art. Version 011 10 pieces Mould and painting by I. Olevskaya V. Guruleva USA. 2017 Imperial Porcelain Manufactory JSC. Ink on paper Tapestry Two Kitchen Maids in the Kitchen Bankotes from the USSR and Russia Imperial Tapestry Manufactory. St Petersburg. St Petersburg. 2000 1961–1997 Hani Rashid 1774–1783 Porcelain; overglaze polychrome painting, monochrome painting, platination, gilding, Paper Hermitage – Moscow Museum of Contemporary Woollen and silk thread; weaving 12 pieces diverging patterning Art. Version 012 Kerchief with a theme commemorating USA. 2017 Leo decorative tray the coronation of Emperor Nicholas II S. Mavrodi Ink on paper Imperial Porcelain Manufactory JSC. and Alexandra St Petersburg. 2016 MMM notes Schluesselburg Manufactory. St Petersburg. Painting by N. Troitskaya Russia. Late 20th century AL Archive LLC 1896 Paper Porcelain; overglaze polychrome painting, Annie Leibovitz Cotton fabric; mechanic printing 9 pieces gilding Photographs USA. Taken in 1988–2007. Printed in 2012 Archival paper, pigment printing 9 pieces 36 37 PERMANENT DISPLAYS PERMANENT DISPLAYS

THE ART OF THE ISLAMIC MIDDLE EAST: THE OTTOMAN EMPIRE

Curator Dmitry V. Sadofeev The display opened on 18 May 2018 in Rooms 388–390 of the Winter Palace. It includes over 200 exhibits, many of which have previously been shown to the general public only in temporary exhibitions. The State Hermitage collection of Turkish art encompasses the period from the 12th century to the early 20th century. Turkic no- madic tribes played an important role in the development of Middle Eastern culture, bringing their traditions and innovations to the Islamic world. The first room features exhibits relating to the Seljuq dynasty, a period when the first Turkish-speaking tribes gradually began to conquer Asia Minor. There is a collection of ceramic objects and tiles produced in the Ottoman Empire. A special place is accorded to a fireplace made in the second half of the 17th century and assembled from individual tiles. The second room contains examples of calligraphy, metal artefacts and fabrics. Textile production in the late 16th and early 17th centuries was the heyday of Ottoman weaving. The main centres for the manufacture of expensive silk fabrics were the Sultan’s workshops in Istanbul and Bursa, a city renowned for its velvets. Ottoman velvets and silks were highly valued by contemporaries, including those outside the Ottoman Empire. Expensive fabrics came to European courts and into the treasury of the Russian tsars as diplomatic gifts and purchases. In Russia Turkish velvet was also used for priests’ vestments – chasubles, phelonia and surplices. The third room holds carpets, weapons, silver adornments and utensils. Turkish carpets, known for their quality and elegance, were widely used not only in Turkey but also in many European countries. From the 16th century Turkish carpets were made primarily for export. Nevertheless, right up to the 19th century Eastern carpets, including Turkish, were not often to be found in European interiors and were viewed rather as luxury items. They were purchased by representatives of the nobility and well- to-do classes. Diplomatic differences frequently led to lengthy wars between the Russian and Ottoman Empires. The Hermitage collection includes trophy weapons and diplomatic gifts from the 18th and 19th centu-

ries. Between the 17th and 19th centuries both cold steel weapons (sabres, yataghans, daggers, maces and javelins) and firearms (rifles and pistols) were in use in the Ottoman Empire. The most original and best-known Turkish cold steel weapon was the yataghan, which became a symbol of Ottoman bellicosity for Europeans. It was the personal weapon of the janissaries: this is evident from the inscriptions on the blades, which contain not only standard quotes from the Koran but also poetry and, most importantly, the owners’ names. The following members The incense-burners and bottles for rose water in one of the display cases were acquired by the Hermit- of staff of the Exhibition Design age along with several similar sets “from the entresols of Her Imperial Majesty” – items that belonged Department took part in the staging to Catherine II and were personally selected by her for the museum. Incense-burners and bottles for of the temporary exhibitions: B. Kuzyakin rose water were traditional vessels for fragrance in the Islamic East and frequently formed pairs. (Head of the Department), Their use as paired utensils was of a regulated character. Such sets were carried by votaries during V. Korolyov (Head of the Sector ceremonial receptions and feasts at the court of rulers and in the homes of the nobility. Sets of these of Exhibition Design and vessels – in gold and silver encrusted with precious stones – were presented as gifts to the court of the Installation), Turkish sultans. E. Andreeva, M. Efimov, The new display demonstrates to visitors all the diversity of Turkish art. I. Kharitonov, O. Kirichenko, Yu. Kolotilov, G. Kuznetsova, A. Machikin, A. Madlevsky, N. Milasheva, A. Plotnikova, B. Stepanov 38 39 PERMANENT DISPLAYS PERMANENT DISPLAYS

ANCIENT PAINTED CERAMICS

Curator Elena B. Ananich, Head of the Project Anna A. Trofimova The display opened on 9 December 2018 in the Hall of Vases in the New Hermitage (Room 118). It is one of the two rooms that complete the major project of reorganisation of the Department of Classical Antiq- uity. An all-embracing restoration of the decorative elements was carried out in the interior of the Hall of Vases, designed by Leo von Klenze in the Neo-Grec style. The famous architect’s design shows that the room was originally intended to house engravings. Exhibitions of ancient art were staged here from 1912 onwards, and from the 1960s a display of Attic vases opened in the room. The displays were dismantled in the 1980s and the rooms were used as offices for the department’s staff and as storage space. Work on the refurbishment of the rooms became possible in 2016 when the department moved to the specially equipped staff accommodation and repositories of the Reserve House of the Winter Palace. The Hermitage collection of ancient vases is one of the largest in the world. The vases in the display relate to various stages in the history of Ancient Greek art: the archaic period (Room 111), the classical period (Rooms 112–113), the art of the Northern Black Sea Area (Rooms 115–117) and of Ancient Italy

(Room 130). The new display makes it possible to see ancient vases as an independent and important part of ancient art. There are around 400 unique vases in the hall dating from the 6th to 3rd centuries BC. Out of all the diversity of ancient vessels, those chosen for the display are painted ceramics of the most powerful, original and outstanding schools – those of Attica and Southern Italy. The Ital- ian masterpieces include a group of works by the master Darius, which are featured in the permanent display for the first time. A separate section consists of vases in the Kerch style found on the territory of ancient cities in the Northern Black Sea Area. The vessels illustrate the principal stages in the development of ancient ceramic production. The rooms also include vases from the collections of Giuseppe Antonio Pizzati, Countess Alexandra Lavalle and Giovanni Pietro Campana, which form the nucleus of the Hermitage collection of ancient ceramics, as well as vessels from the collections of antiquities once owned by the Counts Stroganov, the Princes Yusupov and Princes Golitsyn. These collections were purchased in the 19th century or nationalised after 1917. The Hermitage has got vases discovered during archaeological excavations in the south of Russia, as well as vases found in Italy and purchased from collectors in the 19th and 20th centuries. A set of showcases was designed especially for the new display in the style of historical museum equipment, but with modern lighting and alarm systems. In the centre of the room is a dynamic row of ten display cases – cubes designed to show the masterpieces of the Hermitage collection in the best possible way: vases by Hermonax and painters of Polygnotus’s group, the master Darius, the master of the Greek- Persian wars and others. Pedestals of red granite support ancient statues and busts of the characters from Greek and Roman mythology depicted on the vases: Dionysus, Aphrodite and Apollo, as well as marble and alabaster vessels and vases of ancient shapes made of jasper and porphyry in the 18th and 19th centuries. Most of the exhibits on display were previously kept in the museum’s repository. The Department of Classical Antiquity’s new display presents one of the most brilliant pages in the history of ancient art: the rich collection of ancient vases.

40 41 PERMANENT DISPLAYS PERMANENT DISPLAYS

REORGANISATION OF THE LEONARDO DA VINCI ROOM

With the aim of improving the conditions for showing Leonardo Da Vinci’s works and taking measures for their preservation, the display in Room 124 has been rearranged. Leonardo’s paintings have been placed in specially made display cases equipped with installations maintaining constant relative humidity, controlled lighting systems and anti-glare glass. These measures were taken as a result of the increase in the number of visitors, which had led to a negative change in the room’s climate and had created certain difficulties connected with hold-ups caused by tour groups very near the entrance. Special lightproof blinds have been installed in order to protect the paintings from the substantial daily drops in the level of natural light and to reduce the glare from the windows. The reorganisation enables visitors to view Leonardo’s works in a more rational and comfortable way, as groups can now gather around paintings without impeding the main flow of visitors, the paintings are better illuminated and constant relative humidity is maintained in the display cases, regardless of any changes in the rest of the room. Project designer is Boris G. Kuzyakin, Head of the State Hermitage Exhibition Design Department. The Leonardo Da Vinci Room before 2018

Moving Leonardo Da Vinci’s paintings into the new display cases

42 43 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

JJ TEMPORARY EXHIBITIONS IN THE HERMITAGE In 2018 the Hermitage held 42 temporary exhibitions

“When you’re smiling, the whole world smiles with you”. “The Past at Your Fingertips” Programme It staged exhibitions 19.01.18 – 11.02.18 13 Foyer of the Hermitage Theatre Curator Anna E. Terentyeva (1,030 exhibits) in museums round Russia The exhibition was dedicated to the memory of Vladimir Matveev, who had the idea for the programme “The Past at Your Finger- tips”, launched in the museum in 2006. The programme consists and took part in a further exhibitions of a three-year cycle of museum lessons for children with seriously 18 impaired eyesight – pupils of special schools. The photographs in the exhibition showed the celebrations, classes, thematic meetings and (400 exhibits) conferences in which the children took part.

Dolls of Old Japan. Marking Hinamatsuri Girls’ Day 09.02.18 – 08.03.18 Room of the Permanent Display of Japanese Art Curator Anna V. Savelyeva The Hermitage staged exhibitions The exhibition was timed to coincide with Girls’ Day in Japan, cel- 8 ebrated annually on 3 March. The custom of demonstrating dolls dressed in rich costumes on a special pedestal was introduced in the (1,410 exhibits) abroad early 17th century. The exhibition featured a pair of ancient dolls of the emperor and empress in sumptuous clothes and with “lucky umbrellas”, symbolising wishes for a happy life, by their sides. and took part in a further 28 exhibitions The exhibits were provided by the Shiryokan Museum in Sakata. Rosso Fiorentino’s Madonna in Glory. On the Completion (167 exhibits) of Conservation 14.02.18 – 15.04.18 Apollo Hall, Winter Palace Curator Tatiana K. Kustodieva This display of a single painting by the outstanding Italian Manner- ist artist Rosso Fiorentino marked the completion of its conserva- Opening of the exhibition “When you’re smiling, the whole world smiles tion and restoration. The process had taken four years and had re- with you”. “The Past at Your Fingertips” Programme turned the canvas as closely as possible to its original appearance.

Opening of the exhibition “Dolls of Old Japan. Marking Hinamatsuri Girls’ Day”

The following members of staff of the Exhibition Design Department took part in the staging of the temporary exhibitions: B. Kuzyakin (Head of the Department), V. Korolyov (Head of the Sector of Exhibition Design and Installation), E. Andreeva, M. Efimov, I. Kharitonov, O. Kirichenko, Yu. Kolotilov, G. Kuznetsova, A. Machikin, A. Madlevsky, N. Milasheva, A. Plotnikova, B. Stepanov

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Opening of the exhibition “Fantasia in Threads. Western European Lace Opening of the exhibition “In Memory of Valery Zubarov (1967–2017)” and Glass of the 16th to 19th Centuries”

Fantasia in Threads. Western European Lace and Glass of the 16th to 19th Centuries 20.02.18 – 26.08.18 Blue Bedroom, Winter Palace Curator Tatiana N. Kosourova The original feature of this exhibition was the amalgamation of two types of Western European applied art – lace and glass. Over 70 exhibits were selected from the Hermitage’s reserves on the principle of the similar ornamental motifs in their decoration. Differing in colour, from monochrome to coloured and shimmering with gold, the exhibits illustrated the fantasy of European masters, who created vivid images with threads over several centuries in glass and lace.

In Memory of Valery Zubarov (1967–2017) 22.02.18 – 01.04.18 Foyer of the Hermitage Theatre Curator Antonina D. Balina Valery Zubarov worked in the Hermitage for over twenty years and made an invaluable contribution to the development of the museum’s website, launched in 1999. Zubarov’s photographs occupy a place of honour not only on the website but also in well-known Russian publications. The exhibition featured specially selected examples of his non-official photographs.

Giuseppe Penone. Ideas of Stone – 1,372 kg of Light. Exhibition as part of the “Sculpture in the Courtyard” Project 03.04.18 – 07.10.18 Great Courtyard, Winter Palace Curators Dimitri Yu. Ozerkov, Elisey Zakharenkov The exhibition featured a characteristic work by the prominent Italian sculptor Giuseppe Penone, the youngest member of the Arte Povera movement. A tree with river stones fixed to its branches was displayed in the Great Courtyard of the Winter Palace. According to the artist, the tree perfectly demonstrates the contradiction between the force of gravity and the gravity of life, of which we are a part.

On p. 47: Opening of the exhibition “Giuseppe Penone. Ideas in Stone – 1,372 kg of Light”. Exhibition as part of the “Sculpture in the Courtyard” Project 46 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

Opening of the exhibition Opening of the exhibition “‘We studied at the Hermitage’. “Mihály Munkácsy” 60 Years of the Art Studio of the State Hermitage School Centre”

“We studied at the Hermitage”. 60 Years of the Art Studio of the State Hermitage Mihály Munkácsy School Centre 23.04.18 – 29.07.18 06.04.18 – 27.05.18 Nicholas Hall, Winter Palace Foyer of the Hermitage Theatre Curator Mikhail A. Anikin Curator Boris K. Kravchunas The exhibition presented the work of one of the most famous 19th-century Hungarian artist. It included The exhibition featured the work of children who had studied at the Art Studio of the Hermitage School paintings from various periods of his career provided by the Hungarian National Gallery and by a private Centre in various years. It highlighted drawings of the Hermitage and St Petersburg. collector.

Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future The Lombards. A People who Changed History 20.04.18 – 29.07.18 03.05.18 – 15.07.18 General Staff Building Small Hermitage Manege Curators Dimitri Yu. Ozerkov, Natela Tetruashvili Curator Alexey G. Furasyev Ilya Kabakov is the most outstanding exponent of Moscow conceptualism. The creative union of Ilya and The exhibition was devoted to a watershed period in the history of Italy – the Lombard dominion (568– Emilia Kabakov mythologises routine everyday communal life in the USSR. This retrospective demon- 774). The invasion of the bellicose Germanic tribe from Central Europe led to the final collapse of the strated the origin and evolution of the artist’s creative method by means of installations, architectural late antique civilisation in the once-prosperous central regions of the Roman Empire and the beginning models, paintings and graphic art. The exhibition included works from the State Tretyakov Gallery, of a period of feudal disunity on Italian territory. Over 600 exhibits, mostly archaeological material, the Tate Gallery and from art museums and private collections in Russia, Europe and the USA. illustrated various aspects of the political, economic and everyday life of the Lombard principalities. Opening of the exhibition Opening of the exhibition “Ilya “The Lombards. A People who and Emilia Kabakov. Not Everyone Changed History” will be Taken into the Future”

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On p. 50: Arte Povera. A Creative Revolution At the exhibition “Arte Povera. 16.05.18 – 16.08.18 A Creative Revolution” 2nd floor, Winter Palace Curators Dimitri Yu. Ozerkov, Anastasia T. Chaladze The exhibition included works by prominent members of the Arte Povera (poor art) movement, which originated in Italy in the late 1960s and early 1970s. The movement’s distinctive characteristic was the effort of the artists to move away from all-consuming technical progress towards crafts. Rejecting hi-tech materials in favour of “poor” and non-aesthetic ones like rags, newspapers and tree branches, the Arte Povera artists strove to liberate art from the fetters of traditionalism.

A Longcase Clock by Jean-Pierre Latz. On the Completion of Restoration 25.05.18 – 02.09.18 Menshikov Palace Curator Mikhail P. Guryev The exhibit was a parquet regulator clock made in France in the mid-18th century. The model and body of the clock with its complex rocaille silhouette are thought to be the work of the outstanding cabinetmaker Jean-Pierre Latz (1691–1754). By assembling the lost image piece by piece, the restorers had been able to return the clock to the appearance and condition intended by its maker.

A Lasting Faith. Orthodoxy in the Holy Land. Photographs by Dafna Tal 29.05.18 – 01.07.18 “Staraya Derevnya” Restoration, Conservation and Storage Centre, Hall of Photography The exhibition consisted of photographs by the contemporary Israeli artist Dafna Tal. The series “A Last- ing Faith” features people and places relating to the Orthodox faith in the Holy Land – modern Israel and the Palestinian autonomy. Her works are grounded in Christian artistic traditions and create an aesthetic that harks back to the roots of Western cultural history and its depictive principles.

Art Deco. Books from the Collection of Mark Bashmakov 01.06.18 – 16.09.18 Twelve-Column Hall, New Hermitage Curator Mikhail V. Balan The exhibition was the first attempt in Russia, rarely undertaken internationally, to show a wide range of publications representing French Art Deco in books. It was the latest in a series of exhibitions from the collection of the St Petersburg researcher Mark Bashmakov that he started in 2013. As in previous cases, books from Bashmakov’s collection formed the basis of the exhibition but were accompanied by several publications from the Hermitage reserves.

Opening of the exhibition “A Longcase Clock by Jean-Pierre Latz. Opening of the exhibition “Art Deco. Books from the Collection On the Completion of Restoration” of Mark Bashmakov”

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Opening of the exhibition “Oman at the Hermitage”

Opening of the exhibition Oman at the Hermitage “The Age of Rembrandt The Age of Rembrandt and Vermeer. Masterpieces of the Leiden Collection and Vermeer. Masterpieces 23.07.18 – 16.09.18 of the Leiden Collection” 04.09.18 – 13.01.19 Apollo Hall, Winter Palace Nicholas Hall, Winter Palace Curator Dmitry V. Sadofeev Curator Irina A. Sokolova The exhibition was organised as part of cooperation between the State Hermitage and the National The exhibition consisted of masterpieces from one of the most famous private collections of 17th-century Museum of the Sultanate of Oman. It featured exhibits relating to the heyday of the Omani Empire. Dutch painting in the world, belonging to Thomas Kaplan. It featured works by the outstanding painters of the Golden Age in the Netherlands, including Rembrandt (works from both his early Leiden period “Furniture for a body’s every whim”. The Age of Historicism in Russia and his later years), Franz Hals and Johannes Vermeer, as well as paintings by Rembrandt’s pupils. 10.08.18 – 11.11.18 The exhibits from the private collection were supplemented by works from the Hermitage collection that Small Hermitage Manege demonstrated similar themes and characteristics of brushwork. Curator Natalia Yu. Guseva Glass Made to be Admired. Masterpieces of the 16th to 20th Centuries from the State This exhibition from the Hermitage collection was devoted to furniture from the age of historicism, Hermitage Museum when on the heels of Europe Russian classicism gave way to a romantic fascination with the culture of various peoples of the past that spawned numerous artistic “styles”. The exhibition included unique 25.09.18 – 12.04.19 pieces that have survived from the authentic furnishing of the Winter Palace, which always served Blue Bedroom, Winter Palace as a fashion pointer for contemporaries. The concept of furniture “whims” was complemented by doz- Curators Elena A. Anisimova, Tatiana N. Pankova Opening of the exhibition “Glass Opening of the exhibition ens of chromolithographs published in France, Britain and Germany – from the legacy of the capital’s This exhibition, timed to coincide with the conference of the International Committee of Museums and Made to be Admired. Masterpieces “‘Furniture for a body’s every salons. Collections of Glass on “Museums and Collections of Glass in Russia”, featured the most interesting whim’. The Age of Historicism of the 16th to 20th Centuries in Russia” in the State Hermitage Museum”

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Opening of the exhibition “Imperial Opening of the exhibition Capitals: St Petersburg – Vienna. “At the Dawn of Islamic Art. A Dish Masterpieces from Museum pieces from the Hermitage: over 90 examples of Western European and Russian artistic glassmaking. from the Al-Thani Collection” At the Dawn of Islamic Art. A Dish from the Al-Thani Collection Collections” The exhibits included elegant Venetian glass decorated with filigree, massive German wine bowls, skil- 15.10.18 – 20.01.19 fully engraved glasses and cups made in Russia and Europe, vases, items of jewellery with glass insets At the exhibition “The Hermitage Apollo Hall, Winter Palace and mosaic pictures. Library. Pages from Recent History Curator Anton D. Pritula (1918–2018)” The exhibition showcased an unusual example of medieval Eastern art – a dish from the Al-Thani collec- Robert Walpole and his Collection tion. The dish, which has only recently entered the scholarly domain, combines features of pre-Islamic 28.09.18 – 13.01.19 Egypt and the geometrical arrangement of objects in the early centuries of Islam. The exhibition was Menshikov Palace supplemented by Hermitage exhibits from the same period with similar themes. Curators Ekaterina V. Deryabina, Sergey S. Orekhov The exhibition was devoted to Sir Robert Walpole, First Count of Oxford and leader of the Whig party, The Hermitage Library. Pages from Recent History (1918–2018) who is often called the first Prime Minister of England. Walpole collected works of art, mainly paint- 23.10.18 – 27.01.19 ings, all his life and part of his collection was subsequently purchased by Catherine II. The central exhibit Blackamoor Hall and Rotunda, Winter Palace was a recently restored portrait of Sir Robert by Jean-Baptiste van Loo. The display also included the Curator Olga G. Zimina engraved publication The Houghton Gallery in two volumes. Twenty-one of the prints (engravings) were The exhibition marked the centenary of the formation of the State Hermitage Library, which the Win- exhibited as separate sheets. ter Palace library became after the 1917 revolution. The main principles of the library were laid down in its early years and still form the basis of the department’s work. The former imperial collection was Imperial Capitals: St Petersburg – Vienna. Masterpieces restructured to serve the aims of the modern academic and research activity of the museum, assuming from Museum Collections a strict art history profile. The history of the library is closely linked with the history of the country and 04.10.18 – 13.01.19 of the museum. Apart from books, the exhibition included surviving historical documents, photographs Twelve-Column Hall, New Hermitage and “librarians’ tools” from various periods. Curator Maria P. Garlova Neapolitan Composers at the Court of Catherine II. Giovanni Paisiello (1741–1816) “Paired” paintings from the collections of the State Hermitage and the Kunsthistorisches Museum and Domenico Cimarosa (1749–1801) in Vienna were selected for this exhibition. Fourteen works from each museum were arranged in pairs with similar paintings from the other museum: works by the same artist, common topics or affinity 15.11.18 – 25.11.18 of composition. This juxtaposition helped to form a better understanding of the characteristics of each Foyer of the Hermitage Theatre collection and the masterpieces included in it. Curator Tatiana B. Bushmina The exhibition was devoted to one of the most interesting periods in the history of musical contacts be- Studying Michelangelo tween Russia and Italy in Catherine II’s reign. The display included two unique harpsichords presented 05.10.18 – 16.12.18 to the empress by the Neapolitan composers Giovanni Paisiello and Domenico Cimarosa, who were in- Italian Study, New Hermitage vited to work at court, manuscript scores of these composers and paintings and sculptures from the same Curator Zoya V. Kuptsova period. The exhibition was staged as part of the VII St Petersburg International Cultural Forum. This exhibition-study of the work of Michelangelo Buonarroti was devoted to his composition The Cru- Marking the 500th Anniversary of Jacopo Tintoretto’s Birth. Two Portraits cifixion of Christ and its influence on 16th – 17th-century art. The conceptual centrepiece of the ex- from the Museo Correr – Gallerie Dell’Accademia, Venice hibition was a drawing from the British Museum in London that the master made especially for Vit- 15.11.18 – 25.11.18 toria Colonna, Marchioness of Pescara (1492–1547), a renowned 16th-century intellectual and close Hall of 16th-Century Venetian Art, Large Hermitage friend of Michelangelo. The seven works in the exhibition, including painting, sculpture and graphic Curator Irina S. Artemieva art, illustrated the famous debate between Michelangelo and his contemporaries concerning the most important type of art. As part of the VII St Petersburg International Cultural Forum the Foundation of City Museums of Ven- ice loaned two portraits of senators by Tintoretto to the Hermitage. The artist would frequently paint portraits of high-ranking Venetian officials and magistrates, the two in this display among them.

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At the exhibition “Delicate At the exhibition “Brush and Designs. Fashion 1988–2018” Qalam. 200 Years of the Collection of the Institute of Oriental Manuscripts”

Risen from the Ashes. Masterpieces from Pompeii and Herculaneum. two thousand years and came from various countries – from the Near to Far East. The 200 exhibits Preview of the Exhibition “Gods, Humans, Heroes. From the Collection also included manuscripts and woodcuts from the Institute’s collection, as well as artefacts of material of the Naples Archaeological Museum and the Pompeii Archaeological Park” culture from the Hermitage collection. 16.11.18 – 24.03.19 Tatiana Chapurgina’s Porcelain Fashion Roman Courtyard, New Hermitage Curator Anna A. Trofimova 04.12.18 – 10.03.19 General Staff Building The exhibition was a preview of “Gods, Humans, Heroes”, a major exhibition project by the State Curator Inna K. Maystrenko Hermitage, the Naples Archaeological Museum and the Pompeii Archaeological Park, which opened in the Small Hermitage Manege in April 2019. The display featured masterpieces of ancient art discov- This exhibition by one of the Imperial Porcelain Manufactory’s leading artists broadened the customary ered by archaeologists in the Roman cities of Pompeii and Herculaneum, buried in 79 AD as a result conception of porcelain as an everyday object. The display featured large vases for spacious modern inte- of the eruption of Vesuvius. riors made in the complex technique of underglaze painting, designer furniture with porcelain insets and a collection of porcelain dresses and accessories. The exhibition was organised by the State Hermitage Delicate Designs. Fashion 1988–2018 with the participation of the Imperial Porcelain Manufactory. 22.11.18 – 24.02.19 At the exhibition “Tatiana General Staff Building Chapurgina’s Porcelain Fashion” Curator Nina I. Tarasova The exhibition was devoted to world fashion of the last 30 years, which has rapidly discarded the use of classic fabrics and traditional painstaking work by hand in favour of ultramodern materials and innovative technologies. The main core of the exhibition consisted of a collection of costumes presented to the Hermitage by Khatulya Avsadzhanashvili and exhibits selected especially for this project by leading international fashion houses from their archives. Each of the last 30 years was represented by land- mark outfits from the outstanding brands of the time. This choice of exhibits made it possible to identify the principal vectors in the development of fashion and to show the greatest achievements of designer and dressmaking mastery.

Brush and Qalam. 200 Years of the Collection of the Institute of Oriental Manuscripts 27.11.18 – 24.02.19 Rooms 393–397, 2nd floor, Winter Palace Curator Anton D. Pritula The exhibition, a joint project with the Russian Academy of Sciences Institute of Oriental Manuscripts, marked the 200th anniversary of the Institute (formerly the Asiatic Museum). The history of the development and circulation of books in the East was demonstrated by books that were diverse in shape, décor, language and script in their historical and cultural context. They encompassed a period of almost

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Opening of the exhibition “Piero della Francesca. Monarch of Painting” Piero della Francesca. Monarch of Painting 05.12.18 – 10.03.19 Picket Hall, Winter Palace Curator Tatiana K. Kustodieva This monographic exhibition was the first ever to show works by Piero della Francesca, one of the most outstanding innovators of the early Renaissance period, in Russia. The artist had been one of the pio- neers of the laws of perspective, not only linear but also aerial; his work had played an important part in the development of the Renaissance portrait. The display included paintings from collections in Italy, Spain, Portugal and Britain.

“…Presented to Your Imperial Majesty…”. Two Imperial Porcelain Manufactory Vases from the Winter Palace. On the Completion of Restoration 07.12.18 – 31.03.19 At the exhibition “‘Believe not White Hall, Winter Palace thine eyes’. Trompe l’oeil in Art” Curator Yan E. Vilensky Abstract Art in Italy. Perilli The exhibition provided a short history of the making, function and restoration of two vases from the 18.12.18 – 03.02.19 time of Emperors Alexander I and Napoleon Bonaparte which have not left the Winter Palace for over General Staff Building two hundred years. Curator Dimitri Yu. Ozerkov “Believe not thine eyes”. Trompe l’oeil in Art The exhibition featured the art of the contemporary artist Achille Perilli, a leading exponent of post- war Italian abstract art and a member of the “Gruppo Forma 1” association (1947–1951). According 07.12.18 – 10.03.19 to Perilli’s own definition, his “geometrically irrational” art is produced by the use of pure colour with Small Hermitage Manege the aid of lines and planes of differing scale. Curators Irina R. Bagdasarova, Natalia Yu. Bakhareva The exhibition demonstrated the diversity of artistic “deceptions” that create the illusion of three- Pablo Picasso: An Artist amidst Poets. Books from the Collection dimensionality (“trompe l’oeil”), imitating all kinds of materials and a variety of objects. The display of Mark Bashmakov featured over 700 exhibits from the Hermitage collection encompassing the period from ancient times 21.12.18 – 17.02.19 to the early 20th century: paintings, watercolours, drawings, fabrics, furniture and items of silver, glass General Staff Building and porcelain from Eastern countries, Europe and Russia. Curator Mikhail V. Balan The Hermitage in Photographs – 2018 The exhibition comprised around 30 publications with illustrations by Pablo Picasso, in particular his famous series of compositions for Ovid’s Metamorphoses, Balzac’s The Unknown Masterpiece and Pierre 07.12.18 – 16.12.18 Reverdy’s Song of the Dead. Foyer of the Hermitage Theatre Curators Elena V. Zvyagintseva, Andrey V. Terebenin We Draw in the Hermitage The Hermitage in Publications – 2018 22.12.18 – 14.01.19 Foyer of the Hermitage Theatre 07.12.18 – 16.12.18 Curator Boris K. Kravchunas Foyer of the Hermitage Theatre Curator Natalia V. Martynenko Traditional exhibition of the work of pupils of the Art Studio of the State Hermitage School Centre in the past year. Traditional exhibitions featuring photographs of events of the past year and publications by Hermitage staff members in 2018. 58 59 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

JJ EXHIBITION–EVENTS

Exhibition-Event “…a Mischievous Moscow Rake” 12.05.18 – 27.05.18 Foyer of the Hermitage Theatre Curator Maria B. Khaltunen This exhibition, part of the “Day of the Hermitage Cat” project, showcased two porcelain cats made at the private companies of Francis Gardner and Alexander Popov in Moscow Province in the 19th century.

Innovation as an Artistic Method – Exhibition-Event as part of the St Petersburg Economic Forum 24.05.18 – 03.06.18 Upper Gallery, Small Hermitage Manege Curator Marina V. Schultz The exhibition demonstrated the interaction of innovative technologies and contemporary art. The dis- At the exhibition “Abstract Art play included projects by artists working with technological art, the Art & Science format, artificial in Italy. Perilli” Rudolph Wilde (1868–1938). Porcelain, Glass, Graphics. “Christmas Gift” Series intellect, generative art and other new media. The exhibition was organised in collaboration with “RDI Creative”. 25.12.18 – 31.03.19 Recess of the Oriental Gallery, Winter Palace Curator Olga B. Baranova Exhibition as part of the Day of Africa, marking the 60th anniversary of the Republic of Guinea The exhibition was devoted to the work of an artist who for three decades (from 1901) designed pieces for the Imperial Porcelain and Glass manufactories (after 1917 – the State Porcelain Manuactory). 20.11.18 – 26.11.18 The stylistic preferences of the two periods are reflected in Wilde’s sketches: for imperial crystal General Staff Building and porcelain vases and, in the Soviet period, for propaganda porcelain and vases with fantastic Curator Vsevolod N. Obraztsov landscapes. The display was complemented by the work of current artists at the Imperial Porcelain The central event of the Day of Africa was a display of the latest acquisitions of African artefacts do- Manufactory who are inspired by Rudolph Wilde’s legacy. The Imperial Porcelain Manufactory took nated to the museum by Sergey Girdin, Honorary Consul of the Republic of Guinea in St Petersburg part in the exhibition, along with the State Russian Museum, the Elagin Island Palace-Museum and and Leningrad Region: a Mahdi warrior’s suit of armour with a weapon and a Mahdi banner. These Pavlovsk State Museum-Reserve. rare items came from the collection of the well-known British researcher Jonathan Barrett and are connected with important events in the history of Sudan in the late 19th century. Last Exhibition of the Year. Gifts of 2018 29.12.18 – 13.01.19 St George Hall, Winter Palace As is traditional at the end of December, the Hermitage showed the most interesting gifts to the museum during the past year: a Field-Marshal’s baton from the Russian Empire and a firman (decree) of Sultan Opening of the exhibition as part Selim II, ruler of the Ottoman Empire. of the Day of Africa, marking At the exhibition “We Draw the 60th anniversary of the Republic in the Hermitage” of Guinea

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JJ EXHIBITIONS IN MUSEUMS ROUND RUSSIA 23.11.18 – 25.02.19 Belgorod State Art Museum Curators Natalia I. Gritsay, Lubov S. Gerasimova The exhibition featured over 40 still life works from leading schools of Western European art in the 16th – 19th centuries: Flanders, the Netherlands, Italy, Germany and France. Visitors were able to get Russian Portraiture from the 18th to Early 20th Centuries an idea of the principal characteristics in the development of the genre and the diversity of subjects and from the State Hermitage Collection motifs that characterised old European still life. 04.05.18 – 11.10.18 Hermitage • Vyborg Centre Servants of Justice. Lithographs by Honoré Daumier from the State Curator Yury Yu. Gudymenko Hermitage Collection The exhibition comprised 75 portraits both by famous Russian masters – Ivan Vishnyakov, Alexey 04.10.18 – 13.01.19 Antropov, Dmitry Levitsky, Vladimir Borovikovsky, Orest Kiprensky, Karl Bryullov, Ivan Kramskoy, Kaluga Museum of Fine Arts Nikolay Ge, Valentin Serov and Dmitry Milioti – and by foreign artists who worked in Russia. The exhib- Curator Lubava D. Chistova its included pieces recently restored and reattributed. The exhibition was devoted to the work of the celebrated French artist Honoré Daumier, an outstanding master of political and social caricatures. Servants of Justice is a famous series of lithographs The Tsarskoe Selo Carousel. Armour of Grand Duke Alexander Nikolaevich by Daumier exposing the hypocrisy and cynicism of judges, barristers and public prosecutors. The exhi- from the State Hermitage Collection bition featured ten sheets from this series. 27.05.18 – 30.09.18 Tsarskoe Selo State Museum-Reserve The Art of the Portrait Curator Andrey E. Bogdanov 09.10.18 – 10.03.19 The exhibition in the “Arsenal” pavilion at Tsarskoe Selo marked the 200th anniversary of the birth Kazan Kremlin State Historical, Architectural and Artistic Museum-Reserve of Emperor Alexander II. It featured a genuine 16th-century suit of armour which Alexander Nikolaev- Curators Anna A. Trofimova, Anna A. Eremeeva ich was wearing, while still heir to the throne, he was taking part in the famous Tsarskoe Selo carousel The exhibition was devoted to the world history of the portrait. The wide range of the Hermitage on 24 May 1842. collection made it possible to show the development of the genre in a large-scale perspective – from the 20th century BC to the early 21st century. The works from the Hermitage collection demonstrated Imperial Gifts. Jewels from the State Hermitage Collection the sources and function of the portrait, its main types and the language of forms of portrait. Visitors 05.06.18 – 09.09.18 were able to see portraits in painting, sculpture, graphics, numismatics, applied art and photography. Kazan Kremlin State Historical, Architectural and Artistic Museum-Reserve Curator Olga G. Kostyuk Spoilt Child by Jean-Baptiste Greuze. Exhibition of a Single Masterpiece The exhibition featured 25 rare items of jewellery noteworthy both from an artistic and from an historic from the State Hermitage Collection point of view. They illustrated various stages in Russian statehood, providing information about diplo- 12.10.18 – 16.12.18 matic contacts and relationships between people. The gifts and awards were shown in chronological Yekaterinburg Museum of Fine Arts order. Curator Ekaterina V. Deryabina The exhibition featured a painting by the French artist Jean-Baptiste Greuze, whose favourite subject The Furious Son of Zeus. Head of Ares. Exhibition of a Single Masterpiece was themes from family life. This small Hermitage canvas is one such work. The artist painted “mor- from the State Hermitage alising” canvases according to the laws of academism, raising them to the level of an historic genre 28.06.18 – 07.10.18 and so becoming a kind of historical painter of contemporary life. Primorsky State Picture Gallery, Vladivostok Curator Ludmila I. Davydova St Petersburg. Images of the City This was the continuation of a series of exhibitions showing works of ancient art from the Hermitage 26.10.18 – 12.04.19 collection. On this occasion, it was a sculpture dating from the 2nd century AD portraying Ares, the god Hermitage • Vyborg Centre of war. Curators Veplo O. Looga, Yulia V. Sharovskaya The exhibition comprised over 200 items, including views of famous buildings by artists in various Steve McCurry. Untold Story periods, urban sketches and models of famous monuments. The display also featured costumes made 02.07.18 – 02.09.18 by Russian and European designers, memorial symbols and books devoted to St Petersburg. Moscow Museum of Contemporary Art Curator Dimitri Yu. Ozerkov Christian Wilhelm Ernst Dietrich. Landscape with a Caravan. The exhibition included over 80 works by the contemporary master of artistic and reportage pho- From the State Hermitage Collection tographs from the Hermitage collection, as well as archive materials from Steve McCurry’s studio. 01.11.18 – 27.01.19 The aim of the exhibition was to attempt to reveal his artistic method and to demonstrate the process Vrubel Regional Museum of Fine Arts, Omsk of his work as a reportage photographer, including excerpts from his notebooks, travel routes and Curator Maria P. Garlova unique series of photographs. This canvas by the well-known 18th-century Saxonian painter was part of the collection of the Berlin merchant Johann Ernst Gotzkowsky, which had formed the basis of the museum’s original collection. A Joy for All the Senses. 16th- to 19th-Century Western European Still Life The format of an “exhibition of a single painting” enabled visitors fully to appreciate the merits of this from the State Hermitage Collection work of high artistic and historic value. 20.09.18 – 18.11.18 Deyneka State Picture Gallery, Kursk

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From the State Hermitage Collection. Classic Beauties. Artists, Italy and the Aesthetic Ideals of the 18th Century K. Novosiltsov. Portrait of Grand Duchess Ekaterina Pavlovna 14.06.18 – 06.01.19 01.11.18 – 03.02.19 Hermitage on the Amstel (Hermitage • Amsterdam Centre), Tver Regional Picture Gallery Amsterdam, Netherlands Curator Natalia Yu. Bakhareva Curator Sergey O. Androsov The exhibition was timed to coincide with the 230th anniversary of the birth of Grand Duchess Ekaterina The exhibition covered the beginning of the neoclassical style in Western European fine art. It comprised Pavlovna, the fourth daughter of Emperor Paul I. She was the mistress of the Tver Imperial Palace, over 50 paintings and sculptures that are the pride of the Hermitage collection, including works by Anto- which now houses the Tver Regional Picture Gallery. It was the first time the portrait had been exhibited. nio Canova, Jean-Antoine Houdon, Anton Raphael Mengs, Pompeo Batoni, Angelica Kauffman, Hubert Robert and Jacob Philipp Hackert. The World of the Russian Nobility. Festivities and Ceremonies 04.12.18 – 30.03.19 Masters of Modern Art from the Hermitage St Petersburg Palace of Culture for Educational Workers (Yusupov Palace) 12.10.18 – 03.03.19 Curators Natalia V. Nekrasova, Irina O. Terentyeva Art Gallery of New South Wales, Sydney, Australia The exhibition was the continuation of “The World of the Russian Nobility”, a joint project of the State Curator Mikhail O. Dedinkin Hermitage and the Yusupov Palace. This display was devoted to St Petersburg’s formal, ceremonial The exhibition was devoted to the formation of modern art, which departed from the traditional canons life, describing certain characteristics of behaviour at a ball. It comprised over a hundred exhibits from of academic art. The display included works by the first Impressionists – Monet, Pissarro and Sisley; the State Hermitage collection, some of them on display for the first time. In chronological terms, paintings by Cézanne and Gauguin, who formulated the fundamental principles of modern art; works the exhibition encompassed the period between the 1820s and the 1910s. by masters of the Nabi group, who developed the colouristic and compositional achievements of post- Impressionism; paintings by Matisse and Picasso, whose work is still regarded as the quintessential embodiment of 20th-century art, as well as works by Wassily Kandinsky and Kazimir Malevich.

A Dream of Italy. Marquis Campana’s Collection 04.11.18 – 18.02.19 Louvre Museum, Paris, France Curator Anna A. Trofimova JJ EXHIBITIONS ABROAD Thanks to the unique collaboration of the State Hermitage and the Louvre, the exhibition featured, for the first time in 160 years, over 500 outstanding works of European art that had once formed part of the collection of Marquis Giovanni Pietro Campana (1808–1880), one of the most important private collections of the 19th century. The exhibits included terracotta, vases, armaments, ancient and Renais- sance sculpture and painting. Giacomo Quarenghi (1744–1817). Architect in St Petersburg 24.03.18 – 24.04.18 Crouching Boy by Michelangelo Buonarotti from the Hermitage Collection University of Bergamo, Italy 14.12.18 – 10.03.19 Curator Sergey O. Androsov Alda Fendi Foundation – Palazzo Al Velabro, Rome, Italy This exhibition, previously shown in the Hermitage, was organised for the 200th anniversary of Qua- Curator Sergey O. Androsov renghi’s death. It included photographs taken by the Hermitage photographer Pavel Demidov in autumn This sculpture is the pride of the Hermitage collection. It was purchased by Catherine II in 1784 and 2016 featuring the most important buildings designed by the architect in St Petersburg and Tsarskoe is the only work by Michelangelo in Russia. In this exhibition it was accompanied by examples of Michel- Selo, as well as rooms in the Winter Palace and the Hermitage on which Quarenghi had worked. angelo’s graphic art from Italian collections.

Catherine the Great – Empress of All the Russias. From the Collection FUTURUINS: The Future of Ruins and Ruins of the Future of the State Hermitage 19.12.18 – 24.03.19 12.04.18 – 29.07.18 Palazzo Fortuny, Venice, Italy Klovićevi Dvori Gallery, Zagreb, Croatia Curator Dimitri O. Ozerkov Curator Natalia Yu. Bakhareva According to the concept of the exhibition, a ruin was represented as a symbol of the past in the present, The exhibition was devoted to the personality and statesmanship of Empress Catherine II. It included but also as a symbol of temporality and susceptibility to the destructive effect of time. The display fea- over a thousand exhibits from the State Hermitage collection: painting and graphic art, sculpture, deco- tured works by old masters and ancient monuments alongside contemporary art. It was complemented rative art, items of silver, porcelain, coloured stone, glass, costumes, numismatics and weapons. The ex- by artefacts from Venetian museums. hibition was part of the programme to celebrate the establishment of partnership relations between the twinned cities of St Petersburg and Zagreb.

Old Masters from the Hermitage. Masterpieces from Botticelli to Van Dyck 05.06.18 – 02.09.18 Kunsthistorisches Museum, Vienna, Austria Curator Maria P. Garlova The exhibition featured paintings by famous artists from the collections of the State Hermitage and the Kunsthistorisches Museum in Vienna, tracing the development of Western European painting from Renaissance to Neoclassicism. It included works by Botticelli, Tintoretto, Rembrandt and Van Dyck. The display was structured on the basis of comparison – fourteen harmonious pairs, emphasising the similarity of the two museums’ collections. 64 65 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

JJ PARTICIPATION IN EXHIBITIONS IN MUSEUMS ROUND RUSSIA Charitable Activities of the Imperial House of Romanov 06.12.18 – 24.03.19 Tsaritsyno State Museum-Reserve, Moscow Buddhist Art of the 16th – 19th Centuries from Museum and Private Collections Catherine the Great in Russia and Beyond 14.12.18 – 17.02.19 15.02.18 – 28.05.18 Yekaterinburg Museum of Fine Arts State Russian Museum, St Petersburg The Faberge Style. Excellence Beyond Time Honour of the Epaulette. History of the Cadet Corps in Russia. 18th to 21st Centuries 15.12.18 – 24.03.19 20.02.18 – 11.03.18 New Jerusalem Museum-Exhibition Complex, Moscow Region “Manege” Central Exhibition Hall, Moscow 200 Years since the Beginning of the Construction of St Isaac’s Cathedral 06.03.18 – 01.04.18 Russian Ethnographic Museum, St Petersburg Vasily Vereshchagin. War and Peace 06.03.18 – 15.07.18 JJ State Tretyakov Gallery, Moscow PARTICIPATION IN EXHIBITIONS ABROAD Alexander II, the Tsar-Liberator. Marking the 200th Anniversary of his Birth 02.04.18 – 15.10.18 State Historical Museum, Moscow Raphael. Around St Sebastian from Carrara Emperor Alexander II. Education with Enlightenment 27.01.18 – 06.05.18 19.04.18 – 22.08.18 Accademia Carrara, Bergamo, Italy Russian State Library, Moscow Pieter Paul Rubens. The Power of Transformation Sport in Soviet Porcelain, Graphic Art and Sculpture 08.02.18 – 21.05.18 26.04.18 – 30.07.18 Städel Museum, Frankfurt-am-Main, Germany State Russian Museum, St Petersburg Eternal and Temporal – Between Michelangelo and Caravaggio Kuzma Sergeevich Petrov-Vodkin. Marking the 140th Anniversary of his Birth 10.02.18 – 17.06.18 24.05.18 – 20.08.18 San Domenico City Museum, Forli, Italy State Russian Museum, St Petersburg Grisaille. Painting in Black and White “Golden Dream of the Empress”. Marking the 220th Anniversary of the Birth 21.03.18 – 15.07.18 of Empress Alexandra Fyodorovna Kunstpalast Museum, Dusseldorf, Germany 24.05.18 – 23.09.18 Rubens – Painter of Sketches Gatchina State Museum-Reserve, Leningrad Region 09.04.18 – 05.08.18 Grand Duke Alexander Nikolaevich and Pavlovsk. Marking the 200th Anniversary Prado Museum, Madrid, Spain of the Birth of Emperor Alexander II Gender and Power 21.06.18 – 16.09.18 27.04.18 – 31.07.18 Pavlovsk State Museum-Reserve, St Petersburg Bundeswehr Museum of Military History, Dresden, Germany Three Centuries Underwater Karl Marx (1818–1883). Life. Works. Time 19.07.18 – 21.10.18 05.05.18 – 21.10.18 Peterhof State Museum-Reserve, St Petersburg Simeonstift City Museum, Trier, Germany Portrait of Grand Duchess Alexandra Nikolaevna Monographic Exhibition of Jean II Cotelle 09.08.18 – 01.10.18 11.06.18 – 16.09.18 State Russian Museum, St Petersburg Grand Trianon Palace, Versailles, France Tibetan Painting from Yury Nikolaevich’s Roerich’s Collection Lorenzo Lotto. Portraits 27.09.18 – 20.04.19 18.06.18 – 30.09.18 Roerich Family Museum-Institute, St Petersburg Prado Museum, Madrid, Spain Russian Hunting in the 18th – 19th Centuries. Amusement and Trade The Piqué Technique. Artefacts of Gold, Mother-of-Pearl and Tortoiseshell Made 26.10.18 – 12.04.19 in Naples Gatchina State Museum-Reserve, Leningrad Region 11.09.18 – 07.12.18 Galerie Kugel, Paris, France Matvey Kazakov and Pre-Fire Moscow. Marking the 280th Anniversary of Kazakov’s Birth Picasso. The Blue and Pink Periods 27.11.18 – 10.03.19 18.09.18 – 06.01.19 Shchusev State Museum of Architecture, Moscow Musée d’Orsay and Orangery, Paris, France

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The Last Tsar JJ HERMITAGE CENTRES 20.09.18 – 29.03.19 Science Museum, London, UK Vlaho Bukovac and his Teacher Alexandre Cabanel HERMITAGE • AMSTERDAM CENTRE 20.09.18 – 06.01.19 The schedule of the Hermitage • Amsterdam Centre is organised in such a way that three exhibi- Art Pavilion, Zagreb, Croatia tions from the State Hermitage are held in a period of two years. “Dutch Masters from the Hermit- Caravaggio in Rome. Friends and Enemies age”, an exhibition that opened in October 2017, continued until the end of May 2018, and 14 June 21.09.18 – 28.01.19 2018 saw the ceremonial opening of “Classic Beauties. Artists, Italy and the Aesthetic Ideals of the Musée Jacquemart-André, Paris, France 18th Century”. Louis Philippe and Versailles 06.10.18 – 03.02.19 At the exhibition “Dutch Masters Grand Trianon Palace, Versailles, France from the Hermitage”. Photograph by Evert Elzinga Rubens and the Birth of Baroque 16.10.18 – 20.01.19 National Museum of Western Art, Tokyo, Japan Lorenzo Lotto: The Call of the Marche 19.10.18 – 10.02.19 Palazzo Buonaccorsi – City Museums, Macerata, Italy Romanticism 25.10.18 – 17.03.19 Galleries of Italy (Piazza Scala), Milan, Italy Lorenzo Lotto. Portraits 05.11.18 – 10.02.19 National Gallery, London, UK Ashurbanipal: King of the World, King of Assyria Cathelijne Broers and Mikhail 08.11.18 – 24.02.19 Piotrovsky at the opening British Museum, London, UK of the exhibition “Classic Beauties. Artists, Italy and the Aesthetic Princes’ Fragile Treasures. Paths of Porcelain between Vienna and Florence Ideals of the 18th Century”. 12.11.18 – 10.03.19 Photograph by Evert Elzinga Uffizi Gallery (Palazzo Pitti), Florence, Italy Right from the start, “Dutch Masters from the Hermitage” was The Prado Museum 1819–2019. Exhibition Marking the Museum’s 200th Anniversary called a blockbuster exhibition and fully justified that description, 20.11.18 – 10.03.19 attracting 340,000 visitors. Excellent reviews in the media, a rap- Prado Museum, Madrid, Spain turous response from the public and a respectful attitude to the exhibition by Dutch museum colleagues – the Hermitage • Amsterdam “Syria Matters” Centre cannot thank the State Hermitage enough for the unique 22.11.18 – 30.04.19 opportunity to stage this exhibition in Amsterdam. Museum of Islamic Art, Doha, Qatar Having set the bar so high it was necessary to maintain that level. Venice and St Petersburg: Artists, Princes, Merchants “Classic Beauties. Artists, Italy and the Aesthetic Ideals of the 13.12.18 – 03.03.19 18th Century” gave the Dutch public the rare opportunity to ad- Candiani Cultural Centre, Mestre, Venice, Italy mire masterpieces by the great Italian sculptor Antonio Canova Russian Avant-garde and Beyond outside St Petersburg. According to Hermitage Director Mikhail 18.12.18 – 29.04.19 Piotrovsky, it was the only occasion on which eight (!) of Canova’s Israel Museum, Jerusalem, Israel sculptures, including the world-famous Three Graces, had left the Hermitage for a temporary exhibition. It was not by accident that Manno. Adoration of the Shepherds Piotrovsky called the Centre the Embassy of the State Hermitage 19.12.18 – 06.01.19 in Europe. Besides the sculptures, visitors were able to see master- Intesa Sanpaolo S.p.A. (Department of Arts, Cultural and Historical Heritage), Turin, Italy pieces by painters of the neoclassical period: Pompeo Batoni, Anton The Meiji Restoration in Satsuma Ceramics: Expansion Following Raphael Mengs, Angelica Kauffman and others. The centre of at- the World Exhibition of 1867 traction in the display was the Great Hall, where the snow-white 26.12.18 – 24.02.19 marble statues surrounded by views of Italy – large posters with Reimeikan Museum of the Prefecture of Kagoshima, Japan prints of another Italian master, Giovanni Battisto Piranesi – created the incomparable atmosphere of late 18th-century Italy. Separate mention should be made of a special joint project of the Hermitage • Amsterdam Centre and the Dutch National Ballet. The Dutch National Ballet was staging a series of productions under

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At the exhibition “Classic HERMITAGE • ITALY CENTRE Beauties…”. Photograph by Evert Elzinga In 2018 the activities of the Hermitage • Italy Centre focused on two events that were likely to be crucial to the Hermitage’s relations with Italian museums and cultural institutions: an exhibition of the work of the prominent 15th-century Italian artist Piero della Francesca (“Piero della Francesca. Mon- arch of Painting”, 6 December 2018 – 10 March 2019), which had been in preparation for two years, and the International Cultural Forum (15–17 November), at which Italy was the guest of honour. The first half of the year was also rich in important events, exhibitions’ openings, conferences and seminars. As always, at the end of March the Hermitage had a stand and held master classes at the 25th In- ternational Show on Problems of the Restoration and Conservation of Cultural Monuments in Ferrara. In May, just before International Museum Day, two major exhibitions opened at the Hermitage: “The Lombards. A People who Changed History” (3 May – 15 July) from the collections of 56 Italian museums, and “Arte Povera. A Creative Revolution” (17 May – 16 August). On 11 July in Milan an agreement was signed by the State Hermitage and the Intesa Sanpaolo Bank concerning the sponsorship of Hermitage projects and cultural exchange for a period of three years. This was of paramount importance for the Piero della Francesca exhibition, for which the bank was the principal sponsor on the Italian side. On 13 July a round-table discussion was held at the National Archaeological Museum in Naples on “The Strategy of Museums in the Modern World”. The participants included Hermitage Director Mikhail Piotrovsky and Paolo Giulerini, Director of the National Archaeological Museum in Naples. The first Russian-Italian seminar on the problems of restoring frescoes was held in Novgorod from 24 to 27 July. It was organised by the Hermitage, the Novgorod Museum-Reserve, the Hermitage • Italy Centre and the Italian Cultural Institute in St Petersburg. On 18 October an exhibition entitled “Lorenzo Lotto: The Call of the Marche” opened in the city the general title of “New Classics” in its new season and suggested making a video at the “Classic Beau- of Macerata (Marche) with the participation of the Hermitage and the Hermitage • Italy Centre. ties…” exhibition. Contemporary sculpture, whose image was created by the Dutch National Ballet, was During the International Cultural Forum a round table discussion was held on the subject “Italy – “brought to life” among the Italian masterpieces. a Museum Revolution” with the participation of the directors of major Italian museums: the Brera Another separate theme of the exhibition was the subject of the “grand tour” – a favourite occupation Picture Gallery in Milan, the National Archaeological Museum in Naples and the Palazzo della Pilotta of European nobility in the second half of the 18th century. The best-known “grand tourists” from Rus- in the Farnese complex (Parma), as well as the Head of Museum Management in the Italian Ministry sia were Grand Duke Pavel Petrovich (the future Emperor Paul I) and his wife, Grand Duchess Maria of Culture. The Italian delegation at the Forum was headed by Alberto Bonisoli, Minister of Culture Fyodorovna, who travelled incognito in Europe in 1781. As is well known, their youngest daughter Anna and Tourism, who took part in the opening ceremonies of several exhibitions: in the Hermitage Theatre Pavlovna subsequently became Queen of the Netherlands and the current members of the Dutch royal Foyer there was a display of clavichords presented by Catherine II to the outstanding Italian composer family consider themselves to be descendants of the Romanovs. Domenico Cimarosa; in the Roman Courtyard there was a pre-showing of several exhibits in the forth- The total number of visitors to the Hermitage • Amsterdam Centre in 2018 was 440,000. coming display “Gods, Humans, Heroes. From the Collection of the National Archaeological Museum Active preparations were under way in 2018 for the tenth anniversary of the Hermitage • Amsterdam in Naples and the Pompeii Archaeological Park”; two double portraits by the great Renaissance master Centre, which opened in June 2009. Jacopo Tintoretto from the Venice City Museums and the Galleries of the Venetian Academy were displayed in the Venetian Renaissance rooms to mark the 500th anniversary of the artist’s birth. Dutch National Ballet The opening of the exhibition “Piero della Francesca. Monarch of Painting” on 6 December was, project at the exhibition according to Mikhail Piotrovsky, the most important museum event of the 21st century. Until now, “Classic Beauties…” no museum has managed to assemble so many works by the celebrated 15th-century Italian master – nine easel paintings, two frescoes and four theoretical treatises were displayed in the Picket Hall of the Winter Palace, which was transformed into an original exhibition space full of light and air by the Andrey Shelutto Studio. Immediately after the opening of the exhibition in the Hermitage, several notable events took place in Italy: on 13 December Michelangelo’s sculpture The Crouching Boy was displayed in the Palazzo Velabro (Fendi Foundation) in Rome as part of the three-year collaboration agreement. A few days later, on 17 December, two exhibitions organised by the Hermitage in conjunction with Italian colleagues from the Venice City Museums opened in Venice: “FUTURUINS: The Future of Ruins and Ruins of the Future” (Fortuny Museum) and “Venice and St Petersburg: Artists, Princes, Merchants” (Candiani Centre, Mestre). On the same day Signor Luigi Brugnaro, Mayor of Venice, presented the Hermitage • Italy Centre with the keys to the Centre’s restored residence in St Mark’s Square. The final event of the year was a display of Adoration of the Shepherds by the Spanish artist Juan Bat- tista Maino in the headquarters of the Intesa Sanpaolo Bank in Turin, in accordance with the agreement on the participation of the Hermitage in cultural programmes of the Galleries of Italy.

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HERMITAGE • KAZAN CENTRE its origin to the present day, in four sections: “The Pre-Portrait Period and the Art of Ancient Egypt (20th Century BC to 1st Century AD)”, “The Art of the Ancient World and Early Middle Ages (6th Cen- tury BC – 10th Century AD)”, “The Art of Western Europe, the East and Russia (11th – 18th Centuries)” In 2018 a total of 94,662 people visited exhibitions in the Hermitage • Kazan Centre; staff members and “The Art of Western Europe, the East and Russia (19th – 21st Centuries)”. In each section works from the State Hermitage read 72 lectures in the Centre’s lecture hall. from various countries were displayed together – this approach made it possible to see the leading forms CHRONICLE OF EVENTS of the portrait at that particular stage and to understand how the vision of man differed in various cultures. The display comprised 384 exhibits: the best examples from the State Hermitage collection were 18 October 2017 – 20 May 2018 selected, including world-famous masterpieces – Iranian silver dishes from the Sassanid dynasty, busts Exhibition “Under the Transparent Ice of Glaze. Porcelain of St Petersburg” from the State Hermitage of the Roman emperors Lucius Verus and Philip the Arab, a portrait of Fath-Ali Shah, medals from the collection and the Imperial Porcelain Manufactory. Renaissance period, works by Western European and Russian artists – Anthony Van Dyck, Rembrandt Harmenszoon van Rijn, Jacob Jordaens, Pablo Picasso, Nikolay Ge, Alexander Bryullov – and sculp- A series of programmes aimed at various audiences had been prepared to accompany the exhibition. tures by Jean-Antoine Houdon. • Festive educational programme for junior schools “A New Year Fairytale about Porcelain”. The State Hermitage collection is encyclopaedically varied: visitors were able to see portraits in paint- • “From the Green to Porcelain Wedding Anniversaries” – quest for couples married for twenty ing, sculpture, graphic art, numismatics, applied art and photography. The exhibition showed “history years supported by the Family Centre. in faces” – the image of the time in portraits of prominent people from bygone ages and modern times. Before the opening of the exhibition, a press conference was held by Svetlana Adaksina, Deputy Direc- • “One Day in the Hermitage • Kazan Centre for Staff and Visitors: Guided Tour of the Exhibition and ‘Musical Divertissement’ Jazz Concert”. tor and Chief Curator of the State Hermitage, and Zilya Valeeva, Director of the Kazan Kremlin State Historical, Architectural and Artistic Museum-Reserve. Hermitage Director Mikhail Piotrovsky sent • “Women’s World in Porcelain”. For the International Women’s Day. a video address to journalists. • “Voyage to the Land of Porcelain” for children and their parents. Among the special programmes devoted to the exhibition were “Journey into Art, or Everything about • “Heroes Brought to Life”. Nonstop dramatised programme for the International Museum Day, the Portrait for Children”, a dramatised programme “The Mystery of the Bewitched Portrait. A New staged jointly with museum students from Kazan (Volga) Federal University. Year Museum Fairytale” and “One Day in the Hermitage” with an interactive tour of the exhibition.

At the exhibition “Under At the exhibition “The Art the Transparent Ice of Glaze. of the Portrait” Porcelain of St Petersburg” 5 June On Days of the Hermitage visitors to the Centre were able to attend lectures by staff members from the Opening of the exhibition “Imperial Gifts. Jewels from the State Hermitage Collection” (curator Olga State Hermitage on the art of the portrait and watch the films “Oh, Hermitage!” and “The Winter Pal- G. Kostyuk). The exhibition featured 25 masterpieces from the Hermitage’s Treasure Gallery connected ace and the Revolution. 1917. History was Made Here”. By popular request, a 3D model of the Jupiter with important events or prominent personages from Russian history. Room in the New Hermitage was displayed (a joint project of the State Hermitage and the CROC Com- 13 June – 16 September pany’s Virtual Reality Centre). Exhibition “The Peredvizhniki. 1874–1902. From the Collection of the State Tretyakov Gallery”, During these days an awards ceremony was held for the winners of the regional stage of a competi- the second exhibition under a collaboration agreement between the Tretyakov Gallery and the Kazan tion for the professional skills of journalists, bloggers and media editorial offices in the culture and art Kremlin State Historical, Architectural and Artistic Museum-Reserve. of the Volga Region cluster. In 2018, with the aim of extending the regional stage of the “Skilful Word” competition, journalists from Nizhny Novgorod and Yoshkar-Ola were invited to take part. 10–11 October Besides the displays from the Hermitage and the Tretyakov Gallery, the Centre staged a number of other Days of the Hermitage were held in the Hermitage • Kazan Centre. The main event was the opening exhibitions, including a display of 22 collages by the French poet, writer, scriptwriter and artist Jacques of the exhibition “The Art of the Portrait” (curator Anna A. Trofimova). Prévert from his personal collection and the reserves of the National Library of France; an exhibition The main idea of the exhibition was to show the historical development of the genre: the origins and of photographs entitled “Wild Nature of Russia – 2017”; the exhibition “Artistic Casting of the South- functions of the portrait, the principal types and the language used. The evolution of the portrait was ern Urals from the Collection of the Southern Urals State Historical Museum”; there were also oppor- presented in a large-scale historical perspective (from the 20th century BC to the 21st century), from tunities to meet artists and actors and to attend music and poetry evenings.

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HERMITAGE • VYBORG CENTRE HERMITAGE • VLADIVOSTOK CENTRE

As usual, the programme of the Hermitage • Vyborg Exhibition Centre in 2018 was very varied. Days of the Hermitage were held in the Primorsky State Picture Gallery from 1 to 7 October 2018. The Centre staged three Hermitage displays with the support of the Leningrad Region Government: The programme began with a master class on the restoration and conservation of Oriental paintings “17th-Century Flemish Art from the State Hermitage Collection”, “Portrait Painting in Russia from the by staff of the State Hermitage Laboratory for Scientific Restoration of Oriental Painting led by Elena 18th to Early 20th Centuries from the Hermitage Collection” and “St Petersburg. Images of the City”. Shishkova. The master class was part of the joint project of the Hermitage and Coca-Cola in Russia Twenty-three thematic exhibitions of works by artists from St Petersburg, Vyborg and neighbouring entitled “Let’s Preserve Cultural Heritage Together”. A single masterpiece from the Hermitage collec- countries were organised both in the open rooms of the main building and in the Art Hall Gallery. Around tion – The Furious Son of Zeus. Head of Ares – was displayed in the Picture Gallery’s main building until 30,000 people visited the exhibitions, including nearly 2,000 foreign citizens. The Centre carried out 7 October. The opening of the exhibition on 28 June 2018 was accompanied by a lecture entitled “Living Antiquity. Ancient Art in the Realm of Modern Culture” by Ludmila Davy- dova from the Hermitage Department of Classical Antiquity. On Days of the Hermitage the Picture Gallery also featured the photography project “Interpretation: The Best”, comprising works by students of “Creative Photography” at the Hermitage Youth Centre and of the Fac- ulty of Photography at Parsons School of Design (USA). By tradition, Days of the Hermitage in Vladivostok included the “Hermit- age Library” exhibition of book publications, lectures by staff under the “Hermitage Lecture Centre” project, the ceremonial franking of a souvenir postcard issued by the Russian Post Office in honour of Days of the Hermit- age in Vladivostok in 2018 and a video conference between the picture gallery’s volunteers and the Hermitage. During Days of the Hermitage visitors to the museum were able to see the films “Discovering the Hermitage” by the well-known British director Margie Kinmonth, “The Winter Palace and the Hermitage. 1917. History Opening of the exhibition “17th-Century Flemish Art Opening of the exhibition “St Petersburg. Images of the City” Opening of Days of the Hermitage was Made Here” about the exhibition in the Hermitage to mark the cen- from the State Hermitage Collection” in Vladivostok tenary of the revolution and episodes of Mikhail Piotrovsky’s “My Hermitage” programme on the Kultura TV Channel. 530 guided tours. The Centre’s staff organised general and thematic tours of the Hermitage displays for In 2018 the Primorsky State Picture Gallery again featured the “Hermitage VR” virtual reality cinema, groups and individual visitors, both children and adults. For the exhibition “Portrait Painting in Russia which showed a virtual model of the Jupiter Room (State Hermitage, CROC Company), enabling view- from the 18th to Early 20th Centuries…” a “Russian Season” was launched, including a guided tour, ers to make a virtual visit to the Hermitage in St Petersburg and to “walk” through one of the grandest a performance by “Olympic Brass” from St Petersburg and a music and poetry salon “In the Provincial rooms in the New Hermitage. Town of N. Visiting the Three Sisters” featuring actors from the “Holy Fortress” State Drama and Pup- Days of the Hermitage also included the awards ceremony for winners of the “Skilful Word” com- pet Theatre. petition named after Vladimir Matveev (State Hermitage, Vladimir Potanin Charitable Foundation, By tradition, lectures were held in the State Hermitage Lecture Centre and the lecture halls for pupils Yekaterinburg Museum of Fine Arts, Primorsky State Picture Gallery). The competition has been cre- of the Children’s Art School and Gymnasium No. 1; educational sessions and quest-games were held ated especially for journalists who report on matters of culture and art and is held in regions where for pre-school kids and schoolchildren. the Hermitage has opened or plans to open satellite centres. In 2018 the guests of the Hermitage • Vyborg Centre included representatives of the Consulate-General of the Republic of Finland in St Petersburg headed by Consul-General Anne Lammila and Finnish architects who came to Vyborg as part of the project “About Uno Ullberg”. In connection with the planning HERMITAGE • KALUGA CENTRE for the “Days of Northern Countries” festival in Vyborg (7–9 December) a delegation that included Mårten Frankby, the Swedish Consul on Matters of Economic Cooperation and Culture, visited the Cen- A series of events took place in the Kaluga Museum of Fine Arts from 3 to 7 October 2018 as part tre. During the Days of the Leningrad Region held in Vyborg Vladimir Medinsky, the Russian Minister of Days of the Hermitage. The most important of these was the opening of the exhibition “Servants of Culture, paid a visit to the Hermitage • Vyborg Centre. of Justice. Lithographs by Honoré Daumier from the State Hermitage Collection”. The exhibition ac- The most important event of the year was the Day of the Hermitage in Vyborg, marking the tenth an- quainted visitors with the work of the celebrated French artist Honoré Daumier (1808–1879) – painter, niversary of the Hermitage • Vyborg Centre. The programme included a press conference by Hermit- graphic artist, sculptor and a great master of political and social caricatures. The display featured ten age General Director Mikhail Piotrovsky, Leningrad Region Vice-Governor Nikolay Emelyanov, Head sheets from his famous series of lithographs Servants of Justice. of the Administration of the Vyborg District Gennady Orlov and Director of the Hermitage • Vyborg The opening of the exhibition was followed by master classes and lectures by Dmitry Lubin and Anasta- Centre Alexander Kostenko. It also included the ceremonial opening of the exhibition “Portrait Painting sia Burkovskaya on 19th-century French art, engravings in the Hermitage collection and the problems in Russia from the 18th to Early 20th Centuries from the State Hermitage Collection”. On the same day of displaying works of graphic art in a museum. the virtual reality film “The Hermitage. Immersion in History” was shown and a virtual model of the Days of the Hermitage in Kaluga also included the opening of the “Hermitage VR” virtual reality cin- Jupiter Room was put on display. The Hermitage–Vyborg album (Pollygraphia, 2018) was published ema, where visitors could watch the film “The Hermitage. Immersion in History” and learn about the for the tenth anniversary of the Centre. State Hermitage’s virtual programmes. They were also able to see an exhibition of books published On the instructions of the Leningrad Region Cultural Committee, the Hermitage • Vyborg Centre put by the State Hermitage in the past year. together for the first time a regional Museum Night 2018, acting as coordinator for the cultural projects One of the most important events during these days was the presentation of a project to restore the Civil of more than 30 institutions in the Leningrad Region – libraries, state and private museums. Governor’s House – the building of the future Hermitage • Kaluga Centre. Another very significant event was the opening of a museum object of cultural heritage of national im- Days of the Hermitage in Kaluga concluded with a concert by the strings section of the Kaluga Regional portance: The Casemate in the Left Wing of the Panzerlax Bastion, part of the fortifications of 1568– Philharmonic Orchestra entitled “Music of 19th-century French Composers”. 1592 that are historical monuments (the surviving part of the defensive fortifications of the Hornwerk – “Horned Fortress”).

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HERMITAGE • URALS CENTRE JJ CURATORS ON EXHIBITIONS

Days of the Hermitage were held in Yekaterinburg for the third time from 9 to 19 October 2018. The first event was a master class on the restoration and conservation of tempera paintings, continuing the joint project of the State Hermitage and Coca-Cola in Russia “Let’s Preserve Cultural Heritage Together”. The master classes were given by staff from the State Hermitage Laboratory for Scientific Restoration of Tempera Painting, led by Igor Permyakov, Head of the Laboratory. During the year Hermitage spe- BRUSH AND QALAM. 200 YEARS OF THE COLLECTION OF THE INSTITUTE cialists held theoretical and practical sessions for colleagues from museums in the Urals, Siberia and the Far East Region. OF ORIENTAL MANUSCRIPTS Another event was the All-Russian conference “The Museum between the Civil War and the Great Pa- triotic War: the Fate of People, Collections and Buildings”, part of the “Museum and War” cycle. This The exhibition was timed to coincide with the 200th anniversary of the Asiatic Museum (now the Russian is a joint project of the State Hermitage and the Yekaterinburg Museum of Fine Arts, launched in April Academy of Sciences Institute of Oriental Manuscripts), one of the world’s largest collections of such 2016. manuscripts, some of which have become part of the Hermitage collection. The main aim of the exhi- One of the most important events was the opening of an exhibition of a single masterpiece from the State bition was to show the decorative beauty, diversity and originality of Oriental books in their cultural- Hermitage collection: “Spoilt Child by Jean-Baptiste Greuze”. historical context. As part of Days of the Hermitage, staff from the State Hermitage gave public lectures entitled “The Age The display featured selected examples of manuscripts and woodcuts of peoples of the East whose liter- of Free-Thinking and Freedom. 18th-Century French Art” in the Yekaterinburg Museum of Fine Arts ary cultures extended from Europe to Japan over the last two millennia. For convenience the exhibits and the Urals Federal University from 15 to 19 October. The awards ceremony for winners of the interregional “Skilful Word” competition was held on 12 Octo- ber. The prize was established by the State Hermitage and the Vladimir Potanin Charitable Foundation on the initiative of the Yekaterinburg Museum of Fine Arts.

HERMITAGE • SIBERIA CENTRE

Days of the Hermitage were held in the Vrubel Regional Museum of Fine Arts in Omsk from 30 October to 1 November 2018. By tradition, a master class on restoration and conservation was organised as part of the joint project of the State Hermitage and Coca-Cola in Russia “Let’s Preserve Cultural Heritage Together”. The theme of the 2018 master class was the restoration of objects of applied art made of metal. Alexey Bantikov, Head of the State Hermitage Laboratory for Scientific Restoration of Applied Art Objects, and members of his staff described how the restoration process in the Hermitage was organised and informed listeners about the methods of studying the composition of metal, including X-ray fluorescent analysis, methods of identifying active corrosion and preventive conservation. At a round-table discussion on 1 November participants under the guidance of the Hermitage restorers drew up test restoration documents of artefacts in the Omsk Regional Museum of Fine Arts for subsequent use by local restorers in practical work. An open lecture was given in the Hermitage Lecture Centre by Mikhal Guriev, Head of the State Hermit- age Laboratory for Scientific Restoration of Timepieces and Musical Mechanisms. The lecture described Opening of the exhibition the Hermitage collection of clocks, their restoration and the daily care of them. After the open lecture “Brush and Qalam. 200 Years of the Collection of the Institute listeners were able to watch the film “Turn of the Key” about the Hermitage clocks. were arranged in three large sections, each devoted to the cultural-historical community in a particu- of Oriental Manuscripts” The principal event of Days of the Hermitage in Omsk was the opening of an exhibition of a single mas- lar region: the Near and Middle East, India and Central Asia, the Far East. This division is arbitrary terpiece: “Christian Wilhelm Ernst Dietrich. Landscape with a Caravan. From the State Hermitage Col- to some extent and is often concerned less with geography than with the spread and movement of cul- lection”. The painting by the outstanding 18th-century Saxonian artist was part of the collection of the tures. In particular, there were several literary cultures in Central Asia at different periods depending on Berlin merchant Johann Ernst Gotzkowsky, and its acquisition marked the beginning of the museum’s the prevalence of religious traditions – first Buddhism, then Islam, so the books made in that region were history. A guided tour of the exhibition was led by Maria Garlova, Senior Researcher in the State Her- described in two separate sections of the catalogue. The same applied to India during the period of the mitage Department of Western European Fine Arts, who was the curator of the exhibition. Great Mughals, at whose court Islamic book culture flourished, closely linked with Persian literature, The opening ceremony was followed by the awards ceremony for the “Skilful Word” prize named after as described in the “Near East” section. Vladimir Matveev for journalists and bloggers writing about culture. The display comprised a total of over 200 exhibits: manuscripts and woodcuts from the Institute’s col- On 1 and 2 November open lectures were given by Yulia Denisova and Viktoria Snegovskaya from the lection, as well as artefacts of material culture from the Hermitage collection linked with the production State Hermitage Education Department. The lectures, concerning the history of the Hermitage and its and circulation of books. This link was to be understood in its widest sense: the exhibition included not collections, as well as the work of Pieter Paul Rubens, took place in the Dostoevsky State University and only objects directly related to the making and reading of books (brushes, qalams, pencil-boxes, inkwells the Vrubel Regional Museum of Fine Arts in Omsk. and boards for woodcuts), but also visual parallels in décor (items of clothing, fragments of wall paint- The programme of Days of the Hermitage in Omsk also included a showing of the film “The Hermitage. ings) or simply recreating the cultural context of the age. The manuscripts were grouped in chronologi- Immersion in History” and of a virtual 3D model of the Jupiter Room, made jointly by the State Hermit- cal order in each section and the objects arranged in such a way as to illustrate clearly the cultural and age and the CROC Company. visual context of the creation and circulation of books in the East. The catalogue produced to accompany the exhibition contained detailed sketches and descriptions of the displayed items. Anton D. Pritula

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“BELIEVE NOT THINE EYES”. TROMPE L’OEIL IN ART

The exhibition was the first all-embracing attempt to highlight the subject of optical illusions in art. It featured exclusively materials from the Hermitage collection and included approximately 700 exhibits that demonstrated the many types of deceptive art, encompassing various ages, cultures and regions. The exhibits traced the history of imitations and illusions in art from the times of the ancient cultures of Egypt, Greece and Rome, emphasised the heyday of trompe l’oeil in the 17th and 18th centuries and its general evolution up to the early 20th century. Trompe l’oeil is the illusory reproduction by artistic means of objects from the real world, giving the visual effect of genuine nature. The phrase “trompe l’oeil” (French for “optical illusion”) is most

Opening of the exhibition “‘Believe not thine eyes’. Trompe l’oeil in Art”

frequently associated with a specific type of still life depiction that creates the illusion of a 3D image. more curiosity, surprise and delight. The special area chosen for the exhibition helped to involve viewers In fact, though, the term is much more wide-ranging and includes not only fine art but also applied art, in a “game”: it was designed by an invited team consisting of Andrey Shelutto, Irina Chekmaryova and where the compass of “trompe l’oeil” is much broader. The exhibits in the display could be divided into Timofey Zhuravlev. The Hermitage published an illustrated catalogue and brochure designed by Irina three main groups: works with a volume effect, objects substituting one material for another (wood, Dalekaya. A film was also made with screenplay by Anna Maslova. stone, metal) and items taking on the appearance of other objects (books, fruit, flowers). They all had The outstanding events that accompanied the exhibition of trompe l’oeil and illusion in art will remain the common aim of creating illusions of the real world by artistic means and misleading the viewer. long in the memory. For example, Bistro Le Moujik in St Petersburg organised a “dinner-illusion: In getting closer to reality, illusions reach the border between the depicted world and the real world, but with a special menu devised by head chef Ruslan Ageychenko. Guests were deceived by the incongruity not actually crossing that border and remaining works of art. They do not replace an object but create of the outward appearance of the food and the actual flavours and delighted by the unusual culinary its image in art. However, the particular image skilfully conveyed to viewers amazes them by the art- ideas. ist’s mastery, so convincing in creating the illusion. The well-known aphorism of Kozma Prutkov comes Illusions were also the theme of a new range of hairstyles in the “House of Rasputin” chain of beauty to mind: “If the sign on the elephant’s cage reads ‘buffalo’, believe not thine eyes”. salons, devised by Art Director Sergey Ryabinkin. The trompe l’oeil images demonstrated the fantasy The earliest works in the exhibition were from Ancient Egypt, where artefacts imitating another ob- of the masters and successful results were recorded in a photo-session with models. Later there was an ject, material or function were already being produced. They cannot be called trompe l’oeil, however: evening entitled “Believe not thine eyes”, with a talk about the interest of contemporary artists in creat- they were made for a different purpose, corresponding with the particular view of the world in another ing illusionary works. age. Another event was organised at the exhibition itself during the closing ceremony. Guests enjoyed the The origin of trompe l’oeil in art is linked to artistic illusions in Ancient Greek and Roman culture. That “Plastique Mirage” dance composition performed by Alexandra Urakova and Alexey Frich, students period saw the brilliant development of paintings and mosaics creating the illusion of three-dimensional of the Vaganova Academy of Russian Ballet. During the exhibition, a copy of an ancient torso of Aphro- spaces and objects. Ancient sculpture strove to convey the human body and various textures with verisi- dite was created on a 3D printer. The synthetic replica, identical in size and shape to the marble original, militude. Success was achieved by imitations of objects and materials in pottery and glassmaking with once again demonstrated the extensive possibilities of modern technology. the idea of “imitating nature”. Irina R. Bagdasarova, Natalia Yu. Bakhareva Trompe l’oeil made a decisive return in the Renaissance period, when a great variety of illusions were created in painting, graphic and applied art on the basis of previous experience, artistic-technical achievements and the demands of fashion. All this could be seen and learned in the exhibition, which included artefacts from the ancient world and works by artists from Western Europe, Russia and China. The overwhelming majority of illusions are a well-thought-out part of a scenario. It could be a feast, a passage through rooms or a walk in a park. As in any play, there is a definite development of a theme: the viewer notices the object, perceives it as real and then discovers the trompe l’oeil, arousing even

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JJ SOCIOLOGISTS ON EXHIBITIONS

VISITORS ON THE EXHIBITION “ILYA AND EMILIA KABAKOV. NOT EVERYONE WILL BE TAKEN INTO THE FUTURE”

The exhibition, held in the General Staff Building from 21 April to 29 July 2018, attracted approximately 80,000 visitors – much more than the first exhibition (“An Incident in the Museum and Other Installations”) shown here in 2004, which was visited by only 10,000 people. The visitors were predominantly St Petersburg residents (67%) and women (70%). The most numerous professional group were from the humanities field (31%). A significant proportion of the visitors were young people (under 30 – 56%; students – 23%). Whereas residents of St Petersburg were familiar with Ilya Kabakov’s work to a certain extent, those from outside the city, with rare exceptions, had not heard of him. The retrospective exhibition provided the opportunity to get a fairly full idea of the artist’s work. Its subject and great volume were conducive to meditative perception and lengthy, unhurried viewing. However, opinion polls showed that only half of visitors demonstrated an active interest in the exhibition. Those who had come specifically to see it had spent from one hour to two hours or more, had viewed the whole display and had read many of the accompanying texts, including those by the artist. The rest of the visitors, predominantly from outside the city, were unable to devote so much attention to the exhibition, as their main aim was to view the General Staff Building as a whole. Naturally, the question about the content of the exhibition was answered more frequently and more thoughtfully by those actively engaged in its comprehension. Here are just a few comments: “it is about the difficulty of daily life in an age of utopia”; “about the search for inner freedom in a world of restrictions and totalitarianism”; “about memory, about the attempt to reshape experience”; “about the life of the little man, his reserve, his es- cape from reality into daydreams”. The casual and less interested visitors, as a rule, confined themselves to terse replies (“about life in the USSR”; “it is about the past”). The exhibition appealed to 57% of those questioned. The reactions of the remainder were ambiguous Visitors’ preferences were quite understandable – the works mentioned correspond to known selection or negative. criteria. They are attractive for their original and, at the same time, intelligible ideas, speed of compre- Of the quite extensive list of works that appealed to visitors, the most frequently mentioned included hension, the possibility of seeing in their content something that is positive, capable of touching people Room 14. Meeting with an Angel, Room 7. Maze (Album of my Mother), Room 3. The Man who Flew deeply and arousing a particular confidence. Another important factor was the recognisability of the into Outer Space from his Room, Room 10. Life in a Cupboard. Toilet in the Corner and Red Carriage. works (sociology in art confirms that people like what they know). It should be noted that a substantial number of those who remarked on the installations were regular visitors to the General Staff Building who had certainly seen them in the permanent display, or those familiar with them from reproductions or from previous exhibitions. Visitors with a positive attitude characterised the exhibition as “emotional” (a word used by the greatest number – 38% of respondents), “truthful”, “problematic” and “ironic”. The impression made by the exhibition was evident from the numerous detailed replies. Here are some of them: “the conceptuality and acuteness of thought was impressive”; “the journey into the depths of memory was captivating”; “I remembered and felt once again the hardships of communal life”; “the exhibition takes us back to the past, making us reflect and reinterpret many things”; “I liked the idea with the rooms, the way the display was structured”; “brilliant, masterly work with installations and models”. As far as those with a negative reaction were concerned, the butts of their criticism were both the artist’s work and the fact that the exhibition had been staged in the Hermitage. The majority of them, consisting of elderly people, called the exhibition “evil”, “repulsive”, “denunciatory”. Among the works that they found most unpleasant, the most frequently mentioned were the paintings exhibited on the second floor of the building. To give a fuller idea of the opinions of these visitors on Ilya Kabakov’s work, we quote a few typical judgments: “it is all so gloomy and cheerless that you don’t want to look at it”; “Kabakov sees only the negative aspects of Soviet life, only the dark sides”; “he creates a terrible image of our country for the public abroad”; “his attitude to the world and life is that of a pessimist and a broken man”. Although the exhibition aroused contradictory assessments and opinions, it was recognised as interesting by the majority of visitors (70%). As a fuller and larger-scale retrospective of Ilya Kabakov’s work, it received higher ratings than his previous exhibitions. This is explained by the growing interest in the history of our country, including its Soviet past, in recent years. Irina A. Bogacheva 80 81 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS

THE EXHIBITION “THE AGE OF REMBRANDT AND VERMEER. MASTERPIECES OF THE LEIDEN COLLECTION”. VISITORS’ OPINIONS AND ASSESSMENTS

The exhibition, held in the Nicholas Hall in the Winter Palace from 4 September 2018 to 13 January 2019, was one of the most popular: it attracted over 860,000 visitors, 71% of them residents of St Pe- tersburg and 29% from elsewhere. The age groups of visitors were as follows: 17–19 5% 21–29 20% 30–39 17% 40–49 13% 50–59 15% 60–69 21% 70 and over 9% Men – 34%, women – 66%. The majority of visitors had a high level of education, predominantly in the technical, humanitarian and economic fields: Higher education 79% Incomplete higher education 8% Secondary specialised education 5% “Unique selection of exhibits, superb arrangement and lighting” (teacher, 49, Moscow). “Entrancing collection, incredible feeling of the taste and love of the collectors and organisers of the General secondary education 8% exhibition for Dutch painting of the Golden Age” (commercial employee, 29, Amsterdam–Moscow). Visitors obtained information about the exhibition from the following sources: “The soft lighting in the room makes it possible to appreciate the light emanating from the artists’ Hermitage website 30% works. It is light, in my opinion, that is the principal means of conveying the artist’s concept” (teacher, 40, Moscow). Internet 11% “This is the fourth time I have been and never cease to enjoy it. What is particularly fascinating is the TV 10% possibility of comparing works by artists of the same school” (research worker, 29, St Petersburg). “I was deeply touched by everything in the room. I am grateful for this rare opportunity” (64, Berezniki, Radio, newspapers 9% Perm Region) Advertisements (in the city and in the museum) 7% Besides their impressions of the exhibition as a whole, visitors were asked to pick out a particular work or group of paintings that most attracted their attention, and also to reply to the questions: “Why were Word of mouth (friends, relatives, colleagues) 25% they interesting?” and “What emotions did they arouse in you?” We were concerned that questions Other 8% intruding into the area of emotions and personal experiences would be left unanswered, but we received a great amount of interesting material about visitors’ perception of the Dutch masters. Their replies re- When asked about their aims in visiting the Hermitage on the day in question, more than half of respon- flected their vision, assessments, discoveries, thoughts, experiences and understanding of the grandeur dents mentioned “to visit the temporary exhibitions” (56%), “to visit the museum as a whole” (26%), of Rembrandt and the masters of the Golden Age of Dutch painting. Here are just a few of the works “to visit specific sections of the museum” (14%), other reasons (4%). In posing the question “What highlighted by respondents: attracted you to the exhibition ‘The Age of Rembrandt and Vermeer’?” we suggested several possible “Jan Vermeer is the exquisite simplicity of everyday life: bright, joyous, peaceful emotions” (teacher, answers. The replies were divided as follows: 60, St Petersburg) The rare opportunity to see paintings from a private collection 40% “Fabritius’s Hagar and the Angel. It really stands out from the other works. There is a feeling that it was Particular interest in the work of Rembrandt and Vermeer 31% painted by an artist of a later period” (higher education graduate, 60, St Petersburg). “Fabritius’s Hagar and the Angel. It is interesting for its composition and magnificent artistry” Interest in the Leiden Collection and the Golden Age of Dutch painting 18% (linguist, 50, St Petersburg). Other reasons 11% “Rembrandt’s Self Portrait and Head of a Grey-Haired Old Man; Lievens’s Self Portrait. They are distinctive for their contemporaneity and timelessness” (physicist, 59, St Petersburg). It can therefore be posited that around 90% of visitors came specifically to see “The Age of Rembrandt “The genre everyday scenes, wonderful colours. The faces of the subjects convey the delicate nu- and Vermeer”, which undoubtedly influenced their attitude towards the exhibition, their understand- ances of their state, mood and emotions – it as if they have stepped into our age” (bibliographer, 59, ing of its concepts and, what is especially valuable, the quality of their perception of particular works St Petersburg). by great masters. Less than half of the respondents were able to answer the questions about the dialogue between the Forestalling an analysis of the direct link between visitors and the exhibition, we should mention the very paintings from the Leiden collection and the Hermitage canvases, and also about the revelation of new high rating given by the overwhelming majority (89%) of respondents to “The Age of Rembrandt and facets in the work of the Dutch masters represented in the exhibition. Here are a few typical comments: Vermeer”. Here are some typical comments: “Certainly the dialogue helps to understand and become involved in these unique works. The conveying “The exhibition, its fullness, magnificence, nobility and elegance! Unusually successful and perfect of the colour of the clothes, the faces of the subjects, the attention to detail” (engineer, 29, Moscow). lighting” (teacher, 30, St Petersburg).

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“Any exchange and dialogue always develops. The phenomenon of the Leiden Collection is that it is uni- The proportion of visitors who had come specifically to see this exhibition was 46% and consisted main- fied in content. The new facets are in the conveying of the source of light: Schalcken’s Young Man and ly of St Petersburg residents who regularly visited the Hermitage (35%). 54% of respondents, most Woman Studying a Statue of Venus by the Lamplight” (engineer, 40, St Petersburg). of whom (35%) were from outside the city, had not planned to view the temporary exhibition and decided “The paintings from the Leiden Collection in dialogue with the Hermitage canvases add to and broaden to see it during their visit to the museum. our concept of the Dutch in the 17th century. Virtuoso painting, a profound subtext” (physicist, 50, About half of those questioned (53%) had heard about the exhibition before their visit to the Hermitage. St Petersburg). The three main sources of information were the Hermitage website (19%), TV (18%) and word of mouth “Gratitude to the Hermitage for the organisation of this comparative exhibition. They were interestingly (12%). grouped by theme, with many necessary explanatory texts” (engineer, 72, St Petersburg). Visitors had three motives for visiting the exhibition. For 40% the motive was familiarisation: “we came We obtained a whole range of opinions, assessments and indications of visitors’ moods in answer to the by chance and found it interesting”; “we visited for general education”; “out of curiosity”; “we wanted question “What was the general atmosphere of the exhibition like?” Here are some typical comments: to learn something new”; “to look at the paintings”; “to broaden my horizon”; “a pleasant way to spend “The intimate atmosphere of the exhibition (despite the great number of visitors) and the pleasant light- time”. 50% of visitors had an artistic motive for their visit and came to the exhibition to see master- ing help to appreciate the masterpieces” (lawyer, 39, Novosibirsk). pieces from the museum in Vienna in the originals and to compare them with those in the Hermitage “Reliable as a ‘Dutch Burgher’ and that is only right, as we see them in the paintings” (architect, 29, collection. 10% said they had an aesthetic motive: the main purpose of their visit was to enjoy the beauty Tsarskoe Selo). of the works on display. “Atmosphere of all-consuming attention” (engineer-designer, 50, Perm). One of the questions in the poll asked visitors to rate the exhibition on a five-point scale. The rating “I saw this exhibition in Moscow; in St Petersburg it has the atmosphere of a holiday” (serviceman, 50, of most of those questioned was very high, averaging 4.9 points. The vast majority of respondents (88%) St Petersburg). gave the exhibition the top mark. “The atmosphere of ‘tasting a delicacy’. You look, you enjoy, you compare, then you go back to the artists The results of the research show that the exhibition had a significant effect on the inner world of visitors you have admired and then, dropping your gaze to preserve the mood, you regretfully leave…” (higher in terms of education, emotion and motivation. That applied to all categories of visitor: both people who education graduate, 59, St Petersburg). had nothing to do with the arts and those who were lovers of painting and specialists in artistic culture. There were very few adverse comments and suggestions from only 1% of respondents: The majority of visitors had seen works by artists who had previously been unknown to them. “The information is sufficient, but inconvenient to read. We are old and have poor eyesight” (pensioners, “I saw paintings from the museum in Vienna that were new to me” (doctor, 63, St Petersburg). St Petersburg). “I learned new names of artists” (accountant, 31, Moscow). “To provide better information I suggest creating a QR code for each painting so as to listen to the infor- “It turns out there is a picture gallery in Vienna on a par with the Hermitage” (schoolgirl, 15, mation” (civil servant, 39, Khanty-Mansiysk). St Petersburg). Tatiana I. Galich Experienced visitors added to and deepened their knowledge of works from the Hermitage and the Vi- enna museum, appreciated the means of depiction used by the artists and immersed themselves in the world of images created by the paintings’ authors. “I saw how an artist’s style can change from one painting to another” (doctor, 55, Moscow). “I previously knew Gainsborough as a portrait painter. At the exhibition I realised that he was also THE EFFECT OF THE EXHIBITION “IMPERIAL CAPITALS: ST PETERSBURG – VIENNA. an outstanding landscapist” (pensioner, 58, St Petersburg). MASTERPIECES FROM MUSEUM COLLECTIONS” ON THE INNER WORLD OF VISITORS “I discovered Jan Steen for myself. I hadn’t really known about him before” (music teacher, 35, St Petersburg). This temporary exhibition was an original joint project of the State Hermitage and the Kunsthistorisches Visitors compared the dialogue between the collections of the Hermitage and the museum in Vienna. Museum in Vienna. Each museum contributed fourteen paintings that formed pairs by the similarity “The two collections of painting have much in common” (musician, 52, St Petersburg). of their subjects, the time they were painted or the fact that they were by the same artist. “I noticed the difference between the restoration schools in Russia and Austria” (housewife, 33, Israel). The exhibition attracted about 178,000 visitors between October and December 2018. A written opin- “The exhibition enables you to feel the similarity of two major collections, describes the subtle interac- ion poll was taken from individual Russian-speaking visitors on a random selection basis, resulting tion of the two cultures, which unexpectedly have a lot in common” (manager, 42, St Petersburg). in 197 replies. Viewing the exhibition gave rise to intense emotional and aesthetic experiences: delight, interest, en- The majority of those questioned were women, accounting for around three-quarters of respondents. joyment of the beauty of the paintings, rapture and joy. The exhibition stimulated visitors to get closer Almost half (45%) were young people under 35 and about a quarter (24%) were aged between 35 and 54. to art. The exhibition attracted a significant number of people of pre-retirement and retirement age. This older “It gave me the desire to visit Vienna, where I have never been before” (doctor, 63, St Petersburg). age group (55 and over) made up about a third of the sample (31% of those questioned). The majority “There are many masterpieces in the Hermitage, it definitely must be visited” (pensioner, 80, of visitors had a high level of education: 73% of respondents were graduates and 16% had incomplete St Petersburg). higher education. Most of them (73%) had studied in technical, humanitarian and economic faculties. “It made me want to know more about the artists whose paintings are displayed in this room” (school- The exhibition was visited by the following social groups: boy, 16, Moscow). Employees (58%), mostly professionals in the art field (artists, directors, architects, musicians, guides In general, visitors highly appreciated all the works on display, but the clear leader was Catherine II and museum staff); engineering-technical workers; specialists in the financial and economic sphere before a Mirror by Vigilius Eriksen, followed by Pieter Paul Rubens’s Portrait of a Chambermaid and (accountants, economists, bank employees); managers; teachers. Jan Steen’s The World Turned Upside Down. Students (22%) – secondary school pupils and students at higher educational establishments. Respondents named the most important qualities of the works as virtuoso painting technique, vivid Unemployed (20%) – retired people and housewives. imagery, high richness of concept and psychologism. The exhibition was held in the autumn–winter period, a time when visitors both from St Petersburg Alexey A. Roshchin and from outside the city regularly visit the Hermitage. Residents of St Petersburg made up a slightly higher percentage of visitors (54% to 46% from outside the city). Russian tourists were largely residents of 26 major cities in Russia, particularly Moscow (14%). Russian-speaking tourists from abroad represented Austria, Belarus, Estonia, Finland, France, Israel, Poland, Switzerland and Ukraine. About a quarter of those questioned (23%) were visiting the Hermitage for the first time. One in six (17%) said they visited the museum occasionally. More than half of respondents (60%) were regular visitors who came to the Hermitage from once or twice a year to several times a month.

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JJ THE PRESS ON EXHIBITIONS Turin. Instead of its expected location in the General Staff Building, fying: in Rembrandt’s legacy Amsterdam is the “Mecca” and Her- where the Hermitage normally shows contemporary art, the “Cre- mitage the “Medina” (Kaplan’s excellent joke). The Hermitage has ative Revolution” “forced its way” on to the second floor of the Win- the largest collection of Rembrandt’s works outside the Nether- ter Palace to enter into a dialogue with the baroque architecture. lands, and all the other Dutch masters here are splendid. However, Several decades ago, busy sculptures of bronze and stone, often Ital- there was no sense of disparagement. The Kaplans’ confidence in the ian, were displayed here – what might be called “arte ricca” (rich quality of their collection was confirmed by means of direct analo- art). That is another of the connections that the Hermitage so loves. Fantasia in Threads. Western European Lace and Glass in the Tate, the Hermitage or the Tretyakov Gallery are ultimate- gies with the Hermitage collection. And Jan Lievens was a new discovery even for experienced Hermitage visitors. The project illumi- of the 16th to 19th Centuries ly the artist’s conversation with viewers, who change year by year, Vadim Mikhailov. “Always glad to be deceived”. and with time, which also rushes by with noticeable acceleration. The Art Newspaper. 14 May 2018 nated the dimness of the Nicholas Hall, as it had done previously This room is used, as a rule, for showing exquisite jewellery. So these exhibitions are not about new art, but about new sensations. at the Louvre and the Pushkin Museum in Moscow. It was a mag- The items shown here together now appear to be incompatible. In St Petersburg, these sensations have turned out to be very acute. nificent spectacle. In one display case you can see a “glass bottle in the shape of a pil- The exhibition “Arte Povera. A Creative Revolution” is a project Kira Dolinina. “Rembrandt and the onslaught Kira Dolinina. “A naphthalene cosmos. grim’s flask” from Andalusia with a greenish-violet pattern on in St Petersburg style. Being late in order, it gives us the opportunity of ‘Masterpieces of the Leiden Collection’ in the Hermitage”. Ilya Kabakov’s retrospective in the Hermitage”. transparent glass and a sumptuous Italian “linen bedspread with to see, as if for the first time, art of which the world tired long ago. Kommersant. 7 September 2018 Kommersant. 26 April 2018 insets of gilded lace” or a “serving dish on a leg-stand of decolo- The leaders of the “poor art” movement – rebels of the 1960s, clas- rised glass, decorated with fused milky and red threads in the fili- sic exponents of postmodernism and campaigners for contemporary This exhibition is, of course, incredible. There are very few collec- gree technique” and a Spanish “linen Sol lace woven with a nee- You would have thought it impossible not to rejoice in a retrospec- art in Italy, burdened by its rich artistic tradition, have long been tions in the world like the Leiden Collection, and it seems there are dle”. The display comprised over 70 exhibits from the Hermitage tive of Ilya Kabakov in the Hermitage. A famous museum invites part of the establishment. Their works languish in museum reposito- no longer any contemporary collections of Dutch paintings from the reserves that demonstrated the refinement of shapes and the high a famous artist. In these parts, classic contemporary artists are rare ries… St Petersburg art has always proceeded at its own pace. Mos- time of Rembrandt, Hals and Vermeer. It is now almost impossi- quality work of old masters. These objects show the similarity of or- birds. And although Kabakov has previously been exhibited in the cow attempts to keep up with topical trends. But we have an exhibi- ble to collect works by these artists and exponents of so-called re- namental patterns created by thread. In lace, thread is the mate- Hermitage, any new project is entirely appropriate here. When all tion that would have been a breakthrough in the 1960s or a notable fined painting (fijnschilderei). Most of them belong to museums, rial of which the items are made, and in glass – one of the types is said and done, he is one of the few contemporary Russian art- event in the cultural life of the 1980s and 1990s, and even now can arouse indignation in some visitors to the museum. Thank you, Her- which are hardly likely to agree to part with them. There are also of delicate décor… The works featured in the exhibition are very ists who have become stars of the international art scene. He and mitage, for educating your conservative audience. few of these paintings in private collections, and not many collectors varied, but they make it possible to see and fully appreciate the fan- the Hermitage are well matched. Ostensibly a Kabakov retrospec- are prepared to sell them. It is best not to think how much a Rem- tasy of European masters. tive is a positive event, but you are gripped by melancholy in the Stanislav Savitsky. “Poverty for beginners. General Staff Building. You cannot soothe it with any arguments – Art critic Stanislav Savitsky on the exhibition brandt would cost today. Olga Bobrova. “Fantasies of Burano and Murano”. it has taken root here for the duration of the exhibition. The melan- ‘Arte Povera. A Creative Revolution’”. Stanislav Savitsky. “A bull in addition. Sankt-Peterburskiye Vedomosti. 6 March 2018. choly is caused by a literal repeat of what made the artist and Mos- Delovoy Peterburg. 7 July 2018 Masterpieces of the Leiden Collection in the Hermitage”. cow conceptualism, of whom Kabakov was one of the founders and Delovoy Peterburg. 1 December 2018 Giuseppe Penone. Ideas of Stone – 1,372 kg of Light. leading lights, famous in the perestroika years. “Furniture for a body’s every whim”. Exhibition as part of the “Sculpture in the Courtyard” Project Stanislav Savitsky. “Boring installations: The Age of Historicism in Russia Glass Made to be Admired. Masterpieces of the 16th Heaviness and gentleness, alive and not alive, nature and civilisa- Ilya Kabakov’s exhibition in the Hermitage brought melancholy to 20th Centuries from the State Hermitage Museum tion – they are what the artist suggests we ponder on, as well as the to art critic Stanislav Savitsky”. Delovoy Peterburg. 19 May 2018 In selecting the exhibits, the curators have decided to confine them- miracle of nature, which makes it possible to “move mountains” and selves to a little-studied trend – the so-called age of historicism, The Hermitage has decided to display its most fragile exhibits overcome the force of gravity, floating in weightlessness… Accord- It would be more accurate to speak of three parts of one project, the viewed through the evolution of the interior… You are dazzled when in Maria Alexandrova’s Blue Bedroom, which is like a jewellery box. ing to the artist, each of his works changes depending on the place changes in which in three of the most important points on the muse- you see the quaint baroque shapes in the contours of soft armchairs It is actually the first time that many of these masterpieces of Rus- where it is exhibited. Now his wood and stones floating in weight- um map of the world turn out to be not variations on the same sub- alongside wooden carving in the Gothic style that gives the furni- sian and European glassware have emerged from the reserves. Their lessness enter into a dialogue with the Winter Palace, which has ject, but a series of subjects. It is a kind of analogue of Ilya Kaba- ture a mystical medieval flavour. Massive “Voltaire” chairs rub excellent current condition is the result of very painstaking recent stood on the bank of the Neva under the cold sky of St Petersburg kov’s celebrated “albums”. Just as a separate sheet in an album shoulders with furniture in the Boulle style, named after the French work by the museum’s restorers. for several centuries. is self-sufficient but is included in the overall narrative and com- cabinetmaker who expressed the tastes of the reign of the “Sun Svetlana Konokotina. “Glass Made to be Admired. Karolina Pavlova. “Stone, wood, light”. ments on it, so every exhibition exists as a separate integral state- King”. All this diversity blends perfectly into the spacious design- Masterpieces of the 16th to 20th Centuries Vecherny Peterburg. 4 April 2018. ment: viewers are not obliged to know about the display in other hall of the Manege… The educational character of the exhibi- from the State Hermitage Museum”. er museums… The centrepiece of the exhibition in the Hermitage tion is there for all to see. If visitors spend a certain time there, they will not confuse a chiffonier with a davenport desk or a cheval-glass St Petersburg TV Channel. 25 September 2018 Ilya and Emilia Kabakov. Not Everyone will be Taken turned out to be a clinch of two themes that are of great importance for Russian culture: the little man and the utopia that is supposed with a psyche mirror and will know the difference in the construc- into the Future tion of “vis-à-vis” and “tête-à-tête” armchairs. But even if you do to make him happy. The main theme of the display was construct- Imperial Capitals: St Petersburg – Vienna. This is not the first time that the Hermitage has featured Kabakov and not go into all these subtleties, the exhibition still makes you think ed on three supporting installations: The Red Carriage (1991, Dus- Masterpieces from Museum Collections his wife Emilia, who became part of the artistic brand in the 1990s. seldorf, now in the Hermitage’s General Staff Building), Labyrinth. how closely our everyday objects and view of the world are linked. In 2004 the museum staged the first major exhibition by the champi- My Mother’s Album (1990, Tate Modern) and Not Everyone will be Evgeny Avramenko. “Chiffonier and davenport. The exhibition turned out to be a more than original project suggest- on artist whose rave reviews in the West had gone off the scale. Then Taken into the Future (2001, MAK, Vienna). An exhibition of furniture in the Hermitage shows the 19th century ed to the Hermitage by the Kunsthistorisches Museum in Vienna. came the joint exhibition “Lisitsky-Kabakov”, and now a retrospec- Fourteen canvases from each of the collections had been juxtaposed Zhanna Vasilieva. “A ‘beetle’ in a communal flat’. as a crossroads of periods and styles”. tive. Plus Kabakov’s Room and The Red Carriage in a permanent so that they formed pairs by similarity of themes, the time they were Rossiyskaya Gazeta. 10 September 2018 Izvestia. 23 August 2018 Hermitage display. The title of the current exhibition “Not Every- painted or the fact that they were by the same artist. For example, one will be Taken into the Future” (the title of an essay by Kaba- one wall featured two works by Tintoretto. Painted ten years apart, Arte Povera. A Creative Revolution The Age of Rembrandt and Vermeer. kov in 1983) can now be viewed as the artist’s removal from the pic- they demonstrated how the Venetian painter’s vision had changed Masterpieces of the Leiden Collection ture: he himself became part of the history of art long ago, and who The exhibition about Italian “poor art” (Arte Povera) was very time- during that time. The organisers of the exhibition are sure that this will remain on the platform watching the train disappear is an open ly. In the forefront was its “Wikipedia” nature – 85 works by seven- It is very good for the Leiden Collection (with deliberate modesty approach makes it possible to penetrate ever deeper into an artist’s question. In this sense, any retrospective in the most prestigious and teen artists from the Gallery of Contemporary Art (GAM) in Turin named not after collectors but after the native city of Rembrandt creative laboratory, especially if they are as contrasting as Rubens’s important museum will not add much to Kabakov’s CV: exhibitions and the Castello di Rivoli Museum of Contemporary Art not far from and many artists in his circle) to be in the Hermitage, but also terri- portraits. It seems that the only similarity between the young people 86 87 TEMPORARY EXHIBITIONS TEMPORARY EXHIBITIONS in the paintings are their collars, known as “millstones”. It turns Opening of the exhibition out that the portrait of Vincenzo II Gonzaga from Vienna is only “‘Believe not thine eyes’. Trompe part of a painting. l’oeil in Art” Pavel Ryzhkov. “The leaders of Russia and Austria saw masterpieces of Western European painting at an exhibition in the Hermitage”. NTV TV Channel. 3 October 2018

The exhibition discovers parallels in the collections of the State Her- mitage and the Kunsthistorisches Museum in Vienna. The concept is original and, at the same time, simple and elegant: the two museums each selected fourteen paintings, from Renaissance to Neoclas- sicism, and paired them according to a certain criterion: similarity of themes, compositions or authorship. And they featured some famous names, such as Sandro Botticelli, Jacopo Tintoretto, Hans Holbein, Bernardo Strozzi, Pieter Paul Rubens, Frans Hals, Rem- This exhibition of the work of the 15th-century Italian Renaissance be the first to uncover the secret of an “Egyptian pyramid”, a “for- brandt, Nicolas Poussin and Antoine Watteau. There is also much master Piero della Francesca, designed by the artists Andrey She- mal dining room” or a “study-library” and share their discovery in common in the history of the two museums. liutto and Irina Chekmareva, is arranged so as to resemble a kind with others just as quickly. “Masterpieces from museum collections in Vienna of ghostly temple – a chapel with semi-transparent walls that seem Vadim Mikhailov. “Always glad to be deceived’. and St Petersburg have met in the Hermitage”. to crackle like parchment. In a cloud of matt light the art of the Re- The Art Newspaper. 5 December 2018 The Art Newspaper. 5 October 2018 naissance genius is perceived amazingly three-dimensionally, intel- ligently and complexly… The uncoordinated works in the display St Petersburg’s residents and visitors are queuing till late in the There are just 28 paintings in the exhibition: half of them from the create the possibility of finishing the building of della Francesca’s evening to see the exhibition of artistic illusions “Believe not thine Kunsthistorisches Museum in Vienna and the other half from the universe in visitors’ intellectual conjectures and emotional presen- At the exhibition “Piero della Francesca. Monarch of Painting” eyes”, which has opened in the Hermitage. Queues for the Hermit- Hermitage collection. The masterpieces from the two museums timents. age are not unusual, but the museum has even had to extend its were paired according to similarity of theme, the time they were Sergey Khachaturov. “Art as conjecture and opening hours so that everyone can see this exhibition. The display, painted or the fact that they were works by the same artist. This which features nearly 700 illusions “from art”, is now open until Delicate Designs. Fashion 1988–2018 inquiry. Two Hermitage exhibitions”. method clearly demonstrated how much there is in common between Colta Internet Portal. 24 December 2018 9pm three times a week, but the queues are still just as long. Our these two great collections, which were essentially formed in par- Delicate designs does not refer to the thickness of materials but people, as Pushkin said, like to be deceived. allel! Formal portraits of Catherine II and her elder contempo- to the difficult path of fashion in our museums. Exhibitions of fash- Anna Vetlinskaya. “When people like to be deceived’. This is the first international blockbuster in St Petersburg for about rary, Empress Maria Theresa of Austria, are reminders that the Ro- ion are still rare, even for the Hermitage. True, it is planning to cre- Interessant Internet Magazine. 11 December 2018 manovs and the Habsburgs founded these collections. ate a Museum of Fashion at Staraya Derevnya, but when will that ten years, if not much longer than that. “Blockbuster” in the best be? This exhibition can be seen as part of the preparations for that sense of the word. We have quite a lot of memorable exhibitions that Svetlana Konokotina. “The exhibition An exhibition of illusions has opened in the Hermitage. It is not event… It deliberately juxtaposes haute couture and prêt-à-porter, attract a large number of visitors. Some are staged to please the ‘Imperial Capitals: St Petersburg – Vienna’”. about vain hopes and impossible dreams. The museum has organ- St Petersburg TV Channel. 9 October 2018 but all the clothes are from the podium, i.e. have featured in fashion public, others are not only spectacular but also interesting to those who are knowledgeable about art. However, despite the fact that ised a game of deception. The exhibition is actually called “‘Believe shows. The products of 28 fashion houses provide the rare opportu- not thine eyes’. Trompe l’oeil in Art”. The definition of trompe l’oeil nity of seeing them together. we have the Hermitage in our city, a great deal is lacking to ensure Risen from the Ashes. Masterpieces from Pompeii that exhibitions like that of Piero della Francesca are not isolat- is an illusory reproduction by artistic means of objects that produce and Herculaneum. Preview of the Exhibition “Gods, Humans, Vadim Shuvalov. “Four reasons to see ed marvels… This is an almost perfect exhibition of classical art. the effect of genuine nature, not a depiction. It is art that presuppos- Heroes. From the Collection of the National Archaeological fashion in the Hermitage’. You have to think that it has appealed as never before to our pub- es a game. An illusion is not a forgery. The latter is afraid of being Museum in Naples and the Pompeii Archaeological Park” Gorod-812. 9 December 2018 lic, who appreciate traditional art more than avant-garde and con- exposed, whereas the former intends… The exhibition is structured temporary art. on the juxtaposition of real and imaginary objects. Real objects and The State Hermitage is hosting an exhibition entitled “Risen from the illusions are mixed up in the display cases, so you cannot believe Ashes. Masterpieces from Pompeii and Herculaneum” from the Na- Piero della Francesca. Monarch of Painting Stanislav Savitsky. “First and long-awaited. your eyes. Attentive reading of the labels helps to establish the truth. tional Archaeological Museum in Naples and the Pompeii Archaeo- The Hermitage has staged The sub-heading in the title of the exhibition “Piero della Frances- Ludmila Leusskaya. “Exposure intended. logical Park. It is also a foretaste of a major future exhibition: in April an exhibition of Piero della Francesca”. ca. Monarch of Painting” is largely superfluous – the classic defi- Illusions in the Small Hermitage Manege”. 2019, a display from Naples entitled “Gods, Humans, Heroes” Delovoy Peterburg. 16 March 2019 nition by the mathematician Luca Pacioli adds nothing to the fact Sankt-Peterburgskiye Vedomosti. 18 December 2018 is coming to St Petersburg and promises to be stunning… The cur- that it is now possible to see in the Hermitage a collection of works rent display includes only four frescoes, a bronze bust of Tiberius, by an artist from the very summit of the Italian Olympus. And if you “Believe not thine eyes”. Trompe l’oeil in Art a marble statue of Concordia Augusta, a Bacchus and Ariadne cameo The exhibition “‘Believe not thine eyes’. Trompe l’oeil in Art” is un- add to that the facts that there are no paintings by della Frances- and a bronze krater. All these artefacts date from the 1st century AD The Hermitage does not intend to totally deceive visitors. This like most Russian exhibitions. It has a witty and spectacular con- ca in Russia, the nearest being in Berlin, that almost all his works and are not absolutely outstanding masterpieces, and in this is their exhibition is structured as a kunstkamera-maze with tricks on cept at a time when the average exhibition here does not go beyond remain in his native Tuscany and neighbouring territories and that charm. They are of that average standard for treasures from Pompeii the shelves, with the juxtaposition of real and illusory objects – suspended descriptions and labels. On this occasion, the Hermitage Paris, Madrid, Lisbon, Washington or New York consider them- and Herculaneum that is higher than that of many individual master- to amaze people and to reveal the secret immediately by means is showing the variety of artistic illusions from its collection: from selves enormously lucky if they have just one in their collections, the pieces put together. This is because history rarely gives us the oppor- of the label and the presentation of the object. The exhibition is Ancient Egyptian funerary objects to a 3D printer that can make status of this event is obvious: it is a must-see exhibition. tunity to see a production line, not just separate valuable artefacts. about illusions that are not copies and even less fakes. Here the a copy of an Ancient Roman torso before your very eyes. Kira Dolinina. “Eruption and portrayals. Kira Dolinina. “Harmony in geometry. reckoning is on unravelling the deception, preferably in the compa- Stanislav Savitsky. “Just like the real thing. ‘Masterpieces from Pompeii and Herculaneum’ in the Hermitage”. Exhibition of Piero della Francesca in the Hermitage”. ny of those who have already been deceived, so as to be amazed by Exhibition of illusions in the Hermitage”. Kommersant. 28 November 2018 Kommersant. 8 December 2018 the artists’ skill. Or to provoke competition among visitors: who can Delovoy Peterburg. 9 February 2019 88 89 RESTORATION AND CONSERVATION RESTORATION AND CONSERVATION

In 2018 the Department of Scientific Restoration THE DEPARTMENT OF SCIENTIFIC RESTORATION AND CONSERVATION IN 2018 and Conservation restored 4,663 cultural During the year the Department of Scientific Restoration and Con- and artistic monuments servation prepared items for temporary exhibitions at the Hermit- age and elsewhere as well as for updated permanent displays. The Laboratory for Scientific Restoration of Graphic Works completed a scheduled conservation of a series of prints from Francisco Including Goya’s Caprichos series (77 prints in all). In preparation for the opening of the permanent exhibition on “The Art of the Islamic Near East: the Ottoman Empire”, a number Easel paintings 419 of exhibits made of different materials have been restored. A major project has been completed by the Ceramics Sector at the Laborato- ry for Scientific Restoration of Applied Art Objects: fifteen ceramic 1 2 Tempera paintings panels measuring from 12 × 120 cm to 77 × 100 cm were restored. 65 Apart from the restoration of the tiles themselves, a new mount- 1. Ceramic panel. ing stand had to be developed for them by removing the old wooden Before restoration framework and plaster filling which had a negative impact on the 2. Ceramic tile. Detail. Mural paintings preservation of the exhibits and distorted the historic appearance 74 During restoration, after removal of the artefact. After the restoration the tiles were re-assembled of plaster as panels and attached onto a light backing without any solution. Oriental paintings The edges of the tiles were not covered so that each panel could be 3. Ceramic tile. Detail. 20 viewed as part of the architectural mural décor rather than as sepa- During restoration, after gluing rate ornamental image. together, repair of losses and Employees at the Laboratory for Scientific Restoration of Sculpture mastic application Graphic works and Semi-Precious Stones completed, among other projects, a set 663 4. Ceramic panels on display. of maintenance measures for the Atlantes sculptures decorating After restoration 3 Sculptures and semi-precious stones 90 4 Works of applied art 2,363 Artefacts made of organic materials 285 Textiles and water-soluble paintings 114 Precious metals 228 Timepieces and musical mechanisms 16 Pieces of furniture 65 Chandeliers 59

Photographic materials 202 91 RESTORATION AND CONSERVATION RESTORATION AND CONSERVATION

Model sledging slide. Before restoration Model sledging slide. After restoration the portico of the New Hermitage. Cracks on six Atlas figures were public display for the first time. The external appearance and con- filled in with a UV-resistant material which ensures secure water- dition of the exhibit has been severely impacted by its remodelling proofing of seams. as a clock, which probably occurred around the second half – end Pride of place at the exhibition “Glass Made to be Admired. Mas- of the 19th century. Later interventions distorted the original pres- terpieces of the 16th to 20th Centuries from the State Hermitage entation of the piece and damaged the glass and metal structural Museum” was given to a model sledging slide from the collection elements, so it was decided not to reattach them following resto- of the Department of the History of Russian Culture (Imperial ration but to store them separately. As a result, the piece regained Opening of the exhibition “A Longcase Clock by Jean-Pierre Latz. Opening of the exhibition “‘…Presented to Your Imperial Majesty...’. Glassworks (?); mid-19th century). This exhibit, which integrates its complete and historically accurate appearance. On the Completion of the Restoration” Two Imperial Porcelain Manufactory Vases from the Winter Palace” various materials, was restored at different laboratories within the Three exhibitions from the cycle marking the completion of the res- Department: Laboratory for Scientific Restoration of Timepieces toration displayed the outcomes of work involving objects of fine and and Musical Mechanisms (restoration of the frame and tip); Labo- applied art. Once late overpainting had been removed, the painting and Musical Mechanisms and Laboratory for Scientific Restoration ly to share experience and discuss the problems and potential ways ratory for Scientific Restoration of Applied Art Objects (restoration Madonna in Glory by the outstanding Italian master Rosso Fioren- of Chandeliers). Two vases made at the Imperial Porcelain Manu- of addressing the matters of study of restoration of fresco paintings. of glass elements); Laboratory for Scientific Restoration of Furni- tino was restored to its original colour-scheme (Laboratory for Sci- factory and restored at the Laboratory for Scientific Restoration In 2018 the scope of the joint project of the State Hermitage and ture (production of a wooden support); Laboratory for Scientific entific Restoration of Tempera Painting). The restoration of a long- of Applied Art Objects were on display at the exhibition “…Present- Coca-Cola called “Let’s Preserve Cultural Heritage Together” was Restoration of Textiles and Water-Soluble Paintings (production case clock by Jean-Pierre Latz also completed for the exhibition ed to Your Imperial Majesty...” expanded to Russia’s Eastern regions. Hermitage restorers held of a flag). The artefact has not been previously published and is on in this cycle (Laboratory for Scientific Restoration of Timepieces In July 2018 a joint Russo-Italian seminar on “Topical Issues of some master classes at the Omsk Vrubel Regional Museum of Fine Restoration of Fresco Painting” was held in Veliky Novgorod. It was Arts (restoration of metal objects), National Museum of the Repub- organised by the State Hermitage, the Hermitage • Italy Centre and lic of Buryatia, UIan-Ude (restoration of easel paintings), Primor- the Novgorod State Integrated Museum-Reserve. Among the par- sky State Picture Gallery, Vladivostok (restoration and conserva- ticipants were Russian and Italian experts in fresco painting; some tion of Oriental paintings). Traditionally, such events get together of the papers were presented by art restorers from the State Hermit- experts from various museums to teach a theory course and hold age. Holding this seminar allowed colleagues from Russia and Ita- practical restoration workshops.

Rosso Fiorentino. Madonna in Glory. Rosso Fiorentino. Madonna in Glory. Opening of the exhibition “Rosso Fiorentino’s Joint Russian-Italian seminar on “Topical Issues of Restoration Master class on restoration and conservation of easel paintings. Before restoration After restoration Madonna in Glory. On the Completion of Fresco Painting”. Veliky Novgorod National Museum of the Republic of Buryatia, Ulan-Ude of Conservation” 92 93 RESTORATION AND CONSERVATION RESTORATION AND CONSERVATION

tion, Conservation and Storage Centre. Starting from the 2017/18 academic year, a new club for high-schoolers called “Masterpieces Seen through a Restorer’s Eyes” has been operating in the museum. Schoolchildren have a chance to learn at different laboratories, get to know the work of restorers and find out about the conservation and restoration of works of art and cultural artefacts.

JADWIGA JAGIELLONKA’S CHEST Nuremberg, Germany. 1533 Silver, gold, diamonds, rubies, sapphires, emeralds, pearl, semi-precious Master class on restoration and conservation of Oriental paintings. The Hermitage School of Restoration. Practical seminar stones; carving, embossing, polishing Primorsky State Picture Gallery, Vladivostok on “Restoring Museum Exhibits Made of Wood: Dry Archaeological 42 × 24 × 26.2 cm Wood and Ethnographic Items”. The East Crimean Historical Inv. No. Э-2627 and Cultural Museum-Reserve (Kerch) Curator: O. Kostyuk Jadwiga Jagiellonka’s chest. Before restoration Restorer: I. Malkiel Within the scope of the Hermitage School of Restoration pro- For the eighth time the Hermitage participated in the Restau- One of the most striking Renaissance artefacts and an example gramme, work placements were organised for areas which are ro-MUSEI Salon of the Art of Restoration and Conservation of magnificent production of Nuremberg masters. The chest was the most relevant and in-demand for regional experts. The East of the Cultural and Economic Heritage in Ferrara, Italy (Restauro- made using various jewellery techniques. It is decorated with gilded Crimean Historical and Cultural Museum-Reserve (Kerch) was Musei). Among the events were master classes on restoration and silver plates with an embossed leaf pattern and onlays shaped like used as the base for the practical seminar on “Restoring Museum conservation of the paper base of printed graphics and book sheets; crosses, rings, pendants and earrings made of gold, pearl, precious Exhibits Made of Wood: Dry Archaeological Wood and Ethno- a master class on “The Russian Mosaic Technique”, and a scientific and semi-precious stones. The master decorated the chest with graphic Items”. An important learning factor was the opportunity restoration seminar with papers presented by employees of the De- cameos and out-of-fashion ornaments, which makes it a special to complete an entire working cycle: photography, study, practical partment of Scientific Restoration and Conservation. artefact, extremely important for the understanding of the history steps, preparation of conservation documentation. For restorers The Laboratory for Scientific Restoration of Precious Metals was of the European jewellers’ craft. in the Urals region, a master class was held at the Sverdlovsk Re- involved in the running of the State Hermitage stand at the Inter- The chest formed part of the dowry of Jadwiga Jagiellonka, daugh- gional Local History Museum on “Undertaking Pre-Restoration museum 2018 Festival. Visitors were able to take part in master ter of King Sigismund I of Poland. It is likely that it arrived in Rus- Studies in the Lab”. Its purpose was to offer an opportunity of fur- classes on working with cold enamels and pneumatic engraving. sia after the marriage of Peter the Great’s son Tsarevich Alexei ther training to museum restorers and provide methodological An electronic microscope used in the study and restoration of mu- to Sophie Charlotte of Wolfenbüttel, as part of the dowry brought advice and consultations on the chemical and technical investi- seum pieces was also on display. by the princess who counted Jadwiga Jagiellonka as her direct gations that are necessary during the preparation and completion The “Reviving the Past” programme is still running; it involves lec- ancestor. of restoration. tures as well as visits to labs in the “Staraya Derevnya” Restora- Visual observation of the artefact revealed traces of previous restoration and repair attempts, damage to the structure, chippings, cracks and defects on the polychrome enamel, tears and losses of metal ornaments, deformities of gilded elements and fittings; the Jadwiga Jagiellonka’s chest. After restoration jewel mounts were unstable. After a lengthy study and recording period, restorers disassembled all elements of the item, straightened the deformed decorative onlays, restored some of the gilding, conserved the mounts holding the onlays in place and reinforced the enamel with polymers. A laser set was used to weld together the tears and cracks. The jewels were made secure in their settings. After the restoration, the exhibit took its due place in the permanent exhibition of the Treasure Gallery.

The State Hermitage stand at the Intermuseum 2018 Festival. The State Hermitage stand at the Intermuseum 2018 Festival. Jadwiga Jagiellonka’s chest. Details. After restoration Master class on working with cold enamels Demonstration of the electronic microscope used in the study and restoration of museum pieces

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KARL BRYULLOV (1799–1852) PORTRAIT OF GRIGORY, EVGENY, LEV AND THEOPHILE GAGARIN 1824 Oil on canvas 36.5 × 47.5 cm Inv. No. ЭРЖ-3441 Curator: Yu. Gudymenko Restorer: A. Krupenko

The painting is traditionally dated to 1824. In 1905 it was a gem of the Karl Bryullov section at the famous Taurida Exhibition, after which it disappeared from the knowledge of experts for over a hundred years. A surviving photograph taken in the same year, 1905 (which matches the Hermitage painting perfectly) allowed researchers to see the portrait reproduced in the consolidating monograph by E. Atsarkina on Karl Bryullov (Atsarkina, E.N. Karl Karl Bryullov. Portrait of Grigory, Evgeny, Lev and Theophile Pavlovich Bryullov. Life and Work. Moscow, 1963). The illustration Gagarin. Before restoration was marked as “Location unknown”. The portrait of the Gagarin children attracted attention in the early 2010s. This was the time when the provenance of the painting was studied and first attempts were made to prove its attribution to Karl Bryullov. Despite the fragmentary evidence, the post- revolutionary history of the painting was at least partially revealed. In 1919 the portrait was transferred to the State Museums Fund from the collection housed with Andrey Gagarin at Flat 31, 26–28 Kamennostrovsky Prospekt. The archival file called “A Description of Paintings and Other Chattels Belonging to Prince Gagarin” had the following entry under No. 11: “Bryullov (signed on reverse); four children’s heads among clouds. Oval painting in a gilded frame”. This is followed by a lacuna in the provenance of the painting, which is nevertheless easy to fill in. The painting could only have got to the Hermitage through the History and Everyday Life Department of the State Russian Museum, which became the foundation of the Hermitage Department of the History of Russian Culture. After it was received by the Hermitage in 1941, the painting was moved Karl Bryullov. Portrait of Grigory, Evgeny, Lev and Theophile to the easel painting restoration laboratory: it had neither frame Gagarin. After restoration nor stretcher, which would probably have contained its attribution to Karl Bryullov as well as various museum marks. The canvas, which was badly soiled and torn in many places, was designated for At the art restoration stage the old yellow varnish was gradual- experimental work. After a technical restoration the painting was ly thinned out (over the entire surface). Because of poor adhesion stored in the workshop for many years as an anonymous work. of oil ground graphite used by Bryullov to frame his painting, larger In 2017 it was decided that a full set of restoration and conser- amounts of varnish were left in these areas. Old mastics which had vation measures was called for. No information on previous ex- been applied over the original painting (where the canvas had been perimental work has survived. The canvas had been kept with- torn many times) were gradually dissolved. The work was carried out a stretcher for a long time, the original edges were missing, out under the Leica MZ 6 microscope (25× magnification). After which deformed the painting severely. The old backing canvas was conservation priming was applied, the image within the oval was a standard tabby weave, rougher and covered with a thick hard covered with a mastic varnish and tinted with Maimeri Restauro layer of animal glue. paints. During the restoration the canvas was studied under visible UV After the artistic restoration the painting regained its original col- luminescence which revealed areas worn down to the base layer and our scheme and warm and cold ratio; the magnificent craftsman- priming, as well as a thick layer of uneven yellow old varnish. ship became even more striking. Karl Bryullov’s authorship was At the technical restoration stage the pigment layer was reinforced finally confirmed by infrared studies of the work. Some inpaintings and the canvas was stretched over a temporary stretcher using over the lost paint layer were revealed, as well as a fairly detailed craft edges. The old backing canvas and glue were removed and the preparatory pencil drawing, which was clearly the work of a major multiple tears of the backing were repaired. The canvas was placed master, with beautiful and shapely lines. In the lower right-hand on a backing identical to the original one: 16 × 16 threads over part, a pencil trial sketch of a child’s face was discovered under 1 cm2; the painting was placed on a new stretcher. a layer of paint which served the artist as a palette.

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JJ PUBLICATIONS OF 2018 CATALOGUES OF TEMPORARY EXHIBITIONS

Publishing and the Revolution. Publications of 1917–1922 from the State Hermitage Museum’s Holdings: exhibition catalogue. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 440 p.: ill. ISBN 978-5-93572-793-2 CATALOGUES OF COLLECTIONS Catalogue of a temporary exhibition devoted to publishing in Russia in the early years after the revolution. The catalogue includes books, periodicals and posters issued between 1917 and 1922 by state, French Painting Fifteenth – Seventeenth Centuries: catalogue of the collection. N.K. Serebrianaia; private and cooperative publishing houses, as well as by scientific, cultural and educational institutions. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 496 p.: ill. It particularly highlights the publishing activity of the Hermitage, which issued exhibition catalogues, academic works by staff members and guides to the collections. Most of the books were published ISBN 978-5-93572-811-3 in Moscow and Petrograd, but there are also examples from some peripheral and foreign publishers. The first full publication of the Hermitage collection of French painting from the 15th to 17th centuries. The subject matter of most of the publications highlights various aspects of culture and artistic life. The previous catalogue published in 1908 included less than half of the current collection, which has Many of the books featured in the exhibition are bibliographical rarities. been increased substantially by the acquisition of nationalised private collections in the 1920s and 1930s and by later purchases. The museum’s permanent display features approximately one third of the works. In recent decades many of the paintings in the Hermitage reserves have been displayed in Russia and abroad and have been published in exhibition catalogues, but more than 60 works that were previously unknown to the general public are published or reproduced here for the first time. Fantasia in Threads. Western European Lace and Glass of the 16th to 19th Centuries: exhibition catalogue. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 208 p.: ill. ISBN 978-5-93572-771-0 The exhibition catalogue acquaints readers with two types of applied art – lace and glass – from the State Hermitage collection. The items made in Western Europe from the 16th to 19th centuries are Paintings from Scandinavia and Finland, Eighteenth – Twentieth Centuries: catalogue linked by the similarity of their ornamental patterns made with thread. In lace it is the basic material of the collection. A.A. Babin, E.P. Renne; State Hermitage – St Petersburg: State Hermitage out of which the objects are made, and in glass it is one of the types of fine decoration. The thread in this Publishers, 2018 – 184 p.: ill. union managed not only to combine such different items, but in each of them to emphasise the elegance, ISBN 978-5-93572-810-6 exquisite shape and fantasy in the creation of the patterns. This is the first time that the Hermitage collection of paintings by Scandinavian and Finnish artists has been published in full. It is less extensive than the collections of works from other European schools, but is undoubtedly of interest. It includes paintings that are well known outside Scandinavia by artists who were fashionable in their time – the Swede Alexander Roslin, the Dane Laurits Tuxen, the Finn Albert Edelfelt and the Norwegian Frits Thaulow, as well as works by artists who have left an important legacy in the history of Russian art but are rarely seen in European museums: the Dane Vigilius Eriksen, who Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future: exhibition catalogue. painted the best portraits of Catherine II in the early years of her reign, and the Swede Benjamin Paters- Moscow, 2018 – 256 p.: ill. en, whose works are an excellent way for people to get an idea of St Petersburg and its inhabitants in the ISBN 978-5-89580-213-7 18th century. The catalogue also includes canvases by 20th-century Scandinavian artists who worked in Conceptualists Ilya and Emilia Kabakov are among the most celebrated contemporary artists of their various genres. Many of the pictures have never previously been published. generation. Widely known for their nonconformist installations and their work with fictional characters, they tackle universally important subjects such as utopia and the conditions of human existence. The catalogue encompasses almost six decades of the artists’ work. The publication, whose album section contains over a hundred illustrations to accompany quotes from Ilya Kabakov, examines in detail the Kabakovs’ innovative and original approach to art. Byzantine Weight Units: catalogue of the collection. V.V. Guruleva; State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 136 p.: ill. ISBN 978-5-93572-812-0 A complete scholarly publication of the Hermitage collection of Byzantine exagia and weights, made in Constantinople and other centres in the empire primarily in the 6th and 7th centuries. These artefacts of numismatic metrology were intended for checking the weight of gold coins – essential at that time owing Mihály Munkácsy: exhibition catalogue. State Hermitage – St Petersburg: State Hermitage to the imperfection of minting, which had led to various instances of abuse and fraud. The Hermitage Publishers, 2018 – 120 p.: ill. collection comprises 284 weights, making it one of the most representative museum collections in the ISBN 978-5-93572-780-2 world. The collection was started in the late 19th to early 20th century, when weights began to be of This scholarly catalogue, published to accompany a temporary exhibition in the State Hermitage, fea- interest to collectors and the first scholarly publications appeared, and was finally formed in the first tures the work of the best-known Hungarian artist Mihály Munkácsy (1844–1900), who was active half of the 20th century. in the second half of the 19th century. The exhibition comprised 65 paintings from the Hungarian Na- tional Gallery in Budapest and the private collection of Imre Pakh, including two vast canvases from the trilogy about Christ that brought Munkácsy worldwide fame. The catalogue includes introductory articles and annotations of the master’s most important works.

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The Lombards. A People who Changed History: exhibition catalogue. State Hermitage – The Age of Rembrandt and Vermeer. Masterpieces of the Leiden Collection: exhibition catalogue. St Petersburg: State Hermitage Publishers, 2018 – 464 p.: ill. Moscow, 2018 – 256 p.: ill. ISBN 978-5-93572-783-3 ISBN 978-5-4330-0111-4 The exhibition catalogue describes Italian works of applied art and jewellery from the time of the Lom- The catalogue accompanied a temporary exhibition devoted to 17th-century Dutch art, the age of Rem- bards – a Germanic tribe that settled in the Apennine Peninsula in the second half of the 6th century, brandt and Vermeer, staged in the State Hermitage and in the Pushkin State Museum of Fine Arts as well as manuscript and epigraphic documents from early medieval Italy. The exhibits encompassed in Moscow. The display featured 82 works by prominent Dutch artists from the Leiden collection a period of almost 500 years, beginning with items of material culture of the Italian Goths – the pre- (the private collection of Thomas Kaplan and Dafna Recanati-Kaplan). decessors of the Lombards (late 5th to 6th century) and finds from the first settlements and necropo- lises of the Lombards themselves and ending with materials from the time of the Carolingian conquest and the start of the formation of medieval Lombardy (8th to 9th century). Almost all the exhibits were on display in Russia for the first time.

Glass Made to be Admired. Masterpieces of the 16th to 20th Centuries from the State Hermitage Museum: exhibition catalogue. State Hermitage – St Petersburg: State Hermitage Publishers, Arte Povera. A Creative Revolution: exhibition catalogue. State Hermitage – St Petersburg: 2018 – 228 p.: ill. State Hermitage Publishers, 2018 – 120 p.: ill. ISBN 978-5-93572-796-3 ISBN 978-5-93572-792-5 The exhibition catalogue features examples of Western European and Russian glassmaking. The display The catalogue was published for a temporary exhibition organised by the State Hermitage in conjunc- included over 90 pieces from the Department of Western European Applied Arts and the Department tion with the Castello di Rivoli Museum of Contemporary Art and the Gallery of Modern Art in Turin. of the History of Russian Culture, demonstrating the diversity of decorative design of glassware: ele- The exhibition included over 50 works representing Arte Povera (Poor Art), from its inception at the gant Venetian glass, massive German wine glasses, skilfully engraved goblets and cups made in Russia turn of the 1960s and 1970s to the present day. The movement’s artists strove to emphasise mankind’s and in Europe, vases, jewellery with glass insets and mosaic pictures. The exhibition provided a unique link with nature at a time when industrial production had alienated city-dwellers from the natural envi- opportunity to show masterpieces of artistic glass that had never previously been displayed on account ronment and mass consumerism had become the defining factor in life. Representatives of Arte Povera of their state of preservation. used non-traditional materials, frequently combining products of industry with natural elements. Their use of non-trivial techniques harks back to traditional crafts, the importance of which was stressed by the artists.

Imperial Capitals: St Petersburg – Vienna. Masterpieces from Museum Collections: exhibition catalogue. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 108 p.: ill. ISBN 978-5-93572-806-9 Art Deco. Books from the Collection of Mark Bashmakov: exhibition catalogue. State Hermitage – The catalogue accompanied an exhibition of works from two outstanding European collections of paint- St Petersburg: State Hermitage Publishers, 2018 – 400 p.: ill. ings: the State Hermitage and the Kunsthistorisches Museum in Vienna. The catalogue includes infor- ISBN 978-5-93572-808-3 mation about the history of these major imperial collections and features 28 paintings by famous West- The catalogue accompanied a temporary exhibition in the State Hermitage – the first time that Russian ern European artists from the 15th to 18th centuries. The paintings are arranged in pairs – one from visitors had had the opportunity to see books in the French art deco style that showed the phenomenon each museum. By comparing them, readers can penetrate more deeply into the concepts of the artists in a broad historical context. The introduction to the catalogue examines art deco as an artistic move- and the methods they used to bring them to fruition. ment, the characteristics of the art deco book and its place in the history of late 19th- to early 20th-century art. The catalogue itself consists of five sections, each with a short foreword. The descriptions contain basic information about the exhibits and comments on them.

At the Dawn of Islamic Art. A Dish from the Al-Thani Collection: exhibition catalogue. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 64 p.: ill. ISBN 978-5-93572-818-2 “Furniture for a body’s every whim”. The Age of Historicism in Russia: exhibition catalogue. The publication acquaints readers with a fascinating artefact – a dish from the Al-Thani collection made N.Yu. Guseva; State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 320 p.: ill. just before the rise of Islam or in the early centuries of its supremacy in the Middle East. The dish ISBN 978-5-93572-803-8 is richly decorated with depictions in the technique of incrustation with silver, copper and iron. The décor Catalogue of an exhibition devoted to the age of historicism in Russia. With the beginning of the reign features motifs influenced by the abundant flora and fauna of the Nile valley, going back to the ancient of Nicholas I in 1825, the all-embracing classicist style was replaced by enthusiasm for the culture of var- period. The development of Hellenistic motifs in provinces of the Byzantine Empire was not interrupted ious countries and peoples of the past. The main part of the exhibits, many of which had been brought into by the rise of the Arab caliphate in the 7th century and served as the basis for the formation of Muslim the scholarly domain for the first time, consisted of chairs, armchairs, divans and couches – everything culture. The complex occurrences in the development of art in the Middle East just before the emergence that contemporaries had associated with the creation of comfort for society life. Pieces surviving from of Islam and in the first centuries after the Arab conquest were illustrated in the exhibition by artefacts the authentic furnishings of the Winter Palace are of particular importance in this regard: they served as from the Hermitage collection. fashion pointers in the sphere of artistic creativity. This panoramic view of the Russian furniture market is complemented by prints acquired by the museum from the archives of the capital’s upholstery workshops, as well as watercolours and drawings made in various European countries for Russian customers.

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The Hermitage Library. Pages from Recent History (1918–2018): exhibition catalogue. Rudolph Wilde (1868–1938). Porcelain, Glass, Graphics: exhibition catalogue. State Hermitage – State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 224 p.: ill. St Petersburg: State Hermitage Publishers, 2018 – 236 p.: ill. (“Christmas Gift” Series) ISBN 978-5-93572-801-4 ISBN 978-5-93572-819-9 The catalogue was published for an exhibition marking the centenary of the founding of the State Her- Catalogue of an exhibition in the “Christmas Gift” series devoted to Rudolph Wilde, a graduate of the mitage Library. The display included around 160 exhibits of different kinds – books, documents, graphic Baron Stieglitz Central School of Technical Drawing who was head of the painting workshop in Russia’s and applied art – from the library’s reserves and from other departments of the museum: the Department oldest porcelain manufactory for almost 30 years and made decorative sketches for glass and porcelain. of the History of Russian Culture, the Imperial Porcelain Manufactory Museum and the Department The catalogue features the artist’s design graphics for imperial crystal and porcelain vases in the Art of the History and Restoration of Architectural Monuments. Some of the publications were genuine Nouveau and neo-Russian styles, for various types of propaganda porcelain and vases with fantastic examples of book art; most of the exhibits were large-circulation publications from the Soviet period. landscapes in the underglaze painting technique gravitating towards the art deco style, as well as pieces However, the value of each exhibit lies in its participation in the history of the Hermitage, the Hermitage made to his sketches. The display included exhibits from the State Hermitage, the State Russian Muse- Library and the museum’s staff. um, Pavlovsk State Museum-Reserve and the Elagin Island Palace-Museum.

Brush and Qalam. 200 Years of the Collection of the Institute of Oriental Manuscripts: exhibition catalogue. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 360 p.: ill. + album The Hermitage in Photographs – 2018: exhibition catalogue. State Hermitage – St Petersburg: (360 p.) State Hermitage Publishers, 2018 – 224 p.: ill. ISBN 978-5-93572-824-3 ISBN 978-5-93572-828-1 Catalogue of an exhibition marking the 200th anniversary of the Asiatic Museum (the Russian Academy Catalogue of photographs recording various events in the diverse life of the museum. of Sciences Institute of Oriental Manuscripts), acquainting readers with selected examples of manuscripts and woodcuts of peoples of the East whose literary cultures have spread from Europe to Japan during the last two millennia. The exhibits were grouped in three large sections: Near and Middle East, India and Central Asia, Far East. The catalogue features 200 exhibits: literary works from the collection of the Institute of Oriental Manuscripts and objects of material culture from the Hermitage collection connected with the production and history of books. The publication is in two parts: the catalogue itself, reflecting the structure of the exhibition, and an illustrated appendix focusing on interesting details and highlighting the beauty of literary miniatures and calligraphy.

Tatiana Chapurgina’s Porcelain Fashion: exhibition catalogue. State Hermitage – St Petersburg: CATALOGUES OF THE HERMITAGE EXHIBITIONS ON LOAN Propilei Publishing House, 2018 – 168 p.: ill. ISBN 978-5-93572-817-5 Catalogue of a monographic exhibition by the textile and porcelain artist and sculptor Tatiana ABROAD Chapurgina, featuring more than 90 of her works from the last two decades. They include not only traditional porcelain items – vases, bottles and crockery, but also objects of interior furnishing – tab- letops and mirror frames, porcelain panel-carpets – and several collections of porcelain dresses and accessories. Katarina Velika. Klovićevi Dvori Gallery, Zagreb, 2018 – 344 p.: ill. ISBN 978-953-271-110-3 Catalogue of the exhibition “Catherine the Great – Empress of all the Russias. From the Collection of the State Hermitage”, devoted to the Russian empress and her time. The display included over a thousand exhibits from the Hermitage: painting and graphic art, sculpture and decorative applied art – items “Believe not thine eyes”. Trompe l’oeil in Art: exhibition catalogue. State Hermitage – St Petersburg: of silver, porcelain, gems and glass; costumes; numismatic items; examples of weapons. State Hermitage Publishers, 2018 – 504 p.: ill. ISBN 978-5-93572-802-1 The catalogue features exhibits from the Hermitage collection – around 700 works in all, demonstrating the history of the origin of imitations in the culture of Ancient Egypt, Ancient Greece and Rome; highlighting the heyday of trompe l’oeil in the art of the New Age (17th and 18th centuries); tracing their Hermitage • Amsterdam, general evolution right up to the early 20th century. The exhibition was the first all-embracing display Classic Beauties. Artists, Italy and the Aesthetic Ideals of the 18th Century. 2018 – 208 p.: ill. of various types of deception in pictorial and applied art: trompe l’oeil – works creating the illusion of volume and three-dimensional space; imitation of materials – objects that appear to be made of differ- ISBN 978-90-78653-74-5 ent materials (wood, stone, metal, etc.); imitation of objects – objects taking on the appearance of other Catalogue of an exhibition in the Hermitage • Amsterdam Centre. The display, which described the objects (books, fruit, flowers). These groups of deceptions have a common aim – to create illusions beginnings of the neoclassical style, the lives of the artists and those who commissioned works of art, of the real world by artistic means. The illustrated publication contains original articles and a catalogue included over 50 paintings and sculptures that are the pride of the State Hermitage collection. of all the exhibits in the display by sections: Ancient Egypt, Ancient Greece and Rome, Europe and Rus- sia and the Far East. 102 103 PUBLICATIONS PUBLICATIONS

Masters of Modern Art from the Hermitage. Art Gallery of New South Wales, Australia, 2018 – Venezia e San Pietroburgo. Artisti, principie e Mercanti. Centro Culturale Candiani, Venezia, 2018. – 200 p.: ill. 176 p.: ill. ISBN 978-174-174-142-1 ISBN 978-88-32066-06-7 Illustrated catalogue. The display, which treated the rise of modernism as a cultural-historical phenom- Catalogue of an exhibition that featured seventy works from the State Hermitage collection, including enon, featured works by great French masters and their famous Russian contemporaries. twenty works by the greatest artists of the Italian Renaissance in the 15th and 16th centuries.

Die Eremitage zu Gast. Old Masters from the Hermitage. Kunsthistorisches Museum, Vienna, ROUND RUSSIA 2018 – 152 p.: ill. ISBN 978-3-99020-172-5 Russian Portraiture from the 18th to Early 20th Centuries: exhibition catalogue. St Petersburg: Catalogue of the exhibition “Old Masters from the Hermitage. Masterpieces from Botticelli to Van Slavia Publishing House, 2018 – 108 p.: ill. Dyck”. The exhibition included works by Botticelli, Tintoretto, Rembrandt and Van Dyck, providing an ISBN 978-5-9501-0276-9 overall idea of the development of Western European painting from the Renaissance to the early neo- Catalogue of an exhibition from the State Hermitage collection staged in the Hermitage • Vyborg Cen- classical period. The display was structured on the comparison of paintings: fourteen harmonious pairs tre, comprising 75 examples of Russian portrait painting. They included works by renowned masters: that emphasised the similarity of the two museums’ collections. Fourteen masterpieces from the Her- Ivan Vishnyakov, Alexey Antropov, Dmitry Levitsky, Vladimir Borovikovsky, Orest Kiprensky, Karl mitage collection entered into a dialogue with canvases from the Kunsthistorisches Museum in Vienna. Bryullov, Ivan Kramskoy, Nikolay Ge, Valentin Serov and Dmitry Milioti, as well as by foreign artists who worked in Russia. Along with well-known canvases, the exhibition featured 36 paintings restored in the last ten years, some of them with new attributions as a result of research.

Un rêve d’Italie. La collection du marquis Campana. Musée du Louvre, Paris, 2018. – 608 p.: ill. ISBN 978-2-35031-638-3 ISBN 978-2-35906-250-2 Imperial Gifts. Jewels from the State Hermitage Collection: exhibition catalogue. Kazan Kremlin Exhibition catalogue. The exhibits included terracotta, vases, armaments, ancient and Renaissance State Historical, Architectural and Artistic Museum-Reserve – Kazan, 2018 – 52 p.: ill. sculpture and paintings – a total of around 12,000 items from the famous collection, some of which – The catalogue includes 25 items of jewellery from Peter I’s time to the reign of Nicholas II. The jewels – primarily antiques – were purchased for the Imperial Hermitage in 1861. official, diplomatic or personal gifts – are interesting from both an artistic and an historical point of view.

FUTURUINS: The Future of Ruins and Ruins of the Future. Museo Fortuny, Venezia, 2018 – 256 p.: ill. ISBN 978-88-98488-46-9 “FUTURUINS”, a joint project by the State Hermitage and the Museo Fortuny, symbolised the infinite The Furious Son of Zeus. Head of Ares. Exhibition of a Single Masterpiece from the State Hermitage. spiral of time in which ruins are an image of the eternal struggle and an unbroken link between past and L.I. Davydova – Vladivostok, 2018 – 40 p.: ill. present, life and death. The catalogue is organised on a thematic basis and includes the following sec- ISBN 978-5-6041279-1-9 tions: Fragments. Time. Layers, The Aesthetic of Ruins and Construction. Destruction. Reconstruction. The book is the latest in a series of publications for the annual exhibitions of a single masterpiece from the State Hermitage collection in the Primorsky State Picture Gallery. In 2018 the period of Ancient Rome was represented by the Head of Ares, a 2nd-century sculpture based on Greek examples from the 420s BC. The book contains a detailed analysis of the sculpture in the cultural-historical context of the time.

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A Joy for All the Senses. 16th- to 19th-Century Western European Still Life from the State BROCHURES FOR EXHIBITIONS Hermitage Collection: exhibition catalogue. [State Hermitage; article by N.I. Gritsay; annotations by I.S. Artemyeva and others; working group: I.N. Andretsov and others] – Belgorod; Kursk, 2018 – “Furniture for a body’s every whim”. The Age of Historicism in Russia. N.Yu. Guseva; State 112 p.: ill. Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 72 p.: ill. The publication accompanied an exhibition staged in the Deyneka State Picture Gallery in Kursk. ISBN 978-5-93572-806-9 The album includes still life works from the Dutch, Flemish, Italian, French and German schools from Brochure describing furniture made in the historicist style that came into fashion during Nicholas I’s the Hermitage collection of Western European art that were featured in the exhibition. reign.

Studying Michelangelo. S.O. Androsov, Z.V. Kuptsova, L. Pulli; State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 44 p.: ill. ISBN 978-5-93572-814-4 Brochure published for an Hermitage exhibition where the central exhibit was a drawing of The Cru- cifixion of Christ from the British Museum. The famous graphic composition, drawn by Michelangelo The Art of the Portrait: exhibition catalogue. St Petersburg: Slavia Publishing House, 2018 – Buonarotti as a gift to his long-standing friend the poetess Vittoria Colonna, Marchioness of Pescara, 240 p.: ill. influenced the development of a new iconography that reflected the aesthetic ideas of the late 16th ISBN 978-5-9501-0290-5 to early 17th century. Catalogue of an exhibition in the Hermitage • Kazan Centre, tracing the development of the portrait genre in the history of world art. The catalogue includes works from the Ancient East, the Ancient Period, the Middle Ages, the Renaissance, the New Age and modern times from three cultural-historical regions: Eastern countries, Western countries and Russia. The State Hermitage collection provides the unique opportunity to demonstrate the diversity of the genre in various types of art: painting, sculpture, graphic art, numismatics, applied art and photography. “Believe not thine eyes”. Trompe l’oeil in Art. I.R. Bagdasarova, N.Yu. Bakhareva; State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 80 p.: ill. ISBN 978-5-93572-826-7 The brochure gives a short concept of the exhibition, traces the origins of illusions and describes their various forms: architectural illusions, trompe l’oeil, imitations of materials and objects.

St Petersburg. Images of the City: exhibition catalogue. St Petersburg: Slavia Publishing House, 2018 – 84 p.: ill. ISBN 978-5-9501-0292-9 Catalogue of an exhibition held in the Hermitage • Vyborg Centre, including paintings and works “…Presented to Your Imperial Majesty…”. Two Imperial Porcelain Manufactory Vases of graphic art, panoramas of St Petersburg and views of well-known buildings by artists of various from the Winter Palace. Legends, History, Restoration. Ya.E. Vilensky, S.A. Kutergin; times, urban sketches, models of monuments, costumes by Russian and European masters, commemo- State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 28 p.: ill. rative tokens and books about St Petersburg. ISBN 978-5-93572-827-4 Brochure devoted to the manufacture, history and restoration of two vases from Alexander I’s reign that have never left the imperial residences in over 200 years. For a long time it was thought that these vases, along with two others that have been in Pavlovsk Palace since 1803, were made at the Sèvres Porcelain Manufactory in France. A study of the vases in the two museums, inventory books of palace property and other archive materials has led to the conclusion that the vases in the Hermitage are unique pieces made The World of the Russian Nobility. Festivities and Ceremonies: exhibition catalogue. St Petersburg: at the Imperial Porcelain Manufactory in the early 19th century. Slavia Publishing House, 2018 – 112 p.: ill. ISBN 978-5-9501-0294-3 Catalogue of an exhibition staged in the Yusupov Palace. The display, based on materials from the State Hermitage, included more than a hundred items, most of which had come from the Yusupov collection. The exhibits immersed visitors into the atmosphere of the festive and ceremonial life of St Petersburg Acquaintance with Piero della Francesca. T.K. Kustodieva; State Hermitage – St Petersburg: high society, demonstrating the variety of ball costumes and accessories, recounting some aspects of ball State Hermitage Publishers, 2018 – 68 p.: ill. etiquette and describing famous balls in an historical style. In chronological terms, the exhibition en- ISBN 978-5-93572-825-0 compassed the period from the 1820s to the 1910s. Some of the exhibits were on display for the first Brochure published to accompany the Hermitage exhibition “Piero della Francesca. Monarch of Paint- time. ing”, examining the principal works and the characteristics of Piero della Francesca’s brilliant individ- uality in the context of early Renaissance painting.

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Transactions of the State Hermitage: [T.] XCII: Heraldry: Theory and Practice: Conference to mark the 25th anniversary of the re-creation of the Heraldic Service of the Russian Federation. 20–22 February 2017. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 246 p.: ill. ISBN 978-5-93572-777-2 The publication includes articles covering various aspects of the study of heraldry in the Russian Feder- ation. Particular attention is devoted to the development of the Heraldic Service since its re-creation in 1992. It also examines matters concerned with the history of Russian and world heraldry, the formation and practical use of contemporary departmental and territorial heraldry. It is the first time that many of the materials have been brought into the scholarly domain.

STATE HERMITAGE REPORTS Transactions of the State Hermitage: [T.] XCIII: The Imperial Porcelain Manufactory. History. Reports of the State Hermitage Museum. State Hermitage – St Petersburg: State Hermitage Names. Collections: Proceedings of conferences. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – Vol. LXXVI – 136 p.: ill. (in Russian) Publishers, 2018 – 272 p.: ill. ISBN 978-5-93572-789-5 ISBN 978-5-93572-770-3 The publication sums up the results of two conferences held in the Hermitage on 20 November 2014 and 20 November 2015. It highlights the manufactory’s activity at various stages in its history, including Reports of the State Hermitage Museum. State Hermitage – St Petersburg: State Hermitage the names of the masters, artists and other specialists who created the glory of Russian porcelain, the Publishers, 2018 – Vol. LXXV – 200 p.: ill. (in English) ways in which the collections were formed and their subsequent history. Newly rediscovered archive doc- ISBN 978-5-93572-799-4 uments have made it possible to bring a number of new facts from the history of the celebrated porcelain manufactory’s works into the scholarly domain for the first time.

Reports of the State Hermitage Museum. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – Vol. LXXVI – 136 p.: ill. (in English) ISBN 978-5-93572-829-8 Reports of the State Hermitage is an annual publication informing readers about the latest results of the museum’s scholarly, curating, restoration and exhibition activities. The materials include mainly Transactions of the State Hermitage: [T.] XCIV: Materials and research of the Numismatics studies of individual works and collections in the Hermitage – publications of artefacts previously un- Department: Based on proceedings of the conference “Sphragistics, Numismatics and Heraldry known to a wide circle of researchers and updates of traditional attributions, datings and interpretations in the Medieval Crimea”. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – in the light of modern science. Special sections are devoted to the museum’s most significant acquisi- 260 p.: ill. tions in recent years, reopened and reconstructed displays and new research into the history of the Her- ISBN 978-5-93572-782-6 mitage. The reports are published in Russian and English. Most of the collection consists of papers read at the above conference, held in the Hermitage in Septem- ber 2011. The conference summed up the work on a joint project of the same name by Hermitage staff and representatives of scientific institutions in the Crimea (the Tauric Chersonesos Museum-Reserve and the Institute of Oriental Studies of the National Academy of Sciences of Ukraine). The themes of the TRANSACTIONS OF THE STATE HERMITAGE articles reflect the current state of academic knowledge in the fields of sphragistics, numismatics and heraldry in the medieval Crimea.

Transactions of the State Hermitage: [T.] XCI: In Memory of Galina Komelova: Proceedings of the conference. 19–21 December 2016. State Hermitage – St Petersburg: State Hermitage Transactions of the State Hermitage: [T.] XCV: Proceedings of an international conference Publishers, 2018 – 440 p.: ill., XVI p. colour supplement to mark the centenary of the birth of Igor Dyakonov (1915–1999). State Hermitage – St Petersburg: ISBN 978-5-93572-794-9 State Hermitage Publishers, 2018 – 326 p.: ill., colour supplement of IV p. The publication includes proceedings of a conference organised by the State Hermitage Department ISBN 978-5-93572-785-7 of the History of Russian Culture from 19 to 21 December 2016. It comprises reports covering various The collection includes proceedings from the above conference, which took place in the Hermitage matters of the study of the theory and history of fine arts, the art of Russian and European miniatures, and the Russian Academy of Sciences Institute of Oriental Manuscripts from 13 to 15 January 2015. as well as reports concerning new materials on the history of the museum business and the formation It reflects the wide range of Igor Dyakonov’s interests: the articles are devoted to various fields of Assy- of museum collections in the 17th to 20th centuries. riology, Western Asian archaeology and Semitic studies; they also touch on the problems of the political and socioeconomic history of Mesopotamia and neighbouring countries, Mesopotamian religion and literature, linguistics and the history of the written language.

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Transactions of the State Hermitage: [T.] XCVII: Personalities from Peter the Great’s Time – 2018: Revived Masterpieces. Restoration in the Hermitage. 2018. State Hermitage – St Petersburg: Marking the 20th anniversary of the conference “Personalities from Peter the Great’s Time” (1998– State Hermitage Publishers, 2018 – 152 p.: ill. 2018): Proceedings of the conference. State Hermitage – St Petersburg: State Hermitage Publishers, ISBN 978-5-93572-822-9 2018 – 454 p.: ill. Publication devoted to the work of Hermitage restorers. ISBN 978-5-93572-823-6 Collection of materials from the annual Hermitage conference in the Menshikov Palace. The articles are devoted to the lives of contemporaries and participants in Peter’s reforms and to various fields of the history and culture of the time. Many of the materials were brought into the scholarly domain for the first time.

Archaeological Collection: Iss. 41: Materials and research on the archaeology of Eurasia. COLLECTED ARTICLES State Hermitage – St Petersburg: State Hermitage Publishers, 2017 – 372 p. : ill. ISBN 978-5-93572-773-4 The Museum and Problems of Cultural Tourism: Materials from the 16th Round-Table discussion in Collection of articles devoted to the study of archaeological monuments from the Palaeolithic, Scythian the Hermitage on 5 and 6 April 2018. State Hermitage – St Petersburg: State Hermitage Publishers, and Ancient ages, as well as short reports of Hermitage archaeological expeditions and work done in 2018 – 260 p.: ill. 2015 in the territory of Eurasia from Southern Siberia to Italy. The collection included materials from the annual round table discussion of innovative technologies and projects affecting the quality of museum and tourist programmes.

REPUBLICATIONS

B.B. Piotrovsky. Travel Notes. Second publication, revised – Moscow: Ore and Metals Publishing House, 2018 – 324 p. Virtual Archaeology (from the air, on the ground, underwater and in the museum): Materials from the International Forum held in the Hermitage from 28 to 30 May 2018. ISBN 978-5-98191-085-2 State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 300 p.: ill. The book is based on Boris Piotrovsky’s diary notes made during his numerous official trips abroad. The essays contain interesting information about countries and the development of cultural links with ISBN 978-5-93572-792-5 them that was the aim of Piotrovsky’s trips. These trips led to organisation of expeditions, exhibitions, For the third time, the State Hermitage and the Non-Commercial Partnership for the Automation of maintaining of academic contacts, to artistic and scientific finds. Besides daily sketches and accounts Museum Activity and New Information Technologies organised a meeting of specialists in virtual ar- of important meetings, the diaries include descriptions and drawings made in museum repositories. chaeology to discuss its contribution to the study of archaeological monuments from the air, on the The photographs in the book are particularly valuable, as the monuments featured in them no longer ground and underwater, as well as their representation in a museum environment. exist, having been destroyed as a result of military conflicts.

His Imperial Majesty’s Private Libraries and Arsenals: A Brief historical overview: 1715–1915. V.V. Shcheglov; original introductory article and commentary by O.G. Zimina; State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 284 p.: ill. Restoration of Easel Paintings in the State Hermitage. State Hermitage – St Petersburg: ISBN 978-5-93572-781-9 State Hermitage Publishers, 2018 – 228 p.: ill. – (Prolonged Life…Iss. 3) The book returns to modern readers a publication issued a hundred years ago in 1917 in 300 copies that ISBN 978-5-93572-787-1 has long been a bibliographic rarity. The work was sent for publishing during Nicholas II’s reign, was The collection includes articles about the study and restoration of easel oil paintings in the Hermitage. printed after the February revolution and published a week before the October revolution. Its author – The book examines the characteristics of the restoration of individual paintings, historical and techno- Vasily Shcheglov, State Councillor, Steward of the Imperial Court and Head of his Imperial Majesty’s logical aspects of restoration and problems of attribution. Private Libraries, described in detail the book collections of the Russian tsars and emperors from the late 16th to early 20th centuries. The current book includes a reproduction of Shcheglov’s publication of 1917, accompanied by an introductory article, comments and an index of names.

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POPULAR SCHOLARLY PUBLICATIONS Elena N. Khodza. Antique Terracottas from Pyotr Sabouroff’s Collection. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 368 p.: ill. ISBN 978-5-93572-772-7 Snuff Bottles. A Foreign Phenomenon in the Chinese Embodiment. T.B. Arapova; State Hermitage – Pyotr Sabouroff, a Russian diplomat and statesman, amassed his collection of ancient art mainly during St Petersburg: State Hermitage Publishers, 2018 – 36 p.: ill. – (In brevi) his time in Greece, where he was Russian ambassador from 1870 to 1879. His collection of terracotta, ISBN 978-5-93572-775-8 well known to his contemporaries, archaeologists and specialists in ancient art, was acquired by the Snuff bottles are small, elegant objects whose production began in China at the turn of the 17th and Imperial Hermitage in 1884. The circumstances of the acquisition are reconstructed on the basis of 18th centuries due to the spread of the custom of sniffing tobacco, borrowed by the Chinese from the documents in the Hermitage archives. Physical and chemical examinations carried out in the Hermitage Portuguese who came to China in the 16th century. Masters experimented with the shapes and decora- Department of Examination and Authentication of Works of Art provide valuable information about the tion of snuff bottles, creating pieces reflecting in miniature the diverse ideas and aesthetic criteria of the authenticity of the exhibits and the use of coloured pigments in their painting. Chinese in the 18th and 19th centuries. The Hermitage collection, the second largest in Russia, numbers over 250 examples, making it possible to trace the development of this type of decorative art over two centuries.

Tamara T. Korshunova. The St Petersburg Imperial Tapestry Manufactory. Marking the 300th Western European Painting from the 14th to Early 20th Centuries Anniversary of its Foundation. State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – in the Hermitage Collection. State Hermitage – St Petersburg: 168 p.: ill. State Hermitage Publishers, 2018 – 296 p.: ill. – (Art book) ISBN 978-5-93572-786-4 (in Russian) The development of tapestry weaving in Russia is inextricably linked with the history of the St Peters- ISBN 978-5-93572-739-0 burg Imperial Tapestry Manufactory. The book describes in detail the beginnings of tapestry weaving in the new Russian capital and provides information about the masters and their works. A separate chapter is devoted to the carpets that were also made at the factory. The publication includes an index of the Western European Painting of the Fourteenth – Early Twentieth names of the weavers and artists who worked at the manufactory. Centuries in the Hermitage Collection. The State Hermitage Museum – St Petersburg: State Hermitage Publishers, 2018 – 296 p.: ill. – (Art book) (in English) ISBN 978-5-93572-741-3 PUBLICATIONS ABOUT THE HISTORY OF THE HERMITAGE The art book includes the best hundred works of Western European painting in the Hermitage collection, which now numbers over 8,000 examples. The publication contains short descriptions of the paintings’ The First Catalogue of the Hermitage Picture Gallery. State Hermitage – St Petersburg: history and their artistic characteristics. The introductory article traces the history of the Hermitage pic- State Hermitage Publishers, 2018 – 472 p.: ill. ture gallery from its inception in 1764 to the present day. The book is published in Russian and English. ISBN 978-5-93572-776-5 Publication acquainting readers with the first catalogue of the Imperial Hermitage Picture Gallery, a manuscript document in French. The catalogue was compiled between 1773 and 1785 on the instructions of Catherine II by Count Ernst Johann von Münnich (1707–1788). It contains information about Attics of the Winter Palace: album. S.A. Matsenkov; State Hermitage – St Petersburg: more than 2,650 paintings, showing the scope of the collection by the end of Catherine II’s reign. Mün- State Hermitage Publishers, 2018 – 152 p.: ill. nich included details of the artist and the theme of each painting, a short description and its dimensions ISBN 978-5-93572-804-5 (in arshins and vershoks). The catalogue features Münnich’s text in French, a Russian translation and The album provides the unique opportunity to delve into the little-studied world of the Winter Palace’s contemporary catalogue cards, enabling the subsequent history of each painting to be traced and its attics, inaccessible to the general public, which retain the unique flavour of a past age. The photographs current location shown. The first catalogue is divided into two parts on account of its great volume. of attics taken between 2004 and 2017 are accompanied by watercolours by mid-19th-century artists: The first part includes Nos 1 to 651 and the second part – Nos 652 to 1317. Many of the paintings are Eduard Hau, Konstantin Ukhtomsky, Luigi Premazzi, Iosif Charlemagne and Alexander Kolb. reproduced in colour and also published in the form of old prints, photographs from auction catalogues and the State Hermitage archives.

MONOGRAPHS

Vladimir Yu. Matveev. Sundials, Nocturnals and Moondials in the Hermitage Collection. The Hermitage Palaces in the Soviet Period. A.V. Sivkov; State Hermitage – St Petersburg: State Hermitage – St Petersburg: State Hermitage Publishers, 2018 – 240 p.: ill. State Hermitage Publishers, 2018 – 550 p.: ill. ISBN 978-5-93572-768-0 ISBN 978-5-93572-788-8 This monograph, the first attempt to publish a scholarly catalogue of one of the sections of the Hermit- The book recreates the history of the formation of the architectural complex of the Hermitage Museum age collection of artefacts from the history of science and technology, is the result of many years of re- in the Soviet period. Alexander Sivkov, the Hermitage’s chief architect from 1925 to 1959 and a par- search of the museum’s collection of sundials, nocturnals and moondials and the first description of them ticipant in the events described, provides a detailed account of the reconstruction of the former impe- in such detail. The catalogue presents all the known astronomical timepieces in the Hermitage reserves, rial residence after the October revolution, the life of the Hermitage in the difficult war years and the including the most recent acquisitions and a sundial that was once in Peter the Great’s study – 60 arte- museum’s subsequent development. The original text is accompanied by modern comments. Most of the facts in all. The publication gives a detailed description of each exhibit, new attributions and updates of photographs, blueprints and documents are published for the first time. existing ones, a detailed list of analogies and a rich selection of illustrations.

112 113 PUBLICATIONS ELECTRONIC EDITIONS AND MULTIMEDIA PROJECTS

MULTIMEDIA CONTENT IN THE HERMITAGE MUSEUM PRACTICE

ARCHAEOLOGICAL REPORTS

Report on an Archaeological Exploration of the Medieval Fortress of Chembalo (Balaclava) in 2017: Materials from an archaeological expedition to the Southern Crimea: Iss. XV. State Hermitage; Tauric Chernosesos Historical and Archaeological Museum-Reserve – St Petersburg, 2018 – 218 p. : ill.

Report on Expedition Field Works in 2017: Materials from an archaeological expedition to Panjakent: Iss. XXII. State Hermitage; Ahmad Donish Institute of History, Archaeology and Ethnography of the Republic of Tadzhikistan Academy of Sciences – St Petersburg, 2018 – 296 p.: ill.

Audio-visual content is part of the museum’s exhibition practice today. Video films in temporary exhi- Report on Excavations in Paikend in 2015–2016: Materials from an archaeological expedition bitions help visitors understand the concept of the curator and provide historical and artistic context. to Bukhara: Iss. XIV. State Hermitage; Yakhya Gulyamov Institute of Archaeology of the Republic In 2018 the museum’s electronic editions sector made films for the exhibitions “Fantasia in Threads. of Uzbekistan Academy of Sciences – St Petersburg, 2018 – 236 p.: ill. Western European Lace and Glass of the 16th to 19th Centuries”, “Glass Made to be Admired. Master- pieces of the 16th to 20th Centuries from the State Hermitage”, “Imperial Capitals: St Petersburg – Vienna. Masterpieces from Museum Collections” and “‘Furniture for a body’s every whim’. The Age of Historicism in Russia”. For the latter exhibition the sector also produced an audio-visual composition acquainting visitors with the neo-styles of the age of historicism. The spectacular film “‘Believe not thine eyes’. Trompe l’oeil in Art” enabled visitors to the exhibition of that name to trace the history of illusions in art – from Ancient Egypt to the 19th century. Short videos posted on social networks included descriptions of individual exhibits by the curators. Six videos featuring well-known artists and art experts were made for the major exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future”. Exhibits displayed after restoration, such as two Imperial Porcelain Manufactory vases from the Winter Palace, a longcase clock by Jean-Pierre Latz and Rosso Fiorentino’s Madonna in Glory, were accompanied by videos with descriptions by the restorers of the process of their work and by the curators on the study of the exhibits. A separate part of the sector’s work is the creation of video projects for a wide audience on the Inter- net. In 2018 a series of six films about the history of the Russian Imperial Guard were made. The seven videos in the cycle “Residential Apartments in the Winter Palace”, based on watercolours and photographs of the interiors, give an idea of the character of the palace’s living quarters and the private lives of their inhabitants. The short film “The Art of Classical Glyptics. Narrator: Elena Arsentieva” is devoted to the new display of the Department of Classical Antiquity. The Internet project “In Focus” was complemented by videos featuring several of the museum’s exhibits: “Evening Dress of Zinaida Yusupova. Fashion in Faces”, “Konstantin Somov’s Lady Taking off a Mask”, “A Lotharingian Table. A Gift to Alexander III from the City of Nancy”, ‘Frans Snyders’s Stalls” and “Sculptural Portrait of Empress Alexandra Fyodorovna”. All the video material is on the Hermitage website and on YouTube.

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“HERMITAGE ONLINE” – THE LIFE OF THE HERMITAGE IN REAL TIME

In 2018 the Hermitage launched the “Hermitage Online” project – a monthly live broadcast on the VKontakte social network (vk.com). The feature of the project is the opportunity to learn about the museum in a new format: to see in real time how exhibitions are mounted and dismantled; to “visit” restorers and technical workers; to walk through rooms while they are being prepared to receive visitors; to stroll around the blossoming Hanging Garden, the attics and roofs of the museum buildings; and also to ask questions and receive immediate replies – to virtually become participants in the process. The project has been watched over a million and a half times and has received significant feedback – more than two thousand comments and almost ten thousand “likes” in eleven sessions. Among the most successful live broadcasts were an Internet meeting with Mikhail Piotrovsky, “On the Roofs of the Hermitage. The Attics and Roofs of the Winter Palace” with Alexey Bogdanov, the mounting of the exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future”, including interviews with Emilia Kabakov and Dimitri Ozerkov, an online guided tour of the exhibition “The Age of Rembrandt and Vermeer” with Ludmila Frolova and a stroll around the Hanging Garden of the Small Hermitage with Maria Dubrovskaya.

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In Memory of Vladimir Lukonin 24–25 January This annual conference addresses a broad range of issues referring to the history, archaeology, art and philology of Eastern countries, stretching from the Middle East and Africa to Central Asia and the Far East. This year some reports dealt with the studies associated with temporary exhibitions and permanent displays launched by the Oriental Department in 2017.

In Memory of Boris Piotrovsky 14 February This year the conference was as ever dedicated to the studies carried out by the Hermitage researchers in the field of archaeology and culture of the Middle East, neighbouring countries and the Caucasus as well as museology and history of the Hermitage collections.

Seminar “The Calvatone Victory. Research and Restoration” 19 February This Russian-German seminar delved into the study of the bronze statue of the Calvatone Victory, which is held by the State Hermitage Museum and was brought to the Soviet Union with other cultural treasures following World War II to compensate for the losses inflicted on the country’s culture. Discussions revolved around the statue’s restoration and further display.

Heraldry: Theory and Practice. Conference in Memory of Sergey Troinitsky 20–22 February This conference centred around heraldic studies undertaken in Russia. Reports explored issues central to the history of Russian and global heraldry as well as specific aspects related to the making and development of modern heraldry of different departments and territories.

Chronology of Eastern European Antiquities Seminar in Memory of Yury Lesman 21 March

The seminar featured reports delivered by archaeologists from St Petersburg, Moscow, Veliky Novgorod, Dyakonov Readings Pskov and Minsk, all falling within the scope of Yury Lesman’s research interest: chronology of material culture of Ancient Rus’ and Eastern Europe in the Middle Ages. were concerned with Dilmun in connection with the exhibition “‘In the land of Dilmun where the sun rises…’. Archaeological Treasures from the Bahrain National Museum 3rd – 1st Millennia BC” that In Memory of Vsevolod Potin (1918–2005). To Mark 100th Birth Anniversary took place in the State Hermitage Museum. 28–30 March The themes encompassed by the conference were in line with Vsevolod Potin’s research interest. Reports Subsistence Strategies in the Stone Age, Direct and Indirect Evidence covered issues regarding ancient, Western European, Oriental and Russian numismatics, history of mu- of Fishing and Gathering seum and private collections of coins and medals, phaleristics and bonistics. Jointly with the Samara State University of Social Sciences and Education, Institute for the History of Material Culture of the Russian Academy of Sciences Round Table “The Child’s Artistic Activities in the Museum as a Factor in the Formation and Sergiev Posad State Museum-Reserve and Creative Development of the Personality. To Mark the 60th Anniversary 15–18 May of the Child’s Art Studio of the School Centre” 30–31 March Discussions as part of the conference largely touched upon the structures of sites, landscape features and specific characteristics of ancient economies, many of which depended on fishing. Sessions brought The round table attracted an array of museum educators and art teachers from St Petersburg, Moscow together more than 80 researchers from Russia, Belarus, Ukraine, Finland, Norway, Sweden, Germany, and other Russian cities. Professionals specialising in this distinctive kind of museum activity – staff the UK, Serbia, Poland, France, Spain and Portugal. Such geographic breadth was due to one of the of creative studios – shared their experience and various methods of working with children within the most interesting topics in archaeology – reconstruction of lifestyles of ancient communities living in the museum environment. Great importance was attached to interaction with children with special health Stone Age. needs. From Crafts to Art. Ceramics: Technology, Décor, Style Dyakonov Readings Jointly with the St Petersburg Stieglitz State Academy of Arts and Design and Institute Jointly with the Institute of Oriental Manuscripts of the Russian Academy of Sciences for the History of Material Culture of the Russian Academy of Sciences 17–18 April 23–24 May This traditional conference is devoted to Igor Dyakonov, a prominent Russian Orientalist and expert on This international research and practice conference was concerned with the interaction between science the history and philology of the Ancient Near East. Reports drilled into a variety of issues associated and practice, the study of works of applied art in the context of archaeology, ethnography and art history with Ancient Mesopotamia: economic texts, linguistics, literature and historical geography, and were as well as the fusion of tradition and innovation in present-day arts. accompanied by recitals of verse translations of old texts and Dyakonov’s own verse. Several speeches

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Conference “Fashion and Design”

Virtual Archaeology – 2018

Virtual Archaeology – 2018 Jointly with Non-for-profit Partnership ADIT, with support of ICOM and ICOMOS 28–30 May The conference became the third gathering of a cross-section of researchers involved in the study, preservation and promotion of archaeological heritage. Discussions summarised the prospects of using methods of virtual archaeology from land, from the air and underwater. The conference drew a wide array of professionals hailing from Bosnia and Herzegovina, the UK, Hungary, Greece, Israel, Spain, Italy, Cyprus, the Netherlands, UAE, Poland, Russian Federation, Ukraine, France, Germany, Sweden and Japan.

Fashion and Design Jointly with the Russian Museum of Ethnography and St Petersburg State University of Industrial Technologies and Design 31 May The meeting took place as part of the joint 21st research and practice conference, which reviewed a host Seminar “Phase Storage of Archive and Library Records”, Held Jointly with the Russian of aspects relating to the history of artistic textiles and costumes, the study of archaeological textiles State Archive of Scientific and Technical Documentation and attribution of ethnographic pieces. Jointly with the Laboratory for Record Microfilming and Restoration of the Russian State Archive of Scientific and Technical Documentation 11th International Peter the Great Congress “Peter I and the East” Jointly with the Dmitry Likhachev Foundation and the St Petersburg State Academic Capella 6 June 1 June The seminar was aimed at exploring issues relating to preservation of records during phase storage. Among the topics embraced was the history of the Hermitage archives and specific features of storing This year this traditional congress brought up the panoply of issues concerning Russia’s relations with records. Other reports were concerned with restoration and conservation, international standards Oriental countries in the Petrine age, such as foreign policy, diplomatic and trade ties as well as cultural governing the use of materials for conservation of paper-based records, modern methods of protecting borrowings. libraries and archives from biodamage as well as storage and display conditions applied to photographs.

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Scholarly Meeting to Mark Conference in Honour the 70th Birth Anniversary of Anna Ierusalimskaya of Tamara Rappe

Scholarly Meeting to Mark the 70th Birth Anniversary of Tamara Rappe 21 June Rakushechny Yar and Neolithisation of Eastern Europe. Dedicated to the 100th Anniversary of Tatiana Belanovskaya The meeting was dedicated to Tamara Rappe, a celebrated expert on Western European applied arts and 25–30 August keeper of the Hermitage collection of Western European furniture, who was at the helm of the museum’s Department of Western European Applied Arts for over a decade. The meeting included reports of her This international conference took place on Porechny Island in Rostov Region, where the State Hermit- colleagues and students, which gave an insight into different areas of applied arts: the study of furniture, age Museum’s Lower Don Expedition and the Don Archaeological Society carry out joint studies of the jewellery, history of the Hermitage collections, Art Nouveau-style artwork and present-day foreign and Rakushechny Yar site. The conference was focused on the studies of neolithisation of the south of Eastern Russian applied art. Europe and coincided with the 100th birth anniversary of Tatiana Belanovskaya, whose seminal works and studies were devoted to this unique Stone Age site in Eastern Europe. St Petersburg Egyptology Readings Jointly with the Faculty of Asian and African Studies, St Petersburg State University Glass Museums and Collections in Russia Jointly with ICOM’s International Committee for Museums and Glass Collections 25–27 June 24–27 September Organised for the fifteenth time, the readings serve as a platform for Russian Egyptologists to have a regular exchange of research results. The themes covered various areas of Egyptology: religion and The State Hermitage Museum was chosen as a venue for this annual international conference on artistic ideology, art and restoration of artwork, history, philology and science history. glassmaking in 2018 due to its acclaimed collections of artistic glass of different ages and civilisations. Overviews and studies of glass collections held by Russian museums took centre stage in this conference. Seminar “Topical Issues of Restoration of Fresco Painting” Reports took a broad view of issues concerning the history of glassmaking in different countries as well Jointly with the Hermitage • Italy and Novgorod State Integrated Museum-Reserve as the history of glass collecting, attribution and restoration. The conference drew more than 60 researchers from Europe, Russia, Japan and Latin America. 25–27 July More than 40 art restorers, museum managers and leading Russian and Italian experts on fresco paint- Conference in Honour of Anna Ierusalimskaya ing gathered together for this Russian-Italian seminar to discuss a variety of issues and possible solu- 3–4 October tions relating to the study and restoration of fresco painting. This conference was dedicated to Anna Ierusalimskaya, the keeper and worldwide famous researcher of the unique archaeological site of Moshchevaya Balka. The selection of themes reflected her research Special Aspects of Study of Peatland Sites interest: archaeology of the Caucasus, Byzantine-Iranian cultural ties and study of medieval fabrics. 1–10 August The conference also gave a broad overview of other issues related to Oriental and art studies. At the time when the North-Western Expedition unfolded in Smolensk Region, the fourth research and practice seminar was held for Russian, French and Polish students engaged in the studies of peatland 18th International Research and Practice Conference “Roerich Heritage” sites in Europe. Participants attended lectures on pile dwellings in Russia, methods of studying peatland Jointly with the Roerich Family Museum and Institute sites and particular features of underwater excavations at such sites. 9 October This annual conference takes a deep dive into various aspects of Buddhism studies in Russia.

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In Memory of Vladimir Levinson-Lessing. To Mark 90th Birth Anniversary of Irina Novoselskaya 31 October – 1 November This year the traditional annual conference was tied to the 90th birth anniversary of Irina Novoselskaya, a well-known expert on French drawing, who was at the head of the Hermitage Department of Western European Fine Arts for more than four decades. That being the reason, the first and biggest part of reports was concerned with the studies of Western European drawing. Other reports dealt with sculpture, painting and applied arts.

Archaeological Session 19–21 November This annual conference recapitulated the results of archaeological expeditions run by the State Hermit- age Museum during the year.

Personalities from Peter the Great’s Time – 2018 20–21 November Happening for the twentieth time, this annual conference reported on a variety of aspects concerning the activities of Peter the Great, Alexander Menshikov and other prominent figures from Peter the Great’s time. The conference took a look at Russia’s military and civil history, various aspects of foreign policy and cultural life in Russia in the first quarter of the 18th century.

Bosporan Phenomenon Jointly with the Institute for the History of Material Culture of the Russian Academy of Sciences and Repin St Petersburg State Academic Institute of Painting, Sculpture and Architecture 28, 30 November The conference was organised as part of the Bosporan Phenomenon Project dedicated to the history THE DAY OF OMAN AT THE HERMITAGE and culture of the Bosporan Kingdom. On 23 July the State Hermitage Museum held the Day of Oman as part of its partnership programme Current Researches in the Sphere of Decorative and Applied Art, Architecture with the National Museum of the Sultanate of Oman. and Ethnography. In Memory of Tamara Malinina (1948–2010) The Day began with a ceremonial meeting in the Hermitage Theatre, opened by Mikhail Piotrovsky and 17–18 December His Excellency Hamad bin Mohammad Al-Duyani, Head of the National Records and Archives Authority The conference in memory of the keeper of the Hermitage collection of Russian glass, Tamara Malinina, of the Sultanate of Oman. included reports harkening back to the history of glass collecting, attribution and restoration as well as In his welcoming speech Mikhail Piotrovsky highlighted that the Day of Oman at the Hermitage makes the study of works of applied art with glass decoration. an integral part of active links kept up by the State Hermitage Museum with the Sultanate of Oman and Oman’s National Museum. This characteristic Hermitage event included the opening of a small exhibition in the Apollo Hall featuring items from the collection of the National Museum of Oman and The following meetings of the standing seminars took place: a scholarly conference. The partnership between the two countries also involves internships for the staff Heraldry Seminar of the National Museum of Oman at the Hermitage as well as master classes given by the Hermitage 7 February, 25 April, 6 June, 26 September, 24 October restorers in Oman. We also aspire to many other joint projects, among them the Day of the Hermitage at the National Museum of Oman in 2019. Weaponry Sessions The scholarly meeting delved into the history and archaeology of Oman and drew the staff of the Her- 25 January, 29 March, 31 May, 27 September, 26 October mitage, other museums and research institutions in St Petersburg and Moscow as well as the National Museum of the Sultanate of Oman and the University of Pisa. The conference also included a showing of the film “Pearl of the Orient in the Land of Hope” as well as a concert performed by the Royal Oman Symphony Orchestra. The Day of Oman at the Hermitage culminated in the opening of the exhibition “Oman in the Her- mitage” staged in the Apollo Hall. The exhibition was accompanied by an illustrated booklet (written by Mikhail Piotrovsky) devoted to the culture of Oman and its study in Russia.

124 125 CONFERENCES DISSERTATIONS DEFENDED

SERGEY V. VORONYATOV

SARMATIAN AND SOUTHERN BALTIC CULTURAL IMPULSES IN THE POST-ZARUBINETS ANTIQUITIES OF THE RAKHNY-POCHEP HORIZON (SECOND HALF OF THE 1ST TO THE EARLY 2ND CENTURY AD)

For the degree of Candidate of History

The subject of this research is an analysis of the historical-archaeological situation in the second half of the 1st to early 2nd century AD, considered by many modern archaeologists as the starting point for the formation of the Slavic peoples. Following the demise of the Zarubinets archaeological culture (2nd century BC – mid-1st century AD), identified with the Basternae people of written sources and existing in an extensive area of the Dnieper basin from the Dniester to the Desna region, several groups of post-Zarubinets monuments appeared. These monuments were given the name of the Rakhny-Pochep horizon in the 1980s and are the subject of this dissertation. The systematisation of all the cultural components of the various groups of post-Zarubinets monuments in this huge territory demonstrates their ethno-cultural diversity and the difficulties arising from the disintegration of Zarubinets culture. The materials also show the important part played by historical processes, particularly influences of other cultures. This work identified alien elements in the antiquities of the Rakhny-Pochep horizon linked to Sarmatian and Southern Baltic cultural impulses, which had a substantial effect on the formation of that horizon. Based on the results of the research, a probable reconstruction of the ethno-cultural and political processes that accompanied the formation of the Rakhny-Pochep horizon was proposed. By the mid- 1st century AD, a new “eastern” wave of Sarmatian tribes appeared in the middle of the Dnieper basin. As a result of military conflicts between the nomads and the settled population of Zarubinets culture, MEETING OF THE ACADEMIC COUNCIL the latter lost its former structure and ceased to exist in its classical form. Part of the defeated settled population were obliged to pay tribute to the Sarmatians and were forcibly resettled in the region On 20 November 2018 the State Hermitage Museum’s Academic Council gathered for a meeting ded- of the Southern Bug. Another part managed to flee the area and settled in the Desna basin. Towards the icated to the topic “Museum Item and its Reproduction: Museum Policy, Rights, Ethics”. Discussions end of the 1st century AD groups of migrants from the Southern Baltic penetrated the Central Dnieper centred around issues concerning the rights of museums, museum staff and third parties and organ- and the Desna regions, were absorbed into the local population and influenced the culture that was then isations for exhibit reproduction, attribution rights of keepers and photography copyrights. A great taking shape. emphasis was placed on legal aspects of reproducing works of art, respective experience of large museums and the Hermitage’s use of images from other collections in its publications. A heated debate flared up over the museum’s image use policy and the need for internal publication rules and ethics. As opinions on these matters change rapidly with the onrush of digital technologies, the debate will inevitably continue. ELENA N. DMITRIEVA

THE DACTYLOTHECA – A STUDIENSAMMLUNG OF THE CLASSICIST PERIOD (BASED ON MATERIALS FROM THE HERMITAGE COLLECTION OF CASTS OF ANCIENT GEMS)

For the degree of Candidate of Art History

The dissertation is devoted to a study of the Hermitage collection of casts from carved stones (dactylotheca). The propositions put forward in the dissertation result from the processing and inventorying of the collection of impressions of gems in the Hermitage, in particular the Department of Classical Antiquity. Based on an analysis of archive, documentary and literary materials, some of them previously unpublished, the “collecting history” of the Hermitage dactylotheca, information about its purpose, its sources, the main stages of its formation and its classification have now entered the scholarly domain. This information makes it possible to interpret such unusual material as impressions of carved stones from the point of view of its influence on the formation of art in Russia in the classicist period. Since the foundation of the Hermitage dactylotheca occurred in parallel with the formation of similar European collections, often as part of collections of “antiques”, the history of the creation and subsequent life of the Hermitage collection can be seen in the context of the development of scientific and cultural links between Russia and Europe. Moreover, the study of the collection of casts makes it possible not only to define more precisely the composition of private collections of gems from 126 127 DISSERTATIONS DEFENDED DISSERTATIONS DEFENDED

the mid-18th to mid-19th centuries, later dispersed around world museums, but also to get an idea TATIANA YU. KHARITONOVA of cameos and intaglios that are now thought to be lost. The Hermitage collection of casts, therefore, illustrates the principles and characteristics of the formation of collections, and also the output of various workshops making casts of gems, both in Europe and in SOCIAL AND PSYCHOLOGICAL CHARACTERISTICS OF VISITORS IN A MUSEUM Russia. Along with the history of its formation, the use of the Hermitage dactylotheca as an illustrated COMMUNICATION SITUATION (ON THE EXAMPLE OF THE HERMITAGE account of the history of ancient glyptic art provides grounds for considering it as a “Studiensammlung” (study collection) of the classicist period. The iconographic and thematic-compositional make-up of the GENERAL STAFF BUILDING) collection not only allows to identify and take into account ancient originals that survived into the New Age, but also gives an idea of the tastes and intellectual and aesthetic preferences of those that commis- For the degree of Candidate of Psychology sioned dactylothecas. Special attention is devoted to the technology of production, conservation and restoration of casts of an- The demand for museums in the culture of today’s society is constantly growing: museums give visi- cient gems from various materials such as plaster, sealing-wax, glasslike and sulphuric masses and wax. tors not only information but also an emotional experience, turning from a teacher into an interesting collocutor. The aim of the research for this dissertation was to study the social and psychological characteristics of visitors to the General Staff Building in a museum communication situation, in particular the trends of their social background, their generation, characteristics of their social perception and attribution and their aesthetic requirements. The sample consisted of 2,580 visitors to the General Staff Building GENNADY I. MALYGIN aged between 15 and 85. The dissertation is based on the use of the term “museum communication of visitors” (a type of social communication). The structure of the museum communication situation, including functional, per- MOTION CONTROL SYSTEM FOR MARINE VESSELS BASED sonal and identifying components, has been developed and empirically corroborated. The definition ON FUZZY LOGIC of museum communication as a situation and as a process has been formulated in the context of its social and psychological characteristics. The dissertation analyses the theoretical and practical aspects For the degree of Candidate of Technical Sciences of research by Russian and foreign scientists regarding social and museum communication. The conclusion is that visitors’ behaviour is defined by mechanisms regulating both the functioning of the social The dissertation was written in the Department of Automatic Control and On-board Computing Systems subject-museum and by their traits and social outlook. at St Petersburg State Marine Technical University. On the basis of a thoroughgoing analysis of the results of the methods of observation, interviews and The aim of the dissertation was to develop algorithmic programming of a motion control system for opinion polls, an original methodology for analysing the structure of museum communication with the an automated marine vessel, taking into account the imprecision and vagueness of data support, based aid of factor analysis has been devised. The components of museum communication were studied, with on the use of the complexity principle and fuzzy logic. particular attention devoted to an assessment of the psychological atmosphere of the General Staff To achieve this aim, the following main tasks were completed: Building, the emotional involvement of visitors into the themes of the exhibitions and their status in the • analysis of contemporary methods of developing mathematical models and algorithmic program- social community. Two types of social attitude were identified and a socio-psychological portrait of a typ- ming of a motion control system, of the problems and prospective ways of further development; ical individual visitor to the General Staff Building was painted. On the basis of an analysis of empirical • modelling of a motion control system for an automated marine vessel with the use of the complexity data, a dynamic model of the museum communication situation of visitors was constructed. principle and fuzzy logic; The theoretical and empirical results obtained may form the basis for thematic educational courses and • synthesis of a fuzzy control law based on a fuzzy model of the apparatus’s dynamic; disciplines for training museum specialists and museum psychologists, and for practical studies aimed • development of a method to improve the quality of controlled motion of an automated marine vessel; at increasing social and psychological competence in this field. • construction of a fuzzy observer of the state of the controlled object; The original questionnaires devised for this research, enabling the dynamic of assessment and the struc- • imitation modelling of the controlled motion of an automated marine vessel. ture of the museum communication situation to be studied, are used for a diagnosis of visitors’ degree The focus of the dissertation research was a motion control system for an automated marine vessel. of satisfaction with the psychological atmosphere of the museum and a diagnosis of their emotional The subject of the research was methods of mathematical modelling of controlled motion of an automat- involvement in the themes of the exhibitions, and also for identification of the characteristics of the ated marine vessel and a synthesis of algorithmic programming of a motion control system based on the tributive factor in the interpretation of the works of art in a museum display. The original questionnaire use of the complexity principle and fuzzy logic. devised for the research, aimed at a study of the structure of museum communication, was successfully The proposed method of mathematical modelling can be applied in the research and development trialled in several Russian museums in 2017. of technical devices operating automatically in conditions of imprecise and vague data support (algo- On the basis of the results obtained in the research, practical recommendations for the General Staff rithmic programming with a synthesis of electronic equipment and information systems). The work used Building have been drawn up regarding the enhancement of the museum communication situation, elements of fuzzy logic and the theory of complexity, which are developing as part of one of the branches improvement of the reception of visitors and the devising of a navigation system for visitors to the of “artificial intellect”. museum.

128 129 RESEARCH TRIPS RESEARCH TRIPS

In 2018 the following staff members received Hermitage grants Participation in the 20th Congress on Ancient Bronze, SECOND HALF OF THE YEAR In 2018 the following Hermitage staff members were awarded to take part in international conferences: Tübingen, Germany scholarships by the Friends of the Hermitage Foundation (UK) to work in museums and scientific institutions in Great Britain: N.P. Gulyaeva with the paper “Corinthian Helmets Participation in the 24th Annual Conference of the European FIRST HALF OF THE YEAR in the Hermitage” Association of Archaeologists, Barcelona, Spain E.I. Arsentieva. Familiarisation with museum displays, work L.S. Vorotinskaya with the paper “The Problem in libraries and archives in Great Britain for the preparation of

3rd Scholarly Readings Dedicated to the Memory of Professor of the 3rd Century BC in the Northern Black Sea Area and accompanying materials for the new permanent display of carved Participation in the 18th World Congress of the International Valentin N. Ryabtsevich (1934–2008), Minsk, Belarus the Appearance of the Zarubinets Culture in the Dnieper Basin”. stones. Union of Prehistoric and Protohistoric Sciences, Paris, France V.A. Kalinin with the paper “The Collection of Polish Coins V.P. Kolosov with the paper “A Statistical Analysis I.V. Buzunova. Study of ancient collections in museums in London E.V. Dolbunova with the papers “Heaps of Shells in the Hermitage. A Short Survey”. of Architectural Fragments of the Bosporan Kingdom”. and Oxford for the preparation of a series of lectures in the in the Rakushechny Yar Monument: Early Neolithic Communities Hermitage Lecture Hall and for a dissertation on the subject E.V. Lepekhina with the paper “A St Petersburg Rouble in the South of Eastern Europe” and “Ancient Pottery of of 1777 with Patterned Milling from the Kunstkamera Collection: “The Heroic Ideal in Ancient Greek Sculpture of the 6th and the Hunter-Gatherers of Eastern Europe (7th – 6th Millennia BC): Participation in the 3rd International Scholarly and Practical 5th Centuries BC”. Trial Strike or Novodel?” Technology of Manufacture of Vessels and the Cultural Conference “Archaeological Costume: Research, Restoration, Environment”. Reconstruction”, Kazan, Russia I.V. Bykova. Work in libraries, museums and castles in Great Britain for the preparation of a series of six public lectures in the Conference “Europa Postmediaevalis 2018. Post-Medieval Pottery S.V. Pankova with the paper “A Set of Clothes from Grave 4 Hermitage Lecture Hall “The British Castle: Fortress, Prison, between its Borders”, Prague, Czech Republic Participation in the 14th Biennial Conference of Asian Studies in the Oglakhty Burial Ground (State Hermitage Collection)”. Palace”. in Israel, Jerusalem, Israel I.A. Grigoryeva with the paper “A Study of the Technique E.V. Stepanova with the paper “Felt Clothing of the Altai Nomads of Manufacture of Dutch Tiles in the 18th Century, Based A.V. Davydova. Exchange of experience on matters of K.V. Kravtsov with the paper “Bukharhudat Dirhams with in the Scythian Period”. International PR with London museums and journalists. on the State Hermitage Collection”. the Name of Al-Mahdi: Problems of Dating. A Preliminary D.D. Yolshin with the paper “Bricks for the Capital: the Study”. E.V. Dolbunova. Work in the reserves and library of the British Participation in the 6th International Colloquium “Textiles Museum to conduct joint research and prepare scholarly articles on Phenomenon of Private Brick Manufacture and the Stamping in Fashion: Creativity in Context”, Florence, Italy of Bricks in the Environs of St Petersburg (1847–1917)”. the European Early Neolithic pottery traditions of Eastern Europe. Participation in the Seminar for Semitic and Arabic Studies, M.A. Blyumin with the paper “The Headscarf as a Symbol R.V. Rebrova with the paper “Types of Painting of Stove Tiles Berlin, Germany A.V. Ivanova. Study of the displays and reserves of museums of Soviet Fashion”. in Great Britain containing pieces from the Imperial Porcelain in the 18th Century, Based on Materials from Excavations A.D. Pritula with the paper “From the Tigris to Jerusalem: in the Historic Centre of St Petersburg”. Manufactory in preparation for the anniversary exhibition Syriac Pilgrim Poetry from the Ottoman Period”. Participation in the International Conference “Comparing Greek “The Imperial Porcelain Manufactory – 275 Years”. Colonies: Mobility and Settlement Consolidation from Southern International Conference “Ustrushana in Antiquity and the Early E.N. Ivanova. Work in the reserves and libraries of museums Participation in the International Congress on the Archaeology Italy to the Black Sea (8th – 6th Centuries BC)”, Rome, Italy Middle Ages: from the Margins of the Ecumene to the Abbasid in London and Oxford for the preparation of a catalogue of of the Ancient Near East, Munich, Germany Caliphate”, Paris, France A.M. Butyagin with the paper “Ghostly Barbarians: the Hermitage collection of 16th – 17th-century Urbino maiolica. M.V. Sologubova with the paper “Family Values in the Old Small Towns in the European Bosporus and Local Tribes E.V. Baranova with the paper “The Repeated Restoration E.V. Kuzminykh. Exchange of experience on matters of Babylonian Pantheon. Image of the God’s Spouse in Old in the 6th and 5th Centuries BC”. of Painting from Shahristan”. International PR with London museums and journalists. Babylonian Glyptic”. S.V. Pankova. Work in the reserves and libraries of the Victoria N.V. Semenov with the paper “The Depiction of Crowns Participation in the International Conference of the Institute in the Painting of the Small Formal Room in the Afshin Palace & Albert Museum and the British Museum to conduct comparative Participation in the International Conference “Archaeological of Mongol Studies, Buddhology and Tibetology of the Siberian of Ustrushana in the State Hermitage Collection”. research and publication of carpets in the Hermitage’s Pazyryk Explorations in Eastern Poland, Western Ukraine and Belarus Section of the Russian Academy of Sciences “Ancient Cultures collection: work with the database in the McDonald Institute for in 2016”, Lublin, Poland of Mongolia, Baikal Siberia and Northern China”, Ulan-Ude, Archaeological Research for a study of the Hermitage collection International Conference “The Sphinx of Slavic Sphragistics. Irkutsk, Russia E.G. Starkova with the paper “Natural Science Methods of archaeological carpets and fabrics. Seals of the Drogichin Type in the Light of Interdisciplinary I.V. Kalinina with the paper “Two Groups of Mesolithic in the Examination of Pottery of the Tripolye Culture: S.O. Uryupov. Familiarisation with methods and technologies Research”, Krakow, Poland Arrowheads from the Cult Cave Dyrovatyy Kamen on the Problems and Prospects” (co-authored with K.B. Kalinina of gas chromatography-mass spectrometry in the laboratories Chusovaya River”. K.V. Orlov with the paper “Seals from Karl Bolsunovsky’s and S.O. Uryupov). of the British Museum, the National Gallery and the Victoria Collection in the State Hermitage”. & Albert Museum in order to improve old methods of study of binding agents (oils, resins, etc.) and other organic substances E.V. Stepanova with the paper “Prototypes of Drogichin Seals Participation in the “18th [XVIII] CONGRES UISPP JUIN 2018”, Participation in the 3rd Conference of the International Association and the introduction of new methods. in Byzantine Sphragistics”. Paris, France on “Examination of Fabrics on the Silk Road”, Seoul, Republic of Korea I.Yu. Khrustaleva with the paper “Pit-houses of the 4th Millennium M.L. Menshikova with the paper “On the Collection of 11th – Participation in the International Archaeological Conference cal BC on the Southern Coast of the Gulf of Finland of the Baltic In 2018 the following Hermitage staff members received grants 14th-Century Fabrics from Archaeological Excavations “19th Bosporus Readings. The Cimmerian Bosporus and Sea”. from the Vladimir Potanin Foundation for research abroad: the Barbarian World in Antiquity and the Middle Ages. Traditions of the Tangut City of Khara-Khoto in the Hermitage Collection”. and Innovations”, Kerch and Theodosia, Russia A.S. Akseshin. Work in leading Nigerian museums in Benin City, Participation in the Conference “Olbia Forum: International Calabar and Kaduna. Preparation for the second stage of the Participation in the International Forum on Chinese Ethnic M.M. Akhmadeeva with the paper “Ancient Theodosia: Collaboration and Integration in the Field of Archaeological display of African art in the General Staff Building and the Literature, Chengdu, Beijing, PRC Matters of Chronology, Topography and the Spatial Structure Explorations (In Memory of V.V. Krapivina)”, Niklolaev, Ukraine temporary exhibition “The Art of Western Africa” (Nigeria). of the Polis”. K.F. Samosyuk with the paper “The Cult of Vaishravana in Central D.E. Chistov with the paper “The North-Eastern District of the M.A. Blyumin. Work in Franco Jacassi’s archive, visits to museums Asia in the 12th – 14th Centuries”. Berezan Settlement in the Second Half of the 6th Century and First and familiarisation with collections on display. Study of buttons Third of the 5th Century BC’. manufactured in Europe in the 18th – 20th centuries (Milan, Italy). 130 131 RESEARCH TRIPS

A.G. Bukina. Study of literature on the theory and history A.V. Omelchenko. Work in the Gulyamov Archaeological Research of ancient vase painting and the history of the collecting of vases Institute of the Uzbekistan Academy of Sciences, the State in the archive of the German Archaeological Institute in Rome; Historical Museum and the Bukhara Historical-Cultural Museum- familiarisation with displays of vases in archaeological museums Reserve; study of materials from the excavations of the ancient in Metaponto, Taranto and Bari (Rome, Metaponto, Taranto, settlement of Erkurgan and Sogd burial mounds (Samarkand, Bari, Italy). Tashkent, Bukhara, Uzbekistan). E.V. Bunte. Work in the Belvedere Gallery in Vienna. Study, S.V. Pankova. Work in the museum and library of the Abegg familiarisation with the organisation of inventory-making and Foundation; study of materials of the Scythian period from storage and processing of inventory documentation (Vienna, monuments in the territory of Xinjiang, similar to fabrics in the Austria), Hermitage’s Siberian collections (Berne, Switzerland). S.V. Voronyatov. Work in the reserves of the Museum of Vojvodina. Yu.Yu. Piotrovsky. Work in the libraries of the German Familiarisation with the museum’s collections of archaeological Archaeological Institute; work with colleagues on the project material from the Laten period and Roman times. Visits to “The First Silver in the North Caucasus” (Berlin, Germany) archaeological monuments from the Laten period and Roman times Ya.S. Radolitskaya. Work in the National Roman Museum, (Novi Sad, Serbia). the Vatican Museums, the Capitoline Museum, the National I.B. Gogulina. Work in the National Library of Finland. Study Archaeological Museum in Naples and the Uffizi Gallery; famil- of the reserves of books and periodicals in the Slavic Department iarisation with collections of ancient sculpture and with materials (Helsinki, Finland). on the history of its exhibiting (Rome, Naples, Florence, Italy). O.V. Gorskaya. Work in the Louvre. Study of the collection A.V. Saveliev. Work in the Tokyo National Museum and the of ancient jewellery (Paris, France). Kanazawa Art Museum with the aim of familiarisation with the traditions and regulations of the study, storage, restoration V.V. Guruleva. Work in the Ashmolean Museum of Art and and display of artefacts of Japanese applied art (Tokyo, Japan). Archaeology; work in the Barber Institute of Fine Arts; research T.B. Semenova. Work in the reading rooms of the National Library work; study of coins of the Empire of Trebizond (1204–1258) of France and principal museums; completion and preparation for (Oxford, Birmingham, England). printing of a catalogue of the State Hermitage collection of French E.N. Dmitrieva. Work in the National Archaeological Museum furniture (author T.V. Rappe) (Paris, France). and St Mark’s National Library in Venice on the subject “Ancient D.A. Smirnova. Work in the Egyptian Museum and Papyrus Reminiscences in the Glyptic of the Classicist Period” (Venice, Collection; obtaining of information and familiarisation Italy). with specialised literature and methods of the conservation E.V. Dolbunova. Work in the Schleswig-Holstein Archaeological and restoration of papyruses (Berlin, Germany). Museum in Gottorf Castle; study of Early Neolithic complexes I.A. Sokolova. Work in the Netherlands Institute for Art History, originating in various territories (Schleswig, Germany). the archive of the Restoration Department of the Rijksmuseum, A.V. Kashcheev. Work in museums and libraries in Paris and Lyon; the Mauritshuis Restoration Atelier, the photographic archive study of experience and new methods of restoring furniture in the of the State Bureau for Art History Documentation, the State “Boulle” technique and marquetry (Paris, France). Archive, the repositories of the Boijmans Van Beuningen Museum (Rotterdam) and the Museum of Religious Art (Utrecht); work A.I. Kosolapov. Work in the Conservation Department of the Israel on the second part of the catalogue of the collection (M–Z) Museum; exchange of experience and consultations with specialists (The Hague, Netherlands). (Jerusalem, Israel). O.A. Stepanova. Work in the Münzkabinett of the Dresden State S.V. Kudriavceva. Exchange of experience and discussion with staff Art Collections; familiarisation with the collection of medals members of Amsterdam museums (the Hermitage • Amsterdam and work in the library for the preparation for publication Centre, the Rijksmuseum, the Stedelijk Museum, the Van Gogh of a catalogue of the Hermitage collection of 16th and 17th-century Museum) of the prospects for collaboration in the creation German medals (Dresden, Göttingen, Germany). and development of artistic and innovative educational museum projects for students (Amsterdam, Netherlands). A.G. Furasyev. Work in the reserves of the Museum of Vojvodina; discussion of the proposals of Serbian colleagues for the L.S. Marsadolov. Roerich Family House-Museum; study of organisation of a “Russian Archaeological School” in Serbia archaeological collections and monuments in Mongolia for writing based on an archaeological expedition by the Museum of Vojvodina a monograph and articles on the links between Altai-Sayan, in Čurug; development of this project with Serbian colleagues Mongolia, and neighbouring regions in the 1st millennium BC and consideration of potential forms, conditions and methods (Ulaanbaatar, Mongolia). of participation of Hermitage archaeology specialists in the project (Novi Sad, Serbia). A.N Nikolaev. Work in the Collège de France library; preparation for the publication of an Ancient Egyptian Ptolemaic sarcophagus I.Yu. Khrustaleva. Work in the Latvian Museum of National (Inv. No. ДВ[DV]-18780) in the State Hermitage collection History on the subject “Sunken Buildings in the Forested Area (Paris, France). of Eastern Europe in the 7th – 4th Millennia BC’ (Riga, Latvia). 132 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

INTEGRATED ANTIQUE EXPEDITION ARCHAEOLOGICAL EXPEDITION FOR SMALL FORMS IN RELIGIOUS ARCHITECTURE

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

Underwater and land excavations on the ancient city of Akra Exploratory works continued on the medieval stone crosses lo- (Acra), located on the shore of the Kerch Strait, were conducted cated in Kingiseppsky, Volosovsky and Lomonosovsky districts, by ten volunteers and two staff researchers of the State Hermit- Leningrad Region. The activities conducted during the 2018 field age Museum. A pit measuring 100 m2 in area was started on the season included recording the sites’ topography and their chang- sea shore in the residential area dating from the first centuries AD ing state of preservation over the study period with the aim to de- cleared from sand drifts by strong storms. Excavations were con- velop a plan of conservation efforts. Survey works were undertaken ducted to conserve and protect the cultural deposits and ruined in sixteen locations, in two of which the crosses had not survived till buildings. Overlying the building remains were cultural deposits the present; in three sites, the crosses had been dug out and moved of the 3rd century AD, suggesting that Akra may have lost the sta- to a different place by the local residents. tus of an urban centre and turned into an unremarkable seaside The key outcomes of the field works are presented below. village by that time point. According to restoration experts A.A. Androkhanov and S.L. Petro- The findings obtained through underwater excavations, which va, who conducted site inspections in Starye Smolegovitsy Village revealed that the most recent structures had originated in the in Volosovsky District, the only surviving stone cross (measuring 3rd century BC, seem to support this conclusion. The marine digs 2.36 m in height) stands on the verge of destruction, being heavily were conducted to explore the urban structures, including a dwell- eroded with multiple cracks. ing of the 4th century BC located at a depth of c. 2 m. Several Twelve previously unknown stone crosses were found in Oslavye Stone crosses from Oslavye Village moved by the local residents. walls of a residential structure were unearthed, which had sur- Village in Volosovsky District. Three of the crosses had been re- April 2018 vived to c. 0.5 m in height. Excavations were also conducted on corded in 1896 by N.K. Roerich and regarded as lost; two of these a 14 m2 area near the south-western defence wall to study the site’s chronology and cultural deposits. are currently situated at the cemetery (one is coated in aluminium A defence tower (measuring 49 m2 in area) was excavated to establish its structural features and dat- paint). ing as well as inform subsequent conservation works. Remains of antique and medieval anchors were An in-depth assessment of three inscribed crosses was conduct- found at a depth of 5–7 m. The antique finds, along with numerous pieces of amphora tare, simple ed in collaboration with Professor T.V. Rozhdestvenskaya; the tableware and roof tiles, included copper coins, bronze and lead artefacts, a stone mortar and shards palaeographical features of the texts enabled us to date several of black- and red-lacquer vessels. crosses of the same type, most of which carried no inscriptions nor The excavations established that despite its modest size, Akra had a well-developed fortification provided any other cues as to their date of origin. Two inscribed system with defence walls and towers of various architecture, which places it on a par with well- crosses (one dating to the 15th century, the other to the turn of the known Bosporan sites like Pantikapaion, Nymphaion, Myrmekion, Tyritáke and Porthmion. The works 17th century) had survived in Voynosolovo and Yastrebino villages, on Akra have provided a rare opportunity to explore Bosporan methods of urban fortification used respectively. in Classical Antiquity and to test a range of subaquatic excavation methodologies. The inspection of the cross in Monastyrki Village, Kingiseppsky District, revealed that the inscription on the cross had been completely lost. However, previously unknown fragments of the inscription that had peeled off together with the front surface of the cross were found in the local museum and compared with the drawing made in 1998. The inscription dates from the late 16th century at the earliest. Fragment of the lost inscription on the cross from Monastyrki Village

ARCHITECTURAL AND ARCHAEOLOGICAL EXPEDITION

Head of Expedition: E.N. Torshin

The 2018 season witnessed field works in Polotsk, Vitebsk Region, Belarus, and Rostov Veliky, Yaroslavl Region, Russia. The Polotsk unit of the expedition continued archaeological works on the Church of Our Saviour’s Trans- figuration in St Euphrosyne’s Convent (first half of the 12th century). The site is of particular importance to the history of ancient Russian architecture, being the only surviving structure of that period in Polotsk. Moreover, the church retains early features of the architectural style which later became predominant in most parts of Ancient Rus. Walls of a residential building (4th century BC) being dug out of sand The expedition research efforts were undertaken in two main fields. First, excavation works were conducted jointly with Polotsk State University on the galleries which used to adjoin to three walls of the central section of the present church. The discovery of the galleries during the field season radically changed our understanding of the architecture of theTransfiguration

134 135 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

0 5 cm

Part of the Late Archaic courtyard with a round altar Backfill of dugout SK 80. Fragments of a red-figure kylix. and semi-circular walls. South-eastern aspect Church. In 2018 a burial crypt was discovered during the evaluation of the corner compartment of the Circle of Epeleios (?) ancient gallery. The crypt is the first known structure of this type in Russian 10th – 13th-century architecture. To the north and west of the altar, two large pits were discovered, possibly half-dugouts of near-rect- Second, measurements of the ancient stonework uncovered during the restoration of the Transfigura- angular shape (СК 80, 81). The pottery finds, including fragments of a red-figure kylix with a depiction Church with its surviving mid-12th-century murals were conducted. This is the first time that such tion of warriors (510–500 BC, possibly the circle of Epeleios), enabled us to date the pits to the last measurements had been performed on the site. In 2018 exploration of the stairs leading to the choir quarter or end of the 6th century BC. The dating of the dugouts, in its turn, provides terminus post was initiated. The bricked-up windows were reopened, and traces of the original 12th-century stairs quem for the altar. were discovered. Detailed architectural and archaeological measurements of the top part (a key fea- To the south of the courtyard with the altar, i.e. in the yard linked to МК-1, earlier deposits were ex- ture in the architectural composition of the building) were conducted over the 2016, 2017 and 2018 plored; building remains and layers of fire debris dating to the second half of the 6th century BC were seasons. unearthed. The well explored in the same area was found to contain some dramatic materials dating A new series of studies commenced on the Church of SS Boris and Gleb (1287) in Rostov Veliky, Yaro- from the second half of the 6th century BC. slavl Region. The remains of the ruined structure had been discovered under the existing 18th-century church. According to O.M. Ioannisian, the Church of SS Boris and Gleb had been backfilled up to the vault cornices before the early 17th century. A detailed stratigraphic study will be conducted BUKHARA EXPEDITION on the area surrounding the church to validate this hypothesis. A pit sized 4 × 6 m2 was started, and the Head of Expedition: A.V. Omelchenko 18th-century horizon of the cemetery was explored. The works are conducted jointly with the Institute of Archaeology, Russian Academy of Sciences (supervised by A.E. Leontiev). Field work during the 2018 season focused on the early periods in the development of Paikend as an urban settlement. A square table (3 × 3 m, height 40 cm) surrounded on three sides with sufa benches was unearthed in the outer courtyard of the 4th-century temple BEREZAN (LOWER BUG) EXPEDITION of fire on the north of the citadel. The table and benches, which were free from any traces of fire, were made from adobe and trapezoid Head of Expedition: D.E. Chistov burnt bricks joined with alabaster. Two flights of adobe stairs led to the temple from the west and the east; the yard was covered with Systematic exploration works continued on the archaic settlement on Berezan Island (Mykolaiv a roof supported by octagonal wooden pillars. This may have been Region, Ukraine). the site used by Zoroastrian magi-priests for celebrations during the The investigatory activities continued in the north-eastern part of the island in the O-West pit. month of Pasakich, according to Narshakhi’s “History of Bukhara”. The works during the 2018 field season proceeded in the south-eastern sector of the site. Excavations Remains of monumental structurers dating from the 1st – 4th cen- were undertaken on the territory of an urban quarter, the northern part of which during the Late Ar- turies AD were discovered under the medieval pavements made chaic period accommodated a public building (МК-1), unearthed in 2008–2010. As previously estab- of burnt bricks in the so-called palace adjacent to the temple on the lished, the quarter had an unusual triangular layout, with two meridional streets intersecting at right east. An adobe box used to abut the southern wall of the courtyard; angle bounding the area on the north. In 2018 the expedition sought to identify the boundaries of the judging by the remaining objects, the box used to contain church quarter in the south and east; for this purpose, a 433 m2 extension was made to the pit which covered offerings, which were discovered in 2016–2017 in botros pits in the the yet unexplored area to the south of the 2010 section and east of the 2014 section. Citadel. Temple of fire; outer adjacent circuit corridor. It was established that the quarter occupied a much larger area than previously believed. The east courtyard (construction period IV). The targeted exploratory activities ongoing since 2014 at the southern fringe of the citadel have resulted meridional street was traced to another 29 m south; the total length of the street from the crossroads North-western aspect in the discovery of the citadel’s main gates dating from the 3rd or 4th century AD. The gates were pro- in the north amounted to c. 66 m. One remarkable feature of the explored stretch of the eastern me- tected by rectangular towers with arrow slits; a barrack was located further west. The upper parts of the ridional street was a pavement of roughly hewn limestone slabs of various sizes. early medieval fortress wall with false arrow slits were uncovered nearby. Inside the quarter, most of the section unearthed in 2018 was taken up by a large courtyard. In the Fortress walls dating to the first centuries AD were identified under the additional entrance dating back eastern part of the courtyard, a round stone altar surrounded by a semi-circular stone wall on the south to the 4th – 5th centuries, which had been unearthed in 2017 in the north-west of the citadel. The depos- and west was excavated. its of that period contained fragments of iron weapons, terracotta figurines of horses, and earthenware

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ANCIENT RUSSIAN EXPEDITION

Head of Expedition: S.V. Tomsinsky

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Bronze cup with a relief ornament. First centuries AD. Bronze pendant with a scratched image of King Girkod (?). Citadel, palace, south, construction period III First centuries AD. Citadel, palace, south, construction period III

cups. Excavations in the north-east of the citadel showed that Hellenistic fortifications of Paikend were located further north than the monumental Late Antique structures. Exploratory activities proceeded on the territory of the Uglich Kremlin in Yaroslavl Region. A pit The gates of the eastern fortress wall in the area in front of the citadel were studied in the adjacent sector measuring 25 m2 was started near the altar apses of the Transfiguration Cathedral built in 1700– (Р-3). A labyrinthine passage passed by the guards’ room and led to Street A. The discovery of another 1713 at the site of earlier churches of the same consecration dating from the 13th – 15th and large columned hall (IIIа-9, over 30 m2) appears to suggest that this area may have performed special 15th – 17th centuries. functions in the 5th – 6th centuries and may have formed part of a palace. The excavations established that the development of anthropogenic deposits on the site (terminated A small three-room residential section typical of early medieval architecture in Paikend was unearthed in the 1980s) had started in the 6th – 7th centuries when a Finno-Ugric (Merya) settlement appeared on in House VII in the residential quarter on the northwest of Shahristan I. The presence of a stately hall the elevated beaches and sharp bend of the Volga (now the plateau inside the Uglich kremlin). The de- in the neighbouring building VIII was linked with the redevelopment of the quarter in the second half posits, which had accumulated since the foundation of the ancient Russian town Ugleche Pole on the site of the 8th century, following a long period of Arab-Sogdian wars. of a Merya settlement, contained artefacts and fragments of moulded and wheel pottery dating from The city’s north gate was unearthed in the course of excavations outside the north-west corner of Shah- the 10th – 17th centuries (iron knives; arrowheads; an insert from quilted armour; woodworking tools, ristan I adjacent to Shahristan II. Similarly to the south gate, the area had accommodated a Samanid a fragment of a spur, decorations and cross pendants made from copper alloys; glass and stone beads; gatehouse and a number of shops dating from the same period (10th century). A section made in the and shards of glass vessels). western fortress wall of Shahristan I showed the wall to be constructed from rammed clay and adobe An important outcome of the 2018 field season was the discovery of 11th – 13th-century forging Silver drachm with a Bukhara with a considerable admixture of local stone; the wall foundations rested on earlier cultural deposits. and foundry shops, identifiable by industrial waste (iron and copper slags), fragments of clay crucibles stamp. 5th century. Area in front of the citadel and a miniature earthen forge for non-ferrous metals. The finds helped to identify the precise location of the manufacturing zone on the territory of the Uglich Kremlin during the pre-Mongol period. The 2018 expedition also helped to throw light on the construction chronology of the Transfiguration Cathedral and the princely palace, closing some of the knowledge gaps left after the studies conducted UPPER DVINA EXPEDITION in the 1980s. It was established that the first (wooden) Transfiguration Cathedral near the princely palace in the north-eastern part of the Uglich Kremlin had been built in the first third of the 13th century Head of Expedition: B.S. Korotkevich at the earliest. The first white-stone cathedral was constructed on the site of the older wooden cathedral in the first third of the 15th century under Prince Dmitry Yurievich Shemyaka, then dismantled and Exploratory works continued in Anashkino, Kunyinsky District, Pskov Region. Two new sectors of the pit rebuilt in brick under Prince Andrey Vasilyevich Bolshoy in the 1460s; added to the cathedral later was were started (Sectors 10 and 11). a brick palace (1480s), which was dismantled in the 1700s. These conclusions are of crucial importance Section 10 (24 m2) was started at the south-eastern fringe of the site, near the supposed entry road. to the correct understanding of 15th-century Uglich architecture in the overall context of architectural Early Iron Age deposits dating from the mid-to the second half of the 1st millennium BC were unearthed development during the early period of the Principality of Moscow. in the same area. The expedition studied the remains of a building constructed in the last centuries BC and the defence structures which had previously surrounded the area. Sector 11 (32 m2) is located to the north-east of the area, near the natural pit, the eastern part of which TRANSBAIKAL EXPEDITION had been explored in 2015 and 2017. The upper part of the cultural stratum dating from the 2nd – Head of Expedition: N.A. Sutyagina 1st centuries BC was excavated. The finds were submitted for laboratory assessment to the Department of Eastern European and Sibe- Excavations continued in the western and central parts of the Cheremukovaya Pad’ Gravesite. A total rian Archaeology, State Hermitage Museum. of three adult burials (20, 55 and 56) and two children’s burials (17 and 20а) were explored. Regular patterns in the mutual location of the burials and some new types of burial structures were spotted. The well-preserved log cage in Mound 20 enabled us to identify one method of log connection which had not previously been encountered at the site. The burial chamber was found to contain bone parts of a bow,

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Cheremukovaya Pad’ Gravesite. Meshoko Ledge Mound 20. Burial. Top view

Cheremukovaya Pad’ Gravesite Mound 56. Burial structure. Top view

Meshoko Ledge. Layer 6. Northern aspect

Meshoko Ledge. Layer 6. Flint objects recovered from the site

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in the North Caucasus. The first radiocarbon dates for samples of coal obtained from Layer 6 point that the site may date from the late 5th – early 4th millennium BC. The final stages of works on the lower parts of Layer 6 resulted in the discovery of areas containing no pottery, indicating still earlier deposits may be found on the site.

GOLDEN HORDE EXPEDITION bone decorations and fragments of iron objects. The children’s burials in this part of the gravesite are located to the west of adult burials. Head of Expedition: M.G. Kramarovsky The burials in Mounds 55 and 56 had been robbed in antiquity, which makes it difficult to reconstruct the details of the burial rite. A large wooden structure was unearthed in Mound 56; the coffin inside The works of the 2018 season focused on three sites. had been moved towards the south-eastern corner. Pottery fragments and bone objects were discovered. Site 1. North-eastern sector of the square in front of the Uzbek Mosque and Madrasah complex. Pits Mound 55 had been completely emptied by robbers apart from a fragment of a Chinese bronze mirror 1–4/018 was found to comprise a 16th-century Muslim gravesite, where six stone box burials were ex- found at the bottom of the grave. plored. The long side of the burials was aligned with the east–west axis. All the boxes were constructed from sandstone dry masonry (wall thickness c. 0.3 m). The boxes measured 1.2 × 2.5 m (internal perimeter); the surviving part of the structure reaches 0.5–0.7 m in height. The deceased lay on the back, with the head facing west and the face turned to the south. Remains of wooden structures, possibly parts TRANSKUBAN EXPEDITION of coffins could be traced at the head and foot of several burials. Site 2. Located in the area of the medieval bathhouse (unearthed in 2011). A well measuring 6 m in depth Head of Expedition: S.M. Ostashinsky and 1.5 in diameter was unearthed during additional exploratory efforts on Pit 7 (excavation started in 2017), situated 12 m west of the south-western corner of the bathhouse. The backfill contained a large Field research continued on the Meshoko rocky ledge in the sub-mountain region of the North-West amount of archaeological material (archaeologically complete profiles of ceramic vessels; metal objects Caucasus in Maikop District, Adyg Republic. The studies conducted by the beginning of the season had and coins). The trench adjacent to the well in the western part of Pit 7 was identified as a household shown that the site included six principal layers. The most distinct of these are Layer 3 dating from the pit (Household Pit 3, according to the existing numbering system) in the course of further exploration, Maikop Culture of the Early Bronze Age (mid-4th millennium BC), and Layer 5 originating in the Chal- whereby the trench was extended westwards. colithic period (former half of the 4th millennium BC). Site 3. Located in the south-eastern sector near the city’s water reservoir. Pit 47/018 (10 × 10 m) was Further exploratory works were carried out on the underlying Layer 6, which contained a large number found to contain lower courses of the stone mausoleum, with a floor paved in flat Golden Horde bricks. of pits filled with ochre. Ochre also covered the walls and floor of the structures. The purpose of the “red Three sectors of the site were explored. pits” remains unknown. Layer 6 was found to contain many flint objects. The local flint industry displays In Sector B-3 (5 × 5 m), a layer of light-grey sandy loam rich in lime, medium- and small-sized stones microlithic features, with fragments of flint plates and microplates, as well as microscrapes and geomet- and Golden Horde bricks (layer thickness c. 0.5–0.6 m) was discovered under the turf (0.07–0.15 m ric microliths (segment- and diamond-shaped) found among the deposits in great abundance. A small thick). In the north-eastern and south-eastern part of the sector two lines of trenches aligned north-west, number of fragments of high-quality pottery were recovered. No analogues to the site are known to date. south-east – east and south-west were discovered under the clay loam. The trenches were filled with These materials are likely to represent a new cultural phenomenon dating to the early Eneolithic period light-grey sandy loam, possibly remaining from the dismantled foundations. Part of the foundations had

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Mihrab-shaped marble tomb Fragment of a terracotta depicting with an Arabic inscription. a female figure wearing a chiton Late 14th – early 15th century. The inscription reads: This is Fragment of a glass vessel the tomb of Riayad (?) khatun, daughter of Umar (read and translated by Sh. Seytumerov)

Stamped grey clay vessel for water or wine painted with cyan 0 3 cm 0 3 cm and turquoise enamel. 13th – 14th centuries. Asia Minor (?) The northern sector of the ash mound encountered a wall, which was partly explored during the 2018 season. The wall, which ran along the road and bounded the mound at the turn of our era, is likely to have protected the road from the south against the ash. The finds recovered during road dismantlement were similar to those retrieved from the ash mound. The mound turned out to contain a number of rare artefacts. One example of local imitation of imported wares was a fragment of a terracotta statue created by a local sculptor; the fragment shows part of a female figure clothed in a chiton, with an animal in one hand and a basket of fruit in the other. A fragment of a non-local glass mosaic cup was also retrieved. The recovered materials make it possible to confidently date the examined strata by the mid-1st century BC – mid-1st century AD.

MYRMEKION EXPEDITION

survived in the western part of Sector V-3. A layer of light-grey sandy loam in the western part of Sector Head of Expedition: A.M. Butyagin B-3 rested on a dense lime stratum, identified as flooring (?), with rows of Golden Horde bricks on the top outlining the perimeter of the mausoleum (?). Excavations continued on the site of Myrmekion on the north side of the Kerch Bay in the area of the 2 A layer of light-grey lime with rubbles was found in Sector B-4 (3 × 4.5m) at a depth of 0.6–0.7 m from Quarantine Cape. The works proceeded in three sectors, with over 450 m of the cultural stratum ex- the daylight surface under a layer of dark grey clay loam with lime and stones (c. 0.5–0.6 m thick) in the plored to a depth of 2.1 m. 2 north-west corner of the sector. There is no doubt that the materials formed the backfill of the foundation In Sector I (central part of the site), small works were conducted on an area of c. 80 m , where thick trench, aligned along the north-east - south-west axis, which continued the line of the foundations in Sec- layers displaced from the top of Hellenistic ash mound 2 (first centuries AD) were discovered. The finds tors B-3 and V-3. At this point the exploratory activities were interrupted as the design of the structure included many pottery fragments dating from 3rd century BC – 3rd century AD, which overlay remains required a larger-sized pit. of a room and courtyard encircled by an adobe brick wall. One particularly noteworthy find was a small Sector V-3 (3 × 5 m), located east of Sector B-4 and separated from it with a 0.5 m-wide shoulder, was bone figurine depicting Mercury. found to contain stone foundations of a building joined with lime mortar. In the western part of the site, In Sector М (south-eastern part of the site), excavations were conducted on a land parcel measuring 2 several stones joined with lime mortar which had formed the corner of the building were discovered. c. 120 m . In view of the fact that that part of Myrmekion’s earliest gravesite was discovered during the The cornerstones are large and roughly hewn (0.5 × 0.5 m; 0.5 × 0.4 m); large and medium-sized previous season, an extension was made to the south of the pit for further exploratory works. Remains stones also occur in the rubblework. of medieval structures with a hearth, earlier stonework and pavements (possibly dating to the Hellenistic Further works on the site were suspended until the next field season, when the structure can be studied period) as well as stones removed from the defence wall were unearthed. Two burials in the gravesite in full. dating from the 6th century BC were discovered (one crouching, one lying on the back); the grave The works resulted in the recovery of a large pottery collection which included foreign artefacts, flat goods included beakers made from grey clay. The site was found to contain several heterochronous pits. Golden Horde bricks (22 × 21.5 × 4 cm; 21.5 × 21.5 × 3.5 cm) and 14th – 17th-century coins. The structure may be tentatively dated by the 14th century. Myrmekion. Sector М. Fragment of a marble tombstone relief. 5th century BC KITEON EXPEDITION Myrmekion. Sector TS. Fragment Head of Expedition: A.V. Katsova of a marble torso of a seated deity. 1st – 2nd centuries Excavations continued on the ancient town of Kiteon (Kitey / Citea) in the south-east of Kerch Peninsula. The principal study target over the past several years had been the ash mound. The ash deposits were represented by brown and yellow-brown clay loam interspersed with mussel shells and multiple streaks of ash. Sites of this type usually contain pieces of amphora tare and fragments of simple tableware and moulded pottery in great abundance; heterogeneous finds such as terracottas, lamps and various artefacts made of clay, bone, glass, stone and metal are also plentiful. Compared with the previous years, the number of recoveries declined two-fold for pottery and three-fold for osteological material. Remains of ruined hearths, a dog skeleton and accumulations of animal bones were found. 142 143 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

One of these contained an architectural fragment and part of a marble tombstone relief NYMPHAION EXPEDITION depicting the head of a youth, possibly dating from the 5th century BC – a rare find indeed. Most exploratory efforts were targeted at Sector TS (near the acropolis rock). Heterochronous Head of Expedition: O.Yu. Sokolova cultural deposits were studied on a territory measuring c. 250 m2 in area. Layers dating from the 13th – 15th centuries were excavated along with a number of pits originating in the same pe- Exploratory works were conducted in the Bosporan city of Nymphaion. In 2018 the team performed riod. Remains of a stone-paved basement of the 19th-century port quarantine were discovered. excavations in the 2010 extension to Sector М. The key goals were, firstly, to determine the overall size The layer underneath was made up by fine stones overlying villa structures dating to the 1st – of the structure studied over the past sixteen years in this sector, identify the functions of the structure 3rd centuries. Only the upper courses of several rooms were discovered in 2018; these will be and trace the amphitheatre rows reaching well beyond the western side of the pit; and secondly, to con- studied in more detail in the following season. The late medieval backfill was found to continue terracing of the pit’s western side. The excavations proceeded in squares 7–10 of the 2010 exten- tain a small marble torso from a statue depicting a seated deity, possibly Jupiter; a marble sion to Sector М, located on the southern slope of the Nymphaion plateau. semi-nude male torso measuring c. 1.1 m in height (possibly, from a statue of Asclepius) was retrieved from the heap overlying one of the rooms of the villa. The statue is a rare find for Nymphaion. Sector M. Bosporus and a completely unique object for Myrmekion. South-western aspect Furthermore, to obtain additional information on the pit (partly unearthed in the previous year) where a lead letter – another rare find for Myrmekion – had been discovered, the flooring was removed from a room dating to the 1st – 2nd centuries. Additional exploration of the pit yielded a large number of branded amphora fragments; materials from a bone carving workshop with ready products, semi-finished articles and production waste were also recovered. Outside the area, a pit with materials dating from the 6th century BC including a vessel in the Wild Goat style was retrieved. Of particular interest are individual finds made in various parts of the site, notably fragments of two marble statues, and a large relief.

Myrmekion. Sector TS. Marble statue of Asclepius at unearthing. 1st – 2nd centuries

LOWER DON EXPEDITION Head of Expedition: E.V. Dolbunova Exploration works were performed in several parts of the Stone Age site in Rakushechny Yar, specifically focusing on the Early Neolithic strata of the 7th – 6th millennia BC and a residential platform dating from the late 6th millennium BC. The Early Neolithic strata were found to contain oval areas (c. 1.5–2 m in diameter) paved with Unio shells laid convex side up. The areas may be identified as plat- 2 forms constructed in the waterside area of the settlement, which were actively used for several months, Approximately 100 m of the site was explored to a depth of up to 0.5 m. Hellenistic pottery predominat- then covered with a thin layer of sand during the spring floods. Remains of hearths were found on the ed among the finds recovered from the layer; other artefacts included earthenware of the 5th – 4th cen- platforms along with fragments of grinding plates, animal bones, parts of fish carcasses; tools made turies BC and the first centuries AD. As mentioned in 2017, black- and red-lacquer pottery dating from the 5th – 4th centuries BC was mostly found in the southern sector of the site above the layer of natural Shell pavement with remains of shells, flint and bone; round crow beads made of shells; shell pedants (finished and semi-finished), of animal bones and broken clay and a container for storing red ochre made from a Unio shell. Pieces of flat-bottomed vessels were clay. Individual finds included a 492-gram lead weight piece, three copper coins, amphora brands, and vessels recovered from the same area, part of which were overturned or placed bottom-down on the paved plat- a fragment of a terracotta figurine representing a young woman with a tympanum. forms. The vessels contained traces of soot; chemical tests indicate that the vessels may have been used The 2018 field team also carried out conservation works on the walls of the winery (discovered in 1986), Plates – semi-finished drill bits to store or make pitch. The more recent overlying layers were found to contain remains of a dwelling which have suffered damage from natural and human factors. On permission of the East Crimean Histor- 3 recovered in the Early Neolithic with hearths, pillar pits, parts of flooring covered in red ochre, and a massive grindstone in the centre, all ical and Cultural Museum-Reserve, c. 440 m of ground was removed from the site. A total of 44 objects layer hidden underneath a thick layer of Viviparus shells. The new radiocarbon dates suggest that the underly- 0 1 cm recovered from the site were handed over to the East Crimean Historical and Cultural Museum-Reserve. ing Neolithic strata had formed within narrow time periods (up to twenty years), which challenges our Works on the 2010 extension to Sector М will be continued in the forthcoming field season. Finished and semi-finished crow Nymphaion. A lead weight piece beads made from shells understanding of the site chronology.

PAZYRYK EXPEDITION

Head of Expedition: E.V. Stepanova

In June–August 2018 excavations continued on the Pazyryk gravesite (Ulagansky District, Altai Repub- lic), where Mound 5 was explored by the State Hermitage jointly with the Gorno-Altaisk State Univer- sity. Aerial photography of the Pazyryk and Balyktyul gravesites was performed; geo-radar works were done in several points of the gravesite; a number of petroglyphs were identified and conserved. On the east, south and west of the mound, soil dumps left from the 1949 excavation activities were 0 3 cm 0 3 cm cleared; in the east, the mound crepidoma, a fence made from vertical slabs, and radiating pavements were unearthed. The geo-radar studies failed to locate the pits of the ancillary burials under

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the embankment along the perimeter of the crepidoma and on both vaulted rooms (12 and 13) were excavated in the north; the rooms had formed part of a different building sides of the mound fence, which means that the embankment can be which had been constructed prior to 722. preserved during mound museumification. On the northern side of the Citadel, a vaulted room of an early origin (room 26) with arrow slits in the Excavations on the mound pit resulted in the finding of multiple re- northern wall was studied; more arrow slits were uncovered in the outer face of the wall. This fact makes mains of wooden structures, namely a well-preserved external log it possible to clarify the chronology of alterations made to the Citadel wall between the 4th and 5th cen cage (6.9 × 4.2 × 1.8 m), part of the log cage ceiling, six strong turies and between the 5th and early 8th centuries. supporting pillars as well as floor beams and logs. Multiple frag- An earlier layer of pavements with 9th – 10th-century materials was unearthed via the pit started in the ments of birch bark which used to cover the flat ends of the logs and Kuktash area in the previous year. A large brick-paved area bounded by walls was unearthed in the east the outer sides of the log cage walls were recovered. of the pit. The expedition also studied a treasury of 40 silver and coper coins dating from the mid-9th The backfill of the pit and the soil dumps contained fragments century. of birch bark sewn together with baste fibres; horse bones; small In Citadel I, a rectangular columned hall 9 was excavated. Its meticulously executed paintings were fragments of moulded pottery, felt and gold foil; pieces of a bone hoe found in a poor state of preservation. A Bukhar Khudah drachm minted under Caliph al-Mahdi (770– and a stone pestle as well as an iron crow bead. 783) was found on the floor level. Courtyard 8 of an irregular five-sided shape located to the east of the columned hall were studied together with a wooden water drainage chute under the wall and an intricate passage to the south in room 10 (partly explored gate lodge with traces of wall paintings). In Citadel II, Mound 5, Pazyryk Gravesite. Burial chamber: outer log cage exploration works were completed on room 10; the south part of courtyard 12 was unearthed. and supporting pillars. North-western aspect

PANJAKENT EXPEDITION NORTH-WESTERN EXPEDITION Head of Expedition: P.B. Lourje Head of Expedition: A.N. Mazurkevich Studies were conducted in Panjakent and Khisorak. Excavations were initiated in Sector VI-С, where a long corridor 1 extending from east to west was studied; the plaster carried finger ornaments resem- Subaquatic and onshore explorations were conducted around and at the bottom of Sennitsa Lake bling pre-sketches for a design. The corridor was linked via passages to room 2 (reused “cappella”), and (located in the extreme south of Pskov Region) on the remains of pile villages dating from the 4th – 3rd ramp 3 from under which on could access the partly explored vaulted room 5 in the east. To their south, millennia BC together with the adjacent miscellaneous stone structures. The villages were detected via a two-level room 4 was found. underwater excavations and geophysical non-invasive methods. A series of diverse geophysical anoma- In Sector ХI-В, extensions to east and west were made. The layout of the new house with vaulted lies were identified by radar scanning on the lake shore and bottom; some of them were studied, result- room 17, kitchen 19 and entrance 18 is similar to that of the house explored in the previous field season. ing in the discovery of new sites. Importantly, the cultural strata in the coastal area had suffered strong In the east, courtyard 14 with traces of paintings on the western wall was excavated to its full width; damage after almost 40 years and were buried under sand deposits; the slow recovery of the water level two large square stepped column bases from the courtyard of the new temple were located in the centre. in the lake led to the formation of peat layers over the damaged cultural strata. The story of exploratory Extensions to Feature ХХХ were made to the east (the rooms in the area were found to be in a poor state activities conducted on Sennitsa Lake and the partial loss of invisible underwater cultural legacy makes of preservation), to the north where a street or square was unearthed, and to the west where exploratory it necessary to initiate systematic study of subaquatic cultural legacy hidden in Russia’s numerous lakes works were completed on room 5, linked to storage 10 via a perfectly round access door. Another two and rivers.

Courtyard of the temple Remains of the building dating (Feature ХI-В) from the 5th millennium BC

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Another study site was Serteya II pile village located in the Serteya iron knives of the Caucasian type and a bronze fibula. For the first time, a pair of bronze tweezers was archaeological micro-region (Smolensk Region). Remains of sev- discovered in a male burial; other tweezers recovered in Verkhny Kurkuzhin were made from iron and eral fishing structures resembling basket nets, a number of fishing formed part of the female grave goods. Decorations and parts of costume were contained in male, female weights and floaters were discovered in the eastern (formerly wa- and children’s burials and included iron and bronze pins fixed together with bronze chains; beads made terside) part of Serteya II. Remains of a pile-supported road, which from glass (also from paste) and amber, and various crow beads were also retrieved. Pottery, found in the used to run along the eastern extremity of the settlement, were dis- vast majority of the burials, was represented by ewers, bowls and cups. The archaeological complexes covered in the same area. In the western part of the site, remains date from the early 7th – mid-6th century BC. of a previously unknown area with remains of a pillared structure were unearthed, where massive grindstones, remains of an ancient oar and ruined vessels were found. Judging by the pottery finds, which are similar to Eneolithic complexes of the steppes, it may date to the 5th millennium BC. A unique pendant made from a boar tusk Pendant made from boar tusk. 5th millennium BC originating from the same culture was retrieved from the site. SLAVIC-SARMATIAN EXPEDITION

Head of Expedition: S.V. Voronyatov

NORTH CAUCASIAN EXPEDITION Field works in the 2018 field season centred on Glazhevo Village, situated on the right side of the Navlya River in Navlinsky District, Bryansk Region. A total of 64 m2 was explored. The cultural layer of the site Head of Expedition: Yu.V. Marchenko had been damaged by ploughing, with settlement facilities only found on the natural. Most of the fragmented pottery discovered among the cultural deposits dates back to the Ancient Rus- Works continued on a Koban Culture gravesite located in the land- sian period (12th – 13th centuries), as do some of the individual finds (an iron fishhook, a biconical slide area in Verkhny Kurkuzhin, Baksansky District, Kabardino- 1 cm 0 spindle whorl made of Ovruch slate, fragments of glass and bronze bracelets, iron knives, etc.). One un- Balkaria. In 2018 284 m2 of the site was unearthed and found expected find was a 16th-century “fish-scale” coin. Outlines of four household pits were discovered on to comprise 27 funerary structures (21 stone boxes and six ground Fish-scale coin. 16th century 2 the natural, all of which were found to contain Ancient Russian pottery. Pits 1, 3 and 4 also comprised 1 pits). The site comprised 24 bodies; burial 32 was of three chil- fragments of moulded pottery originating from the Kievan Culture (3rd – 4th centuries) which had dren aged two–eight years and laid to rest at different time points. ended up in the medieval pits after the thin cultural layer of the late Roman period had been destroyed. The area of the gravesite studied in 2018 contained burials of ten Pit 1 attracted particular attention as it contained evidence of metal production in the area, namely men, five women and nine children. The grave goods varied depend- multiple metal slags, a slagged piece of pottery, remains of a small furnace and some clay roll (building on the sex and age of the deceased. Thus, male burials were found 6 ing material for various types of furnaces and crucibles). The most interesting find recovered from to contain iron spearheads of various types, an iron axe, bent-back Pit 1 was a fragment of a unique metal imitation (made from tin bronze) imitating a faux-braided glass 7 8 9 bracelet. Fragment of a metal imitation 5 of a glass bracelet

14 STABIAN EXPEDITION 3 4 Head of Expedition: A.M. Butyagin

10 11 12 13 Works continued on the Ariadne Villa (near Castellammare-di-Sta- bia, Italy) destroyed by the famous eruption of Vesuvius in 79 AD. This season, the team studied the central part of the so-called cryptoporticus (a long gallery with small windows) in the area of the rectangular wall niche of unclear purpose. The unearthed area to- 15 talled c. 30 m2, explored to the maximum depth of 2.1 m. The top stratum was made up of lapilli (small pumice blocks) displaced from the surrounding area; the lapilli overlay a soft layer 17 Verkhny Kurkuzhin Gravesite. Finds recovered in 2018: formed in the 18th century as a result of excavations, when the 16 1 – iron axe (burial 31); 2 – bronze pin (burial 43); building was used as a dumping ground for materials from exca- 3, 4 – iron pins (burial 44); 5 – iron spearhead (burial 46); vations in the other parts of the villa. The layer contained mul- 6 – bronze tweezers (burial 46); 7–9 – biconical amber beads (burial 48); tiple fragments of frescoes, roof tiles and pottery as well as large 10–13 – paste beads (burial 44); 14 – iron spearhead (burial 51); fragments of lime-covered flooring and walls, some of which car- 18 15 – bronze fibula (burial 31); 16 – bronze bracelet (burial 35); ried painted plaster. 17, 18 – small amber beads (burial 44). The most interesting find was fragments of an intricately shaped ceramic drainage for rainwater with griffin claws. Verkhny Kurkuzhin Gravesite. A quadcopter image of the 2018 pit Stabiae. The Ariadne Villa. Cryptoporticus. General view of the site The finds made in 2017–2018 were catalogued and photographed. 0 5 cm (male adult burials are marked with blue, female with red; children’s burials are marked with yellow) The restoration team also carried out conservation works on the

148 149 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

Stabiae. The Ariadne Villa. Fragment of an architectural terracotta. 1st century AD

room walls and pillars in the adjacent garden of the villa, as well as in other rooms previously unearthed by the expedition. Apart from the works in Stabiae, a familiarisation trip was conducted in spring 2018 to Otricoli commune in Umbria, where the ancient Roman city Otriculum used to be located; possibilities were explored for a new expedition or investigatory project to excavate the deposits retained from the settlement of the 6th – 1st centuries BC.

TIEN-SHAN EXPEDITION Theodosian Expedition. Head of Expedition: A.I. Torgoev Survey Pit 2. Foundations remains of a structure dating from the 4th – 3rd centuries BC, which had been damaged by the medieval of the building dating from burial, judging by a crossbow bolt recovered from the area. Interestingly enough, the burial contained the 4th – 3rd centuries BC In 2018 the Tien-Shan Expedition of the State Hermitage Muse- nothing but a skull. Survey Pit 2 comprised a relatively well-preserved fragment of a stone foundation um worked on its traditional two sites in Kyrgyzstan and Kazakh- Theodosian Expedition. Mound 4. from a building dating to the 4th – 3rd centuries BC. The parts of the structures in both survey pits have stan. In Kyrgyzstan the study efforts focused on the Alay Valley. Burial chamber, southern part. the same alignment as the structure studied in 1982, suggesting that they had formed part of a single The expedition collaborated on a major project organised by the Northern aspect complex of the Late Classical – Early Hellenistic period. Kyrgyz National Academy of Sciences to explore the mounds along Second, survey efforts were carried out at the top and northern slope of Tepe-Oba with the aim to locate the Turkmenistan–China gas pipeline, currently under construc- and map large rubble embankments featured on the Plan of the Theodosian Silvicultural District in the tion. 40 mounds on seven gravesites were excavated. Bronze Age early 20th century. All the embankments were found, and detailed topographical plans were compiled catacomb burials originating from the Bishkent-Vakhsh Culture for two of them. Furthermore, it was established that one of the embankments had recently been dam- were first identified in the Alay Valley. Most of the sites dated back aged by a robbery which had left the stone burial chamber almost completely unearthed. This is currently to the Late Saka period. Several mounds dating from the first half the first known sub-mound burial structure of the ancient Theodosian cemetery since no graphic docu- of the 1st millennium AD were explored; excavations were started ments supporting 19th-century studies have survived till the present. on an elite mound dating from the Saka times and measuring 60 m in diameter. Exploratory works proceeded on the early building horizon of the central ruin in Krasnaya Rechka, the expedition’s primary site. It was established that the horizon might date from the mid-8th CHERSONESOS EXPEDITION century at the earliest. In Kazakhstan studies continued on the Baka-Tobe Fortress in the Head of Expedition: N.Yu. Novoselova environs of Talas. Several vaulted rooms dating from the early centuries AD were unearthed in the core part of the site. The most re- Exploratory activities were continued on Quarter ХХ of Tauric Chersonesos, cen- markable finds included a fragment of a tare vessel stamped with tring on the Byzantine houses dating from the 9th – 10th and 12th – 13th centuries a figure of a dog. which are located in the area. Two rooms of a 12th – 13th-century house overlooking lateral street 11 were uncovered. The total excavated area amounted to c. 300 m2. The excavations yielded fine samples of Byzantine sgraffito pottery, fragments of kashin pottery rarely found in Chersonesos and entire samples of glazed white- clay pottery. THEODOSIAN EXPEDITION A 3D model illustrating the planigraphic situation on the site was created in 2018 for all structures unearthed since 2014. The most important outcome of the 2018 sea- Head of Expedition: A.A. Akhmadeeva son was the retrieval of a chalcedony stamp inscribed with the name of Astinome

Survey works proceeded on the northern slope and summit of the Tepe-Oba range to explore the area adjacent to the ancient city site to the south and tentatively identified as part of the cemetery. The works were conducted in two key fields. First, research and survey works were conducted on the plateau along the western margin of the Genoese Arroyo, where remains of buildings dating from the late 4th century BC had been unearthed in 1982 by E.A. Katyushin and the maximum concentration of finds had been yielded by survey works in 2017. The data obtained as a result of comprehensive geophysical studies suggests the presence of multiple Tauric Chersonesos. structures in the areas. Two survey pits were started to clarify the stratigraphy of the site; the location General view of the 2014–2018 pit. of the survey pit was based on geophysical findings. Survey Pit 1 was found to contain poorly preserved 3D model 150 151 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

Stamp of Astinome Heraclius Pit 10 in the area of the seaport (averse) (Sudak). South-eastern aspect

Heraclius (late 4th – early 3rd century BC). The stamp is a rectangular plate (3 × 2 cm) with an inscription; a protruding rectangular groove (3 × 1 cm) for a detachable handle is to be seen on the reverse in the central part. The stamp was meant for sealing governmental documents. Apart from being the first 0 1 cm antique stamp ever to be found in Chersonesos, the find is of value as a unique work of antique art and an object recording Chersonesos’s political history.

CENTRAL ASIAN EXPEDITION

Head of Expedition: N.N. Nikolaev

Works continued on the Orgoyton Gravesite located on the left side of the Selenga River in Dzhidinsky District, Buryatia. The burials found in the gravesite originated from the culture of Asian Huns (Xiongnu), who controlled many peoples across Central Asia in the late 1st millennium BC – early 1st millennium AD. Works during the 2018 season were carried out in the eastern part of The excavations led to the discovery of several polychrome frescoes, church plate and objects of per- the site, where a pit measuring c. 1000 m2 in area had been started sonal worship made of clay, metal, glass and stone. The pottery complex is represented by several items in 2017 to explore the gravesite. In 2018 the pit was extended north of tare, kitchen- and tableware. The numismatic facilities dated from the 12th – 15th centuries. by 380 m2. Two ruined superstructures of stone mounds were found in the excavated area. In parallel, excavation of the mounds discovered in this part of the gravesite in 2017 also continued. Mound 12 was explored. Its surface structure had been almost fully destroyed 0 3 cm by robbers. Remains of a burial structure were discovered at a depth of c. 1.5 m in a grave aligned along the north–south axis. The burial Fragment of a Chinese bronze was made in a wooden coffin, only the southern part of which had mirror survived. Fragments of floor boards survived along the western and eastern walls of the coffin. No skel- SOUTHERN BELARUS EXPEDITION eton or grave goods were found. A funerary complex made up of two mounds (17, 18) and ground burial Head of Expedition: L.S. Vorotinskaya 19 was discovered to the north-east of Mound 12. The central place in this group was taken by Mound 18 with a grave containing a large trapezoid wooden coffin (2.29 × 1.15 m) aligned along the north–south The expedition continued exploratory efforts on the Zarubinets gravesite originating at the turn of our axis. The mound had been robbed; the skeleton was absent. The grave goods comprised a large corroded era near Goroshkov Village in Gomel Region, Belarus; excavations were also initiated in Markovo 3 fragment of an iron object and a fragment of a ceramic vessel bottom. The clean-up works on the ruined in Kursk Region. surface structure of the mound resulted in the finding of an iron knife, an iron belt accessory (?) with Eighteen cremation burials (68–85) and 24 heterochronous pits of various sizes were studied in the a case and a fragment of a Chinese bronze mirror. Mound 17 burials and burial 19 (children’s burials) ground cemetery in Goroshkov on an area totalling 1200 m2. Several burials were of particular interest. also turned out to have been robbed. As noticed in 2017, the Orgoyton graves had suffered total destruc- In burial 69, two fibulae were found among the bones, one iron of Late La Tène design, the other bronze tion rather than simple robbery. This fact indicates the degree of hatred felt towards the Xiongnu by the of Middle La Tène design (Neapolitan type). The latter find is unique for Zarubinets sites and has ana- local population; indeed, the robbers did not fear revenge by the dead and destroyed the Orgoyton graves logues in the North Black Sea Region. One unusual find was a bronze cover plate from a wooden handle Bronze cover plates from the as soon as the Xiongnu had lost control of the area. (possibly, from a whip?) decorated with studs, which was recovered from burial 85. The iron spearhead wooden handle (possibly of a whip). Burial 85 from burial 81 supplemented the collection of weapons recovered from the Goroshkov Gravesite in the previous field seasons. Exploration works started on the Markovo 3 site in Srednee Posemye, Glushkovsky District, Kursk Re- SOUTH-EASTERN CRIMEAN EXPEDITION gion. This is the first site in Russia where materials typical of the known pre-Roman Kharyevka-type sites in Ukraine have been recovered. The latter combine features of the Zarubinets Culture and Central Head of Expedition: V.D. Gukin European cultures modified by influences from the La Tène culture (Przeworsk and Jastorf).

Excavations were conducted in Sudak on Pit 10 in the area of the seaport. The field works resulted in the unearthing of medieval churches and the adjacent cemetery. The ruins are remains of a large single-nave hall church with transepts of small church structures. Fragments of apses, pillars and fragments of arches, the altar, naos, narthex, gallery, partitions, niches and passages between rooms had survived. Ancient ossuaries and tombs were discovered in the area of the pit and churches. A stone shell of the crypt with traces of remains belonging to an unknown saint or martyr was unearthed in the altar of the main church. Earlier cultural deposits and architectural structures which had existed on the site of the 13th – 15th-century church were found.

Finds recovered from burial 81 152 153 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

SOUTH CRIMEAN EXPEDITION The works conducted in Cembalo fortress over the 2018 season targeted church 1, where measurements and photography were performed; additional information was obtained about the architecture of this Head of Expedition: S.B. Adaksina fascinating medieval structure. In Pit 2, exploratory works were started on the built-up Latin quarter. The structures identified there had originated from the Genoese (1345–1475) and Ottoman (1475–1771) periods of Cembalo-Balaclava. Ruins of a large house constructed in the 1380s at the earliest were fully unearthed. The ground floor of the building (measuring c. 80 m2 in area) may have been used for household purposes over the 14th – 17th centuries (Genoese and Ottoman periods).

0 3 cm

Three-hole psalium

Pit 1. General aspect, seen from the north-east Pit 1. Church 1. General aspect, seen from Pit 2. General aspect, seen from the south the south The expedition continued exploratory efforts on the medieval fortress of Cembalo which have SOUTH SIBERIAN EXPEDITION been ongoing since 2002. Excavations were conducted in the south-western sector of the site, where a Latin city quarter dating from the 14th – 15th centuries is situated. The works were Head of Expedition: K.V. Chugunov conducted on two pits. In Pit 1, ruins of a medieval church (No. 1 in the existing numbering system) were unearthed. The church had been explored in 1991 and 1999–2003 by the Chersonesos Excavation continued on the Chinge-Tey I funerary complex in the Tyva Republic. The excavations cen- Museum-Reserve, Institute of Archaeology of the Russian Academy of Sciences and Kharkov tred on four sectors of the mound, where the stone-and-earth surface superstructure and part of the moat National University (the expedition was led by N.A. Alekseenko). In 2018 the ruins of the church were explored. Fragments of a ceramic vessel were recovered from the area bounded by the vertical were fully cleaned from the tumbled stones, accumulated soil and modern waste, upon which slabs of the cromlech. Other finds included a bronze arrowhead and a gold covering plate; a ritual votive the surviving walls were photographed. A total area of 150 m2 was studied to a depth of 0.15– treasure comprising bronze parts of a bridle was retrieved from the moat. 1.2 m. A sampling of the floor filling was conducted in the naos on the western side (total area Remains of entry burials with ceramic vessels and iron knives (Scythian period) were explored on the 6.1 × 4 m). An unexcavated area on the outside of the apse (south-east) was first unearthed. sloped of the surface structure of the mound. Medieval structures, possibly dating from the late 1st – Pit 2 was located further down the slope (5–8 m from the coastal defence line) 25–30 m above early 2nd millennium, located between the moat and the cromlech were studied. The tower-like struc- the sea level and covered an area of 10 × 15 m. tures contained remains of robbed cremation burials, where fragments of a Chinese lacquered cup and The works conducted in Cembalo fortress over the 2018 season targeted church 1, where mea- an iron arrowhead were found. surements and photography were performed; additional information was obtained about the A designated team continued works on the multi-layer site Zhelvak 5 located 5 km north-east of the Fragment of a horn buckle architecture of this fascinating medieval structure. In Pit 2, exploratory works were started Chinge-Tey I Gravesite. A total of 20 m2 of Layer 1 was unearthed in 2018, where c. 80 pottery frag- depicting a feline predator on the built-up Latin quarter. The structures identified there had originated from the Genoese tormenting a hoofed animal ments were found under the turf, including a glass bead, two iron objects and one artefact made from (1345–1475) and Ottoman (1475–1771) periods of Cembalo-Balaclava. Ruins of a large house bone. Layer 2 was studied to a depth of c. 20 cm; the works resulted in the unearthing of a three-wall constructed in the 1380s at the earliest were fully unearthed. The ground floor of the build- fence made of vertical slabs inside which a fragment of a horn buckle depicting a walking feline predator ing (measuring c. 80 m2 in area) may have been used for household purposes over the 14th – tormenting a hoofed animal was recovered. 17th centuries (Genoese and Ottoman periods). Archaeological survey was conducted in Chaa-Kholsky District, Tyva Republic, in order to identify early nomad sites; nine heterochronous sites and one location containing Early Bronze Age materials were discovered.

SOUTH CRIMEAN EXPEDITION

Head of Expedition: S.B. Adaksina

The expedition continued exploratory efforts on the medieval fortress of Cembalo which have been ongoing since 2002. Excavations were conducted in the south-western sector of the site, where a Latin city quarter dating from the 14th – 15th centuries is situated. The works were conducted on two pits. In Pit 1, ruins of a medieval church (No. 1 in the existing numbering system) were unearthed. The church had been explored in 1991 and 1999–2003 by the Chersonesos Museum-Reserve, Institute of Archaeology of the Russian Academy of Sciences and Kharkov National University (the expedition was led by N.A. Alekseenko). In 2018 the ruins of the church were fully cleaned from the tumbled stones, accumulated soil and modern waste, upon which the surviving walls were photographed. A total area of 150 m2 was studied to a depth of 0.15– 1.2 m. A sampling of the floor filling was conducted in the naos on the western side (total area 0 3 cm 6.1 × 4 m). An unexcavated area on the outside of the apse (south-east) was first unearthed. Pit 2 was located further down the slope (5–8 m from the coastal defence line) 25–30 m above Fragments of an Miletus oenochoe the sea level and covered an area of 10 × 15 m.

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

DOOR RESTORATION IN MUSEUM ROOMS IN THE SMALL AND OLD/LARGE HERMITAGE (FIRST (RUSSIAN SECOND) FLOOR)

Door restoration was completed in the Pavilion Hall of the Small Hermitage, in the state rooms of the Large (Old) Hermitage overlooking the Neva River which accommodate the permanent exhibition of Italian art; on the landing and galleries of the Soviet Stair- case (first floor) and near the Theatre Staircase (Rooms 207–213, 215–216 and 224). The doors had been created in the mid-19th century by the finest Recreation of carved décor manufacturers in St Petersburg (Tarasov Workshops and Tour Fur- niture Factory) to the designs of brilliant architects and interior artists, notably Auguste Montferrand, Giacomo Quarenghi, Nikolay Efimov and Andrey Stackenschneider. The doors are original works of applied art made primarily from valuable wood species. The so- phisticated décor required the services of highly skilled restoration staff. The panelled doors of the museum rooms are faced with valuable and exotic wood and adorned with moulded or carved decorations and sumptuous gilding. For some of the doors a mixture of tech- Fixing the primer niques and media is used, such as rare wood species (including rose- wood), decorative overlays from cast metal or painted porcelain medallions. The medallions with underglaze profile portraits and pastoral scenes were made to Andrey Stackenschneider’s designs by the Imperial Porcelain Manufactory. The wooden elements of the door frames were reinforced; the damaged parts of the door panels were recreated and the veneers re- glued. The missing fragments of the veneers and intricate carved decorations, including the gilded ones, were restored. A considerable number of gilded carved beads along the perimeter of the door arches were restored or recreated in the rooms fronting the Neva Embankment. The missing carved leaves, flowers and rosettes were also replaced. The abraded areas of gilded carvings were primed and re-gilded. One of the greatest challenges was to fix the prim- Cleaning of painted medallions Gilded carved décor being placed on site er in order to preserve the old gilding; other laborious operations included the removal of the bronzing (used to imitate gilding) and the replacement of the coat of gold while matching the colour of the surrounding parts. The discoloured decorative elements on the door wings were cleaned up; the surfaces were French polished using the original technique. All the doors have historical iron mortice locks with end plates, espagnolettes, hinges with decorative plates and caps of copper alloy as well as door handles with rosettes. The decorative accessories were cast in metal, caulked and gilded. All metal parts were restored; the lost elements were recreated to achieve full similarity with the surviving original parts. The decorative glass on the landing of the Theatre Staircase was recreated. Brass plaques with room numbers were installed above the doorways. The restorers took great care to preserve all parts of the original historical décor. The restoration works were performed by Museum Technologies (Muzeinye Tekhnologii) as per the approved plan developed by Rest-Art under the technical supervision of M.V. Sorokina, Senior Engineer of the Restoration and Repairs Department, State Hermitage. The architectural and methodological supervision was performed by V.P. Lukin, Chief Architect of the State Hermitage, and M.E. Ilyina, Senior Researcher of the Hermitage’s Department of History and Restoration of Architectural Monuments. The project was supported by the studies conducted by the Department of Examination and Authentica- tion of Works of Art (headed by A.I. Kosolapov); consultancy services were provided by the V. A. Gradov, Head of the Laboratory for Scientific Restoration of Furniture.

Regluing of door veneers Preparation for re-gilding. Priming

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

ADAPTATION OF WINTER PALACE SPACES FOR PRESENT USE

Rooms 143–146 Rooms 143–146 are situated along the east façade of the north-eastern projection of the Winter Palace, at the site of the former Chancery of the Minister of the Imperial Court (first floor). In 1838–1839 architect Alexander Bryullov oversaw the reconstruction of residential and service spaces of the Winter Palace after the catastrophic fire of 1837. Ninety years later, in 1927–1929, architect A.V. Sivkov remodelled the rooms on the first floor of the Winter Palace to adapt them for museum collections. Forty-eight rooms adjacent to the Ministerial offices were converted into seventeen halls and galleries after the mezzanine and walls of later origin were dismantled. The mezzanine was removed on the former premises of the Chancery of the Minister of the Imperial Court to create exhibition spaces. The parquet floors were repaired by Parketonastil cooperative in 1929. The rooms have an austere interior design, with vaulted ceilings, plain plastered walls and oak and ebony parquet floors of simple geometrical patterns. Room 160 after restoration Room 161 after restoration Rooms 143–146, selected to accommodate a collection of Russian icons, underwent restoration from February to August 2018 in accordance with a plan developed by Rest-Art. The restoration works, performed by Beta-Kom, involved the wall plaster, vaults, lunettes and eaves mouldings; door and window panels with lost accessories; marble window sills and parquet flooring. Engineering networks were parts; restoration of marble window sills; restoration of artistic parquet; electrical repairs and installa- overhauled: new electrical equipment and lighting were installed; the wall ducts of the ventilation and tion of electrical equipment and light fitments; repair, cleaning and concealment of in-wall ventilation air heating systems were made operational; the fire water supply, fire alarm and security control sys- and heating ducts; repairs to the fire suppression system; repairs to fire alarm and security control systems, CCTV, telephone and computer networks were repaired. The restoration project covered a total tems, CCTV, telephone and computer networks, and installation of protective film on windows. 2 3 of 183 m (1,182.2 m ) of museum space. The works were performed by Renaissance Restoration. Technical supervision was performed by Senior Architectural and methodological supervision was carried out by L.I. Akmen, Head of the Restoration Engineer O.V. Ermolova of the Hermitage’s Restoration and Repairs Department. Head of the Resto- Sector at the Department of History and Restoration of Architectural Monuments, Hermitage; technical ration Sector L.I. Akmen of the Department of History and Restoration of Architectural Monuments supervision was exercised by the Hermitage’s Restoration and Repairs Department (Head of Technical exercised architectural and methodological control. Supervision Sector N.V. Molodkin and Leading Engineer A.L. Vasilyev).

Rooms 157–166 Rooms 157–166 were reconstructed to accommodate the updated permanent exhibition “Russian Cul- Room 162 after restoration ture of the First Half of the 18th century”. Rooms 157–160b of the Winter Palace in the former quarters of Grand Dukes Mikhail Nikolaevich and Nikolay Nikolaevich: Guard Room (Room 157), Dining Room (Room 158), Bedroom (Room 159), Study (Room 160b); Room 161 – Ship Room; Room 162 – Alexander II’s Library; Room 163 – Alexander II’s Military Library; Room 164b – Valet Room; Rooms 165b–166 in the former quarters of Grand Duke Konstantin Nikolaevich: Dressing Room (Room 165b), Guard Room (Room 166). All the rooms have vaulted ceilings. The walls are plastered and painted. The architectural décor includes alfresco ceiling paintings, cornices, floral gypsum carvings and medallions. The parquet floors are of simple geometric or mosaic design. Room 162 (Alexander II’s Library) stands out in terms of architectural and interior design. In 1838–1839 architect Alexander Bryullov replaced the memorial room after the 1837 fire, preserving the key decorative elements originally used by Quarenghi which echoed the interior of Crown Prince Al- exander Nikolaevich’s Bedroom (Room 171). The room is divided into two unequal parts (the main hall and the alcove) with a row of columns and an arch. The interiors are decorated with artificial marble, medallions, gilded gypsum carvings and rosettes. The interior decorations and engineering networks at the initial stage of the restoration works were in a poor state of repair. The restoration project entailed the cleaning and restoration of ceiling and wall paintings; restoration of gypsum décor with oil gilding; restoration of artificial marble on the walls and pilasters; replastering and repainting of walls, ceilings, ceiling borders, eave mouldings, window and door jambs; restoration of ornamented doors; restoration of door accessories and replacement of lost parts; restoration of window casements; restoration of window panes; restoration of window accessories and replacement of lost

158 159 RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS

LIGHTING MODERNISATION IN ROOM 277 RECONSTRUCTION OF THE CONTROL SYSTEM AT THE ADMIRALTY GARDEN PUMPING STATION In 2018 Boos Lightning Group modernised the electrical lighting system in Room 277 (permanent exhibition of French art). The room previously had had no accent lights; the central lighting, including lumi- The Admiralty Garden pumping station collects and drains rainwater from half of the Great Courtyard nescent ceiling lamps, had been inadequate. It was decided to install more powerful LED ceiling lights and the basements of the Winter Palace, protecting them against flooding. and improve the illumination by making use of reflected light. The modernisation effort ensured better, In 2018 the station’s automation equipment was reconstructed: a new automated control system was more comfortable lighting in the museum space, accentuating the paintings to maximise their artistic installed, the water level sensors were substituted and a building management system was put in place. effect and improve the visual experience for museum visitors. Before the reconstruction, the pumping station used to operate in the autonomous mode; information on most work procedures had not been transmitted to the operator console, rendering online monitoring impossible. Moreover, the water level measurement system used to rely on float switches. The major drawback of that arrangement was that information about flooding only became available when the LIGHTING AUDIT IN THE LEONARDO DA VINCI ROOM float switches were activated, at which point the flooding was no longer preventable. The reconstruction project resulted in significant improvements to the situation. At present, the station Following the installation of new showcases for Leonardo da Vinci’s paintings in January 2018, an audit is operated with a Desigo controller, which forms part of the integrated building management system of the lighting system was carried out in the exhibition space. of the Hermitage. The indicators were replaced to ensure online water-level monitoring and fast re- The audit was performed by LiDS Lighting Design Studio headed by Sergey Sizi. The studio examined sponse in the event of flooding or pump failure. The new state-of-the-art automation system installed the natural, artificial and mixed lighting in the Leonardo da Vinci Room to measure the quantitative, in the Admiralty Garden station ensures permanent monitoring and timely response to emergencies. qualitative and spectral characteristics of the illumination. The destructive impact of light on the exhib- In case of any irregularity, a sound signal is sent to the operator console; records of operating procedures its was analysed, and recommendations on possible improvements were provided. and faults can be maintained long term.

REPAIRS TO THE HEATING SYSTEM ON THE SOVIET STAIRCASE, THEATRE STAIRCASE RECONSTRUCTION OF THE CONTROL SYSTEM IN THE RAINWATER PUMPING STATION AND ROOMS IN THE LARGE HERMITAGE IN THE GREAT COURTYARD OF THE WINTER PALACE

The hot water heating system received an overhaul involving the replacement of pipes and heating equip- Pumping Station 3108 collects and removes rainwater from the Great Courtyard of the Winter Palace ment serving the Soviet Staircase, Theatre Staircase and rooms in the Large Hermitage. as well as drains moisture from the palace basements, protecting the facilities against flooding. In 2018 At the start of the project the museum rooms were equipped with convector heaters which had been the automation infrastructure of the pumping station underwent an overhaul: the automated control installed in 1980. system was readjusted; the water level sensors were replaced, and a new building management system Although the heating equipment had received several repairs, it could no longer maintain the required was installed. temperature in museum rooms. It was decided to replace the convectors with floor-mounted Kermi steel The previous reconstruction effort had been undertaken in 2001; by 2018 the equipment had become panels painted to match the colour of the walls; the inlet pipework was also substituted. obsolete. The automated control system worked with Windows 95 only. In the event of emergencies, The replacement of the old convectors and water radiators with modern heating equipment enabled the no sound signals had been sent to the operator console, posing a risk of pumping station failure. Fur- museum to improve the temperature conditions in the exhibition and office spaces and achieve better thermore, the display functionality used to be limited to pump actuation and did not allow for full-scale energy efficiency. monitoring of the operations. New floor-mounted steel Varman MiniKon convectors were installed in the auxiliary spaces of the Reg- The new automation system is operated with a Desigo PX controller that forms part of the museum’s istrar Department and the Maintenance Department; the old equipment was dismantled. integrated building management scheme; this arrangement ensures high quality monitoring and operation management, which is particularly important for emergency prevention and control. The equipment maintains records of operating procedures and faults over long time periods.

REPAIRS OF THE HEATING SYSTEM IN THE BASEMENTS OF THE WINTER PALACE AND NEW HERMITAGE MODERNISATION OF LIGHTING EQUIPMENT IN THE GARAGE The main hot water heating pipeline in the basements of the Winter Palace and New Hermitage under- OF THE STATE HERMITAGE went repair and re-insulation. Installed in 1980, the pipeline used to have a heat insulation system composed of synthetic binder-based In 2018 it was decided to replace the old lighting in the main space, lobby and office of the garage mineral wool covered with gauze and coated with oil paint. After 40 years of use, the insulation had equipped with surface-mounted luminescent lamps which had been installed during the 2011 restora- degraded and was completely damaged in places, resulting in considerable heat losses. tion (project designer V.V. Efimov). Several additional light sources were also installed. The new LED The pipeline was re-insulated and protected against corrosion using ISOLEP-mastic, mineral wool mats equipment has a longer service life and ensures more comfortable lighting without adding to the current and zinc-coated steel casing. The works ensured better pipeline operation safety and greater energy energy consumption levels. efficiency.

160 161 RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS RESTORATION AND RECONSTRUCTION OF MUSEUM BUILDINGS

MODERNISATION OF THE POWER SUPPLY SYSTEM failures and necessitating time-consuming software reinstallation works. The obsolete EKL controller FOR THE HERMITAGE SERVER (the last in the Hermitage) was replaced with a new Building Process Station (BPS) with VISONIK software. The reconstruction of the electric control panel at HC3 made it possible to increase automation system reliability as well as maintain records and ensure uniformity in the automation and building The Hermitage Museum server is located in a dedicated room in the Hermitage Theatre building and management schemes of the Hermitage. forms the core of the museum’s computer infrastructure. The server carries equipment which serves all museum departments and units, provides Internet access and email, ensures links with museum branches, and supports the operation of the financial services and the cash register network. The server network controllers support c. 1,250 wire users and c. 600 wireless access points. The server also incorporates the main networked storage of the Hermitage’s database CAMIS with about 500 Tb of information THIRD PHASE OF CONSTRUCTION WORKS ON THE STATE HERMITAGE on the museum exhibits. STORAGE CENTRE In 2018 the server’s power supply system was modernised to ensure reliable uninterrupted operation of the server equipment. Third phase of construction works on the State Hermitage Storage Centre continued in 2018. Previously, the server had received its power supply from a single source via two sections of the main One of the key facilities is the new Engineering and Laboratory Building, which is to house nine restora- distribution panel of a single transformer substation. The serious drawback of the arrangement was that tion laboratories (for easel paintings, sculpture and semi-precious stones, tempera paintings, textiles in the event of any accident involving the St Petersburg energy grid the electrical supply to the server and water-soluble paintings, graphic works, time pieces and musical mechanisms, works of applied was interrupted. In this case, the server connected to an autonomous power source within the battery art and objects made from organic materials or precious metals), the Research Centre, the Publishing charge time. Department as well as technological and auxiliary spaces. To resolve these problems, the Hermitage implemented a project to ensure electrical supply from two 2018 witnessed an overhaul of external and internal engineering networks as well as installation and independent, mutually redundant inputs, achieving Class 1 power supply reliability for the server finishing works in the rooms. Unique equipment for cleaning carpets and tapestries was installed in the equipment. Laboratory for Scientific Restoration of Textiles. Partial landscaping of the area in front of the main In the event of a power outage, the server can now automatically switch to a fall-back power source with the help of the new automatic three-input system and carry out remote control of the supply network. The project has made it possible to achieve uninterruptible power supply for the museum server and Piled foundations of the Hermitage to streamline its operation. library building. January 2019

RECONSTRUCTION OF THE AUTOMATION SYSTEM IN THE WINTER PALACE HEATING CENTRES

Heating centres HC22 and HC22.1 maintain the required temperature in the main vestibule of the Win- ter Palace (The Ambassadors’ Entrance) and the recessed area of the Eastern Gallery on the first floor. The automatic control system of the heating centres was reconstructed; the switchboard, the obsolete mechanisms and some control and measurement instruments were replaced. The previous reconstruction effort in heating centres HC22 and HC22.1 had been undertaken in 2001; by 2018 the automated control system based on old autonomous controllers and offering no building management or continuous equipment monitoring capabilities had become obsolete. The system only allowed for emergency signal management and indication at the sites of the heating units. The new automated system ensures continuous monitoring of the heating centre operations, remote control from the central control room (with emergency indication), and makes it possible to maintain records of operating procedures and faults over long time periods.

entrance was undertaken where a new open public space (a square with a sculpture garden) will be created. The construction works on the Engineering and Laboratory Building were performed by Etal- RECONSTRUCTION OF THE AUTOMATION SYSTEM IN THE AIR HEATING CENTRE onPromstroy and are scheduled for completion late in 2019. OF THE WINTER PALACE Construction works resumed on a 13-storey library building. The piled foundations (built by PSB Zhilstroy) are 87% complete. Positive reviews were obtained from the governmental panel conduct- Air heating centre HC3 maintains the required temperature on three floors in the western part of the ing the assessment of design documentation, findings of engineering studies and cost estimates for Winter Palace. the construction of a passage across the railway linking the storage buildings in Zausadebnaya and In 2018 the electric control panel of the heating centre underwent reconstruction: the old panel was re- Shkolnaya streets. The new passage will ensure convenient access for the museum staff and make placed and connected to the air conditioning system controller. Prior to the reconstruction, the panel had it possible to move large exhibits between the buildings while offering city residents the additional worked with an EKL controller. There had been a number of instances when the HC3 control software benefit of a transit pedestrian crossing above the carriageway and railway. was accidentally deleted from the controller as a result of brief power variations, causing heating centre The technical supervision at the construction sites was performed by the Hermitage’s Capital Construc- tion Department.

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In 2018 the State Hermitage organised Total number of visitors 4,293,577 and conducted 36,565 guided tours Including Including Free admissions* 1,350,634 General tours of the museum 15,712 Tours of Treasure Gallery I Full-price admissions 6,883 2,236,359 Tours of Treasure Gallery II 4,519 Concessions (nationals of Russia and Belarus) 429,100 Tours of the Winter Palace of Peter I 815 Tours of the Imperial Porcelain Manufactory Internet ticket holders 252,750 174 Tours of the General Staff Building 1,170 Free admissions for specialists and group guides 24,734 Tours of the “Staraya Derevnya” Restoration, Preservation and Storage Centre 120 Topic-based tours for schoolchildren 3,716 Official museum website visits 2,307,977 Topic-based tours (including series of tours) for adults 3,456 Lectures delivered 599 Including At the Hermitage Lecture Centre 350 of which for children’s audience 58 round Russia 96

Events held cultural and educational 185 (number of participants 70,191) mass participation (number of participants 2,670) * The State Hermitage offers free admission to its permanent exhibitions 11 for children, school/university students (regardless of citizenship), senior citizens of Russia and a number of other categories of Russian nationals entitled to special benefits. Clubs and study groups for children 42 EDUCATIONAL EVENTS EDUCATIONAL EVENTS

NEW PROGRAMMES BY THE METHODOLOGY SECTOR

In 2018 the Hermitage kept developing all aspects and forms of educational activities, offering a wealth of theme-based tours both for groups and individual visitors. The museum provided over 90 series of guided tours, seventeen among them just-launched. These new additions to the list of tours included programmes focusing on the French art exhibition newly transferred and mounted in the General Staff Building and authored series on Russian culture in the times of Catherine the Great, Christian symbolism and the arts of pottery, furniture-making and silversmithing. The biweekly Artist of the Month programme continued to initiate visitors to the legacy of the great masters whose works grace the Hermitage’s collection. In 2018 the tours focused on French painters (François Boucher, Honoré Daumier, Théodore Rousseau, Jules Dupré and Claude Monet) as well as Rembrandt, Van Dyck, Jacob Jordaens, Canaletto and Francesco Guardi. The meetings in August addressed the work done for the Winter Palace by architect Vasily Stasov. Educational efforts supported nearly all major temporary exhibitions mounted in the Hermitage in 2018; guided tours were conducted at fifteen exhibits, most of which were also accompanied by lecture programmes. Much interest was generated by tours of the exhibition “The Winter Palace and the Lecture cycle “In Front of a Hermitage Masterpiece”. 23 March 2018. Lecture cycle “In Front of a Hermitage Masterpiece”. 21 December 2018. Hermitage in 1917. History was Made Here”, which had opened in 2017 and carried on working into Paired paintings by Pierre-Auguste Renoir (Woman on a Staircase “Silk and Velvet”. Portrait of Nadezhda Polovtsova by Charles Émile early 2018 (73 tours). Another obvious hit with the visitors were exhibitions of applied art, includ- and Man on a Staircase) Carolus-Duran and Portrait of Princess Tatiana Alexandrovna Yusupova ing “‘Furniture for a body’s every whim’. The Age of Historicism in Russia”; “Fantasia in Threads. by Franz Xavier Winterhalter Western European Lace and Glass of the 16th to 19th Centuries” and “Glass Made to Be Admired. Masterpieces of the 16th to 19th Centuries from the State Hermitage Museum” (114 tours in total). 3. Authored lecture series on the culture and art of the Ancient World, Oriental, Western and Russian The exhibitions of Western European paintings enjoyed considerable public attention: 60 guided tours art. Successful authored lecture cycles included “Under the Sun of Andalusia”; “‘A City with a Heart were run for the exhibition “Imperial Capitals: St Petersburg – Vienna. Masterpieces from Museum in its Hand’. Milan. History and Culture”; “Roman Walks”; “The English Castle: A Fortress, a Pris- Collections”, organised in collaboration with the Kunsthistorisches Museum, Vienna; the art show on, a Palace”; “The Art of Ancient Civilisations”; “Alexandrian Empire. Greece beyond the Ecumen”; “The Age of Rembrandt and Vermeer. Masterpieces of the Leiden Collection” received a staggering “In Search of Manichean Art”; “Phenomena of Far Eastern Art”; “The Crusades”; “Postimpression- 326 tours. ism. Late 19th-Century French Painting”; “Modern Art Exhibitions. 20th – 21st Centuries”; “From The team of the Education Department regularly takes part in programmes aimed at individual and the History of the Russian Imperial Guards”; “Rarities, Curiosities and Arts. Collections and Collectors corporate Friends of the Hermitage. Special programmes provide vast opportunities for more in-depth in Early 18th-Century Russia”. engagement with the collections and life of the museum for its regular partners. The Hermitage Mosaic 4. Topic-based sections of lecture series focusing on contemporary museum life or celebrating memo- programme which offers an array of thought-provoking subjects for discussion in museum exhibition rable dates in art history. “In Memoriam” paid homage to the legacy of Tintoretto, Canaletto, Thomas spaces was resumed. Corporate members of the club attended events organised in conjunction with Chippendale, Nikolay Veselovsky, Andy Warhol, Kees van Dongen and Egon Schiele. Curators of the the major temporary exhibitions held in 2018. Iranian collection, Russian imperial porcelain, Western European lace and Siberian antiquities were The Education Department also contributed to a number of unconventional projects. One of these was invited to contribute to the lecture cycle “Stories by Hermitage Curators”. The discussion in the “Fa- the collaboration between the Hermitage and the O, Da! Yeda! (Oh, Yes Food!) gastronomic festival held mous Collectors” section touched upon Madame Laval’s Museum and the works amassed by Pyotr in St Petersburg in July 2018. Olga Makho and Ludmila.Frolova of the Methodology Sector designed Semenov-Tian-Shansky and Robert Walpole as well as Russian collectors of prehistoric art. The sec- and presented the audio guide “Non-Spiritual Nourishment. O, Da! Yeda! in the Hermitage” for a motion “Hermitage. Highlights” comprised lectures about individual masterpieces displayed in the mu- bile application. In November 2018 an installation was mounted in the Galeria Shopping and Enter- seum, notably “The Pazyryk Carpet”, “Madonna Connestabile by Raphael Santi”; “Rubens. Portrait tainment Centre to showcase exhibitions held in the Hermitage’s General Staff Building; the Education of Lady-In-Waiting to the Infanta Isabella”; “Bodhisattva Avalokitesvara in Water-Moon Form”; Department conducted regular tours of the installation, introducing Galeria visitors to the museum’s new exhibition space. Collaboration continued between the Hermitage and Yale University, with the Hermitage playing host to another summer internship scheme for a large group of Yale students. Over six weeks, the interns explored St Petersburg and the Hermitage’s collections through a specially designed course. Students of Vassar College spent an autumn semester in the Hermitage in September–December 2018.

STATE HERMITAGE LECTURE CENTRE

The Lecture Centre continued to design and deliver unique authored programmes unmatched by any major Russian museums. In 2018 it conducted 350 lectures for adult listeners and 58 lectures for children. The lectures were delivered in the General Staff Building, “Staraya Derevnya” Restoration, Preserva- tion and Storage Centre and Hermitage Theatre by the staff of the Hermitage’s Education Department and other research departments to a total audience of 42,000 guests. Lectures for adult learners covered five key areas: 1. The University of World Art History in the Hermitage – an in-depth course covering the evolution of art from prehistoric times to our days. 2. The Oriental Classes, each focusing on the art of an “Oriental” civilisation (Ancient Egypt, India, Lecture cycle “In the Assembly Hall of the Menshikov Palace”. Lecture cycle “Evenings in the Concert Hall of the Winter Palace”. China, Japan and Muslim countries). 17 February 2018. “Khara-Khoto: A Dead Town in the Gobi Desert” 2 November 2018. “St Catherine’s Monastery on Mount Sinai”. The Great Church of the Winter Palace

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“A Scroll from the Dead Town of Khara-Khoto” and “Bartolomé Esteban Murillo. Rest on the Flight into Egypt”. 5. Lectures associated with temporary exhibitions mounted in the Hermitage. In 2018 a total of twelve lectures on temporary exhibits were delivered, notably “The Lute-Player. On the Comple- tion of Conservation”; “Arte Povera. A Creative Revolution”; “The Age of Rembrandt and Vermeer. Masterpieces of the Leiden Collection”; “‘Furniture for a body’s every whim’. The Age of Historicism in Russia”; “Studying Michelangelo”; “Imperial Capitals: St Petersburg – Vienna. Masterpieces from Museum Collections”, and “Piero della Francesca. Monarch of Painting”. In addition to its full and varied lecture programme, the Lecture Centre undertook the rebrand of its printed produce and invested considerable efforts in PR, social media campaigns and online advertising. This helped to achieve a surge in attendance and bring more young art lovers to the Lecture Centre.

LECTURES “AROUND HERMITAGE EXHIBITIONS” Master class “The Hermitage in Plain Sight” Programme “Blades through the Centuries” A series of short lecture cycles was developed for art museums across Russia in autumn 2018 by the Special Programmes Sector of the Education Department as part of Hermitage Days. An extensive lecture programme was designed for the Hermitage Days in the Yekaterinburg Museum NEW EDUCATIONAL PROGRAMMES FOR YOUNG VISITORS of Fine Arts (13–19 October), which culminated in the exhibition of a single painting, Spolit Child by Jean-Baptiste Greuze; a lecture named “Works by Jean-Baptiste Greuze in the Hermitage. Cath- erine II and Denis Diderot” was prepared and delivered in association with the exhibition by Natalia BLADES THROUGH THE CENTURIES (PROGRAMME FOR THIRTEEN- TO FOURTEEN-YEAR-OLDS) Krollau, methodologist of the Hermitage’s School Centre. The core lecture programme was the series In 2018 the Hermitage’s School Centre and the Arsenal Department delivered a special supplementary “French Art of the 18th Century” (methodologist Ludmila Torshina), which placed the Greuze exhibit educational programme “Blades through the Centuries” for the Hermitage’s clubs members aged thir- in the historical and art context. The cycle included two lectures on 18th-century French art “The Re- teen to fourteen. gency Era and Rococo” and three lectures “French Art of the Second Half of the 18th Century. The Age Talks on the history of cold arms in various countries and regions as well as sports and stage fencing of Enlightenment”, delivered by Natalia.Krollau and Valentina Vakhmenina, member of the Education were given to young visitors in exhibition and lecture spaces by researchers Nadezhda Biskup, Alexey Department, to museum visitors as well as students and teaching staff of the St Petersburg University Bogdanov and Vsevolod Obraztsov of the Arsenal Department. Special classes were held by staff of other of the Humanities and Social Sciences. research centres working in St Petersburg. Equally impressive was the lecture programme designed for the Hermitage Days in the Omsk Muse- um of Fine Arts named after Mikhail Vrubel (31 October – 3 November). Yulia Denisova and Viktoria LITERARY MAZE CLUB Snegovskaya of the Hermitage’s Education Department created and delivered lectures on the history of the Hermitage and the museum’s collection of Western European art. The researchers also presented The club brings together junior and senior secondary school students interested in art and literature. a special lecture about Pieter Paul Rubens and the Hermitage collection of his paintings to visitors of the The club members are introduced to famous literary works of different periods and study art history via Irbit State Museum of Fine Arts; the lecture was delivered on request of the museum, which was hosting the Hermitage exhibitions and specially designed lectures. an exhibition centering on a work by the great Flemish master. School students aged thirteen – fourteen years analysed the medieval romance story “Tristan and Iseult”, One challenging task was to design a lecture programme for a large-scale exhibition “A Joy for All the immersing themselves in the atmosphere of the 12th – 14th centuries during lectures in medieval art his- Senses. 16th – 19th-Century Western European Still Life from the Collection of the State Hermitage”, tory and special classes on the rules of knightly etiquette and basic heraldry. mounted in the Kursk Picture Gallery (October) and Belgorod Art Museum (November). The lectures Fifteen- to sixteen-year-olds discussed the classical Chinese novel “Journey to the West” by Wu in Kursk addressed the history and art language of the Western European still life (methodologists Alla Cheng’en. Classes in the history, geography and culture of China and the neighbouring countries as Kamchatova and Ludmila Torshina): “Human Being and Human Life in Paintings by Rubens and his well as lessons in basic Chinese and calligraphy helped the young club members to appreciate Chinese Flemish Contemporaries” (Svetlana Olmezova); “The Image of Home in Dutch Golden Age Painting” literature. (Irina Voytsekhovskaya); “People and Physical Environment in the Work of Caravaggio and Chardin” (A. Petrovskaya). In Belgorod additional lectures on the history of the Hermitage and its Western European collections were delivered (Viktoria Snegovskaya). Three lectures on Honoré Daumier and his time were delivered during the Hermitage Days in Kaluga by Anastasia Burkovskaya of the Education Department.

“Guests of the Muses” educational programme The end-of-course party “A Journey to the Islands of Ancient Greece”

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Costumed performance Master class “Japanese Dolls” “A Scroll of Memories”

A SCROLL OF MEMORIES hunt took the participants around the museum in quest for pictures of animals of the Buddhist calendar. The Hermitage hosted a graduation party for students with hearing and speech impairments who had Children also attended a master class where they learned to make Japanese paper dolls – a small part completed a specially designed six-year programme “We Hear the World” at Boarding School No. 33. of Japanese culture they could take home. Programme students attend eight classes, where they explore the museum collections and are exposed to the cultural legacy of humanity from prehistoric times to our days; much of the learning occurs FAMOUS LEIDEN ARTISTS through play and master classes. The classes culminated in an interactive theatricalised festival in mu- In October–December 2018 the School Centre invited nine- to thirteen-year-olds and their parents seum rooms. to join the educational programme “Famous Leiden Artists”, delivered in association with the exhibi- Students of school No. 33 prepared a costumed performance titled “A Scroll of Memories”, which tion “The Age of Rembrandt and Vermeer. Masterpieces of the Leiden Collection”. captured the young learners’ most vivid impressions from their six-year course in the Hermitage. Young The interactive talk introduced the visitors to the Dutch masters of the Leiden School as well as the ballerinas from School No. 210 and musicians from the Mstislav Rostropovich School showed their skills works of Rembrandt, Frans Hals, Gerrit Dou and other artists presented at the exhibition. The young at the graduation party held in the Winter Palace. museum guests and their families attended a specially designed treasure hunt in the area of the Nicholas The event was organised by School Centre methodologists and Elena Logacheva, member of the Hall, explored the paintings presented at the exhibition and answered questions about the daily life Education Department, author and head of the special programme for children with hearing of the Dutch people in the 17th century. impairments. The programme featured a master class where the visitors made 3D models of paintings by the Minor Dutch Masters displayed at the permanent exhibition in the State Hermitage. Master classes “Japanese Dolls” and “Famous Leiden Artists” enjoyed a great success at the Inter museum 2018 festival in May 2018. NEW SPECIAL WEEKEND EDUCATIONAL PROGRAMMES FOR FAMILY VISITORS PROGRAMMES FOR VISITORS WITH LIMITED ABILITIES JAPANESE DOLLS The Hermitage Museum keeps expanding its services aimed at “special” visitors, including guided The School Centre offered an educational programme for children aged ten–eleven and their families in tours of temporary exhibitions. Programmes for guests with visual and hearing impairments were de- association with the exhibition “Dolls of Old Japan” held in February–March 2018. signed for the exhibition “The Age of Rembrandt and Vermeer. Masterpieces of the Leiden Collection”. The lecture delivered by the School Centre provided a rare opportunity to learn more about the excit- The route was aimed to enhance art perception for deaf visitors; two guides were trained in Russian sign ing world of Japanese culture and the spring Girls’ Day festival, also known as Hinamatsuri (Festival language as part of a course including a series of classes on history, culture and methodology. A total of Dolls). The young visitors saw some real dolls, which are displayed for the time of the festival by Japa- of twenty tours in Russian sign language were conducted during the exhibition. The work methodology nese families with little children. and route were developed with a focus on how blind and partially sighted people connect to art; touch Most events of the programme were held in exhibition spaces (temporary exhibition “Dolls of Old Japan” exhibits were selected; a number of museum guides received training to assist blind and partially sighted and the permanent exhibition of Japanese art). Children admired the dolls crafted by the famous mas- visitors. The Hermitage staff delivered eight tours for individual visually impaired guests and their care- ter Hara Shugetsu III (1828–1880), “lucky umbrellas” and sakura blossoms from Japan. A treasure givers with a total audience of 69 people; a guided tour of the museum and an exhibition was provided for students of Boarding School No. 1 (Groot School) for Blind and Visually Impaired Children.

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The Hermitage also implemented a number of programmes launched in the previous years: members of the Anima Society were invited for regular guided tours of permanent and temporary exhibitions; a special programme of lectures was delivered for members of the Kolomna Society for the Blind; art therapy sessions were provided in the museum’s exhibition spaces in January and February for a group of patients undergoing rehabilitation at the day care centre of Mental Hospital No. 9. The museum has maintained its partnership with OOO Yazyki Bez Granitz (UBC), collaborating on the training programme for deaf and hearing impaired guides working in Russian sign language. Methodol- ogist Irina Buzunova conducted ten classes for programme participants. The Hermitage’s Youth Centre offered special programmes for visitors with hearing impairments and autistic spectrums disorders.

JJ YOUTH CENTRE “Ingmar Bergman’s Centenary” lecture Lecture for the exhibition “Arte Povera. A Creative Revolution”

CHRONOLOGY OF 2018 EVENTS Lecture series associated with the exhibition “Arte Povera. A Creative Revolution” in the Hermitage The Anatomy of Music 27 March – 30 May 24 January – 30 May; 17 October – 26 December The Youth Centre presents eight public lectures on the history of the famous Italian art group active A series of lectures and discussions by composer Sergey Evtushenko. in the 1960s. Architecture and Urbanism Yamal Day 26 January – 27 April, 12 October – 21 December 1 April A seminar by Anna Sirro and Anton Smirnov exploring the interaction between power and architecture The traditional Yamal Day, organised by the Hermitage’s Youth Centre and the Representative Office via historical examples, trends in the evolution of urban civilisation and contemporary problems in ur- of the Yamal-Nenets Autonomous District in St Petersburg, featured the project “Voice of the Hermit- ban development. age” – an audioplay immersing the visitors in the atmosphere of Impressionist paintings. A Winter Night in the Winter Palace Public discussion featuring Giuseppe Penone, curators Dimitri Ozerkov 31 January and Carolyn Christov-Bakargiev Traditional official opening of the second term at the Student Club. A walk around the Winter Pal- 3 April ace; an overview of programmes available for club members in February–May. A tour of the exhibition A public discussion about Giuseppe Penone’s installation Ideas of Stone – 1,372 kg of Light created for “The Winter Palace and the Hermitage. 1917. History was Made Here”. the “Sculpture in the Courtyard” project in the run-up to the exhibition “Arte Povera. A Creative Revo- Project “Proxima” lution”. The discussion addressed the installation concept, its execution and interaction with the space of the Winter Palace. 3–9 February Held under the auspices of the 11th CYFEST, Proxima (from the Latin word meaning “nearest”) brought Public discussion featuring Mikhail Piotrovsky and Emilia Kabakova together artists observing the world around them. The works resulted from the artists’ attempts to make 11 April sense of reality via repetitive actions. A public discussion held as part of the educational programme for the exhibition “Ilya and Emilia Ten lectures on the art practices of the new media were delivered by acclaimed international and Russian Kabakov. Not Everyone will be Taken into the Future”. art historians, artists, critics and festival participants. “Where do I Park my Triennial? Curation, Art and Urbanism”. A lecture by Lewis Biggs 14 February Independent British curator Lewis Biggs talked to the young people of St Petersburg about his career as an art critic, museum director, chairman of the Institute of Public Art and the International Award for Public Art. The event was held with the support of the British Council in Moscow. Project “Diogenes’ Clausura” 14–18 February The Youth Centre presented works created by leading Russian and international architects at the initiative of Project Baltia magazine. Ingmar Bergman’s Centenary 4 March – 25 March A series of lectures by Russian and international experts (designed in conjunction with the Consulate General of Sweden).

Yamal Day; project “Voice of the Hermitage”

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Closing of the season at the Student Club

Presentation of the book “The Art of Sculpture in the 20th and 21st Centuries” 25 April Art critic Mikhail Busev, editor-in-chief of the collective monograph “The Art of Sculpture in the 20th Intellectual marathon “Untitled” and 21st Centuries”, talked about the story behind the book – one of the best and most comprehensive research works focusing on the evolution of sculpture, principles of plastic thinking, stages and trends Free guided tours of the exhibition “Ilya and Emilia Kabakov. in the development of this art and how sculptures interact with the urban environment and the viewer. Not Everyone will be Taken into the Future” in sign language Art mediation of the exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken 30 May – 27 July into the Future” A series of seven tours developed by Aleksandra Isaeva and Lubov Okhotinskaya in Russian sign 25 April – 25 July language. A series specially designed for the exhibition. Tours of the exhibition “Arte Povera. A Creative Revolution” Closing of the season at the Student Club 8 June – 10 August 26 May A series of special tours and art mediations. Traditional art programme closing the 2017/18 academic year. Intellectual marathon “Untitled” Not Everyone will be Taken into the Future. Meditations 9 June 26 May Intellectual marathon “May 1968 and the Influence of the Revolution on New Conceptual Art Final project of the Creative Photography Section of the Student Club (head of section Igor Lebedev). Language. Current Perception”. Lecture/Meeting with photographer Daphne Tal Tours of the exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future” for people with autistic spectrum disorders (ASD) 28 May The event took place in conjunction with the exhibition “A Lasting Faith. Orthodoxy in the Holy Land”. 7 July – 28 July A series of inclusive tours designed in collaboration with the Anton Tut Ryadom (Anton is Right Here) Centre. “Poor Folk. Kabakovs” (documentary) 12 September The screening was held with the support of the Garage Museum of Contemporary Art, Moscow, as part of the educational programme for the exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future”. “Oscar” (documentary) 16 September Screening of a documentary about artist Oscar Rabin, held as part of the educational programme for the exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future”. Student Day at the Hermitage Theatre 7 October Official opening of the new season at the Student Club.

Final project of the Creative Photography Section Art mediation of the exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future”

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Art project “The Shadow of Duchamp. Jean Lancri”

Research and practical conference “Modern Museum Space: Architecture, Exhibitions, Festa Italiana “Tutti Frutti” Audiences. Museums and Young People” The Shadow of Duchamp. Jean Lancri 24 October – 28 October Tutti Frutti: Festa Italiana A creative project organised in conjunction with Institut Français as part of the programme “Actual Art. 22 December Perspectives”. A traditional New Year masked party held by the Student Club, Youth Centre. Intellectual Marathon “Here and Now” Public lectures delivered to student audiences in 2018: 15 November January – April Under the auspices of the St Petersburg Cultural Forum. The ABC of World Art: Lecture series by members of the Education Department. Who Said It’s Beautiful 9 February – 20 April 18 November The West and Russia 20–21. Russian Art in the Global Cultural Context: Authored course (G. Sokolov, A series of four tours for senior school students delivered as part of the festival “Children’s Days Department of the History of Russian Culture). in St Petersburg”. 21 February – 11 April Meeting with Christophe Ono-dit-Biot (France) Antique Art: Authored lecture series (L. Davydova, Department of Classical Antiquity). 4 December 13 April – 27 April A meeting with writer Christophe Ono-dit-Biot, deputy editor-in-chief of the weekly magazine Le Point Fashion and Art / Fashion as Art: Authored lecture series (E. Bychkova). and producer of “Le Temps des écrivains” (“The Time of the Writers”), a radio programme about literature on France Culture. The event was held with the support of Institut Français as part of the Franco- September – December Russian Year of Language and Literature. Capitals of Modern Art: Lecture series by members of the Education Department. An Encounter with Piero della Francesca. Lecture by Carlo Bertelli (Italy) 18 September – 2 October 7 December Practicing Change: Social Movements and Activist Art: Authored lecture series (N. Chernyakevich). A lecture by Professor Carlo Bertelli, an acclaimed expert in Italian art of the Middle Ages and 19 October – 14 December the Renaissance, held in conjunction with the exhibition “Piero della Francesca. Monarch of Painting”. Sketches on Fashion and Costume: Authored lecture series (E. Bychkova). Inclusive tours of the exhibition “Masterpieces of the Leiden Collection” 20 October – 29 December 12 December – 14 December The East: lecture series (A. Egorova). A series of inclusive tours developed jointly with the Anton Tut Ryadom (Anton is Right Here) Centre for People with Autism Spectrum Disorders (ASD). Modern Museum Space: Architecture, Exhibitions, Visitors. Museums and Young People 18 December A research and practical conference organised jointly with the Higher School of Economics.

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YOUTH CENTRE PROGRAMME FOR THE EXHIBITION “ILYA AND EMILIA KABAKOV. NOT EVERYONE WILL BE TAKEN INTO THE FUTURE”

The exhibition “Ilya and Emilia Kabakov. Not Everyone will be Taken into the Future” was supported by an extensive education programme featuring a series of public lectures and discussions, the traditional intellectual marathon, art mediations and walks. The programme was specially created by the Youth Centre. Video interviews with artists, curators and historians were recorded in the run-up to the exhibition. Screenings of these videos were held in the General Staff Building to introduce the visitors to the opinions of well-known critics, curators and art figures on the Kabakov show and the work of both artists. The project featured a public discussion between Mikhail Piotrovsky and Emilia Kabakova, held on 11 April 2018 in the General Staff Building. A group of specially trained museum staff first tried their hand at art mediation – a new interactive form of education work in exhibition spaces. Unlike traditional guided tours, mediation involves the visitors in a lively dialogue; however, mediators do not impose their opinions of the exhibits on the guests or dismiss alternative viewpoints; on the contrary, they seek to attain a deeper understanding of the exhibition project together with the visitors. Every mediator created their own unique strategies for talking to museum guests about art. What all mediators shared, however, was the aim to immerse the viewers into art through personal reactions, discussion and emotional involvement. The visitors could choose between mediation and traditional guided tours conducted by the Youth Centre. A series of special inclusive tours was designed for adult visitors with autism spectrum disorders (ASD) jointly with the centre Anton Tut Ryadom (Anton is Right Here). Aimed at creating a more open, friend- lier environment for visitors with special needs, the project enabled people with autism to appreciate the art show through interacting with museum workers and programme volunteers. Sign language tours for visitors with hearing impairments formed another education effort associated with the exhibition. The tours were conducted by specially trained guides, who were exposed to a series of lectures and classes delivered by the Youth Centre. The exhibition became the first modern art event in the museum providing tours in Russian sign language. The highlight of the programme was the Intellectual Marathon “Untitled” held on 9–10 June 2018 The discussion “Theatre + Performance. Director / Performer / Actor” sought to understand how close in the General Staff Building. and productive the links between modern theatre and art performance are and whether there exists a “generational conflict” between them. The discussion “Cinema + Video Art” addressed the converg- ing languages of videos and movies. Following an established tradition, the creative programme of the marathon included works by well- known Moscow and St Petersburg artists. INTELLECTUAL MARATHON “HERE AND NOW. HOW MODERN IS MODERN ART?!” The marathon ended with a screening of the documentary “Poor Folk. Kabakovs” specially created MUSEUM. THEATRE. CINEMA. MUSIC by Anton Zhelnov (Moscow) for Ilya and Emilia Kabakov’s exhibition; the screenings were held in the Hermitage and the State Tretyakov Gallery. On 15 November 2018 the 7th St Petersburg International Cultural Forum hosted the intellectual marathon “Here and Now. How Modern is Modern Art?!” which set out to unpack the current meaning of “modern” in the term “modern art”. The discussions centred on issues of modernisation and evaluation of what is generally regarded as part of the contemporary cultural process. The marathon was held in the General Staff Building. The discussion “Museum + Modern Art. Curator / Artist / Designer” was attended by workers of modern art museums and exhibition projects as well as designers and architects. Moderator Dimitri Ozerkov named the recent trends in the development and organization of large-scale art exhibitions among the priority topics for discussion. The event opened with a dialogue between Director of State Hermitage Mikhail Piotrovsky and Elena Kalnitskaya, Director General of Peterhof State Museum-Reserve, who analysed the strengths and weaknesses of the contemporary trend towards the theatricalisation of museum exhibitions, which compels curators to interface more closely with theatre directors, architects and designers, often involving them in the development of the overall exhibition concept. Such exhibitions generate considerable interest, improving the public visibility of museums, the discussion participants emphasised.

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SESSION OF THE ROUND TABLE ON THE AESTHETICS OF URBAN ENVIRONMENT

On 17 January 2018 the State Hermitage Museum hosted a session focused on the aesthetics of urban environment, as part of a series of round tables dedicated to the preservation of the memory of the siege. The main topic of discussion at the session was memorialisation of original monuments from the siege of Leningrad as a method of preservation of historical memory and patriotic education. The session was organised by the State Hermitage Museum, the Worldwide Club of Petersburgers and the Russian Historical Society.

ROUND TABLE UNDER THE PROJECT “THE SOUTHERN COAST OF CRIMEA AS A WORLD HERITAGE SITE”

On 1–2 February 2018 the Hermitage Museum hosted the first meeting in the framework of the project focused on comprehensive research of monuments located on the southern coast of Crimea and dating 13th Maecenas Day in the State Hermitage Museum Sergey Girdin to different epochs. The objectives of the project are to examine archaeological monuments, palaces and gardens as well as natural landscapes with a view to determine, whether this region is a cultural heritage site. The round table was organised jointly by the State Hermitage Museum and the Likhachev Founda- tion with the support from the Presidential Projects Foundation. that belonged to a Mahdist warrior (Sudan, 1880s), a Mahdist banner and works of applied art made by peoples of Ghana and Nigeria – gifts from Sergey Girdin who continues to supplement the museum’s collection of African art. The Dutch company ArtClub B.V. presented the Hermitage Museum with a late 16TH ROUND TABLE “MUSEUM AND PROBLEMS OF CULTURAL TOURISM” 19th-century spread of The Illustrated London News. The pages of this world’s first illustrated weekly newspaper depict the victory of the British troops over the Mahdists in Sudan. On 5–6 April 2018 the State Hermitage Museum hosted an annual international scholarly and practical conference, which brings together representatives of museums, higher education institutions and tourist industry to discuss issues of interaction and cooperation, as well as work experience exchange. This DAY OF THE HERMITAGE CAT – 2018 round table traditionally gathers guests from many regions of Russia, including Kazan, Petrozavodsk, Volgograd, Perm, Astrakhan, Samara and Yekaterinburg, as well as from other countries: Azerbaijan, On 12 and 13 May 2018 the State Hermitage Museum celebrated the traditional Day of the Hermitage Belarus, Kazakhstan and Latvia. Cat. In the course of two days museum visitors could see the basements of the Winter Palace (where the cats live) and take part in an educational game around the museum rooms called “Cats in the Hermit- age, or A Journey with the Hermitage Cat”. LIGHT IN THE MUSEUM In the Great Courtyard of the Winter Palace in the frame of an open competition “My Hermitage Cat” children together with adults painted wooden silhouettes of cats under the guidance of the well-known On 18–20 April the State Hermitage Museum hosted the first scientific and practical conference on artist Dmitry Shagin, head of the Mitki art group. There were no losers in this competition; every par- museum lighting. At the conference talks were given by representatives of museum and lighting tech- ticipant received an award. There was also an art workshop open for those who wanted to engage in nology communities and invited Russian and foreign specialists in the field of museum lighting: light- creative activities. ing engineers, lighting designers and museum curators. The event included an extended session of the The central point of the Day of the Hermitage Cat was the opening of the exhibition-event “...a Mischie- Scientific and Technical Council of the Lighting Technology Industry where participants and guests dis- vous Moscow Rake”. There were on display two porcelain sculptures of cats, which had been produced in cussed today’s most promising research works in the field of lighting technology, as well as directions the private porcelain factories of Gardner and Popov in the Moscow Governorate in the 19th century and for further development. The conference was organised by the State Hermitage Museum, the Scientific today belong to the collection of the Department of the History of Russian Culture of the State Hermit- and Technical Council of the Lighting Industry (NTS Svetotekhnika) and the Russian Lighting Research age Museum. Both sculptures had been restored specially for the Day of the Hermitage Cat. Institute named after Sergey Vavilov (VNISI), with the support from the Russian Committee of the On 12 May took place an official opening of the exhibition of the works, which had won in the inter- International Council of Museums (ICOM), the Union of Museums of Russia and the Ministry of Culture national children’s and youth’s artistic creativity competition “Ships of All Flags will Come to Us, of the Russian Federation.

13TH MAECENAS DAY IN THE STATE HERMITAGE MUSEUM

On 23 April the Hermitage Theatre was the venue for the 13th Maecenas Day, an annual traditional celebration for benefactors and socially responsible companies organised by the State Hermitage Museum together with the Russky Metsenat (Russian Maecenas) almanac of social partnership and the Journal- istic Centre for International Collaboration, a St Petersburg-based public organisation. Mikhail Piotrovsky, General Director of the State Hermitage Museum, opened the formal ceremony. Arkady Sosnov, Chief Editor of the Russky Metsenat almanac, presented charity projects implemented over the past year and those directly involved in them who had gathered in the theatre. An integral part of the Maecenas Day is the donations ceremony. Some of the gifts presented to the State Hermitage Museum were put on display in the Foyer of the Hermitage Theatre: a ceramic dish (Russia, 1920s) repeating a Chinese original, in an ormolu mount (France, mid-18th century), donated to the Hermitage Museum by the collector and antiquarian Yury Abramov; a set of defensive arms

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or Hermitage Cats Receive Guests”. Artworks of ten winners were given the honour to be displayed On 1 June the Intermuseum Festival offered a virtual tour around the “Costume Gallery” of the “Stara- in the Jordan Gallery of the Winter Palace with proper labels, just like all other Hermitage exhibits. ya Derevnya” Restoration, Conservation and Storage Centre. Modern technologies allowed to not only About 400 works of other participants were put on display in the basement of the Winter Palace adja- “visit” the open storage, but also hear and observe the dialogue of the curators of the Hermitage “Cos- cent to the cats’ quarters. tume Gallery”: in Moscow, the talk was held by Nina Tarasova, in St Petersburg, by Natalia Nekrasova. On 2 June the Sector of Special Programmes of the Hermitage Education Department presented the programme “Treasures of the Altai Mountains from the Hermitage Collection” highlighted by the per- ST PETERSBURG INTERNATIONAL LEGAL FORUM – 2018 formance of Cheinesh Baitushkina, a laureate of international music festivals, a unique singer who has mastered the main techniques and styles of throat singing. On 16 May 2018 in the General Staff Building began the business programme of the 8th St Petersburg Hermitage staff members who participated in the Business Programme of the festival gave over twenty International Legal Forum, which was held on 15–18 May in St Petersburg. The forum gathered over presentations on various subjects. 4,000 guests from 90 countries all around the world, its agenda included 85 discussions, over fifteen Alexey Bogdanov, Deputy Director for Maintenance of the State Hermitage Museum, participated in the talk sessions and presentations, model trials and satellite events. discussion “Smart Museum for a Smart City”, round table “Contemporary Museum Space is a Space The Atrium of the General Staff Building hosted a plenary session “The Future of the Legal Profession”, of Security” and presentation of the interregional competition “Skilful Word” named in honour of Vlad- where one of the participants was the Chairman of the Government of the Russian Federation Dmitry imir Matveev and organised for media and journalists covering issues of culture and fine arts. Medvedev. Natalia Krestyaninova, Senior Legal Consultant of the State Hermitage Museum, made a presenta- On the same day the Lecture Hall of the General Staff Building under the auspices of the State Hermit- tion titled “Declaration ReACH 2017. Development of New Guidelines for the Reproduction of Cultural age Museum hosted a discussion session “The Law on Culture – the Art of Justice”, which focused on Heritage”. the work towards development of a new legislation on culture. The Hermitage General Director Mikhail Sophia Kudriavceva, Head of the State Hermitage Youth Centre, dedicated her presentation to the expe- Piotrovsky moderated the discussion. Among the participants of the session were Jean-Cristophe Bar- rience in organising intellectual marathons. bato, Professor of Public Law at the University of Nantes; Maria Melnikova, Adviser to the Minister The restoration session “Following the Restorer’s Footsteps’ featured presentations of Igor Malkiel, of Justice of the Russian Federation; Natalia Romashova, Director of the Legal and Regulatory Depart- Head of the Laboratory for Scientific Restoration of Precious Metals, on the use of 3D technologies ment of the Ministry of Culture of the Russian Federation; Lev Sundstrem, Head of the Chair of Creative in museum restoration of precious metals, and Tatiana Metskovskaya, Artist-Restorer of the Labora- Producing for Performing Arts at the Russian State Institute of Performing Arts; Marina Tsyguleva, tory for Scientific Restoration of Mural Painting, on the new educational workshop “Fine Arts from the Head of the State Hermitage Museum’s Legal Service; Alexander Sholokhov, Deputy Chairman of the Perspective of Restorers”. Committee on Culture of the State Duma of the Federal Assembly of the Russian Federation. In the framework of the discussion the experts addressed the need to revise both sector-wide and specific legislation on culture. THE HERMITAGE AT THE VKONTAKTE FEST – 2018 Mikhail Piotrovsky gave direction to the discussion by pointing out, that current Russian laws are to a large extent hostile to the culture, whereas in the society prevails distrust. In the view of the Hermit- On 28 and 29 July 2018 the Hermitage for the fourth time took part in the VKontakte Fest, which was age Director, the legislation on government contract, laws on the museum fund and on the import and ex- according to the tradition held in the open air, in the St Petersburg Tercentenary Park. This year the port of cultural values should be amended, the digital record-keeping system for museum objects should festival, one of the largest events in the city, offered its visitors 350 interactive platforms within twenty be changed, and the “prohibitive laws”, such as the laws on insulting the feelings of religious believers or thematic areas. Over 90,000 people came to the festival, whereas its webcasts attracted more than the laws on extremism, also require modification. In concluding the round table, the experts agreed that 1,700,000 users. development of an effective legislation requires considerable systemic work of both professional lawyers The Hermitage Museum was represented in the Creativity Area with a unique programme “The Un- and all specialists in the sphere of culture. known Hermitage”. The festival guests were given an overview of various facets of museum life, little known to its visitors. A major part of the programme focused on the art of Antiquity. The participants could feel like ancient INTERNATIONAL INTERMUSEUM FESTIVAL masters and create their own red- or black-figure vases, cameos and theatre masks. A traditional master class from the Hermitage restorers presented this year work with glass. The festival On 31 May – 3 June 2018 the State Hermitage Museum took part in the 20th International Intermu- guests could see the process of creation of Tiffani stained-glass windows. seum Festival in Moscow. The anniversary festival turned Pavilion No. 75 of the All-Russian Exhibition Another master class was dedicated to the year of the Russian ballet and was held under the title “A Bal- Centre into a genuine Museum City – this year the Intermuseum Festival doubled its area and among let Lesson of Lande in the Cadet Military School”. For one evening the visitors became students of the its participants were over 400 museums. The key theme of the festival was “Museums and Society”. first ballet school in Russia, founded by the French ballet master Jean-Battiste Lande. One more ballet- The State Hermitage Museum, as a traditional participant of the festival, presented on its booth a spe- focused master class, “Create Your Own Theatre”, offered its participants to cut and glue together small cial programme covering various museum activities. paper models of a theatre with a scene from the ballet of Leon Bakst The Fairy Doll, which had been The Restoration Zone offered an opportunity to get acquainted with the specifics of work in the cold premiered in the Hermitage Theatre in 1901. enamel technique, methods of making finest etchings and rectifying deformations of metal, as well The virtual model of the Jupiter Hall was very popular among the visitors. A joint VR-project of the Her- as with the process of reconstruction of mounts in precious metal wares and securing of stones – under mitage Museum and the CROC VR Centre provided an opportunity to “visit” one of the most well-known the guidance of Hermitage experts. Every day there was held a demonstration of the electron micro- halls of the museum without leaving the festival site. scope, which allows to obtain pictures of objects with magnification up to thousands, tens or even hun- Among the innovations introduced this year were events dedicated not only to the fine arts, but also dreds of thousands times and is used to examine and restore museum objects. to the staff of the Hermitage Museum and their unusual hobbies. For example, employees of the Hermit- A part of the booth was dedicated to the Hermitage VR-Projects. A virtual model of the Jupiter Hall age’s Legal Service held master classes in dance, “The Hermitage Morning Exercises” and “The Danc- provided a unique opportunity to “visit” the Hermitage and take a look at one of its most famous ing Hermitage”, whereas an employee of the Youth Centre came up with his DJ-set “Concrete Jungle” rooms from an unusual perspective. One could take a walk around the Hermitage through time and in the museum tent. space accompanied by Konstantin Khabensky in the film in a VR format “The Hermitage. Immersion The attention of the audience was attracted by the art object “The Unknown Hermitage”, a decorative in History”. screen panel that underwent construction in front of the visitors with use of fragments of different Her- The highlight of the second day of the festival was a round table “The Hermitage and Moscow Media”, mitage artworks, both popular and little known. The central figures of the Hermitage maze featuring with participation of Mikhail Piotrovsky. The discussion was held in an interview format, where the a crossroad of fine arts were Rembrandt and Kandinsky. topics were set by the Secretary of the Union of Journalists Ashot Dzhazoyan. The Hermitage Director Due to the FIFA World Cup 2018 hosted by Russia, the Hermitage Museum presented the Hermitage in his answers addressed many issues related both to the life of the Hermitage and museums in general. sports uniform and offered its guests to draw their own version of the uniform. 182 183 SPECIAL EVENTS SPECIAL EVENTS

FAREWELL TO THE WHITE NIGHTS Sondeckis was a friend of the Worldwide Club of Petersburgers. The concert in honour of the maestro was performed by the Symphonic Orchestra of the Mikalojus Čiurlionis Lithuanian National School On 17 July 2018 the traditional “Farewell to the White Nights” meeting with the journalists of the Her- of Art, which was created by Sondeckis, and featured works of Lithuanian and world classical music. mitage pool took place, the event that has for many years been bringing together media representatives and museum staff. This year the meeting was held at the Menshikov Palace. Mikhail Piotrovsky, General Director of the Hermitage Museum, opened the meeting, “We thank 13TH INTERNATIONAL FORUM OF YOUNG JOURNALISTS “DIALOGUE OF CULTURES” you for your love for the Hermitage and your kind attitude. You should always say that the Hermit- age is the best and does everything in an exemplary manner. We hope that you always advocate this On 7–9 November 2018 the State Hermitage Museum hosted the 13th International Media Forum “Di- position”. alogue of Cultures”. This year it focused on the use of digital formats in intercultural communication. The guests of the evening got acquainted with the “Non-Spiritual Nourishment. O, Da! Yeda! in the The forum’s programme was intended for both representatives of traditional media and independent Hermitage” project, for which two tours around the Menshikov Palace were arranged: one real and one journalists, bloggers, photographers and filmmakers. virtual. Irina Saverkina, Academic Secretary of the Menshikov Palace, told about the eating and drink- Mikhail Piotrovsky, General Director of the Hermitage Museum, greeted the participants at the grand ing habits in the times of Peter the Great, whereas Olga Makho and Ludmila Frolova, methodologists opening of the forum, “I am pleased to welcome you here again. We host the forum for the thirteenth of the Hermitage’s Education Department, presented a gastronomic audio-guide for the Main Museum time. For many participants this is their first forum, and I am pleased to see so many young faces. Complex. A significant feature of this forum is that it is held at the Hermitage. Museums play an increasingly By tradition, the highlight of the event was a gala ceremony of lighting a street lamp in the inner court- important role in our social life. You will see a lot here. It is not easy to film or interview people here, yard of the Menshikov Palace, on the summer terrace of the Mein Herz restaurant. This year the right you will have such an opportunity. I really hope that you will enjoy yourself and gain knowledge about to light the lamp was granted to our partners from the VKontakte social network, with which the Her- this great museum”. mitage Museum had been closely collaborating for a number of years. The task was performed by Irina Ashot Dzhazoyan, Chairman of the Community of Journalists Media Congress and the Secretary of the Shubina, Head of VKontakte Production. The lamp that was specially brought to the Menshikov Palace Union of Journalists, continued, “I think the most important feature of our forum is that we are at the is a copy of the lamp, which journalists, by tradition, light up in the Director’s Courtyard of the Hermit- Hermitage. We have gathered in the centre where the dialogue of cultures has been going on for two and age Museum, to symbolise the end of the White Nights season. The copy was produced and presented a half centuries, where people preserve, investigate and show to the entire world this treasury of master- to the museum by the TGK-1 Company (Territorial Generating Company No. 1). pieces. These walls will promote our dialogue, because the level of dialogue here is very high”. 400 young journalists from 35 countries all around the world gathered in St Petersburg to exchange experience and implement joint projects. In addition to the participants from different regions in Russia, 4TH INTERNATIONAL FESTIVAL “DISCOVER YOUR EUROPE IN THE HERMITAGE MUSEUM” Russia’s neighbouring and far-abroad countries: Lithuania, Spain, Austria, Slovenia, Hungary, Germany, Turkey, the Netherlands, Argentina, Bulgaria, Ireland, Armenia, Georgia, Uzbekistan and Kazakhstan, – there were journalists from India, who visited the forum for the first time. On 22 September 2018 the General Staff Building was the venue for the 4th International Festival “Dis- The key events of the forum were public meetings focused on the role of digital technologies in the cover Your Europe in the Hermitage Museum”. This annual event is held on the initiative of the State interaction of cultures. Participants discussed various phases of intercultural communication and pe- Hermitage Museum and the Delegation of the European Union to the Russian Federation in cooperation culiarities of work in editorial offices all around the world, overcoming challenges journalism is facing with consulates general and cultural institutes of the EU member states. The festival is timed to the in different countries and resolving conflicts arising between representatives of different cultures and re- European Day of Languages, which is celebrated on 26 September. The European Union declared 2018 ligions in the media. the European Year of Cultural Heritage, which became the main focus of the festival. A festival of documentaries “I Live Here” held as part of the forum showed films telling about various The main and most colourful part of the programme was the Fair of Cultures: thirteen master classes, aspects of culture in different countries. A photo exhibition under the same title brought together works eleven lectures, seven film screenings, intellectual quizzes and musical performances. On one Saturday of leading photojournalists and presented them in the General Staff Building. day eighteen participating countries involved festival guests in various creative activities. At the closing session at the Hermitage Theatre Mikhail Piotrovsky and Ashot Dzhazoyan presented The interactive zone under the title “The Hermitage in the Preservation of the Heritage of Nations” ex- to the cultural workers and media representatives tokens “For the Worthy Contribution to the Dialogue plored the topic of the protection of cultural heritage. The programme prepared by the museum’s Sector of Cultures”. This year the awards on behalf of the International Community of Journalists and the State for Work with Volunteers included lectures, special activities, poetic duels and a traditional Hermitage Hermitage Museum went to the RussiaToday website, the Rossiyskaya Gazeta newspaper, the Russia- competition in computer graphics and animation. Kultura TV-Channel and conductor Vladimir Spivakov. The festival ended with an extensive musical programme, which featured as a main event a concert After two days of work in the conference the journalists made working tours around St Petersburg and of symphonic music performed by St Petersburg Youth Symphonic Orchestra “CreatoProject”, which visits to Veliky Novgorod and Vyborg. was presented by EUNIC, the European Union National Institutes for Culture. The forum was organised by the Community of Journalists Media Congress together with the State Hermitage Museum, with the support from the Presidential Projects Foundation, the Russian Union of Journalists, the Government of St Petersburg and the European Federation of Journalists. SAULIUS SONDECKIS REMEMBERED IN THE HERMITAGE MUSEUM

On 30 October 2018 the Hermitage Theatre was the venue for an evening marking the 90th an- THE HERMITAGE HOSTS THE VKONTAKTE HACKATHON – 2018 niversary of the birth of Saulius Sondeckis (1928–2016), organised by the State Hermitage Mu- seum, the Worldwide Club of Petersburgers and the Consulate General of the Lithuanian Republic On 9–11 November 2018 the General Staff Building was the venue for the VKontakte Hackathon, in St Petersburg. the largest competition for programmers and developers in Russia. For the first time such a large-scale Saulius Sondeckis, a People’s Artist of the USSR, a laureate of the state prizes of the USSR, a famous Hackathon took place in a museum: the event gathered more than 400 developers in 120 teams. Lithuanian conductor and educator, was closely connected with St Petersburg and the Hermitage Mu- A Hackathon is a marathon in programming. The competition is held between teams composed of pro- seum. He was one of the founders of the Hermitage Music Academy programme and the president of the grammers, designers, managers and other active participants. Foundation of the Hermitage Music Academy; in 1989 he formed St Petersburg Camerata Orchestra, The work at the Hackathon progressed in six sections: culture, media, education, charity, technolo- which was in 1994 awarded the status of the Orchestra of the State Hermitage Museum. gies and urban environment. Within the 42 hours allowed, the participants were expected to develop In 2006 Sondeckis became an honorary professor of the Rimsky-Korsakov St Petersburg State Conser- prototypes of technological products. They addressed tasks given by the Hermitage Museum and the vatoire. He performed as a guest conductor with the symphonic orchestra of the St Petersburg Philhar- VKontakte company, as well as by the partners of the Hackathon, among which were the MasterCard In- monic Society. ternational Payment System, Moscow Philharmonia, Lentach, PostNauka, the Port Sevkabel Creative

184 185 SPECIAL EVENTS AGREEMENTS SIGNED

Space, the CROC Company, the RAY Animal Help Fund, the Community of Donors DonorSearch.org, AGREEMENT OF COOPERATION SIGNED BETWEEN THE STATE HERMITAGE MUSEUM the Bumaga Internet Newspaper, the Polytechnical Museum, the FunCubator Business Accelerator, AND THE MIKHAILOVSKY THEATRE the Giosg Company and the Sirius Educational Centre. Based on the results of the first round of the Hackathon, the twenty best works were selected and nine On 13 February 2018 Mikhail Piotrovsky and Vladimir Kekhman signed an agreement on collabora- teams became winners in different categories. The Grand Prix was awarded to the team “Working Title” tion between the State Hermitage and the Mikhailovsky Theatre. The joint project between the mu- from the charity section, which worked on the case study from DonorSearch.org. In the Culture cat- seum and the musical theatre dates back to October 2015, the new collaboration agreement has been egory, the IBI Solutions team was acknowledged as the best: on assignment of the Hermitage Museum extended for a further five years. The agreement envisages concert programmes with participation they had developed a prototype of an in-house website for work communication among the museum staff of major singers and musicians, choir and symphony orchestra of the theatre to be prepared specifi- and internal navigation. cally for the stage of the Hermitage Theatre and for museum rooms, as part of the “Hermitage Eve- Alexey Bogdanov, Deputy Director for Maintenance of the Hermitage Museum, said in summing up the nings of the Mikhailovsky Theatre”. Concerts in the Large Italian Skylight Hall of the New Hermitage competition, “We are very pleased that the largest competition for IT-developers has taken place in the are to become a tradition. Hermitage Museum, in one of the most beautiful buildings of St Petersburg, the General Staff Building. It was sort of a challenge, to allow programmers for several days in the museum building and let them stay there for two nights. However, in the end everything went great. The atmosphere of the museum and proximity to the fine arts inspired the participants to create outstanding projects. We are particularly PROTOCOL OF INTENTIONS SIGNED BETWEEN THE STATE HERMITAGE MUSEUM pleased to note, that for the second year in a row the team working on the Hermitage case becomes AND PAO TGC-1 the leader of the Culture section”. Ivan Kozlov, Product Director of the VKontakte Company, pointed out, “The development of technolo- On 28 February 2018 Mikhail Piotrovsky and the General Director of PAO (Public Company) Territorial gies is impossible without young specialists, therefore the support of talented developers has always Generating Company No. 1 Alexey Barvinok signed a protocol of intentions, which defines key princi- been an important part of the VKontakte’s ideology. Our flagship project, the VKontakte Hackathon, ples of the three-year programme of collaboration in preservation of cultural heritage and development is getting bigger”. of the museum. The Territorial Generating Company No. 1 is to provide the Hermitage with assistance For the first time the Hackathon included a programme of public lectures: representatives of the VKon- in the development of museum lighting projects in the main Hermitage complex and the General Staff takte Company told about the launch of the interactive show under the title of “Clever”, web tech- Building, in the “Staraya Derevnya” Restoration, Conservation and Storage Centre and in the Hermit- nologies in a mobile application, artificial intelligence and motion design. Staff of the State Hermitage age restoration laboratories. Museum gave a talk on the history of the energy and heat supply for the largest museum in Russia.

SUPPLEMENT TO THE MEMORANDUM OF INTENT ON THE ESTABLISHMENT VOLUNTEER DAY IN THE HERMITAGE MUSEUM OF THE HERMITAGE • BARCELONA MUSEUM CENTRE

On 3 December 2018 the General Staff Building was the setting for a gala celebration marking the On 6 April 2018 a supplement was signed in the Hermitage Museum to the Memorandum of Intent 15th anniversary of the Hermitage’s Volunteer Service. This event took place shortly before the Inter- between the State Hermitage Museum and the Spanish company Cultural Development Barcelona, national Volunteer Day. S.L. (Barcelona, Spain). The agreement was signed by Mikhail Piotrovsky, General Director of the State The highlight of the programme this year, declared in Russia the Year of Ballet, was an improvisation on Hermitage Museum, Svetlana Adaksina, Deputy Director of the State Hermitage Museum, Eugenio the subject of The Parade of Planets, the first ballet in the history of Europe conceived and created by the Pallares Just, Chairman of the Board of Directors of the Cultural Development Barcelona, and Valery great Leonardo da Vinci at the court of Ludovico Sforza, Duke of Milan. The volunteers prepared quizzes Yaroslavsky, member of the Board of Directors of the Cultural Development Barcelona. and team games, composed poems together and performed Renaissance dances. The memorandum between Russia, Spain and Catalonia envisaging establishment of the Hermit- Celebrating the 15th anniversary of the Hermitage’s Volunteer Service in the Year of Volunteer, those age • Barcelona Museum Centre was originally signed on 12 April 2013. The supplement confirms prior present recalled numerous events held and projects undertaken, as well as the international educational agreements, extends the validity of the memorandum until 30 September 2020 and modifies individual programmes, which became an inseparable part of the museum’s life. The experience gathered by the provisions of the memorandum. Hermitage’s volunteers has become one of the examples of development of volunteer movement in Rus- sia and abroad. PROTOCOL OF INTENTIONS SIGNED BETWEEN THE STATE HERMITAGE MUSEUM INTERNATIONAL HERMITAGE FRIENDS’ DAY AND GEDEON RICHTER COMPANY

On 8 December 2018 the General Staff Building was the venue for the celebration of the Internation- On 17 April 2018 the State Hermitage Museum and the Gedeon Richter Pharmaceutical Company al Hermitage Friends’ Day, to which the friends of the museum are invited by tradition from all over signed a protocol of intentions. The document was signed by Svetlana Adaksina, Deputy Director the world. of the State Hermitage Museum, and Dr. Attila Varady, authorised representative of the Gedeon Rich- The official part of the event was opened in the Atrium of the General Staff Building with a formal wel- ter Company in Russia. Under the agreement intended for the next three years the company plans come from Mikhail Piotrovsky, who told the Hermitage Friends about the main events of the past year to provide support to the museum in the restoration of exhibits depicting female images. The first art in the Hermitage Museum, introduced to those present delegations of Friends from Italy, the UK, the object to be restored in the Hermitage Department of Scientific Restoration and Conservation is the Netherlands and the USA, which came to the celebration of the International Hermitage Friends’ Day, statue of Aphrodite (known as the Gatchina Venus) from the collection of the Department of Classical and thanked those who had provided the museum with charitable assistance in 2018. Antiquity. For the acquisition of a valuable exhibit for the Museum of Guards, a box presented by the officers of the Second Sofia Infantry Regiment to the regimental commander Egor von Daehn in 1864, Mikhail Piotrovsky awarded two members of the board of the St Petersburg English Assembly, Andrey Drobo- MEMORANDUM OF COOPERATION IN THE FIELD OF MUSEUM LIGHTING tenko and Sergey Tikhomirov, with personal Hermitage Friends’ Club cards. Following that, the guests of the evening were offered a concert programme featuring soloists of St Pe- On 20 April 2018 the Memorandum of Cooperation in the Field of Museum Lighting was signed between tersburg State Academic Leonid Yakobson Ballet Theatre. The guests also viewed new exhibitions in the the State Hermitage Museum and the Scientific and Technical Council Svetotekhnika. The memoran- General Staff Building. The festive evening ended with a cocktail party. dum was signed by Mikhail Piotrovsky, General Director of the State Hermitage Museum, and Georgy 186 187 AGREEMENTS SIGNED AGREEMENTS SIGNED

Boos, Chairman of the Scientific and Technical Council Svetotekhnika. The memorandum aims to at- Sanpaolo. The agreement also envisages joint participation in exhibition projects and provision of schol- tract attention of the professional community to the role of light and lighting in the activity of muse- arships from the bank under the Hermitage • Italy Centre programme, research grants for internships ums, promote research on the impact of artificial light on the preservation of museum objects and their in Milan and organisation of joint seminars and conferences. perception, engage in the development of up-to-date normative documents regulating light environment in the museum and specifications of lighting appliances, develop and implement modern methods of control for operating parameters of lighting units and introduce modern energy-effective and high- AGREEMENT ON THE PROCEDURE AND CONDITIONS FOR THE PREPARATION quality lighting appliances. AND IMPLEMENTATION OF THE “HERMITAGE IN CHINA” PROGRAMME

On 31 October 2018 Mikhail Piotrovsky, General Director of the State Hermitage Museum, Yoke Qieu COOPERATION AGREEMENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM, Wong, representative of Beijing Hermitage Foundation, and Yingli Hong, Head of the Red 19 TV Lim- THE COMMUNE OF REGGIO EMILIA AND THE FONDAZIONE PALAZZO MAGNANI ited company, signed the Agreement on the Procedure and Conditions for the Preparation and Imple- mentation of the “Hermitage in China” Programme. The State Hermitage Museum, Beijing Hermitage On 15 May 2018 a cooperation agreement was signed by Mikhail Piotrovsky, General Director of the Foundation and Red 19 TV Limited plan to carry out a number of large-scale projects. With a view State Hermitage Museum, Luca Vecchi, Mayor of the Commune of Reggio Emilia, and Davide Za- to their implementation, the State Hermitage Museum is willing to transfer to the Foundation the rights nichelli, President of the Fondazione Palazzo Magnani. The agreement aims to strengthen and expand to use the official name of the museum and elements of its official insignia in the trademark to be reg- cultural and academic ties, including through the “Hermitage–Italy” programme. It envisages support istered in the PRC. The agreement envisages making full use of the scientific and educational potential in conducting studies and research and in disseminating knowledge about historical and artistic objects of the collections of international cultural and artistic heritage kept in the Hermitage Museum, in the of heritage kept in the State Hermitage Museum and in the cultural institutions of the Commune of Reg- context of strengthening cultural relations between Russia and the PRC. gio Emilia. COOPERATION AGREEMENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM COOPERATION AGREEMENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM AND THE NATIONAL RESEARCH UNIVERSITY – HIGHER SCHOOL OF ECONOMICS AND THE AUTONOMOUS REGION OF SARDINIA, THE MUNICIPALITY OF CAGLIARI, On 18 December 2018, in the General Staff Building, Georgy Vilinbakhov, Deputy Director of the State THE MUSEUM CENTRE OF SARDINIA AND THE FONDAZIONE DI SARDEGNA Hermitage Museum, and Sergey Kadochnikov, Director of the Higher School of Economics in St Peters- burg, signed a cooperation agreement between the State Hermitage Museum and the National Research On 21 June 2018 a cooperation agreement between the State Hermitage Museum, the Autonomous University – Higher School of Economics. The agreement aims to promote joint projects of applied and Region of Sardinia, the Municipality of Cagliari, the Museum Centre of Sardinia and the Fondazione fundamental scientific research. According to the agreement, the Hermitage Museum and the Higher di Sardegna was signed by Mikhail Piotrovsky, General Director of the State Hermitage Museum, Bar- School of Economics are to direct joint efforts to prepare and implement new cooperative programmes bara Argiolas, Tourism Councillor for the Autonomous Region of Sardinia, and Massimo Zedda, Mayor in the field of scientific and educational work with young people, organise and hold conferences, sympo- of the city of Cagliari, Sardinia. The agreement envisages preparation and implementation of a pro- sia and round tables with participation of the Hermitage staff, graduate students, professors and teach- gramme of cooperation including mutual participation in research activities, excavations, seminars ing staff of the National Research University – Higher School of Economics. based on researches and joint projects and organisation of exhibition exchanges.

COOPERATION AGREEMENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM AND ST PETERSBURG STATE UNIVERSITY OF CIVIL AVIATION

On 27 June 2018 a cooperation agreement was signed by Mikhail Piotrovsky, General Director of the State Hermitage Museum, and Mikhail Smurov, Rector of St Petersburg State University of Civil Aviation. Specialists from the State Hermitage Museum and from the university are to organise joint seminars and conferences related to scientific research in the field of transportation of cultural values, influence of different transport modes on museum exhibits in terms of impact of overload conditions and vibration on exhibits depending on the methods of packaging and transportation (air and road transport), new standards and methods of transportation, including to the Hermitage exhibition centres. A key objective is to train the security personnel of the State Hermitage Museum in controlling unmanned aviation systems and complexes including quadcopters, to ensure security and monitor museum buildings.

AGREEMENT SIGNED BETWEEN THE STATE HERMITAGE MUSEUM AND THE BANCA INTESA SANPAOLO OF MILAN, ITALY

On 11 July 2018, at the Gallerie d’Italia on the Piazza Scala in Milan, an agreement was signed between the State Hermitage Museum and the Banca Intesa Sanpaolo, one of the largest financial institutions in Europe. The agreement was signed by Mikhail Piotrovsky, General Director of the State Hermitage Museum, and Michele Coppola, Cultural Programmes Director of the Banca Intesa Sanpaolo. A significant paragraph of this document is the support of the Hermitage’s biggest project in 2018, the Piero della Francesca exhibition, whose main sponsor on the Italian side will be the Banco Intesa 188 189 THE STATE HERMITAGE MUSEUM INTERNATIONAL ADVISORY BOARD THE STATE HERMITAGE MUSEUM INTERNATIONAL ADVISORY BOARD

MEMBERS OF THE INTERNATIONAL ADVISORY BOARD Marion Ackermann Director General, Staatliche Kunstsammlungen Dresden Mounir Bouchenaki Former Assistant Director-General for Culture, UNESCO Michael Brand Director, Art Gallery of New South Wales, Sydney Michael Conforti Former Director, Sterling and Francine Clark Art Institute, Williamstown Stefano De Caro Special Advisor to the Director-General, ICCROM, Rome Taco Dibbits General Director, Rijksmuseum, Amsterdam Gabriele Finaldi Director, The National Gallery, London Chairman Max Hollein Director, Metropolitan Museum of Art, New York Henri Loyrette Former President and General Director, Musée du Louvre, Paris Neil MacGregor Former Director, The British Museum, London Alfred Pacquement Former Director, Musée national d’art moderne, Centre Georges Pompidou, Paris Hermann Parzinger President, Stiftung Preussischer Kulturbesitz, Berlin Mikhail Piotrovsky Director, State Hermitage Museum, St Petersburg Stuart Gibson Secretary to the International Advisory Board Former Director, Hermitage UNESCO Project Svetlana Philippova Secretary to the International Advisory Board Head, Hermitage Friends Office

RETIRED MEMBERS Reinhold Baumstark Director, Bayerische Staatsgemäldesammlungen, Munich Irène Bizot Ancien Administrateur général, Réunion des Musées Nationaux, Paris J. Carter Brown Director Emeritus, National Gallery of Art, Washington, DC TWENTY-FOURTH MEETING OF THE INTERNATIONAL ADVISORY BOARD Wim Crouwel Former Director, Museum Boymans van Beuningen, Amsterdam Wolf-Dieter Dube Former Director, Staatliche Museen zu Berlin Preussischer The twenty-fourth meeting of the State Hermitage Museum International Advisory Board, established Kulturbesitz, Berlin back in 1994 under the aegis of the Hermitage UNESCO Development Project, was held in St Peters- burg on 23–26 August 2018. Horst Gödicke Representative of the Director-General of UNESCO, Paris Traditionally, the discussions dealt with most pressing issues of the museum’s development. As usually, Alan Hancock Director, PROCEED, UNESCO, Paris themes for discussion were developed by the General Director of the State Hermitage Museum Prof. Anne d’Harnoncourt Director, Philadelphia Museum of Art, Philadelphia Mikhail Piotrovsky. This year the topics were as follows: Wars of Memories and Dialogue between Cul- Johann Georg General Director, Bayerische Staatsgemäldesammlungen tures; Contemporary Art; Digital and Multimedia; Museum Website and Social Media; Special Domes- Prinz von Hohenzollern tic Legislation and Regulatory Rights of Museums; Working with Visitors with Special Needs. Working sessions were held in the Сouncil Hall of the State Hermitage Museum and in the Advisory Michel Laclotte Directeur honoré du Musée du Louvre, Paris Board’s rooms at the General Staff Building. Participants from the Hermitage side included: Georgy Ronald de Leeuw Director, Rijksmuseum, Amsterdam Vilinbakhov, Deputy Director for Research; Marina Antipova, Deputy Director for Finance; Ekaterina Henk van Os Former Director, Rijksmuseum, Amsterdam Sirakanyan, Head of Development; Marina Tsygulyova, Head of the Legal Department; Elena Getmans- Annamaria Petrioli Tofani Former Director, Uffizi, Florence kaya, Head of the Press Office and others. Nikita Korytin, Director of the Yekaterinburg Museum of Fine Arts and the future Hermitage Ural Centre, made a presentation on the Hermitage centres in Russia, Edmund Pillsbury Former Director, Kimbell Museum, Fort Worth the city of Yekaterinburg and its connections with the State Hermitage Museum. Françoise Rivière Assistant Director-General for Culture, UNESCO, Paris Members of the Advisory Board visited the new exhibitions and permanent displays of the State Her- Alberto Ronchey Former Minister of Culture of Italy, Rome mitage Museum. As part of the cultural programme, Board Members visited the Kushelev-Bezborodko Paolo Viti Direttore Activita Culturale, Palazzo Grassi, Venice Mansion, as well as the Menshikov Great Palace, Palace of Peter III, the Chinese Palace and park in Oranienbaum (Lomonosov).

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28 March Visit by Prime Minister of the Republic of Belarus Andrey Kobyakov

12 April, 22 September Visits by Chairperson of the United Progressive Alliance, President of the Indian National Congress, Chairperson of the Indira Gandhi Memorial Trust, Sonia Gandhi

24 May Visit by President of the French Republic Emmanuel Macron

25 May Visit by Prime Minister of Japan Shinzō Abe (with his wife)

9 July Visit by Crown Princess of the Kingdom of Thailand Sirivannavari Nariratana

27 July Visit by Prime Minister of the Republic of Armenia Nikol Pashinyan Meeting with intellectuals of St Petersburg in the Council Hall

3 October Visit by President of the Russian Federation Vladimir Putin and Federal Chancellor of the Republic of Austria Sebastian Kurz Visit by Prime Minister of the Republic of Belarus Andrey Kobyakov Gala opening of the exhibition “Imperial Capitals: St Petersburg – Vienna. Masterpieces from Museum Collections”

Visit of Sonia Gandhi. 22 September Visit of Prime Minister of Japan Shinzō Abe Visit by Crown Princess of the Kingdom of Thailand Sirivannavari Nariratana 194 195 GUESTS OF THE HERMITAGE

Visit by President of the Russian Federation Vladimir Putin and Federal Chancellor of the Republic of Austria Sebastian Kurz

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13TH CHARITY GALA RECEPTION AT THE WINTER PALACE

On 30 June 2018 the Winter Palace hosted the 13th Charity Gala Reception. Among its guests were representatives of political and business elite, academic and cultural figures, directors of major Russian museums, stars of stage and screen. The guests went up the Soviet Staircase covered by a red carpet to the Hanging Garden of the Small Hermitage for a welcome cocktail. Those wishing to see the museum were offered a special tour, which included rooms of Rembrandt, Leonardo da Vinci and the Italian Renaissance. In the Pavilion Hall the famous Peacock Clock was wound up specially for the guests, who afterwards, followed by the striking of the clock, went through the state rooms of the Winter Palace to the Jordan Gallery. On the way they went into a number of pleasant surprises. In the Picket Room there was a one-day exhibition featuring items recently donated to the Hermitage Museum by benefactors: a Bible with illustrations by Marc Chagall (a gift from the Delzell Foundation); a banner and set of arms of a Sudanese warrior (a gift from Sergey Girdin); two designs by Hani Rashid for the building of the Museum of Contemporary Art at the Hermitage • Moscow Centre (a gift from the Hermitage Foundation, UK); a glyptic work by Oleg Korostelev under the title A Hunter from the Orion Constellation (a gift from Maxim Artsinovich); and a ceramic dish in an ormolu mount (a gift from Yury Abramov). The benefactors themselves were among the guests of the gala. Another gift was on display in the Great Church of the Winter Palace, where personal belongings of the Romanovs are exhibited, – a portrait of Nicholas II by an unknown artist of the late 19th or early 20th century (a gift from Anatoly Vilkov). Religious music was performed in the church by the Urbi et Orbi chamber choir (artistic director and conductor: Oleg Slugin). The Armorial Hall was the setting for a performance “Recollection of the Ball”. Before the start of the gala dinner in the Jordan Gallery, the guests of the Charity Gala Reception were welcomed by Mikhail Piotrovsky, General Director of the State Hermitage Museum. During the meal, the guests had an opportunity to view the exhibition “Arte Povera. A Creative Revolution”.

The exhibition “The Lombards. A People who Changed History” in the Manege of the Small Hermit- age was accompanied by the music of George Frideric Handel: fragments of his opera Rodelinda, Re- gina de’ Longobardi were performed by the Soloists of Catherine the Great ensemble (artistic director: Andrey Reshetin, soloists: Vera Chekanova, soprano, and Darya Telyatnikova, mezzo-soprano). The gala reception ended in the Pergamon Hall of the Small Hermitage. The highlight of the evening was a ballet duet staged by outstanding contemporary choreographer and film director Angelin Preljocaj, from his film Polina, performed by the leading soloist of the Mariinsky Theatre Alexander Sergeev and Anastasia Shevtsova who starred in this film. The dance programme was conducted by choreographer Natalia Berezhnova, the champion of Russia in Argentine tango. The dixieland-jazz band of soloists from the Tavrichesky Orchestra directed by Mikhail Golikov, with Dmitry Gayvoronsky as the soloist, played for the guests of the gala. Among the guests of this year’s gala reception were: Dorrit Romanova, widow of Dmitry Romanov, Vladimir Medinsky, Minister of Culture, Evgeny Ditrikh, Minister of Trans- port, Yury Lubimov, Deputy Minister of Justice, Gleb Nikitin, Governor of Veliky Novgorod; directors of major Russian museums: Marina Loshak, Zelfira Tregulova, Vera Dementyeva, Natalia Metelitsa and Olga Sviblova; film director Darren Aronofsky, actresses Ksenia Rappoport, Marina Alexandrova, Ma- ria Abashova, Anna Tsukanova-Kott, Aglaya Tarasova, Anastasia and Arina Shevtsova; representatives of show business and fashion Alla Verber, Tatiana Kotegova, Marina Zhigalova and Ekaterina Mtsi- touridze; artists Hani Rashid and Pokras Lampas; journalists Igor Garanin, Yurate Gurauskaite, Elena Letuchaya, Alexander Nevzorov, Vitaly Dymarsky and Nikolay Uskov; art collectors Yury Abramov, Amin Jaffer, Jean-Paul Claverie, Evgeny Satanovsky, Pierre de Labouchère and many others. The collected donations have been channelled to the Special Endowment Fund Management for the Development of the State Hermitage Museum, www.hermitagendowment.ru Support for the evening was provided by Ingosstrakh, the Hennessy Cultural Foundation, the DLT De- partment Store, the Russian Caviar House and the Diaghilev. P.S. Festival. Informational support was provided by the Art Newspaper Russia and Instyle.

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FRIENDS’ EVENTS 2018 and the Youth Centre, visited the exhibition “Not Everyone will be Taken into the Future”, where they were offered a guided tour.

4 July Visit of Mr. Jonathan Mardall, the newly-appointed Director of the Hermitage Foundation (UK).

30 July Visit of the Canadian Friends’ delegation, led by the President of the State Hermitage Museum Founda- tion of Canada, Robert Kaszanits. A special programme “Monday in the Hermitage” was organised for the guests, which included a tour of the museum with a demonstration of the Peacock clock, a visit to the Diamond Room and the exhibition in the General Staff Building.

4 September The exhibition “The Age of Rembrandt and Vermeer. Masterpieces of the Leiden Collection” opened in the Nicholas Hall of the Winter Palace. The Hermitage Friends were offered an exclusive opportunity to visit the exhibition before its official opening. Access to the exhibition was provided only upon presentation of a valid personal Friend’s card.

4 October The exhibition “Imperial Capitals: St Petersburg – Vienna. Masterpieces from Museum Collections” opened in the Twelve Column Hall of the New Hermitage, which was visited by the Hermitage Friends’ “The Hermitage Mosaics”. Traditional Club members before the official opening ceremony. Access to the exhibition was provided only upon meeting of the Hermitage Friends’ Club presentation of a valid personal Friend’s card. 29 March Traditional meeting entitled “The Hermitage Mosaics”. This popular programme features special in- 24 October depth tours of the museum created exclusively for the Friends’ meeting and guided by the curators of the Opening of the 2018/19 season in the Hermitage Friends’ Club. The first meeting of the new season State Hermitage Museum. This year, the Friends were offered 24 topics covering a variety of historical featured the introduction of the temporary exhibition “‘Furniture for a body’s every whim’. The Age periods and artistic styles represented in the Hermitage collections, as well as exciting tours for children of Historicism in Russia”. The evening opened with welcoming words from the Deputy General Director and their parents. The foreign guests were also thought of, as they were offered a choice of four topics of the State Hermitage Museum Svetlana Adaksina in the Manege of the Small Hermitage. Following in English. these words of welcome, the exhibition curator Dr. Natalia Guseva introduced to the Friends the recently opened exhibition, and told the guests about an outstanding collection of furniture at the State Hermit- 29 May age Museum. Visit of the Italian Friends’ delegation on a special programme with a guided tour of the museum Both the lecture and the exhibition enjoyed great success among the guests of the evening, who were and a visit to the Diamond and Gold Rooms. Then the guests saw the expositions in the General Staff happy to use this opportunity and see the unique objects as well as to ask their questions to the Hermit- Building. In the evening Italian Friends took part in the final meeting of the season in the Hermitage age curators of the Education Department. Friends’ Club. 9 November 29 May Members of the Hermitage Friends’ Club were invited to the Menshikov Palace to visit the temporary Final meeting of the 2017/18 season “Not Everyone will be Taken into the Future” was dedicated exhibition “Robert Walpole and his Collection”. That evening the exhibition was open only for the Her- to a large-scale temporary exhibition of Ilya and Emilia Kabakovs’ works held in the General Staff mitage Friends. Also on that day the guests had exclusive discounts at the Mein Herz restaurant located Building. After the official greeting the Friends were invited to view a film about the work of Ilya and in the Menshikov Palace. The Friends were able to enjoy a wonderful dinner in the cozy atmosphere Emilia Kabakov. Then the guests, accompanied by the curatorial staff of the Modern Art Department of the restaurant accompanied by live music – the saxophone played for them all evening. Closing meeting of the 2017/18 season “Not Everyone will be Taken 2018/19 season opening into the Future” in the Hermitage Friends’ Club

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EVENTS FOR CORPORATE FRIENDS. 2018

A joint press conference of the State Hermitage and Samsung 29 January Electronics dedicated to the A joint press conference of the State Hermitage and Samsung Electronics dedicated to the 20th anni- 20th anniversary of cooperation versary of cooperation was held in the Atrium of the General Staff Building. The partnership between the museum and the company began in 1997 with the implementation of the technical equipment programme for the main lobby of the Winter Palace. Over the years, the company supported various programmes to introduce innovative technologies to the museum. Plans for the provision of innovative equipment in the museum are announced for the 2018 year, museum VR-projects development, as well as a collaboration project in the virtual Art Store for The Frame interior panels. Continuing the programme “Links of time – Links of technologies” it was announced about the beginning of restoration of a unique astronomical clock with celestial and terrestrial globes, made by Georg Visit of the Dutch Friends’ delegation to attend the International Hermitage Roll and Johannes Reinhold in 1584 to a commission from Holy Roman Emperor Rudolf II. Friends’ Day celebration 7–9 December Visit of the Dutch Friends’ delegation to attend the International Hermitage Friends’ Day celebrations. 29 September During their stay in St Petersburg a special programme was organised, which included a tour of the A presentation of Francesco Melzi’s painting Flora after the completion of restoration was held in the Hermitage with a visit to the Diamond Room, exhibitions in the General Staff Building and expositions Large Italian Skylight Hall of the New Hermitage with the support of Deloitte company. The restora- at the “Staraya Derevnya” Restoration, Preservation and Storage Centre. On the evening of 8 Decem- tion of the painting was carried out by the Laboratory for Scientific Restoration of Easel Painting of the ber guests from the Netherlands took part in the celebrations of the International Hermitage Friends’ State Hermitage. After restoration Flora will be taking its place in the museum’s permanent display Day. of the Western European Fine Arts Department.

8 December 22 November The International Hermitage Friends’ Day, to which all Friends of the museum from around the world The Knights’ Hall of the New Hermitage was the setting for the presentation of the Casket of Jadwiga are traditionally invited, was celebrated in the General Staff Building. The official part of the event Jagiellonka after a restoration that had been carried out with the support of the House of Cartier. opened in the Atrium with a word of welcome from Prof. Mikhail Piotrovsky, who told the Friends about The joint project of the State Hermitage and the jewellery and watch House of Cartier (Aristocrat) was the main events of the past year in the State Hermitage Museum, introduced the delegations of Friends carried out by the Laboratory for Scientific Restoration of Precious Metals, part of the Hermitage’s from Italy, the UK, Netherlands and USA that came to St Petersburg for the occasion and thanked Department of Restoration and Conservation. Soon this unique exhibit will once again adorn the display those who had provided the museum with charitable support in 2018, particularly Elena Kolovskaya of the Hermitage’s Treasure Gallery. and the St Petersburg PRO ARTE Foundation for Culture and Art. Then the guests of the evening were offered a concert programme featuring soloists of the St Petersburg State Academic Leonid Yakobson 4 December Ballet Theatre. The Friends also viewed the new exhibitions in the General Staff Building – “Tatiana A traditional event – the Hermitage Days evening for Corporate Friends took place at the General Staff Chapurgina’s Porcelain Fashion”, a display of gifts from the Potanin Foundation and “Delicate Designs. Building. Fashion 1988–2018”. The festive evening ended with a cocktail in the main vestibule. The evening began with a tour through the expositions of the General Staff Building. The guests were given a unique opportunity to be the first to see new arrivals to the Hermitage collection – Anselm 8–10 December Kiefer’s Aurora painting and Bill Viola’s video installation The Silent Sea. The Potanin Charity Fund Visit of the Italian Friends’ delegation to attend the International Hermitage Friends’ Day celebration. donated both works to the Hermitage. The tour ended with the exhibition “Delicate Designs. Fashion During their stay in St Petersburg a special programme was organised, which included a tour of the 1988–2018”. The official part of the event began with a concert performed by leading soloists of the museum on Monday, when it is closed for public, with a visit to the Diamond Room and the General Staff Mariinsky Theatre Anastasia Kalagina and Vladimir Tselebrovsky. The report of Mikhail Piotrovsky Building. The Italian Friends also visited the Menshikov Palace and the Museum of Porcelain. about the completed Hermitage projects in 2018 and gratitude to the sponsors and patrons of the museum continued the evening. The official part of the event ended with an award ceremony of sponsors and patrons of the Hermitage with honorary diplomas. Then a traditional festive reception was held, organised with the support of members of the Hermitage Friends Club.

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HERMITAGE MUSEUM FOUNDATION (USA) HERMITAGE FOUNDATION (UK)

In February HMF Patrons visited the Foundation and Studio of Stephen Antonakos, led by his wife, In 2018 the Hermitage Foundation UK brought over curators and conservators to work with the Kabak- Naomi. Stephen Antonakos (1926–2013) was a Greek born American sculptor most well known for his ovs on the show in London. Ilya and Emilia Kabakov’s exhibition, “Not Everyone will be Taken into the abstract sculptures often incorporating neon, and his works are to be found in museum collections and Future”, which started at Tate Modern, moved onto the Hermitage and finished at the Tretyakov Gallery public installations around the world. in Moscow, won the Art Newspaper’s “Exhibition of the Year” award. The UK Friends enjoyed a curator In March the Foundation welcomed Hermitage lawyer, Natalia Krestyaninova; during her stay at New led tour of the London exhibition. York she visited museums and met some Board members. The annual Gala Dinner took place on 25 April in the Raphael Gallery at the Victoria and Albert Mu- In May a screening of “The Hermitage Theater: a Golden Age” was organized at the Crosby Street Ho- seum, generously sponsored by Stichting Tull Universal. It was hosted by Prof. Piotrovsky and James tel Theater, followed by a discussion with the film’s director, Manas Sirakanian. Ekaterina Sirakanian Dawnay, Chairman of the Hermitage Foundation UK, with Anish Kapoor and Emilia Kabakov as guests from the State Hermitage Museum was able to attend as well. The evening had over 150 responses, the of honour. The venue proved to be very popular, with 110 guests attending, including the Directors of four Foundation welcomed old friends and made new ones. London museums. A focus of the auction, which was one of our most successful, was on promoting On 31 October patrons of HMF had a private tour of “Chagall, Lissitzky, Malevich: The Russian Avant- young Russian artists. Among other works for sale were also pieces by Anselm Kiefer, and Ilya & Emilia Garde in Vitebsk, 1918–1922” at the Jewish Museum. The exhibition focused on the People’s Art Kabakov. A group of VIP guests were also given special tours: to Houghton Hall where Lord Cholmon- School founded by Marc Chagall in his native city of Vitebsk (in present-day Belarus). It featured some deley gave a lunch followed by a tour of Houghton and the Damien Hirst exhibition in the grounds, and 120 works and documents loaned by museums in Vitebsk and Minsk and major American and European to Anish Kapoor’s studio where he spoke about the works in progress. collections. Regina Khidekel also spoke with the group about works of her father-in-law – Roman Khide- The UK Foundation purchased an illuminated Firman bearing the tughra of Selim III at the request kel, whose works are featured in the exhibition as well. of the Hermitage from the income of the International Endowment. This was transported and donated Between October 2018 and January 2019 photographs by Annie Leibovitz were on display in the General to the museum in December 2018. Staff Building, a gift arranged by HMF and the artist.

HERMITAGE MUSEUM FOUNDATION (USA) 57 West 57th Street, 4th Floor New York NY 10019 USA Tel.: +1 646 416 7887 Email: [email protected] www.hermitagemuseumfoundation.org

206 207 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

FOUNDATION HERMITAGE FRIENDS IN THE NETHERLANDS

In 2018 the Foundation had 4,500 Friends, which is an increase of 500 Friends compared to 2017. This includes regular Friends as well as Catherine and Peter Friends. The Board continued its actions to increase the number of these high-level Friends, which resulted in twenty new “Catherine Friends” and one new “Peter Friend”. The exhibition “Dutch Masters from the Hermitage: Treasures of the Tsars” opened on 7 October 2017 and ran until 27 May 2018. During this exhibition Hermitage • Amsterdam welcomed 340,000 visitors, which made this the best visited exhibition since 2009–2010 and second best ever. During this exhibition we introduced a new concept: “Verhaal op Zaal” which is exclusive for the Friends. We organised it three times when a specialist gives an in-depth introduction and explanation of one of the canvases to a group of about 30 Friends. “Verhaal op Zaal” was highly praised by our Friends and we have decided to use this format for our upcoming exhibitions as well. On 14 June the “Classic Beauties. Artists, Italy and the Aesthetic Ideals of the 18th Century” exhibition was officially opened. The Dutch National Ballet performed an amazing dance in the courtyard especially for this event. The exhibition ran until 13 January 2019.

The Foundation continued with its project for the publication of Hermitage catalogues in English. The next one will be “French Painting of 1860–2000”, followed by work on catalogues of “French Painting of the 15th to 17th Centuries”, “Dutch Painting” and “Daguerreotypes”. In December the Foundation sponsored a showing of Nativity by Martha Fiennes in Palace Square as a present for the birthday of the Hermitage Museum on 7 December. Nativity is a pioneering and technical innovative moving image artwork which constantly creates a new “story”. The performance was well attended and received good press coverage. Every year the Foundation sponsors the Visiting Curator scheme, which allows Hermitage curators to spend two weeks in the UK to pursue their studies in British libraries and museums. There were ten curators who visited during 2018.

Events organised through the year for the Patrons and Friends of The Hermitage Foundation UK included: • “Hermitage Revealed” film at the British Museum during the Scythians exhibition • Private curator led tours in different museums of London and one in Paris at the Louvre • VIP passes • Curators’ lectures • A reception at the Russian Ambassador’s residence when the revised edition of “The Hermitage: The Biography of a Great Museum” by Geraldine Norman was launched • Film of “The Winter Palace and the Hermitage. 1917. History was Made Here” exhibition

HERMITAGE FOUNDATION (UK) Pushkin House 5a Bloomsbury Sq. London WC1A 2TA UK Tel.: +44 20 7404 7780 Fax: +44 20 3116 0151 Email: [email protected] www.hermitagefriends.co.uk

208 209 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

THE STATE HERMITAGE MUSEUM FOUNDATION OF CANADA INC. AND THE CANADIAN FRIENDS OF THE HERMITAGE

2018 marked the 20th anniversary of the formation of the Canadian Friends of the Hermitage, a membership/education arm of the State Hermitage Museum Foundation of Canada. In celebration of this memorable event, members of the Toronto Chapter enjoyed a visit to the State Her- mitage Museum in July 2018. Delegation was headed by the Foundation’s President, Robert Kaszanits. A special program “Monday in the Hermitage” was organized for the guests. It featured a tour of the museum (on the day when it is closed for general public), demonstration of the Peacock clock in operation, visits to the Treasure Gallery and to the Impressionist exhibition in the General Staff Building. The warm welcome and hospitality of the museum staff made everyone feel very special. The Foundation also made a contribution towards the implementation of the restoration project “Tab- ernacle in the Shape of a Four-Column Temple”. This unique piece from the Hermitage collection is one of the finest examples of the Russian art of hardstone cutting produced in the second half of the 19th century. The main materials used in production of this object are semi-precious stones: Kalkan jasper, rho- donite (orlets) and grey Ural marble, the first two being extremely hard to carve, but the Ural masters brilliantly coped with this task. Magnificent polishing, masterly execution of all details confirms the On 17 June a special Friends’ day was organised for the Dutch Friends. During it lectures were given high professional level of the Russian carvers that created this splendid object of decorative and applied where Friends got an exclusive insight into the exhibition. At the end of the day the Friends were invited art. Conservation treatment of the piece included cleaning of numerous decoration elements, attach- for drinks at the Kerkzaal. ment of loose details and fragments, reconstruction of losses from the same kind of hardstones, match- The “Verhaal op Zaal” was held on 10 and 25 October, 16 and 29 November and 13 December. Every ing the fragments for colour and pattern, and filling in large chips with paste. The restored piece will be occasion was led by a different specialist who gave an exclusive insight into a specific piece of art in the displayed at the permanent exhibition in the museum rooms. exhibition. This format got many positive responses from our Friends. Every year an exclusive dinner is organised for our Catherine Friends, as a tribute to Catherine the Great who died on 17 November 1796. This year around 70 Catherine Friends and special guests were present for the dinner that took place on 17 November 2018 in our Kerkzaal. Beside the wonderful dinner by top chefs, the guests could enjoy lively speeches and beautiful dance and musical performances. On 6–9 December a group of 35 Dutch Friends visited St Petersburg where they participated in the In- ternational Hermitage Friends’ event on 8 December. The group enjoyed the event as well as their visits to the Winter Palace, the General Staff Building and the open storage at Staraya Derevnya. On 20 November we held an information meeting for our 35 volunteers who work at the Friends Infor- mation counter in order to inform them about current and upcoming Friends activities for them to be able to answer questions of our Friends accurately. The Dutch Friends also regularly receive digital newsletters with the latest news on our activities, events, exhibitions, special discounts and the exceptional trip to the State Hermitage in St Petersburg.

THE STATE HERMITAGE MUSEUM FOUNDATION OF CANADA INC. FOUNDATION HERMITAGE FRIENDS IN THE NETHERLANDS and P.O. Box 11675 THE CANADIAN FRIENDS OF THE HERMITAGE 1001 GR Amsterdam 900 Greenbank Road, Suite #616 The Netherlands Ottawa, ON Canada K2J 4P6 Tel.: (31) 20 530 87 55 Tel.: 1 (613) 489-0794 Email: [email protected] Fax: 1 (613) 489-0835 www.hermitage.nl E-mail: [email protected] 210 211 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

ASSOCIATION OF THE FRIENDS OF THE HERMITAGE MUSEUM (ITALY) ASSOCIAZIONE AMICI DEL MUSEO ERMITAGE (ITALIA)

The activities of the Association in the year 2018 can be described as very successful. First of all, the revived interest of its members in St Petersburg and the Hermitage in particular is highly important. And after the Association started to cover the events and exhibitions of various Hermitage centres worldwide, it also increased interest in the international activities of the Hermitage Friends’ organisations.

Two events were held in 2018 with special resonance also outside Italy: • the traveling exhibition “Art Awakens the Soul” opened in April in Italian Galleries – the prestigious exhibition centre of Banca Intesa Sanpaolo at Piazza della Scala in Milan. The exhibition offered an opportunity to hold a series of conferences and workshops dedicated to the relationship between autism and art; • the Hermitage Director Prof. Mikhail Piotrovsky took part in the conference “Museology and Values – Art and Human Dignity in the 21st Century”, organised in September 2018 at the Opera del

Duomo Museum in Florence to stimulate exchange among museum professionals on the role of historic art in today’s global culture. The Association also promoted continued successful cooperation between the State Hermitage Museum and Le Arte Orafe Jewellery School and Academy in Florence. As in the previous year, the school invited two Hermitage specialists from the Laboratory for Scientific Restoration of Precious Metals for a month-long jewellery courses: Albina Zhukaeva, restorer of enamels, returned to LAO this year to take a course in jewellery mounting and engraving, and Mikhail Verevkin, specialist in metal works and restoration of jewellery, took a course on engraving of smooth surfaces. The number of participants in the “White Nights” tour in June and the “Hermitage Days” tour in De- cember not only significantly increased in 2018, it also showed geographical redistribution of interest in the Hermitage Museum across the Italian peninsula. The two trips this year were especially successful; the tours suggested by the Hermitage Friends’ Club were highly appreciated by the guests. There was also an important change: for the first time, we have received requests for trips to specific Hermitage Friends’ events in different countries.

ASSOCIATION OF THE FRIENDS OF THE HERMITAGE MUSEUM (ITALY) Palazzo Guicciardini 15 Via dè Guicciardini 50125 Firenze, Italia Tel.: (+39 055) 5387819 Email: [email protected] www.amiciermitage.it

212 213 HERMITAGE FRIENDS’ ORGANISATIONS HERMITAGE FRIENDS’ ORGANISATIONS

HERMITAGE MUSEUM FOUNDATION ISRAEL THE HERMITAGE FRIENDS’ CLUB IN FINLAND

On 29 November Prof. Mikhail Piotrovsky, Amir Gross Kabiri, President of the Hermitage Museum The new non-profit organisation was registered with the city of Helsinki’s patents and registration Foundation Israel, and Nicolas Iljine (Nikolay Ilyin), Advisor to the General Director of the State Her- bureau on 10 September 2015, and on 1 June 2016 Prof. Mikhail Piotrovsky announced at the meeting mitage Museum, met with Israel Hasson, Director of the Israel Antiquity Authority, to discuss the forth- in the Kiasma Museum of Contemporary Art, Helsinki, that the new club of Friends of the museum was coming “Dead Sea Scrolls” show at the State Hermitage Museum, and the next steps to be taken for the beginning to function. realisation of this ambitious historic exhibition project. The Hermitage Friends’ Club in Finland has become the seventh charitable organisation to join the On 29 November the 70th anniversary of the State of Israel was celebrated during the Hermitage international family of Friends of the Hermitage. The club’s plans include organising a variety of cul- Museum Foundation Israel Gala Banquet at the old city of Jaffa. The event was hosted by Prof. Mikhail tural events aimed at strengthening Russo-Finnish cultural ties and the advancement of collaboration B. Piotrovsky and Amir Gross Kabiri. The Gala’s Guest of Honour was His Excellency the Ambassador of between museums and cultural institutions in the two countries. the Russian Federation to the State of Israel, Mr. Anatoly Viktorov. One hundred and fifty of Hermitage In 2018 the Hermitage Friends’ Club in Finland together with the School Centre of the State Hermit- Museum Foundation Israel’s closest Friends and supporters from Israel, Russia, Europe and the United age Museum prepared the programme for the Hermitage Days in Finland which is planned to be held States were welcomed to celebrate this significant milestone. During the event Prof. Piotrovsky was in the cities of Helsinki and Hyvinkää. The programme includes organisation of the exhibition of chil- presented with a special gift: an original copy of The Palestine Post front page, reporting the establish- dren’s drawings “We Draw in the Hermitage” at the Villa Arttu Art Centre for Children and Youth ment of the State of Israel. in Hyvinkää. A variety of educational activities for children is also prepared around the exhibition: On 29 November Prof. Piotrovsky also had a meeting with the Chairman of the Board of the National talks with students about the history of the Hermitage Museum and its collections, workshops for pu- Library of Israel, David Blumberg and the Director of the National Library of Israel, Oren Weinberg, pils of junior and senior classes, and so on. The programme is scheduled for the year 2019, exact dates discussing the upcoming exhibition of manuscripts, which will be drawn from the National Library currently under approval. of Israel and shown at the State Hermitage Museum in 2019/2020 as part of the “Dead Sea Scrolls” exhibition. After the successful meeting Prof. Piotrovsky lectured at the library’s auditorium which was fully booked well ahead. On 30 November Prof. Piotrovsky and Amir Gross Kabiri visited the Israel Museum in Jerusalem and were hosted by Prof. Ido Bronu, the museum’s General Director. They discussed future collaboration between the two museums as they toured the Israel Museum. On 1 December Prof. Mikhail Piotrovsky and Amir Gross Kabiri met with Tania Coen-Uzielli, recently appointed Director of the Tel Aviv Museum of Art. They discussed future collaboration, and, in particular, the showing of a comprehensive Alexander Archipenko’s collection at the State Hermitage Museum as an exchange of showing selected works of the Hermitage collection in Tel Aviv.

THE HERMITAGE MUSEUM FOUNDATION ISRAEL THE HERMITAGE FRIENDS’ CLUB IN FINLAND RY 65 Derech Menachem Begin Street 21 I Koukkuniementie Tel-Aviv, 67138 02230 Espoo Israel Finland Tel: 00-972-(3) 6020629 Tel.: +358 (0) 468119811 Fax: 00-972-(3) 7443601 E-mail: [email protected] www.hermitagefoundation.com

214 215 HERMITAGE FRIENDS’ CLUB HERMITAGE FRIENDS’ CLUB

The State Hermitage Museum is inviting you to participate in its special Shops and kiosks inside the museum offer a 20% discount to the Hermitage Friends international programme – The Hermitage Friends’ Club. for some goods; The museum Internet shop (www.shop.hermitagemuseum.org) offers a 10% discount The State Hermitage Museum was the first museum in Russia to organise a Friends’ to the Hermitage Friends; society back in November 1996. Since that time, to be a Friend of the Hermitage Members of the Hermitage Friends’ Club are welcome to enter the Hermitage Museum has become a good tradition. Many international and Russian companies, charitable from the Komendantsky Entrance of the Winter Palace, where they can use the organisations, foundations and individuals have already become Members cloakroom. of the Hermitage Friends’ Club. Some of the privileges granted by the Hermitage to Corporate Members of the We invite you and/or your company to join the international Hermitage Friends’ international Hermitage Friends’ Club in proportion to the level of their charitable Club and thus contribute to the preservation of the priceless treasures which form contribution: the Hermitage’s legacy, guaranteeing that they are available to future generations and become yourselves part of the museum’s more than 250-year-old history. The Corporate Members are added to the “List of Patrons and Sponsors of the State Hermitage Museum”, which is published in the Hermitage’s Annual Report and on the official website of the State Hermitage Museum (www.hermitagemuseum.org) An Honorary Diploma is awarded to the Corporate Member to certify its support The main development programmes of the Hermitage are: in the development of the Hermitage

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

The donation can be made in the form of money or goods, services and materials.

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

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

216 217 FINANCIAL STATEMENTS OF THE STATE HERMITAGE MUSEUM FINANCIAL STATEMENTS OF THE STATE HERMITAGE MUSEUM

THE STATE HERMITAGE MUSEUM EXPENDITURES BY SOURCES OF INCOME IN 2018 INCOME IN 2018 (in thousands of roubles) (in thousands of roubles) 1 Receipts from the Federal Budget 2,680,267,0 51.0% Grant for the state programme 1,785,416,2 34.0% Grant for other programmes 606,058,7 12.0% Other revenue 49.0% 34.0% Grant for capital investments 288,792,1 5.0% Including 2 Other receipts including: 2,545,261,5 49.0%

Revenue Total Business Donations TOTAL Proceeds from museum visits 1,949,315,6 37.0% 12.0% from the Federal undertakings and expenditure Donations and other revenue 227,663,4 4.0% 5.0% Budget other Earnings from cultural, educational revenue and theatrical programmes 86,143,0 2.0% Fees for reproducing pictures Payroll 698,464,7 1,211,781,8 1,194,599,6 17,182,2 1,910,246,5 from the Hermitage collection 10,143,1 0.3% Payroll social security 199,194,8 342,744,5 337,796,0 4,948,5 541,939,3 Earnings from selling catalogues and souvenirs 14,877,6 0.3% Grant for the state programme Total payroll 897,659,5 1,554,526,3 1,532,395,6 22,130,7 2,452,185,8 Earnings from renting out property owned by the Hermitage 17,589,9 0.4% Grant for other programmes Purchase of materials 119,177,5 15,828,0 10,714,4 5,113,6 135,005,5 Other income 239,528,9 5.0% Building services 148,190,1 36,306,4 36,306,4 0,0 184,496,5 Total receipts 5,225,528,5 100% Grant for capital investments Transportation and communications 24,791,6 80,855,2 39,100,3 41,754,9 105,646,8 which amounts to USD thousand (at 62.6770 roubles per dollar exchange rate) 83,372,3 Repair of equipment 122,900,1 10,017,9 9,570,6 447,3 132,918,0 Receipts from revenue-generating activities Repair of buildings 15,337,9 157,9 157,9 0,0 15,495,8 Police brigades 9,937,2 85,9 85,9 0,0 10,023,1 Acquisition of art works 43,277,3 51,895,4 0,0 51,895,4 95,172,7 Other current expenses 334,840,8 366,651,1 304,233,3 62,417,8 701,491,9 Total current expenses 818,452,5 561,797,8 400,168,8 161,629,0 1,380,250,3 (excluding payroll)

TOTAL CURRENT EXPENDITURES 1,716,112,0 2,116,324,1 1,932,564,4 183,759,7 3,832,436,1

Capital building activities 458,934,7 16,614,6 16,614,6 0,0 475,549,3 Capital repair 118,377,6 0,0 0,0 0,0 118,377,6 EXPENDITURES IN 2018 (in thousands of roubles) Equipment purchases 218,627,7 30,493,2 3,305,3 27,187,9 249,120,9 1 Payroll 2,452,185,8 52.5%

2 Purchase of equipment and materials 384,126,4 8.2% TOTAL CAPITAL EXPENDITURES 795,940,0 47,107,8 19,919,9 27,187,9 843,047,8 3 Building services, transportation and communication 290,143,3 6.2% TOTAL EXPENDITURES OF THE HERMITAGE 2,512,052,0 2,163,431,9 1,952,484,3 210,947,6 4,675,483,9 4 Building and equipment repairs 148,413,8 3.2% which amounts to USD thousand 5 Expenses for police brigades 10,023,1 0.2% (at 62.6770 roubles per dollar exchange rate) 40,079,3 34,517,2 31,151,5 3,365,6 74,596,5 6 Acquisition of art works 95,172,7 2.0% 7 Other current expenses 701,491,9 15.0% 8 Restoration works and capital repairs of the museum complex buildings 118,377,6 2.5% 9 Capital repair and construction 475,549,3 10.2% 1 6 Total expenditures: current and capital expenses 4,675,483,9 100.0% which amounts to USD thousand 2 7 (at 62.6770 roubles per dollar exchange rate) 74,596,5 3 8

4 9

218 219 PRINCIPAL PATRONS AND SPONSORS OF THE STATE HERMITAGE MUSEUM IN 2018 PRINCIPAL PATRONS AND SPONSORS OF THE STATE HERMITAGE MUSEUM IN 2018

PJSC Gazprom Neft Cartier Saint Petersburg (LLC “Aristocrat”) PLADIS Social-Cultural Foundation “Hennessy” Electronic Archive Corporation

Olympic Circle Helios Circle Apollo Circle Bronze Horseman Ltd. The Board of Trustees of the State Hermitage Museum Art Exhibitions Australia Mark Bashmakov Vassar College Vladimir Potanin, Chairman of the Board of Trustees LVMH Moet Hennessy Louis Vuitton Sergey Girdin GLENDO-RUS Co. Alexander Avdeev Hatulia Avsajanashvili The Consulate General of Italy in St Petersburg Leonid Blavatnik Hermitage Foundation UK Christian Voight Collection & Photography Gmbh German Gref Manfred Mehl Publishing House Alexey Kudrin Schneider Electric JSC Pierre de Labouchere Yele University Jury Lubimov Energo Corporation Mikhail Piotrovsky The Imperial Porcelain Manufactory Anton Siluanov “Gazprom Mezhregiongaz St Petersburg” Ltd. Leonid Friedland “Conference-centre Saint Petersburg International Legal Forum” Mikhail Shvydkoi Athena Circle Company Limited (“CC” “SPBILF”Ltd.) David Yakobashvili PJSC Rosneft Oil Company Vladimir V. Potanin Charitable Foundation Corporate Members: I Gallery Intelligence JTI Russia LLC JTI Russia Committee for Museums and Collections of Glass (ICOM)

Gazprombank JSC The Coca-Cola Company Atlantes Circle History of Fatherland Foundation Gazprom PJSC TGC-1 PJSC Baker McKenzie CIS Ltd. Sberbank Art-Mix “Pro Animale für Tiere in Not e.V.” The Al Thani Collection Foundation Deloitte General Services LLC Tkach Igor Anatolievich (individual entrepreneur) Hermitage XXI Century Foundation Poster Group Gefest Group Maria Francesca Merloni RUSS Airport Media “Europe Hotel” Ltd. BP Exploration Operating Company Limited Ingosstrakh Insurance Company Publishing House “Slavia” VTB Bank PJSC AlfaStrakhovanie PLC Tochka Opory (lighting) Etalon Promstroy Art-Color Ltd. VOORPOST Ltd. LLC “Samsung Electronics Rus Company” SEARCH FOUNDATION INC. KHEPRI Ltd. Korean Air Lines Co. Ltd. (Republic of Korea) Gedeon Richter Beta-Kom Jupiter Circle RDI Creative DELIA Ltd. Outdoor Media Management President of the Russian Federation Vladimir Putin OPTEC Sign Group BC Communications Jayne Wrightsman Fondazione Alda Fendi Protein Goznak Vladimir Potanin LAVAZZA AIRA Company CICERONI TRAVEL Ilya & Emilia Kabakov Delzell Foundation BL GROUP Unistroy Ltd. Intesa Sanpaolo SpA Renaissance Catering Federal Grid Company of Unified Energy System Charity Fund “Social Responsibility” EURO GROUP SPb Baltia CoffeeShop Company Palazzo Te Foundation (Fondazione Palazzo Te) Shopping and entertainment center GALERIA “Vertical”

220 221 PRINCIPAL PATRONS AND SPONSORS OF THE STATE HERMITAGE MUSEUM IN 2018

Information partners of the State Hermitage Museum Radio Hermitage Hermitage Magazine Diletant Sobaka.ru Magazine Radio Grad Petrov RG.ru Vedomosti St Petersburg The Art Newspaper Russia Saint-Petersburg TV channel TV Kultura NIKOLAEV&Consulting

Donors Anatoly Arngold Maxim Artsinovich Anatoliy Vilkov Viktor Kurtishev Vladimir Levshenkov Alina Nikolaeva Ekaterina Posetselskaya Viktoria Shamlikashvili Annie Leibovitz Dafna Tal

Hermitage Friends’ Organisaions Abroad Association of the Friends of the Hermitage Museum (Italy) Canadian Friends of the Hermitage The Hermitage Friends’ Club in Finland RY Foundation Hermitage Friends in the Netherlands Hermitage Foundation (UK) Hermitage Museum Foundation (USA) The Hermitage Museum Foundation Israel “Hermitage-Italy” Foundation

222 STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM

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

224 225 STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM STAFF MEMBERS OF THE STATE HERMITAGE MUSEUM

Yu. Efimova LABORATORY FOR SCIENTIFIC LABORATORY FOR SCIENTIFIC Zh. Lonshakova SECTOR OF PROJECT FINANCE STATE PURCHASES DEPARTMENT RESTORATION AND REPAIRS SECURITY SERVICE Head of the Sector RESTORATION OF EASEL PAINTING RESTORATION OF TIMEPIECES Head of the Sector of Employment (GENERAL STAFF BUILDING) E. Fedorov N. Dubinina DEPARTMENT of the Registration of Museum V. Korobov AND MUSICAL MECHANISMS Relationship N. Kisilyov Head of the Sector Head of the Department A. Moskaleva Exhibits of Precious Metals Head of the Laboratory M. Guryev Head of the Service E. Odintsova Head of the Department and Stones Head of the Laboratory Head of the Personnel and Social MARKETING AND ADVERTISING SOCIAL DEVELOPMENT Payments Sector SECTOR B. Volkov SECURITY SERVICE N. Smetkina LABORATORY FOR SCIENTIFIC DEPARTMENT Deputy Head of the Department (STOCK EXCHANGE Head of the Sector of the RESTORATION OF TEMPERA LABORATORY FOR SCIENTIFIC A. Lisitsyna T. Voronova DEPARTMENT) Registration of Temporary PAINTING RESTORATION OF FURNITURE CHANCERY Head of the Sector Head of the Department A. Khramov Accepting and Leasing of Museum V. Gradov I. Permiakov O. Yushina ELECTRONIC TECHNIQUE, ALARM Head of the Service Exhibits Head of the Laboratory Head of the Laboratory Head of the Department THEATRE AND EDUCATION SYSTEMS AND COMMUNICATION DEPARTMENT SAFETY OF LABOUR N. Ternovaya DEPARTMENT FIRST DEPARTMENT FOR N. Diumina AND ECOLOGY DEPARTMENT Head of the Sector of the Forming LABORATORY FOR SCIENTIFIC LABORATORY FOR SCIENTIFIC N. Orlova P. German SECURITY OF THE MUSEUM RESTORATION OF CHANDELIERS Head of the Typing Sector of Data Base on the Hermitage RESTORATION OF MURAL Head of the Department A. Pavlova Head of the Department COMPLEX (FIRST MUSEUM Collections PAINTING P. Khrebtukov E. Solovyova Head of the Department SECURITY DEPARTMENT) S. Mitskevich A. Bliakher Head of the Laboratory Head of the Office Work Sector N. Khobotov I. Garin O. Shcherbakova Deputy Head of the Department Head of the Laboratory Deputy Head of the Department Head of the Department Head of the Sector of Control LABORATORY FOR SCIENTIFIC MAINTENANCE OF THE GENERAL for the Preservation of Museum LEGAL SERVICE EXTERNAL CONTACTS RESTORATION OF PHOTOS STAFF BUILDING SECOND DEPARTMENT FOR Items LABORATORY FOR SCIENTIFIC DEPARTMENT M. Tsyguleva MAINTENANCE DEPARTMENT SECURITY OF THE MUSEUM RESTORATION OF ORIENTAL T. Sayatina N. Yakubenko Head of the Service N. Kolomiyets OF THE “STARAYA DEREVNYA” COMPLEX (SECOND MUSEUM PAINTING Head of the Laboratory Head of the Department Head of the Department CENTRE SECURITY DEPARTMENT) DEPARTMENT E. Shishkova A. Lapeshkin OF THE ORGANISATION Head of the Laboratory, Candidate HISTORY AND INFORMATION S. Gusev EXAMINATION AND MAINTENANCE Head of the Department OF REGISTER AND STORAGE SERVICE ENTRANCE ZONE SERVICE Head of the Department of Art History AUTHENTICATION OF WORKS OF MENSHIKOV PALACE OF THE “STARAYA DEREVNYA” DEPARTMENT OF ART DEPARTMENT L. Korabelnikova I. Prokofyeva THIRD DEPARTMENT FOR CENTRE Head of the Service A. Leonenko LABORATORY FOR SCIENTIFIC Head of the Department COMPUTER SECTOR SECURITY OF THE MUSEUM A. Kosolapov Head of the Department T. Zagrebina RESTORATION OF GRAPHIC COMPLEX (THIRD MUSEUM Head of the Department, A. Grigoryev Head of the Department WORKS Candidate of Technical Sciences INFORMATION PROJECTS SECURITY DEPARTMENT) CHIEF MECHANIC Head of the Sector T. Sabianina DEPARTMENT SECTOR OF SOCIOLOGICAL O. Chebotar E. Fedorova S. Khavrin DEPARTMENT Deputy Head of the Department Head of the Laboratory E. Getmanskaya RESEARCH Head of the Department Deputy Head of the Department Head of the Department R. Baburin A. Roshchin SUPPLYING OF TECHNICAL Chief Mechanic FOURTH DEPARTMENT FOR LABORATORY FOR SCIENTIFIC Head of the Sector, Candidate EQUIPMENT FOR BUILDINGS SCIENTIFIC AND TECHNICAL CROSS-MUSEUM COMMUNICATIONS SECURITY OF THE MUSEUM SECTOR OF NEW ACQUISITIONS RESTORATION OF SCULPTURE of Cultural Studies I. Barabanshchikova AND EXHIBITIONS DEPARTMENT EXAMINATION LABORATORY DEPARTMENT COMPLEX (FOURTH MUSEUM AND SEMI-PRECIOUS STONES Deputy Chief Mechanic V. Faybisovich A. Kosolapov I. Korneev E. Riabova SECURITY DEPARTMENT) Head of the Sector, Candidate S. Petrova Head of the Laboratory, Head of the Department RIGHTS AND REPRODUCTION Head of the Department V. Katkov of Cultural Studies Head of the Laboratory SECTOR Candidate of Technical Sciences CHIEF POWER ENGINEER Head of the Department VISITORS SERVICE IN EXHIBITION A. Mikliaeva DEPARTMENT LABORATORY FOR PHYSICAL SECURITY SERVICE LABORATORY FOR SCIENTIFIC AREAS AND RECREATION ZONES Head of the Sector GALLERY MONITORS DEPARTMENT OF EXHIBITION AND CHEMICAL METHODS А. Isaev (MUSEUM SECURITY SERVICE) RESTORATION OF APPLIED DEPARTMENT DEPARTMENT DOCUMENTATION OF EXAMINATION OF MATERIALS Chief Power Engineer ART OBJECTS N. Silantyeva “STARAYA DEREVNYA” A. Khozhainov I. Belousikova L. Gavrilenko O. Ilmenkova A. Bantikov Head of the Department CENTRE FOR RESTORATION, O. Targonsky Head of the Department Head of the Department Head of the Department Head of the Laboratory Head of the Laboratory CONSERVATION AND STORAGE Deputy Chief Power Engineer O. Ratnitsyna A. Subarnov Ya. Kostochkin A. Sokolov Deputy Head of the Department V. Dobrovolsky V. Aganin Deputy Head of the Department Deputy Head of the Department Deputy Head of the Department LABORATORY Head of the Centre Deputy Chief Power Engineer LABORATORY FOR SCIENTIFIC T. Danilova RESTORATION OF OBJECTS FOR BIOLOGICAL CONTROL VOLUNTEERS SECTOR A. Terentyeva Deputy Head of the Department TRANSPORT DEPARTMENT MADE OF ORGANIC MATERIALS M. Kozhukhovsky Deputy Head of the Centre O. Smolianitskaya CAPITAL CONSTRUCTION G. Salnikov TREASURE GALLERY E. Mankova Head of the Laboratory, Candidate Head of the Sector Head of the Department Head of the Laboratory DEPARTMENT E. Kashina of Art History PLANNING AND BUDGET OPERATION DEPARTMENT V. Romanovsky V. Samsonov Head of the Department DEPARTMENT OF THE SECURITY SERVICE DEVELOPMENT SERVICE Head of the Department Deputy Head of the Department E. Geyko LABORATORY FOR SCIENTIFIC LABORATORY V. Chudinova S. Taranov RESTORATION OF TEXTILES E. Sirakanian E. Tkach Deputy Head of the Department FOR CLIMATE CONTROL Head of the Department I. Kaskova Head of the Department AND WATER-SOLUBLE Head of the Service Deputy Head of the Department Head of the Garage PAINTINGS T. Bolshakova N. Grigoryeva Head of the Laboratory DEPARTMENT OF COOPERATION Deputy Head of the Department М. Romanov SECURITY SERVICE SCIENTIFIC RESTORATION M. Denisova CIVIL DEFENCE WITH TOURIST FIRMS Deputy Head of the Department (IMPERIAL PORCELAIN AND CONSERVATION Head of the Laboratory AND EMERGENCY SECTOR AND ORGANISATION OF SPECIAL MANUFACTORY DEPARTMENT) DEPARTMENT BOOK-KEEPING PERSONNEL DEPARTMENT PROGRAMMES A. Gavrilets A. Maksimychev E. Mironova T. Baranova V. Khrushch O. Arkhipova SPECIAL CONSTRUCTION Head of the Service Head of the Civil Defence Staff Chief Book-Keeper DEPARTMENT Head of the Department LABORATORY FOR SCIENTIFIC Head of the Department Head of the Department RESTORATION OF PRECIOUS S. Vorotnikov E. Chekhova A. Babenko N. Kalach SECURITY SERVICE METALS Deputy Chief Book-Keeper “ ” Deputy Head of the Department Head of the Passport and Visa HERMITAGE FRIENDS SECTOR Acting Deputy-Director for ( STARAYA DEREVNYA CENTRE) I. Malkiel Sector S. Philippova Construction O. Boyev Head of the Laboratory Head of the Sector Head of the Service 226 227 The State Hermitage Museum Annual Report. 2018 / The State Hermitage Museum. – О-88 St Petersburg : The State Hermitage Publishers, 2020. – 228 pp. : ills.

ISBN 978-5-93572-909-7 УДК 006.99(471.23-2)(069) ББК (Щ)85.101

REFERENCE EDITION

THE STATE HERMITAGE MUSEUM ANNUAL REPORT. 2018

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

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

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

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