The State Hermitage Museum Annual Report n 2012 CONTENTS

General Editor 4 Year of Village and Garden Mikhail Piotrovsky, General Director of the State Hermitage Museum, 6 State Hermitage Museum. General Information Corresponding Member of the Russian Academy of Sciences, 16 Awards Full Member of the Russian Academy of Arts, Professor of St. Petersburg State University, 20 Composition of the Hermitage Collection as of 1 January 2013 Doctor of History 40 Exhibitions 86 Restoration and Conservation 121 Publications Editorial Board: 135 Electronic Editions and Video Films Mikhail Piotrovsky, 136 Conferences General Director of the State Hermitage Museum 141 Dissertations Georgy Vilinbakhov, 142 Archaeological Expeditions Deputy Director for Research 158 Major Construction and Restoration of the Buildings Svetlana Adaksina, Deputy Director, Chief Curator 170 Structure of Visits to the State Hermitage in 2012 Marina Antipova, 171 Educational Events Deputy Director for Finance and Planning 180 Special Development Programmes Alexey Bogdanov, Deputy Director for Maintenance 188 International Advisory Board of the State Hermitage Museum Vladimir Matveyev, 190 Guests of the Hermitage Deputy Director for Exhibitions and Development 194 Hermitage Friends Organisations Mikhail Novikov, 204 Hermitage Friends’ Club Deputy Director for Construction 206 Financial Statements of the State Hermitage Museum Mariam Dandamayeva, Academic Secretary 208 Principal Patrons and Sponsors of the State Hermitage Museum in 2012 Yelena Zvyagintseva, 210 Staff Members of the State Hermitage Museum Head of the Publishing Department 215 Email Addresses of the State Hermitage Museum Larisa Korabelnikova, Head of the Press Service

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

ISBN 978-5-93572-499-3 © The State Hermitage Museum, 2013 year of village and garden

festival marking the “expulsion of the enemy beyond the borders of the Motherland”. There were both a parade and a litany. There was also an exhibition of toy soldiers which everyone found sweet. But another, more modern and edgy version of “soldiers”, the harsh anti-Nazi installation by the Chapman Brothers was not welcomed in the same way by some visitors, who did not want to understand and accept the meta- phor of a “joke after Auschwitz”. There was even an attempt to stage a persecution of the museum, which coincided with attacks on other cultural institutions and made St. Petersburg, for a while, the field of a fierce battle between complex and simplistic understanding of art and its rights. The Hermitage restorers made both the scholars and the visitors proud by their work on Degas’ Place de la Concorde and a Hugo van der Goes triptych. The most popular architectural exhibi- tion of the year was the Santiago Calatrava display, and an extensive exhibit entitled “In Written Words Alone…” was organised as a tribute to the great scholar and collector Nikolay Likhachev. The ancient world of the Persian Gulf entered the museum’s rooms with the Bahrain exhibition When we started the restoration of the Hanging Garden, the heart of the Hermitage, its two rows called “Tylos”, while contemporary art found a permanent space for itself in the Prigov Room, part of trees had to be re-planted in Staraya Derevnya, next to the first building of the Storage and Res- of the General Staff Building. Following scholars’ requests, the Hermitage • Kazan Centre housed toration Centre. We were very proud of the success of this piece of sound environmental judgment. the widely acclaimed exhibition on nomadic tribes. Still more popular was the exhibition tracing This year saw the end of the restoration of the Hanging Garden and the construction of the second the sources of Impressionism at the Hermitage • Amsterdam Centre. We told the story of Catherine (storage) building of the Centre. the Great in Edinburgh, and the story of Alexander the Great in Sydney. In Yekaterinburg, there was The work in the Hanging Garden was hampered by insulation challenges, and many visitors have an exquisite display of engravings by Piranesi. already forgotten that the garden had nearly always been out of bounds in the past. Many of them Each step the museum takes, all its projects, small and large, are part of the multi-faceted pro- seem to think that it used to be open and has now been closed down. People find it hard to accept gramme of gifts the Hermitage is giving to its public ahead its 250th anniversary. This programme the restrictions imposed by cultural rights and the need to protect historic monuments. We have the now has its own special logo, which reminds us, quite appropriately, of Empress Catherine the Great. Hermitage variety of tulips blooming in the garden and we have kept our beloved lilac. We have tried to ensure that the garden does not look too “reconstructed” and retains the spirit of several histori- cal periods. Another novelty that is taking some time to be accepted is that our Storage Centre is open to the public. This is not as interesting as grumbling at wicked museum workers who are hiding their great treasures from the people. In fact, the Hermitage open storage facility has long become a universally acknowledged contribution to the world’s museum theory and practice. The seemingly “impossible” challenge of making the collections accessible without damaging them has been overcome. The stor- age facilities are not just accessible. They have their own style and showcasing aesthetics. They are already well known to the experts. The new high and spacious building has many public areas: auditoria, exhibition halls and study rooms. It will house the collections of banners, sarcophagi, sculptures; workshops for the restoration of textiles, carriages, furniture; the photograph storage and restoration facility. We are especially proud of our high-security jewellery section which has many levels of protection. All this space will be “saturated” with equipment and exhibits by 2014, the year we celebrate the 250th anniversary of the Hermitage. Everything that is being done today is building up to the museum’s anniversary, including the cel- ebrations of the victory of 1812. The Hermitage has approached this topic in its own special style. We have the famous paintings by Peter Hess depicting the key battles of the Patriotic War. We had these paintings brought out to the Winter Palace rooms on the dates of the battles, to the accompani- ment of military ceremonial music. At the end of the year they all formed part of a grand exhibition which carried on into the following year, reminding us of the Battles of Klum and Leipzig and the Mikhail Piotrovsky, capture of Paris. The opening of the exhibition on 25 December saw the restoration of the traditional General Director of the State Hermitage Museum 4 5 State Hermitage Museum. General Information State Hermitage Museum. General Information

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

STATUS of the Hermitage museum space In a Decree by the President of the Russian Federation dated 18 December 1991 the State Hermitage Total area 224,970 sq. metres Museum was included into a list of the most valuable objects of national heritage. Exhibition area 66,842 sq. metres In a Decree by the President of the Russian Federation dated 12 June 1996 the State Hermitage Museum was placed under personal patronage of the President of the Russian Federation. In a Decree (No. 984) dated 29 November 2011 the new Statutes of the State Hermitage Museum, MAIN COLLECTIONS entering the Museum since its foundation as a federal government funded institution, were approved. According to the Statutes the Government 1764 – Johann Ernest Gotzkowsky collection of the Russian Federation is to act as the museum founder. 1769 – Count Heinrich von Bruhl collection 1772 – Baron Pierre Crozat collection OFFICIAL NAMES 1779 – Lord Walpole collection The State Hermitage Museum Federal Government Funded Cultural Institution; The State Hermitage 1781 – Count Baudouin collection Museum; The Hermitage 1787 – Cabinet of carved stones of Duke of Orleans In honour of the State Hermitage Museum, according to the Official Certificate of the International 1814 – Paintings from the Malmaison Palace of Josephine Beauharnais Astronomic Association and the Institute of Theoretical Astronomy of the Russian Academy 1861 – Marquis Gian Pietro Campana collection of Sciences dated 11 April 1997, a minor planet registered in the International Catalogue of Minor 1884 – Alexander Basilewsky collection Planets under No. 4758 was named Hermitage. 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 LEGAL ADDRESS families Sheremetev, Stroganoff, Shuvalov, Yusupov, as well as the famous collections 34 Dvortsovaya Naberezhnaya (Dvortsovaya Embankment), 190000 St. Petersburg, Russian of Sergey Shchukin and Ivan Morozov and others. Federation 1935 – collection of the former Museum of the Baron Stieglitz Central Higher School of Technical Drawing ARCHITECTURAL COMPLEX OF THE MUSEUM 1950 – collection of banners and banners’ accessories, banners’ graphics, the archives The museum complex consists of the Winter Palace, Small Hermitage, Old Hermitage, from the Artillery Historic Museum Hermitage Theatre, New Hermitage and Reserve House (30–38 Dvortsovaya Embankment); 2001 – collection of the Lomonosov (Imperial) Porcelain Manufactory Museum Menshikov Palace (15 Universitetskaya Embankment); East Wing and the Arch of the General Staff Building (6–8 Palace Square); “Staraya Derevnya” Centre for Restoration, Conservation EXHIBITION CENTRES OF THE STATE HERMITAGE outside St. Petersburg and Storage (37 Zausadebnaya Street); Imperial Porcelain Manufactory Museum, located on the premises of the Imperial Porcelain Manufactory Public Company (151 Prospekt Obukhovskoy Hermitage • Amsterdam Oborony). The Netherlands, Amsterdam (exhibition area about 2,195 sq. metres) Hermitage • Italy MUSEUM BUILDINGS Italy, Ferrara (exhibition centre – Castello Estense)

Winter Palace. 1754–1762 Hermitage • Kazan Architect, Francesco Bartolommeo Rastrelli Russia, Kazan (exhibition area about 1,381.3 sq. metres) Reconstructed by Vasily Stasov after a fire in 1837 Hermitage • Vyborg Small Hermitage. 1764 Russia, Vyborg (exhibition area about 420 sq. metres) Architects, Yury Velten and Jean-Baptiste Vallin de la Mothe

Old (Large) Hermitage. 1771–1787 HERMITAGE WEBSITE Architect, Yury Velten www.hermitagemuseum.org Hermitage Theatre. 1783–1787 Architect, Giacomo Quarenghi Hermitage magazine New Hermitage. 1842–1851 Hermitage News newspaper Architect, Leo von Klenze, construction supervised by Vasily Stasov Hermitage radio and Nikolay Yefimov Orchestra of the State Hermitage Reserve House of the Winter Palace. 1726–1742, 1830, 1878 Architects, Domenico Trezzini (?), Carlo Giuseppe Trezzini and Nikolay Bekker Menshikov Palace. 1710–1711 Architects, Giovanni Mario Fontana and Georg Schedel 6 7 State Hermitage Museum. General Information

Meeting the 250th Anniversary of the State Hermitage Museum

To mark the forthcoming 250th anniversary of the State Hermitage Museum President of the Russian Federation Dmitry Medvedev signed Decree No. 227 on 24 February 2011 (Kremlin, Moscow) which stated: “1. The proposal of the Government of the Russian Federation to celebrate the 250th anniversary of the State Hermitage Museum in 2014 is accepted. 2. The Government of the Russian Federation sets up a Steering Committee to organise and hold the celebration of the 250th anniversary of the State Hermitage Museum and ensures the development and approval of the action plan to organise and hold the celebration of the 250th anniversary of the State Hermitage Museum. 3. It is recommended that government agencies of constituent territories of the Russian Federation and local authorities participate in the preparation and holding of the celebration of the 250th anniversary of the State Hermitage Museum”.

To prepare and stage the celebration, the Steering Committee was formed by the Russian Federation Government’s Decree No. 552-p on 31 March 2011. In 2012 it included: Olga Golodets Deputy Prime Minister of the Russian Federation Government Valery Bugayenko Head of the Federal Agency of Communications Andrey Busygin Russian Federation Deputy Minister for Culture Gennady Gatilov Russian Federation Deputy Minister of Foreign Affairs Vasily Kichedzhi Vice Governor of St. Petersburg Vladimir Medinsky Russian Federation Minister for Culture Denis Molchanov Director of the Culture Department of the Russian Federation Government Tatiana Nesterenko Russian Federation Deputy Minister of Finance Nikolay Pankov State Secretary, Russian Federation Deputy Minister for Defence Mikhail Piotrovsky General Director of the State Hermitage Museum Alexey Polkovnikov Head of the Culture Sector of the Culture Department of the Russian Federation Government Georgy Poltavchenko Governor of St. Petersburg Vladimir Potanin Chairman of the State Hermitage Board of Trustees Mikhail Seslavinsky Head of the Federal Agency of Press Mikhail Shvydkoy Russian President’s Special Representative for International Cultural Cooperation Sergey Shumakov Director of the “Culture” branch of the All-Russian State Television and Radio Broadcasting Company Georgy Vilinbakhov Deputy Director of the State Hermitage Museum

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DIRECTORATE OF THE STATE HERMITAGE Board of Trustees MUSEUM of the State Hermitage:

Mikhail Piotrovsky Vladimir Potanin General Director, President of Interros, Corresponding Member of the Russian Academy of Sciences, Chairman of the Board of Trustees Full Member of the Russian Academy of Arts, Alexander Avdeyev Professor of St. Petersburg State University, Culture Minister of the Russian Federation (2008 – May 2012) Doctor of History Leonid Blavatnik Georgy Vilinbakhov President of Access Industries Deputy Director for Research, Chairman of the Heraldic Oleg Deripaska Council at the President of the Russian Federation, General Director of OJSC Basic Element Professor of the Stieglitz St. Petersburg State Academy of Art and Industry, Doctor of History German Gref President and Chairman of the Board of OJSC Sberbank Svetlana Adaksina of Russia Deputy Director, Chief Curator Leonid Fridland Marina Antipova President of Mercury Deputy Director for Finance and Planning Alexey Kudrin Alexey Bogdanov Finance Minister of the Russian Federation (2000–2011) Deputy Director for Maintenance, Senior Lecturer of St. Petersburg University of State Fire Service, Pierre de Labouchere Candidate of Technical Sciences President and CEO of JTI Vladimir Matveyev Vladimir Medinsky Deputy Director for Exhibitions and Development, Russian Federation Minister for Culture Candidate of Art Theory and History Mikhail Piotrovsky Mikhail Novikov General Director of the State Hermitage Museum Deputy Director for Construction Mikhail Shvydkoy Yelena Mironova Special Representative of the President of the Russian Federation Chief Book-Keeper for International Cultural Cooperation Anton Siluanov Finance Minister of the Russian Federation Collegiate Bodies David Yakobashvili of the State Hermitage Museum Chairman of the Board of Directors of Wimm Bill Dann

Academic Council of the State Hermitage Permanent Display Committee State Hermitage Endowment Fund Restoration Council Board of Trustees of the Fund: Board of Curators Mikhail Piotrovsky, Vladimir Potanin, Yevgeny Satanovsky, Purchasing Commission Alexander Sokurov and Ivan Steblin-Kamensky Editorial Council Board of Management of the Fund: Editorial Board of Collection Catalogues Larisa Zelkova, Vladimir Matveyev and Marina Tsyguleva Editorial Board of The Reports of the State Hermitage Museum Editorial Board of Pedagogical and Educational “HERMITAGE 21st CENTURY” Foundation Editions External Policy Council Exhibition Committee Research Grant Committee Archaeological Committee Internet Site Council Education and Methodology Council Arts Council Museum Structure and Staff Committee Security Council Engineering Support Services Council 10 State Hermitage Museum. General Information State Hermitage Museum. General Information

GENERAL INFORMATION ON THE MAIN DEPARTMENTS MENSHIKOV PALACE AND SECTors OF THE MUSEUM Founded in February 1981 as “Menshikov Palace. Russian Culture in the First Quarter of the 18th Century” Sector within the Department of the History of Russian Culture. The status of department was received in 1996. Most noteworthy are the interiors with their original eighteenth- century furnishings. Among the Palace’s twenty-five staff members three hold Candidate degrees. Department of CLASSICAL ANTIQUITY One of the oldest departments in the Hermitage, it consists of two sectors: Art and Culture of Ancient IMPERIAL Porcelain Manufactory MUSEUM Greece and Ancient Rome, and Art and Culture of the Northern Black Sea Area. Founded in February 2001 on the basis of the historical collection at the Lomonosov Porcelain Its collections include approximately 100,000 objects. Eight of the Department’s twenty-seven staff Manufactory Museum. Presently, the Department boasts over 30,000 items, the most part of members hold Candidate degrees. which consists of objects made at the Imperial, then the Lomonosov and from October 2005 again the Imperial, Porcelain Manufactory. The Department has ten 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 Modern Art DEpartment consists of two sectors – Sector of the Forest and Forest-Steppe Zone of Eastern Europe and Sector Founded in 2009, the Department organises temporary exhibitions and forms the collections of the South of Eurasia. Its collections include approximately 750,000 objects. Among its thirty-four of contemporary art. Of its six staff members one holds a Candidate degree. staff members, four hold doctorates and fourteen Candidate degrees.

DEPARTMENT OF THE HISTORY AND RESTORATION OF ARCHITECTURAL MONUMENTS Oriental Department The Department was founded on the basis of the Department of the Chief Architect of the Hermitage Founded in 1920. The Department’s geographical and chronological coverage is very broad, in 1992. It is responsible for the conservation of the unique architecture of the museum’s buildings, so it consists of four sectors: Art and Culture of the Ancient East; Byzantium and the Near East; as well as the adaptation of the buildings for modern use. It also provides scientific support Middle Asia, the Caucasus and Crimea; the Far East. The Department’s collections number about for restoration activities. Of the Department’s fifteen staff members, four hold Candidate degrees. 150,000 items. Of its forty-six staff members, six hold doctorates and eighteen Candidate degrees.

Architecture and Archaeology Sector DEPARTMENT of WESTERN EUROPEAN fine ARTs Established as a separate sector in 2008. It carries out excavations on the State Hermitage complex One of the oldest and largest departments in the Hermitage, it consists of four sectors: Painting of territory as well as other archaeological researches of urban architecture. Of its eleven staff members, the 13th to 18th Centuries; Painting of the 19th to 20th Centuries and Sculpture; Drawings; Prints. five hold Candidate degrees. The Department’s collections boast approximately 400,000 objects. Among its sixty-five staff members, four hold doctorates and fifteen Candidate degrees. EDUCATION DEPARTMENT The Hermitage has been organising educational activities within the museum since 1925, when first DEPARTMENT OF WESTERN EUROPEAN APPLIED ARTS guided excursions were arranged for the benefit of the public. Their aim is to introduce the Hermitage’s Formed as an independent department in 2006, it consists of two sectors: one devoted to applied arts collections as well as art history in general to the museum’s visitors. The Department’s staff members and the other to precious metals and stones. Its stock comprises about 150,000 items. Of its thirty- are involved in more than 30,000 guided tours and deliver over 500 lectures a year. Fourteen three staff members, one holds a doctorate and nine Candidate degrees. of the Department’s one hundred and thirty-nine staff members hold Candidate degrees.

DEPARTMENT OF THE HISTORY OF RUSSIAN CULTURE SCHOOL CENTRE Founded in April 1941, the Department acquired its present-day form after the Second World War. The School Centre that offers programmes for children of preschool­ and school age has been It has two sectors: Fine Arts Sector and Applied Arts Sector. Its collections include more than functioning as a separate department since 1999. It has an Art Studio, various children study groups, 300,000 items. Of its fifty-three staff members, two hold doctorates and fourteen Young Archaeologists Club, and Young Art Historians Club and a Lecture Centre. Candidate degrees. Two of the Department’s thirteen staff members hold Candidate degree.

Numismatic Department RESEARCH LIBRARY It is one of the oldest departments in the Hermitage, along with the Classical Antiquity and Western One of the oldest and largest museum libraries in Russia specialising in art history, it has been European Fine Arts Departments. The first coins were purchased by Catherine the Great in 1764. an integral part of the Hermitage since its foundation. The Library grew from the private collection It contains 1,200,000 items and consists of two sectors: one deals with works from Antiquity of Empress Catherine the Great. At the present moment the Library holds more than 800,000 volumes and those from Asia and Africa, the other comprises numismatic pieces from Europe and America. on art, history, architecture and culture in most European and Oriental languages. The Department Among the Department’s twenty-nine staff members, one holds a doctorate and three Candidate has forty-seven staff members, three of them holding Candidate degrees. degrees.

DEPARTMENT OF MANUSCRIPTS AND DOCUMENTS ARSENAL Founded in 1980, the Department consists of document and photograph archives, the latter includes The Department was founded in 1972 on the basis of the collection of arms and armoury kept a collection of photographs and negatives. The archives were founded in 1805 and at present in the Oriental and Western European Fine Arts Departments. The Arsenal consists of two sectors: contain sixty-seven funds, among them are sixty-two private archives and ninety-eight inventories. Sector of Arms and Armoury and Sector of Military Heraldry. The former boasts some 16,000 superb 39,631 items were catalogued in the Hermitage’s archives between 1767 and 2009. The Hermitage examples of arms and armaments from various epochs and countries. The Military Heraldry Sector began receiving photographic documents in the middle of the 19th century when the first photographic has over 60,000 items, including banners, their accessories and military graphics. Of the Arsenal’s works appeared, but the photo archive was set in the 1920s. At the moment it includes 75,134 negative twelve staff members two hold Candidate degrees. images and about 1,000 photographs. The Department has nine staff members. 12 13 State Hermitage Museum. General Information

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

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

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

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

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

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

14 awards awards

Since 2005, the Vladimir Potanin Charitable Foundation has been awarding grants to members of the Hermitage staff. Grants are allocated in several categories: exhibit restoration, launches of new permanent displays and organisation of temporary exhibitions in museum rooms and other cities and countries, publication of books and multimedia educational programmes, preparation of theses, curators’ work, development of research and education programmes, exhibition and book design, and other projects. All applications are evaluated on a competitive basis by the Hermitage Grants Committee and subsequently approved by the museum’s Academic Council. Mikhail piotrovsky awarded the lev nikolayev gold medal In 2012, the Hermitage received 50 grants for the completion of the most valuable projects. On 26 November 2012, an awards ceremony was held at the State Pushkin Museum of Fine Arts in Moscow, during which the cultural figures who had made a special contribution to education, arts and research were presented with the Lev Nikolayev Gold Medal. One of the award-winners was Mikhail Piotrovsky, General Director of the State Hermitage. winners of the competition for the vladimir potanin The Lev Nikolayev Gold Medal was created by the Russian Ministry for Education and Science charitable foundation awards-2012 jointly with the Civilisation TV Channel. It commemorates the prominent cinema figure, educator, TV anchor and filmmaker. item processing, handover and acceptance Ye. Stepanova Preparation of the temporary exhibition “‘In Written Words V. Panchenko, N. Ryatte Alone…’. On the 150th Anniversary of the Birth of Academician Making of the electronic catalogue of the Classical Antiquity Mikhail piotrovsky awarded the russian presidential Nikolay Petrovich Likhachev” Department collections certificate of appreciation Ya. Ivanova DESIGN Creation of the electronic database of museum items released V. Korolev by the State Hermitage to be exhibited elsewhere (1950–1990) Design of the temporary exhibitions “Santiago Calatrava. Vladimir matveyev, deputy director of the state Hermitage, S. Kokareva The Quest for Movement”, “Mikhail Lomonosov and the Time awarded the medal for contribution to the kaliningrad region Phototopographic records of the glyptics collection (108,000 items), of Elizabeth I” acceptance of the intaglio collection beyond the hermitage In October 2012, the Governor of the Kaliningrad Region N. Tsukanov signed the ordinance to mark T. Kosourova Mr. Matveyev’s contribution to the cultural development of the region. The decision to award Acceptance of the collection of Western European lace from N. Babina, A. Larionov the Medal to Vladimir Matveyev was initiated by the Regional Council of Museums, supported the 15th – early 20th centuries Preparation of the temporary exhibition and catalogue: “Rubens, Van Dyck, Jordaens: Flemish Painters from the Hermitage” by the Ministry for Culture of the Kaliningrad Region. S. Senatorov, Ye. Chistikova at the Hermitage • Amsterdam Centre A native of Kaliningrad, Vladimir Matveyev has made an important contribution to the development Acceptance and handover of museum items from the research of the region’s museums, introducing new methods and promoting Russian cultural and historical and auxiliary stock from the collection “Early Medieval Artefacts T. Ryabkova, K. Chugunov heritage. from Eastern Europe: the Sarkel – Belaya Vezha Site” Preparation of the temporary exhibition and catalogue: “Nomads of Eurasia on the Road to Empire” at the Hermitage • Kazan Centre temporary exhibitions S. Savateyev and temporary exhibition catalogues russian government certificates of appreciation awarded Preparation of the temporary exhibition and catalogue: to the hermitage employees at the hermitage “The Hermitage at the Prado” At the end of 2012, the Russian Government’s Certificates of Appreciation were awarded to ­employees N. Avetyan of the State Hermitage. Preparation of the temporary exhibition and catalogue: publications The recipients of the Government awards were: “The Age of Daguerreotype. Early Photography in Russia” B. Asvarishch N. Kozlova, Head of the Oriental Department A. Babin Collection catalogue “Belgian and Dutch Painting. V. Fedorov, Head of the Department of the History of Russian Culture Preparation of the temporary exhibitions and catalogues: “Russian 19th – 20th Centuries” Ye. Zvyagintseva, Head of the Publishing Department Descendants of the French Empress: the Dukes of Leichtenberg A. Bolshakov T. Baranova, Head of the Department of Scientific Restoration and Conservation in St. Petersburg” and “Pool in a Harem and Other Works Publication of “Ancient Egypt at the Hermitage. New Discoveries” M. Denisova, Head of the Laboratory for Scientific Restoration of Textiles by Jean-Léon Gérôme in the Hermitage” I. Malkiel, Head of the Laboratory for Scientific Restoration of Precious Metals I. Zasetskaya L. Korabelnikova, Head of the Press Service N. Guseva Monograph “Treasures from the Khokhlach Barrow. P. German, Head of the Department of Electronic Technique, Alarm Systems and Communication Preparation of the temporary exhibition and catalogue: “Mikhail Novocherkassk Hoard” A. Moskaleva, Head of the Restoration and Repairs Department Lomonosov and the Time of Elizabeth I” and the organisation V. Zalesskaya N. Dubinina, Head of the State Purchases Department of the eponymous academic conference Collection catalogue “Byzantine Applied Art: Byzantine Ceramics A. Ippolitov, V. Uspensky from the 9th – 15th Centuries”. Preparation of the temporary exhibition and catalogue: “Ruins, A. Kostenevich Palaces and Prisons. Giovanni Battista Piranesi and Italian Publication and exhibition “Edgar Degas. Place de la Concorde ”. Eighteenth-Century Architectural Fantasies” “Restored Masterpieces” Series

16 17 awards awards

O. Kostiuk T. Chizhova Collection catalogue “French Jewellery from the 18th and Early Conservation and restoration of a seventeenth-century Russian icon 19th Centuries at the State Hermitage” The Life of St. Cyril of Belozersk M. Kramarovsky S. Teploukhova Monograph “A Man from the Medieval Street. The Golden Horde. Restoration of the ceiling painting from a cave monastery Byzantine Empire. Italy” (Xinjiang; Bezeklik, 8th – 9th centuries) G. Printseva O. Khakhanova Monograph “The Siberian Route of Pavel Piasetsky” Restoration of an Old Russian fresco (Pskov, the Kremlin, A. Trofimova Cathedral of the Holy Trinity; 12th century) Monograph “Imitatio Alexandri. Portraits of Alexander the Great and Mythological Images in Hellenistic Art” research and education programmes Ye. Malozemova theses defended Preparation of the academic and methodological background N. Avetyan for tours and lectures on the exhibition “Culture and Art of Middle Dissertation for the degree of Candidate of Art Theory and Asia” History: Sergey lvovich levitsky and some problems of the study of russian nineteenth-century photography publishing I. Kalinina Dissertation for the degree of Doctor of Cultural Studies: Historical editing Semantics in Cultural Studies: Research Subject and Method Ye. Adamenko M. Lapshin Editing of temporary exhibition catalogues: “Ruins, Palaces Dissertation for the degree of Candidate of Art Theory and History: and Prisons. Giovanni Battista Piranesi and Italian Eighteenth- Pavel Korin: Artist, Restorer, Collector Century Architectural Fantasies”, “Santiago Calatrava. The Quest for Movement”; catalogue of the collection of sixteenth- permanent displays century German medals; Transactions of the State Hermitage Museum [V.] 59: “Ceramics and Porcelain from the Far East: A. Ivanova Problems of Style and Mutual Influences” Organisation of the permanent display of Soviet porcelain A. Rodina T. Kumzerova, I. Maistrenko Editing of temporary exhibition catalogues: “In the Shade Creation of the permanent display of Soviet porcelain of the Cross. Western European Crosses and Crucifixes of the 8th – 19th Centuries”, “Architecture in Islamic Arts. Treasures of the Aga Khan Museum”, “The Hermitage in Photographs–2011”, organisation of conferences “‘In Written Words Alone…’. On the 150th Anniversary of the D. Guk Birth of Academician Nikolay Petrovich Likhachev”, “Tylos. Birth of Academician Nikolay Petrovich Likhachev”, “The State Organisation of the International academic conference “Virtual The Journey beyond Life. Rituals and Funerary Traditions in Bahrain. Hermitage Museum Annual Report 2011”, “Tylos. The Journey Archaeology” (4–6 June 2012) 1st Century BC – 3rd Century AD”; A. Kostenevich’s publication beyond Life. Rituals and Funerary Traditions in Bahrain. “Edgar Degas. Place de la Concorde. Notes on the Painting” 1st Century BC – 3rd Century AD” V. Kraineva multimedia projects artistic photography Design and proofs for the following publications: N. Brodskaya, A. Maslova V. Terebenin “Paris at the Hermitage”; A. Trofimova, “Imitatio Alexandri. Creation of the concept, screenplay and texts for the DVD film Photographic illustrations to the following publications: Portraits of Alexander the Great and Mythological Images The Siberian Route of Pavel Piasetsky “The Vikings: the Museum of Normandy”, “Nomads of Eurasia in Hellenistic Art”, Transactions of the State Hermitage on the Road to Empire”, “We Will Build a New World...: Museum [V.] 59: “Ceramics and Porcelain from the Far East: Early Soviet Porcelain from the Collection of the State Problems of Style and Mutual Influences”; Transactions of completion of restoration projects Hermitage”, “History of European and Russian Glass at the State the State Hermitage Museum [V.] 50: “Museums of the World V. Brovkin Hermitage” in the 21st Century. Restoration, Reconstruction, Renovation” (in English) Restoration of the painting Place de la Concorde by Edgar Degas design V. Kashcheyev I. Dalekaya Restoration of a cabinet (Venice, first half of the 18th century) special programmes Design and proofs for the following publications: “Mikhail M. Michri Lomonosov and the Time of Elizabeth I”, “In the Shade of S. Filippova Restoration of a “box with a lid” (China, 2nd – 1st centuries BC) the Cross. Western European Crosses and Crucifixes in the 8th – Organisation of 15th season events at the Friends of the Hermitage M. Tikhonova 19th Centuries”, “The Age of Daguerreotype. Early Photography Club Conservation and restoration of an archaeological artefact: in Russia”, “From Birch Bark to Paper. The Book in Old Rus”, a felt carpet (Noin-Ula, 1st century BC – 1st century AD; “The Siberian Route of Pavel Piasetsky”, “The Hermitage Attics”, embroidery, appliqué over wool, silk, felt) “‘In Written Words Alone…’. On the 150th Anniversary of the 18 19 composition of the hermitage collection as of 1 January 2013

The State Hermitage Museum inventory contains in 2012, there was an audit of extant stored JJ most notable acquisitions of 2012 collections (Inv. Nos.) WHICH WERE CHECKED AGAINST 3,106,071 items THE ACCOUNTING DOCUMENTS

Collection of Western European painting Including: at the State Hermitage 10,657 paintings 16,903 excavation finds from the settlement of Panskoye I gaetano gandolfi (1734–1802) graphic works 622,452 (Homestead U 6) 143 archaeological materials from the excavation of the necropolis madonna and child sculptures 12,798 at Myrmekeyon 78 Italy, 18th century Oil on canvas. 45 × 36.4 cm objects of applied art 357,725 archaeological materials from the excavation at Gorgippia 289 Acquired through the Purchasing Commission archaeological atrefacts 751,045 archaeological materials from the excavation of the Ilurat site 91 numismatic objects 1,122,769 archaeological materials from the Nymphaeum mound necropolis 193 Gaetano Gandolfi belongs to the prominent Gandolfi family of artists who enjoyed wide popularity in their archaeological materials from the excavations of the small towns own time. In the second half of the 18th century, rare books 341 in the Bosporus (Tiritaka and Porthmion) 44 he and his brother Ubaldo were the leading masters arms and armoury 13,954 archaeological materials from the excavation of the Bolognese school. The art of Gaetano Gandolfi documents 56,899 of the Tanais-Nedvigovka site 363 reflects the transition from the late Baroque to Neo- archaeological materials from the excavation at Theodosia 28 classicism. He was a man of many talents: artist, history of technology and techniques objects 3,017 sculptor, brilliant draughtsman and engraver, who archaeological materials from the excavation of a homestead also created works of applied art. He was first taught printed objects 270 (Myrmekeyon) 10 painting by his older brother and then continued other items 147,898 archaeological materials from the excavation of the Semibratnye his studies at the Accademia Clementina. In 1760, burial mounds 389 both brothers went to Venice to continue their ed- ucation, which was made possible by their patron, Russian paper money from the collection of V. Lukianov and other collections 4,732 the Bolognese merchant Antonio Buratti. Exposure to works by Venetian masters, most notably Sebas- paper money. The collection of K. Antipin and the new tiano Ricci and Giambattista Tiepolo, had a con- acquisitions 9,774 siderable impact on the development of the artist’s 3,190 exhibits (as per inventory) entered the State Total: 26,791 Inv. Nos. (29,028 museum items) professional style: his colour schemes became more Hermitage Museum in 2012 as gifts and acquisitions intense, his brushstroke freer and more energetic. through the museum’s Purchasing Commission After his return to Bologna, Gaetano took commis- and archaeological expeditions. The safe storage documents audited and the presence of museum sions from churches, produced many altar pieces and items ascertained by: frescos, as well as mythological paintings. He also received many private commissions, including por- Curator K. Chernyshev (Numismatic Dept.) 11,566 traits. The years between 1775 and 1780s mark the Curator T. Malinina (History of Russian Culture Dept.) 1,500 high point of Gaetano’s career. Apart from large-scale, complex compositions in- volving many figures, Gaetano also painted small- Safe storage documents audited by: scale works. One of his frequent subjects was Madon- Curator T. Korshunova (History of Russian Culture Dept.) 12,028 na and Child, sometimes with images of St. Joseph and the young John the Baptist. The newly-acquired Curator G. Smirnova (Archaeology of Eastern Europe painting belongs to this type. The Madonna is de- and Siberia Dept.) 12,028 picted wearing a traditional red dress and a blue Curator T. Malinina (History of Russian Culture Dept.) 2,318 cloak. She has a light-coloured headdress made of thin striped cloth. She has put her right hand on her chest and is holding the Baby in her left, lightly touching him with her fingertips. Maria’s gaze is turned upwards, while the Infant Christ is look- Audit of the presence and condition of exhibits ing directly at the viewers. The background is neutral, with the outline of the drawing seemingly for timely restoration 74,413 glimpsed through the painting, which is a typical device often used by Gandolfi. The short, casual brushstrokes in light colour over the darker shade of the hair are also one of his characteristic traits. This type of female face with a small plump mouth, short upper lip, and large, slightly protruding Audit of the presence and condition of museum exhibits eyes, can often be seen in his works from the 1780s. Madonna and Child is painted on a rectangular transferred from one curator to another during the preparation piece of canvas, but the artist fits the image into an oval, as if placing it in an imaginary frame and of exhibitions 10,330 highlighting its volume with light shadows along the outline of the oval and in the corners. The paint- ing was later placed in a richly decorated gilded and carved frame, which may have been intended by the commissioner specially for this painting. Audit of the presence and condition of museum exhibits transferred from one curator to another for permanent This work is the first canvas by Gaetano Gandolfi in the Hermitage. safe storage 45,823 20 21 most notable acquisitions of 2012 most notable acquisitions of 2012

icon of the virgin and child axion estin luigi premazzi (1814–1891) Greece, Athos, first third of the 19th century view of the red drawing room of Grand Duchess Cypress (icon board), levkas priming, mixed technique, maria fedorovna in the anichkov palace coloured varnish, engraving. 71.5 × 55.8 cm 1866–1867 Acquired through the Purchasing Commission China ink, pencil, white pigment. 207 × 184 mm Acquired through the Purchasing Commission The icon is a half-length representation of the Virgin with the Infant Christ in her arms. The Infant is holding an opened scroll with a Greek text. In the upper part of the icon, the Archangels Michael Luigi Premazzi is a watercolour artist famous for his veduta paintings and watercolour views and Gabriel are crowning Mary and holding red medallions with her monograms. of St. Petersburg palace interiors. Along with Edward Hau and Konstantin Ukhtomsky, Premazzi The icon is a replica of a prototype credited with miraculous properties, which is kept in the Prota- was commissioned by Emperor Nicholas I to paint views of the New Hermitage and the Winter Palace ton, in the Cathedral of the Dormition of the Virgin on Mount Athos. It has the same size as the origi- and produced a series of watercolours depicting the Anichkov Palace rooms. Premazzi was a tutor nal. There are only a few of these replicas in existence, and they were all specially commissioned. of drawing at art schools and privately founded the Society of Russian Watercolour Artists. While The icon can be dated to the first third of the 19th century; it was painted by one of the leading Athos working on views of palace rooms, the artist would produce a sketch from life, and then make a pre- artists. The painting is finely coloured and delicately and painstakingly painted. The icon-painter liminary drawing in pencil, with every detail carefully noted, the stumping put in place and highlights combined the traditions of Greek and “academic” painting, typical for the Athos workshops of the marked with white pigment. Watercolour would be the final stage. The arrangement of the painting, 18th – 19th centuries. the minute depiction of architectural details and scrolls, the pencil stumping and light touches of The Hermitage collection of icons from the Holy Mountain is the best in the world. Considering white on the objects are all typical of Premazzi’s manner, which are also evident in the newly-acquired the rare iconography and the high artistic value of the work acquired, it is safe to say that the icon drawing. It is a unique graphic image of the interior of the drawing room. The State Hermitage has has become an important addition to the Hermitage collection of Byzantine and post-Byzantine quite a large number of other pieces by Premazzi, but there have been no views of the Anichkov Pal- painting. ace before the purchase of the work. This makes it an important addition to the Premazzi collection. The drawing is of special interest for the museum: among the objects in the room, it shows Francesco Francia’s Madonna and Child with St. Anthony the Abbot and St. Dominic, which was in the Anichkov Palace after the second half of the 19th century before it was returned to the Hermitage in 1918.

22 23 most notable acquisitions of 2012 most notable acquisitions of 2012

alexander orlovsky (1777–1832) return of the soldier St. Petersburg, 1802 Paper over carton, graphite pencil, watercolour, bistre, ink, gallic ink Base 43 × 58.5 cm; mirror passe-partout 47.4 × 61.5 cm mantelpiece clock shaped as a vase Bronze master Robert Osmond (1713–1789, active from 1746). Clock mechanism: soldier’s bravery David-Louis Courvoisier (d. 1773) St. Petersburg, 1802 Paris, late 1760s Paper over carton, graphite pencil, watercolour, bistre, ink, gallic ink Bronze, casting, embossing, gilding; clock face: metal, glass, enamel Base 43 × 58.6 cm; mirror passe-partout 48.4 × 62 cm Plinth 26 × 30 cm, height 64 cm Acquired through the Purchasing Commission Acquired through the Purchasing Commission

The drawing entitled The Return of the Soldier shows a Russian soldier who has come back home The body of the clock is shaped as a Classical vase, with inbuilt clockwork mechanism. The body to his peasant hut and is greeted by his family. A marching column of soldiers can be seen in the of the clock is decorated with massive laurel wreaths, and its lower part bears a pattern of leaves. background. On both sides of the title, there is a dedication written in gallic ink: “Dedie a sa Majeste Two large C-shaped handles are decorated with garlands of acanthus branches on the outside; l’Imperatrice Marie Fedorovna” (“Dedicated to Her Majesty Empress Maria Fedorovna”). On the the cone-shaped lid is crowned with a ball. The body of the clock is mounted on a round leg with lower right, there is an artist’s inscription: “Par son tres humbles et tres obeisant serviteur Alex- a round base and a laurel wreath along the rim. The three-step rectangular plinth on four legs is dec- andre Orlowski Peintre Dessinateur de A.M. le grand Duc Constantic Pavlovitch” (“From her most orated with a meander of hanging floral garlands. The face of the clock is made of white enamel, humble and obedient servant Alexander Orlovsky, painter and draughtsman of His Imperial High- and the hours are marked in Roman numerals and black enamel, while the minutes are marked ness Grand Duke Konstantin Pavlovich”). in Arabic numerals (at a five-minute interval). The hour and minute arms are gilded and executed The drawing entitled Soldier’s Bravery shows Russian Grenadiers attacking French soldiers. in openwork. The mechanism is in working order. The bronze is of classic make, made using the deep The French are wearing the Republican Army uniforms, and there is an officer with a banner among mercury “fire-gilding” method (or moulu), careful embossing, and demonstrates a characteristic them. In the field below, there is a coat of arms with a double-headed eagle drawn in China ink, with attention to the detail of the dull surface of the gold with polished relief contours. the French title of the work: “LA BRAVOUR DU SOLDAT”. There is a dedication on either side of Robert Osmond was a Paris bronze worker, caster and gilder, promoted to the rank of master in 1746. the coat of arms: “Dedie a son Altesse Imperiale Monsegneur le Grand Duc Constantin Pavlovitch” His workshop was located in Paris, where he worked in cooperation with his nephew, Jean-Baptiste (“Dedicated to His Imperial Highness Grand Duke Konstantin Pavlovich”). On the lower right, there Osmond, who later inherited the workshop in 1789. The clock maker David-Louis Courvoisier was is an artist’s inscription reading: “Par son tres humbles et tres obeisant serviteur Alexandre Or- a freelance worker in 1759 and worked for the Lepaute clan. He had his own workshop in Paris and lowski” (“From his most humble and obedient servant Alexander Orlovsky”). took all kinds of trade – sold ready-made Swiss watches and clocks and mechanisms of his own mak- The drawings illustrate scenes from the Italian or Swiss campaigns of Alexander Suvorov (1799), ing for mantelpiece clocks made by bronze masters such as Foulet, Osmond, Saint-Germain. in which Grand Duke Konstantin (the artist’s patron) took part. The acquisition of a clock made in the period of French Neoclassicism, which is poorly represented The acquired drawings are a valuable addition to the collection of military graphics of the Arsenal in the Hermitage collection, is an important addition to the museum’s collection of bronze works. Department, which already has over 80 other works by Alexander Orlovsky, but has so far included none of his genre or battle scenes.

24 25 most notable acquisitions of 2012 most notable acquisitions of 2012

two ice-cream vases with lids France, Sèvres Porcelain Factory, 1808. Painted by Marie-Victoire Jaquotot Porcelain, overglaze painting, gilding, diverging patterns. Height 33 cm Acquired through the Purchasing Commission

The two paired ice-cream vases with lids, shaped like Classical urns (“urnes antiques”). The body with a wide neck is mounted on a leg with a solid rectangular base. The base is gilded, as are the leg and the lower body, and decorated with stylised laurel and acanthus leaves; the body is white, with medallions in gold frames, decorated with diverging patterns. The paintings in the medallions imitate cameos depicting Classical gods and heroes. The neck is wide, gilded, and decorated with laurel leaves and palmettes. The handles are shaped as gilded elephants’ heads. The lid has a gilded rim and a gilded handle/top. The reverse of the base bears the stamp of the Sèvres Porcelain Factory. The Sèvres porcelain services were mostly made in the Napoleonic age as bespoke commissions from Napoleon himself, to be used as especially important diplomatic gifts. They were among the gifts to the participants of the Congress of Erfurt, and one of such services was later presented to the Rus- sian Foreign Minister, Nikolay Rumiantsev, who accompanied Emperor Alexander I to Erfurt. The archives of the Sèvres Factory retain the descriptions of a dessert service presented to Rumiant- sev (two plates out of ninety six are at the Hermitage). Two ice-cream vases are listed among the two hundred pieces in the service. Considering that their deçor is very close to that of the Hermitage plates, it is highly likely that the ice-cream vases belong to the Rumiantsev service. The elephant heads on the bodies of the vases are a motif from Chinese and Japanese ceramics that was adopted by European porcelain-makers and used by the Sèvres Factory in the 18th century to produce unique, extraordinary pieces. Not wishing to part with this tradition, the Sèvres masters of the Empire age often tried to combine these rocaille motifs with the pure Classical lines of the Empire style. The shape of the vases designed by the sculptor Brochard and combining the Classical urn with elephants’ heads turned out to be so popular that several similar paired vases with different ornaments were made in the 1810s. They are now in the collections of the world’s largest museums: the British Museum, Palazzo Pitti, the Berlin Museum of Decorative Arts. The painting imitating Classical cameos and carved stones, which was used at Sèvres from the 1770s, was also becoming popular again in the 1810s. The acquired vases are rare masterpieces of the Napoleonic age and combine the finest features of the Empire style.

Water decanter with inscription on the body: “In the Memory of the Capture of Paris on 19 March 1814” St. Petersburg, Imperial Glass Factory, mould from a drawing by A. Barmin, 1814–1820s Glass, blowing, gold paint, gilding, diamond cut, cutting, polishing Acquired through the Purchasing Commission

The cylinder-shaped decanter is made of emerald-coloured glass. The body is decorated with dia- mond cut, and the neck with three gilded rings with gold palmettes between them. In the central part of the body, there is a gold-framed medallion which contains the monogram AI and an inscrip- tion reading: “Въ память взятiя Парижа 19 марта 1814” (“In the memory of the Capture of Paris on 19 March 1814”). The decoration of the piece is typical of the Imperial Glass Factory. After Russia’s victory in the War of 1812, the Imperial Glass Factory started to produce a range of commemorative wares decorated with overlaid medallions made of milk or coloured glass show- ing portraits of military leaders, allegorical images or triumphal inscriptions. The decanter was made of glass based on drawings by the Factory artist Alexander Barmin. The life- story of this artist, who was the author of many items in crystal services and commemorative sou- venirs, has been little studied. Nevertheless, Barmin’s role in the creation of unique works of art as well as mass-produced service ware was very important. The decanter is an excellent example of the work of Russian masters in the first quarter of the 19th century, which takes a worthy place in the State Hermitage, adding to the collection of memo- rial objects commemorating the events of the Patriotic War of 1812.

26 27 most notable acquisitions of 2012 most notable acquisitions of 2012

Books on SEVENTEENTH- AND EIGHTEENTH-century heraldry notebook in a case for the Heraldry Room in the memory of Sergey Troynitsky Russia, second half of the 19th century 13 books Paper, silk, velvet, wood, metal, printing, gold stamping, carving 10.5 × 7.5 × 1.0 cm (book); 14.0 × 11.0 × 2.0 cm (case) Donated by G. Vilinbakhov Donated by A. Zhukov The English, German, and French seventeenth- and eighteenth-century publications on heraldry con- The Hermitage Research Library received the notebook in a red taining a large number of engravings, including those painted by hand. The books retain the ex libris velvet binding, made in the second half of the 19th century, of Georgy Vilinbakhov designed by the military artist O. Kharitonov. as a gift from A. Zhukov and G. Zhukova. Both binding covers The name of Sergey Troynitsky has become part of the history of the Hermitage. His contribution as are decorated with carved wooden boards with floral patterns; a brilliant expert in applied art and his efforts to protect the museum in the difficult years following there is a monogram “LS” under a princely crown in the centre the Russian revolution are hard to overestimate. He was one of the most prominent heraldry schol- of the upper cover. The leather case in which the notebook is kept ars, an editor of Gerboved journal and compiler of the guide to armorial devices of Russian, Polish, is decorated with white silk and velvet on the inside. Finnish and Baltic aristocracy; companions to the General Book of Armoury of the Noble Families of the Russian Empire, the Book of Armoury of the Kingdom of Poland and the List of Persons Granted Diplomas with the Right to Bear Arms in the Russian Empire and the Kingdom of Poland by His Imperial Majesty (together with V. Lukomsky); published seminal collections such as The Book of Arms of Anisim Titovich Knyazev of 1785 and Arms of the Senior and Junior Officers and Privates of the Life Company. The Hermitage already has rooms commemorating the most prominent members of the “Hermitage family”. It was thought fitting to mark Troynitsky’s name in the same way by creating the Heraldry Room named after him in the Old Hermitage building, near the Small Entrance, where his study used to be. The furniture from the study has been preserved as well, making it possible to recreate antony gormley a memorial study of one of the Directors of the Hermitage. AG 1133 level 2010 Cast iron Donated by the British Council

The cast-iron sculpture Level (volume 51,038 cm3, cast in 2011, weight 369 kg, height 204 cm, width 56 cm) is a three-dimensional image designed on a computer using 30–40 thousand computer-­ generated spatial coordinates. The sculptor uses the language of architecture to create a mass of solid, smooth, intersecting rectangular volumes which together make up the figure of a lying man. The pose of the sculpture is uncertain, unnatural and not quite symmetrical; it looks like the body has lost control over its movements. The sculpture was made by Antony Gormley for the temporary exhibition at the Hermitage enti- tled “Still Standing: A Contemporary Intervention in the Classical Collection” (2011) housed in the rooms of the Hermitage Department of Classical Antiquity, where Gormley’s cast-iron sculp- tures were juxtaposed to the idealised marble statues made by Classical Greek and Roman masters. The Classical sculptures were removed from their plinths, opening a unique dialogue between an- cient and modern. Such a dialogue is one of the key objectives of the Hermitage 20/21 project, which aims to show and collect contemporary art in a classical museum. The sculpture became a worthy addition to the Hermitage collection of contemporary art.

28 29 acquisitions by the state hermitage museum in 2012

JJ acquisitions by the state hermitage museum in 2012 Étienne Desrochers (1668–1741) Through the Purchasing Commission: Collection of samples of metallic and black lace Portrait of Charles XII (1682–1718) 9 pieces France, 18th century Decorative and applied art Western Europe, 19th century Etching, chisel; print on paper Linen, metal, lace Mantelpiece clock shaped as a vase B. Gautier Bronze master Robert Osmond (1713–1789, Collection of light lace Portrait of Jacob Johan Anckarström, active from 1746) Clock mechanism: 24 pieces Western Europe19th – early 20th century DEPARTMENT OF WESTERN EUROPEAN Christian Wilhelm Dietrich Francois le Villain (born c. 1790) “the Swedish Brut” (1762–1792) David-Louis Courvoisier (d. 1773) Paris, late 1760s Linen, lace FINE ARTS Landscape with a Shepherdess and Flock Portrait of Adam Czartoryski (1770–1861) Paris, 1780s – 1820s Bronze, casting, embossing, gilding; clock face: Germany, 1731 Western Europe, 1820s – 1830s Stipple; print on paper metal, glass, enamel Embroidery samples Gifts: Oil on canvas Lithograph on paper 2 pieces Carel Christiaan Last (1808–1876) Clock mechanism for a cartel clock Anonymous artist Western Europe, early 20th century Sculpture A. Fonrouge Portrait of Jacques-Henri Bernardin Made by Henri Lacan Portrait of the Royal Surgeon Antoine Philippe Silk, lace; glass beads, bugles, embroidery Portrait of Alexander Dumas Père (1803–1870) de Saint-Pierre (1737–1814) Paris, middle – second half of the 18th century Pasquier Cremonini S.p.A. Paris, 1820s – 1830s Western Europe, 19th century Metal, gilding Strip of light lace France, first half of the 1840s Lithograph on paper Lithograph on paper France, Valenciennes, 19th century Bruno Liberatore Oil on canvas Tray Linen, lace Planet Bernard and Delarue (?) or Mlle Formentin Made by Johann Valentin Gevers (1662–1737) Rome, 1982 Sculpture Portrait of Walter Scott (1771–1831) DEPARTMENT OF WESTERN EUROPERAN Augsburg, 1710s – 1720s Samples of black lace Paris, mid-19th century (?) Bronze APPLIED ARTS Silver (removed from ladies’ clothes) Rinaldo Rinaldi (1793–1873) Lithograph on paper France, third quarter of the 19th century Bruno Liberatore Table-top mirror in a silver frame shaped Female Portrait Gifts: Silk, lace Italy, mid-19th century Francois Garnier as a lyre Bruno Liberatore Marble Portrait of Charles X (1757–1836), Made by John Samuel Hunt Decorative and applied art Samples of black lace Façade and Cupola England, mid-19th century King of France (1824–1830) (removed from ladies’ clothes; five parts) Rome, 1976 Silver, wood, glass, brass Graphics Paris, second third of the 18th century M. Kryzhanovskaya France, Puy or Clunis, last quarter Bronze Chisel; steel Two ice-cream vases with lids of the 19th century Luigi Premazzi Bell-pull Bruno Liberatore France, Sèvres Porcelain Factory, 1808 Lace, weaving View of the Red Drawing Room of Grand Anonymous engraver Western Europe or Russia (?), second half Porcelain, overglaze painting, gilding, diverging Wall Duchess Maria Fedorovna in the Anichkov Portrait of Charlotte Corday (1768–1793) of the 19th century Rome, 1970–1972 patterns Palace Western Europe, early 19th century Bronze, gilding, stamping, silk, DEPARTMENT OF THE ARCHAEOLOGY Bronze Coloured mezzotint; paper 1866–1867 cotton cloth, embroidery in threads Glass with the arms of Paris and twelve views OF EASTERN EUROPE AND SIBERIA China ink, crayon, white pigment and beads of the city Bruno Liberatore Jean-Marie Gudin (1782–1831) Gifts: Façade France, Sèvres Glass Workshops, c. 1900 Antonio Tempesta (1555–1630) Portrait of Louis XVIII (1755–1824), Plaque with a Nativity scene Rome, 1976–1978 Discoloured glass, chemical engraving, gilding Equestrian Statue of Cosimo I, Grand Duke King of France (after 1814) Western Europe, 19th century Bronze Decorative and applied art of Tuscany (1519–1574) France, early 19th century Carved bone Boxes of beads and two needle sets Italy, c. 1608 Stipple; print on paper 43 pieces Bruno Liberatore Yu. Serikov Etching; print on paper Yu. Pyatnitsky Western Europe (?), 1910s Gates Anonymous artist Beads, metal Sacrificial vessel shaped as an elk figure Rome, 1978 Charles Etienne Pierre Motte (1785–1836) Portrait of William Tell Textile with a paisley pattern Shigir peat bog, 4th – 3rd millennium BC Bronze Portrait of Gustav III (1746–1792) Western Europe, second half Western Europe, 1860s – 1870s Friedrich Becker Wood Western Europe, 1828 of the 18th century Printed wool Kinetic bracelet Bruno Liberatore Lithograph on paper Stipple, etching; print on paper Germany, Dusseldorf, 1997 Arch and Wall M. Lopato Steel, synthetic rubies, plexiglass DEPARTMENT OF MODERN ART Rome, 1999 Michael van Lochom (1601–1647) Thomas de Leu (c. 1555 – c. 1620) Terra cotta, bronze, iron Portrait of Christian IV (1577–1648) Portrait of the Libyan Sybil Whistle-rattle Bruno Martinazzi Gifts: Paris, after 1629 Paris, second half of the 16th – early London, Charles Rawlings and William Daffodil bracelet and brooch Chisel; print on paper 17th century Summers Co., 1862–1863 Turin, 1996 Graphics Through the Purchasing Commission: Chisel; print on paper Gold, soldering, embossing Augustin de Saint-Aubin (1736–1807) Engraved and cast silver Portrait of Jean Necker (1732–1804) Santiago Calatrava Painting Pieter de Jode (1606–1674) Shirt front France, 1784 L. Dukelskaya Portrait of Albert Wallenstein (1583–1634) Western Europe, late 19th century Drawings by Santiago Calatrava Chisel; print on paper Anonymous artist Antwerp, 17th century Sugar tongs Textile, embroidery 8 drawings, 2012 Two female and two male portraits Chisel; print on paper England, 1802 Anonymous artist Two bonnets in profile Engraved and cast silver The Sergey Tchoban Foundation Museum The Death of Kotzebue (1761–1819) Western Europe, late 19th century Italy, c. 1500 Thomas de Leu (c. 1555 – c. 1620) of Architectural Drawings Etching; print on paper Textile, lace, embroidery Tempera on wood Portrait of Queen Elizabeth I of England Fish knife Drawings from the project “European Jean Morin (1590–1650) (1533–1603) Germany, late 19th century Collection of female secular dress accessories Follower of Albecht Dürer, Studio (?) Portrait of Cardinal de Richelieu (1585–1642) Paris, second half of the 16th – early Engraved and cast silver 11 pieces Embankment in St. Petersburg” Portrait of a Man in a Beret France, 17th century 17th century Western Europe, second half of the 19th – early 15 drawings, 2011–2012 Germany, 16th century Chisel; print on paper Chisel; print on paper A. Gnedovsky 20th century Oil on wood Linen, silk, lace, embroidery Painting Francois le Villain (born c. 1790) Nicolas de Larmessin the Elder (1640–1725) Sigrid: a set of ornaments for a king’s wife Gaetano Gandolfi (1734–1802) Portrait of Rafael del Riego y Nuñez Portrait of King Charles XI of Sweden 3 pieces Collection of lace samples with supplier tags G. Manevich Madonna and Child (1784–1823) (1655–1697) Made by S. Belov, K. Chernov, A. Yaniutin 19 pieces Italy, 18th century Paris, first quarter of the 19th century France, second half of the 17th century Moscow, 2011 France, Valenciennes, early 20th century Paintings by Eduard Steinberg Oil on canvas Lithograph on paper Chisel; print on paper Silver, gold, weaving, casting Linen, lace 11 works, 1972–2009 30 31 acquisitions by the state hermitage museum in 2012 acquisitions by the state hermitage museum in 2012

Hermitage Museum Foundation (USA) M. Barush N. Voitinskaya Chalice Presentation tray with the image of the Russian Icon Resurrection Series of lithographs Moscow, 1701–1710 state coat of arms Russia, Kholmogory, 1830s Oleg Vasiliev Flower stand (jardiniere). Underglaze blue 12 pieces Silver, embossing, gilding, engraving Russia, Moscow District, village of Verbilki, Bone, wood, textile, carving, engraving The Artist’s Concept-2009 stamp on the bottom: “E II” St. Petersburg, с. 1910 F. Garnder’s Porcelain Factory, 1850s Oil on canvas St. Petersburg, Imperial Porcelain Manufactory, Finger ring with a miniature photograph Porcelain, overglaze monochrome cover, Presentation tray second half of the 1760s – 1770s Map of the Lands Owned by the Tsar of Emperor Nicholas I gold paint Russia, 1909 Sculpture Porcelain, relief, gilding and Emperor of Russia in Europe and Asia St. Petersburg, 1855 Carved wood with the Road from Moscow to Beijing Drawn Gold, enamel, glass, miniature photograph Snuffbox with inscription “PETRUS The British Council L. Cherkasskaya from the Memoirs of N. Witsen, Evert Isbrand, ALEXIEWITZ CZAR MAG: RUSS: IMP” Tray Bell P. Avril and Others Russia, 18th century Russia, P. Lukutin Factory, after 1830 Napkin ring St. Petersburg, Firm of Carl Fabergé, Antony Gormley Paris, Workshop of Nicolas de Fer (1646–1720), Carved horn Papier-mâché, black lacquer, stamping St. Petersburg, Imperial Porcelain Manufactory, made by Victor Aarne, 1899–1903 AG 1133 Level 1704–1720s 1840s – 1850s Silver, wood, almandine, gilding 2010 Etching, chisel; watercolours on paper Goblet with lid Photo album with a lacquer miniature Cast iron Porcelain, underglaze cover, gilding Russia, Lukutin Factory, second half Cigarette case in the original cover Russia, Potemkin Glass Factory, late 1770s Stefan Pannemaker (?) Colourless glass, blowing, cutting, gold paint of the 19th century V. Kucherov St. Petersburg, Firm of Carl Fabergé, Engraving board Election of Mikhail Fedorovich early 20th century Lacquer, painting, stamping, gilding, leather, DEPARTMENT OF THE HISTORY Romanov as Tsar Steel, gold, rubies, oxidation Water decanter with inscription on the body: cardboard, paper, metal OF RUSSIAN CULTURE Cigarette case with lacquer painting Russia, Lukutin Factory, 19th century France, c. 1880 Cover: wood, textile “In the Memory of the Capture of Paris Dark red round tray with tortoise shell effect Gifts: Papier-mâché, lacquer, painting, metal Copper, wood on 19 March 1814” Octagonal box St. Petersburg, Imperial Glass Factory, mould Russia, Moscow area, late 19th century St. Petersburg, Firm of Carl Fabergé, Papier-mâché, gilding, lacquer, painting O. Drozdov Documents, photographs from a drawing by A. Barmin, 1814–1820s Graphics made by Mikhail Perkhin, 1899–1903 Glass, blowing, gold paint, gilding, diamond cut, Box Photo album Patent for the rank of Second Major issued Silver, rose-cut diamonds, stones, enamel, cutting, polishing M. Kiselev gilding, guilloche Moscow, Vishnyakov & Son Factory, Russia, early 20th century to Captain Pyotr Okunev bearing the signature Vase shaped as a cornucopia 19th – early 20th century M. Kiselev Leather, cardboard, metal of Catherine the Great Memorial laurel wreath Russia, the Bakhmetevs Nikolsko-Pestovsky Papier-mâché, lacquer, painting Engraved views of St. Petersburg St. Petersburg, 1769 Moscow, Factory of P. Ovchinnikov, 1888 Glass Works, 1840s – 1850s 2 pieces Photographs Vellum; ink, manuscript, engraving (print) Silver, enamel, stamping, casting, niello, Colourless glass, gold ruby glass, blowing, Box St. Petersburg, 2011 soldering Moscow, Vishnyakov & Son Factory, G. Vilinbakhov Portrait of Empress Maria Fedorovna cutting, carving, finishing, polishing; marble, Etching, chisel, sepia print on paper 19th – early 20th century in her drawing room copper alloy, casting, gilding Brooch shaped as a stag beetle Papier-mâché, lacquer, painting Negative photo images of children St. Petersburg, Studio of Levitsky and Son, St. Petersburg, Workshop of N. Kemper, Documents 6 pieces first half of the 1870s Vase with a portrait of Grand Duke 1908–1917 Glass in a case shaped as a barrel Russia, 1930s – 1940s Albumen print, carton Gold, garnets, diamonds, rubies, pearls, casting, Alexander Alexandrovich A. Nikolayeva Moscow, Fedoskino Workshop of the Lukutin Glass, black and white negative photo soldering, fastening Russia, Nikolsko-Pestovsky District, Penza Portrait of A. Nedzvetskaya (née Yenisherlova) Factory, early 20th century Specialised map of European Russia. Region, Nikolsko-Bakhmetevsky Glass Works, in a frame decorated with inlaid coloured stones Toilet box 1870s Papier-mâché, metal, lacquer, painting Volumes I–III Through the Purchasing Commission: Russia, Penza, Workshop of Khrustalev and Cо., St. Petersburg, Fabergé Firm, Colourless glass, gold ruby glass, milk glass, St. Petersburg, 1860s – 1870s Album late 1870s made by Heinrich Wigstrom blowing, gold and enamel paint, polishing Paper, cardboard, printing Moscow, last quarter of the 19th century Painting Albumen print, carton, metal, stone, glass, Silver, gold, stones, enamel, mirror, gilding, guilloche Paper, papier-mâché, metal, leather, lacquer, S. Androsov textile, mosaic Vase shaped as a bratina (grace cup) Anonymous artist Russia, Imperial Glass Factory (?), painting Brooch with a topaz Portrait of Nicola Blazy Portrait of a Young Woman Holding a Mask Photographic portrait of the heir to the throne, 1870s – 1880s St. Petersburg, K.E. Bolin Company, Album Moscow, 1864 Russia, late 1780s – early 1790s Grand Duke Nicholas Alexandrovich in a case Colourless glass, blowing, enamel paint, gilding made by V. Finikov Moscow, P. and A. Lukutin Factory, 1860s Albumen print on paper Oil on canvas St. Petersburg, Studio of Levitsky and Son, before 1892 Gold, silver, diamonds, topaz, rose-cut Flagon Paper, papier-mâché, metal, leather, lacquer, Albumen print, carton, imitation leather, silk ­diamonds, wood, velvet, silk, metal St. Petersburg, Imperial Glass Factory, painting Decorative and applied art Sculpture 1840s – 1850s Plaque showing a girl with a fan Memorial table dated 25 June 1833 Germany, Braunschweig, Stobwasser Heirs A. Yershova Portrait of Young Peter the Great Decorative and applied art Double glass (colourless and gold ruby), Constantinople, 1833 ­Factory, 1840s – 1850s Mould made by V. Putimtsev (1946–2004), Engraved bronze blowing, cutting, finishing Two-tier walnut wardrobe casting by I. Andruykhin Folding table Centipede Metal, wood, lacquer, painting Russia, first half of the 18th century St. Petersburg, 1992–2002; cast in 2009 St. Petersburg, Company of Heinrich Gambs, Relief with a portrait of Emperor Nicholas I Glassware set consisting of a bottle with lid, P. Chernikovich Walnut, coniferous wood, bone, inlay, carving, Bronze casting from a plasticine mould, brass 1825 Russia, Urals, Verkh-Isetsk Factory, 1826–1830 six small glasses and a tray inlay Wood Cast iron, casting, painting Artist Yelizaveta Bem (1843–1914) Vase shaped as the ship Russia Russia, Dyatkovo Glass Works, 1897 Nizhny Novgorod, 2004 Graphics V. Zubritsky Writing desk Equatorial sundial of the “Augsburg” type Glass, blowing, enamel paint, gilding Bone, mammoth ivory, lace carving, relief Moscow, Factory of P.A. Schmidt, from a design Made by Lorentz Groesl Anonymous artist ­carving Shawl Heroes of the Patriotic War of 1812 by F. Schechtel (?). 1890s Last quarter of the 18th century B. Fedorov Miniature Portrait of G. Teplov Russia, Pavlovo-Posad Shawl Factory, 2012 Coniferous wood, wood (oak) (base), mahogany Copper alloy Composition Tablets of the Covenant M. Galemsky Silk, printing Bone, watercolours, gouache (veneer), textile (modern), metal, carving, (in two parts) Goblet Soviet Circus polishing Pocket watch in a case M. Tikhonov Russia, Dyatkovo Glass Works, 1987 Russia, 1988 Shawl The Battle of Vokhna in the War of 1812 Switzerland, 1873 Bone, mammoth ivory, open carving, relief Russia, Pavlovo-Posad Shawl Factory, 2012 Portrait of Nam Jogi Alan Cupboard with stained glass Gold, enamel, glass, engraving Crystal, coloured glass, casting using the artist’s ­carving, 3d carving Silk, printing Russia, Priyutino, 1817 Russia, late 19th – early 20th century mould, finishing Paper, cardboard, watercolours Wood, glass, metal, carving, stained glass Cup and saucer A. Krylov Ye. Khodza Russia, Volyn Province, Novograd-Volynsk O. Kozlova Ernst von Liphart (1847–1932) Rocking chair ­District, Baranovka, M. Mezer’s Porcelain Decorative sculpture Storm Chess set dedicated to the 200th anniversary Tongs for stretching new kid gloves Female Portrait Vienna, Firm of Jacob & Josef Kohn, Manufactory, 1830s Russia, Gus-Khrustalny, 2001 of the Patriotic War of 1812 (32 pieces) Russia, early 20th century Russia, 1903 late 19th – early 20th century Porcelain, gilding over varnish, overglaze Colourless crystal, coloured thread, St. Petersburg, 2011 Wood, lacquer, metal, lathework Graphite pencil on paper Wood, gilding; stamping, polishing polychrome painting dull finishing, wide-facet cut Amber, wood, velvet, carving, inlay, colouring 32 33 acquisitions by the state hermitage museum in 2012 acquisitions by the state hermitage museum in 2012

Items of man’s clothing: dress coat, trousers, Lady’s handbag Graphics Utagawa Toyoharu (1735–1814) Tray LLC Leibstandart waistcoat Russia, 1910s Chung Kuei China, late 16th – early 17th century St. Petersburg, 1910s Silk, beads, bugles, mirrors, embroidery Hisa Ichikawa Japan, 1770s Porcelain, cobalt paint Chest Textile, metal Xylography Russia, late 19th century – Lady’s handbag Cojima Sogetsu (active in 1880s 1890s) Water vessel (hookah bowl?) Wood, textile, metal Man’s frock coat Russia, 1910s Arrival of the Heir to the Russian Throne. Utagawa Toyokuni I (1769–1825) China, 18th century (porcelain), 19th century St. Petersburg, early 20th century Triptych (metal) Silk, beads, metal, embroidery Actor Onoe Matsusuke Photographs Wool, silk, hand and machine sewing Japan; publ. 1891, 8 April Japan, 1800s Porcelain, cobalt paint, glazing with crackle Engraving; colour print on paper effect, white metal, embossing Woman’s shoes Colour xylography N. Vetoshnikova Man’s waistcoat USA, Walk Over TRADE MARK REG Russia, early 20th century Sauce jar US PAT OFF Custom Trade, 1910 Decorative and applied art Okumura Masanobu (?) (1686–1764) Photograph of Nikolay Kalugin, Cornet Wool, silk, metal, hand and machine sewing Red-Light District (Interior of a Brothel) China, mid-18th century Leather, metal, cotton thread Porcelain, cobalt paint of the Cavalry Grenadier Regiment A. Balash Japan, 1740s Formal uniform of a 4th-rank (?) civil servant of the Life Guards Woman’s shoes Colour xylography of the Popular Education Department Part of a screen panel with a pasted fragment Box St. Petersburg, 1886–1888 Russia, 1900s China, 18th century St. Petersburg, early 20th century of a silk curtain Hishikawa Moronobu (?) (1631–1694) Photograph, cardboard, printing Chamois leather, rib cloth, metal Wood, priming, engraved colour lacquer, smooth Woollen cloth, silk, velvet, gilded thread, metal, China, 18th century Illustration to a scene from a novel (play?) black lacquer, gilding machine and hand sewing, gold embroidery, Japan, 1675–1680 Foot stool embroidered with beads Wood, lacquer, woven silk, gold thread, painting stamping, gilding Colour xylography Through the Purchasing Commission: Russia, late 19th century Round tray with images of three peaches China, 18th century Man’s shirt Wood, canvas, beads, embroidery Through the Purchasing Commission: Utagawa Kuniyoshi Wood, priming, red and coloured lacquer, Painting Western Europe (?), early 20th century Three engravings: Katsuta Shinemon Takataka, Serviette with an embroidered monogram engraving, gilding Cotton cloth, hand and machine sewing Painting Takebayashi Sadashichi Takashige, Alexander Orlovsky (1777–1832) “V. and E.L.” under a prince’s crown Miura Jiroemon Kametsuke Tray with images of flowers Return of the Soldier Russia, mid-19th century Man’s gloves Icon of the Virgin and Child Enthroned, Japan, 1847–1848 China or the Ryukyu Islands, 18th century St. Petersburg, 1802 Russia, early 20th century Textile, embroidery Faneromeni Colour xylography Wood, priming, brown lacquer, engraving, Paper over carton, graphite pencil, watercolour, Domestic animal skin, metal, dye, hand Corfu, turn of the 18th century or first third gilding bistre, ink, gallic ink and ­machine sewing Pillow case with a monogram “VM” of the 18th century Decorative and applied art under an aristocratic crown Wood (cypress), plaster of Paris, carving, mixed Brush glass Man’s gloves Alexander Orlovsky (1777–1832) Russia, 1845–1848 technique, coloured varnish, overlay margins Fragment of an Ancient Egyptian Plaquette China, end of the Qing Dynasty (1644–1911), Western Europe (?), Russia (?), early Soldier’s Bravery Linen thread, weaving, embroidery Egypt, 15th – 14th centuries BC late 19th – early 20th century 20th century St. Petersburg, 1802 Icon of the Virgin and Child Axion Estin or the Post-Amarna Period Bamboo, wood, carving Domestic animal skin, mother-of-pearl, silk Paper over carton, graphite pencil, watercolour, Canvassing shawl Greece, Athos, 19th century Carved wood, inlay thread, hand and machine sewing USSR, 1927 Cypress (icon board), poplar wood (pins), levkas Walking stick with a mushroom-shaped tip bistre, ink, gallic ink Cotton cloth, printing priming, mixed technique, engraving, coloured Two fragments of mummy cartons Japan, late 19th century Handkerchief with a monogram varnish Egypt, 3rd – 1st centuries BC Bamboo, carving, brass, steel Photographs Western Europe (?), Russia (?), early Linen cloth, levkas priming, painting 20th century DEPARTMENT OF CLASSICAL Manuscript of the Quran Nagamati Shuzan Photographic portrait of Yemelyan Danilov, Batiste, silk threads, embroidery, hand sewing Middle Asia (?), copying finished ANTIQUITY Two pottery tiles Chinese Official with a Fan Sub-Praporshchik of the Chasseur Regiment in 1147 (1734–1735) Japan, Osaka, early 19th century Middle Asia, early 14th century of the Life Guards Wedding dress Paper, leather Burned and carved clay Painted wood Russia, 1911 Gifts: St. Petersburg, V. Pogorelov photography shop, Lace, chiffon Anonymous artist Door knocker Senkyo early 20th century Decorative and applied art Bird on a Shimenawa Middle Asia, 19th century Japan, first half of the 19th century Photographic paper, photo print, carton Woman’s batiste summer dress Japan, late 18th – early 19th century Engraved and cast bronze Wood, negoro nuri lacquer Russia, mid-1910s N. Malevskaya-Malevich Colour xylography on paper Portrait of Yemelyan Danilov with his wife Batiste, mother-of-pearl Matrix for the making of leather writing pads Spoon and children, mounted in a passe-partout Tara amphora Hakuho Ekigi Middle Asia, late 18th – early 19th century China, Ming Dynasty (1368–1644), Yongle tag St. Petersburg, с. 1911 Woman’s night gown Heraclea Pontica, 4th century BC (?) New Year Performance Engraved and cast bronze and period (1402–1425) Photographic paper, photo print, carton Russia, 1900s Clay Japan, 1790s – 1800s Iron, gold and silver inlay Cloth, lace, mother-of-pearl, embroidery Colour xylography on paper, kirazuri Vase China, first quarter of the 19th century Throw with the image of ducks in a pond Decorative and applied art Handmuff Through the Purchasing Commission: Utagawa Kunisada (1786–1865) Porcelain, overglaze painting in red pigment China, Suzhou Workshops, last quarter Russia, 1910s Man’s pocket watch in a case Actor Bando Hikosaburo in the Role of Ashikaga of the 19th century Fur, silk Oval gem Two vases Atlas silk, embroidery in coloured silk thread Switzerland, Henry Moser, early 20th century Naoyoshi China, 1730s – 1740s Watch: gold, guilloche, engraving; case: Milos, late 7th – early 6th century BC (?) Japan, 1862 Scarf Porcelain, painting in the Famille Rose style Collection of Turkmen carpets papier-mâché, lacquer, velvet, silk, metal, Russia, 1900s Colour xylography on paper 12 pieces enamel Batiste, lace Cups Wool, cotton, silk, hand weaving ORIENTAL DEPARTMENT Kajita Hanko (1870–1917) 2 pieces Tip of the sacred banner Woman’s gamashes Gifts: Girl in a Garden China, first quarter of the 17th century Iran, late 18th – early 19th century Japan, c. 1910 ARSENAL Russia, 1910s Porcelain, cobalt paint Steel, forging, yellow metal damascening, Wool, woollen cloth, rubber, leather, metal Colour xylography on paper, printing, karazuri, Gifts: ­carving over metal Painting shomenzuri, bokashi Saucers Lady’s handbag 3 pieces Russia, 1910s T. Kryzhanovskaya Kobayashi Kiyochika (1847–1915) China, first half of the 17th century Decorative and applied art Weapons Textile, beads, bugles, embroidery Series of engravings “Long Live Japan! Porcelain, cobalt paint E. Chaperon du Larrêt M. Kryzhanovsky, T. Kryzhanovskaya A Hundred Battles, a Hundred Smiles” Pair of pistols with flint locks Lady’s theatre purse Palden Lhamo and Mahakala 60 pieces Tray Banner of the Ice March of the Volunteer Army Turkey, second half of the 18th century Russia, 1910s 2007 (?) Japan, 1894–1895 China, late 17th century Russia, 1918 Steel, silver, wood, beating, casting, embossing, Silk, beads, silk threads, embroidery Mineral paints on canvas Colour xylography on paper Porcelain, cobalt paint Textile, cord, appliqué, painting over textile engraving, filigree, silver and gold inlay 34 35 acquisitions by the state hermitage museum in 2012 acquisitions by the state hermitage museum in 2012

Sabre Pendant with a 1 dinar coin RF Central Bank Head Directorate, Tver Region, A. Zhukov I. Emmanuel of the St. Petersburg Municipal Autonomous Iran, second half of the 18th century Montenegrin Coast, 1925 not dated (21st century) Public Body, miniature Steel, bone, forging, carving over steel and bone, Brass, copper and nickel alloy, glass, filigree, Paper, glue Stamp of the Kazan Cathedral, St. Petersburg Set of medals made from designs St. Petersburg, 1903 yellow metal damascening stamping Russia, late 19th – early 20th century by Alexey Olenin Silver, gilding, enamel Two badges of the Third All-Russian Bronze, wood 13 pieces Dervish’s axe O. Stepanova Archaeological Congress in Staraya Russa St. Petersburg Mint, 2012 Badge marking graduation from the Imperial Iran, late 18th – early 19th century Russia, 2011 Stamp with an image of Calvary and the Passion Alexander Lyceum in Tsarskoye Selo Steel, forging, yellow metal damascening, Modern Icelandic coins of Christ and the inscription “Behold! The Lamb The Russia Abroad House St. Petersburg, Schubert Company, carving over metal 22 pieces Badge of BDU (Belorussian State University) of God who Takes away the Sin of the World” late 19th – early 20th century Belarus, early 21st century Russia, late 19th – early 20th century Memorial coin: “1812: the Heroism Silver 10 rouble coins Yellow alloy, enamel Bronze, wood of the People in the Memory of Russia Abroad” NUMISMATIC DEPARTMENT 4 pieces By N. Golovaneva Badge of the Central Council, Society of Friends Russia, 2010–2011 J. Kotler Moscow, 2012 Gifts: V. Lukin of Aviation Copper, stamping USSR, 1923–1925 Bank card using the VISA credit system Transport tokens Silver, enamel N. Moiseyenko Moscow, Sberbank 4 pieces Bagde “Municipal Affairs Bureau. 1706– Plastic, with a chip USA 2006. Committee for Urban Development Through the Purchasing Commission: Five banknotes of Zimbabwe and Architecture” Medallion with a portrait of Grand Duke Zimbabwe, 2008–2009 Nicholas Nikolayevich Romanov (junior) 500 krona A. Raya St. Petersburg, early 21st century Collection of denarii wearing the uniform of the Hussar Regiment Iceland, 2001 Yellow alloy 82 pieces S. Pavlov Paper Six Russian coins Germany, 11th century of the Life Guards Russia (?), late 19th – early 20th century 1705–1764 Yu. Pyatnitsky Silver, stamping 2 bahts Cast bronze Thailand, 2009 1 leu Romania, Romanian National Bank, 2005 5 roubles, 1903. Forgery (?). In a souvenir Aluminium bronze Badge of the participant of the Tenth 1/2 Mark Gustav I Vasa (1523–1560) Plastic package with a lead seal Anniversary Forum “Dialogue of Civilisations” Sweden, 1543 Russia MUSEUM OF THE Porcelain Ye. Manukhina Received by Yu. Pyatnitsky Silver 20 Euro cents Yellow metal Greece, Rhodes, 2012 Manufactory Korean money Italy, 2002 White alloy, enamel, textile Stamp matrices 7 pieces Yellow alloy 5 roubles, 1904. Forgery (?). In a souvenir 3 pieces Gifts: package with a lead seal Certificate of the participant of the Tenth Russia, 18th century Yu. Polozov 5 Euro cents Russia Anniversary Forum “Dialogue of Civilisations” Brass Netherlands, 2009 Graphics Yellow metal Greece, Rhodes, 2012 Yellow alloy 5 lari Paper, printing Badge marking graduation from the Institute Georgia, 2008 Ye. Lepekhina of Railway Engineers. In the original box V. Levshenkov Paper V. Kalinin St. Petersburg, Arnd Company, 19th – early V. Rabinovich Souvenir coin “Victory in the Great 20th century Drawings by Z. Kobyletskaya 10 lari Modern British coins Patriotic War of 1941–1945”, to the value Silver, leather, textile, metal 4 pieces Medal commemorating the 55th anniversary Leningrad, late 1920s Georgia, 2008 26 pieces of 200,000 karbovanetz Paper Ukraine, National Bank of Ukraine, 1995 of the victory over Nazism Badge marking graduation from the Institute Israel, 2000 10 roubles, commemorative “Russian White alloy, stamping of Railway Engineers, miniature. Stamp M. Vorobyov Georgian coins White alloy, enamel, textile Federation. Republic of Buryatia” reading “N.A.” 5 pieces St. Petersburg Mint, 2011 V. Guruleva St. Petersburg, late 19th – early 20th century Drawings by Boris Vorobyov White alloy, yellow alloy, stamping Medal commemorating the 60th anniversary Silver 32 pieces A. Akopyan 10 roubles, commemorative “Ancient Russian of the victory over Nazism 10 roubles, commemorative “Ancient Russian Cities. Solikamsk, Perm Region” Israel, 2005 Badge marking graduation from the Mining Oriental coins Cities. Yurievets” White alloy, enamel, textile Sculpture St. Petersburg Mint, 2011 Institute 3 pieces St. Petersburg Mint, 2010 White alloy, yellow alloy, stamping St. Petersburg, Workshop of Dmitry Osipov, M. Vorobyov Eastern Europe, late 9th – early 10th century White alloy, yellow alloy, stamping N. Mikhaleva last quarter of the 19th century M. Postarnak Silver Sculptures by Boris Vorobyov Dirham. Abbasid imitation 10 rouble coins Modern Croatian coins 4 pieces Eastern Europe (?), 9th century 3 pieces 10 roubles, commemorative “Cities of Military 10 pieces Brooch shaped as a miniature dagger and pistol Leningrad, State Lomonosov Porcelain Silver (?), stamping Russia, 2008–2011 Glory. Malgobek” 1993–2011 Russia, 1886–1896 ­Manufactory Dirham. Abbasid imitation St. Petersburg Mint, 2011 Silver, gilding, niello 10 roubles, commemorative Eastern Europe (?), 9th century Yellow alloy, stamping I. Saverkina T. Martinson Silver (?), stamping “50th Anniversary of the First Man in Space” Token marking the 200th anniversary St. Petersburg Mint, 2011 N. Zykov Modern Maltese coins of St. Petersburg with an image of the Trinity Yellow alloy, stamping Sculptural group Ladies on a Bench P. Gaidukov 8 pieces Bridge Western Europe, early 20th century State Bank Note, 10 roubles 2008 Russia, c. 1903 Porcelain, overglaze polychrome painting, 10 rouble coins Russia, 1997 Coins and other items from the 9th century Silver, gilding, enamel gilding 109 pieces 6 pieces Paper Russia, 2011 V. Meshcheryakov Badge marking the 200th anniversary V. Kuleshov State Bank Note, 10 roubles M. Kryzhanovskaya Belorussian money Russia, 1997 Italian coins of Vittorio Emmanuele III of St. Petersburg for the employees Kufic coins 3 pieces Paper 1940–1942 of the St. Petersburg Municipal Autonomous Sculpture The Actress N. Tiraspolskaya 16 pieces 6 pieces Public Body in the Role of the Matchmaker in One Czechoslovakian money Ye. Shchukina Russia, Eduard Company, c. 1903 of the Plays by Ostrovsky Pendant with a Croation 25 para coin Ye. Yarovaya Silver, gilding, enamel Mould by A. Kryzhanovskaya (1895–1970) Yugoslavia, 1920 Souvenir of the Russian Federation Central Bank Ukrainian money Leningrad, State Lomonosov Porcelain Brass, copper and nickel alloy, glass, filigree, made of fragments of 5,000-rouble banknotes 3 pieces Western European coins Badge marking the 200th anniversary ­Manufactory, 1940s – 1950s stamping to the total value of 1,250,000 roubles 2005–2006 12 pieces of St. Petersburg for the employees Porcelain, overglaze polychrome painting 36 37 acquisitions by the state hermitage museum in 2012 acquisitions by the state hermitage museum in 2012♥

Decorative and applied art Collection of printed works and manuscripts uniforms from the reign of Empress From the book Historical Survey Through the Purchasing Commission: from the archive of G. Zimin Anna Ioannovna of the 2nd Cadet Corps T. Charina 81 pieces St. Petersburg, 1907 St. Petersburg, 1868 Books Russia, late 19th – early 20th century Paper, phototype Lithograph on paper Cup painted in the Oriental style with an image Paper, tracing paper, pencil, ink, watercolours, Western European publications on the of a horseman and hunter (?) photographs, newspaper cutouts V. Klassen P. Fernlund history of Classical Art, specialised Classicist Design by M. Mokh First Cadet Corps Staff officer of the Gentry Officer, drummer and cadets from the reign dictionaries and reference books, catalogues Leningrad, State Lomonosov Porcelain Photographs from the archive of G. Zimin Corps (1732) of Emperors Nicholas I and Alexander II of the largest museum and private collections, ­Manufactory, 1939 32 pieces St. Petersburg, 1907 From the book Historical Survey guide books, photo albums, contemporary Porcelain, overglaze polychrome painting, Russia, 20th century Paper, phototype of the 2nd Cadet Corps research papers on the history of Classical art, gilding Photographic paper, printing St. Petersburg, 1868 monographs and catalogues V. Klassen Lithograph on paper Books from the collection of O. Neverov T. Afanasieva First Cadet Corps Grenadier cadet from Decorative and applied art 54 pieces the reign of Emperor Paul I; Musketeer cadet P. Fernlund Plaquette showing a seated woman in classical Cup and saucer with a winter landscape from the reign of Emperor Alexander I Officers and cadets from the reign Russian publications on the history of Classical clothing holding a teapot Painted by G. Zimin (1875–1958) St. Petersburg, 1907 of Emperor Alexander II art, catalogues of Russian and international Artist Ye. Yeropkina Paper, phototype Leningrad, 1948 From the book Historical Survey museum collections, memoirs and historical Leningrad, State Lomonosov Porcelain Porcelain, overglaze polychrome painting, of the 2nd Cadet Corps studies on the time of Napoleon ­Manufactory, 1984 V. Klassen gilding St. Petersburg, 1868 Books from the collection of O. Neverov Coloured unglazed porcelain First Cadet Corps Grenadier cadet from Lithograph on paper 47 pieces S. Yakovleva (1910–1993) the reign of Emperor Alexander I Grenadier St. Petersburg, Imperial Porcelain Manufactory Vase cadet from the reign of Emperor Nicholas I Studies in the history of ancient glyptics, OJSC Leningrad, State Lomonosov Porcelain St. Petersburg, 1907 ARCHITECTURE AND ARCHAEOLOGY academic catalogues of the largest Western Paper, phototype Factory, 1950s SECTOR European collections of carved stones, Tray To the Custodians of Eternal Values Glazed porcelain collections of studies and conference Mould by A. Borisov P. Fernlund Gifts: proceedings, letters, memoirs, and documents St. Petersburg, Imperial Porcelain Manufactory Officers and cadets in the reign Books from the collection of O. Neverov OJSC MENSHIKOV PALACE of Empress Catherine II 59 pieces Porcelain, underglaze polychrome painting, From the book Historical Survey Decorative and applied art overglaze polychrome painting, silvering, Gifts: of the 2nd Cadet Corps German and French editions of Classical ­diverging patterns St. Petersburg, 1868 A. Filippova authors in Greek and Latin, books published Lithograph on paper Decorative and applied art Vase Aligned Planets Part of a vessel: ochre-coloured crown, grey wall by B.G. Teubner Publishing House Books from the collection of O. Neverov Artist T. Afanasieva P. Fernlund Russia, late 17th century Van Paris Christian Guy Marie Joseph 54 pieces St. Petersburg, Imperial Porcelain Manufactory Officer and cadet from the reign Grey clay ceramics, burning, glossing OJSC, 2011 Six ceramic stoves and 43 stove tiles of Emperor Paul I Rare translations of Classical authors into Porcelain, underglaze monochrome painting,­ From the book Historical Survey Arrow head 49 pieces Russian, works by Russian Classic scholars, overglaze polychrome painting, gilding, of the 2nd Cadet Corps Russia (?), second half of the 17th century (?) translations of Western European publications, ­diverging patterns Advertising plaquettes St. Petersburg, 1868 Iron, melting, forging 6 pieces Lithograph on paper catalogues of private art collections and state Vase Aligned Planets Klebaur Colmar House, 19th century Collection of artefacts: flint fragments, beads museums, publications by Academia Artist T. Afanasieva P. Fernlund and clasp Books from the collection of O. Neverov 49 pieces St. Petersburg, Imperial Porcelain Manufactory Officer, drummer and cadets from the reign 12 pieces OJSC, 2011 Through the Purchasing Commission: of Emperor Paul I Porcelain, underglaze monochrome painting,­ From the book Historical Survey Archaeological finds from the town ofP rimorsk overglaze polychrome painting, gilding, of the 2nd Cadet Corps 31 pieces DEPARTMENT OF MANUSCRIPTS ­diverging patterns Documents St. Petersburg, 1868 AND DOCUMENTS Lithograph on paper A. Prokhorov RESEARCH LIBRARY Through the Purchasing Commission: Admiral Prince A. Menshikov P. Fernlund Through the Purchasing Commission: St. Petersburg, 1854 Officers, bugler and cadet from the reign Gifts: Lithograph on paper of Emperor Alexander I Documents Documents From the book Historical Survey books V. Klassen of the 2nd Cadet Corps Materials from the personal archive of I. Ratiev S. Chekhonin (1878–1936) First Cadet Corps Cotillion accessories St. Petersburg, 1868 Late 20th – early 21st century Congratulatory address “From the Employees St. Petersburg, 1907 Lithograph on paper G. Vilinbakhov 33 pieces of the Political Board of the Baltic Navy” Paper, phototype to D. Gessen P. Fernlund Books on seventeenth- and eighteenth-century Materials from the personal archive of L. Rakov Petrograd, 1920 V. Klassen Cadets from the reign of Emperor Alexander I heraldry for the Heraldry Room in the memory Russia, 20th century Paper, pencil, watercolours, gouache, ink First Cadet Corps officers and cadets in uniform From the book Historical Survey of S. Troynitsky 85 pieces from 1732 to 1907 of the 2nd Cadet Corps 13 pieces Collection of drawings by G. Zimin, St. Petersburg, 1907 St. Petersburg, 1868 artist at the Imperial Porcelain Manufactory Paper, phototype Lithograph on paper A. Zhukov (later Leningrad Lomonosov Porcelain Manufactory) V. Klassen P. Fernlund Notebook in a case 38 pieces First Cadet Corps. 1. Grenadier cadet; Banner-bearer, officers and cadets Russia, second half of the 19th century Russia, 20th century 2. Staff officer; 3. Cavalry Squadron cadet; of the 2nd Cadet Corps from the reign Paper, silk, velvet, wood, metal, printing, gold Paper, pencil, watercolours, gouache 4. Musketeer cadet; wearing ceremonial of Emperor Nicholas I stamping, carving 38 39 EXHIBITIONS EXHIBITIONS

In 2012, the Hermitage held 31 temporary exhibitions (objects from the Hermitage and other museums). In museums around Russia the Hermitage held five exhibitions (2,944 exhibits) and took part in twelve exhibitions (352 exhibits). Outside Russia the Hermitage held six exhibitions (1,251 exhibits) and took part in 21 exhibitions (447 exhibits).

JJ TEMPORARY EXHIBITIONS IN THE HERMITAGE

Carlo Gavazzeni Ricordi. Imaginary Theatres in Rome 03.02.12 – 25.03.12 Opening of the exhibition “Carlo Crivelli. The Annunciation with Opening of the exhibition “Surimono. Poetic Greeting” St. Emidius from the National Gallery in London. From the ‘Masterpieces Exhibition of works by the contemporary Italian artist and photographer featuring photographs of ro- from the World’s Museums in the Hermitage’ Series” mantic ruined interiors of the Theatre in the Villa Torlonia near Rome and the Villa Medici. The photo- graphs, reminiscent of Giovanni Battista Piranesi’s etchings, were given the composite title “Imaginary Theatres”, an allusion to Piranesi’s “Imaginary Prisons” series. Surimono. Poetic Greeting Carlo Crivelli. The Annunciation with St. Emidius from the National Gallery in London. 06.03.12 – 02.09.12 From the “Masterpieces from the World’s Museums in the Hermitage” Series This exhibition from the State Hermitage repository featured works in the Surimono print technique – 14.02.12 – 27.05.12 an original type of Japanese woodblock prints, published in limited editions on private commissions: The Annunciation with St. Emidius, Carlo Crivelli’s most famous work, was lent by the National Gallery not for sale, but as gifts for friends. As a rule, they were commissioned by members of poetry clubs, in London in exchange for the right to display Leonardo Da Vinci’s Madonna Litta in their exhibition so a Surimono was a blend of image and poetry, including one to three verses by the poets themselves. “Leonardo Da Vinci: Painter at the Court of Milan”. “In Written Words Alone...”. On the 150th Anniversary of the Birth of Nikolay Petrovich A Second Life. Coins and Medals in European Applied Art Likhachev 06.03.12 – 28.10.12 20.04.12 – 22.07.12 This exhibition from the State Hermitage repository was devoted to the use of numismatic monuments This exhibition, devoted to the history of letters and documents, featured written records from the col- in decorative applied art from the 1st to 20th centuries. The exhibits included necklaces, caskets, cups, lection of the scholar Nikolay Petrovich Likhachev, which numbered around 80,000 exhibits – from snuffboxes, pendants, tankards and ladles decorated with coins and medals. In becoming elements the age of Mesopotamia and Ancient Egypt to the 20th century. Today these texts are kept in the State of the décor of objects of applied art, the coins and medals took on “a second life”. Hermitage and other scholarly institutions in St. Petersburg.

Opening of the exhibition Opening of the exhibition “Carlo Gavazzeni Ricordi. “‘In Written Words Alone...’. Imaginary Theatres in Rome”. On the 150th Anniversary Mikhail Piotrovsky, Carlo Ricordi of the Birth of Nikolay Petrovich Likhachev”. Victor Pleshkov, Yelena Stepanova, Georgy Vilinbakhov

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At the exhibition “Degas. Place At the exhibition de la Concorde. From the ‘Restored “Tylos. The Journey beyond Life. Masterpieces’ Series”. Henri Rituals and Funerary Traditions Loyrette, Mikhail Piotrovsky in Bahrain. 1st Century BC – 3rd Century AD”

848. The Collection of Georges Matcheret and Nadia Wolkonsky Degas. Place de la Concorde. From the “Restored Masterpieces” Series 18.05.12 – 17.01.13 29.06.12 – 22.07.12 Edgar Degas’s painting Place de la Concorde, which was long thought to have been lost, was put on The exhibition featured a collection of works from the late 20th and early 21st centuries belonging display after restoration. The natural scene, actually painted in the Paris square, is in stark contrast to Georges Matcheret and his wife Nadia Wolkonsky. The 848 art epistles, made on blank envelopes for to the overwhelming majority of canvases painted in Europe in the 1870s and is characteristic of the peak their collector friends by well-known Moscow painters, poets, researchers and theatre directors, were of the artist’s career. added to the State Hermitage collection of contemporary art in 2012.

Santiago Calatrava. The Quest for Movement Anthony Cragg. Luke 27.06.12 – 30.09.12 29.06.12 – 01.08.12 Exhibition by one of the best-known contemporary architects, who has designed over forty major build- Luke, by one of the best-known contemporary British sculptors, was put on display in the Great Court- ings all over the world in the last thirty years – museums, stadiums, railway stations, bridges – and has yard of the Winter Palace. The sculpture is part of the Rational Beings cycle, in which the artist explores received several dozen prestigious awards and prizes. The display included models, sketches, blueprints, the correlation between geometric and biological forms. sculpture and ceramics. Tylos. The Journey beyond Life. Rituals and Funerary Traditions in Bahrain. 1st Century BC – 3rd Century AD 02.06.12 – 14.10.12 This exhibition from the Bahrain National Museum described the daily life, culture and beliefs of the peo- ple of Bahrain in the Tylos age (from the end of the 1st millennium BC to the early centuries AD). The dis- play featured over 250 objects discovered during excavations of Hellenistic necropolises in the last few decades.

Enrique Celaya. The Tower of Snow 10.07.12 – 30.11.12 Sculpture depicting a boy on crutches carrying a house, whose belt is strangling him. This theme, a sym- bol of duality and fragility, occurs frequently in the work of the contemporary artist, poet, philosopher and critic Enrique Martinez Celaya in drawings and paintings, and in 2011 it was cast in bronze.

The Book as Art. Twenty Years of the Rare Books from St. Petersburg Publishing House 11.09.12 – 04.11.12 Exhibition timed to coincide with the 20th anniversary of a publishing house specialising in rare books. As a rule, the circulation is no more than 25 copies and in some cases is limited to one or two. The dis- play included Biblical texts, works by ancient authors, Russian and European classics and world epics, Opening of the exhibition “Santiago Calatrava. The Quest for Movement” as well as books by contemporary writers.

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Opening of the exhibition “Russian Lithographic Portrait Opening of the exhibition “Paula Modersohn-Becker and Worpswede Opening of the exhibition “Marc Chagall and the Livre d’artiste. Opening of the exhibition “Architectural Library: Architectural of the 19th Century”. Niele Masyulionite, Galina Mirolyubova Artists. Drawings and Prints. 1895–1906”. Svetlana Adaksina, Selected Prints”. Mikhail Balan Drawings from the State Hermitage and Sergey Tchoban’s Collection”. Vladimir Matveyev Valery Shevchenko

Russian Lithographic Portrait of the 19th Century Medals of Dishonour 21.09.12 – 13.01.13 28.09.12 – 13.01.13 150 works from the Hermitage collection of lithographic portraits were displayed for the first time. The exhibition from the British Museum and several private collections, shown in London in 2009, was Among the exhibits which reflected the main stages in the development of the art of lithography were supplemented by exhibits from the State Hermitage and shown in a new guise. The display included portraits of members of the Imperial family, statesmen, military leaders, high society ladies, artists and around 150 examples of the medallist art – medals of a particular type, little known to the general pub- other representatives of Russian society in the 19th century. lic, which reflect a negative point of view towards historical events and political personalities.

Paula Modersohn-Becker and Worpswede Artists. Drawings and Prints. 1895–1906 The Wild Swans. Découpages and Costumes Designed by Her Majesty Queen Margrethe II 21.09.12 – 11.11.12 of Denmark for the Film Adaptation of Hans Christian Andersen’s Fairy Tale This exhibition, devoted to one of the most outstanding periods in German art at the turn of the 19th and 08.10.12 – 02.12.12 20th centuries, included over 60 drawings and prints by Paula Modersohn-Becker and her colleagues The exhibition featured the découpages and costumes designed by Queen Margrethe for the film based on from the Worpswede colony of artists, as well as documentary photographs of their life. The exhibition Andersen’s fairy tale. The display included 43 découpages, eleven costumes made especially for the film, was part of the Year of Germany in Russia and Russia in Germany – 2012. and the green screen technology used in the film. The film itself was shown in one of the museum’s rooms.

Marc Chagall and the Livre d’artiste. Selected Prints Opening of the exhibition 11.10.12 – 25.11.12 “The Wild Swans. Découpages The livre d’artiste (“artist’s book”) is a particular type of publication dating from the turn of the 19th and Costumes Designed by and 20th centuries. The Hermitage collection contains eleven of Chagall’s books acquired in the 1980s Her Majesty Queen Margrethe II (nine of them as gifts from the artist himself). The exhibition featured prints from five books – from of Denmark for the Film major projects of the 1920s (black-and-white engraving on metal) to works from the 1960s (colour Adaptation of Hans Christian lithographs and woodcuts). Andersen’s Fairy Tale” Architectural Library 12.10.12 – 16.12.12 The exhibition included over 80 architectural drawings from the 18th to 21st centuries from collections of varying types – the current developing collection of practising architect Sergey Tchoban, which he has amassed in a little over a decade, and the old Imperial collection that goes back to the acquisitions of Catherine II and is now part of the State Hermitage collection.

Jake and Dinos Chapman. The End of Fun 19.10.12 – 13.01.13 The works by the British artists the Chapman Brothers shown in the exhibition belong to The Disasters of War genre first introduced in the celebrated series of etchings of the same title by Francisco Goya (1746–1828). The display featured the Chapmans’ installations The End of Fun, Traumatize, in Order to Offend, The Disasters of War and a series of “completed” Goya etchings.

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Opening of the exhibition “Jake and Dinos Chapman. The End of Fun”. Dmitry Ozerkov

“There is No One to Help them”. Tragedy in the Graphic Works of Francisco Goya 19.10.12 – 13.01.13 The exhibition featured 40 sheets of graphic art from the State Hermitage collection – prints from four different series and several drawings done in lithographic crayon. The exhibition was staged in parallel with the exhibition by Jake and Dinos Chapman who employed the themes of Francisco Goya in their work.

The Artist’s Room in the Hermitage. Dmitri Prigov 06.11.12 – 15.01.13 The Dmitri Prigov Room is devoted to the work of the Russian poet, prose writer, artist, sculptor and actor, one of the founders of Moscow conceptualism. The display featured part of the body of Prigov’s works received by the museum as a gift from his heirs.

Opening of the Dmitri Prigov Room in the Hermitage

The exhibition “The Book as Art. Twenty Years of the Rare Books from St. Petersburg Publishing House”. See p. 47 46 EXHIBITIONS EXHIBITIONS

able collections. The exhibition to mark the library’s 250th anniversary featured the most outstanding and significant collections with which the Hermitage Library collection started and continues to exist.

The Hermitage in Photographs – 2012 The Hermitage in Publications – 2012 07.12.12 – 16.12.12 Traditional annual exhibitions devoted to the academic and exhibition activity of the State Hermitage in the past year. The display included publications issued by the State Hermitage Publishers and other Russian and foreign publishing houses in collaboration with the museum, as well as photographs reflect- ing the most outstanding events of the past year.

The Adoration of the Magi. Triptych by Hugo van der Goes. Restoration Completed 09.12.12 – 27.01.13 The exhibition marked the completion of restoration work on the triptych by the fifteenth-century Dutch master. More recent layers of paint had concealed approximately 50% of the original, and badly dark- ened layers of varnish and dirt had altered the colour to such an extent that the painting had become grey-brown. As a result of the restoration begun in 2007 the authentic fifteenth-century work was re- vealed, striking in the richness of its colours.

Antique Style in Russian Imperial Porcelain in the Second Half of the 18th Century. From the “Christmas Gift” Series 21.12.12 – 31.03.13 The eleventh annual exhibition in the “Christmas Gift” series was devoted to the theme of the influence of the antique heritage on Russian porcelain in the second half of the 18th century. Along with exhibits from that period, the display also featured authentic ancient pieces, porcelain in the European Neoclas- sic style and works by contemporary porcelain masters, united by the theme “Antiquity in Porcelain” and made especially for this project.

Opening of the exhibition “‘The Thunder of 1812...’. The Patriotic War of 1812 in Hermitage Collections”

Opening of the exhibition “A Treasury of Books. Opening of the exhibition “Antique Style in Russian Imperial Porcelain 250 Years of the Hermitage Library” in the Second Half of the 18th Century”

“An Artist of All Schools”. Christian Wilhelm Ernst Dietrich (1712–1774) 27.11.12 – 08.03.13 Exhibition to mark the 300th anniversary of the birth of the German artist who won recognition and fame in Germany and Europe during his lifetime. The display featured paintings, engravings and draw- ings by the master, who was able to recreate the style of many of his celebrated predecessors.

A Sentimental Journey: Wedgwood in Russia 07.12.12 – 31.03.13 Exhibition marking the centenary of the exhibition of Wedgwood ceramics in the Imperial Academy of Arts; one of the curators of that exhibition was Sergey Troynitsky (1882–1948), the first Director of the State Hermitage. In addition to items that were displayed in the 1912 exhibition, the Hermitage presented objects from the museum’s reserves that were unknown to the public and had not previously featured in literature.

A Treasury of Books. 250 Years of the Hermitage Library 07.12.12 – 17.03.13 For two centuries and a half, by the will of Emperors and as the Imperial Hermitage developed, the ­library has amassed books on a variety of themes that with the passage of time have become valu-

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Opening of the exhibition “The Thunder of 1812...”. “‘The Thunder of 1812...’. The Patriotic War of 1812 in the Hermitage Collections The Patriotic War of 1812 25.12.12 – 07.04.13 in Hermitage Collections” The exhibition was timed to coincide with the 200th anniversary of victory over Napoleon in the Patriot- ic War of 1812. It included around 600 exhibits describing events from the age of the Napoleonic Wars. The display covered the period from the first encounter of the two Emperors in 1805 to the death of Na- poleon on the island of St. Helena in 1821, highlighting the major battles from Austerlitz to Leipzig and the history of diplomatic contacts between Russia and France.

“United we shall be, as one!”. The Patriotic War of 1812 in the Medals of Alexey Olenin and his Contemporaries 25.12.12 – 07.04.13 This exhibition was devoted to the projects of Alexey Olenin (1763–1843), President of the Academy of Arts and Director of the Imperial Public Library, united in a separate manuscript entitled “A Col- lection of Drawings of Medals for the Famous Events of 1812, 1813 and 1814”. The project was only brought to life by the St. Petersburg Mint two centuries after it had been conceived, and presented as a gift to the State Hermitage.

Toy Soldiers in the Hermitage. On the 200th Anniversary of the Patriotic War of 1812 25.12.12 – 07.04.13 This exhibition, marking the 200th anniversary of victory in the Patriotic War of 1812, featured tin soldiers representing not only the Russian and French armies at the time of the Napoleonic Wars, but also the armies of their allies: Prussians, Austrians, Bavarians and Saxons. The exhibition included indi- vidual portrait figures, groups depicting regiments and compositions reproducing battle scenes.

We Draw and Paint in the Hermitage 29.12.12 – 20.01.13 Annual exhibition of children’s drawings, featuring works by pupils of the State Hermitage Art School “Toy Soldiers in the Hermitage. Centre in 2012. On the 200th Anniversary of the Patriotic War of 1812”

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JJ EXHIBITIONS IN MUSEUMS AROUND RUSSIA

Two Centuries of French Elegance. Decorative Art of the 17th and 18th Centuries from the State Hermitage Museum Collection Hermitage • Vyborg Centre, Vyborg 10.04.12 – 14.10.12 The exhibition demonstrated the main stages in the development of French decorative applied art in its heyday. The display included bronze, porcelain, tapestries and furniture that formerly belonged to the Imperial family, as well as items from the private collections of the Russian nobility that were nationalised after the 1917 revolution.

Nomads of Eurasia on the Road to Empire Hermitage • Kazan Centre, Kazan 18.06.12 – 31.03.13 Exhibition devoted to the characteristic features of the culture of the nomadic tribes of Eurasia, based on material from archaeological excavations and private collections of the late 19th – early 20th century. It featured over 2,000 exhibits from the Hermitage, covering the period from the begin- ning of the 1st millennium BC to the formation of the Great Mongol Empire in the 13th century.

Boris Vorobyov. Porcelain and Graphic Art from the State Hermitage and Imperial Porcelain Manufactory Collections Novgorod Museum-Reserve 14.09.12 – 09.12.12 This exhibition of the work of the Leningrad sculptor Boris Vorobyov included around 150 exhibits from the collections of the State Hermitage and the Imperial Porcelain Manufactory. In addition to the sculp- The exhibition “The Last Russian Emperor. tor’s original porcelain works, the exhibition also featured his graphic art. The Family and Court of Nicholas II at the Turn of the 19th – 20th Centuries”

The Last Russian Emperor. The Family and Court of Nicholas II at the Turn of the 19th – 20th Centuries Hermitage • Vyborg Centre, Vyborg 26.10.12 – 07.04.13 The exhibition was devoted to the way of life of Nicholas II and his family, as well as the diplomatic, religious and court ceremonies of the Imperial Court. It featured over 250 exhibits from the Hermit- age collection, including memorial items that were once in the Winter, Anichkov, Alexander, Novo- Mikhailovsky and Yusupov Palaces.

Giovanni Battista Piranesi. Palaces, Ruins and Prisons. Architectural Fantasies Yekaterinburg Museum of Fine Arts 14.11.12 – 24.02.13 The display devoted to the great Italian master of etching, engraver, draughtsman and architect featured 59 of his works, as well as an engraved portrait of Piranesi himself done by one of his contemporaries. Piranesi constructed only one real building in his whole life – the rest remained bold ideas on paper, which led to him being called a “paper architect”. Opening of the exhibition “Two Centuries of French Elegance. Opening of the exhibition “Nomads of Eurasia on the Road to Empire”. Decorative Art of the 17th and 18th Centuries from the State Hermitage Mintimer Shaymiyev, Konstantin Chugunov Museum Collection”. Alexander Kostenko, Larisa Bulkina

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JJ PARTICIPATION IN EXHIBITIONS IN MUSEUMS AROUND RUSSIA JJ EXHIBITIONS ABROAD

An Imaginary Museum Rembrandt. Master of the Copper Plate. Prints from the Rovinsky Collection Pushkin State Museum of Fine Arts, Moscow at the State Hermitage 28.04.12 – 29.07.12 Sinebrychoff Museum, Helsinki, Finland 02.02.12 – 29.04.12 I Want to Go to Gatchina! The exhibition included 55 etchings by Rembrandt from the Hermitage collection, bequeathed to the mu- Manege Central Exhibition Hall, St. Petersburg seum in 1897 by Dmitry Rovinsky. The etchings are on Biblical, mythological and literary themes, genre 06.05.12 – 22.05.12 scenes, landscapes, portraits and self-portraits. The Death of the Family of Nicholas II. A Century-long Investigation FECIT AD VIVUM. Portraits of Artists in Sixteenth- and Seventeenth-Century State Archive of the Russian Federation, Moscow Western European Engravings 25.05.12 – 29.07.12 Lithuanian Art Museum, Vilnius, Lithuania Russians and Germans: 1,000 Years of History, Culture and Art 08.03.12 – 10.06.12 State Historical Museum, Moscow The exhibition included 100 portraits of artists from the Hermitage collection of Western European engravings. Its broad chronological range was determined by the time when the genre was at the height 21.06.12 – 25.08.12 of its popularity, when, like painted portraits, it reflected features of all the stylistic trends. Treasures of the Order of Malta. Nine Centuries of Loyalty to the Faith The Face of an Era. 400 Years of European Masterpieces from the State Hermitage and Charitable Work Museum Kremlin Museums, Moscow National Arts Centre, Tokyo, Japan 05.07.12 – 09.09.12 25.04.12 – 16.07.12 Traditions of a Craft. The Art of Woodwork Nagoya Municipal Museum, Japan State Museum of the History of St. Petersburg 28.07.12 – 30.09.12 10.09.12 – 20.11.12 Kyoto Municipal Museum, Japan 10.10.12 – 07.12.12 The Architectural Legacy of Harald Julius von Bosse. To Mark the 200th Anniversary of his Birth The exhibition, which was shown in three Japanese cities, featured 89 paintings from the Hermitage col- Academy of Arts Museum, St. Petersburg lection. It was divided into thematic sections covering the period from the 16th to 20th centuries, each of which included works by great masters who became symbols of their time – Titian, Van Dyck, Rubens, 28.09.12 – 02.12.12 Rembrandt, Delacroix and Picasso. Fontanny Dom. An Encounter 300 Years Later State Museum of Theatrical and Musical Art, St. Petersburg The exhibition “Catherine the Great, 18.10.12 – 18.12.12 an Enlightened Empress” Exhibition of Painting and Graphic Art to Mark 175 Years of Railways in Russia Russian Ethnographic Museum, St. Petersburg 24.10.12 – 06.11.12

Sword and Zlatnik. Marking the 1,150th Anniversary of Russian Statehood State Historical Museum, Moscow 02.11.12 – 27.02.2013

Still Life. Metamorphoses. Dialogue between Classic and Contemporary Art State Tretyakov Gallery, Moscow 02.11.12 – 24.02.13 The Spellbinding Charm of Finland. Nicholas Roerich and Finnish Cultural Figures Roerich Family Museum-Institute, St. Petersburg 23.11.12 – 21.04.13

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Impressionism: Sensation and Inspiration. Masterpieces from the State Hermitage Museum JJ PARTICIPATION IN EXHIBITIONS ABROAD Hermitage • Amsterdam Centre, Amsterdam, Netherlands 16.06.12 – 27.01.13 The exhibition featured 80 works from the second half of the 19th and early 20th centuries – paintings, graphic works and sculptures – from the Hermitage collection. Works by Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and Camille Pissarro – masters of Impressionism who opened a new age in the de- velopment of art, were displayed in the context of the broad artistic panorama of their time. Matisse. Pairs and Series Pompidou Centre, Paris, France Catherine the Great, an Enlightened Empress 07.03.12 – 18.06.12 National Museum of Scotland, Edinburgh 13.07.12 – 21.10.12 Gifts of the Sultan: The Art of Giving at Islamic Courts The exhibition highlighted the many facets of the Russian Empress’s personality, as well as Russian art Museum of Islamic Art, Doha, Qatar and culture during her reign. The display featured over 600 exhibits from the Hermitage collection, in- 21.03.12 – 02.06.12 cluding memorial items, works from Catherine II’s personal collection and objects linked with important events of the time. Cézanne: Paris–Provence Alexander the Great. 2000 Years of Treasures National Art Centre, Tokyo, Japan Australian Museum, Sydney 28.03.12 – 11.06.12 23.11.12 – 28.04.13 La Sainte Anne, l’ultime chef-d’œuvre de Léonard de Vinci This exhibition from the Hermitage collection was devoted to Alexander the Great, his Eastern cam- Louvre, Paris, France paign and the consequent influence of Hellenism on world artistic culture. The display included over 400 exhibits covering a period of more than 2,500 years, from the 5th century BC to the 20th century. 29.03.12 – 25.06.12 The exhibition had previously been shown at the Hermitage and at the Hermitage • Amsterdam Centre. Women. Pablo Picasso, Max Beckmann, Willem de Kooning Gallery of Contemporary Painting, Bavarian State Picture Collection, Munich, Germany The exhibition “Alexander the Great. 2000 Years of Treasures” 30.03.12 – 15.07.12 Photograph by Carl Bento © Australian Museum Titian’s First Masterpiece: The Flight into Egypt National Gallery, London, UK 04.04.12 – 19.08.12

The Splendour of Painting on Porcelain. Charles Nicolas Dodin and the Vincennes-Sèvres Manufactory in the 18th Century Chateau de Versailles, France 16.05.12 – 09.09.12

The Early Dürer German National Museum, Nuremberg, Germany 24.05.12 – 02.09.12

The Small Utopia. Ars Multiplicata Palazzo Ca’ Corner della Regina, Venice, Italy 06.07.12 – 25.11.12

Cosroe Dusi 1808–1859, Diario artistico di un veneziano alla corte degli Zar Lower Castle, Marostica, Italy 07.07.12 – 14.10.12

Matisse – Doubles and Variations State Art Museum, Copenhagen, Denmark 14.07.12 – 28.10.12

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Il Tiziano mai visto. La fuga in Egitto e la grande pittura veneta ANNIVERSARY OF THE WAR OF 1812 Academy Gallery, Venice, Italy 29.08.12 – 09.12.12 During 2012, as part of the celebration of the 200th anniver- Chardin sary of victory in the Patriotic War of 1812, the State Hermit- age showed battle pictures commissioned by Nicholas I from Mitsubishi Ichikogan Museum of Fine Arts, Tokyo, Japan the Bavarian artist Peter von Hess. Hess travelled around the 08.09.12 – 06.01.13 battle locations with General Kiel, making numerous sketches and studying examples of military uniform and weaponry from Canaletto à Venise the time of the war. The artist painted twelve pictures between Maillol Museum, Dina Verni Foundation, Paris, France 1840 and 1857. Those currently in the Hermitage are The Bat- 19.09.12 – 10.02.13 tle of Kliastitzi, The Battle of Smolensk, The Battle of Valutina Gora, The Battle of Borodino, The Battle of Tarutino, The Battle of Maloyaroslavets, The Battle of Vyazma, The Battle of Kras- Gypsies noye and The Retreat of the French across the River Berezina. Grand Palais, Paris, France The paintings were put on display in the formal rooms of the 26.09.12 – 14.01.13 Winter Palace throughout the year on the days when the battles had taken place. The Ecstasy of Colour – Munch, Matisse and the Expressionists Folkwang Museum, Essen, Germany 29.09.12 – 20.01.13

Francesco Guardi – 1712–1793 Correr Museum, Venice, Italy 29.09.12 – 06.01.13

Russians and Germans: 1,000 Years of Art, History and Culture New Museum, Berlin State Museums, Germany 06.10.12 – 13.01.13

Splendors in Smalt: Art of Yuan Blue-and-White Porcelain Shanghai Museum, China 19.10.12 – 20.01.13

El joven Van Dyck Prado National Museum, Madrid, Spain 20.11.12 – 31.03.13

Giambattista Tiepolo Villa Manin, Passariano, Italy 15.12.12 – 07.04.13

Peter von Hess. The Battle of Smolensk. 5 (17) August 1812. 1846

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JJ HERMITAGE CENTRES 20th centuries; the Hermitage is justly proud of its collection. About 507,000 people visited the exhibition. Early in 2012 the Hermitage • Amsterdam Centre was ap- proached by the Director of the Van Gogh Museum with a re- quest to consider the possibility of making the Centre’s empty second wing available for the exhibition of masterpieces from the Van Gogh Museum, which was to be closed for restoration HERMITAGE • AMSTERDAM CENTRE until 1 May 2013. As a result, for six months two famous col- lections were displayed under one roof: the Impressionists from In 2012 the Hermitage • Amsterdam Centre staged two temporary exhibitions from the State Her- the Hermitage and the best works of Vincent van Gogh, who had mitage collection. known and had been friendly with many members of the cele- “Rubens, Van Dyck and Jordaens. Flemish Artists from the Hermitage” opened at the end of Sep- brated French school. A combined ticket was available for both tember 2011 and was extended until the beginning of June 2012. There are virtually no seventeenth- displays. century Flemish paintings in Dutch museums, so public interest was extremely high. The exhibition There is a tall building on the Ij that can be seen from almost was visited by 230,000 people, though it should be noted that the subject was of interest mainly anywhere in Amsterdam. For several weeks this building sported to the older generation. One of the marketing ploys used in the run-up to and during the exhibi- a 59-metre depiction of Claude Monet’s Lady in the Garden, so tion was the so-called Rubens Tram. For several weeks famous Rubens portraits could be seen virtually everyone in Amsterdam knew that the Hermitage’s Im- on the No. 9 tram, which stops close to the Hermitage • Amsterdam Centre – an original way of in- pressionist collection was visiting the city. viting Amsterdam’s residents and visitors to the exhibition. The second half of 2012 was taken up in preparations for the The Centre organised its traditional extensive thematic programme to accompany the display. Year of the Netherlands in Russia and Russia in the Netherlands, As usual, open concerts were held on the first and last Sundays of every month in the Centre’s during which the Centre had the honour of receiving guests from Church Room; music from Rubens’s time could not have been heard in a more appropriate setting Russia. Russian Vice-Premier Arkady Dvorkovich made several working visits to the Hermitage • than in a room dating from that period. Amsterdam Centre. The second half of the year featured French art from the second half of the 19th century in “Im- 2012 was the first year of the Centre’s new Director, Cathelijne Broers. She made several working pressionism: Sensation and Inspiration”, an exhibition which had been anticipated in Amsterdam visits to the State Hermitage during the year to become more closely acquainted with her colleagues for a long time. It was the second display in a series devoted to the French art of the 19th and early in St. Petersburg.

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HERMITAGE • ITALY CENTRE HERMITAGE • KAZAN CENTRE

The Centre’s activities developed in various ways during 2012. In spring, as in previous years, the State Hermitage had a stand at the 19th International Salon on the problems of the restoration and Chronicle of Events conservation of cultural monuments in Ferrara. Two laboratories were represented in accordance with the long-term programme – the Laboratory for Scientific Restoration of Easel Painting and 2–7 January the Laboratory for Scientific Restoration of Sculpture and Semi-Precious Stones. A master class in Special “New Year with the Hermitage!” museum-based educational programmes were featured in the Russian mosaic technique using malachite was conducted by the restorer Alexander Androkh- the “Christmas Fantasies with Glass” exhibition, including an introduction to the exhibition, meet- anov. His virtuoso knowledge of the material and artistry evoked lively interest in the audience. ings with the artists and a creative lesson in painting on glass with transparent paints. At a Hermitage seminar during the Salon Svetlana Petrova, Head of the Laboratory for Scientific 20 January Restoration of Sculpture and Semi-Precious Stones, described methods of conservation and spoke of Opening of an exhibition by the XOLST art association, formed in Moscow by a group of artists restoration projects that had been completed (in particular, the discovery of Vladimir Beklemishev’s working at the meeting-point between classical and contemporary styles of painting. The exhibi- Fugitive Slave). Several lectures devoted to the completion of the restoration of The Annunciation tion featured over 40 works, including landscapes and cityscapes, still life paintings and portraits. by Giovanni Battista Cima da Conegliano were given by experts from the Laboratory for Scientific The exhibition in Kazan was sponsored by the Art Finance – a subsidiary of Gazprombank formed Restoration of Easel Painting (Victor Korobov, Kamilla Kalinina and Irina Artemieva). A separate to facilitate art projects and support Russian artists. subject was the restoration of large-scale canvases that had been kept on rollers (Marina Guruleva). From the beginning of the year a new cycle of lectures and conferences on various matters of art his- 14 March tory – seventeen in all – was held in the conference hall of the Hermitage • Italy Centre in Ferrara The exhibition “Spanish Art from the State Hermitage Collection” featured “Fan. Guitar. Flamen- (Palazzo Giglioli). However, unexpected adjustments to the plans had to be made – a two-day con- co” programme staged in conjunction with the Triana Flamenco School and the Vernissage String ference on the importance of digital media in the dissemination of information concerning museums Trio. and other cultural heritage institutions, scheduled for 21 May, had to be postponed owing to the 5 April severe earthquake that struck on 20 May, the epicentre of which was the Emilia-Romagna Region. A seminar entitled “The Educational Activity of a Museum: Principal Directions and Trends of De- The Hermitage • Italy Centre was the first cultural institution in the country to organise a seminar velopment” on the theme of “The Exhibition, Cultural and Educational Activities of the Hermit- to assess the damage to cultural monuments in the region caused by the earthquake and to discuss age • Kazan Centre” was held in conjunction with the Republic of Tatarstan Institute for Further urgent measures to save them. The seminar’s participants were welcomed on 3 July 2012 by Mikhail Education of Socio-Cultural and Art Specialists. It raised problems relating to the study, preser- Piotrovsky, General Director of the State Hermitage, who was in Ferrara for the latest session of the vation and transmission of the cultural heritage and discussed the following matters: the special Centre’s Scientific Committee, at which the lists of the Centre’s scholarship holders were confirmed: characteristics of the Centre’s exhibition and museum-based educational work, the use of knowledge grants were awarded to twelve Hermitage employees and sixteen young scholars from Italy, the in the field of museum communication, museum teaching and sociology to devise new ways of work- Netherlands and France. ing with the target audience, and the actualisation of the heritage by means of various museum- In July in Florence a protocol concerning collaboration between the Hermitage • Italy Founda- based educational programmes. tion and the Mayor’s Office in Florence was signed. There was also a ceremonial announcement of the formation of a Hermitage Friends’ club in Italy, whose aim will be support of the Hermitage’s 17 May The Centre participated in a discussion on “Patriotism, Citizenship and Cosmopolitanism in School museum projects and various cultural initiatives of the Hermitage • Italy Foundation. At about the same time a collaboration agreement was concluded with the Mayor’s Office and museums in Turin Programmes” at the Polish-Russian debates on “Citizenship, Patriotism and Other Means of Identi- which envisaged exhibition exchanges and the extensive participation of Turin in the celebrations for fication in One’s Native Land” in Warsaw. Report: “The Hermitage • Kazan Centre – State Hermit- the Hermitage’s 250th anniversary. age Exhibition and Educational Programme”. In October the Hermitage received its first gift from Italy for its forthcoming anniversary – Villa 18–19 May Russiz introduced a white Friulano wine with a special label featuring the emblem of the anniversary “International Museum Day and Night in the Kazan Kremlin”. The programme included a visit year (devised by Italian graphic artists). to the “Spanish Art from the State Hermitage Collection” exhibition and the “Fan. Guitar. Fla- In December the Hermitage General Director Mikhail Piotrovsky signed another collaboration menco” music and dance show, staged in conjunction with the Triana Flamenco School and the agreement – with the mayor’s office and museums in Padua. It envisages the exchange of materials Vernissage String Trio. and specialists, mainly concerning the problems of the restoration of fresco painting; the Hermitage 18 June suggested involving Novgorod museums in this work. Opening of the exhibition “Nomads of Eurasia on the Road to Empire” The Hermitage’s exhibition activity on the Apennine Peninsula was as intensive as ever and was 8 September co-ordinated by the Hermitage • Italy Centre. Exhibitions were held with support of the Centre in Pavia (“Nineteenth-Century Italian Painting”, 11 February – 12 April, after the successful show- To mark the seventh anniversary of the Hermitage • Kazan Centre a musical and theatrical pro- ing of this display in the Hermitage); “Cosroe Dusi” (7 July – 14 October, Lower Castle, Marostica); gramme entitled “By the Roads of the Nomads” was staged in conjunction with a folk dance ensem- the “Francesco Guardia” anthology (29 September 2012 – 6 January 2013, Correr Museum, Ven- ble directed by Nadezhda Budylenko. The programme featured a dramatised tour of the exhibition ice); “Giambattista Tiepolo” (15 December 2012 – 7 April 2013, Villa Manin in Passariano, Udine). “Nomads of Eurasia on the Road to Empire” and a performance by the Republic of Tatarstan State The main “premiere” of the past year was the display of Titian’s The Flight into Egypt at the Acad- Chamber Choir. emy Gallery in Venice. This unique painting by the great Venetian master was visiting its homeland 10 October after being shown at the National Gallery in London. A methodological seminar entitled “The Formation of a Global Cultural Zone. The State Hermitage The final event of 2012 for the Hermitage • Italy Centre was the publication of a collection of materi- Programme in Kazan” was held for employees of the Ministry of Culture of the Republic of Sakha als from a conference held in the Palazzo Barberini in Rome on 20 October 2011, devoted to the pub- (Yakutia). It presented the history of the establishment of the Hermitage • Kazan Centre, its pro- lication of a catalogue of seventeenth-century Italian painting (author: Svetlana Vsevolozhskaya). gramme of collaboration and development. The broad discussion of the Hermitage catalogue in Rome, where interest in the material published 20 November so comprehensively is particularly great, could and should become a welcome tradition. Opening of the “Blockade Cello” exhibition from the collection of the St. Petersburg State Museum of Theatrical and Musical Art. It was devoted to the musicians, actors and artists who continued

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Opening of the exhibition HERMITAGE • VYBORG CENTRE “Nomads of Eurasia on the Road to Empire” 2012 saw the closing of the exhibition “Italian Baroque Painting and Sculpture in the Hermit- age Collection” and the opening of the exhibitions “Two Centuries of French Elegance. Decorative Art of the 17th and 18th Centuries from the State Hermitage Museum Collection” and “The Last Russian Emperor. The Family and Court of Nicholas II at the Turn of the 19th – 20th Centuries”. The latter was one of a number of Hermitage projects marking the 400th anniversary of the House of Romanov. In addition, as part of its art education activities, the Centre staged twelve thematic exhibitions that included works by artists from Vyborg and St. Petersburg, as well as those by for- eign masters. Around 30,000 people visited the Centre in 2012: they came from Vyborg and the Vyborg District, ten districts of the Leningrad Region and 70 cities in various regions of Russia – from St. Petersburg and Moscow to Vladivostok, Kamchatka, Nakhodka and Yuzhno-Sakhalinsk. Every seventh person was a visitor from abroad (CIS countries, Bulgaria, Germany, the Netherlands, China, the UAE and the USA). By tradition particular attention was devoted to children who were granted entrance to the Centre free of charge and the services of a guide at a reduced rate. 5,000 children from 26 schools in Vy- borg and the Vyborg District visited exhibitions in 2012. They took part in conferences, competitions and special lessons linked to the exhibitions. For instance, there was a scientific and practice con- ference for senior pupils of Gymnasium No. 11 on Italian Baroque. Younger children learned about Greek gods and heroes at the exhibition of Italian art, and about the etiquette of the royal court at the French exhibition. At the display devoted to the family of Nicholas II lessons were held on the theme “Visiting the ‘Children’s Quarters’: Olga, Maria, Anastasia and Alexey”. to paint pictures, act in plays and make musical instruments in Leningrad during the blockade. In January 2012 a number of competitions were held for children and their parents. Over 300 pho- It included some unique exhibits: photographs, graphic works and sketches of scenery, bills of per- tographs were submitted for the “Museum Europe through the Eyes of Vyborg Residents” photog- formances and musical instruments that survived those dreadful years with the musicians. raphy competition. Almost 150 works in various techniques were entered for the 3rd Christmas 21 November exhibition “Handmade Christmas Tree Decorations”. The Centre held a methodological and museum-based educational seminar entitled “Multimedia Members of the Korchaginets Club for wheelchair invalids regularly visited the exhibitions. Partner- Programmes and Web Resources for Teaching Purposes in Children’s Art Schools”. ship relations were established with a naval instruction unit. 28 November For adult visitors the Hermitage • Vyborg Centre hosted meetings with artists in the Art Foyer. At the “Nomads of Eurasia on the Road to Empire” exhibition there was a round table discussion on On 18 May 2012 – International Museum Day – a presentation by the Vyborg Culture and Art Soci- “The Question of the Unity of Cultures in Eurasia”, dedicated to the 110th anniversary of Nicholas ety brought together people of creative professions. Their combined efforts led to the staging of indi- Roerich’s birth. vidual exhibitions by Albert Bakun, Mikhail Siymes, Sergey Kiselev and Leonid Frolov – both in the Centre and in the “Art Hall” Gallery that comes under its jurisdiction. 4 December In July 2012 the 2nd “V.I.P. – Vyborg Intelligent Performance” Musical and Theatrical Festival Museum-based educational programmes entitled “Lessons in History” were held at the “Nomads was held at the Centre and at the Vyborg Children’s Art School. Every evening the Centre’s inner of Eurasia on the Road to Empire” exhibition for history teachers in Kazan. Among the participants courtyard became a jazz venue, while chamber theatre performances and one-man shows took place were Fayaz Khuzin, Corresponding Member of the Republic of Tatarstan Academy of Sciences, and at the school. Ildus Zagidullin, Doctor of History. A substantial proportion of the Hermitage • Vyborg Centre’s foreign visitors are Finnish citizens, 20 December which facilitates, to a significant degree, the close relations with the Viipuri Centre in Vyborg and Opening of the exhibition “Christmas Tales about Felt”, which included over 200 items: felt boots Viipuri Keskus, its main partner in Helsinki. In conjunction with the Viipuri Centre, the District of all shapes and colours, sculptures and panels, clothes and accessories, female adornments and Administration and Gymnasium No. 11, the Centre staged the international project “Vyborg – toys. They are all handmade by masters from Kazan and Kukmor, Moscow and Izhevsk. In their the Birthplace and Final Refuge of General Teslev”, devoted to the 200th anniversary of the Pa- hands familiar objects are transformed into exquisite works of decorative art. triotic War of 1812. The result of the project was the unveiling of a monument to Infantry General During the year the Hermitage • Kazan Centre held music and art programmes in the Hermitage Alexander Teslev at the city’s Southern Cemetery (formerly the Lepola Cemetery). Nearly thirty Drawing Room. The programmes included visits to exhibitions accompanied by special musical pro- descendants of the famous native of Vyborg came from Finland to take part in the ceremony. grammes aimed at various categories of visitors. The concerts featured the “Sergiev Posad” Cham- Finnish museums take a great deal of interest in the Centre. Close partnerships have been estab- ber Choir, the “Razdolye” Russian Folk Choir, and pupils of the Nazib Zhiganov Music School and lished with the Armoury of South Karelia in Lappeenranta. the Triana Flamenco School. In April 2012 Swedish descendants of the Nobel family staged an exhibition of their family archive The Youth Club continued to operate. As part of the “Original Strategies in Contemporary Art” at the Centre entitled “The Story of the Life of the Nobel Family and the Family Estate of Ala- programme of the 20/21 Club the work of major foreign contemporary artists, contemporary art Karjola on the Outskirts of Vyborg”. prize-winners working in new media (installation, performance and video art) was shown. With support of the Consulate General of Poland in St. Petersburg and the Polish Cultural Institute the Centre staged an exhibition of photographs of the restoration of the frescoes in the nineteenth- century Holy Trinity Chapel in Lublin by Russian masters and an exhibition of works by Nadezhda Anfalova entitled “The Light and Shade of Two Capitals”, reflecting the St. Petersburg artist’s view of Warsaw and Krakow. Visitors to the Hermitage • Vyborg Centre in 2012 included the Consul Generals of Finland, Ger- many, Poland and South Korea, and official delegations from China, Sweden and the USA (State of Maryland).

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JJ CURATORS ON EXHIBITIONS SANTIAGO CALATRAVA. The Quest for MOVEMENT

State Hermitage 27.06.12 – 30.09.12

Santiago Calatrava is one of today’s most renowned and prolific architects. In just thirty years “In Written Words Alone...”. On THE 150TH ANNIVERSARY he has designed over forty major projects throughout the world – museums, stadiums, railway sta- tions and bridges. He has received several dozen important awards and prizes. OF THE BIRTH OF ACADEMICIAN NIKOLAY PETROVICH LIKHACHEV Calatrava graduated from the Architecture Faculty of the Polytechnic University in his native city Valencia in 1974 and from the Swiss Technical University in 1979, where he first obtained a degree State Hermitage in civil engineering and then a doctorate in technical sciences. Thanks to this fundamental combi- 20.04.12 – 22.07.12 nation of architectural and engineering education, the master’s work features in equal proportions the emotional impulse of an artist and the scrupulous research of a designer. Nikolay Petrovich Likhachev was a palaeographer and epigraphist of international stature, an out- At the basis of each Calatrava project is the observation of nature. The filigree steel supports of the standing specialist in diplomatics, codicology, textology and sphragistics, a bibliophile and expert Oriente railway station in Lisbon bear the awnings above the platforms like the branches of a tropi- on icons, and also a great collector. His unique collection, compiled in the early decades of the cal forest, the sails of the vault of the Marina d’Arechi and the Tenerife Opera are curved like palm 20th century, was officially named the Museum of Palaeography in 1925. The museum’s main aim leaves, and the steel “petals” on the roof of the Museum of Tomorrow in Rio de Janeiro stretch was to demonstrate the development of the written word from ancient times to the early 20th cen- towards the sun with thin spikes. tury, based on specific documents. Likhachev was repressed in 1930, and a few years later, after his The organic world suggests to the master not only figurative, but also technical elements. The bridg- death, his museum was dismantled. The exhibits ended up in various museums, principally the Her- es in Dublin and Haarlemmermeer, the TGV railway station at Saint-Exupery Airport in Lyon and mitage, and in academic institutions, where they remain to this day. In paying tribute to the acad- the Milwaukee Art Museum in Wisconsin, USA, are like hovering birds. Movement is a most sur- emician, it was decided to assemble in a single display, albeit temporarily, the most interesting and prising element in such a static art form as architecture. Experiments with movement and statics in representative documents from Likhachev’s collection. This predetermined the main aim of the ex- sculpture and architectural designs open up new possibilities in form for Calatrava. hibition – to trace the principal stages in the development of the written word, to display various The exhibition in the State Hermitage was the first full-scale display of Santiago Calatrava’s work types of writing on soft and hard materials, and also to show various types of documents – official Opening of the exhibition in Russia, revealing every sphere of the architect’s interests in his thirty-year career; from his early and private, manuscripts, textbooks, codes and autographs. designs of bridges and stations, including the famous railway station in Zurich (1992), to his most The display featured a total of 460 exhibits – cuneiform tablets, Ancient Egyptian stone inscriptions, “Santiago Calatrava. The Quest for Movement”. recent works – the TGV station in Liege (2010) and sketches for the Ground Zero railway station in Ancient Greek and Roman monuments, Greek and Coptic papyruses, Byzantine, Old Russian and Santiago Calatrava New York. The exhibition featured models, sketches, blueprints, sculpture (in marble, bronze and medieval Western and Eastern manuscripts and documents; New Age materials: deeds, autographs, wood) and ceramics. Some of the exhibits were made by the artist especially for the Hermitage manuscripts and leaflets from Russia, Western Europe and the East, seals, coins, incunabula, display. Elzeviers and a great deal besides. All the material was divided into four large sections: “The Origin The project was part of the year of cultural co-operation with Italy and Spain. It was the first in a se- of the Written Word. Writings of the Ancient World”, “Writings and Documents of the Middle Ages ries of Hermitage exhibitions devoted to classic exponents of contemporary architecture – a subject and Renaissance”, “Documents of the New Age from Russia and Western Europe” and “Written which is essential for a full and objective display of contemporary art. Documents from the Medieval and New East”. The exhibition was complemented by an extensive memorial section that included documents from Ksenia Malich Likhachev’s huge personal archive, now kept in the St. Petersburg branch of the Academy of Scienc- es’ archive. This section featured materials describing the history of the Likhachev family, Nikolay At the exhibition Petrovich’s childhood and youth, his family, his scientific, teaching and collecting activities, and the “Santiago Calatrava. difficult period of his life after the revolution. The Quest for Movement” The exhibition was organised by the State Hermitage in conjunction with the St. Petersburg In- stitute of History of the Russian Academy of Sciences, the St. Petersburg branch of the Academy of Sciences Archive, the Institute of Oriental Manuscripts of the Russian Academy of Sciences and the Academy of Sciences Library. The staff of these institutions prepared the catalogue of the exhibi- tion, which included three introductory articles about Likhachev himself, his collecting activity and the history of the Museum of Palaeography, descriptions of 460 written documents from various periods, and an annex containing the names of about 300 antiquaries, collectors and scholars with whom Likhachev was in direct contact when forming his collections. During the period of the exhibition the State Hermitage and the St. Petersburg Institute of History held a joint scientific conference entitled “The Legacy of Nikolay Petrovich Likhachev: Text and Im- age Interpretation”, devoted to the study of written and artistic monuments from the academician’s collection. Yelena Stepanova

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A TREASURy of Books. “The Thunder of 1812...”. 250 YEARS OF THE HERMITAGE LIBRARY THE PATRIOTIC WAR OF 1812 IN the HERMITAGE Collections

State Hermitage State Hermitage 07.12.12 – 17.03.13 25.12.12 – 07.04.13

The Hermitage Library celebrated its 250th anniversary in 2012. For two centuries and a half, The opening of this exhibition in the Field Marshals Room of the Winter Palace was the last in a se- by the will of Emperors and as the Imperial Hermitage developed, the library has amassed books on ries of ceremonies devoted to the victories of Russian arms in the Patriotic War of 1812. a variety of themes that with the passage of time have become valuable collections. Books from these The Hermitage is closely linked to the events of 200 years ago. Their memory is perpetuated in the remarkable collections were displayed in this anniversary exhibition. architecture of Palace Square, in which Carlo Rossi’s Triumphal Arch stands close to Montferrand’s Some sections began to take shape as early as Catherine II’s reign. They included collections of en- Alexander Column, in the decoration of the Alexander, Picket, Field Marshals and Armorial Halls graved albums and picturesque travel books, architectural treatises and ouvrages, geographical and other rooms in the Winter Palace. The most important part of the Hermitage from this point maps and atlases. The numismatic book collection was started at the same time as the formation of view is the War Gallery: 332 portraits of commanders of the Russian army, as well as portraits of the Münzkabinett in the Hermitage. Collections of symbols and emblems occupied an important of the allies’ monarchs and generals who commanded the troops of the anti-Napoleon coalition, place in the Imperial collection. Catherine II’s fascination with Russian history led to the inclusion making it a real Pantheon of glory of heroes of the 1812–1814 campaign. of Slavic manuscripts and copies in her library. Books on military matters arrived with the forma- The opening date of the exhibition was not chosen at random: it was on 25 December 1812 (6 Janu- tion of Peter III’s library. There is a bibliographical rarity in this collection: a multi-volume pub- ary 1813 new style) in the town of Vilno that Emperor Alexander I of Russia confirmed the “Imperial lication by Alexander Viskovatov entitled “A Historical Description of the Clothing and Armour Manifesto of Giving Thanks to the Lord God for the Liberation of Russia from the Enemy Invasion”. of Russian Troops”. On the same day Alexander I signed another decree – concerning the building of the Cathedral From the 1920s, after the formation of the Hermitage’s Research Library, it began to receive books of Christ the Saviour in Moscow. from nationalised private and institutional libraries. The Hermitage book collection received manu- Two years later, at the Emperor’s behest, an annual “celebration of thanksgiving” was established. scripts and publications that substantially increased the existing collections and was also enriched The day was celebrated as the anniversary of the deliverance of Russia from the invasion of Napo- in many subjects that were previously represented by few examples. leon’s army. Parades took place in Palace Square, beginning with a ceremony in the War Gallery. One of the most interesting collections is of books presented to Emperors – from Catherine II Representatives of each of the Guards’ regiments (one officer, two NCOs and five soldiers) received to Nicholas II. There is also a collection of artistic book-bindings by European and Russian masters. military banners from the War Gallery and carried them out into Palace Square. They were awaited The study and systemisation of the owners’ and dedicatory inscriptions marked the beginning of the there by combined detachments of soldiers and officers who had been awarded medals of distinction collection of Russian and European autographs. A special place in the Hermitage book repository in the Patriotic War campaigns in 1813 and 1814. Later, when few such people remained in service, is occupied by European and Russian editions of the Bible and books on Biblical themes. A separate the combined detachments were made up of soldiers who had distinguished themselves in other collection consists of drawings and engravings with views of Russian localities, cities and places wars. The same evening a special thanksgiving prayer was said in all Russian churches following the of interest. Another interesting collection contains books with drawings and prints of flora and fau- Christmas Liturgy. It was written by Metropolitan Philaret of Moscow “in remembrance of the de- na, some of them in colour, and of peoples of the world. Next to this section are albums of drawings liverance of the Church and the Russian State from the invasion of the Gauls and twelve other peo- and woodcuts by seventeenth- to twentieth-century Japanese artists. The Hermitage Library also ples with them”. has a fine collection of fashion magazines dating from the 18th to 20th centuries and books on the This glorious episode in Russian history was reflected in numerous works of fine and applied arts history of fashion. by both contemporaries and later artists and kept in the State Hermitage reserves. In recent years the collection of bibliophile and original books has been supplemented by the works The central exhibits in the display, around which the account of the events revolved, were the battle of acknowledged masters of the genre in the 19th and early 20th centuries, as well as interesting paintings of Peter von Hess, commissioned by Emperor Nicholas I for the Winter Palace. They fea- examples of works by contemporary authors and publishers. The section of outstanding historical ture all the major battles in the campaign. Russian books – rare manuscript books and low-circulation publications – is not only the pride of the The display was complemented by numerous drawings and engravings, many of them by eyewitnesses Hermitage Library, but also a part of the world’s cultural heritage. One of the new collections that of the events, as well as material monuments of the war: Russian and trophy military banners, med- is of paramount importance for the library and the museum is the so-called “Hermitagiana” – a full als, orders, uniforms and equipment of Russian troops, cold steel and firearms, and memorial items. collection of works published in the 18th to 21st centuries about the museum, its buildings, collec- They were not simply a collection of mementos of an era. The banners are impregnated with tions and individual art works. The exhibition featured only publications connected with the Hermit- the smoke of battle and many of the uniforms are signed by the soldiers and officers who wore them. age Library. Among the manuscript catalogues of the book collections that make up the Hermitage Their names are in the lists of their regiments. And the weapons saw the blood of their enemies. repository it was possible to see catalogues of Imperial, regimental and major private libraries. The exhibition also featured trophies: Marshal Davout’s baton, captured by Platov’s Cossacks along The Hermitage Library’s book collections are carefully preserved and continue to increase. with his baggage train, examples of the Napoleonic army’s uniform and armaments, and trophy French banners. Olga Zimina The exhibition was not exclusively about the Patriotic War of 1812. The large, all-embracing his- torical display covered the period from the first confrontation of the two Emperors in 1805 to Na- poleon’s death on the island of St. Helena in 1821. The major battles (from Austerlitz to Leipzig), the history of diplomatic contacts between Russia and France and the fate of Europe after the Napo- leonic wars were reflected in over 500 exhibits displayed in the Field Marshals, Armorial and Picket Halls and the War Gallery in the Winter Palace. Victor Looga

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NOMADS ON THE road TO EMPIRE enamels and bone carving. The 17th century featured not only courtly festivities, but also military actions. Weapons, like many other items in that century, were decorated in accordance with the Hermitage • Kazan Centre, Kazan fashion, and some examples of armaments were included in the exhibition. 18.06.12 – 31.03.13 The 18th century, the heyday of French decorative art, was represented by two stylistic trends – The exhibition showcased 2,190 objects from the State Hermitage collection covering a period from Rococo and Neoclassicism. In the rooms devoted to the first half of the century were dresses “with the early 1st millennium BC to the formation of the Great Mongol Empire in the 13th century. Watteau pleats” that had been restored especially for the exhibition. The showcases contained jew- The material was arranged in a chronological order and divided into sections dealing with a variety ellery items of gold, silver, precious and semi-precious stones. Porcelain – a material that was new of nomad cultures in different European and Asian regions. to Europe – was represented by two services arranged on tables. Tapestries in the 18th century more The first section was dedicated to the culture of the Scyths and included materials from the earliest and more resembled woven pictures, while strict rhythmical patterns were used to decorate fabrics finds in Europe and Middle Asia to the Pazyryk monuments of the Altai and exhibits from Peter the and embroidered panels. Great’s Siberian collection. The furniture clearly demonstrated the characteristics of the two eighteenth-century styles – mas- The next section had discoveries of the Hunnic Noin-Ula barrow and Sarmatian objects. The most ters of the Rococo period deliberately endeavoured to conceal the construction of chests of drawers, interesting complex of this period consists of the decorations from the extremely rich Khokhlach armchairs and small tables, while in the second half of the century the decoration emphasised the barrow in the Lower Don. strict rectangular construction of secretaires, tables and chairs. The Migration period (middle of the 1st millennium AD) was represented by gold items crafted The Hermitage collection is considered to be one of the best in the world outside France. The stand- in a semi-chrome style, adorned weapons and harnesses which had made up the material culture ard of our collection was largely determined by the close relations that existed between Russia of the European Huns. During this period, Turkic tribes appeared on the historical arena of Asia. and France. The exhibition demonstrated all the variety of artistic production over a period of two The stone sculptures of warriors, weapons, belts, harnesses and other items of material culture that centuries. come from different places from Middle Asia showed the broad influence of Turkic culture over The exhibition in Vyborg was designed in an interesting way – the exhibits were arranged against a huge territory. the background of posters depicting rooms in French palaces. The detailed labels were accompanied The antiquities from the Khazar Khaganate from archaeological digs from Sarkel on the Lower by photographs of fragments of paintings and engravings that showed the purpose of the items and Don demonstrated the multi-faceted nature of the culture and a multi-ethnic population. The finds how they were used. included gold and silver jewellery, dishes, richly decorated weaponry from the tomb of the Bulgarian The exhibition was accompanied by a well-illustrated catalogue. Khan Kuvrat of the Dnieper. The two centuries of elegance – the 17th and 18th centuries – made France the country that set the At the turn of the 1st and 2nd millennia in the Tian Shan foothills the Kara-Khanid Khanate was tone for the development of fashion and for a long time it was the trendsetter of European taste. Visi- established. The expansion of Islam to Karakhanid society enabled the development of magnificent tors to the exhibition were able to verify the truth of that and to take a fresh look at the surrounding ornamentation in applied art. During the Middle Ages the southern Russian steppes were populated conditions. by nomads of varied ethnicity. One of the best examples of monumental art of this period displayed Tamara Rappe at the exposition is known as the Cuman Woman. The concluding section was dedicated to the Mongol Empire which united the huge territory of Eura- sia. Material from archaeological excavations of this state at Karakorum, and from other Mongol city centres, now studied within Russia were put on display for the first time at this exhibition. The “Nomads of Eurasia on the Road to Empire” exhibition was created to show the wealth and THE LAST RUSSIAN EMPEROR. The FAMILY AND COURT of NICHOLAS II diversity of nomadic culture during its development over a huge territory and to demonstrate the AT THE TURN OF THE 19TH – 20TH CENTURIES possibilities and significance of archaeology. The items that archaeologists extract from the ground are evidence of human existence and give us the opportunity to experience the enduring importance Hermitage • Vyborg Centre, Vyborg of the creative and constructive activities of the nomadic world, making an invaluable contribution 26.10.12 – 07.04.13 to global civilisation. The exhibition was organised as part of the celebrations for the 400th anniversary of the House Konstantin Chugunov of Romanov. It featured around 300 works of pictorial and applied art from the State Hermitage collection, many of which were being displayed for the first time. The exhibition’s four large sections traced the life of the last Russian autocrat – as the ruler of the largest country in the world, but also focusing on his relations with his family, other members of the House of Romanov and the court. TWO CENTURIES OF FRENCH ELEGANCE. The first section was devoted to events in the life of Grand Duke Nicholas Alexandrovich before his accession to the throne. A description of the wedding ceremony and coronation of Nicholas II and DECORATIVE ART of the 17TH and 18TH CENTURies Alexandra Fedorovna was accorded a special place in the display. All kinds of souvenirs were made FROM THE State HERMITAGE Museum COLLECTION for participants in the ceremonies: glasses, bowls, mugs and kerchiefs. The display featured, for the first time, kerchiefs depicting Their Imperial Majesties and state emblems made at the Prokhorovs- Hermitage • Vyborg Centre, Vyborg kaya, Tryokhgornaya and Danilovskaya factories. 10.04.12 – 14.10.12 The second section highlighted the relations between various generations of the House of Romanov This was the first time the collection of seventeenth- and eighteenth-century French decorative art – and the part played by religion in the life of the Imperial family. A special place was occupied by from Louis XIV to Louis XVI – had been shown in Vyborg. The exhibition included superb examples items of wardrobe of the Imperial children and toys, which served as an illustration of the family’s of furniture, tapestries, embroidery, silver, jewellery and ceramics. The exhibits gave an impression modest way of life. The icons on display in the exhibition, in particularly that of St. Seraphim of Sa- of the wealth and luxury of the French court at this peak of artistic production and demonstrated rov, demonstrated the importance of religion in the life of the last Emperor and his spouse. the main stages in the development of French applied art in the 17th and 18th centuries, which influ- Despite his attempts to stay out of the public eye, Nicholas II took part in diplomatic, military, court, enced the development of artistic crafts all over Europe, particularly in Russia. cultural, religious and other ceremonies, and that was the subject of the third section. The Russian The 17th century was represented by examples of furniture in the Boulle marquetry technique and Museum of Alexander III was founded in St. Petersburg in 1895 in memory of Nicholas II’s father. a magnificent ebony suite. Tapestries, embroidery, lace and ceramics helped to create the atmos- The event was immortalised by Karl Brozh, whose drawing was included in the exhibition. In 1903 phere of Versailles in the 17th century. Traditional French manufacture was illustrated by Limoges a costumed ball was held in the Winter Palace to which guests had to come dressed in masquerade

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costumes in style characteristic of Russia before Peter I. The Emperor and Empress, who appeared Over 90% of the masterpieces in the main Hermitage Impressionist collections, once collected by as Tsar Alexey Mikhailovich and Tsaritsa Maria Ilyinichna, aroused universal admiration. The 1903 Sergey Shchukin and Ivan Morozov, appeared all at once on the banks of the Amstel – nothing like masked ball was the best-known court festivity in Nicholas II’s reign and one of the few society it had ever been seen there. Monet’s Lady in the Garden and two of his Montgeron canvases, Renoir’s events attended by Empress Alexandra Fedorovna. Portrait of Jeanne Samary, Child with a Whip and Woman with a Fan, Pissarro’s Place du Theatre A particular highlight was a range of items that demonstrated the luxury and wealth of the Russian Francais, Cézanne’s Fruit and The Smoker, Gauguin’s Woman Holding a Fruit and many other out- court – dishes presented as gifts, elegant accessories and figurines of animals and insects made by standing works that are part of the most thoroughly compiled selection in world painting are desired Heinrich Wigstrom, a master at Carl Fabergé’s company, and by Ivan Britsyn and Johan Olsonius, by the most renowned museums. They now form part of a historical construction built to the glory famous jewellers at the turn of the 19th and 20th centuries. Some of the exhibits were acquired of Impressionism. by the Hermitage relatively recently and were being shown for the first time. The whole display of 80 paintings, sculptures and drawings began with the romantic masterpieces The fourth section of the exhibition was devoted to the tragic years of Nicholas II’s reign. This short of the Impressionists’ predecessors – Delacroix (Lion Hunt in Morocco), whose search for pure col- but extremely intensive period in Russian history included two wars and three revolutions and ended our can clearly be seen, and Corot with his delicate nuances in conveying a sense of light and air with a change of political regime, the downfall of the Romanov dynasty and the death of many of its in his landscapes. They were supported by canvases of the Barbizon school – Theodore Rousseau, members. The exhibition featured graphic art illustrating events in the Russian-Japanese War and Dupré, Daubigny and Diaz de la Peña, who painted French landscapes in a new and very observant the First World War, banners, and military uniforms worn by the Emperor and the heir to the throne way. This historical review was rounded off with canvases by Cézanne, Gauguin and Moret, in which Alexey Nikolayevich. the post-Impressionist phase is already noticeable. The exhibition concluded with photographs of the Imperial family’s private apartments, taken be- An unusual characteristic of the exhibition was that, along with paintings by the Impressionists and fore and after the storming of the Winter Palace in 1917. The chaos and disorder that reigned in the their Barbizon predecessors, it featured a wide selection of canvases by academists and stars of rooms of the Emperor and Empress after the storming and that are recorded in the photographs the Salon – Bouguereau, Gérôme, Roybet and Laurens – which contributed to its success and gave were a kind of symbol of the fall of the Empire, putting an end to the brilliant Imperial era in the a more objective impression of the French art scene in the second half of the 19th century. history of the Russian state. Irina Zakharova Albert Kostenevich

ALEXANDER THE GREAT. 2000 Years of TREASURES Impressionism: Sensation and Inspiration. Masterpieces from the State Hermitage Museum Australian Museum, Sydney 24.11.12 – 18.04.13 Hermitage • Amsterdam Centre, Amsterdam, Netherlands This exhibition, which opened in the Australian Museum on 24 November 2012, was the largest 16.06.12 – 27.01.13 Russian exhibition ever to be staged in Australia (it was held at the State Hermitage in 2007 and at This exhibition with a title full of commercial traveller’s spiel (the idea of the Dutch organisers) the Hermitage • Amsterdam Centre in 2010–2011). The opening was an event of exceptional impor- turned out to be really sensational – hardly surprising, then, that it attracted a record number of visi- tance in the cultural life of Australia: the concept of the exhibition and the history of its formation tors: 370,000. The display was planned from the beginning to last a long time, but it proved so popu- were featured extensively on national TV and radio, as well as in the press, and over 17,000 tickets lar that it was extended still further – from the middle of May 2012 to the end of January 2013. had been sold long before the opening. A conference held during the exhibition, devoted to the main ideas of the display, the individual exhibits and the problems of studying the age of Alexander the Great and Hellenism, was attended by world-renowned experts. The exhibition was devoted to Alexander the Great, his Eastern campaign and the subsequent influ- ence of Hellenism on world artistic culture. Visitors saw how the great civilisations – the Hellenic world, the ancient empires of the East and the world of nomads – met; how the process of Hellenisa- tion started wherever Alexander went – Greek art and architecture, the Greek language and way of life spread everywhere. The focus of attention was Alexander’s historic role in the destiny of Western Europe, Russia and the East, and Hellenism as a global process of interaction between civilisations and cultures. The first section of the display featured the myth of Alexander in New Age Western Europe. Visitors were then plunged into the atmosphere of the ancient world that nurtured the conqueror – into the art of classical Greece and Balkan culture. The main part of the exhibition was devoted to Alexander’s Eastern campaign – the sections followed his route, featuring works of art from Asia Minor, Egypt, Iran, Syria, Bactria and India. Among the masterpieces were depictions of Alexander on carved stones and coins, portraits of rulers and jewellery items. There were unique exhibits in the “Hel- lenised East” section – monuments from Middle Asia, Parthia and the Greek-Bactrian kingdom. The legacy of Alexander and Hellenism was the subject of the final section. It included monuments from Byzantium – the last Hellenistic state that founded the Christian world on an ancient base. In the 15th and 16th centuries Alexander, in the guise of Iskander, played a significant role in Per- sian literature. In the 18th and 19th centuries “The Alexander Story” became part of Russian cul- ture – of education, political thought, art and literature. Anna Trofimova

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JJ SOCIOLOGISTS ON EXHIBITIONS Almost a third of the respondents (30%) said that the exhibition was one of their priorities in visiting the museum; they all knew about the exhibition before their visit. Their main sources of information were word of mouth, the Internet and outdoor advertisements. About half of those questioned (53%) had specific motives for wishing to see the exhibition. There was a wide range of these motives, linked with the following areas of knowledge: – history (the Elizabethan age as a whole, Elizabeth’s decrees, an assessment of her reign, historical personalities of the time, Lomonosov’s life and his role in Russian history); VISITORS TO THE TEMPORARY EXHIBITION “MIKHAIL LOMONOSOV – art history (the artistic style of the age, the architecture of St. Petersburg in the 18th century, AND THE Time of Elizabeth I” portraits of statesmen, interiors and costumes, tableware, items of court life); – cultural studies (the way of life and the morals of the 18th century); This large exhibition, marking the 300th anniversary of the birth of the great Russian scholar-en- – personology (Empress Elizabeth’s personal belongings, Lomonosov’s way of life, Lomonosov cyclopaedist Mikhail Lomonosov, was set out in formal rooms in the Winter Palace – the Ante- as a scholar, poet and artist, his interests and everyday items); room, the Nicholas Hall and Concert Room. It included more than 700 exhibits from the collections – natural sciences (geodesy and cartography in the 18th century, Lomonosov’s scientific works, of the State Hermitage and other St. Petersburg museums, archives and libraries. The main aim the making of mosaics, glass and porcelain, Lomonosov and porcelain); of the exhibition was to recreate the spiritual atmosphere of the reign of Empress Elizabeth, when – aesthetics (aesthetic standards of the 18th century). Lomonosov’s genius was so vividly revealed. The exhibition as a whole was highly appreciated by visitors and received only positive ratings from The age was represented by portraits, documents, architectural models, painting and graphic art, the respondents – 80% of those questioned gave the exhibition the highest rating: decorative applied art, jewellery and costumes. As far as Lomonosov himself was concerned, the About a third of the respondents (30%) limited their description of their impressions of the ex- exhibition featured unique documents in several languages with his signature, his extensive archive, hibition to short emotional appreciative statements; the most common words used were “admi- poetry and prose compositions, models of his estate and of his chemical laboratory on Vasilievsky ration”, “delight”, “amazement”, “impressive”, “interesting”, “instructive”, “superb” and Island which has not survived, mosaic panels and panels of beads and bugles. “unforgettable”. The temporary exhibition was open for 94 days and no special ticket was required to visit it. It was 14% of the respondents expressed their pride and admiration for Russia during the reign of Empress seen by individual visitors and by those in groups, to whom guides showed the Hermitage’s formal Elizabeth: rooms and the exhibitions in them. A total of 350,000 people visited the exhibition. – I was struck by the achievements of that time (housewife, St. Petersburg, 44, higher technical A questionnaire was circulated among visitors to the exhibition on a random basis. The visitors education); were predominantly women – 77% of the total. The exhibition attracted primarily young people – I felt joy and pride of my country (St. Petersburg, male, 26, higher education in natural sciences, under 30 – 64%. Elderly people (aged 51 and over) accounted for 19% of the total and those emergency doctor); of a mature age (31–50) – 17%. Most visitors had a high level of education: half were graduates, – respect for our historic past (male architect, St. Petersburg, 62, higher artistic education). 40% had not completed their higher education, while those with secondary education accounted 10% of those questioned remarked that the exhibition superbly recreated the spiritual atmosphere for just 11%. of the Elizabethan age: The exhibition was visited primarily by active working people. Most of them were professionals in – I was pleasantly surprised by the atmosphere in the exhibition hall, which fully immersed me in the the fine art field, teachers at higher and secondary educational establishments, and engineering- time of Elizabeth’s reign (female student, St. Petersburg, 17, currently studying at the Pavlov State technical employees. A significant proportion of visitors were students in courses of higher educa- Medical University in St. Petersburg); tion and unemployed people (housewives and pensioners). – there was a sensation of a different age and a real idea of life in the 18th century (female student, Moscow, 18, uncompleted higher humanities education). Social Composition of Visitors to the Exhibition “Mikhail Lomonosov and the Time of Elizabeth I” 5% of the respondents noted the large number of exhibits, and the fine structure and design of the (% of the total completing questionnaires) exhibition: – an exhibition that gave an all-round impression of the Elizabethan age (female student, Chely- Students abinsk, 20, currently studying at Chelyabinsk State Medical Academy); Students in higher education 37 – the exhibition is structured very logically and organically, and reflects many areas in the life of that time (female guide at the Combined Artistic Historical-Architectural and Natural Landscape In Employment Museum-Reserve in Moscow, 20, higher humanities education); Artists, architects, designers, art experts 12 – an amazing blend of splendour and refinement (housewife, St. Petersburg, 37, higher economics Teachers in secondary and higher educational establishments 7 education); Engineering-technical employees 5 – an excellently designed temporary exhibition (male student of natural sciences at St. Petersburg Entrepreneurs, commercial employees 4 State University, 19). Accountants 3 One of the aims of this sociological research was to clarify whether people’s concept of Mikhail Lo- Managers 3 monosov had changed after visiting the exhibition, and if so, in what way. As it turned out, 15% of the Medical employees 3 respondents said that they had learned something new about Lomonosov. Visitors in this category Workers 2 obtained a more profound impression of Lomonosov’s personality, the versatility of his talents, his Researchers 2 areas of creativity, his way of life, the atmosphere that surrounded him, and his contemporaries. Lawyers 1 It should be noted that the subject of Mikhail Lomonosov in itself arouses great interest from the Financiers 1 general public: 70% of those questioned expressed a desire to know more details about Lomonosov’s life and work. Not in Employment Anatoly Roshchin Housewives 9 Pensioners 7

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SUCCESS OF THE EXHIBITION “SANTIAGO CALATRAVA. is, alas, not in favour of the latter”, “changing attitudes to contemporary architecture”, “seeing The Quest for MOVEMENT” that it is no inferior to classical architecture”. In the opinion of many respondents the exhibition was topical, since it touched on the pressing problem of the current state of architecture and construction in St. Petersburg and was an example of the kind of architecture that should be supported by the This first exhibition in Russia of the work of one of the world’s leading contemporary architects was authorities. The same visitors wanted architectural exhibitions in the Hermitage to continue. a great success. It was the most popular in the Hermitage 20/21 series of projects, attracting around The following data was further evidence that Santiago Calatrava has won recognition by the Russian 730,000 people. public as an outstanding contemporary architect. The question “Would you like to see this archi- Let us take a look at the characteristics of those who visited the exhibition. There were not only many tect’s buildings in your city?” was answered emphatically in the positive by the majority of respond- from outside the city (53%), but also a good number of St. Petersburg residents (47%), who are ents (86%). Those St. Petersburg residents who objected were more concerned with intrusion into usually less active in the “high” season. The most numerous age group (62%) was, as always, young the city’s historic centre. people under 30, predominantly students. The percentage of male visitors, who, as is well known, The research showed that the exhibition was successful, effective and important for St. Peters- are particularly selective in visiting exhibitions, was more substantial on this occasion (44%), most burg. It fully justified the expectations of professionals and the artistic intelligentsia, and also had of them working in engineering-technical occupations or in information technology. Special mention a strong influence on budding architects open to fresh, innovative ideas. The exhibition fulfilled its should be made of the number of professionals, mainly architects, who visited the exhibition (10%), aesthetic-educational function, giving a wide range of social strata impressions of what exemplary when for other exhibitions this indicator is usually in single figures. Other professionals included contemporary architecture is. The project turned out to be extremely successful. sculptors, artists and art historians. The total of specialists and students at higher art schools was as much as 22%. Irina Bogacheva The exhibition aroused a wide response in the city, judging by the fact that nearly every other re- spondent gave their source of information about it as advice from friends and acquaintances and the recommendations of colleagues. The overwhelming majority of those questioned (94%) gave the exhibition top marks. It appealed VISITORS’ response TO THE EXHIBITION “JAKE AND DINOS CHAPMAN. equally to professionals and ordinary visitors. Such a unanimous positive response to works by a con- THE END OF FUN” temporary artist is quite exceptional – on a par with the usual ratings for traditional, classical art. So why did visitors rate Santiago Calatrava’s work so highly? What was the cause of their feelings The research was conducted in the first section of the exhibition, the subject of the most virulent of admiration and aesthetic pleasure? attacks in some of the media and on the Internet. We can draw the following conclusions from the The aspects most commonly remarked upon were the versatility of his talent, his innovativeness, data collected: the freshness of his ideas, the fantasy, uniqueness and originality of his architecture with movement The reactions of visitors entirely contradicted the statements in the media. The exhibition drew as its unusual property, the beauty and technical perfection of his buildings, the accuracy of his a positive response from the majority of those who visited the exhibition and nobody made any pro- engineering calculations, the lightness, airiness and elegance of his constructions, the similarity to test. There had been similar reactions to the previous exhibitions in the General Staff Building: they nature, his solicitous attitude to the environment and the large scale of his designs. all passed peacefully, even “America Today. Charles Saatchi’s The professionals among those questioned added to these Calatrava’s impeccable taste, the imagery Choice”, which caused such a furore in the press. of his architecture, the link with tradition and, most tellingly, his enviable ability to bring his ideas It has to be said, of course, that such exhibitions are visited by to fruition and work without restrictions. people who are interested in contemporary art – not ordinary visi- The range of visitors’ artistic preferences was very wide, encompassing most of the works displayed. tors to the main museum or tourists who end up in the exhibition The most popular of them were Wave (mentioned by 27% of respondents, mainly young people), because it happens to be on their route and are inclined – un- The Cathedral of St. John the Theologian, The Quadracci Pavilion of the Milwaukee Museum of Art, like visitors with a special interest – to give it conflicting or even Fountain and Samuel Beckett Bridge. Along with these, the most common replies were “I liked negative ratings. everything”, “a lot”, “kinetic transformations”, “bridges” and “models”. The interactive displays In fact, the number of visitors to the contemporary art displays in produced a great impression on ordinary visitors. the General Staff Building is not great – normally no more than A question about the significance of the exhibition drew a lively response, with 84% of the most 10,000. In this case, on account of the scandal, there were twice varied replies. as many. Experienced architects, who, of course, knew and appreciated the work of their Spanish colleague, At first the exhibition was visited by those with an active interest most frequently spoke of the exhibition as “a professional event that should not be missed”, of the in contemporary art, sufficiently well-trained to accept this type opportunity “to have a fuller idea of Santiago Calatrava’s work”, “penetrate into his ‘kitchen’” of art and knowing what to expect from its radical forms. Ap- (meaning his sketches and drafts), and also of “the Hermitage’s competent display of contemporary proximately two thirds of the total number of visitors were young architecture”. Teachers at higher educational establishments remarked on the “not only the artistic, Opening of the exhibition people – students in higher education, budding specialists. Many but also the educational aspect of the exhibition”, “important for the new generation of St. Peters- “Jake and Dinos Chapman. of them had a professional attitude to art as students in art colleges, gallery employees, artists or art burg architects”. The End of Fun”. teachers. Some of them have their own blogs on the Internet where they discuss current events in the The exhibition was a kind of “master class” for students of architecture from St. Petersburg and oth- The Chapman Brothers art world. This part of the audience reacted to the Chapmans’ installations with characteristically er cities, who saw it as “a chance to get to know something new, to learn”, “to obtain a huge amount composed emotions and were able to reflect on what they had seen. of useful material for reflection”, “to peep into the creative laboratory of the master”, “to feel and When the scandal provoked by the exhibition gathered pace, people in the older age bracket assimilate new trends in contemporary art”. They characterised the exhibition as a source of infor- (50 to 80) began to visit it. They were not necessarily particular admirers or connoisseurs of contem- mation and a stimulus for creative development. porary art, but found it interesting. They remembered the underground exhibitions of years gone by. The topical nature of the exhibition for Russia and St. Petersburg was highlighted by both expe- These people have cultural baggage as regular visitors to the Hermitage, as well as other art mu- rienced architects and beginners; this interested section of the audience expressed the desire for seums and exhibitions, concerts and theatrical productions. They came to the Chapmans exhibition similar exhibitions to be held on a regular basis. not simply to see with their own eyes works that had been attacked by the critics, whose objectivity The replies of other visitors clearly referred to the educational significance of the exhibition. Here they doubted, but also to express their support for the Hermitage and its Director. Knowing of the are some of the comments: “It was an opportunity to see Calatrava’s fascinating and varied work”, exhibition’s anti-fascist content and having personally suffered during the Great Patriotic War, they “with the masterpieces of his architecture”, “with examples of engineering genius”, “understanding were deeply offended by the attacks on the museum and expressed their feelings in no ­uncertain what contemporary architecture is as an art”, “its possibilities”, “comparison with our architecture

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terms. Here are some of the reactions: “I was JJ PRESS on EXHIBITIONS simply shocked that anyone could rate the exhibi- tion negatively – my mother and her family had lived through the siege and my grandfather had been seriously wounded at the front. We must never forget what the fascists had done to us, to our city”; “here is the naked bestial essence of Carlo Gavazzeni Ricordi. Imaginary Theatres in Rome Carlo Crivelli’s best-known painting has come to St. Petersburg. fascism, all these crosses – excuse me, but that is The Hermitage staff have been waiting for this gift for several how the Romans had executed criminals – it was Carlo Gavazzeni has brought an “eternal treasure” to St. Peters- months, and not surprisingly: at the end of last year they sent Leon- not only Christ that was crucified, if you know burg – views and panoramas of Rome. Enigmatic and mysterious, on ardo Da Vinci’s Madonna Litta to the National Gallery in London. your history”; “When I heard about it, I rushed the cusp between dream and reality – that is how the city is present- Now the “token of gratitude” – The Annunciation with St. Emidius – here immediately, I am a regular here. I thought, ed in these photographs. The special effect is achieved by the tech- has reached St. Petersburg. Mikhail Borisovich (Piotrovsky) – Doctor of Art nique of overlaying one photograph on another. What is produced is Theory and History and a renowned Oriental spe- actually a fashionable 3D effect, and it is all done with an old cam- Maxim Syu, “The British Thank the Hermitage with cialist – he would never permit any rubbish to era and ordinary film. a Venetian Masterpiece”, Komsomolskaya Pravda, 18 February 2012 be shown here”; “all these speculations are just “The ‘Imaginary Theatres’ of Carlo Gavazzeni Ricordi black PR of our country for the whole of Europe, in St. Petersburg”, Rossiya K (Kultura), 3 February 2012 for the whole civilised world”; “I saw these things on TV, but if I had known that they had crucified At a stretch of the imagination, The Gates of Rome XXXII could eas- A Second Life. Coins and Medals in European a clown, I would not have paid any attention. ily be a fragment of the scenery for The Sleeping Beauty, an ancient Applied Art wall imprisoned by an invisible but almost palpable web, age-old ne- Personally I cannot see whether the protests are There is something in this exhibition of one of the temptations that about the clown or the fact that it has been cruci- glect and torpidity. Somewhere inside is life deprived of breath, and Flaubert dreamed up for his St. Anthony: a hermit finds a cup with Opening of the exhibition fied”; “It might shock only those who see it not above it all the frozen sounds of an orchestra... a coin on the bottom of it; the coin is lifted and another one mirac- “Jake and Dinos Chapman. as a work of art”; “it is simply an excuse to blacken the Hermitage and Piotrovsky”; “They want Svetlana Rukhlya, “Nostalgia for the Present”, ulously appears underneath it, a third... then all kinds of “staters, The End of Fun” a scandal”; “Now what those girls did in the Cathedral of Christ the Saviour really did shock people Novyie Izvestia, 16 February 2012 shekels, darics and andrianics” pour out of the cup. The point is and offend believers’ feelings, but this is an art museum, a different place entirely”; “You cannot tell that had the saint found a clay pot with the same coins, the effect me that Cossacks or devoutly religious people are really interested in modern art and go to exhibi- The artist’s original vision gives the gloomy architectural landscapes would have been less exciting. It is the same with this exhibition: tions like this. On whose behalf are they concerned?!” a sense of mystery: the desolate rooms are illuminated only by thin it is not difficult merely to show a couple of hundred coins and med- As the data obtained during interviews shows, both the younger and older generation rated the strips of daylight, and the peeling walls are covered with rough, in- als, but that would not be interesting without some kind of ges- exhibition “interesting” and “important”. The general impression it produced was characterised decipherable inscriptions and drawings. This mysterious world of ture on the part of the curator or designer. In this case the gesture, as “powerful”, “great” and “striking”. Roman culture, this world of light and shade lures the viewer to go it has to be admitted, is an original one: the exhibits are not sim- It has to be admitted that visitors experienced complex sensations and emotions in viewing the behind the ancient railings and step on the dry grass. ply fine numismatic pieces, but works of art made from these coins installations. On the one hand, they were struck and even carried away by “the gigantic volume Sabina Abdullayeva, “A Theatre of Fact and Fantasy (or medals). of the artists’ work” and how it had been done – “precision and attention to detail”, “the working- at the Hermitage”, Vesti newspaper, February 2012 out of each figure, each movement”. On the other hand, what they examined, as they themselves Sergey Khodnev, “Artistic Money”, Kommersant Weekend, admitted, “with curiosity” did not arouse particularly pleasant feelings. However, nobody said any- March 2012 thing about shock. Here are a few of the opinions: “I did not experience any extremely negative emotions, nor any rapturous delight or admiration”; “I could not say that I had pleasant feelings”; Carlo Crivelli. The Annunciation with St. Emidius from the National Gallery in London. From the “Masterpieces “I would not say that I was shocked, because none of it is life-size”; “perhaps it is tough, but how Surimono. Poetic Greeting else can fascism be judged?!”; “I do not think it was particularly repulsive, as the figures are like from the World’s Museums in the Hermitage” Series This exhibition of woodblock prints is essentially a monument to the toys”; “the scale of the figures relieves the sensation of horror”; “if the exhibition had been in the The latest exhibition of a single painting has opened in the Her- Winter Palace it probably would have been shocking, but not here”. museum’s restorers who have managed to bring back to life these mitage – a single masterpiece, to be more precise. This showing of unique examples of Japanese culture. These pages came to the Her- Almost all those questioned spoke of a definite “relieving” of sensations of horror, of repulsion, Crivelli’s work is an event not only because The Annunciation with i.e. actually of artistic perception. mitage in very poor condition – the silicate glue used to stick the St. Emidius is considered to be one of the artist’s most important prints to the mountings had turned into sharp crystals that were de- Apart from that, the replies showed that the artists’ concepts were fully comprehensible to visi- works. There actually are none of his paintings in Russian collec- tors (“the works relate to actual historical situations”; “it is about fascists devouring themselves”; stroying the paper. The restorers have performed a miracle, and now tions – only the Pushkin Museum of Fine Arts has a polyptych paint- visitors can see “Surimono” – that is the name of this type of Japa- “the inevitable retribution for an ideology, for crimes”; “the artists themselves completely reject ed by his brother Vittorio. what stands behind these characters”; “they have been able to convey the sense of horror at that nese prints, which features poetry as well as pictures. period in history, after which everything was different, and that is impossible to forget”; “the artists Alexey Mokrousov, “The Good News from Carlo Crivelli has Yelena Medvedeva, “Japanese Prints and understand what world they are living in and what mankind can expect”.). Reached Russia”, Izvestia, 22 February 2012 Roman Coins – New Exhibitions in the Hermitage”, Correspondingly, the challenge posed by the Chapmans’ works was seen by visitors as “a reminder You are quite likely to meet ufologists in the Hermitage today. Those Radio Rossiya, 6 March 2012 to people, a warning, and that is very important”; “so that people do not forget how many lives a war who love searching for truth that is close at hand have been inter- costs, so that they do not repeat historical mistakes that can lead to apocalypse”; “so that we think The exhibition “Surimono. Poetic Greeting” is not great in size, but ested in a painting by the Venetian artist Carlo Crivelli for several is still an outstanding event. It features only sixteen works – part of about what is going on in the world, that there are problems that we must not hide away from”; “how centuries. They have identified an object that looks like a UFO on we actually perceive cruelty, whether we have become accustomed to it”. a collection of ancient Japanese prints acquired by the Hermitage The Annunciation with St. Emidius. And this work has been brought in the 1980s. The 36 coloured woodblock prints were not in the best All those questioned were in favour of similar exhibitions being held in the General Staff Building. to St. Petersburg, though not for long – until May – and in exchange They intend to visit such exhibitions and discuss them with their friends and fellow art lovers. condition and the whole collection had to be restored. As the spe- for Da Vinci’s Madonna Litta, which is equally valuable. cialists say, “the prints had been stuck to poor-quality paper with Irina Bogacheva Pavel Ryzhkov, “Ufologists have Identified a UFO in Crivelli’s silicate glue, were damaged and had stains on them”. The work Masterpiece”, NTV, St. Petersburg, 14 February 2012 took almost three years and the results of the Hermitage restorers’ 78 79 EXHIBITIONS EXHIBITIONS

the delicate beauty that sometimes shines through even in texts that ture has been shown in such a large-scale and spectacular way rejects any top-class contemporary architecture, so will not pass are not at all intended to be admired. And, of course, it is about that in St. Petersburg. without leaving a trace behind. wonderful time when the market for antiquities was quite different As a rule, architectural exhibitions are unbearably boring: endless Kira Dolinina, “Intercostal Architecture”, and a striking collection could be amassed not by an oil baron or an stands with photographs, abstruse blueprints and tedious explana- Kommersant, 3 July 2012 arms manufacturer, but by an expert in palaeography. tions. There is none of that here, for which we should be grateful Sergey Khodnev, “A Museum Document Presentation”, to the curators. At the opening visitors were already enthusiasti- Kommersant Weekend, 20 April 2012 cally photographing each other against the background of the nu- merous intricate objects. The public were obviously delighted and 848. The Collection of Georges Matcheret intoxicated by the kinetic models, abstract sculptures and elegant and Nadia Wolkonsky ­watercolours. Degas. Place de la Concorde. From the “Restored The display in the foyer of the Hermitage Theatre features 200 enve- Masterpieces” Series Ilya Arkhipenko, “Architecture of Inconstancy”, lopes painted by Russian underground artists in the final third of the Stengazeta, 6 July 2012 20th century. The names of widely recognised artists mingle easily The Hermitage is showing Edgar Degas’s Place de la Concorde with those of their more modest colleagues, forming a cross-section in its “Restored Masterpieces” series. This masterpiece by one of At the opening of the exhibition by the Spanish architect Santiago the most prominent French Impressionists, which has been called of “the second Russian avant-garde” – a phenomenon that exist- Calatrava, one of today’s most celebrated architects, in the Nicho- the most “enigmatic” and the most “Parisian” of his works, has ed in a particularly closed space and extended substantially further las Hall of the Winter Palace your correspondent suddenly recalled been restored and, as researchers confirm, is now as close as possi- than an exclusively artistic context. the well-known paradox – crooked female legs, though not recog- ble to the condition it was in nearly 150 years ago just after Degas Svetlana Rukhlya, “Messages to the Future”, nised as the official ideal of beauty, excite men much more than the had painted it. perfect legs of models and ballerinas... And here they are – crooked Novyie Izvestia, 10 July 2012 Svetlana Rukhlya, “The Revival of Place de la Concorde”, beauties, in all their glory – in the Hermitage exhibition: 150 de- The exhibition that opened in the Hermitage on 29 June is not only Novyie Izvestia, 23 May 2012 signs, sculptures, drawings and models selected for the museum by outstanding evidence of a whole age of contemporary art from It is difficult to call this event an exhibition in the direct sense of the Senor Calatrava himself... 1980 to 2000, but also a reminder of how pleasant it was some- word: the painting has been installed in the place where it will hang Calatrava’s exhibition – all these sculptures and designs of mov- times to receive letters in ordinary envelopes. These works cannot ing, revolving and turning buildings and bridges – on the one hand, for quite a long time – until it moves to its new home in the Gener- be described as traditional mail-art, as none of the envelopes was blends into the interior of the majestic Nicholas Hall and, on the oth- al Staff Building along with its neighbours in the Impressionist and used for its original purpose and never reached a letter-box. They er hand, has completely transformed its pompous, haughty Imperial Post-Impressionist rooms. However, there can be no doubting the cannot even be described as traditional art, but the power of the luxury, filling it with air, light and a playful spirit. significance of this event: the canvas has been cleaned, made light- works and the impression that remains from seeing the collection er, brighter and even a few centimetres larger. The restorers bent Zinaida Arsenyeva, “Santiago Calatrava would Like are colossal! back the lower strip of the canvas that was concealed underneath to Build a Bridge across the Neva”, Vecherny Peterburg, the stretcher, and this has had a substantial effect on its present for- 5 July 2012 Eva Istr, “Letters from Underground Soviet Artists mat… The main message of this “exhibition” is that the painting to Contemporaries”, Gallerix, 30 June 2012 was and still is one of the principal adornments of the Hermitage The exhibition by the well-known contemporary architect Santia- At the exhibition “‘In Written Words Alone…’. On the 150th Anniversary collection. And nobody can argue with that. go Calatrava is being shown in the Nicholas Hall, the largest room of the Birth of Nikolay Petrovich Likhachev” Tylos. The Journey beyond Life. Kira Dolinina, “The Viscount Strolls in Any Weather”, in the Winter Palace. The room is quite an ordeal for artists and Kommersant, 23 May 2012 works of art. On several occasions it has brought recognised and Rituals and Funerary Traditions in Bahrain. distinguished artists down to size, but it has acknowledged and ac- 1st Century BC – 3rd Century AD labours can now be seen in Room 374 in the Winter Palace, next cepted Calatrava. After all, the Hermitage is itself the creation The Hermitage exhibition, according to the concept of the French to the ­Oriental collections and the art of the Impressionists. This of great architects and contains a remarkable collection of archi- Santiago Calatrava. The Quest for Movement designer Didier Blin, should give visitors the sensation that they are proximity may look like a coincidence, but Van Gogh and the French tectural graphic art by seventeenth- to nineteenth-century foreign entering a tomb. The somewhat terrifying sight of the wooden sar- Impressionists loved Japanese prints, collected them and sometimes This exhibition is worth seeing not only on account of the great Cala- artists.­ cophagus, clay burial vessels and life-size photographic images of reproduced them on their own canvases. trava, but also to see how an art exhibition can be made from a dis- The exhibition has turned out to be beautiful, exquisite (white on a grave in the middle of the room gives way to interested contempla- Alexey Mokrousov, “The Hermitage is Showing Rare play of architecture and how fresh a view of a generally acknowl- white), fascinating and instructive from the point of view of broad- Japanese Prints”, Izvestia, 6 August 2012 edged idol can be. ening architectural horizons. tion of the treasures placed in the burial. What do we expect of an architectural exhibition? Blueprints, Liudmila Leusskaya, “Calatrava’s Serious Toys”, Yekaterina Kalinina, “Archaeological Monuments of Ancient Tylos models and designs. But here those are the last things you notice. from the Bahrain National Museum are on Display in the State The curators (Christina Carrillo de Albornos on the Spanish side St. Petersburg Vedomosti, 3 July 2012 “In Written Words Alone...”. On the 150th Anniversary Hermitage”, ITAR-TASS, Moscow, 2 July 2012 and Ksenia Malich on the Hermitage side) have shown Calatra- of the Birth of Nikolay Petrovich Likhachev va as an artist. The main part of the display (not in quantity but However, all these knobs and attractions do not at all mean that As you go into the exhibition, it is as if you were entering an ancient “In Written Words Alone...” is, of course, a quote from Bunin, who in importance) is devoted to his sculptures, drawings and art ob- the exhibition is frivolous. On the contrary, it is one of the most well necropolis. This illusion is reinforced by various video-technical ef- contrasted the solemn sound of writings with silent “tombs, mum- jects. They are shown not as preliminary studies or as the architect’s thought-out exhibitions at the Hermitage in recent times. The nor- fects from the impressive exhibits – the wooden sarcophagus and mally gloomy, huge Nicholas Hall appears to be full of air. Ca- mies and bones”. In principle, it has suited science to ridicule this sideline or hobby, but as an integral part of the aesthetic developed ceramic vessels – the burial places of small children. The gold, sil- latrava’s light constructions, his abstract sculptures, oval shapes lofty contrast – following proper examination, mummies and bones by him. ver and bronze adornments, the items made of ivory and ceramics, are now actually very eloquent and completely honest to boot. As for in the arches and classical figures on enormous sheets of paper Anna Matveyeva, “Santiago Calatrava. the weapons, coins and food and the original steles all help modern paper – well, as Tynyanov wrote, “there are formal documents, and form an entirely individual space within the formal palace interi- The Quest for Movement”, ARTkhronika, No. 4, 2012 people to understand how the residents of Tylos lived and what they they tell lies, just like people do”. However, the exhibition does not or. If the Hermitage continues this series of retrospectives of fa- believed in. challenge us to take on trust all these myriad lines in living and dead The Hermitage is staging an exhibition by the outstanding Span- mous architects, as it has promised to do, then the tone has truly languages. It is about something quite different: man’s feeling for ish architect Santiago Calatrava entitled “The Quest for Move- been set. If, on the other hand, Calatrava remains the only star to Eva Istr, “Burial Rites of Bahrain”, Gallerix, the past, which comes out in these carved, printed or written lines, ment”. It is the first time the work of a living star of architec- come here, it is nevertheless a lesson for the city, which essentially 5 July 2012 80 81 EXHIBITIONS EXHIBITIONS

Enrique Selaya. The Tower of Snow Medals of Dishonour The exhibition “Architectural Library: Architectural Drawings The Hermitage in St. Petersburg is gradually becoming also a muse- This exhibition was conceived in the British Museum, and this is from the State Hermitage um of contemporary art. A five-metre sculpture by the Cuban-born noticeable – one probably has to have an English sense of humour and Sergey Tchoban’s Collection” American artist Enrique Selaya can be seen in the Great Courtyard to come up with such an elegant theme from the peripheral field of of the Winter Palace. The bronze boy on crutches carrying a house medal art. The point is that the theme has been stood on its head – on his back is an allegory of man’s search for his place in the world. whereas medals are usually a celebration of some event or person- Selaya was eight when his family was forced to leave Cuba: since age, the objects in this exhibition show the “reverse side” of history, then the artist’s concern for the loss of his native land is evident moments of individual or collective disgrace and dishonour. in almost all his works. Incidentally, the French word “ermitage” Kira Dolinina, “Awarded with Contempt”, means a “refuge”. Kommersant, 11 October 2012 “Cuba is Nearby”, Vogue, August 2012

The Wild Swans. Découpages and Costumes Designed The Book as Art. Twenty Years of the Rare Books by Her Majesty Queen Margrethe II of Denmark for the Film of St. Petersburg Publishing House Adaptation of Hans Christian Andersen’s Fairy Tale The St. Petersburg publishing house which issues books with a circu- The art of découpage is individual, fragile and refined. The Dan- lation of no more than 25 has put its folios on display in the Hermit- ish writer’s fairy tale, familiar to most people from childhood, age – fairy tales, historical treatises and ancient plays in a unique is a triumph of good over evil, a manifesto of love and virtue. Their design. Books which every schoolchild would dream of having in his “confluence” forms in an exhibition space a little corner of life the theme is made up. Sometimes the theme works on contrasts. sleeves. Nobody is fighting with anyone else. The fascists are fight- or her library are now on show in the Hermitage. The exhibition divorced from the real world – supernatural and extremely dec- And the crowning glory of the whole display (topographically ev- ing among themselves. marks the publishing house’s anniversary: all the most fascinating orative. And it helps viewers to immerse themselves in the other­ erything starts from it) is the famous panorama of St. Petersburg books published in the last twenty years have been put on display. Victor Mazin, “The Chapmans’ Hell in the Hermitage”, world. by Mikhail Makhayev (1749–1750). Until now we have known it Each exhibit is a genuine work of art created with the use of unique Expert Online, 19 November 2012 Svetlana Rukhlya, “A Strange Universe”, only from the numerous prints used to check the canonical pan- materials. Novyie Izvestia, 29 October 2012 orama of the Neva with its perfect skyline. In Tchoban’s collection There is no denying the boldness of the Hermitage. The Chapman Pavel Ryzhkov, “The Old Curiosity Shop: Ancient Literature Makhayev’s panorama is presented in the form of a preliminary Brothers’ work has already been seen in Moscow, where it was ‘Dressed’ in Ceramics and Carrara Marble”, NTV, drawing, and one can imagine the surprise of specialists when they displayed in private galleries. For a museum of classical art with St. Petersburg, 11 September 2012 Marc Chagall and the Livre d’artiste. Selected Prints see the noticeable differences from what appeared to be unshake- a worldwide reputation to take such a step was not an easy decision, able fact. though the Hermitage curators have taken precautions: they have A point of interest is that among the numerous fabulous imag- selected by far not the most provocative works of the scandalous Kira Dolinina, “Construction Pages”, Kommersant, Russian Lithographic Portrait of the 19th Century es created by the artist the exhibition also features his own image. brothers, who are renowned for their “horrors”. His book “The Circus” resurrected in the artist’s memory reminis- 19 October 2012 Zinaida Arsenieva, Boris Oskin, “Mikhail Piotrovsky: For the first time the Hermitage is showing 150 lithographic cences of his childhood in Vitebsk. And the sad clown making people In Fact This Fun will Never End”, Vecherny Peterburg, portraits from its collection. The exhibition’s organisers have laid smile is the artist’s alter ego. 22 October 2012 special emphasis on the art of lithography in Russia, but visitors will Jake and Dinos Chapman. The End of Fun be much more interested in the subjects of the portraits. There are Anna Tsiopa, “Chagall Appears as a Sad Clown”, certainly people who are worth a closer look: all the high society of Nevskoye Vremya, 16 October 2012 In fact, showing the Chapman Brothers Disasters of War series in the last two centuries, including the extended Imperial family, top In the opinion of the exhibition’s curator Mikhail Balan, Cha- a city that knows all the horror of war, and not by hearsay, is quite “There is No One to Help them”. military officers, writers and composers. Also included, of course, gall cannot and should not be reduced to a common denominator. logical. Whereas the nightmare of war and the blockade has been Tragedy in the Graphic Works of Francisco Goya is Pushkin – calm and even handsome. He is too diverse. The only thing he was never inclined to occupy blunted by a surplus of non-locals in the population, it is fast being The opening of the new rooms in the General Staff Building would himself with was the decoration of a page. The link between his “il- revived. The revulsion caused by the compositions of plastic fascists Yelena Druzhinina, “What Handsome Faces, and How Long Ago have been a boring event had it not been for the Goya exhibition. lustrations” and the text, though frequently entirely paradoxical, enjoying cannibalism and self-destruction is psychologically fully it Was”, Intellectualny Kapital, 22 September 2012 It includes many works from the famous Los Caprichos (Caprices) is always justified for a host of reasons. For Chagall, one of the most compatible with feelings of hatred for fascism. series – uncompromising virtuoso drawings, a tradition of qual- recognisable twentieth-century artists who never deviated from his Maria Roshchina, “Fascinated by Horror”, ity long forgotten by our contemporary artists. The display fea- style, each such book was a challenge. For today’s viewers it is an Paula Modersohn-Becker and Worpswede Artists. Vash Dosug, 15–28 October 2012 tures instruments of torture, a mask for liquid torture, clamps for amazing discovery of how somebody else’s text can be dealt with Drawings and Prints. 1895–1906 the fingers and a mask for torture by starvation with surprising- on an equal footing. The visitor contemplating this mini-hell in the Hermitage moves ly attractive sticking-out ears. This room is always full of interest- Paula Modersohn-Becker has gone down in history as an outstand- from one glass showcase to another. There are nine of them, like Kira Dolinina, “Living Souls”, Kommersant, ing Expressionist artist who revealed the potential of primitivism ed visitors. 16 October 2012 Dante’s circles of hell, but if you were to do the impossible and hov- and whose value was appreciated on the Paris art scene. The Her- er above the showcases, you would see that they form a swastika. Stanislav Savitsky, “Toy Fascists”, Delovoy Peterburg, mitage exhibition features her drawings, engravings and etch- But the swastika cannot be seen! The visitors are on one side of 26 October 2012 ings – country landscapes and scenes from peasant life. It is a pity the glass, but their gaze is beyond the glass. They peer at the ter- Architectural Library: Architectural Drawings that we shall not see her celebrated series of self-portraits in which rifying scenes of the fascist inferno, walk around them, then step “An Artist of All Schools”. the artist appears in the nude. Those works stuck in the memory from the State Hermitage and Sergey Tchoban’s Collection back from the glass and take in the panorama. Nothing but fas- Christian Wilhelm Ernst Dietrich (1712–1774) of her contemporaries and subsequently became cult symbols for This “library”, somewhat Borges-like in its heterogeneity and de- cists! Even the soil is not simply impregnated with fascists – the soil feminists.­ gree of surrealism, is arranged in pairs. Sometimes the pairs are is fascists. Nobody but fascists. Fascists going who knows where, It is symbolic that this exhibition is a sort of preparation for the Stanislav Savitsky, “Communism, Feminism obvious: two sheets by the same architect from the two collections. fascists’ heads on stakes, shark-fascists with swastikas on their 250th anniversary of Russia’s principal museum of European art. and the Third Reich”, Delovoy Peterburg, 19 October 2012 Sometimes they are paired by closeness of themes. Sometimes fins, semi-decayed fascists, fascist goats with swastikas on their If one were to collect Dietrich’s vast legacy (around 2,000 paintings 82 83 EXHIBITIONS EXHIBITIONS in various museums and private collections in Europe) and display Antique Style in Russian Imperial Porcelain in the Second Toy Soldiers in the Hermitage. On the 200th Anniversary The Last Russian Emperor. The Family and Court them all in one palace, you would have a reduced version of the art Half of the 18th Century. From the “Christmas Gift” Series of the Patriotic War of 1812 of Nicholas II at the Turn of the 19th – 20th Centuries of old European masters from late Renaissance and Baroque to Ro- Tin soldiers are of special significance for the Hermitage. Its col- coco and Academism. It is also symbolic that Dietrich’s landscapes The exhibition of remarkable pieces of Russian porcelain is com- The new display reveals all the variety of the collections possessed by lection of military-historical miniatures includes the collection of were among the first purchases of the Berlin merchant Johann Gotz- plemented by genuine ancient artefacts (sculpture, ceramics and the state museum. Despite the fact that exhibitions devoted to var- the celebrated Lev Rakov, the Hermitage employee who found- kowsky, beginning the picture gallery in the Hermitage in 1764. Di- carved stones) and by European Neoclassical works (graphic art ious periods of history and culture have been staged at the Vyborg ed the Museum of the Defence and Blockade of Leningrad. From etrich’s genre scenes in the style of the “Small Dutch Masters” were and porcelain). This material at one time provided the inspiration branch, this display is important in that it tells the story of one of 1938 there was a permanent exhibition in the Hermitage entitled purchased by Catherine II in 1769 as part of the collection of the for Russian antique-style porcelain. the most tragic periods in Russian history. “The exhibition vividly “The Military History of the Russian People”, initiated and creat- Saxon minister Heinrich von Brühl. Continuity in the use of ancient heritage is also demonstrated by the reflects the course of history and the lesson in life that Russia under- original work of today’s porcelain masters. New designs under the ed by Rakov. His miniature army now forms the basis of the new went”, said Georgy Vilinbakhov, Deputy Director of the Hermitage Sergey Khachaturov, “The Imitator”, ARTkhronika, umbrella theme “Antiquity in porcelain” were selected especially display. and State Herald-Master of Russia. 18 December 2012 for this display. Zinaida Arsenieva, “Tin Soldiers – A Staunch People”, “The New Exhibition in the Hermitage • Vyborg Centre The Hermitage is staging an exhibition of works by the German art- Yelena Druzhinina, “Porcelain in the Antique Style”, Vecherny Peterburg, 25 December 2012 has been Presented to a Delegation from Finland”, ist Christian Dietrich, who never painted an original picture, but Intellektualny Kapital, 21 December 2012 BaltInfo, 26 October 2012 However, for visitors the most attractive part of the exhibition copied canvases in the Dresden Gallery. was what they literally wanted to touch. Behind the glass of the In the late 1990s Stefan Breitwieser, probably the most famous art showcases are figures of Russian and French soldiers, composi- thief, explained that it was the German artist Christian Ernst Diet- “The Thunder of 1812...”. The Patriotic War of 1812 tions featuring several regiments and dashing cavalry. Part of the HERMITAGE • KAZAN CENTRE rich who inspired him to steal paintings. The Saxon painter’s first in the Hermitage Collections collection was brought to the Hermitage by an ordinary Lenin- monographic exhibition in Russia is being staged by the Hermitage Nomads of Eurasia on the Road to Empire grad builder, who discovered a box with nineteenth-century boys’ to mark the 300th anniversary of his birth. The centrepiece of the narrative is the battle paintings of Peter von amusements in the stove of an old house on the Petrograd Side af- Hess depicting the major battles of 1812. They were commissioned From the Scythians to Genghis Khan. The visitor’s route begins in the Violetta Ryabko, “A Brazen Imitator and Inspirer ter another war – the Great Patriotic War. The find supplemented Ural steppes and ends in Karakorum, the first capital of the Mongol by Nicholas I for the Winter Palace. They are surrounded by works of Art Thieves”, Deutsche Welle, 20 February 2013 the Hermitage collection of tin soldiers, one of the richest in Rus- Empire. The vast display “Nomads of Eurasia on the Road to Em- of fine and applied art, including drawings and prints made by par- sia. These three-centimetre men are capable of influencing the pire” has opened in Kazan. Over 2,000 exhibits from the State Her- ticipants in the events of 1812. Of special interest to visitors are the public no less than huge battle paintings. After all, in history there mitage collection describe the culture of the nomadic tribes of the fighting and trophy banners, medals, orders, cold steel weapons DAYS OF THE HERMITAGE – 2012 are no small details. Eurasian continent – from the beginning of the 1st millennium to the and firearms. These are not merely relics of an age: the uniforms A Sentimental Journey: Wedgwood in Russia 13th century. This great, enigmatic civilisation of travellers, having bear the signatures of the officers and soldiers who wore them, the “The Hermitage is Staging Three Exhibitions to Mark no written language, left their descendants their own chronicle of It was not by chance that this exhibition was entitled “A Sentimen- weapons saw enemies’ blood and the banners are impregnated with the Victory in the War of 1812”, Rossiya K (Kultura), objects, and each item here is unique. Moreover, many of them are tal Journey”. As the Hermitage General Director Mikhail Piotro- the smoke of battle. 26 December 2012 being shown for the first time. vsky explained, Britons and Russians have always had a sentimen- Liudmila Leusskaya, “A Landmark Year”, “Nomads of Eurasia on the Road to Empire: tal attitude to each other, even though the countries may have often St. Petersburg Vedomosti, 26 December 2012 been at loggerheads politically. HERMITAGE • VYBORG CENTRE, VYBORG from the Scythians to Genghis Khan”, Rossiya K (Kultura), But how delightful this 200-year-old Wedgwood porcelain is! What The exhibition features some fascinating material. On the whole, the 19 June 2012 sweet paintings, what a charming frog – the Wedgwood symbol for selection of exhibits and the way they are shown create the impres- Two Centuries of French Elegance. Decorative Art Catherine II’s service. You look at them, sigh, then go about your sion that the events of those heroic years are thought of today as of the 17th and 18th Centuries from the State Hermitage business, but something remains within you... mythological, allegorical, archaeological... The exhibition about the Museum Collection HERMITAGE • AMSTERDAM CENTRE, AMSTERDAM, Yelena Druzhinina, “An English Lesson”, thunderstorm continues the theme of an allegorical and symbolic NETHERLANDS triumph. Peter von Hess’s battle paintings, commissioned by Nich- Starting today Vyborg residents can immerse themselves in the mys- Intellektualny Kapital, 8 December 2012 terious atmosphere of seventeenth-century Paris and peep into the olas I, depict all the principal battles of the campaign. There are Impressionism: Sensation and Inspiration. Masterpieces couloirs of Versailles. The display in the Hermitage • Vyborg Cen- lots of orders, uniforms and medals. The enemy banners are thrown from the State Hermitage Museum tre features art from the reigns of Louis XIV and Louis XVI... What down in the rooms like the German banners by the Kremlin wall. DAYS OF THE HERMITAGE – 2012 is notable is that the exhibits on display in Vyborg cannot be seen in The contrast between the Impressionists and adherents of classical A Treasury of Books. 250 Years of the Hermitage Library Sergey Khachaturov, “A Minted Celebration”, the Hermitage, as the collection on display is kept in the museum’s and Neoclassical painting makes it possible to sense the revolution- Neskuchny Sad, 4 February 2013 reserves, so aesthetes from the Northern Palmyra will have to travel ary character of the then new trend. The display is structured so as The full code of laws of the Russian Empire, Catherine the Great’s to Vyborg to see these fine examples. to include not only the work of the Impressionists’ predecessors, but favourite albums and a valuable book with Voltaire’s autograph. also that of those that followed them, such as Paul Gauguin and Paul The Hermitage librarians are continuing the scholarly traditions “Paris is to be Shown in Vyborg”, Online 47, 10 April 2012 “United we shall be, as one!..” The Patriotic War of 1812 Cézanne. According to the Hermitage General Director Mikhail Pi- of their Imperial predecessors. The State Hermitage is preparing in the Medals of Alexey Olenin and his Contemporaries The unusual presentation of material in “Two Centuries of French otrovsky, “This exhibition is truly revolutionary art”. to celebrate the 250th anniversary of its library. Tomorrow visitors Elegance” is not typical of the Hermitage. There are a large number Maria Fyodorova, “An Exhibition of Impressionists to the museum can see a wonderful collection of book treasures. The formation of the heraldic image of the victory over Napoleon of fragments of pictures demonstrating the functional significance The exhibits include valuable folios from the collections of Emper- is featured in the Rotunda of the Winter Palace. The title of the ex- from the State Hermitage Collection has Opened of the exhibits. The graphic images explain what these luxury items in Amsterdam”, ITAR-TASS, 16 June 2012 ors and Empresses, which are being shown to the general public for hibition is a line from the reverse side of an anniversary commemo- were made of, how they were made and how they were used. For in- the first time. rative medal... stance, few people today know that the watches on chatelaines that Pavel Ryzhkov, “Art Historians from the Imperial Library The exhibition is the first time that Olenin’s work has been shown were popular in the 18th century were attached to the belt. in an historical context: the medals are surrounded by works by Fy- are Showing Luxurious Folios from the Past”, NTV, Liudmila Leusskaya, “Luxury Fit for a King”, odor Tolstoy, Ivan Shilov, Karl Leberecht and even Empress Maria St. Petersburg, 6 December 2012 St. Petersburg Vedomosti, 23 April 2012 Fedorovna, the widow of Paul I. Alexey Zakhartsev, “Hermitage Director Mikhail Piotrovsky: ‘Our museum’s mission is to tell the story of the state and military history of Russia’”, File-RF, 27 December 2012 84 85 restoration and conservation Restoration and Conservation

In 2012, the Department of ScientificR estoration LABORATORY FOR SCIENTIFIC RESTORATION and Conservation (headed by Tatiana Baranova) OF EASEL PAINTING restored 4,332 cultural and artistic objects Headed by V. Korobov

Including: hugo van der goes (1435/1440–1482) triptych The adoration of the magi easel paintings 427 15th century Oil on canvas, transferred from board. 96 × 77 cm (central part); tempera paintings 27 96 × 32 cm (side panels) Restored by V. Brovkin murals 50 Oriental paintings 16 The restoration of the triptych started in May 2008 with a com- plex examination of the work: X-ray, infrared and ultraviolet graphic works, mounted and assembled works, scanning, analysis of pigments and the varnish layer. These in- books, book bindings and documents 887 vestigations revealed the presence of restorative inpaintings and corrective additions made in the course of previous restoration at- sculptures, objects of applied arts and objects tempts. The alien repainted pigment layers obscured about 50% of the original painting, while the yellowed layers of varnish and made of semi-precious stones 56 grime had altered the colour considerably, making grey and brown objects of applied art made of decorative the prevalent tone. As early as 1908, Max Friedlӓnder, a scholar of Dutch painting, and “new” metal, stained glass panels, noted that “the dull tones of the whole painting and the insuffi- ceramics 2,304 cient clarity of many details, especially on the sides, are deplor- able and prevent the altar from appearing before us with its first- objects of applied art made of organic materials 199 class freshness, precision and artistic power. The poor state of the textiles 134 painting seems to be the main reason for the undeserved atten- tion it has so far received from the critics”. The painting has been timepieces and musical mechanisms 10 cleared of later overpainting layers. This was the most challeng- ing and demanding part of the work, and it was completed under objects made of precious metals 80 a microscope. The clearing was made even more difficult by the fact that there were extensive areas of petrified restorative mastic chandeliers 33 Hugo Van der Goes. The Adoration of the Magi. After restoration furniture pieces 60 applications under the overpainting layers, which overlay both the photos and photographic materials 49 small areas of loss and sections of the original painting. Many elements of the design were uncovered during the clearing. After the thick layer of overpainting was removed, grass and flow- ers were revealed growing in the cracks between the stones, and the texture of the stone revealed many shades of colour. It was even possible to see the artist’s fingerprints in the glaze coat; it is possible that the master applied his fingers to the fresh paint to achieve an effect he could not get with a brush. The carpen- ter’s tools standing near the wall were more clearly outlined, and the object that had looked like a stick turned out to be a saw. Be- fore restoration, it had been impossible to understand the origin of a green reflection on the soldier’s metal breastplate. It turned out to be a reflection of bright green sleeves which had been over- painted in dark brown. The background sections of the triptych showing earth, grass, and the pedestal, had been painted over. On the central panel, the light grey earth floor strewn with ears of corn and straw had been painted dark brown, with horizontal wooden planks painted over it. As a result, the painting appeared simplistic and lacked the numerous details hidden under the new coats of paint. The pre- vious restorers had altered the folds of the garments in some places, while the many inpaintings had altered the original col- our scheme. In the circumcision scene, the originally bright green Before restoration. Detail After restoration. Detail vestments of the priests had been painted an ungainly dark colour, 86 87 Restoration and Conservation Restoration and Conservation

and the folds of the clothing had been changed. Each restoration (there were four documented ones) added new alterations to the original painting. The numerous overpainting areas did not merely cover the areas of loss but extended far over the original painting, changing its colour and tone and making the painting appear dark and monochrome. Moreover, the thick layer of old yellow varnish had become opaque and deteriorated into whitish spots, and in places it was like a shagreen skin. The lost areas of the painting were toned starting from 2012 using Maimeri Restauro varnish colours. The abrasions and the more obvious cracks and craquelure were also toned. The most damaged areas of the original painting in the lower part of the central panel (the clothing of the kneeling Melchior, the hat, the cup and the wooden stand, were reconstructed in the original manner on the basis of the surviving particles of paint. The lacuna on the face of the Wise Man has also been filled in. The young Ethiopian Balthazar’s left leg and the lower rim of his clothes have been reconstructed as well. The section with the angel holding the canopy on the right-hand side has also been restored Before restoration. Detail in the manner close to the original. The restoration took around five years and was completed in November 2012. A number of ele- ments of the triptych that had been hidden from researchers and viewers for many years have emerged. This creates the opportunity for a further study of the works of this great master. The original fifteenth-century canvas, cleared of later overpainting, has strik- ing saturated colours and pays close attention to minute details. Anonymous Artist. Memento Mori. Before restoration Anonymous Artist. Memento Mori. After restoration

laboratory for scientific restoration lower part of the painting uncovered restoration priming applied The paint layer was restored over the original priming, which has over the addition, which partly overlay the original paint layer. been levelled. On the added side boards, the dark paint layer had of TEMPERA painting On the figures, the removal of old repainting revealed coats of res- been applied directly over the wooden boards. Corrective retouch- Headed by I. Permiakov toration priming applied over the well-preserved original painting. ing was applied to it.

anonymous Artist memento mori russian icon. northern school (allegorical representation of the nature of earthly life) st. cyril of belozersk with hagiographical border scenes In the process of cleaning. Detail Late 17th – early 18th century 17th century Oil on board. 32.7 × 28 cm Tempera on board (pine). 124 × 105.5 × 5.5 cm Restored by N. Malinovsky From the Church of the Holy Trinity, village of Nyonoksa, Belomorsk District, Arkhangelsk Region (field trip of 1959) It is not known exactly when and where the painting underwent Restored by T. Chizhova a previous restoration. The backing wooden panel has through cracks. The edges of the painting were reinforced on all sides with The Hermitage collection of Old Russian icons was mainly augment- wooden planks. The board had been cradled using the parquetage ed in the course of the collecting activities: from the 1950s on, field technique. The painting had undergone several restorations. trips were organised to identify and acquire objects of Old Russian The study in UV luminescence revealed repainting over nearly art. The Nyonoksa pogost (rural centre) was mentioned in an early the whole surface and another late restoration paint layer under fifteenth-century chronicle as a large trading centre of the lands it across the sky, applied when the backing board was expanded. around the Dvina River, which was part of the estates of Martha The painting of the figures had been severely damaged by wash- Boretskaya, the widow of the Novgorod Posadnik (Mayor). Later, ing and “alterations” applied to individual local segments in oil, this rich estate belonged to some large Northern monasteries. The which had changed its colour and tone. The original inscription most significant historical artefacts from the area are the icons had not survived and had been painted anew. The earth in the low- In the process of restoration. Macro photo of part of the inscription from Nyonoksa’s St. Nicholas Church, primarily The Last Judg- er part of the picture had been completely repainted. The thick ment (late 15th – early 16th century), and those from the Holy Trin- coat of varnish has darkened and cracked. ity Church: St. Nicholas of Zaraisk with hagiographical scenes (first The museum’s Restoration Commission decided to thin out the half of the 16th century) and The Nativity of the Virgin (16th cen- varnish coat and to remove the top layer of overpainting. When re- tury). These icons are close to the Moscow and Novgorod originals moving the repainting from the background, the letters of the new of the 15th century. But Nyonoksa had its own painters by the early After restoration. Detail inscriptions were left in situ. The removal of the repainting in the 16th century (The Virgin Hodegetria, the State Russian Museum). 88 89 Restoration and Conservation Restoration and Conservation

The seventeenth-century icon showing St. Cyril of Belozersk sur- rounded by hagiographical scenes comes from the same Church of the Holy Trinity in Nyonoksa and was probably painted by a lo- cal artist. The icon was deeply revered, was repainted many times and was encased in a metal stamped and embossed mounting case (oklad) with a stylised geometric pattern. The saint is depicted wearing a monk’s clothing in full-size front view; he is sending a blessing with his right hand and holding a scroll in his left. There are sixteen hagiographical scenes on top and on the sides. The backgrounds of the scenes were covered in haphazardly applied metal plates with engraved inscriptions. The mounting case was poorly preserved, it had separated from the painted surface and has insertions. The whole surface of the painting was repainted with crude coarsely ground oil pigments. At the start of the work aimed at removing the stamped mounting case, it was revealed that it had been glued to the painting by a lay- er of glutinous blackened linseed oil varnish, which had caused the paint layer to become detached from the gesso. This made the restoration process much more difficult. It was necessary to re- move the oil varnish, to stabilise the paint layer and to dismantle the mounting case plates all at the same time. After the case was removed, differently dated late gesso insertions were revealed in areas where the original gesso had been lost, as well as numerous areas of repainting which overlay one another. The painting previ- ously hidden by the cover was in a much better state of preserva- tion than the open areas of the icon. Well-preserved seventeenth-century cursive writing has been re- St. Cyril of Belozersk with hagiographical border scenes vealed; lost areas were toned in an approximate manner without after toning the losses reconstructing the pattern; the case and metal plates with inscrip- tions were mounted on canvas placed on a stretcher.

Part of the border scene The Vision of St. Cyril. Cursive writing. 17th century

Jacopo del Sellaio. Madonna and Child. Before restoration Jacopo del Sellaio. Madonna and Child. After restoration

Jacopo del sellaio (c. 1441–1493) The study of the painting in visible UV luminescence uncovered madonna and child a film of glue across large areas of the painted surface and al- Italy, 15th century lowed to identify a crude overpainting over the Child’s himation. Tempera on board. 115 × 69 cm (with frame) The study in infrared light did not provide a definite answer as to Restored by N. Malinovsky the presence of the original paint layer. The rays could only pen- etrate the layers of semi-transparent oils on the Madonna’s cloak The painting is painted on a board consisting of three poplar as far as the tempera layers and revealed the extent of the dam- planks glued together and encased in an attached wooden frame age to the lower paint layer as low as the priming on the frame. with a carved top and a carved console in the lower part bear- The presence of large amounts of lead in the top painted layers ing a shield with the coat of arms of the commissioner. The paint- made it impossible to use X-ray analysis. Only test clearings un- ing on the shield has not survived. It may have been deliberately der a microscope and the study of harvested microscopic samples obliterated. All that remains are the old marks left by a sharp in- were able to look under the surface paint layers and gain a notion strument, which may bear witness to the events in Florence in the of the state of preservation of the original painting. 15th – 16th centuries. After it was finished, the painting had been The museum’s Restoration Commission decided to remove the old repeatedly rinsed and even polished with pumice. Traces of burns glue remaining from old stabilisation attempts and to clear the were discovered on the frame. The only parts spared by time are variously dated repainting as much as it is possible. the images of the faces and hands of the Virgin and Child. The Ma- After the top layer of oil overpainting was removed from the Ma- donna’s cloak, her headscarf and chiton and the Infant’s himation donna’s cloak, a light blue tempera layer was revealed, which had had been repainted many times. These areas were considerably losses all the way down to the preceding layer, primarily across the thickened by the additions of later paint layers. The niche in the tips of the craquelure. Additional investigations showed that the background had the same fate. The lower layers of repainting were original paint layer had been severely worn down so that it was dif- applied in tempera colours, and the top ones in oil. All of them had ficult to see the modelling of the folds. The general colour scheme also been damaged by rinsing in varying degrees. had been entirely different. 90 91 Restoration and Conservation Restoration and Conservation

Only small areas of the original painting had survived under the laboratory for scientific restoration late crude repainting of the Child’s himation, so it was necessary of MURAL painting to restrict conservation to the reduction of the surface layers of paint. The original paint layer on the white cloak falling from the Headed by A. Bliakher Virgin’s right arm has been revealed. Unfortunately, only small fragments of paint and remnants of the fold pattern were to be a Twelfth-century old russian fresco seen in its other part over her left shoulder. from the holy trinity cathedral, pskov kremlin It proved impossible to remove completely the pink overpainting Excavated in 1981 over the Madonna’s and Child’s hands and faces. This late layer of Restored by O. Khakhanova paint had been applied directly on the painting without the inter- Jacopo del Sellaio. Madonna and Child. Microshield of the painting vening coat of varnish, so all the restorer could do was thin it out The fresco had been buried in a heap, and the state of preservation of the himation on the Child’s shoulder as much as possible. Late repainting on the backgrounds alternat- of the painting is unusual for frescoes removed from walls or dis- ed in some areas with layers of restorative priming, under which covered amid ruins during excavations. The fresco had fallen from the original dark-red paint layer was discovered. The outline of the a considerable height onto uneven ground together with a heavy niche had been altered. block of masonry. The cemented bricks did not fall apart after the There were considerable challenges in the process of removing impact, so that the stucco with the fresco remained over the brick- restorative repainting from the frame. The first test clearings re- work. The fresco fell surface first and so was severely damaged vealed a complete absence of the original paint layer. The surface by the fall, breaking into many tiny pieces with edges crumbling of the frame had been repeatedly polished using a coarse abrasive to dust; the cracks between them were filled with limestone grit. (pumice) and repainted. The priming had become uneven. It was Ground stucco and earth fixed the pieces in place. The painting was so damaged that it was nearly impossible to discern the im- decided to thin out all the late repainting as much as possible. This A twelfth-century Old Russian fresco. After restoration age. Before restoration, the location of each fragment was marked work revealed scraped outlines of stars and a thin dotted pattern over the priming. After the repainting was removed, the colour scheme became on a plastic film so that after dismantling the fresco it was possible much warmer. The original outlines of the images were revealed, to put each of them back in place. the painting of the niche became less disjointed and the original After restoration, the fresco was made whole again. The copied design of the artist became much clearer. pattern made it possible to place each fragment in its proper place In the process of thinning out the overpaintings. Detail and to rectify deformities, so that the image of the lower part of the figure in golden robes became visible. After restoration, the fresco fragment – the only extant example of twelfth-century fresco painting from the first stone Cathedral of the Holy Trinity in the Pskov Kremlin became fit for display and could be included in the State Hermitage exhibition programmes.

painted ceiling from the cave monastery Xinjiang; Bezeklik, 8th – 9th century Restored by S. Teploukhova

The State Hermitage possesses a collection of mural paintings based on loess stucco from Eastern Turkestan, collected in the early 20th century by the first Russian expedition to Turkestan headed by Academician Sergey Oldenburg. The collection of arte- facts from the oases on the Great Silk Road is still of paramount importance for the study of various cultural, religious and artistic aspects of the life of many peoples who lived in this vast region of Central Asia. The fragments of a painted ceiling from cave No. 43 (19) are also part of this collection. All the fragments had been mounted on plaster slabs in the 1930s. The paintings had been originally brought to the laboratory as separate fragments not forming part of a single design, which were mounted on different backing at different times: wax and galipot mastic and polystyrene boards. After the majority of the fragments had undergone restoration it became clear that all of them were part of a single painted ceil- In the process of thinning out the overpaintings. Details Restorer O. Khakhanova working ing design. It was decided to remove the painting from earlier

92 93 Restoration and Conservation Restoration and Conservation

laboratory for scientific restoration of oriental painting

Headed by Ye. Shishkova

series of portraits of high-ranking chinese dignitaries Restored by A. Gorodishenina, A. Divletkildeyeva, M. Korotkov, A. Tsepkova

The reporting year saw the completion of the restoration of a se- ries of Chinese portraits of high-ranking dignitaries. All in all, 32 items underwent restoration between 2009 and 2012 for a new exhibition of Chinese art and culture, including twelve paintings on silk backed on rolled China paper. The restoration of the series of portraits of dignitaries was espe- cially challenging and interesting. It required an original approach to the task in hand. The small collection of Chinese portraits at the Hermitage is gathered from different sources: the portraits were acquired at different times and together form a small gallery of images of Chinese officials of various ranks. The iconography of such portraits goes back to the official Confucian tradition of the socio-ethical importance of a person. Most often, these were official or memorial portraits of members of the Imperial family, historic figures or statesmen and dignitaries. The minutely detailed clothing accessories, armchairs and carpets make it possible to establish the status of the figures portrayed.

Portrait of a Chinese Dignitary. After restoration

Painted ceiling from the cave monastery. Fragments with graphic reconstruction. After restoration The Portrait of a Qing Dynasty Dignitary with a Beizi Title can be dated to the 18th century. The Portrait of a Dignitary in the rank of Zhenguo Gong dates back to the 19th century. The elderly lady in the portrait dating back to the middle or second half of the mounts and to attach all the fragments to a single foam plastic 19th century was equally high-ranking; she may have been a mem- board and to complete the lost segments with monochrome draw- ber of the Qing Imperial family. ings. Because the image was greatly fragmented it was difficult The portraits were painted in glue pigments on silk, which was to imagine it as a single whole, so a computer reconstruction was then backed on three layers of China paper and mounted in a silk produced. frame. Judging by their state, before being mounted on old frames After restoration, the image became a single whole, while the they had been rolled and stored without due care, which resulted in graphic reconstruction enabled the viewers to see the design of the many horizontal breakages. Two of the portraits had been nailed painted ceiling in its entirety. All the fragments have been brought along the edges to the stretcher and board, while the portrait of an together to create an impression of the décor of cave No. 43. This elderly lady was pulled tight over a stretcher. For many years, unique mural can now be included in the exhibition programmes these works had been part of the exhibition of Chinese art. of the State Hermitage. In 2009, they were dismantled for the first time and sent for res- toration. Their poor state of preservation, not very noticeable under glass, became apparent now. The silk backing had become yellow and had started to peel off from the backing paper as the glue was gradually drying up. The rolls were very dusty and grimy, Restorer S. Teploukhova working Dismantling the silk backing of the portrait with stains of various origins: foxing, water ingress, spots of paint 94 95 Restoration and Conservation Restoration and Conservation

LABORATORY FOR SCIENTIFIC RESTORATION OF GRAPHIC WORKS

Headed by T. Sabianina

charter of tsars ivan, peter and tsarevna sophia for lands in the rzhev district granted to stolnik nelidov Moscow, 1689 Paper, manuscript, ferro-gallic ink, printed cloth, silk cord, wax, printing. 266 × 32.5 cm Restored by V. Khovanova

The charter was sent to the Laboratory from the collection of man- uscripts and early printed books at the Department of the History of Russian Culture, State Hermitage. This is the only scroll char- ter manuscript in the collection (266 cm long), a rare document Restoration Commission at work reflecting the short period in Russian history when the country was ruled by three children of Tsar Alexey simultaneously: Sophia, Ivan and Peter. This is one of the last charters written in the Old presented by the difficulty of working with a large document and Russian style. This is an artefact of significant academic interest the presence of writing in ferro-gallic ink which does not tolerate which can become a valuable exhibit and a worthy addition to dis- humidity or exposure to chemical agents, as well as the rigid tra- plays illustrating the history of Russia. ditional structure which was impossible to separate into elements. The charter was in a very poor state when it was brought to the The pendent seal and the rag pocket bind together the charter it- Laboratory. It was damaged in various ways which reflected the self (written in ferro-gallic ink over rag paper), and the paper and most unfavourable conditions it had been kept in: considerable textile (linen) covers. In order to carry out the necessary conser- staining, numerous tears, losses, typical hard transverse creases, vation, the document was taken apart following the gluing lines various paper pastings on the reverse (an attempt to halt the disin- which were bound together by bands of writing on the reverse side tegration). Unlike other similar documents which had undergone of the document, which connected the different parts of the char- restoration in the past, it was badly damaged by mould. A number ter and served as protection against fraud). After the end of the of species of mould was discovered, which manifested themselves restoration, the document was bound together following the origi- in stains of different colours: black, grey, pink, violet. The mould nal seventeenth-century protective bands. caused the paper to lose its sizing and to turn from high-quality, The joint efforts of the restorer V. Khovanova, curator of the durable rag paper to something close to blotting paper, while the manuscript sector at the History of Russian Culture Department mould infestation spots had turned into cotton wool-like mass O. Maltseva, restorer of the Laboratory for Scientific Restora- causing loss of the writing or the nearly complete fading and loss tion of Textiles and Water-Soluble Paintings N. Pinyagina, senior of legibility. research fellow of the Scientific and Technical Examination De- First and foremost, it was necessary to neutralise the mould, to partment Ye. Mikolaichuk, research fellow of the Biological Con- remove surface stains inasmuch as it was possible, to stabilise the trol Laboratory O. Smolyanitskaya helped to restore the charter, Portrait of a Chinese Dignitary. Before restoration. Detail Portrait of a Chinese Dignitary. After restoration. Detail paper and to restore its flexibility. The greatest challenges were return it to academic circulation and make it fit for display. and the numerous tears and cracks which stretched both the paper reinforced with glue, and weakened areas of the backing made and the silk. The backing paper had become brittle and fragile. more stable. In order to mount the portraits on new boards, they The paint layer on the portraits was also a cause for concern as were attached to additional supporting edges made of Japan pa- it was too dry and starting to crumble. There were especially many per. They had been previously levelled on the floor by stretching. losses of the pigment on The Portrait of a Dignitary. The old silk Before this operation, the floor was washed with water and alco- frames had become so stained that their ceremonial white colour hol and then marked for placing the portraits. The levelling pro- was barely visible. The situation was exacerbated by the large size cess required some corrective measures. After they were attached of the canvases – on average 2.8 × 1.5 m. to new boards, the portraits were toned. When the work started, the Laboratory had no special equipment; The final stage involved the making and attaching of new frames the full dismantling and restoration of these rolls could have tak- made of backed-up Chinese silk. This work required an experimen- en years and had to be done on Chinese tables; it was necessary tal and original treatment: the mounting of the supports on BEVA to find a “simple” solution to this complex problem. Conserva- film. This is not a traditional method but it allows the techniques tion and restoration were only one side of the preservation plan; used to be reversed. When their full restoration following the can- another, equally important task was finding a way to display the ons of Chinese rolls becomes possible, it will be easy to dismantle rolls after conservation. the portraits again. The work was successfully completed; the por- After they had been dismantled, the portraits were cleaned inas- traits were placed in glass frames so that it was possible to admire much as that was possible, the paint layer was stabilised, the tears their new and impressive look. Restorer V. Khovanova Charter in the process of restoration

96 97 Restoration and Conservation Restoration and Conservation

Pages of the Gospel book. Before restoration The Gospel book. After restoration Before restoration. Detail After restoration. Detail

the gospel book The patches were applied without overlaying and stabilised on eral stages with a gradual increase in chemical concentration. including the background, and increased the contrast with the nat- Moscow, 1754. 458 pages both sides with square paper. After each page had been cleaned These procedures resulted in counteracting the fading of the pa- ural colour of the paper. After the restoration, the watercolours Printed paper. Binding: oak boards, velvet, brass fittings with gilding from dust, adhering grime, wax drops and ingrained dirt in the per and the brown strip. So the backing paper was restored to its became fit for display; they were on shown as part of the exhibition and silvering. 30.0 × 19.5 × 10.0 cm corners, it was subjected to water treatment to dilute the ingress original colour, which revealed the delicate watercolour drawings, “The Thunder of 1812”. Restored by T. Grunina-Shkvarok, S. Kudriavtsev, stains. Each page was first patched along the central folds and M. Matveyeva then pressed. After it had dried, other losses were filled in and tears stabilised. As a result, it was possible to conserve the inner Giuseppe Pietro Bagetti. The Emperor Napoleon Watches the Great Army Cross the Neman on 23 June 1812. After restoration The Gospel book was brought to the Laboratory in 2008. The re- book without widening the back. storers’ task was primarily to preserve the extant artefact as much The restoration of the book was fully completed in the end of 2012. as possible with minimal interference. The examination showed that preventative measures would not be sufficient. A book con- giuseppe pietro bagetti (1764–1831) sists of the actual inner book (made of paper or parchment) and the binding (wooden boards, cardboard, leather). This variety the emperor napoleon watches the great army cross of materials makes books difficult to conserve. In this case, two the neman on 23 june 1812 labs were involved in restoration: the Laboratory for Restoration Watercolour on paper. 50 × 80 cm, 60 × 90 cm (including margins) of Graphic Works and the Laboratory for Restoration of Textiles, which restored the velvet binding. The conservation of 458 paper the easter service in the allied camp pages by the highly-qualified researcher M. Matveyeva was very on 24 march 1814 time-consuming. Watercolour on paper. 50 × 80 cm, 60 × 90 cm (including margins) The Gospels were in a poor state of preservation. The binding had Restored by O. Mashneva become detached from the heavy inner book (5.5 cm thick), while the inner book itself was badly damaged by soaking. There were Both the watercolours were received in a poor state of preser- water stains on all pages, the needlework had disintegrated (torn vation. They must have been exposed to light for a long time – cords and decayed threads), and individual pages were falling out. the general uneven yellowing of the backing paper was in places The flyleaves made of white paper moire were covered in deeply dark brown. There was a wide dark brown vertical strip around ingrained dirt, brown spots, stained by the red velvet, torn and 15 cm wide in the middle of the pages over the image of the sky. scratched. It is always difficult to work with paper moire because The uneven brown discoloration distorted the artist’s original col- the traditional mechanical method (using rubber or rubber dust) our scheme to the extent that the delicate layer of watercolour is not very effective for removing dust and dirt from it, and water paint was completely invisible, including the background white. destroys the pattern on the surface. The main challenge faced by the restorers was undertaking the Such large books were usually carefully glued together, and the full conservation cycle involving intensive water treatment on two ingress of water or other liquids caused the glue to dissolve and paired drawings of considerable size made in the same technique. to penetrate deep inside the inner book and glue individual quires The restoration procedures had to be carried out simultaneously, and even pages together. It is hard to take such books apart be- which made them more difficult. cause of additional damage caused to the pages along the central The watercolours were backed on thick drawing paper stretched folds. Another challenge was caused by the inevitable thicken- on cardboard holders. The paper was separated from the hold- ing of the back if all the pages were patched in the same place. ers, and the remaining glue was removed from the folded mar- In this case, paper thinner than that of the inner book was used. gins. The water and chemical treatment was applied in sev- 98 99 Restoration and Conservation Restoration and Conservation michael wolgemut (1434–1519) had been straightened out during restoration, but remained unsta- The nativity ble. For a month, the drawing was pressed under controlled local Black ink, watercolour on paper. 42.4 × 31.8 cm weight in order to stabilise it. Restored by Ye. Rudakas The restoration was complete and the drawing made fit for exhi- bition in quite a short time. Between May and November 2012, One of the few extant graphic works by Dürer’s teacher Michael it was displayed at “The Early Dürer” exhibition in Nuremberg. Wolgemut was sent to the Laboratory in spring 2012 ahead of the After it was returned to the Hermitage, its state of preservation exhibition “The Early Dürer” (Germanisches Nationalmuseum, was checked, especially that of the levelled sections with habitual Nuremberg, Germany). old deformities. The state of the drawing has remained unchanged. The drawing was badly stained, with multiple layers of dust along At present, it is held at the Department of Western European Fine the edges, with old, ingrained grime over the whole surface. There Arts. were large brown water stains over the figures and background In 2012, the Hermitage restorer Ye. Rudakas was awarded the in the top and bottom parts of the sheet. The drawing had been Vladimir Potanin Grant “for contribution to the development of torn in two and glued together horizontally, with edges of the two the Hermitage” for the restoration of Michael Wolgemut’s draw- parts overlaying each other and distorting the picture, which was ing The Nativity. especially evident in the middle of the sheet. The paper was frail, with many variously shaped tears and losses of paper, creases and folds leading in different directions, abrasions on the upper layer of the backing and the paint layer. On the reverse, there were nu- A. Gnaut (from a drawing by Christian Wilhelm von Faber du Faur). merous pasted horizontal strips of rag paper of varying thickness. Napoleon’s Retreat from Moscow. 1831. Before restoration These had been pasted at different times, over one another, and 26 lithographs painted with watercolours, some of these pastings had been lost. An earlier insert connecting from drawings by Faber du faur the torn parts of the drawing was at the same time filling a loss of First half of the 19th century the backing paper with part of the picture in the right-hand side 32.0 × 52.0 cm of the sheet. Early uneven layers of glue of varying thickness were Restored by M. Gambalevskaya, O. Mashneva, N. Petushkova, stretching the background paper and causing severe deformities: Ye. Rudakas, Ye. Tatarnikova, Ye. Shashkova creases, deep folds, which had become stable and habitual over time. The album had originally belonged to the Strelna Palace library. In order to repair and stabilise the frail backing paper, it was nec- Christian Wilhelm von Faber du Faur was a German battle artist. essary, first of all, to remove the multiple pasted strips of paper He served as a French colonel in Marshal Ney’s Сorps and took and old glue. The restorer took into account the delicate technique part in the entire 1812 campaign. His series of drawings illustrat- used in the drawing (ferro-gallic ink), the water-soluble nature of Michael Wolgemut. The Nativity. After restoration ing the war in Russia were engraved in 1827–1830 and published the pigments and the general frail state of the paint. The tech- as “Sheets from My Portfolio Sketched on the Spot during the nique used to produce the drawing would not allow to moisten the Campaign in Russia of 1812”. The album was reprinted several sheet directly and required only conservative methods. To remove times, and alongside the drawings by Albrecht Adam, it represents the multiple pasted layers, these consisted in a flexible combina- one of the most valuable pictorial sources for the war of 1812. tion of “dry” removal methods (by separation) and the applica- 26 sheets, damaged in various ways, form a single series, which tion of warm water compresses and water solutions of methyl cel- was in need of restoration because of its poor state of preservation lulose to selected areas in order to soften the old glue. After the and because it needed to be prepared for the celebrations com- paper strips had been removed layer by layer, the reverse of the A. Gnaut (from a drawing by Christian Wilhelm von Faber du Faur). memorating the historic events of 1812. Napoleon’s Retreat from Moscow. 1831. After restoration drawing was revealed, which was completely covered in old glue. The album pages sent to the Laboratory contained lithographs The glue had penetrated deeply into the backing paper, complete- painted with watercolours, with some details drawn in gouache, ly saturating it in places and emerging on the front side as hard with varnish over the shadows. The backing paper had faded yellow blobs. in places, occasionally to a brown colour, with rectangular brown It took many weeks of painstaking work to clear the surface of spots in the upper section and large through areas of discoloura- the sheets on which the watercolour was in some places covered by the sheet of glue centimetre by centimetre, without causing any tion. There were many hard creases, patterned tears and losses a thin layer of water-soluble varnish. After the tears and creases damage to the delicate upper layer or thinning it out. Methods along the sheet edges. There were many stains of different ori- were stabilised by patches and glue, and after the losses were filled of restricted moisturising were used, while the drawing was kept gins over the whole surface, including deep foxing. The brittle in, the paper structure was reinforced by pasted patches and its on the restorer’s desk where the state of the paint layer was always and fragile paper had suffered all the typical mechanical dam- flexibility restored. The restorers managed to bring the 26 fine closely monitored. After clearing and local washing, the backing age: deformation, hard creasing, bends, fixed distortion such as prints back to life and to achieve uniformity as the end result paper proved to be frailer than it had looked during the visual ex- wrinkling, cockling, folds, numerous tears and losses of backing of their work. The series was prepared for display at “The Thunder amination. The drawing became visible on the reverse. In some paper. The paint layer was damaged as well: there were abrasions of 1812” exhibition. sections of the image, the backing paper was torn along the out- with pigment loss, following in most cases the areas of distortion lines and was in danger of falling out. The most weakened parts or creases. of the backing were stabilised first, where the backing paper had It was necessary to neutralise the discolouration, grime and stains, become too weak, torn, thin and frail. The losses were filled and and to remove the disintegration products from the thin and brit- the numerous tears reinforced. The drawing was backed on a thin tle fine-fibred structure of the paper. Repeated careful and mild sheet of Japan paper. The backing page also strengthened the frail chemical treatment of selected areas helped to achieve the desired Restorer Ye. Rudakas working original backing paper and held in place the old deformities which result. It was necessary to be especially careful when dealing with 100 101 Restoration and Conservation Restoration and Conservation

a change in the structure of white lead paint, producing the stains which distort the image. The method of treating these stains was based on the article by Sophie Lacore, first published by ­IPCRA in January 2000 and successfully tested by our restorers in a similar situation on a series of drawings by Vasily Sadovnikov. The main challenge was presented by the areas showing the sky, which was stained with numerous greyish-brown spots which had altered the colour of the paint layer. On the front side, the areas of paint con- taining the greatest number of grey spots where the white lead had faded were subjected to repeated treatment. It was applied for an extended period of time, repeatedly and in stages, usually by con- tactless method, although some individual stains were subjected to local treatment. Between the treatment sessions, the sheet had to be well aired and some of its areas washed. An additional chal- lenge was caused by the fact that the technique used (gouache, watercolours, white paint, varnish) was not water-resistant, which meant that any rash application of liquid could dilute the paint layer, alter it or damage the varnish. Matthias Trentsensky. The Battle of Neumarkt, 24 April 1809. Matthias Trentsensky. The Battle of Arcis-sur-Aube, 8 March 1814. After the end of the conservation, the restorer Ye. Shashkova After restoration After restoration managed to localise the damaging spread of dark stains. The paint layer became clearer and the image of the sky became more con- sistent with the artist’s original concept. matthias trentsensky after l. von kleist of the pictures had a robust layer of varnish. On the reverse side, the lithographs were slightly faded with occasional spots and wa- the battle of neumarkt, 24 april 1809 ter stains. The front side had a strikingly bright and picturesque Lithograph, gouache, watercolours, white pigment, varnish. colour scheme, but the state of the sky was a little “ambiguous”. The Medici Vase. After restoration 36.5 × 50 cm Where a glimpse of blue sky was meant to be seen between the LABORATORY FOR SCIENTIFIC RESTORATION clouds, there were dark stains dotted with greyish-brown spots. the battle of arcis-sur-aube, 8 march 1814 On one of the sheets, these stains were visible across the whole sky, OF SCULPTURE AND Semi-Precious STONEs Lithograph, gouache, watercolours, white pigment, varnish. breaking through the gouache layer with varying intensity. Headed by S. Petrova 36.5 × 50 cm Before the start of restoration, L. Gavrilenko, head of the Labora- Restored by Ye. Shashkova tory for Physical and Chemical Methods of Examination of Ma- two medici vases terials at the Department of Examination and Authentication of Russia, Peterhof Lapidary Factory, first half of the 19th century The lithographs were sent to the restoration lab ahead of the ex- Works of Art, carried out some tests which identified the source of Malachite, bronze; mosaic; casting, embossing, gilding hibition “The Thunder of 1812”. They were identical in execution, the damage: the impact of the environment on the white lead paint Height 177 cm, diameter at the top 132 cm presentation and state of preservation. Lithographs with trimmed used by the artist. Over time, the fluctuations of temperature and Restored by A. Androkhanov, K. Chervonenko margins were painted over in bright pastose watercolours with humidity, the lack of light, air pollution with sulphur- and chlorine- white pigment and gouache, and the shadows in the lower part containing compounds and other damaging factors had caused The restoration project was completed with the financial support of individual members of the Hermitage Friends’ Club

The so-called Medici krater vases, which are usually on display in the Large Italian Skylight Hall in the New Hermitage, were Before restoration. Part of the vase made at the Imperial Peterhof Lapidary Factory, one of the key centres of artistic stone carving in Russia between the 18th and early 20th century. For a long time, both vases had been in a poor condition. The mas- sive square plinths had lost many of their malachite plates and were badly chipped and dented, with many traces left by previous restoration and renovation attempts. The task of the restorers was to stabilise the malachite plates and to fill in lost areas. First of all, the places where the malachite plates had been lost were cleared of wax, remnants of plasticine and stains. Then the restorers selected malachite which matched the special character- istics and patterns of the plates used for the vase plinth. This was a vase made of dark, “stripy” malachite with a symmetric pattern Matthias Trentsensky. The Battle of Neumarkt, 24 April 1809. Detail. Matthias Trentsensky. The Battle of Neumarkt, 24 April 1809. Detail. of plates, so it was especially important to choose malachite of the Before restoration After restoration right tone. In order to fill in the losses on the vase with a “strip” After restoration. Part of the vase 102 103 Restoration and Conservation Restoration and Conservation pattern of mosaic plates, three different types of malachite were ing parts of the relief, and there were occasional traces of paint statue of persephone Ahead of the restoration, the state of preservation of this ancient used (of different colour and with different patterns). The mala- in the deeper recesses. The work of art was in a disastrous state Second-century Roman copy of a Greek original from the 4th century BC statue was subjected to a close study, which revealed numerous chite blocks were sawn into three-mm-thick plates matching the and was not fit for display. The alabaster plate had been bent by Marble. Height 210 cm traces of previous restorations. A detailed description of the ar- size and direction of the patterns adjacent to lost areas. The se- the deformation of the thin wooden board to which the relief was Restored by Ye. Andreyeva, V. Klur tefact and its technique was made to be used in the preparation lected malachite plates were cut to shape, put together in ac- bound with a thick layer of glue. There were many variously direct- of catalogues of the Department of Classical Antiquity. cordance with the original pattern, fitted and glued to the base. ed cracks over the whole surface of the relief, including vertical Considering the composite nature of the stains on the surface The connecting seams, holes, and small losses were filled in using cracks with considerable widening and occasional losses. The sur- The restoration project was completed with the financial of the marble and the restoration additions, it took some time “macadam” mastic made with natural resins and containing vari- face was considerably stained, with thick dust sediment in cracks support of individual members of the Hermitage to work out the cleaning methods. The surface of the statue was ously graded malachite grit. The areas of the restoration inlays and recesses. The overlaying shaped sections of a wooden frame Friends’ Club cleared from persistent, uneven stains and spots of various origins were then finished to match the original texture: the filled-in areas were only preserved on top and on the left-hand side. The difficulty using the 1% surfactant solution and bristle brushes. After treat- were dressed and polished. The polishing was done using a canvas lay in the need to clear the surface of the relief from the most ag- The sculpture was acquired by the State Hermitage from the col- ment, the surface was washed with distilled water and dried with bag stuffed full of cotton waste and a polishing paste made of sul- gressive stains carefully and slowly, preserving the traces of gild- lection of Marquis Gian Pietro Campana in 1852. It was restored muslin. The surface of plaster additions was mechanically cleared phur, powdered tin and green crocus. ing and taking into consideration the potential shifting of small in the 19th century; to the Classical female figure dressed in a long of many layers of dark mastic, using the dry method. The join- As a result of the restoration, the vases became fit for display; fragments caused by numerous cracks. chiton and himation was added the head of another ancient statue ing seams were cleared of yellow wax and galipot mastic using their artistic image was restored and the danger of further dam- In order to prevent the relief from disintegration and avoid new wearing a diadem. There were many restoration additions in marble cotton-wool compresses dipped in acetone. The time of application age to inlaid plates on the plinth was removed. cracks caused by the deformed backing, and to make the piece fit and plaster: the nose, the chin, part of the diadem, the left eyebrow, was one to three minutes, until the mastic became softer. The old for display, the Restoration Commission of the State Hermitage an inset on the left cheek, part of the neck, breast and shoulders plaster mastics were mechanically removed from the joints using decided to dismantle the relief. This was preceded by the investiga- and part of the back, the left foot, the right foot with ankle and part medical scalpels after first dampening the plaster with cotton- tion of the composition of the old glue, which ensured the success of the folds, the plinth. The numerous connecting seams between wool tampons dipped in distilled water. The numerous stains of The annunciation relief of the operation. the ancient parts and the later additions were stained, filled with the old dark-yellow mastic were removed from the surface of the Italy, 16th century The relief was carefully removed from the wooden board and, upon darkened wax and galipot mastic, the surface of the original mar- diadem, hair, face, neck, and cloak on the front using cotton-wool Gilded alabaster. 12.8 × 10.3 cm consultation with the curator Ye. Karchyova, backed with revers- ble was in places overlaid with stained plaster pastings. The sur- compresses and isopropyl alcohol. The edges of late plaster ad- Restored by Ye. Andreyeva and A. Androkhanov ible restoration glue onto a new foundation made of natural mar- face of the marble was covered with uneven stains. In order to make ditions were identified and corrected. The later plaster pastings ble, which is a carbonate rock like alabaster, but is more durable the statue fit for display, it was necessary to clear the surface of were removed from the surface of the original marble. The sur- The miniature relief with The Annunciation scene, made of alabas- and therefore more fitting for the preservation of a thin and frag- stains and late plaster pastings, to modify the outlines of the old face of plaster fragments was treated in order to refine the shape ter in the 16th century by an unknown Italian master, was sent for ile item. The new foundation is a board which exactly replicates restoration plaster additions, to clear and fill in the joining seams and boundaries between the ancient part and the restoration ad- restoration in 2010. There were traces of gilding on the protrud- the shape of the reverse side and size of the relief. between the original fragments and the multiple late fillings. ditions. The mechanical method was used: plaster was removed

The Annunciation relief during cleaning The Annunciation relief. After restoration Statue of Persephone. Before restoration During cleaning After restoration

104 105 Restoration and Conservation Restoration and Conservation from the marble surface with medical scalpels after dampening in the creation of works of applied and decorative art was of great to the restoration of applied and decorative art. The mastery with distilled water. The joints were filled with mastic based on the interest both to specialists and to a wider audience in Italy, where of the Russian mosaics technique make it possible to complete 10% isopropyl alcohol solution of PVB polymer mixed with white that stone and Russian mosaic techniques are not as well known restoration tasks such as restoring and stabilising mosaic com- marble dust and dry pigments (natural umber, light ochre, golden as they are in Russia. positions, stabilising pasting mastics without causing any impact ochre, soot). The mastic was applied layer by layer, with each lay- The participation in the work of the Restauro Salon makes it clear to the malachite inlay itself. The mastery of historical methods er polished after drying with fine-grain sandpaper. The surface of that further involvement on the part of the Department of Scien- and approaches to working with malachite makes it possible to plaster fragments was covered with mastic based on the 5% iso- tific Restoration and Conservation would be extremely beneficial recreate the artist’s original concept and to make exhibits fit for propyl alcohol solution of PVB mixed with white marble dust and and present opportunities for specialists to share their experience, display again. This practice is relevant in terms of contempo- dry pigments. The surface of the plaster additions had been soaked and to showcase an important aspect of the work of the State Her- rary restoration principles because the use of materials compat- in 1% and 3% isopropyl alcohol solution of PVB. The mastic was mitage: the restoration and conservation of its numerous exhibits ible with the original makes restoration procedures reversible. applied in layers, with intermediate finishing of each layer. This and collections. The informational materials on the restoration of sculpture and finishing made it possible to tone and refine the shape of the res- decorative stone items, as well as the master classes attracted toration additions following the modelling, colour and texture of a great deal of interest from many participants and visitors to the original marble. the exhibit, specialists, students and graduates of relevant edu- The restoration made the sculpture fit for display and allowed it participation of the state hermitage in the work cational institutions. to become a fuller embodiment of the technique and advances of of the st. petersburg salon “cultural heritage: the time when it was created. The clearing of the surface revealed preservation, restoration, renovation” the modelling of this ancient monument and the traces of early restoration. The mastic and toning helped to unite the original On 28–29 June 2012, the State Hermitage Museum partici- fragments and the plaster additions into a single visual whole. Master class “Russian Mosaics” given by the restorer A. Androkhanov pated in the work of the 6th Saint Petersburg Salon “Cultural Heritage: Preservation, Restoration, Renovation”. The Salon has been operating since 2007, and every year it presents or- laboratory for scientific restoration ganisations, institutions and companies engaged in preserving State Hermitage, which was acquired for the museum in 1886 as of applied art objects programme of participation of the state hermitage historic and cultural monuments and training specialists in that part of the collection of the Princes Golitsyn. The presentation by in restauro, salon of the art of restoration field. In 2012, the participants in the exhibition at the Popov K. Kalinina, Senior Research Fellow at the Department of Exami- Headed by A. Bantikov and conservation of the cultural and environmental Central Museum of Communications were the State Hermitage nation and Authentication of Works of Art, was dedicated to the heritage ferrara, italy Museum, St. Petersburg State Museum of Urban Sculpture, sculpture of an arhat technological study of the painting materials used in that piece, Academy of Fine Arts, Stieglitz Arts and Industry Academy, China, 11th century Programme coordinator: S. Petrova, Head of the Laboratory the technique of transferring it to a new backing, and the materi- St. Petersburg State University, State Research Institute for Ceramic. Height 75 cm for Scientific Restoration of Sculpture als used during its many previous restorations. She presented the and Semi-Precious Stones results of the study of the structure of pigments and paint layers, Restoration, Union of Restorers of St. Petersburg and the city’s Restored by N. Borisova methods of establishing the composition of the binding and filling restoration companies. The Salon was organised by Relikvia The Restauro Salon of the Art of Restoration and Conservation of agents, and materials to be used in restoration. The presentation (Restoration. Conservation. Museums) magazine with the sup- The sculpture of an Arhat, along with other ceramic sculptures, the Cultural and Environmental Heritage is the largest specialised by V. Korobov, Head of the Laboratory for Scientific Restoration port of the Union of Restorers of St. Petersburg. The 6th Cul- was discovered in the early 19th century in the mountain caves exhibition in Italy dedicated to preserving historical and cultural of Easel Painting, contained a detailed report on the restoration tural Heritage Salon was timed to coincide with a municipal next to the burials of the Qing Dynasty Emperors (1644–1911), artefacts. It has been open since 1991. process that helped The Annunciation to regain its original colour holiday, the Day of the Restorer, which has been celebrated on approximately 130 km away from Beijing. Many figures were In 2012, the State Hermitage Museum, along with the Hermit- scheme characteristic of the best pieces by Cima da Conegliano. 1 July since 2006. The State Hermitage Museum is a constant broken or fragmented when found; the well-preserved sculptures age • Italy Foundation participated in the international restora- A Latin inscription was discovered at the bottom of the paint- participant in the work of the Salon, where it presents the pro- were soon removed from China to many private collections and tion forum in Ferrara for the second time. The form of participa- ing, which was all that remained of the artist’s signature. Its vir- jects of the Department of Scientific Restoration and Conserva- museums in North America and Europe. Scholars believe that the tion has remained the same: an exhibit stand, master classes, and tual reconstruction was also one of the results of the restoration tion. For many years, the museum’s stand has been home to mas- sculptures were made in the 11th century and note their expressive a restoration research seminar. The Department of Scientific Res- project.­ ter classes on the use of laser technology in jewellery restoration power in portraying the arhats. toration and Conservation was represented by the Laboratories for The “Russian Mosaics” master class was organised by A. An- presented by I. Malkiel, the head of the Laboratory for Scientific One of these remarkable masterpieces is at the State Hermitage Restoration of Easel Painting and Sculpture and Semi-Precious drokhanov, a restorer at the Laboratory for Scientific Restoration Restoration of Precious Metals. Museum, and it was sent for restoration in 2011. The surface was Stones. Among the important moments during the event entitled of Sculpture and Semi-Precious Stones. The specialists and visi- The Laboratory for Scientific Restoration of Sculpture and Semi- covered with a thick layer of soil and natural stains and restora- The Hermitage at the Restauro 2012 Salon was the presentation tors were shown a presentation of the technique of Russian mosa- Precious Stones (headed by S. Petrova) participated in the work tion mastics. The glazed surface was partly lost at the back of the of the completed restoration projects involving various Italian ics based on models and replicas of items made from malachite. of the 2012 Cultural Heritage Salon. The participants and visi- head and the left arm. The right arm with part of the shoulder works of art: Cima da Conegliano’s The Annunciation, and a tab- The conservation work involved the use of natural malachite, tors at this exhibit were shown various restoration projects that had been recreated using a hard dark substance with a partially letop with a Florentine mosaic entitled Lapis Lazuli Star. During mastics and resins, as well as tools based on nineteenth-century have been completed in the laboratory, along with video clips preserved ornament in the lower part of the addition. The arte- the preparation of the exhibit stand, the main emphasis was on samples. A portable circular table for polishing malachite, cus- on the restoration of Vladimir Beklemishev’s sculptural group fact had many deep cracks on the inside. The restoration addi- demonstrating practical working methods; the techniques for ar- tom-made for the laboratory in Russia, was set up at the stand. Fugitive Slave and works of decorative and applied art made of tions had been covered with loess. On the inside, it is easy to see tistic finishing of malachite and the restoration methods used at All of this helped to present the techniques for the artistic finish- malachite in the State Hermitage Museum. The video clips were how the sculpture was made: a dummy made of bamboo stalks the State Hermitage were demonstrated during master classes ing of stone and the approach to restoring the Hermitage items as prepared by S. Morozov, the senior electronics specialist of the was bound by cords and then covered in a rough layer of red entitled “Russian Mosaics”. vividly and faithfully as possible. Electronic Editions Preparation Sector (headed by I. Melniko- clay, followed by the finishing white layer and glazing. Chemi- The restoration research seminar, which was held on 30 March, Many visitors and participants were intrigued by the “Russian va). A. Androkhanov, a restorer at the Laboratory for Scientific cal tests have established the nature of soil deposits and resto- opened with a presentation by I. Artemieva, Senior Research Mosaics” master classes held non-stop on each day of the exhibi- Restoration of Sculpture and Semi-Precious Stone, held mas- ration mastics and glues. The archaeological deposits formed Fellow of the Department of Western European Fine Arts and tion. A great deal of attention was attracted not only by the profes- ter classes entitled “Russian Mosaics”, in which he presented a thin hard layer, mainly made up of chlorides and sulphates Director of the Research Committee at the Hermitage • Italy sional work of the Hermitage restorers, the high calibre of which the traditional technique of manufacturing decorative objects (plaster) of low water solubility. Test clearings showed that the Foundation, who spoke about The Annunciation, a canvas by the has been noted more than once, but the technology of malachite from malachite, recreated on the basis of archival sources, re- green glazing imitating the Arhat’s body was very thin and full great Venetian Renaissance master Giovanni Battista Cima da inlay, which was compared to the traditional Italian Florentine search and experimentation. The technology of artistic finishing of tiny cracks. The chipped sections at the back of the head and Conegliano, one of the masterpieces of the picture gallery at the mosaics or the Roman stone inlays. Malachite as a material used of malachite underwent further development and was adapted ear show that the ceramic layer under the glazing was rather 106 107 Restoration and Conservation Restoration and Conservation

During a previous restoration, the head was stabilised from in- side using the same substance as for the new arm, and fixed in place with lead pins. The same pins were used to pull together the edges of the deep cracks on the shoulder and back. The surface of the glazing around the glued seams and the pins, especially on the Arhat’s neck, was covered in small craquelure and chipped. Since the presence of lead pins posed no danger for the ceramics, it was decided to leave them in place. In the lower part of the drapery over the shoulder, the thick layer of mastic was concealing a pro- duction flaw. After the above conservation procedures were completed, the question was whether to reconstruct the Arhat’s shoulder. When the added arm was removed, it was revealed that this reconstruc- tion was very different from the original. Glazed ceramic was dis- covered under the addition, while the small extant fragments of the arm suggest that it would have been raised and pointing to the side; these fragments were not substantial enough to suggest the exact gesture. The search for analogues did not turn up anything Black-figure amphora. Detail. Before restoration comparable. Various reconstruction options were developed on the computer. After all of these were considered, the Restoration Commission decided not to reconstruct the arm but to provide par- tial filling to the lost sections of back and shoulder. These patches were made of plaster. At the moment, the restored sculpture has been returned to its proper place in the new display on the Art of China.

Sculpture of an Arhat. Before restoration Sculpture of an Arhat. After restoration black-figure amphora Attica, c. 530 BC Ceramic. Height 38 cm fragile and ­brittle. The previous restorers had filled the deep to the object, the Restoration Commission decided to leave this Restored by T. Shlykova holes with a substance made from wax and natural resin, which construction in situ. was also used to fill in the less deep and substantial losses on the The use of chemical solvents and acids was considered to be inap- The reporting year saw the end of the restoration of the remark- surface of the bust. The added section of the shoulder was made propriate, so the removal of hard surface stains and restoration able example of ancient pottery – an Attic black-figure amphora of a very hard brown-grey substance based on wax and natural layers was carried out by means of a drill with rubber nozzles. painted in the manner of the Antimenes painter, which arrived at resin. It was not clear what the addition would have looked like After the surface had been cleared of stains and restoration addi- the State Hermitage as part of the collection of Marquis Gian Pi- originally; unfavourable conditions such as raised temperatures tions, it turned out that the head of the Arhat was a fragment of etro Campana in 1862. The painting on the A side represents Dio- could have caused the resin and wax to soften and the shoulder a sculpture rather than a bust as it had been previously believed. nysus with his retinue, and on the B side a chariot with warriors. to slide downwards. Judging by the fact that the sculptures of the The vase was in need of restoration because of its unstable state arhats were not discovered until the early 19th century and that which was not fit for display. It has been preserved as a collection the substances used in the restoration were unknown in Europe of many fragments glued together; the glue had lost its properties. at the time, it can be surmised that the sculpture had undergone The inside of the vessel was covered with a layer of plaster, and restoration in China. the outside had been repainted extensively, so the restorers were The State Hermitage Restoration Commission adopted a restora- faced with a difficult challenge of uncovering the original surface tion programme which included the clearing of the surface of the of the artefact. sculpture and the removal of all restoration additions. After soaking in warm water, the amphora fell into fragments, and The removal of the late arm part proved to be very labour-inten- these were cleared of extraneous elements (plaster, mastic, and sive, as it was necessary to work by small sections, approximately burned clay), which had doubtless been made specially for the res- 4 × 4 cm. The fragment undergoing treatment was heated by toration of the vase. Thus, the extent of the losses became appar- means of a Leister hot air generator to the temperature of 70– ent and was evaluated as insignificant: all in all, 180 fragments 80°С, and then the softened substance was removed with a scalpel had been preserved. The clearing of the repainting showed that layer by layer. It took several minutes for the mass to harden, so it covered a significant area of well-preserved original painting. Black-figure amphora. During restoration. Dismantled the softening process had to be started all over again. After the In order to ensure a precise and stable fit, the edges of the frag- addition had been removed, a through crack was discovered in the ments were carefully cleared of the remnants of old glue. lower part of the torso. The crack at the shoulder also proved to The test for the presence of water-soluble chlorine salt was posi- be penetrating, and so a large ceramic fragment had been mount- tive. The overlay paint, which was the most vulnerable element ed under the shoulder on molten wax and resin mass. Since the of the decoration, was stabilised ahead of the desalination in order removal of this fragment could have caused mechanical damage Removing the added part of the arm to prevent potential peeling. The insoluble salt rinds were removed

108 109 Restoration and Conservation Restoration and Conservation

potential for a precise and objective study and attribution of the through holes in the joints between the broken fragments in three amphora. The vase became fit for display and can become an origi- places. The edges of the glass were chipped, with losses and abra- nal and valuable item in the exhibition of Attic pottery. sions of the paint layer. The lead frame was missing. Some of the broken fragments had been glued together by previous restorers, and there were remnants of glue on the separate pieces of glass. The glue on all the glass fragments had cracked and yellowed. stained glass with the picture of empress The edges of the three central panes and one side pane of the maria theresa panel had evidently been treated with a needle-point file, which Bremen, 1774 created a gap between these panes and the glass segment on the Restored by Ye. Krylova side. The through holes had been filled in with yellow-brown glue. One pane had also been made to replace a lost fragment; it bore A comparatively rare example of eighteenth-century stained glass, remnants of brown toning in cold paints. There was also a piece with exceptionally high-quality painting. The stained glass panel of yellow glass which had been pasted in over the largest of the was based on a copper engraving, and the artist tried to reproduce holes. the engraving technique as closely as possible by applying black The tests to determine the composition of the old glue and cold grisaille using the Schwarzlot technique. The portrait of the Em- paint on the glass were carried out by O. Novikova, Ph.D., Senior press is painted in brushstrokes of varied intensity, with a quill and Research Fellow of the Examination and Authentication of Works brushes, with slight toning. of Art Department and showed that the glue was an old (degraded) Before restoration, the stained glass, which consists of one pane animal glue, and that the paint consisted of a natural pigment painted in the Schwarzlot technique (26.5 × 39.2 cm), had been ground on an oil and resin binding agent. It was decided to remove broken into 21 pieces, with two fragments missing. There were the glue in the places where it had lost its properties and to replace one lost fragment with a new one, with toning in glass ink and burning in a muffle furnace. The stained grass panel was disassembled, the glass cleared of old glue. Then, the broken glass was glued together using PVB-based restoration glue. A new pane was made and put in place where the original had been lost. The holes were filled in with mastic based on the same glue. A new lead frame was made. The stained glass panel is scheduled to be displayed at the Russian Restoration Exhibition at the Hermitage in 2014. Black-figure amphora. After restoration Table-top decoration shaped as an elephant surrounded by eight dancing figures. After restoration with a mild solution of citric acid. Water-soluble chlorine com- pounds were removed from the pores of the ceramic by lengthy table-top decoration shaped as an elephant surrounded by eight dancing figures Another challenge was to make the old and newly-made prongs soaking of the fragments in warm water and repeated drying; the similar in texture and colour and the necessity to engrave the Silver, wood. Height 65 cm; diameter 59 cm fragments were then stabilised after desalination. mounted prongs. The vase was pieced together by the method of building up the Restored by A. Bantikov, A. Karpechenkov, M. Subbotina, The work was completed within a short period of time in full com- walls from the foot up, fragment after fragment. The challenge of A. Chulin pliance with the restoration task, to a high professional standard. this work, in addition to the great number of fragments and thin- ness of the walls, was presented by the fact that the edges of many The artefact was partially dismantled when it was sent for restora- fragments had been filed (the clearing revealed numerous chisel tion (two porcelain figurines, cups, cup baskets; 21 elements all traces on the edges). The neck was pieced together separately, in in all). sculpture sleeping cupid with an arrow parallel with the body. The fragmented handle was also assembled The silver elements had been partly deformed, covered in sul- 1769, model by I.H. Xavery from a 1765 original, separately. As a result, there were four large blocks: the foot, body phides, abraded and scratched. The silver holders which held the mixture made by A. Chernov and shoulders, the neck, and two handles. The next stage, dictated porcelain figurines in place on a moving disk had lost some of their by convenience and hence by the safety of the artefact, consisted prongs (27 in total), there were cracks and tears over the whole medallion with a portrait of empress catherine in filling in the losses and applying mastic to the joints on the large surface. Many of the fittings had been lost. The inner wooden the great assembly blocks of the amphora. Then, they were finally glued to- frame was falling apart into separate planks. Four bronze legs 1780s – early 1790s; model by J.D. Rachette based on a marble gether, and mastic was applied to the joints. The losses along the were covered in corroded deposits. original by F. Shubin joints in the dark areas (figures of horses, pattern elements on the The Restoration Commission decided to replace the lost prongs, foot and neck) were toned so that they blended with the colour of which were up to 0.2–0.3 mm thick at the base. A special chal- allegorical sculptural group free love the lacquer. The final stage of the restoration involved stabilising lenge was presented by the impossibility of using an abrasive tool 1802; model by J.D. Rachette, moulded by F. Subbotin the tone and the whole surface of the vessel. in order to straighten and combine the bases of the prongs and Restored by N. Bolshakova, K. Lavinskaya As a result of the restoration, the original material was cleared of newly-made parts. The necessity of replacing the holders required destructive salts, stabilised, its surface cleared of extensive stains a combination of the Power Laser 2 tool with welding, using sev- In the reporting year, some pieces of early unglazed porcelain and sediments, the boundaries of the lost areas were established, Stained glass panel showing Empress Maria Theresa. eral welding spots and a burner in order to fill in the uneven areas, were restored for the exhibition “Antique Style in Russian Im- the original painting uncovered, which provides considerable new After restoration using the PSr 40 solder. perial Porcelain in the Second Half of the 18th Century” from

110 111 Restoration and Conservation Restoration and Conservation

LABORATORY FOR SCIENTIFIC RESTORATION OF OBJECTS MADE OF ORGANIC MATERIALS

Headed by Ye. Mankova

horse mask with the head of a wild sheep Altai, Pazyryk burial mound No. 2, 5th – 4th century BC Restored by Ye. Chekhova

In the reporting year, the horse mask from the archaeological col- lection of Pazyryk finds was restored for the exhibition “Nomads of Eurasia on the Road to Empire” (Kazan, the Hermitage • Ka- zan Centre). The horse headdress with a head of a wild ram from mound No. 2 was fragmented and had undergone emergency assembly. It is a felt sheet that was placed on a horse’s head. The felt head of a wild ram was placed between the ears, and a felt figure of a bird was fastened on top of it with wooden pins; the felt was Sculpture Sleeping Cupid with Arrow. overlaid with leather. Judging by a set of holes, the mask was held Unglazed porcelain. 18 × 52 × 24 cm. After restoration in place on the horse’s head by laces. The leather which used to overlay all the felt parts was partially and unevenly preserved. Some of the fragments had retained their elasticity and flexibility, the “Christmas Gift” series. These were made in the last third but for the most part, the leather was fragile, faded, peeling and Medallion with the portrait of Empress Catherine the Great. of the 18th century, the time of experiments with the composition crumbling at the edges, partly gelatinised with rigid and irrevers- Unglazed porcelain. 3.2 × 27 cm. After restoration of porcelain mixture used for making sculptural pieces. The com- ibly creased areas. The felt was also in various stages of pres- position was varied, so that even the products of the same period ervation; some of the felt was crumbling to dust (hair segments can differ greatly. The early porcelain mixtures are very vulner- of different length). The structure which held the mask in place able and sensitive to changes in temperature and humidity, which was only partially ­extant. influences their state of preservation and presents challenges for The emergency assembly of the fragments was probably carried restorers. out in the 1940s or 1950s; there are no records to support this. An individual restoration programme was drawn up for each Since all the felt parts had multiple tears and shredded areas, the of the exhibits. The Free Love sculpture was in need of a com- sheet forming the base of the mask was backed on patches of thin plex cleaning: compresses with different solvents in combination silken cloth with different types of glue. The glue helped to pre- with cleaning by steam generator. Cleaning early unglazed por- serve the sheet as a single whole and to stop the crumbling of the celain is a long and time-consuming task which requires constant felt, but the glued areas had become rigid and lost their ­flexibility. Horse mask with a wild sheep head. After restoration monitoring and close attention on the part of the restorer. Using a steam generator produces a good effect because it helps mois- The extant leather fragments had been glued to a bobbin-net back- ture to evaporate quickly from the pores of the pottery, since ex- ing and also stitched with threads of different colours and thick- cessive humidity is damaging for this type of porcelain. ness. The whip stitching of the leather fragments had created ad- The restoration of the sculpture of Cupid with an arrow started ditional holes and further weakened the fragile edges. The glues with the removal of surface stains and earlier restoration materi- had turned into a rigid film which further distorted the leather. als by means of a steam generator. Then, compresses were used to They were hard to remove and adhered strongly to the surface of discolour the halo effect on the pottery caused by the individual the leather fragments. The bobbin net used as a backing material characteristics of the mixture and the technology used to make for the leather pieces had been stitched to the felt in crude, highly this piece. After the cleaning, the cracks were stabilised and lost visible stitches. The bobbin net used for backing also had a promi- fragments filled in. nent texture and colour which added further queries to the under- In order to remove the stains from the medallion with the por- standing of the original material. trait of Catherine the Great, the restorers used filter paper pulp The restorers needed to create a base to replace the absent soaked in distilled water. This lengthy process, which required re- structure, which would help to bring all the parts together and peated changes of paper and application of solvent compresses, facilitate the storage and display of the mask and provide ad- was closely monitored by the restorer. ditional protection from mechanical impact. The examination The result of the restoration effort was the availability of these showed that it was impossible to separate the felt from the old unique pieces for display and publication. The medallion with the glue, as the shredded areas were completely saturated with portrait of Catherine the Great was published in the exhibition glue. Mechanical removal of the glue would only lead to fur- catalogue for the first time. Working with this group of items gave ther deterioration and losses. It was only possible to stabilise the restorers a unique experience of conserving early Russian un- the damaged areas by patching the mobile tears using additional glazed porcelain. backing as the base. The old whip stitches on small tears in the Allegorical sculpture Free Love. felt in places where it was well preserved were replaced with Unglazed porcelain. 37.8 × 31.5 × 25.9 cm. After restoration Horse mask with a wild sheep head. Before restoration stitches made within the material and so nearly invisible. It was 112 113 Restoration and Conservation Restoration and Conservation decided to remove nearly­ all the stitching­ from the leather frag- Objects from this period and in such a state of preservation, using ments, especially since it was impossible to identify any traces the technique of painted lacquer and decorated with gilded bronze of the original material connecting felt and leather. Nearly all and glass inlays are very rare in the museums of the world. The box the bobbin net which stabilised the leather fragments was left is a unique exhibit and has a huge research and artistic value. in place, especially in areas where the leather was securely held by the glue. Moreover, the bobbin net served as an intermediate layer between leather and felt. The crude stitches which bound the bobbin net to the felt were replaced with less visible stitches archaeological artefacts with minimal tension in the thread. Where the leather fragments Restored by T. Baranova, N. Vasilieva, Ye. Mankova, M. Michri, were easy to remove from the old backing, they were disassem- K. Nikitina, Ye. Chekhova bled, most of the old glue was removed, and the leather was made more pliable, and deformities were rectified, after which The restoration of exhibits for the display “Nomads of Eurasia the leather was reattached to the old bobbin-net backing. The on the Road to Empire” started nearly a year before it was due old bobbin net was covered with mastic which masked its char- to open. The Laboratory received over 80 archaeological arte- acteristic texture. Box with a lid. After restoration facts made of bone, horn, wood, lacquer, leather, birch bark and The mask was found in a flattened state. The felt retained creases various combinations of different organic materials. The task was and traces of flattening. In order to remove these folds and to fix made more difficult by the fact that the majority of these items the ears and ram’s head in a vertical position, it was necessary were made of bone, which is one of the hardest organic materials to back the internal part of these felt sections at the base. The spe- to conserve. Moreover, there were some artefacts from the Aimyr- cially made stand made it possible to bring together all the parts Appliqué figure of a tiger with deer antlers – a saddlecloth decoration. lyg burial (Central Tuva) which had only recently been accepted by 6th – 5th century BC. Leather. 12 × 13 cm. After restoration of the mask. The stand was made at the Laboratory for Scientific the State Hermitage and many of which had never been touched Restoration of Furniture by the restorer V. Gradov. by restorers before. As a result of the repeat restoration, the mask has regained its These objects included unique archaeological finds: hoops, clasps, original shape. combination holders, beads; finely carved pendants with decora- tions depicting predators and their prey woven together in intri- cate patterns; a cylindrical holder consisting of two parts with in- serts decorated with carved images of a feline predator tearing at box with a lid a hoofed animal. The unique and delicate nature of these object de- China, Western Han, 206 BC – 9 AD termined the techniques used to restore them. They were cleaned Veneer wood, foundation, textile, brown and red lacquer, bronze, gilding, of soil deposits layer by layer, using a microscopic tampon under glass, inlay. Height 4.7 cm; diameter 5.5 cm a microscope, and the intricate carvings were gradually revealed. Restored by M. Michri Some of the objects required soaking in conservation materials or stabilisation of cracks with mastic. This object is an archaeological find which has analogues in the Among the most challenging tasks was the restoration of four lacquer items found in Han burials, in artefacts from Mawangdui, Lid. During restoration parts of a belt made of horn (2nd century AD, Aimyrlyg burial Changsha. It is a rare and expensive item which is two thousand XXXI). The horn had cracked in many places and was porous years old. The box has a typical cylindrical shape and is richly and brittle on the inside. The material was stabilised after many decorated: there are painted patterns on the lacquer and bronze saturations. Another interesting object was an amulet, probably gilded overlays. These boxes were traditionally used by rich wom- been made using traditional methods. The combined techniques made of a piece of broken lacquer cup, which was cleaned to re- Bead carved in the image of a boar’s head. 6th – 3rd century BC. en belonging to Chinese aristocracy. and uneven state of preservation called for an individual ap- veal ornamental stripes made in red lacquer over a glossy black Horn. 3.7 × 2.5 cm. After restoration The object was in a disastrous state, deformed and partly dis- proach to working out the correct conservation method. Varied- background. The lacquer had not lost its characteristic sheen integrated. The lid had sustained the most damage; the box, concentration PVB and alcohol solutions were used as the sta- and durability. The same collection included two wooden cups, which was nearly fully covered by the lid, was better preserved. bilising material for conservation. Its use had a positive effect a cylindrical vessel made of thin wooden laths, two baskets made The material was extremely fragile, and part of the lid had been on stabilising the craquelure on the lacquer and made it possible of birch bark. The wood of the cups was excessively dry, light, lost. The lacquer was peeling away from the foundation, there to avoid using different glues but apply the same solution to con- and porous. The birch bark baskets retained traces of old glue, was close-netted craquelure with raised edges and scaling; there serve both the foundation and the decorative elements. The work and their surface had an uncharacteristic sheen. The glue that were many losses and corroded crumbling areas. On the surface, resulted in stabilisation and conservation of the foundation, the came to the surface as a result of drying processes was causing there were various deposits, stains, oxide spots; it was impos- lacquer, the metal, gilding; the stains and oxides were removed, the upper layer of the bark to twist. This old glue was removed sible to see the pattern and the decoration. When it came to the the separate fragments pieced and glued together. The weak ar- from the whole surface, and the tears and scaling areas were Laboratory, the box was wrapped in kraft paper and packed in eas were given a new backing. The losses in the foundation were stabilised. a cardboard box to protect it from UV exposure. It must have partially filled in to give the box a stable mechanical structure Some of the objects which were undergoing restoration had long suffered from the impact of temperature and humidity fluctua- and make it fit for display. been kept in the Hermitage storage areas: bone bridle beads from tions, which had a negative effect on its state of preservation. The restoration stopped the disintegration of the artefact and re- the 7th century BC, the tip of a psalium, a fortune-telling plate The insufficient humidity could have caused the lacquer to crack, vealed the decorative elements: the inlay and painted patterns; and engraved wooden clasp from the Ivolginskoye site (1st cen- disintegrate and fall apart. well-preserved gilding became visible on the bronze elements; tury BC – 1st century AD); objects from the burials of Tuekta, The restoration was preceded by technical and technological in- there were remnants of a cosmetic preparation inside the box. Bashadar and Pazyryk, including a horn from a horse mask deco- vestigation of the structure of the object, its decoration and de- The cleaning of the top of the lid revealed a special feature of its rated with tiger figurines, plaques shaped as rosettes which used gree of damage it had sustained. Materials were identified and décor: it turned out that the corroded rind had concealed an inlay to decorate the edges of a saddle cloth, with gold foil ornaments. Belt elements. 2nd century B.C. microscopic photos taken. These tests revealed that the box had made of glass cabochons imitating cornelian and bronze. These objects were cleared of stains, traces of old glue, their Horn. 16.6 × 2.8; 16.6 × 2.5; 7.2 × 5.6; 7 × 5.6 cm. After restoration 114 115 Restoration and Conservation Restoration and Conservation

­mobile parts were stabilised, tears and peeling foil fixed in place. The objects from the Sarkel site (9th – early 10th century) were also sent for repeat restoration: the old glue had deteriorated, the parts which had been glued together had come apart, and the mastic had crumbled away in places. Among others, there was an ornamental sickle holder made of bone. The leather appliqué objects from the Pazyryk mounds were also sent for restoration ahead of the exhibition: there was delicate lace appliqué depicting beasts and birds, and decorations cut out of very thin leather. These objects are very hard to preserve, as the leather tends to buckle during storage, with small tears and Embroidered picture. Detail. Before restoration damaged areas caused by movement. After a discussion, the Res- toration Commission decided to place them between two plexi- glass sheets that could be pressed closer together or loosened with clamps. The restorers mounted and stabilised these items for dis- play and further storage.

Freemason clasp. Before restoration laboratory for scientific restoration of textiles Embroidered picture. Detail. After restoration Embroidered picture. After restoration Headed by M. Denisova freemason clasp was masked with similar material. Embroidery elements (sequins, Russia, late 18th century metal thread, artificial pearls, etc.) were stabilised in the same 28 × 36 cm places using the original technique. Restored by T. Grunina-Shkvarok

Ahead of the exhibition “The Wisdom of Astraea: Freemasonry felt carpet in the 18th and First Third of the 19th Century – Objects from the Noin-Ula, late 1st century BC – early 1st century AD Hermitage Collection”, the clasp was taken apart, cleaned by Restored by M. Tikhonova the dry and then by the humid method, stabilised on a stretcher when still moist, and dried; the deformities and leather shrink- The carpet, which was to be included in the permanent display at age were removed. The object was restored to its original size. the Oriental Department, was cleaned with a restoration hoover. The metal elements were cleaned at the Laboratory for Scien- Old darning, backing cloths, pattern additions were removed. tific Restoration of Precious Metals. The lining was backed on Deformities were straightened using a marble press. The loose silk by thermal pressing using polyamide fibre. The ribbons were Freemason clasp. After restoration untangled, backed on toned silk gauze. The clasp was reassem- bled. Fragments of the blue ribbon were straightened, backed on blue rib cloth. The rosette was reassembled following original folds. On the star, the inscription reading “30 July 1815” was uncovered.­

embroidered picture Freemason clasp. Ribbon. Before restoration Russia, 19th century 73 × 81 cm Restored by M. Denisova, Ye. Taravkova

The embroidery was cleaned in the water solution of Zhemchu- zhnaya detergent, after the painted elements had been stabilised in 2% solution of Ftorlon 42; the surviving lacquer fragments over foil were stabilised with PBMA. The embroidery was fully backed on cotton cloth using restoration stitches. The lost satin Freemason clasp. Ribbon. After restoration Felt carpet during cleaning Felt carpet. After restoration 116 117 Restoration and Conservation Restoration and Conservation

­elements (appliqué) were fixed. Cuts, tears and losses of the LABORATORY FOR SCIENTIFIC RESTORATION black lacquer chinese cabinet woollen and silk textiles were attached to toned woollen backing. OF furniture China. 18th century The silk lining of the rim was doubled on cotton sheet by thermal Restored by V. Kashcheyev pressing. The connecting seams were stabilised and the felt layer Headed by V. Gradov filled in where it had been lost. The restoration of the cabinet was completed in the fourth quar- ebony cabinet ter of the reporting year. The challenges were caused by the many France. 17th century funerary drape extended cracks (15–20 cm long) in the frame under the lacquer Restored by A. Kashcheyev painting. These were caused by the disintegration of the compen- Noin-Ula, late 1st century BC – early 1st century AD sation layer which had originally consisted of plant fibres and Restored by L. Loginova, A. Ryadova The cabinet consists of two parts: the cabinet proper and the animal glue, which were traditionally used in China to counteract base. The need for restoration was mostly caused by the consid- the movement of the wooden frame. The situation was further ag- The drape, which was to be included in the permanent display erable weakening of the base which carries the weight of the cab- gravated by the fact that the cabinet had undergone restoration at the Oriental Department, was taken apart into separate frag- inet (around 300 kilos). The great amount of work meant that in the 19th century. This repair involved the making of a new drop ments. The backing muslin was removed wherever possible and left the restoration was divided into two stages; the restoration of leaf and several drawers. The lost areas of the original foundation in place in the most damaged areas. The fragments were cleaned the base was started in the first quarter of the reporting year. In- were filled in using the European technique (chalk), while imi- using the wet method and the Zhemchuzhnaya detergent, then vestigations revealed that the structure no longer served its pur- tation painting was used for losses in the original painting over stretched to dry in order to remove deformities. During the wa- pose because of the wearing out of glue layers and considerable gold. The same imitators also painted over all the painted surfac- ter treatment, some fragments were cleaned of cotton netting and damage caused by wood-fretter. The structure was completely es. The investigations and test clearings revealed that the original glue, the fragments were stretched to dry. dismantled following the joints. The carved ebony figures were eighteenth-century painting, covered by the nineteenth-century Backing cloths were prepared for the drape. The backing started also separated into parts, and the old glue was removed from the repainting, was still over 80% extant. It was decided to uncover from the lower rim of the drape, with fragments laid on the back- joints. After filling in the losses, the figures were glued together it as much as possible rather than to present small uncovered are- ing cloth one by one. The drape was attached to the backing cloth again. An additional structure was fixed to the lower part of the as, and to leave areas of nineteenth-century repainting only where in matching thin single thread using restoration stitching and fol- base, which will ultimately take most of the weight of the heavy the original had been totally lost. The work by V. Kashcheyev was lowing the direction of warp and weft. The embroidery threads Funerary drape. After restoration upper part. highly praised by the Restoration Commission. were stabilised.

Restorers at work. The stabilising process

118 119 Restoration and Conservation PUBLICATIONS the hermitage restoration school JJ Publications of 2012

The training session on “Restoring Museum Pieces Made of Leath- er” was held as part of the Hermitage Restoration School Pro- gramme. It was organised on the basis of the Sverdlovsk Regional Local History Museum (SRLHM) in Yekaterinburg. The training was provided by the high-category restorer Ye. Chekhova (Labora- COLLECTION CATALOGUES tory for Scientific Restoration of Objects Made of Organic Materi- als, Department of Scientific Restoration and Conservation, the State Hermitage). The training session was attended by eight staff Belgian and Dutch Painting. 19th – 20th Centuries. Collection catalogue. By Boris Asvarishch. members of Yekaterinburg, Ural and Western Siberian museums. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 192 pp. Ills. Seven of them had already undergone preliminary training in the The catalogue comprises all the works by Belgian and Dutch artists of the 19th – early 20th centuries “Basics of Restoring Museum Pieces Made of Leather, Including kept in the Hermitage collection, considered the best among the collections of its kind outside these Archaeological Artefacts” in 2011. countries. It includes works by the most outstanding masters of that period, namely Louis Gallait, Hen- The attendees presented their reports of the work done indepen- drick Leys, Ferdinand de Braekeleer, Alfred Stevens, Joseph Stevenson, Barend Cornelis Koekkoek, dently over the previous year and discussed the questions they had. Opening of the Third International Conference Herman ten Kate et al. A number of paintings are published for the first time. The practical part of the session focused on the methods of remov- “The Hermitage Restoration School. 15 Years of Cooperation: ing stains, clearing ethnographic leather artefacts and objects of Conclusions and Prospects” (12–15 November 2012, Yekaterinburg). applied art. The restorers used the time of the session to complete The opening address by Natalia Vetrova, General Director of SRLHM a restoration task, namely the removal of stains from seventeen Daguerreotype. Collection catalogue. By Natalia Avetyan, Galina ethnographic pieces from the SRLHM collection. This system of Miroliubova, Tatiana Petrova. The State Hermitage Museum. training sessions – from basic methods to more detailed practical St. Petersburg: The State Hermitage Publishers, work – had been highly commended in the past. There are plans 2012. – 200 pp. Ills. to revisit this area in three or four years’ time to discuss the inde- pendent projects undertaken by the participants in the meanwhile. The first complete academic catalogue of daguerreotypes from the In November 2012, the Third International Conference “The Her- Hermitage collection. The authors chose grouping all the works mitage Restoration School. 15 Years of Cooperation: Conclusions by collections of their previous owners over the ordinary grouping and Prospects” was held at the SRLHM (Municipal Society Hall, by authors. The time framework of the collection embraces the pe- 46 Malysheva St.; Library, 69/10 Lenina Pr.). The conference was riod from the early 1840s to the early 1860s. The catalogue includes attended by the restorers from the Department of Scientific Resto- 85 works, many of which are published for the first time. ration and Conservation and research fellows from the State Her- mitage, SRLHM, and other museums of the Ural region. The conference was opened with addresses by A. Badayev, Min- ister for Culture of the Sverdlovsk Regional Administration, French Jewellery from the 18th and Early 19th Centuries. Collection catalogue. O. Gubkin, Deputy Minister for Culture of the Sverdlovsk Region, By Olga Kostiuk. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, V. Matveyev, Deputy Director of the State Hermitage responsible 2012. – 440 pp. Ills. for exhibitions and development, N. Vetrova, General Director The catalogue presents 222 jewellery items made by French jewellers in the 18th – the first quar- of the Sverdlovsk Regional Local History Museum, S. Adaksina, ter of the 19th century; many of them are published for the first time. The Paris school – the leader Deputy Director of the State Hermitage, Chief Curator. The State in the French “luxury industry”, with all its brilliance and variety – is particularly well represented Hermitage restorers presented fifteen papers at the academic in the collection. The collection includes snuffboxes, other cases for holding snuff, needle cases, purses sessions of the conference on various issues of conservation and and notebooks, boxes for keeping fake beauty spots, samples of ceremonial weapons, and other objects. restoration, art history, and museum storage. The conference was concluded with a round table “The Hermitage Restoration School: Conclusions and Prospects”, which analysed the results of many years of work at the school, the assistance provided to the col- The 2012 training session “Restoring Museum Pieces Made of Leather” leagues in the Urals in preparing exhibitions, preserving the col- (taught by the high-category restorer Ye. Chekhova). Discussion Persian Manuscripts, Paintings and Drawings from the 15th lections in museum storage areas. The future prospects of the of completed projects at the Restoration Workshop, SRLH to the Early 20th Century in the Hermitage Collection by Adel programme were also outlined, and times and topics suggested ­Adamova. – London: Azimuth Editions, 2012. – 412 pp. Ills. for future training sessions. Moreover, the problems of technical The English version of the catalogue of the collection of Persian equipment of the Ural restoration workshops and the necessity paintings and drawings issued in the Hermitage in 2010 includes to resume the work of the State Attestation Commission for all Nevyansk, Nizhny Tagil, Krasnoufimsk, Verkhnyaya Sinyachikha, more than 400 works covering the period from the 15th to the early restorers were also touched upon. The conference confirmed the Perm, Kazan, Solikamsk, Cherdyn, Bereznyaki, Khanty-Mansi- 20th centuries, as well as essays on Russian-Persian relations and viability and demand for the programme and the “handing down” ysk, Nefteugansk, Surgut, Novosibirsk, Chelyabinsk, Kemerovo, development of Persian painting and graphic art. One of the high- of professional experience. A collection of papers was published Barnaul, Ulan-Ude, Tyumen, Tomsk, Omsk, Orenburg, as well as lights of the collection and publication itself is the manuscript of after the conference. Bashkortostan (Ufa), Udmurt Republic (Sarapul), Komi-Permyak Khamsa poem by Nizami, which was copied in 1431 and is illumi- Between 1997 and 2012, 30 training sessions were held as part of Autonomous Area (Kudymkar) and the Republic of Kazakhstan nated with numerous miniatures. the Hermitage Restoration School Programme. Over 100 restor- (Almaty, Kostanay). ers from different Russian regions and towns underwent training M. Michri, Curator in the SRLHM workshops: Yekaterinburg, Verkhoturie, Revda, Hermitage Restoration School Programme 120 121 Publications Publications

CATALOGUES OF TEMPORARY EXHIBITIONS 848. The Collection of Georges Matcheret and Nadia Wolkonsky. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 352 pp. Ills. Carlo Gavazzeni Ricordi. Teatri d’Invenzione a Roma a Cura di Valentina Moncada testo di Marco Di Capua. Exhibition catalogue. The State Hermitage Museum. – Rome: Il Cigno GG Edizioni, The catalogue of the exhibition prepared within the framework of the Hermitage 20/21 project, in- 2012. – 168 pp. Ills. cludes 848 postal envelopes, which were mostly designed by representatives of unofficial Soviet art in the 1970s – 1980s. The envelopes represent so-called mail art (postal objects as artists’ gestures) and The catalogue which contains 59 works by the contemporary Italian artist and photographer Carlo are valuable works of art created by famous masters of the Soviet underground. Gavazzeni Ricordi offers the reader a new look at the eternal city of Rome which always attracts visi- tors’ and antiquity lovers’ attention.

Tylos. The Journey beyond Life. Rituals and Funerary Traditions in Bahrain. 1st Century BC – 3rd Сentury AD. Exhibition publication. St. Petersburg: NP-Print, 2012. – 24 pp. Ills. A Second Life. Coins and Medals in European Applied Art. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: This publication accompanied a temporary exhibition from the Bahrain The State Hermitage Publishers, 2012. – 140 pp. Ills. National Museum which displayed the results of excavations of ancient necropolises. The brochure contains data on history, culture, and cults The catalogue presents objects of decorative and applied arts fash- of Bahrain in the era of Tylos (end of the 1st millennium BC – first cen- ioned of various materials within which coins and medals of differ- turies AD), when the country was experiencing strong influence of the ent epochs from the Classical age up to our times have been given ancient civilisation. new life.

The Book as Art. Twenty Years of the Rare Books from St. Petersburg Publishing House. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: Rare Books from St. Petersburg, “In Written Words Alone…”. On the 150th Anniversary of the Birth of Academician Nikolay 2012. – 192 pp. Ills. Petrovich Likhachev. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: The State The catalogue covers the results of twenty-year publishing activities of the Rare Books from St. Peters- Hermitage Publishers, 2012. – 600 pp. Ills. burg, in collaboration with which the Hermitage has organised several exhibitions. One of the experi- The exhibition catalogue was made to mark the occasion of the anniversary of Nikolay Petrovich Likh- ments of the publishing house are production of objects of art in their own right, which sometimes go achev, an outstanding collector, who has formed a unique collection of written texts, most of which are too far away from the principles of an ordinary book and belong to the elite genre of bibliophilic books. kept in the Hermitage. This edition is in a certain way compendium of data on written texts of the An- The illustrated catalogue presents 103 prints and 45 books of the publishing house, 21 of which now cient East, Classical age, various European and Eastern countries, and it represents a publication of the make part of the funds of the Hermitage Research Library. most prominent monuments from Nikolay Likhachev’s former collection.

Russian Lithographic Portrait of the 19th Century. Exhibition ­ catalogue. The State Hermitage Museum. St. Petersburg: Edgar Degas. Place de la Concorde. Notes on the Painting. The State Hermitage Publishers, 2012. – 336 pp. Ills. By Albert Kostenevich. The State Hermitage Museum. This catalogue is dedicated to the nineteenth-century lithographic St. Petersburg: The State Hermitage Publishers, 2012. – portrait, one of the rarest forms of visual arts. The publication 152 pp. Ills. – (“Restored Masterpieces” Series). includes 150 works done by the famous Russian artists who were The book is dedicated to Edgar Degas’s masterpiece Place de engaged in lithography, namely Alexander Orlovsky, Alexey Ven- la Concorde, which has recently been restored. This painting, which etsianov, Ilya Sokolov, Orest Kiprensky, and Alexander Briullov. portrays multiple figures, hides quite a lot of mysteries. The author The portraits depict members of the royal family, public officials, traces the genesis of the painting, its psychological backgrounds, military men, writers, artists, and ladies from the high society. and studies the art of the predecessors and the peculiarity of Dega’s realism who has created a surprising composition.

Paula Modersohn-Becker and Worpswede Artists. Drawings and Prints. 1895–1906. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, Santiago Calatrava. The Quest for Movement. Exhibition catalogue. Translation from the English. 2012. – 44 pp. Ills. Compiled by Ksenia Malich. The State Hermitage Museum. St. Petersburg: The State Hermitage This catalogue introduces to the reader the works by the German artist Paula Modersohn-Becker and Publishers, 2012. – 264 pp. Ills. the Worpswede masters. Drawings and prints presented in the publication demonstrate the variety The exhibition of works by the prominent Spanish architect Santiago Calatrava which was organised of themes and genres characteristic of the graphic pieces produced by the masters of the Worpswede as part of the Hermitage 20/21 project has shown to the Russian viewer all aspects of his work for the group at their flowering period. first time ever: it comprised the master’s models of buildings, drawings, and sculptures. The exhibition catalogue displays a large number of photo materials which give the viewer an idea of what Calatrava’s projects look like in real life and how they can arrange and “spiritualise” the environment.

122 123 Publications Publications

Medals of Dishonour. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: Fontanka- A Treasury of Books. 250 Years of the Hermitage Library. Exhibition catalogue. The State Hermitage London, 2012. – 152 pp. Ills. Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 400 pp. Ills. The catalogue of the exhibition organised by the Hermitage in collaboration with the British Museum The catalogue features the books from the collections formed throughout the entire history of the Her- contains data on more than 250 satirical medals which reflect a negative view of historic events. Works mitage Library from the time of Catherine II to our days. It comprises European and Russian Bibles, created from the 16th century up to the present day are shown in the publication. ancient engraved albums and treatises on architecture, descriptions of journeys, geographic maps and atlases, books on warfare, heraldry, numismatics, manuscripts and publications with signed bindings, bearing owners’ emblems and autographs, as well as eighteenth- to twentieth-century fashion maga- zines, and bibliophilic books.

Architectural Library. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: Chisty List, 2012. – 128 pp. Ills. Catalogue of the exhibition which continues the architectural line of the Hermitage 20/21 project. It compares drawings from collec- The Hermitage in Photographs – 2012. Exhibition catalogue. tions of different types – a dynamic and progressive collection of the The State Hermitage Museum. St. Petersburg: The State Hermitage working architect Sergey Tchoban, which is just over ten years old, Publishers, 2012. – 184 pp. Ills. and a long-standing collection of the State Hermitage Museum rooted The catalogue features various moments from the diverse life of the in the acquisitions of Catherine II. museum.­

Jake and Dinos Chapman. The End of Fun. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 176 pp. Ills. The catalogue accompanied the exhibition of works by the Chapman Brothers, contemporary English Antique Style in Russian Imperial Porcelain in the Second Half of the Eighteenth Century. masters who follow the genre of The Disasters of War which originates from Francisco Goya’s prints. Exhibition catalogue. The State Hermitage Museum. St. Petersburg: The State Hermitage The catalogue contains reproductions of Goya’s installations and his etchings with additions done Publishers, 2012. – 272 pp. Ills. by the Chapman Brothers. The exhibition catalogue reflects the influence of the ancient heritage on Neoclassical Russian porce- lain. Decorative sculptures, vases, services, authentic antiquities, Neoclassical European pieces of art, and contemporary works by the leading artists from the Imperial Porcelain Manufactory are presented in the publication.

Dmitri Prigov. St. Petersburg: Chisty List, 2012. – 112 pp. Ills. This publication dedicated to Dmitri Prigov accompanied the open- ing of the room displaying his works in the exhibition of modern art ON THE ANNIVERSARY OF THE WAR OF 1812 in the General Staff Building. Vasily Zhukovsky. “A Bard in the Camp of the Russian Warriors”. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 24 pp. Ills. Vasily Zhukovsky took part in the war with Napoleon as a soldier of the militia and wrote A Bard in the Camp of the Russian Warriors poem praising the valour shown by the Russian military leaders in the battles for their country. Many of the characters of this poem can be seen in the portraits displayed “An Artist of All Schools”. Christian Wilhelm Ernst Dietrich (1712–1774). Exhibition catalogue. in the 1812 War Gallery. The book contains Zhukovsky’s poem illustrated with the portraits from the Written and compiled by Maria Garlova, Alexey Larionov, and Sergey Orekhov. The State Hermitage War Gallery. Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 148 pp. Ills. The catalogue has been specially designed on the occasion of the exhibition dedicated to the 300th an- niversary of the birth of the German painter Christian Wilhelm Ernst Dietrich. The Hermitage owns a large collection of his paintings, drawings, and prints. “United we shall be, as one!..” The Patriotic War of 1812 in the Medals of Alexey Olenin and his Contemporaries. Exhibi- tion catalogue. The State Hermitage Museum. St. Petersburg: A Sentimental Journey: Wedgwood in Russia. Exhibition catalogue. The State Hermitage Publishers, 2012. – 248 pp. Ills. The State Hermitage Museum. Texts written and compiled by Lydia The name of the catalogue cites a line inscribed on the reverse of one Liakhova. St. Petersburg: The State Hermitage Publishers, of the anniversary commemorative medals from the Hermitage col- 2012. – 208 pp. Ills. lection. The catalogue focuses on immortalising the heroic deeds The catalogue celebrates the occasion of 100 years of the Wedgwood ce- of the Russian Army and people in the Patriotic War of 1812 in med- ramics exhibition in the Imperial Academy of Arts. It includes 97 exhibits als. It also pays tribute to the memory of Alexey Olenin, a prominent which both help the reader appreciate the high artistic level of the Her- figure of Russian culture, on the occasion of the 250th anniversary mitage collection and demonstrate major aspects of Josiah Wedgwood’s of his birth. oeuvre. 124 125 Publications Publications

Toy Soldiers in the Hermitage. By Georgy Vilinbakhov. The State Hermitage Museum. St. Petersburg: Catherine the Great. An Enlightened Empress. – Edinburgh: NMS Enterprise Limited, 2012. – The State Hermitage Publishers, 2012. – 24 pp. Ills. 208 pp. Ills. Publication for the temporary exhibition marking the 200th anniversary of victory in the Patriotic War Catalogue of the exhibition “Catherine the Great. An Enlightened Empress” which was held at the Na- of 1812. The exhibits manifest the variety of the military uniform, accoutrements, outfit, and equipment tional Museum of Scotland in Edinburgh. The catalogue presents 300 exhibits and eight essays written according to the branch of the armed forces and ranks in Russian and French armies during the Napo- by Russian and British specialists on Russian history and art. leonic Wars.

Alexander the Great. 2000 Years of Treasures. – Sydney: Australian Museum, 2012. – 298 pp. Ills. Elizaveta Renne. The Military Gallery in the Winter Palace. The State Catalogue of the exhibition “Alexander the Great. 2000 Years Hermitage Museum. St. Petersburg: The State Hermitage Publishers, of Treasures” which took place at the Australian Museum in Sydney. 2012 – 372 pp. Ills. The exhibition and the catalogue are both dedicated to Alexander This publication marks the 200th anniversary of the victory of Russia the Great, his campaign to the East and later influence of Hellen- in the Patriotic War of 1812. It presents all the 336 portraits painted for ism on the world art. The exhibition covers the period of more than the War Gallery by George Dawe and his assistants, and later by Franz 2,500 years from the 5th century BC up to the 20th century AD. Krüger and Peter Kraft. The portraits are accompanied by short biog- raphies of the generals who took part in the war, descriptions of their decorations, and other data.

Nomads of Eurasia on the Road to Empire. Exhibition catalogue. St. Petersburg: Slavia, 2012. – 272 pp. Ills. Catalogue of the exhibition, which took place at the State Historical, Architectural and Art Museum-­ Reserve Kazan Kremlin, Hermitage • Kazan Centre. The catalogue presents 749 exhibits from the Her- CATALOGUES OF THE HERMITAGE EXHIBITIONS ON LOAN mitage collection, which date back to the period from the beginning of the 1st millennium BC to the mo- ment of formation of the Great Mongol Empire in the 13th century.

Rembrandt. Kuparilaatan Mestari. Master of the Copper Plate. Grafiikaa Valtion Eremitaasin Dmitri The Last Russian Emperor. The Family and Court of Nicholas II Rovinski-kokoelmasta. Prints from the Rovinsky Collection at the State Hermitage Museum. Valtion at the Turn of the 19th – 20th Centuries. Exhibition catalogue. taidemuseo; Sinebrychoffin taidemuseo. – Helsinki, 2012. – 260 pp. Ills. St. Petersburg: Slavia, 2012 – 132 pp. Ills. Catalogue of the exhibition “Rembrandt. Master of the Copper Plate” which took place at the Sinebry- The catalogue of the exhibition, which was held at the exhibition choff Art Museum in Helsinki, Finland. The publication presents 55 etchings by Rembrandt van Rijn centre Hermitage • Vyborg, describes the private and social life of from the unique collection of Dmitry Rovinsky, now kept in the Hermitage. Nicholas II. The publication features 285 exhibits from the Hermit- age collection, which embrace the period from the 1870s to the col- lapse of the Russian Empire in 1917. 400 years of European Masterpieces from the State Hermitage Museum. – Tokyo: Mitsumura Printing Co. Ltd., 2012. – 274 pp. Ills. Two Centuries of French Elegance. Decorative Art of the 17th and 18th Centuries from the State Hermitage Museum Collection. Exhibition catalogue. St. Petersburg: Slavia, 2012 – 152 pp. Ills. Catalogue of the exhibition “The Face of an Era. Four Centuries of European Painting”, which was held in museums of Tokyo, Nagoya, The catalogue of the exhibition which took place at the exhibition centre Hermitage • Vyborg shows and Kyoto, Japan. The publication includes paintings of the 16th to major stages of the establishment and development of French decorative and applied arts through the 20th centuries, which gives the reader an idea of the history of evo- example of the Hermitage collection, one of the best collections of French art in the world. Some of the lution of European art, as well as its diversity and supreme artistic exhibits had been previously owned by the royal family, while others had been part of private collections level. Among other works on display is the remarkable Red Room by of the Russian nobility (the Stroganovs, Sheremetevs, and Gorchakovs) which were nationalised after the Henri Matisse, as well as paintings by Titian, Rubens, Rembrandt, Revolution of 1917. Reynolds, Renoir, Monet, Cézanne, and Picasso.

Giovanni Battista Piranesi. Palaces, Ruins and Prisons. From the State Hermitage Museum Collection. – Yekaterinburg, 2012. – 96 pp. Ills. Sensation & Inspiration. Impressionism. Highlights from the Hermitage. Ed. by Albert Catalogue of the exhibition which took place at the Yekaterinburg Kostenevich. – Amsterdam: Museumshop Hermitage • Amsterdam, 2012. – 280 pp. Ills. Museum of Fine Arts. The exhibition displayed 59 works by Giovanni Catalogue of the exhibition “Impressionism: Sensation and Inspiration”. Among the masterpieces from Battista Piranesi (1720–1778), one of the foremost Italian masters the State Hermitage Museum displayed at the exhibition at the Centre Hermitage • Amsterdam were of etchings, who was also an engraver, draughtsman, and architect. paintings, graphic pieces, and sculptures from the second half of the 19th – early 20th centuries ex- The publication has also a print portraying the artist himself made ecuted by renowned Impressionists. by his contemporary Felice Polanzani.

126 127 Publications Publications

Titian. A Fresh Look at Nature. Antonio Mazzotta; National Gallery Company. – London, 2012 – TRANSACTIONS OF THE STATE HERMITAGE MUSEUM 88 pp. Ills. Catalogue of the exhibition “The Flight into Egypt. Titian’s First Masterpiece” which took place at the National Gallery, London. Titian is an outstanding sixteenth-century Venetian painter, who was trained Transactions of the State Hermitage Museum. LIX. Ceramics and Porcelain in the Far-Eastern Coun- in Giovanni Bellini’s studio and studied the works by Albrecht Dürer. The painting The Flight into Egypt, tries. Problems of Style and Interaction between East and West. Academic editor Tatiana Arapova. which has been recently restored by the Hermitage, demonstrates how the famous portrait painter saw The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 184 pp. Ills. nature and scenery. The painting had a revolutionary effect at its time because of its size, theme, colour 22 pages of colour plates. scheme, and meticulous landscape representation. This collection of articles is based on the results of the conference which took place at the State Hermit- age Museum on 11–12 November 2009. Various aspects of studying Far-Eastern ceramics and porce- lain, as well as characteristics of the Chinese and Japanese art styles, and interaction with European countries were discussed at the conference; moreover, themes of drawings made on ceramics were ana- Tiziano. La Fuga in Egitto e la Pittura di Paesaggio. lysed. The articles are divided into groups by the time line of the scenes described and are separated A cura di Irina Artemieva e Giuseppe Pavanello. – Venezia: into geographical sections (first China and then Japan). The collection also contains articles covering Marsilio, 2012. – 120 pp. Ills. the work of the Hermitage restorers and the Laboratory of Scientific and Technical Examination. Publication of the exhibition “Titian’s Unseen Work. The Flight into Egypt and the Great Venetian Painting”, held at the Gallerie Transactions of the State Hermitage Museum: LX. The Problems of Conservation, Research dell’Accademia, Venice. The Flight into Egypt, which has recently and Restoration of Cultural Monuments. Based upon the proceedings of scientific practical confer- been restored in the Hermitage, was painted by Tiziano Vecellio, ences “The Problems of Conservation, Research and Restoration of Cultural Monuments” and a renowned Venetian artist of the 16th century, and is the largest “The Conservation, Research and Restoration of Cultural Monuments”. Held on 23–25 January 2006 landscape not only among Venetian, but also all Italian paintings and 24–27 April 2007 on the occasion of the centenary of the birth of Academician Dmitry Likhachev. of the early 16th century. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 418 pp. Ills. This collection of articles covers topical issues of conservation of cultural heritage. It contains the ar- ticles written by archaeologists, restorers, and architects from Russia, Ukraine, Belarus, and France, which analyse the experience of restoration and display of some objects of cultural heritage; further- more, the results of monuments’ research are published. The collection is to mark the 100th anniversary The Small Utopia. Ars Multiplicata. Fondazione Prada – Ca’ Corner della Regina; Germano Celant. – Milan, 2012. – 51–59 pp. Ills. of the birth of Academician Dmitry Likhachev, whose work emphasised the issues of cultural heritage; it includes proceedings of the 2006–2007 conferences held in his honour. The article in the catalogue of the exhibition “The Small Utopia. Ars Multiplicata”, which took place at the Venetian palazzo Ca’ Corner della Regina, introduces readers to the objects of Suprematist ce- ramics in the context of the Russian avant-garde.

Transactions of the State Hermitage Museum: LXI. Materials and Researches of the Numismatic Department. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 358 pp. Ills. This collection, which was prepared to mark the 225th anniversary of the founding of the Münzkabinett (Numismatic Department of the State Hermitage Museum), honours the memory of the famous national numismatists Alexey Markov and Alexey Ilyin who headed the department in the first quarter of the 20th century. The materials of this collection cover a wide range of auxiliary historical disciplines from numismatics of the East, Classical Antiquity, Western Europe, and Russia to notaphily, medallic art, phaleristics, and heraldry.

REPORTS OF THE STATE HERMITAGE MUSEUM

Reports of the State Hermitage Museum. LXX. The State Hermitage Museum. St. Petersburg: Transactions of the State Hermitage Museum. LXIII. Alexander the Great. The Life of the Image The State Hermitage Publishers, 2013. – 240 pp. Ills. in World Culture. Proceedings of the conference of 18 April 2007. Academic editor Anna Trofimova. This is an annual edition presenting the results of the museum’s recent research, restoration, preserva- The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 136 pp. Ills. tion and exhibition activities. The articles are primarily concerned with the Hermitage collections and This publication, which was timed to coincide with the exhibition “Alexander the Great. The Road individual works of art. Their authors specify and make more accurate attributions, datings and inter- to the East”, includes articles written by the Hermitage staff, as well as scholars from the Faculty of Ori- pretations of the already published works. Other sections of the book deal with most important recent ental Studies of St. Petersburg State University, Saratov State University, Russian Institute of History acquisitions of the museum, its newly-opened and replanned permanent exhibitions and new studies of Arts, and State Russian Museum, dedicated to the epoch of Hellenism and influence of Alexander’s on the Hermitage’s history. The edition is published in Russian and English. campaigns on the evolution of world culture.

128 129 Publications Publications

Transactions of the State Hermitage Museum. LXIV. Personalities from Peter the Great’s Mark Kramarovsky. Man from the Medieval Street. Golden Horde. Byzantine Empire. Italy. Time-2012. To Mark the 280th Anniversary of the First Cadet Corps (1732–2012). Proceedings St. Petersburg: Eurasia, 2012. – 496 pp., 90 ills., 48 pages of colour ill. of the academic conference. The State Hermitage Museum. St. Petersburg: The State Hermitage The book deals with the everyday culture of a common fourteenth-century citizen, an artisan, or suc- Publishers, 2012. – 336 pp. Ills. cessful merchant, a man from the medieval street, whose activities were reflected in a range of ar- The collection of materials of the annual conference, held in the Menshikov Palace, is dedicated to vari- tefacts, thoroughly selected by the author and detected through his own system of specific historical ous aspects of history and culture under Peter the Great. It contains articles on Peter I, his contemporar- ­observations. ies, and on the First Cadet Corps, which was housed in the Menshikov Palace from 1732 to 1918. Many pieces of art and archive materials, which served as a basis for the studies, have been introduced into scientific use for the first time.

Lilia Kuznetsova. Nineteenth-Century Jewellers from Saint Petersburg. Splendid Beginning of Alexander’s Time. – Moscow: ­Tsentropoligraph Publishing House, 2012. – 319 pp. This is a second book by Lilia Kuznetsova, a leading research worker Transactions of the State Hermitage Museum. LXV. First Stone Churches of Old Rus. Materials of the State Hermitage Museum. It is part of a three-volume publi- of the Seminar on Architectural Archaeology. 22–24 November 2010. Academic editor Denis Yolshin. cation dedicated to the jewellery of the 18th – early 19th centuries, The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 370 pp. Ills. a byway of Russian culture so far. 16 pages of colour plates. This collection of articles contains materials of the conference dedicated to the research of the Church of the Tithes and Saint Sophia Cathedrals in Kiev, Novgorod, and Polotsk. They discuss different aspects of studies of the first stone ecclesiastical structures of Old Rus, namely architectural types, building ma- terials and techniques, and iconography. The authors also focus on the problems of historiography and methods of an integrated study of historical and architectural monuments. Boris Marshak. Sogdian Pottery of the 5th – 7th Centuries as Historical and Cultural Phenomenon (on the Methods of the Study of Pottery Complexes). St. Petersburg: The State Hermitage Publishers, 2012 – 384 pp. Ills. The book describes ceramics from the lower layers of the medieval city of Penjikent (Tajikistan), found in 1955–1963 by Boris Marshak (1933–2006), a well-known Russian archaeologist who supervised the Hermitage excavations in Penjikent for many years. The finds were systematised according to the set of techniques introduced by him. The book contains data on the history of fifth- to seventh-century Sogdian settlements, Penjikent in the first place, as well as on the evolution of pottery, the history of Sogdian econo- MONOGRAPHS my, everyday life, arts, and culture. The manuscript was prepared for publication by Valentina Raspopova.

St. Petersburg: Sergey Androsov. From Peter I to Catherine II. People, Statues, Paintings. Tatiana Petrova. Architect Andrey Stackenschneider. St. Peters- Dmitry Bulanin, 2013. – 312 pp. Ills. burg: The State Hermitage Publishers, 2012. – 576 pp. Ills. The publication includes research articles written throughout more than twenty years, which are related The monograph describes the career of one of the foremost Russian to the history of St. Petersburg and people who lived and created art there, and which show the evolution architects of the mid-19th century Andrey Ivanovich Stackensch- of Russian culture, artistic taste, and collecting in the 18th century. Most of the articles are unfamiliar neider (1802–1865) who contributed significantly to the creation to a general audience. What is particularly interesting is the history of the famous ancient statue Venus of a new type of architecture in the age of Historicism. The author of Tauride, which was traced in the documents year by year. the monograph thoroughly analyses the architect’s works, without which the present-day look of St. Petersburg is hard to imagine, and evaluates them from the perspective of contemporary art studies.

Anna A. Ierusalimskaja. Moshtcevaya Balka. An Unusual ­Archaeological Monument on the Northern Caucasus Silk Road. St. Petersburg: The State Hermitage Publishers, 2012. – 384 pp. Ills. Anna Trofimova. Imitatio Alexandri. Portraits of Alexander the Great and Mythological Images The monograph is a complete publication of materials on Mo­shtce­ in Hellenistic Art. St. Petersburg: The State Hermitage Publishers, 2012. – 320 pp. Ills. vaya Balka, a medieval archaeological monument of uniquely con- This is the first monograph in the domestic and foreign art studies to examine the phenomenon of influ- served organic materials and tissues. The book describes all funeral ence of Alexander’s portraits on depictions of heroes and deities in Hellenistic art. The book discusses finds and analyses each object in detail. The author of the book is an the historiography of the portraits of Alexander the Great and imitation problem in the context of the archaeologist who personally supervised the excavation of Mosht- Hellenistic period, as well as analyses images of the main mythological characters that suffered influ- cevaya Balka. ence of Alexander’s iconography (Achilles, Heracles, Dionysus, Helios, giants, and water deities).

130 131 Publications Publications

Yekaterina Khmelnitskaya. August Spiess and Imperial Porcelain Manufactory: Life Dedicated ALBUMS/Art Books to Porcelain. – Moscow: Liubimaya Kniga, 2012. – 448 pp. Ills. The book is the most complete publication of works of art and sketches made by the sculptor August Andrey Alexeyev. The Gold of the Scythian Kings in the Hermitage Collection. The State Hermitage Spiess. It includes objects from the State Hermitage Museum and other twenty-two collections. Read- Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 272 pp. Ills. ers can learn about various aspects of the talent of the main model-maker of the Imperial Porcelain The album is dedicated to art monuments of the 7th – 4th centuries BC from the unique Hermitage col- Manufactory in St. Petersburg who created designs for porcelain vases, different types of services, and lection of Scythian antiquities. The majority of these objects are made of precious metals, mostly gold, statuettes, and brought them to life with equal success. Many drawings and sketches are published for and are richly decorated with depictions in the so-called Scythian animalistic style, one of the most the first time. expressive features of the artistic culture of ancient Eurasian nomads.

PAGES OF THE HERMITAGE HISTORY SERIES

The Infirmary on behalf of His Imperial Highness the Tsarevich and Grand Duke Alexei Nikolaevich. Valentina Marishkina. IN BREVI SERIES The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012 – 104 pp. Ills. Liudmila Barkova. Beauty Woven of Mysteries. The State Hermitage. This publication dedicated to the history of the hospital set up during St. Petersburg: The State Hermitage Publishers, 2012. – 48 pp. Ills. the World War I in the Winter Palace is based on archive materi- The publication describes the world’s most ancient carpets which had sur- als, including contemporaries’ recollections. The book also contains vived more than 2,000 years of permafrost in the Pazyryk Valley, Altai, recently discovered materials and studies, which have already been and were found during the excavations of the Altai burials in 1949. These published before, and is accompanied by an annotated name index surviving objects give us an idea of the unique culture of Eurasian nomads and a large bibliography. who vanished from the face of the earth long ago.

LIFE OF THE IMPERIAL RESIDENCE SERIES

Tatiana Pashkova. “Quarters” of Emperor Nicholas II in the Winter Palace. The State Hermitage Museum. St. Petersburg: The State Hermitage Publishers, 2012. – 184 pp. Ills. Treasure Gallery-1. By Yury Kalashnik, Marina Kozlovskaya, Yelena Korolkova, Olga Kostiuk, The first book from the new series covering various aspects of life and activities in the Winter Palace and Martha Kryzhanovskaya. 2nd revised edition. The State Hermitage Museum. St. Petersburg: and the Imperial Hermitage. The publications of this series are based on the study of archive materials; The State Hermitage Publishers, 2012. – 64 pp. Ills. richly illustrated, they can be of interest both for specialists and for all readers interested in Russian The book introduces to the reader the jewellery of different countries, nations, cultures, and epochs – history. The book tells the audience about the Winter Palace quarters of Emperor Nicholas II and Em- from ancient times to the early 20th century, displayed in the Treasure Gallery-1 (known as Diamond press Alexandra Feodorovna, and recreates the everyday life of the family of the last Russian Emperor. Room). The author makes an attempt to show the character of the owners through the structure of their dwell- ings and interior design.

POPULAR Academic EDITIONS COLLECTed ARTICLES

GUIDE BOOKS Museum and Problems of Cultural Tourism. Proceedings of the 10th Round Table, 12–13 April 2012. St. Petersburg: Liudmila Voronikhina. The Hermitage. Western European Art: The State Hermitage Publishers, 2012. – 188 pp. Ills. a Guide Book. The State Hermitage Museum. St. Petersburg: The collection comprises materials of the annual round table aimed The State Hermitage Publishers, 2012. – 416 pp. Ills. at sharing the experience between Russian and foreign museums. This book opens a new series of the Hermitage popular academic editions and presents the Hermitage collection of works of Western European art, i.e. paintings, sculptures, and pieces of applied arts. The material is giv- en in chronological order and then divided into smaller groups according to different schools of art within chronological periods. The comments guide the reader around the museum halls.

Award Systems: Russia and Scandinavia: Proceedings of the 2nd International Symposium on Orders. Managing editor Lydia Dobrovolskaya. St. Petersburg: The State Hermitage Menshikov Palace: A Guide Book. The State Hermitage. By Vladimir Meshcheryakov, Irina Saverkina, Publishers, 2012. – 174 pp. Ills. Yekaterina Andreyeva, Yelena Ignatyeva. – 2nd revised edition. St. Petersburg: Istoricheskaya The collection of materials of the symposium held at the Hermitage in September 2010 includes works Ilustratsia, 2012. – 64 pp., [32] pages of colour ills. : Ills. – Bibliography: pp. 58–64. by noted specialists on phaleristics from three countries: Russia, Sweden, and Finland. The publication covers the history of the palace and can serve as a guide around the halls of the Men- shikov Palace. 132 133 Publications ELECTRONIC EDITIONS AND VIDEO FILMS

Posthumous Bronzes in Law and Art History: International Colloquium, 26–27 May 2012. The Hermitage in social networks St. Petersburg. The State Hermitage Publishers, 2012. – 224 pp. Ills. The collection contains the materials of the international conference which took place in the Hermitage In 2012, the State Hermitage Museum presented itself in the social networks; today more than in 2012 and was dedicated to legal and artistic aspects of authenticity of posthumous castings of bronze 64,000 Twitter users receive messages from the Hermitage. The Hermitage News is available to us- sculptures. ers of the global international social network Facebook. The museum publishes information on cur- rent events and burning issues of the museum life, on its plans and projects, and on important dates in the history of world art and culture on Facebook and Twitter. Its presence in social networks is an efficient instrument in creating a positive image of the museum. Problems of Restoration of the Monuments of Culture and Art. Proceedings of the 3rd Regional Scientific Practical Conference on the Occasion of 15 Years of the Hermitage School Electronic publications and video films of Restoration. – Yekaterinburg, 2012. Tezis, 2012. – 188 pp. Ills. Proceedings of the 3rd International Conference “15 Years of Coop- eration. Results and Prospects”, which was organised as part of the programme The Hermitage School of Restoration in the Restoration Centre of the Sverdlovsk Regional Museum of Local Lore in Novem- ber 2012.

The Hermitage gives ample opportunities for advanced study of the history of world culture through REPORTS OF ARCHAEOLOGICAL EXPEDITIONS the project aimed at publishing educational programmes within the Virtual Academy series on the Internet. In 2012, the Art of the Italian Renaissance multimedia thematic album, created Report of the Fieldwork of the Expedition for 2011. Materials of the archaeological expedition on the basis of paintings, sculpture, works of graphic, decorative and applied arts from the Her- in Penjikent. Issue XIV. The State Hermitage Museum; Akhmadi Danish Institute of History, Archae- mitage collection, was issued. Internet users gained access to the Imperial Porcelain Manufactory ology, and Ethnography of the Academy of Sciences of the Republic of Tajikistan. St. Petersburg, programme, devoted to the famous Saint Petersburg porcelain manufactory, the history of which 2012. – 204 pp. Ills. is reflected in the collection of the Museum of the Imperial Porcelain Manufactory, which became part of the Hermitage funds. Thematic albums Rembrandt in the Hermitage and Ancient Rome Report of the Archaeological Studies of the Medieval Fortress Cembalo (Balaklava) for 2011. have been updated and republished. ­Materials of the Southern Crimean archaeological expedition. By Svetlana Adaksina, Victor Myts, The collection of video films expanded owing to the films on exhibitions prepared by the Hermitage and Sergey Ushakov. The State Hermitage Museum; Crimean Branch of the Institute for Archaeology in 2012, namely “‘The Thunder of 1812’. The Patriotic War of 1812 in the Hermitage Collections”; of the Ukrainian National Academy of Sciences; the National Reserve of “Chersonesos of Tauride”. “A Treasury of Books. 250 Years of the Hermitage Library”; “Antique Style in Russian Imperial St. Petersburg, 2012. – 210 pp. Ills. Porcelain in the Second Half of the Eighteenth Century. From the ‘Christmas Gift’ Series”; “Pages of the Russian Past in Portrait Lithography of the 19th Century”; “‘He was a Scientist from Top to Toe, Never Wishing to be Anyone Else, and He Never Was’. On the 150th Anniversary of the Birth of Academician Nikolay Petrovich Likhachev”; “Nicholas II. Chronicles of the Reign”. One can gain OTHER PUBLICATIONS access to all the films and video reports on the events in the museum life on the Hermitage Youtube resource. Gifts of the State Hermitage to the Irbit State Museum of Fine Arts. 1975–2012. Paintings and Etchings of the European Masters of the 17th – 19th Centuries, Books. Exhibition catalogue. Irbit State Fine Arts Museum. Irbit, 2012. – 72 pp. Ills. Presentation of the WEB portal Hermitage Line: The catalogue of the exhibition “Gifts of the State Hermitage to the Irbit State Museum of Fine Arts a new electronic resource of the State Hermitage Museum in 1975–2012. Paintings, Etchings, Books” which took place in Irbit, Sverdlovsk Region, is dedicated to the history of cooperation between the Hermitage and the Irbit State Museum of Fine Arts. The exhi- On 5 December 2012, the Hermitage presented a new Internet resource Hermitage Line, created bition displayed 86 paintings and etchings, as well as more than 400 books. with support of the State Hermitage Museum and the Joint-Stock Investment Commercial Bank Tatfondbank. The website is planned to become a space for discussion of the activities and problems of Russian and foreign museums, their role in the life of the country, city, and each individual. Various materials (texts, photo reports, and videos) on exhibitions and exhibits, creative people and artistic projects, modern architecture and history will be published on Hermitage Line. The electronic resource Hermitage Line will become bilingual (Russian and English versions) and will be regularly updated. It will constantly interact with popular Internet networks. It is planned to make a version for tablets and other mobile devices in the future.

134 135 Conferences Conferences

In the Memory of Vladimir Lukonin Posthumous Bronzes in Law and Art History 25–26 January 26–27 April Annual conference devoted to ancient and medieval Orient. International conference with the participation of scholars from the USA, Great Britain, France, Israel and other countries, devoted to legal, art history, and museological aspects of the problem In the Memory of Boris Piotrovsky of bronze casts made after the artist’s death. 14 February Annual meeting devoted to a wide circle of problems of archaeology and ancient history, Virtual Archaeology and new discoveries in various spheres of research carried out in the Hermitage Museum. 4–6 June Conference devoted to the application of computer methods to archaeology. Daguerrotype Documenting With the Paul Mellon Foundation The 4th International Congress of Peter the Great Cities. Capitals and Provinces. 15–16 February Dedicated to 300 Years of the Transfer of the Russian Capital from Moscow Seminar within the International project concerned with the study of photography. to St. Petersburg With the International Dmitry Likhachev Foundation Conference Dedicated to 290 Years of the Heraldic Office and 20 Years 8 June of the Heraldry Department of Russia Annual meeting devoted to the study of the time of Peter the Great. With the Heraldry Council of the President of the Russian Federation 21–22 February Round Table: From Federal Law No 94 to Federal Contract System. Perspectives Conference devoted to the history of Russian heraldry. With the “Tsarskoy Selo” State Museum-Reserve 19 June 165 Years of the Hermitage Treasure Gallery Meeting devoted to the protection of museums’ rights and interests within Federal Law No 94 20 March and the perspectives of transition to Federal contract system. Round Table devoted to the history of the formation of the Hermitage Treasure Gallery and exhibiting jewellery in the Imperial Hermitage. One of the themes of the Round Table was the status Worpswede Yesterday and Today: Lyrics, Motherland, Socialism of exhibitions implying special storage conditions (“special storage rooms”) in modern museums With the Goethe Institute in St. Petersburg and the development of the Treasure Gallery of the Hermitage Museum. 19–20 September International conference on the occasion of the exhibition, “Paula Modersohn-Becker and Worpswede The Protocol in Russia Association Meeting Artists. Drawings and Prints. 1895–1906”, devoted to Paula Modersohn-Becker and the Worpswede 5 April artists, as well as the history of the Worpswede colony and its contacts with other similar art groups, Devoted to the place of diplomatic gifts in the system of international diplomatic ceremonies. including those of Russia.

The Medieval Christian Architecture: West and East Tradition Interaction Architecture Museum and Education and Archaeology Seminar With St. Petersburg “Pro Arte” Cultural Foundation 5 April 20–21 September Meeting of the regular basis seminar devoted to architectural archaeology. International conference devoted to problems of education in today’s museums and training museum workers. The 10th Round Table: Museum and Problems of Cultural Tourism 12–13 April Two Centuries of Islamic Numismatics in Russia: General Results and Prospects Annual seminar of the Hermitage and other museums of Russia and other countries, devoted 24–28 September to the exchange of experiences in the sphere of tourism and cultural programmes. International conference, on the occasion of 225 years of the Münzkabinett, concerned with Muslim numismatics. St. Petersburg Egyptology Readings With the Institute of Oriental Manuscripts, Russian Academy of Sciences, and the Faculty Methods of the Investigation of Photographic Collections of Oriental Studies, St. Petersburg State University With the Paul Mellon Foundation 24–26 April 9 October Annual conference devoted to new developments in the study of Ancient Egypt. International seminar within the international project concerned with the study of photography.

The Mysterious Animals and Exotic Birds. Fantastic Images in Ancient Art Round Table The Roerich Legacy 25 April With St. Petersburg State Museum-Institute of the Roerich Family Round Table devoted to iconography, history and art aspects of the study of fantastic animals 10 October in ancient art. Devoted to the Roerich legacy.

The Legacy of Nikolay Petrovich Likhachev: Text and Image Interpretation Marc Chagall and St. Petersburg: Life, Work, and Legacy With the Department of Philology and History, Russian Academy of Sciences, and St. Petersburg With the International Dmitry Likhachev Foundation Institute of History, Russian Academy of Sciences 11–12 October 15–17 April International conference dedicated to 125 years of Marc Chagall. In connection with the “In Written Words Alone…” exhibition, dedicated to 150 years of Academician Nikolay Petrovich Likhachev. Devoted to the study of writing and written documents. Kerch, St. Petersburg and the Hermitage: Preservation and Renovation of the Crimean Cultural Heritage The 2nd Russian-Scandinavian Symposium on Vexilology. In hoc signo vinces With Kerch History and Culture Museum-Preserve 21–22 April 15–16 October Devoted to different aspects of the study of banners. Devoted to the ancient history and archaeology of the Crimea. 136 137 Conferences Conferences

The 5th International Conference from the History of Stalinism. Life in Terror: Museum and Education Social Aspects of Repressions Cycle With the International Dmitry Likhachev Foundation 20–21 September 18–20 October The 5th conference in the “Museums in the 21st Century” cycle organised by the Hermitage Mu- Devoted to the history of Stalinism and its consequences for today’s Russia. seum with St. Petersburg “Pro Arte” Cultural Foundation starting from 2006 was participated by researchers of museums and educational institutions of St. Petersburg, Moscow, The Netherlands, Cultures of the Eurasian Steppe Zone and their Interaction with Ancient Civilisations Norway, Denmark, Finland, Israel and the U.S.A. With the Institute for the History of Material Culture, Russian Academy of Sciences The papers and discussions were devoted to two aspects of the problem of museum education, 22–26 October viz. museum educational activities and training museum specialists. Not being educational in- Dedicated to the memory of the Russian archaeologist M. Gryaznov. stitutions proper, museums perform educational functions, the significance of which is on the Methodology and practice seminar: Management of State Finances in the Sphere of Culture. increase nowadays. The topics discussed by the conference participants included combining tra- Urgent Issues of State Management in the Sphere of Culture. New Ways of State ditional and modern forms of museum education and making the museum attractive for today’s and Municipal Services for Cultural Institutions young people. The papers were devoted to contacts between museums, educational institutions 1–2 November and governmental structures, the role of museums in the system of art education, evaluation of public demands, etc. Greek Antiquity of the Northern Black Sea Region. Fifty Years of Berezan (Lower Bug) A vivid discussion was triggered by the problem of training museologists. In addition to being the Expedition city of museums, St. Petersburg has a number of art departments, which face the problem of the 6–7 November focus of museologists’ training vis-à-vis training in traditional areas of history and art. Contacts be- Study of the archaic Crimea on the basis of archaeological finds. tween professors and students of museology departments and museums are not always satisfactorily organised. On the other hand, museums are not always satisfied with the professional level of uni- 4th Dmitri Prigov Readings. Word – Image – Performance versity graduates, preferring to train specialists in museums. Probably, one of the ways to solve this 6–8 November problem is to offer museum specialists teaching in educational institutions. On the occasion of the exhibition of Dmitri Prigov in the Hermitage.

Personalities from Peter the Great’s Time 20–21 November Annual conference, in the Menshikov Palace, devoted to the time Peter the Great.

225 Years of the Münzkabinett – Numismatic Department of the Hermitage Two Centuries of Islamic Numismatics in Russia: 21–23 November General Results and Prospects Devoted to the history of the Münzkabinett of the Imperial Hermitage (now, Numismatic Department of the State Hermitage Museum) and the history of money circulation in Classical Antiquity, 24–28 September Orient, Western Europe and Russia, the history of medaling, phaleristics and history of numismatic Conference on the occasion of 225 years of the Münzkabinett of the Imperial Hermitage (Numis- collections. matic Department of the State Hermitage Museum). The aim of the conference was to demonstrate the dynamics of the evolution of Muslim numismatics in Russia during a period of over two hundred Archaeological Session years, to sum up tentatively the results of the studies in this area and delineate possible ways of de- 26–27 November velopment with the perspective of international cooperation and exchange of experiences. Final report of the archaelogical expeditions of the Hermitage for the 2012 excavation period. The formation of the Hermitage collection of Oriental coins began under Catherine the Great. Nowa- days, it includes over 220,000 items, being one of the richest museum collections in the world. Vladimir Levinson-Lessing Memorial Conference The study of the collection began as early as the 18th century. Subsequent research was a significant 28 November contribution to Oriental numismatics generally. For instance, the methods of studying coin hoards Annual conference on the history, use and attribution of museum collections. as complexes reflecting monetary circulation typical of a given period, created by the Hermitage Electronic Museum: Creation, Storage and Management of Museum Information Resources curator of Oriental coins R. Vasmer (1888–1938), are still in use. 30 November Among more than fifty participants of the conference were experts on Oriental numismatics from the Methodology and practice seminar devoted to the exchange of experience in creating electronic British Museum, Cambridge, Hamburg and Tübingen Universities, Austrian Academy of Sciences, catalogues and data-bases. Fayum University in Egypt and the Museum of the History of Georgia. The five-day conference programme included papers on a variety of topics, from the dating of the Heraldry Seminar hoard of seventh-century Sassanian Arab drachmas to money circulation in Middle Asia in the 19th Regular monthly seminar on the problems of Russian, Western European and Oriental heraldry century. and adjacent disciplines.

138 139 Conferences Dissertations

Irina Kalinina

Historical Semantics in Cultural studies: Research Subject and methods

For the degree of Doctor The dissertation is concerned with the new trend in cultural studies, which the author defines as “his- of Cultural Studies torical semantics”. The cultural dimension of the latter has been revealed as a result of a complex research of archaeological and ethnographic sources. The dissertation presents an inventory of no- tions and terms pertaining to historical semantics, which make up the basis for combining empiric research with the theoretical idiom of cultural studies. Definitions of such basic notions as habit “behavioral stereotype” or semantic image “the sense of archaic life-style” introduce to the context of the research the understanding of a culture by its bearers, which opens perspectives for the study of the genesis and mechanisms of the transference of cultural information. Historical semantics deal with archaic world-view systems, which manifest themselves in stereo- types of cultural behaviour, and with the methods of cultural reproduction, that is, in a broad sense, with the technology of culture. The present study has disclosed two structurally different semantic systems based on the “life – death” concept, which, in turn, reveal the deep meaning of an archaic worldview.

Natalia Avetyan

Sergey lvovich levitsky and some problems of the study of russian nineteenth-century photography

For the degree of Candidate As a result of a study of the oeuvre of the outstanding Russian photographer Sergey Levitsky (1819– of Art Theory and History 1898), carried out within a broad context of the history of Russian photography, a considerable number of Levitsky’s works, hitherto unknown, have been discovered, many of these ascribed to the artist and dated. A study of archival materials have revealed some facts of his personal and profes- sional biography; archival data have also been helpful in the evaluation of Levitsky’s works, both well-known and lesser known ones, as well as in the reconstruction of his techniques. The two problems connected with the study of Russian photography, discussed in the dissertation, Virtual archaeology are criteria of its artistic value and authorship. The most important result of the study is a theoretical foundation of the method of photography 4–6 June attribution, based on the scrutiny of furniture, workshop accessories and background. Of special The international conference attended by experts from sixteen countries was concerned with the use significance is the technology of print making (material, technique, state of preservation, etc.) of computer methods in archaeology, data processing, archaeological and historical reconstruction A supplement to the dissertation is a catalogue of Levitsky’s works in the collection of the State and visualisation of results. The programme included papers, presentations and workshops on the Hermitage made for the first time. The catalogue shows the major stages of Levitsky’s career, dem- techniques of multidimensional modelling of historical landscape, archaeological monuments, sites onstrating his contribution to Russian nineteenth-century photography. and finds, GIS-modelling of natural and historical processes, monitoring of objects of cultural herit- age and virtual reality designing. The participants came to the conclusion that two approaches to “virtual archaeology” exist. Maxim lapshin One of these based on computer methods is virtual reality. The contemporary approach based on practical archaeology demands an expanded definition, which should take into account integra- tion of contemporary methods archaeological investigation implying the analysis of multidimension- pavel korin: artist, restorer, collector al data accumulations resulting in tentative reconstructions of archaeological monuments, equal in significance to digital representation of excavation and historical research results. One of the most For the degree of Candidate The dissertation is concerned with the restoration and collection aspects of the career of the out- significant problems in this sphere is insufficient communication among experts. According to all of Art Theory and History standing twentieth-century artist Pavel Korin. For the first time, the significance of Korin’s restora- the participants of the conference, the discussion should be continued on the Internet (Virtual Ar- tion work was shown in its connection with his other activities, as painter and collector. As a result chaeology Page). of the study of the materials of the Korin Museum-House, new facts have become known about A volume of the conference papers has been prepared to appear in 2013. Korin’s work as a restorer and his theoretical views on restoration of Western European painting formed during his work in the State Pushkin Museum of Fine Arts. Pavel Korin’s unique collection of Old Russian painting has been analysed in its entirety. Among the most typical restoration works discussed in the dissertation are the Toilet of a Woman by Julio Romano and the Portrait of Cardinal Pallavicini by Titian, formerly in the collection of the State Hermitage.

140 141 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

Integrated antique expedition dition of the Research Institute of Multidisciplinary Social Studies (St. Petersburg State University) in the courtyards of the Winter Palace and Shuvalovsky Proyezd. The foundation structures of the Head of Expedition: S. Solovyov Winter Palace and its extensions (the latter have not survived) as well as bricked-up basement ac- cesses were recorded. The expedition continued working under the research programme “Acra: The Ancient City and Its Environs” (Zavetnoye Village, Autonomous Republic of Crimea, Ukraine) and the archaeologi- cal project with the University of Tubingen to perform excavations in Heracleia ad Latmos (Kapikiri, Milas Province, Turkey). The investigation focused on the sea-flooded part of Acra and was aimed at developing a situation map of the city and exploring its fortification and residential structures through underwater excava- BEREZAN (LOWER BUG) EXPEDITION tions and survey. The latter were carried out jointly with the Ukrainian Department for Subaquatic Heritage (Supervisor: V. Vakhoneyev) and the Russian Federation Ministry for Emergencies (Super- Head of Expedition: D. Chistov visor: D. Yefremov). As a result of the field works, an archaeological map of the submerged site was compiled with account of the present shoreline; the south-west and north-west defence walls as well Archaeological exploration continued on the ancient settlement on Berezan Island. The season as stone pavement in an area exceeding 30 sq.m were exposed; a 1.8 m deep survey shaft was sunk marked the 50th anniversary since the Hermitage started systematic works on the Berezan site near the north face of the south-west defence wall and the stone basement of a 25 sq.m structure in 1962. located east of the paved area was unearthed. The excavations yielded numerous ceramic items in- Excavations proceeded on Site O, investigated by the expedition since 1998. Our key achievements cluding fragments of fine Attic black-lacquer pottery and fragments of branded tare amphorae from over the past several years include the unearthing of several Late Archaic public facilities (late 6th – Sinop, Heracleia, Thasos and Chios dating back to the mid-4th – early 3rd centuries BC. early 5th centuries BC) which included at least two buildings (Complex 1 and Complex 2) of similar Excavations in Heracleia ad Latmos in ancient Caria were conducted jointly with the University size and layout. The excavation site was extended south of Complex 2, by approximately 250 sq.m, of Tubingen (Supervisor: Richard Posamentir) with the aim to explore the historical precursors in order to clear up the courtyard in front of the entrance. This task was only partly completed due of the ancient town (Anneliese Peschlow, Christoph Gerber), and verify the layouts and structural to the extremely large size of the open area; remains of fences were found on the west and east; features of the residual buildings (defence system, residential and public buildings – Richard Posa- however, only a small part of the south segment was unearthed which gave no clear indication of the mentir) of Heracleia, founded in the late 4th century BC by Mausolus of Halicarnassus, a Persian types of buildings located to the south of the complex. satrap and ruler of Caria; ceramic materials were collected and examined for subsequent publica- The cultural strata were explored to the continental rock level on c. 170 sq.m of the 2011 pit located tion (S. Solovyov). The Heracleian expedition resulted in the first-ever extensive collection of clas- north of Complex 2. The finds include archaeological remains (levelled by fire in the last quarter sical and Hellenistic pottery; the team also studied previously recovered materials held in the Didy- of the 6th century BC) underlying the walls of Late Archaic structures as well as the ruins of two ma archaeological depository. rooms of a house dating back to the second half of the 6th century BC. The most remarkable fea- ture, however, was a rectangular half-dugout of the second quarter – middle of the 6th century BC. The structure had puddle clay walls lined with stone inside and solid floors coated with multiple lay- ers of clay. The location of the post holes suggests that the half-dugout may have had a gabled roof; 0 1 2 cm the interior space had probably been divided by wicker partitions. Remains of clay stoves were found ARCHITECTURAL AND ARCHAEOLOGICAL EXPEDITION in the south-east and south-west corners. Anthropomorphic plummet. Head of Expedition: O. Ioannisian Limestone. 6th century BC

June–September. The Hermitage expedition jointly with the researchers of the Chernigov Na- tional Pedagogical University (Supervisor: Ye. Chernenko) explored the Transfiguration Cathedral in Chernigov, the oldest surviving monument of ancient Russian architecture (c. 1036 AD). The ex- bukhara expedition pedition unearthed the foundations and lower parts of the walls of the north-east and south-east extensions previously studied by N. Makarenko (1923) as well as the lower parts of the masonry and Head of Expedition: A. Omelchenko foundations of the cathedral, the related cultural layers and the burials in the narthex. The exploratory works provided more accurate data on the architectural and structural features of Excavations continued in Paikend jointly with the Archaeology Institute, Uzbekistan Academy the side-chapels and the cathedral itself, leading to significant corrections in the dating of the side- of Sciences, and focused on 4 sites: the Citadel, the area in front of the Citadel, Shahristan I and the chapels, previously believed to have been constructed in the late South Suburb. 11th – early 12th centuries. The north extension was found to date Exploratory works in the Citadel were conducted on 4 areas. In the north-east, a small 1.5 m thick back to nearly the same period as the cathedral, i.e. the first half stretch of what seems to be the earliest fortress wall was found around the temple. The wall used of the 11th century; the south side-chapel was built in the sec- to have arrow slits and rested on a platform of so-called flat-convex adobe bricks. The pottery ond half of the century and reconstructed in the late 11th – early obtained from the adjacent structure dated back to the late 4th – early 3rd centuries BC. At least 12th centuries. Furthermore, foundations of a previously unknown 10 layers of flooring were registered in the intramural passage in the north-west corner of the Cita- extension to the cathedral (the south narthex or gallery) were dis- del (the top layer dates from the 4th century). The walls were preserved to 6.5 m; the inner wall covered in the south side-chapel. Its foundations may have been had a passage leading into the Citadel. Iron weapons and pottery dating back to the first centuries laid simultaneously to the construction of the cathedral, but most BC were retrieved from the lowest floor layer. Remains of an earlier mosque were found under likely, the extension was never built. the mosque dating to the second half of the 10th century in the south-west part of the Citadel; the The detailed investigation of the cathedral and extension masonry former had had a typical layout, with a central courtyard surrounded by iwans (А. Atakhodzhayev made it possible to challenge some of the existing theories about dated the structure to the Abbasid period by the coins retrieved on the site). The new pit excavated early Russian architecture. north of the Citadel allowed to identify at least 3 major construction periods: early medieval resi- September–November. Archaeological surveillance of the ground dential structures, tenth-century dwellings and household facilities (possibly early 12th century). works related to façade waterproofing was conducted by the Her- A ceramic khumcha vessel with a sixth – seventh-century Sogdian inscription in ink was retrieved mitage experts jointly with the North-West Archaeological Expe- from the site. 142 143 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

In Shahristan I, 14 m of a 1.5–2 m wide street (West Street) were upper dvina expedition explored. Stratigraphic analysis identified 18 levels; the lowest two contained early medieval materials. The surfaces paved with burnt Head of Expedition: B. Korotkevich bricks on both sides served as pavements for pedestrians and/or sufas for the shops lining the street. Excavations continued on the Anashkino and Borokhnovo sites in the south of the Pskov Oblast Excavations in Room VIII-1/4 in the west section of the residential (Region). In Anashkino, previously explored parts of the pit in the east sector of the site were re- community showed that the site had first been settled in the 6th cen- unearthed and the control shoulder between them removed for stratigraphic analysis. Some features tury. The late eighth-century rooms VIIIа-6 and VIIIа-7 (dated by an in the pre-continental layer were revealed which dated back to the early period of the site and had Abu Muslim coin) were linked with a passage. Interestingly enough, gone undetected by researchers. In Borokhnovo, works were completed on the ninth – tenth-century the second room located farther from the entrance had 3 khum ves- defence structures in the pit started in 2010. sels dug into the sufas; 14 coins of various denominations were found on the floor. In the east of the residential community, a detailed investigation was carried out on the earliest parts of House I (judging by the coins, the foundations of the house date to the 6th century or slightly earlier). ancient russian expedition A hall measuring c. 42 sq.m was fully unearthed in the west part Head of Expedition: S. Tomsinsky of the house; a narrow passage leads from the hall to a small room with sufas on all four sides and a podium in the centre. Archaeological explorations in Aleksandrovskaya Sloboda (Aleksandrov, Vladimir Oblast/Region) Buried under the eleventh-century community mosque in the south- started in 2005. In the 2012 field season, works continued on the remains of the sixteenth-centu- east of the South Suburb lay the remains of what seems to have been Khumcha vessel ry buildings around the sixteenth-century Dormition Church and the eighteenth-century over-the- a bathhouse, with two spacious rooms featuring sufa-beds, baths of burnt brick and stoves for heat- with a sixth- to seventh-century well chapel (Pit 1, Extension 10). In addition, investigations commenced on a large area bounded ing water. The south room had niches plastered with a mix of clay and gypsum and painted red. Sogdian inscription by the levee of the sixteenth-century grand-ducal and royal residence and left outside later monastery Monitoring was conducted and precise coordinates determined for the known archaeological monu- walls built in the 18th century (Pit 2). The team continued the exploration (begun in 2009) of an early ments (the Bronze Age settlement and graveyard Zaman-baba and the medieval settlements Dustmat- sixteenth-century stone structure, possibly a residential facility, in the Tsarina’s Yard (Extension 10). tepa and Shiburdan-ata) in order to develop a new archaeological map of Qorako’l, Bukhara District. For the first time since the beginning of the of Aleksandrovskaya Sloboda project, explorations were The Hermitage restoration experts О. Viktorova and R. Kazimirova, in collaboration with the Bukha- conducted on the surviving early sixteenth-century interiors (a basement room). The building had ra State Museum-Reserve of Architecture and Art (Ark), completed the cleaning, reinforcement and been destroyed by fire (possibly during Ivan IV’s reign) and never restored. Our studies have shown Shahristan I. West aspect. mounting works on a fragment of a sixth to seventh-century painting depicting a cheetah which was that the destruction of the building had a decisive impact on the subsequent construction history Rooms VIIIа-6 and VIIIа-7 obtained from the Uch-Kulakh Site, Bukhara District and selected for exhibition. of his part of the palace complex.

Bronze seal with a family crest of a participant in the 1812 War

Basement room. Unearthed fragments of the wall masonry in the west corner of the building; a fragment of the “herringbone” brick floor in the basement; remains of the doorway and a fragment of a white stone stair 144 145 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

Stretches of wall masonry were exposed in the west corner of the structure, which had partly re- As a result, a 15 m stretch of the main fortress wall of the medieval Solkhat and the adjoining tained their white stone interior lining, a fragment of “herringbone” floor in the basement room fortress tower were located. No traces of the main defence wall were found apart from several as well as remains of a doorway and part of a white stone staircase leading to the basement from the rubble stones found in situ inside the trench (“bedding”) beneath the wall. Almost no tower ma- street. The unearthed masonry indicates that the original building may have measured c. 300 sq.m sonry adjoining to the main defence line on the north had survived. The residual fragment measured in area. No traces of direct fire impact were detected in the unearthed segment of the basement 4.3 m in length and 1.2 m in width; the east jacket of the wall was 0.9 m high. The east (internal) room. The room had probably been used to store food including jam which had spilt on the floor dur- façade was found in a better state of preservation than the west façade, from which just several ing or after the fire. The building had probably formed part of an early sixteenth-century passage jacket stones remained. Elsewhere the outlines of the tower can only be determined by the trench gallery (explored in 2006–2007). On Pit 2, investigation was started on what may have been part (1.2–1.5 m wide) dug in the light-yellow clay soil. Our findings suggest that the tower may have had of the household section of the residence. a square layout with 8 × 8 m walls. The most interesting finds of the season were a brick fragment with gold foil melted in the fire, The excavations retrieved iron and burnt clay objects as well as a small collection of Jochid coins whole and fragmented red clay wall tiles tentatively dated to the 16th century, whole early sixteenth- (18 in total). century black and white clay roof tiles and a bronze seal bearing the family crest of a participant The measurement works on the Solkhat madrasah were conducted for further in-depth study and in the 1812 War. museumification of the site.

MYRMEKEYON EXPEDITION TRanskuban expedition Head of Expedition: A. Butyagin Head of Expedition: S. Ostashinsky Works continued on the site of the ancient city of Myrmekeyon located on the north shore of the Excavations (started in 2011) continued on the rock ledge near the Meshoko Brook. The site is locat- Kerch Bay (Quarantine Cape). Most activities centred on Unit I (gross excavated area 450 sq.m) and ed 1.2 km south-east of the Kamennomostsky Village (Maikop District, Adyg Republic). Exploratory a small land plot in the area of Site TS. works were conducted on a 32 sq.m area; remains of the floor and several post holes were found, and The exploration programme was completed on the layers of Ash Pit 2 in the south sector of Unit I, a rectangular dwelling pit sized approximately 3 × 3.5 m was partly unearthed. Two radiocarbon surviving as small lenses, hollows and 3 pits cutting through the earlier layer. Two of the pits had dates obtained for samples of the coal layer overlying the site indicate an origin of the first half small indentations at the bottom, one of which contained the upper part of a Heracleian amphora of the 4th millennium BC. In addition, remains of two fireplaces (partly destroyed by later pits) with embedded in the ground shoulders up, the other comprised the lower part of an amphora. Dating alternating layers of coal and ash and adjacent pads of burnt clay were located. from the 3rd – 2nd centuries BC, the ash pit overlies a dense layer of yellow loam soil which resulted 7,000 items were retrieved, most of them pottery, flint and bone fragments. Individual finds in- from the levelled and rammed adobe originating from houses of the 4th century BC. The masonry cluded arrowheads of various shapes, grain bruisers, pendants made of animal teeth, fragments and pavements of this period survived only in places and measure up to 2–3 m in length. Numerous of clay stove bases, spindle whorls and walls of pottery vessels embellished with clay “pearls”, in- fragments of red-figure vessels were retrieved (over 20 of these were fragments of large craters); cised or moulded decorations. The materials obtained, the stratigraphic diversity (5 layers) and the one unique find made during the 2012 field season was a five-line letter in Greek on a fragment of an C14 dates provide a unique opportunity to create a detailed chronological scale for the Eneolithic – amphora wall. All the structures unearthed had been destroyed around the mid-4th century BC. Early Bronze Period in the North-West Caucasus. Rock outcrops occurred along the side of the pit in the south sector of the site, with outcrops of ­layers One landmark result of the past field season was the unearthing of the earliest cultural layer on the Fragment of a red-figure crater. site. The objects retrieved from this layer were markedly different from those found in the overlying 4th century BC strata and mostly included split products and isolated flint items as well as geometrical microliths. Further exploration works will be required to provide accurate dating and cultural attribution.

golden horde (OLD KRYM) expedition

Head of Expedition: M. Kramarovsky

In the 2012 season, the expedition focused on two sites: Pit 37-012, containing the surviving re- mains of the defence tower in the north-west sector of defence system (last quarter of the 14th cen- tury), and the Solkhat madrasah (first third of the 14th century). A 225 sq.m pit was divided into 9 exploratory units sized 5 × 5 m. Unit А-1 contained the remains of the west tower wall (rubble stone and lime mortar). The wall had been built on continental rock and although the face stones had not survived, its general outline was traced by the residual “bed” of the wall. A trench under the north tower wall was found in Unit А-2; the trench had been dug into light yellow stony ground, with continental rock at the bottom. In Unit B-2, remains of the west tower wall were located. Like in the other cases, the wall was built from stones fixed together with lime mortar; traces of lime mortar were preserved. In the areas where no masonry had survived a trench was made below the west wall in order to identify the junction point of the west wall and the main defence wall.

146 147 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

containing Late Archaic materials (early 5th century BC) located in close proximity. A pavement of flat stones which had formed part of an ancient street proceeded northward from that point. In Site TS, most of the late medieval layer was found to overlie the rock; in places, the layer is dis- rupted by pits and trenches of the nineteenth-century port quarantine. Nevertheless, a bronze Julia Domna coin (198 AD) and some red-lacquer pottery of the Roman period were found in a rock crevice.

NYMPHAEUM EXPEDITION

Head of Expedition: O. Sokolova

Exploratory works continued on the Bosporan city of Nymphaeum, located 17 km south of Kerch, on the north-east fringe of the Eltigen (Geroyevskoye) Village (Crimean AR, Ukraine). Most field research was conducted on Site М on the south slope of the Nymphaeum Plateau. Explorations continued on the overlying layer to the south of the propylaea unearthed in 1996–2000. Elements of the second (south) propylaea (preserved in situ) were cleared up. Most of the materials date from the 4th – 3rd centuries BC; some fragments, however, can be dated to the 5th century BC. 14 house- hold pits, mostly originating during the first centuries AD, were investigated in the 2010 extension to the pit along the west boundary of Site M (Units 1–6). Conservation activities were undertaken on the necropolis. Pit 1 was started to explore a vault-like burial structure, the roofing of which can be traced on the section of the robber pit. 5 large stone blocks surviving from the destroyed vault of the tomb were found, one of these with a bucranium relief. A new cultural layer was detected and identified by pottery items as dating from the 5th – 3rd centuries BC. The second area was found to contain two stone boxes (fully robbed), one of which comprised fragments of a bronze strainer and a kyathos. The expedition evacuated part of the ground heap. A barrier and an information board were installed at the entrance to the archaeological site on the west. Multiple clay, stone, glass, bronze and iron objects retrieved from the city site (692 items as per field records) and necropolis (9 items as per field records) were transferred to the Kerch Museum.

Penjikent expedition

Head of Expedition: P. Lourie Running Gazelles. A painting from Room 2, Citadel II, In Penjikent, works continued on sites ХХVI and ХХVI-С in the east part of the site and in Kaynar Khisorak Site, with a reconstruction Works continued on two sites. The Khisorak Site in the upper part of the Zeravshana Valley opposite outline superimposed on the walls under the west slope; excavations were also resumed on the suburban manor houses to the south the Madrushkat Village has been under exploration since 2010. In the past field season, works con- of the room (by A. Stepanov) of the town where investigations of the largest hill were completed (the spaces between the manor tinued on the manor houses in Shahristan (the City) and two hills of the fortress (Citadel). The pit houses and a street with pedestrian pavements along the river were exposed). Restoration and exca- in the Shahristan was extended to the south of two rooms unearthed in 2011; exploratory activities vation works were conducted on the sixth-century Kaynar palace. The north part of the complex and were performed on the corridor, a capella-like room and a courtyard with an awning. In Citadel I, the rooms near the fortress wall were found to be linked via a passage. In the south part, works com- excavations continued in the south-west sector of the hill. A fragment of a mural depicting running menced on the area between Kaynar and the upper citadel of Penjikent. The remaining murals in the gazelles was found under a layer of plaster in the previously unearthed “capella”. Some new fea- palace “capella” were cleared up and copied (the works were performed under the grant from the US tures were explored, namely a large, possibly open-air household facility in the corner of the citadel cultural office in Tajikistan); a fragment of a mural with tulips (top layer) was restored. To the west, and (partly) a reception room with a sufa in the centre of the south wall. A passage with an excel- the upper parts of the walls embellished with identical murals were cleaned up. On the ХХVI-С site, lently preserved wooden threshold was located in the corner of the hall. Citadel II is an isolated explorations continued on the East Street and the adjacent household on the west; a chronological hill with a castle built on a corridor layout; in the 2012 field season, exploratory works targeted analysis was performed on the south extension and the ground floor rooms in the previously explored its west sector. One of the vaulted structures had partly retained second-floor walls and the vault. part of the house. The west wall of the square was unearthed. Site ХХVI was extended southward. The fill included a large amount of organic matter such as carved wooden beams, decorative bricks Excavations continued on a rich aristocratic residence between the fortress wall and the street in the Gold signet ring. Penjikent, Item XXVI, Room 44, filling. and a dried-out mummified dog. The room to the west of it had a window and a passage to the west; west. A first-floor room with a vaulted grain storage chest, remains of the second-floor walls, two Photo by the author more organic matter was found near the floor level. An open iwan was located behind the capital large vaulted rooms (5.5–6.5 m tall) located in parallel to each other along the E–W axis and wall; the team investigated its walls, parts of the awning and the first floor as well as some shaped a corridor running N–S parallel to the street were exposed. A rich decorative mural frieze, with red bricks lost from the entablature. The residence of “the Rog elder” (mentioned in a document from predominating, was copied in the previously unearthed room. One especially valuable finding was Khisorak) was identified in the east part of the Rog Village. a gold ring with a black stone insert depicting a human figure facing left.

148 149 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

NORTH-WEST EXPEDITION

Head of Expedition: A. Mazurkevich

The expedition targeted the archaeological campsites Serteya I and Serteya II (Velizh District, Smolensk Oblast/Region) and the Dubokray group of monuments at the bot- tom of Sennitsa Lake (Nevel District, Pskov Oblast/Region). During the 2012 field season, further investi- 0 1 2 cm gation was performed on the wooden structure in Serteya I composed of a horizontal layer of large processed fir sticks (up to 3m long) with Finds from Serteya II. sharpened ends. Radiocarbon dating suggests 3rd millennium BC on each of the floor levels. Other finds included fragments of ropes of different weave types, including that the structure can be dated to the mid-3rd one whole roll of thick rope. Other finds retrieved from the different flooring levels included pottery millennium BC. A large fragment of a fishnet fragments, flint tools and flint production waste as well as wooden artefacts. with about 50 plummets was retrieved from Underwater explorations continued on Dubokray I (Sennitsa Lake) and the structure composed the same site. The net fragments were ex- of large stones arranged in a circle with several protrusions (rays). Agglomerations of ceramic mate- tracted as a single monolith and cleaned up in rial and coals were found. The pottery dates back to the 4th – 5th millennia BC. A systematic survey laboratory settings. The well-preserved plum- showed that the material was deposited in several spots at the central elevated point of the structure. mets were made of small pebbles or pieces A new monument (Dubokray X) was discovered as a result of underwater explorations and shown of clay neatly covered with birch bark wicker. to contain remains of a feature composed of large stones. Of especial interest is the north-west part Exploratory works were completed on the in- of the monument where stones are arranged in two strictly parallel lines. The topographical plan situ wooden structure composed of upstand- and surface reconstruction data indicate the area to be the highest point of the monument. It was ing pine sticks (rectangular in section) tied together with ropes. The lower ends of the sticks were also the site from which the only agglomeration of finds (a bone endpiece, a stone axe and fragments sharpened; the sticks measured c. 70 cm in length, their upper ends had been broken off in antiquity. of a clay Late Neolithic pot) was retrieved. Embedded in the aleurite to the depth of up to 50 cm, the structure used to be arranged in a semi- circle in the centre of the channel between two lakes. A bone endpiece with residual string binding was found near. The previously found fragments of one bone and one flint endpiece had also been used for fish hunting. Isolated pottery fragments of the Usvyat and Zhizhitsa cultures as well as some pig coprolites were retrieved. SLAVIC-SARMATIAN EXPEDITION Further underwater explorations on Serteya II targeted the cultural strata of Structure 1. Several levels of wooden floor repairs were traced dating back to various reconstruction periods. The sand Head of Expedition: S. Voronyatov contains numerous small coals, calcified bones, flint flakes and scales. Similar sediments were found Excavations proceeded on Sinin VIII, Pogar Dis- trict, Bryansk Oblast/Region (gross excavation area 96 sq.m). No large structures were discovered; how- ever, the team discovered some important materials providing a better chronological picture of the site. The Early Roman period of the settlement is repre- sented by pottery of the post-Zarubintsy Pochep group and Yukhnovo culture (late stage) and can be reliably dated to the 1st century AD by the Late Laten fibula (made of wire) found on the site. The Late Ro- man period is represented by the Kiev-type pottery with a small amount of fragmented Chernyakhov pot- tery first found in the Bryansk Oblast. The discovery of two fragments of a black clay Chernyakhov vessel Fibula. Bronze. 1st century AD made it possible to reconstruct a three-handle vase typical of the fourth-century Chernyakhov culture. In- Black clay vessel (reconstruction). dividual finds representing both these periods includ- 4th century ed spindle whorls of various shapes and fragmented iron knives. Survey works were conducted in Suzemka District, Bryansk Oblast/Region, at the point of discovery of the Usukh treasury with items from the circle of the third-century champlevé enamels. An unexplored monument was found near the former Usukh Village which produced some Bronze Age pottery. 150 151 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

STABIAN EXPEDITION

Head of Expedition: A. Butyagin

Excavations continued on the thermae of the Ariadne Villa, one of the so-called Stabian villas. The three-year-long exploration works on the thermae were almost completed. Most of the activi- ties focused on the east sector of the courtyard with a small garden, the remainder of which had been unearthed in 2011. The courtyard walls were covered with frescos on a red background; a fully- preserved floor mosaic with a cross-shaped pattern was found. The ground in the corner was not removed to prevent the walls from collapsing. The principal area of investigation was the cubuculum with two bed niches to the north-east of the courtyard. The team unearthed the cubiculum to the floor level, fully exposing the walls with more graffito in ancient Greek and Latin. Of especial interest is the painting representing a gladiator (myrmillo) and a roughly sketched figure of his opponent. A mosaic of black and white mar- ble cubes was unearthed on the floor. A small mosaic representing a two-handled vase survived near the door opening into the south- east corridor as did the meander bands on the floor. A corridor bounding the thermae on the south-east was fully ­explored apart from a small area of ground in the north part, re- Palm of a minor figure from the altar niche. Krasnaya Rechka Site. Face of the large Buddha sculpture (reconstructed by fragments). tained to protect the layer from collapsing. The floor of the cor- Buddhist temple in the south extension Clay, painting. 8th – 9th centuries. Krasnaya Rechka Site. ridor had a concrete surface; the walls bore frescoes with a red Tien Shan Expedition background. The south-east wall in the central part of the corri- dor was found to have a breach resulting from eighteenth-century excavations. to the niche was completely cleared up; this may have been equipped with a small stair as the floor level in the niche is above that of the shrine. Further exploratory works were undertaken on the lower levels of the stratigraphic pit. The earliest layer, resting on the continental rock, can be dated to the 8th century. The clean-up works on the continental rock resulted in the discovery of 3 burials dating to a period yet unknown but obviously preceding the construction of the town. The Kultobe team mainly focused on the architectural and archaeological features of the early cita- del and the ancient precursor of Yasi-Turkestan. The citadel had grown around a cross-shaped build- ing with later additions. Several fortification jackets and the city fortress wall had been subsequent- ly adjoined to the outer front of the building. This is the first time that the development of a small town has been reliably traced in the Middle Syr-Daria Region. The town was destroyed by fire (most likely, in the middle of the 1st millennium AD) and entered a new historical phase ­directly related to the city of Yasi in the 9th century AD.

tien-shan expedition central asian expedition

Head of Expedition: A. Torgoyev Head of Expedition: N. Nikolayev

Exploratory works continued on two monuments: the Krasnaya Rechka Site in the Chuyskaya Valley Works continued on the Xiongnu gravesite of Orgoyton, Buryatia Republic. The horizontally laid stone (Kyrgyzstan) and the Kultobe Site in the centre of the Turkestan City (South Kazakhstan). slabs that had formed the fence of the structure overlying the burials were removed and the bounda- The Krasnaya Rechka team targeted two areas: the Buddhist temple and the stratigraphic pit near ries of the grave cut defined. On the ancient daylight surface level, the grave exceeds 16 m from north the west fortress wall of the central quadrangle. to south (not including the dromos); the north wall measures over 14.5 m in length, the south wall In the Buddhist temple, exploration of the rectangular shrine sized 8 × 7 m was completed. Frag- is 12.9 m long. More accurate data was obtained on the design of the internal partitions including ments of seated figures were unearthed on the pedestal in the south-west corner. A small fragment those between the dromos and the grave cut. The dromos was found to contain 3 upright stelae aligned of a picture painted in red and representing Buddha sitting on a lotus was uncovered on the wall with the central stela in the north wall of the fence. The stelae in the dromos may have had different of the shrine. The fill of the shrine was found to contain fragments (some small, some fairly large) semantic functions from those used in the fence around the barrow. Further investigations will be re- of wall sculptures. Fragments of the face and head of the large sculpture (unearthed in 2011) and quired to fully understand the territorial, chronological, social or other factors that led to the use of the of the smaller figures standing in front of Buddha were found on the floor in the altar niche. The ­entry stelae in the fence and dromos of “princely” Xiongnu mounds on the right bank of the Selenga River. 152 153 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS

SOUTH-EAST CRIMEAN EXPEDITION SOUTH CRIMEAN EXPEDITION

Head of Expedition: V. Gukin Head of Expedition: S. Adaksina

The South Crimean Expedition and the Crimean Office of the Archaeology Institute (Ukrainian Academy of Sciences) continued exploratory works on the Cembalo Fortress (14th – 15th centuries) in Balaclava. The 2012 field season followed up the activities performed in 2008–2011; works were pursued along the fortress’s east defence line, between the Barnabo Grillo Tower and the Portal Tower. The newly uncovered site is located inside the east curtain, beneath the road leading towards the Barnabo Grillo Tower. The buildings on this slope were arranged in terraces. The pit measures about 200 sq.m in area. The explored built-up residential zone was extended to the west and north-west compared with the 2011 field season; part of the curtain along the fortress’s east defence line between the Portal Tower and Barnabo Grillo was unearthed. The most remarkable findings include a fragment of a red clay cup with light yellow-green glazing; the fragment carries part of a narrative painting representing a bearded man in embroi- dered clothes and a number of plant shoots. Some interesting stratified material was obtained which provides valuable information on housing construction principles and the infrastructural development of the medieval Cembalo Fortress.

Exploratory works continued on the port area of the medieval town of Sudak. Two surface stone houses were unearthed and fully explored on Pit VIII (Structures 1 and 2) which had functioned for over 250 years. Structure 2 was identified as dating from the first half of the 13th century; Structure l had been added to Structure 2 during the Mongol rule. Both ancient build- ings had integrated heating systems or sufas (following the Far-East traditions of residential con- struction). The dwellings overlie earlier cultural strata containing the remains of ninth- to twelfth- century stone structures. The ceramic materials associated with the earlier structures display some Pithos. Clay. 9th – 12th centuries marked chronological changes. The most prevalent findings were tenth- to eleventh-century Constantinople containers as well as fragments of amphorae made in the north of the Black Sea Re- gion (8th – first half of the 9th centuries) and tall-necked pitchers dating from the second half of the 9th – 11th centuries. Items of particular interest included an amphora and a pithos (both whole) found in situ inside the structures as well as a fragment of a pithos with a brand and a Greek inscription. The few glazed ceramic items obtained from the site shows the distinct features present in the pottery originating from Constantinople, Mediter- ranean Region and Asia Minor. The most important metal arte- facts included an Italian misericord, a processional cross for out- door use and a hook for animal carcass splitting; the stone objects included a casting mould for lead rings. Numerous bronze, glass and bone items were retrieved. The coin findings make it possible to roughly date the layers in Pit VIII to the 10th – end of the 15th centuries at the earliest.

154 155 ARCHAEOLOGICAL EXPEDITIONS ARCHAEOLOGICAL EXPEDITIONS south kuban expedition

Head of Expedition: T. Ryabkova

Exploration works were completed on Division Kurgan 1 (Kostromskoy Kurgan) near the Severny Village, Mostovsky District, Krasnodar Krai/Region. A three-year-long study showed that the Kostromskoy Kurgan had been built above a redesigned Bronze Age mound. The ground may have been cleared up to the continental rock, after which а bar- row had been constructed that looked like a hill measuring about 28 m in diameter. The artificial pad on the surface of the hill (mentioned in N. Veselovsky’s report several times) was well-rammed. The pad had obviously carried a cage-like structure as a corner of the frame and the wooden blocks above it were located in the segment of the mound untouched by Veselovsky’s trench. Veselovsky’s data about the logs located inside the timber frame were confirmed; the logs had been used as sup- ports for the frame (3 of these were traced). The presence of a tabernacle was not confirmed as the imprints of the burnt wooden blocks on the surface of the pad were haphazard rather than arranged in any regular pattern. The thin black layer overlying the feature suggests that some kind of felt cloth (?) may have been used. Veselovsky’s reports about horse carcasses found outside the frame also turned out to be a mistake; the frame was surrounded by rectangular block-like structures rising slightly above the surface of the pad. Moreover, the position of the frame corner shows that either the burial ground exceeded the size quoted by N. Veselovsky (3.2 × 3.2 m) or his description (“a pit was discovered beneath the tabernacle under rammed soil matching the quadrangle base of the taber- nacle in size”, 1897) was incorrect. Sacrificial complexes with horse and cattle skulls were located in the north-west and north parts of the barrow at the borders of the pad. Our explorations showed that the mound had been constructed according to a detailed plan, probably over a lengthy period of time. Investigatory activities between Division Kurgan 1 and 10 failed to locate any structures near the barrow of Division Kurgan 1. The 2012 field works showed that the small barrow near of Division Kurgan 1 was also a burial mound. A human burial in a shallow grave, almost completely destroyed by robber excavations, was found under the barrow, with skeletons of bridled horses laid

near the grave in a semi-circle on the ancient surface level in the west. Both mounds are likely to have been constructed in the late 7th century BC. A collection of pottery fragments and items made of animal bones found during the 2011 field season in close proximity to the Division Kurgans suggested the presence of a settlement in the area. In 2012, its boundaries were tentatively outlined; a topographic plan was compiled; a new shaft was started resulting in a large collection of pottery and metal items. The ceramic materials make it possible to date the settlement to the Early Meotian period (late 7th – 6th centuries BC).

SOUTH SIBERIAN EXPEDITION

Head of Expedition: K. Chugunov

Excavations continued on Kurgan 1 forming part of the Bugry Gravesite in the Rubtsovsk District, Altai Krai/Region. The shoulder of the centrally located Grave 1 was removed and exploratory works on the grave were undertaken. The grave was found to contain fragments of a bridle set and showed traces of illegal excavations; a supporting system for a robber trench, plank structures and frag- ments of a wooden shovel were found. In the Tyva Republic, works continued on the Chinge-Tey I funerary complex. The excavations pro- ceeded on three sectors of the mound; the stonework of the peripheral structures of the monument (north-west feature) was studied. The complex was identified as a funerary structure and found to contain an embedded ceramic vessel with an ornament common in the Kokel culture of the early 1st millennium AD. In Sector ABV stonework was dismantled along line AB towards the centre of the kurgan. In Sector APR, another stone box burial was explored (Grave 5). A leather belt with was bronze plaques and fragments of a gorytos with a bow and arrows was found near the body. These uniquely preserved items make it possible to reconstruct similar objects previously found in fragments. Apart from these artefacts (extracted as monoliths), a deer stone was retrieved from under the façade stonework of the mound. 156 157 major Construction and restoration of the Buildings major Construction and restoration of the Buildings

construction of the “Staraya Derevnya” restoration, Conservation LenNIIProekt company in collaboration with the employees of and Storage centre the State Hermitage Museum. The dominant of the complex is the building with a granite portal decorated with Onega and White At the end of 2012 the second phase in the construction of the “Staraya Derevnya“ Restoration, Sea petroglyphs, which have become the emblem of the State Conservation and Storage Centre was put into operation. The new premises will accommodate the Hermitage Museum “Staraya Derevnya” Restoration, Conserva- museum’s restoration laboratories, the holdings of the scientific and storage departments, exhibi- tion and Storage Centre. The corridors and transportation hubs Mikhail Piotrovsky and tion, lecture and concert halls. According to the project the State Hermitage Museum repository of every floor inside the block have their own colour. Thus the Olga Golodets, Vice-Chairman represents a complex of buildings including several blocks: the Storage Block, the Restoration and seven floors have seven rainbow dyes. of the Government of the Russian Conservation Block, the Lecture and Exhibition Block, the Technical Block, the Laboratory Block, The restoration and storage centre includes 54 repositories with Federation the Administrative Block, as well as auxiliary blocks. a total area of 7,954 sq.m. The open storage area is 1,114 sq.m. The first phase of the Centre’s project (construction of four build- The storage unit with the enhanced safety level occupies an area ings), was completed on 16 May 2003. Since then the new muse- of 507 sq.m; 3,807 sq.m accommodate restoration laboratories, um repository has been operating on the “open storage” principle. including the Laboratory for Scientific Restoration of Applied Currently the main building houses different collections from the Art Objects, with the sectors of metal artwork, ceramic art and Department of Western European Fine Arts, Department of West- stained-glass artwork, Laboratory for Scientific Restoration ern European Applied Arts, Department of the History of Russian of Photos, Laboratory for Scientific Restoration of Textiles, Labo- Culture, Oriental Department, Department of the Archaeology of ratory for Scientific Restoration of Furniture and Carriages, Labo- Eastern Europe and Siberia, Laboratory for Scientific Restoration ratory for Scientific Restoration of Mural Painting, the bookbind- of Easel Painting, Laboratory for Scientific Restoration of Time- ing sector of the Laboratory for Scientific Restoration of Graphic pieces and Musical Mechanisms and Laboratory for Scientific Works. The Department of the Archaeology of Eastern Europe and Restoration of Applied Art Objects. The Museum of the Horse and Siberia (1,797 sq.m), Antiquity Department (1,200 sq.m), De- the Theatre of Tapestries have opened in the Centre. Over several partment of the History of Russian Culture (3,095 sq.m), Oriental years classes have been held here for children with special needs Department (1,267 sq.m), Department of Western European Fine within the educational programme “The Past at the Fingertips”. Arts (734 sq.m), Department of Western European Applied Arts The second phase of the construction includes six blocks. The gen- (1,069 sq.m) plan to have their own storage spaces here. eral designer and the prime contractor is the Finnish Lemminkain- The Lecture and Exhibition Block houses two large span exhibition en company, the architectural design is by the Russian Trofimovs halls, with two rows of windows and anterooms occupying a total Creative Workshop, the engineering design is carried out by the area of 1,000 sq.m, and a 240-seat lecture and concert hall. 158 159 major Construction and restoration of the Buildings major Construction and restoration of the Buildings

Restoration of the hanging Garden of more space under the garden helped find the solution to two problems by providing the protection of the lower premises from the through leakages and the ventilation of the interior structures, since In 2012, after a seven-year period of restoration work, the Hang- the entrenching vaults form the actual labyrinths under the garden. Stasov improved the water dis- ing Garden has blossomed anew. A tremendous amount of work posal system from the garden surface; the water flows down the paths into the drain ditches for the has been done to make this happen. Before the start of the Hang- plants, then runs into the water intake chambers through the water drain pipe found on the bottoms ing Garden’s restoration it was necessary to carry out a thorough of the drain ditches and further on to the sewage. This system is now fully restored. integrated engineering survey (in 2003–2004), which involved Some unforeseen problems occurred in the course of the restoration work. The waterproofing and the looking into the causes of the soaking of the structures and the water disposal system project required the engineers to design the system of transverse and longitudi- dampening of the rooms under the garden. The survey of the foun- nal slopes on the garden surface. The transverse slope (1 сm per metre) is visible, while the longitudi- dations, basements and vaults in the central part of the Small nal slope is insignificant (approximately 1 сm per 5 metres). Demonstrating clear geometry, the drain Hermitage was conducted as well. As a result two reasons were ditches for the plants take the shape of an oblong rectangular. Workers with the measuring tools started identified: the capillary water rise due to the lack of the founda- to place the curb Dutch bricks along the perimeter of the drain ditches in strict accordance with the tion waterproofing and the water inflow across the garden sur- design’s brickwork dimensions. On the completion of the first section it was found that as a result of the face (explained by the damage to the waterproofing of the drain optical illusion, the small longitudinal slope makes the fringe of the drain ditch look wavy, or, in other ditches and the paths). Measures had to be taken for draining the words, curved. Consequently, the longitudinal slopes had to be abandoned. Given the length of the gar- walls and the vaults, inspecting the sewerage systems and other den, the leveling along the whole length of the garden resulted in the serious deviation from the design utilities, identifying the places of waterproofing defects and the dimensions. Much of the completed work needed adjustment. At some places the leveling concrete was sources of the flooding of the Small Hermitage basements by ap- added to reach 10 сm, while in others it had to be cut off, which was far more complex. The Hanging Garden. 1990s plying the geophysical (non-destructive) methods. Russian and In the course of works some curious incidents happened. After the long period of the restoration work Dutch specialists from Fundamentproekt and the Evers Partners company participated in this work. some jobs remained to be completed. The decision was made to bring them all together in the contract The difficulties of the laying out and the upkeep of such gardens in our severe climate determine the entitled “Finalising the Hanging Garden’s Restoration”. When the operations under the contract had unique character of the completed work. The words “great leakages and dampness” are the most fre- already started, it was revealed that the door leading into the garden had been forgotten to install. quently used in the archival documents related to the history of the Hanging Garden’s construction. It was easy to understand. Surrounded by the museum rooms and located in the very centre of the Her- Oddly enough, the major leakage followed immediately after the latest in the series of routine repairs. mitage, the Hanging Garden inconveniences the performance of works. Prior to the restoration work the There was a reason for that. Since in the course of the reclamation works the old waterproofing sys- garden’s surface mark considerably increased and the doors of the side galleries had to be walled up to tem was removed, the constructions had plenty of time to get moisturised again. While slowly concen- prevent the penetration of water into the museum rooms. That was the main reason which prompted the trating at the lower levels, the water kept accumulating until it had reached the critical point only to start of the restoration. The employees and the persons in charge of the engineering and architectural start flooding the lower premises. The best time for carrying out the restoration work was scheduled control got into the garden through the window of the Pavilion Hall with the permission of the security after the careful study of the archival documents including the plans, sectional views, as well as the service. The supplies were delivered by the load hoist, and the restorers entered the garden through the lists of plants from the palace nursery-gardens (namely Taurida Gardens and the gardens on Yelagin Allegory of Sculpture (copy). roof, for which temporary scaffolds were built. They would go up and down, carrying their instruments, Island) intended for planting in the Hanging Garden. On 7 February 2006 the project received the By Antonio Tarsia (?). Italy, which used to happen many times a day. One could often hear the following conversation, “How did you 18th century approval from the bodies of the protection of historical monuments of St. Petersburg. get into the Hanging Garden, through the roof?” “No, the usual way, through the window”. Generally In 1840 the architect Vasily Stasov was put in charge of the general reconstruction of the Small speaking, everybody got used to do without the doors… Later the employees joked that one more con- Hermitage building. He designed the new floor system under the Hanging Garden, known as the en- tract entitled “Finalising the finalising works in the Hanging Garden” was to be drawn up. trenching floor (or light septal vaults), which rested directly on the capital brick arches. The addition The Hanging Garden has a unique small scale climate, imitating that of more southerly latitudes. The closeness to the Neva partially counterbalances the temperature differences; it is closed from four The Hanging Garden. sides and receives the warmth from the walls and the rooms beneath. Besides, its stretching from north After restoration to south allows for maximum insolation. The trees and bushes blossom here earlier and this period continues longer than in the city and its suburbs. The list of plants from the 1843 register was given careful thought. Considering the conditions of St. Petersburg the plants are absolutely winter-hardy and have a lateral root system, which does not cause any damage to the waterproofing. In those days such plants were the latest fashion in Europe. It was then that our favourite lilac (Syrínga vulgáris) ap- peared to become the trademark of the Hanging Garden. The lilac bushes, which died during the siege, were replaced in 1945 by shrubs from the Nikistsky Botanical Garden. In 2011 the famous Madame Lemoine and General Pershing kinds of lilac of the 1890 selection were planted. During the restoration of the Hanging Garden the similar materials and technologies from the time when the Hanging Garden had been created were used. For example, the pigeon-houses were made of wood after the models which have survived to our time and after the archival drawings by Char- lemagne (1826). The design of the birds’ houses is the same as in the 19th century. In particular cases, when it was impossible to carry out restoration with the use of the historical materials, the modern technology achievements were used. The coating for the garden paths was difficult to choose. The waterproofing of the surface became a matter of top priority for the restorers, so did the coating thickness. As a result, every centimeter had to be fought for. The lower is the garden level relative to the side premises, the higher the reliability is. By tradition the garden paths were covered with sand. For obvious reasons we find this unacceptable. As early as in 1885 the garden paths were asphalted, but the documents do not indicate what kind of asphalt was used. The usual asphalt-based asphalt is of low decorative value. In the late 19th century the ornamental and even mosaic kinds of asphalt were manufactured; today coloured asphalt is still made. The Catherine Park in Pushkin may serve as a vivid example, yet the technology requires such asphalt to be laid with the use of heavy equipment, 160 161 major Construction and restoration of the Buildings major Construction and restoration of the Buildings

such as rollers and vibro packers. Were this equipment raised into the Hanging Garden, the light Restoration of the Eastern Wing of the general Staff Building entrenching vaults would not be able to stand this load. Besides, the vibration in the museum condi- tions is absolutely unacceptable. Finally the decision was made in favour of the so-called stone carpet. In 2012 the large-scale restoration work was simultaneously conducted in the area of 30,000 sq.m, In fact, this is a cinder track, but the small particles of the stone are bonded by means of polyurethane, both inside and outside the Eastern Wing of the General Staff Building. It may be said without ex- which provides additional waterproofing. The coating from 8 to10 mm in thickness was applied by aggeration that the work on the reinforcement of the foundations and the walls was unique, since hand. This work was carried out by the Dutch company POKSI. In spring the surface of the paths is the builders had to work in a confined space in order to strengthen the existing foundations and going to be additionally treated with a special protective coating. While choosing the waterproofing to transplant them on the new piles. The installation of lantern lights has become a turning point in system, the historiсal material (sheet lead) had to be discarded. Unfortunately, while being reliable, adjusting the monument of architecture to perform new functions. Each construction is of special this material is toxic. Since the water from the garden surface runs into the municipal sewerage, we design and is an in-situ reinforced concrete construction. The two-level construction of most of the are not allowed to use it. Artificial rubber, the modern material with exceptional strength character- lantern lights takes the shape of a quadrilateral pyramid. In producing the lantern lights the most istics, was selected for providing the garden’s waterproofing. labour-intensive and complex operation was the concreting of a thin-walled structure and making At this stage the restoration shop Nasledie has already completed the restoration of five marble the formwork, thus obtaining the face surface with no finishing work required. Today the work on sculptures. All the copies were made by the direct copying method and were polymer-concrete the concreting of the lanterns, lift shafts, stairs, as well as the installation of lantern lights has been cast (polyster resin with marble chips). The copies of the sculptures were installed in the Hanging completed. The full range of operations for the deepening and waterproofing of the basements was Garden of the State Hermitage. Currently the restoration shop Nasledie is working on the cop- carried out. The waterproofing of all constructions has been done. The roof with translucent coat- ies of ­other seven sculptures (Apollo, Diana, Venus by Аntonio Таrsia and Flora, Ceres, Ваcchus, ing, the metal structures of expositional gates and revolving walls were fully assembled in the three Volcano by ­D.-А. Chibei), as well as four flower vases. The work on the restoration of the Hanging former yards, which according to the project have become part of the Great Suite. Garden was supervised by the Chief Architect of the State Hermitage V. Lukin. The Hanging Gar- The large scope of work was dictated by the restoration of the complicated façades abounding in such den’s restoration project was developed by the Art-Ekspert in collaboration with the research insti- decorative elements as columns, stucco mouldings, French balconies, gilded bronze balusters and tute Georekonstruktsiya-Fundamentproekt involving the Leading Architect of the State Hermitage marble handrails. Such a variety of details, materials and forms calls for different kinds of work: S. Mishin. The dendro-project and the minor forms project were designed by the RM Nasledie in col- masonry restoration (granite, Putilovsky limestone), plasterwork, façade stucco décor and gilding. laboration with the architects of the State Hermitage L. Akmen, and М. Dubrovskaya. The finalising The restoration work of the front and back façades is nearing completion. work was carried out in accordance with the Sobor design documents. The restoration companies Inside the building the scientific restoration of the stuccowork, gilding, art parquet, marble man- Art Ekspert, RM Nasledie, Muzeinyie Tekhnologii and Neolik took part in the restoration work. telpieces, gilded wooden doors, artificial marble and monumental painting is being carried out The Hanging Garden. After restoration

162 163 major Construction and restoration of the Buildings major Construction and restoration of the Buildings

restoration AND CONVERSION of the Small Hermitage into AN EXHIBITION Complex

In 2012 the Department of the History and Restoration of Architectural Monuments of the State Hermitage in collaboration with the architectural firm Office for Metropolitan Architecture (OMA) of Rem Koolhaas developed the concept of the conversion of the Small Hermitage into an exhibi- tion complex. An exhibition hall with a circuit gallery with a total area of 1500 sq.m, meeting modern requirements for displaying museum objects, is to be accommodated in the former premises of the Imperial riding-school. A spacious entrance area of 600 sq.m will occupy the former stables. The project provides for the 600 sq.m area for the reception and unpacking of exhibits, the 440 sq.m area for the storage of showcases and exhibition constructions, as well as the operational restoration workshop. Beta-Kom (architect D. Yengovatov) maintains the research and design documentation “The Exhibition Complex” related to the modern use of the Small Hermitage building. The building of the Small Hermitage was constructed according to the design of the architects Jean-Baptiste Vallin de la Mothe and Yury Velten in 1764–1775. It was the Small Hermitage that started the formation of the complex of the Hermitage buildings, which along with the Winter Pal- ace comprised a uniform architectural ensemble which had taken final shape by the middle of the 19th century. The premises under the Hanging Garden were used as the wood-sheds and coach- houses. In 1840–1843 the architects Vasily Stasov and Nikolay Yefimov carried out the recon- struction of the building. The riding-school and the stables were accommodated on the lower floor under the garden. In 1938 the architect А. Sivkov developed the project of converting the riding- school and the former stables into exhibition rooms as part of the museum display. The premises were reconstructed for keeping the coaches and the Pergamon Altar (“Pergamon”): some walls and partitions were dismantled, so were the stalls, the stoves and fire-places were disassembled and the new window apertures were installed. Since Sivkov’s designs fitted perfectly the concept underlying the new project, it was decided to preserve the original space planning solution with some elements of the architectural décor. First and foremost, it was thought necessary to restore the survived parts of the nineteenth-century design: the granite columns with the square abutments of the stables, huge windows with metal frames on the mezzanine storey (by the architect N. Gor- nostayev). Some of Stasov’s inner window apertures will be opened. It is planned to carry out the restoration of the whole range of the twentieth-century architectural parts: the mezzanine storey floors made of coloured cement tiles, the wooden enclosure and the stairs in the riding-school made in the former state rooms and living quarters of the Ministry of Foreign Affairs, where the decora- according to Sivkov’s design. tion designed by Carlo Rossi back in the first third of the 19th century for Chancellor Nesselrode has The new concept provides the possibility for the independent operation of the exhibition hall with survived to our time. a separate entrance as a public zone. For that purpose it was decided that Shuvalovsky Proyezd, Created by the first-class masters, the monumental painting of the General Staff Building un- located east of the Small Hermitage and connecting Millionnaya Street to Dvortsovaya Embank- derwent a series of restoration work. Nevertheless, the decorative paintings in many rooms were ment, should be open for visitors. To make possible the constant free movement of the Hermitage in a very unsatisfactory condition. The works by J.B. Scotti are in fact glue paintings where pigment employees under Shuvalovsky Proyezd an underground walkway connecting the basements of the Discussing the model for the new is applied to plaster by using glue foundation. The restorers discovered that the repainting had been Large Hermitage to the North Pavilion was designed. The underground walkway enables to preserve design of the Small Hermitage the foundations of the house of Admiral Kryuis (the 1720s). The basements of the Small Hermitage done in the later periods with the use of tempera, acrylic paints (which darken and are exposed building. 10 September 2012 to hydrogen sulphide), casein paints and even oil paints. The thicker the new layers, the more dam- allow for the preservation of the survived parts of the engineering equipment from the 19th century: age they cause to the original painting. The use of breadcrumbs found on the painted ceilings by the Riding-school. Photo from an Amosov stove and the stables’ water-supply system. restorers in some rooms was an established historical practice. However, upon the completion of the early 20th century the clearance process not a single crumb should remain in the painting. Otherwise they provide growth-supporting microenvironment for microorganisms which have bad influence on the paint- ings. The peeling of paint, decomposing plaster, leakages, and the numerous cases of restoration repainting made the restorers take an individual approach to every hall (a total of 26). A tremendous amount of preliminary work was performed including a survey for identifying the original decora- tion, a search for archival documents, carrying out expert chemical and physical examinations. Currently the restoration of the monumental painting is nearing completion. The restoration of the flooring is nearly finished, so is the laying of the new flooring where necessary. Work has nearly been completed on the installation of the systems of heating, ventilation, condition- ing, electric supply, safety system and communications. The installation of the atrium and the roof service system is half way towards its completion.

164 165 major Construction and restoration of the Buildings major Construction and restoration of the Buildings

Restoration of THE PEDESTAL OF the northern and eastern façades Restoration of the façades of the Electric and dog yards of the Winter Palace building of the NEW HERMITAGE Building Besides bricks it was the bedded slab of carbona- Between 1839 and 1852 the New Hermitage building was erected ceous rock quarried in the south-eastern environs as the first special museum building in Russia, according to the de- that since 1710 has been one of the main construc- sign of the Bavarian architect Leo von Klenze, with participation tion materials of St. Petersburg. In the modern res- of Vasily Stasov and Nikolay Yefimov. Besides the atlantes and toration practice it is commonly referred to as the herms executed from Serdobolsky granite and zinc sculpture, the Putilovsky stone, the Putilovsky limestone or the building façades are adorned by different terra-cotta details. A to- Putilovsky slab. Throughout the 18th – early 20th tal of 4,000 burnt clay components after 25 models were created century they were used for facing the basement for the façades of the New Hermitage. Among their creators were walls of the buildings, pavement, porches, column P. Svintsov, N. Ustinov, A. Loganovsky, A. Terebenev, D. Jensen, bases, different kinds of enclosures, door pillars and K. Klein and I. Reimers. Among the numerous decorations are the cantilevers. statues of eagles, аcroteria and reliefs fixed on the walls. On the While carrying out the restoration of the Putilovsky first-floor level a frieze with floral ornamentation stretches along limestone slabs and blocks, which face the pedestal the perimeter of the whole building. On the final cornice, over the and column bases on the northern and eastern fa- frieze lion masks are placed along the whole length of the building. çades of the Winter Palace, the specialists of the res- The last major overhaul of the yards’ façades was done in the 1960s. toration companies carried out a full range of works In the course of the restoration work of the façades the chlori- including the clearance, restoration putty, the re- Part of the large frieze on the Electric Yard façade nated polyvinyl сhloride covering was removed from the surface of the New Hermitage building. Before restoration placement of huge losses and water-repellent treat- of the walls, the strength of the plaster covering was checked and ment of stone. The restoration of the portico of the the fragments which did not hold up well were replaced. The tech- Jordan Entrance created great difficulty, since its nical evaluation of the roof, gutters, оpenings, eaves and rain facing is executed in the technique not exactly char- water pipes was made and the components in an unsatisfactory acteristic of the Putilovsky limestone. Actually the condition were replaced. The façades were painted with silicate Putilovsky stone is bedded rock and in order to avoid paints in the colour range approximated to the original colour Semi-basement casing of exfoliation, the slabs are routinely laid with the bed- scheme from the second half of the 19th century. the eastern façade of the Winter ding side of stone parallel to the ground. The slabs facing the portico were placed vertically, which On conducting the survey of the terra-cotta décor of the yards’ fa- Palace. Before and after over time resulted in the stone exfoliation along the clay courses and in their exfoliation off the brick çades including the palmettes, the bases and capitals of the pilas- restoration portico base. During the restoration work the slabs, which had lost adhesion with the brickwork of the ters, the lion masks and the details of the large and small friezes, portico, were dismantled and the accumulated mud was cleaned of their surface. Then they were re- the state of their preservation was recognised as unsatisfactory. placed in the composite grout. The considerable losses of the surface were reconstructed with the help Therefore, the full range of the restoration work of the ornamen- of the Putilovsky stone, which approximates the qualities and the colour scheme of the original stone. tal ceramic adornment of the façades was carried out using the At the level of the semi-basement on the Winter Palace eastern façade the ruined semicircular frames practical methods developed by the Department of the History and and the grills of the window apertures, along with the historical devitrification, were reconstructed. Restoration of Architectural Monuments of the State Hermitage. As the work was in progress on the eastern façade, the gates created to the design of Yury Velten, In the course of the restoration work two main tasks were per- which covered the gate arches leading from the Chyorny Proyezd to the Kitchen and the Church formed. One of them was to plaster a through-crack located on the Yards of the Winter Palace, were reconstructed. Part of the large frieze on the Electric Yard façade southern façade of the Dog Yard. Since the crack has a tendency The restoration work of the pedestal and column bases under the architectural and supervisory guid- of the New Hermitage building in the course of works on the clearance to move, the method of filling it in layers with special mortars and Part of the facing of the portico ance of the Department of the History and Restoration of Architectural Monuments was carried out of the paint layers sealers was developed, which prevents the penetration of mois- pedestal of the Jordan Entrance. by Museum Technology (the northern façade) and Beta-Kom (the eastern façade) companies. ture inside the building. The second task consisted in the recrea- Before and after restoration tion of the lost parts of the terra-cotta décor. When in 2000 work proceeded on the recreation of the sculptural representations of two-headed eagles (lost in the post-revolutionary years) on the corner pavilions, the Department of the History and Restoration of Architectural Monuments in collaboration with the architec- tural terra-cotta specialists carried out a full range of thorough examination of the genuine fragments of the terra-cotta, which led to the development of methodology for the recreation of terra- cotta décor. This methodology allowed to reconstruct the lost ele- ments of the façade decoration. Architectural control over the restoration of the façades and sculptural and ornamental decoration was exercised by V. Lukin, Chief Architect of the State Hermitage, and T. Prazdnikova, the researcher of the Department of the History and Restoration of Architectural Monuments. Part of the large frieze on the Electric Yard façade The work was carried out from June to December 2012 by the of the New Hermitage building. After restoration restoration company Renessans-Restavratsiya. 166 167 major Construction and restoration of the Buildings major Construction and restoration of the Buildings refurbishment PROJECT OF the lighting of the MENSHIKOV PALACE YARD

In September 2012 the work was carried out on the replacement of the existing lighting system of the Menshikov Palace yard with the lighting from the light-emitting diode light sources. The objective of the replacement is the creation of the uniform intensity of illumination in the entire area of the yard with due account for the level of illumination, as well as energy efficiency. By means of modern light-emitting diode fixtures with high light efficiency and the design optic system, the required lighting in- tensity was achieved. The light source has directional distribution of light flux and so does not disturb either visitors or the Hermit- age employees. The installed light-emitting diode fixtures, which reduce energy output and are also far smaller compared with the previous light fixtures, are expected to have long-term service and do not re- quire additional maintenance charges.

new stage of the restoration OF THE SCULPTURES ON the pedestals of the Winter palace roof Ramparts

The restoration work was carried out from June to September 2012. By the time the construction of the Winter Palace was completed in 1762, its balustrade was adorned by 176 sculptures cut in stone, after the drawings of Francesco Bartolommeo Rastrelli, by the Rus- sian carvers under the supervision of the Viennese master Johann Frantz Dunker and the German carver Baumgen. The stone sculptures of the palace existed for a little over one hundred years. Their destruction was caused by the fact that the non-durable stone was permanently affected by weather- ing. The condition of the sculptures changed for the worse due to the significant overheating during the fire of 1837. The repeated restoration work could not remedy the situation and in 1892 the deci- sion was made to replace the stone sculptures by copper ones. The professor of the Academy of Arts M. Popov was entrusted with the task of creating models for the new sculptures. The work on the replacement of the sculptures was completed in 1894. Despite the more solid material and the use of new technologies in creating the copper sculptures, a series of technical miscalculations entailed the destruction of the copper covers and the ruin of the metal frame in the cavity of the sculptures. Since the first third of the 20th century the restorers have made continuous attempts to save the Specialists surveying the cavity sculptures from further destruction. It was not until 2003–2004, after the thorough survey of a cer- of the copper sculpture tain sculpture in a critical condition, that the specialists of the Department of the History and Resto- of the Winter Palace ration of Architectural Monuments in collaboration with the restorers and designers developed the methodology for the restoration of the copper sculptures of the Winter Palace. The systematic restoration started in 2004. The restoration process begins with the soldering of the copper sheets from the backside of the sculptures. The destroyed grouting, which served as counter- weight, is removed from the cavity of the copper covers. The lower third of the metal frame, which is in the grouting, is removed, since in the humid environment metal fully loses its strength characteris- tics. It is replaced by a strengthened construction capable of enduring significant wind load without additional counterweight in the cavities of the sculptures. The ferrous metal frame is covered with an anticorrosive coating. Dielectric pads are replaced at the points of contact of the ferrous metal of the frame and the copper covers of the sculptures. The copper surface is cleared of the layer of natural Thanks to the combined efforts of the restorers and researchers the processes causing the destruction patina, which under the environmental stress conditions contributes to the faster destruction of the of the sculptures, which crown the building, were stopped. metal. The open splits of the copper covers are soldered by lead-tin solder. The drain holes formed The restoration of the sculptures was carried out under the architectural and supervisory guidance in the cavities of the sculptures are made for condensation drainage. The external surface of the of T. Prazdnikova, the research worker of the Department of the History and Restoration of Archi- sculptures is covered with special paint containing inhibitors for corrosion of copper. When choosing tectural Monuments, and the specialists of Museum Technologies. the colour of the sculptures, the specialists deliberately suggested a greyish-green colour, so that the By now 157 out of the total of 176 sculptures have been restored. The remaining 19 sculptures are restored sculptures would not stand out and be close in their range of colours to the non-restored scheduled to be restored during the 2013 restoration season. This will complete the total volume ones, the surface of which is covered with natural patina. of the restoration work of the Winter Palace copper sculptures.

168 169 Structure of Visits to the State Hermitage in 2012 Educational Events

Total number of visitors 2,882,385 The number of guided tours to the Hermitage Including: organised in 2012 was 35,576 Including: Free admissions* 975,050 General tours round the museum 6,950 Russian nationals 804,640 Tours to the Treasure Gallery-1 6,201 Foreign visitors 969,427 Tours to the Treasure Gallery-2 4,398 Internet ticket holders 32,091 Tours to the Winter Palace of Peter I 482 Free admission pass for specialists holders 28,098 Tours to the Imperial Porcelain Manufactory Group guides 73,079 Museum 145 School thematic tours 4,154 Over 1,000,000 people visited the Hermitage Thematic tours and series of tours exhibitions outside the museum. for adults 3,246

There were over 3,850,000 hits of the Hermitage website. Classes for school children 795 Classes at student clubs 662

Special tour programmes 13 Special educational programmes 179

Number of lectures delivered 367 Including: at the Hermitage 228 in Vyborg and Kazan 87

* The State Hermitage offers free admission rights to children, school pupils and students (regardless of citizenship), senior citizens of Russia and a number of other categories of Russian nationals entitled to special benefits 170 171 Educational Events Educational Events the state hermitage lecture centre

In 2012 over 23,000 people visited the State Hermitage Lecture Centre. The majority of the lectures were delivered in front of a full audience and some (in cases of a full house) were repeated at the request of the public. Still extremely popular are lectures of the three-year course “The University of World Art History”, where the audience consecutively studies the history of art. There has been a noticeable shift in the average age of the audience: one can see more students and young people. The programme of the lectures is reviewed and if necessary updated on an annual basis. Nearly half of the repertoire of the themed, in-depth lectures is being changed every year: thus in 2012 seven out of the eighteen cycles of lectures were delivered for the first time: “The Art and Culture of the Great Silk Route Countries” (5 lectures); “The Masters of Holland and Flanders” (10 lectures); “The Treasures of the Hermitage Funds – Told by the Oriental Department Curators” (4 lectures); “Eternal Memories of 1812…” (4 lectures); “The Artistic Image of the Christian Church” (4 lectures); “In Memory of the Numerous Victories” (2 lectures); and “At the Service of the Northern Semiramis” (2 lectures). Six cycles comprising several lectures that were extremely popular among the Lecture Centre vis- From the history of the theatre in Catherine’s time “Uniform” dress of Catherine II which personified the Empress’s presence itors were delivered according to additional expanded programmes: “How does an Egyptologist at the event marking the occasion of the Hermitage’s foundation Work”; “1000 years of French Art. 10th to 20th Centuries”; “The Image of Britain, From the His- tory of British Art”; “The Mythology of Ancient Egypt”; “The Masters of the ‘Golden’ Age of Paint- ing. 17th Century”; and “The Art of Medieval India”. architectural and artistic environment of Catherine’s time, this theatrical performance was a kind The lectures of the “In Memoriam” series that have become very popular over the last three years of story of how Catherine II’s interest in art, music and theatre had led to the creation of her “soli- are always a success. Seven new lectures were delivered in 2012: “Theodore Rousseau and the Bar- tary retreat” and the biggest collection of paintings, drawings, books and rarities that is now known bizon Movement. On the Occasion of the 200th Anniversary of Birth”; “Gustav Klimt. On the Oc- as the Hermitage Museum to the whole world. casion of the 150th Anniversary of Birth”; “Jackson Pollock. On the Occasion of the Centenary This “story” was presented in the form of a dialogue between actors illustrated by changing images of Birth”; “Francesco Guardi. On the Occasion of the 300th Anniversary of Birth”; “The Great Mys- on a huge screen acting as a backdrop. The dialogue was accompanied by music and dance num- tery of Love…Rembrandt and Saskia. On the Occasion of the 400th Anniversary of Saskia’s Birth”; bers emphasising certain moments. Thus a dance performed by the Ensemble of Baroque Dances “Marc Chagall. On the Occasion of the 125th Anniversary of Birth”; and “Yves Klein. On the Occa- to the music of a hymn by an eighteenth-century composer Marc-Antoine Charpentier was a pro- sion of the 50th Anniversary of Death”. logue to the performance. Baroque dances served as living illustrations to different themes, like, It is also a tradition to deliver lectures based on temporary exhibitions: in 2012 those were the lec- for example, the history of Catherine’s “hermitages” and the theatre itself; while musical pieces by tures linked to the jubilee exhibition: “Lomonosov and the Time of Elizabeth I”; as well as to the European and Russian composers of Catherine’s time played a role of a framework and introductions exhibition “Herculaneum Antiquities”. Due to the full house the lecture about Carlo Crivelli was to the themes, and, most importantly, helped create the artistic and historic atmosphere of the nar- delivered twice. ration. The same purpose was served by the works of a few poets from Catherine’s epoch selected for The tradition of giving on-site lectures is also ongoing: a specially designed cycle of eight lectures the performance. The focus and highlight of the performance were two authentic costumes of Cath- dedicated to Russian culture called “From the History of Russian Culture. Memorable Dates and erine II and Grand Duke Alexander Pavlovich that personified the invisible presence of the museum Events”, was delivered at the “Kolomna” society for blind people. The lecture exchange project with founder at the festival of memories. They were provided for the show by the curator of the Depart- the Lecture Centre of the Moscow Kremlin Museums has been successfully running for the last five ment of the History of Russian Culture N. Tarasova and the story of the costume of Catherine’s time years: four lectures are delivered in Moscow by the staff of the Methodologic Sector of the Education became an impressive postscript to the performance. Department, and the methodologists from Moscow are hosted by the Hermitage in spring. The jubilee themed performance was prepared and realised by the Sector for Special Programmes of the Education Department with participation of the staff of the Theatre and Education Depart- ment. The text (dialogue) based on a thorough study of academic publications, historical texts, mem- oirs and letters of Catherine II and her correspondents was written by the staff members of the Sec- JJ special programmes tor for Special Programmes L. Torshina and V. Snegovskaya who also selected the poems and wrote the script. A distinguished actress of Russia, Tatiana Kuznetsova, actors Alexander Anisimov and Alexander Lushin masterfully “realised” the scenario on stage. The success of the event and grateful the greater hermitage assembly. on the threshold response of the audience were largely due to the brilliant performance of the musical pieces by the of the hermitage jubilee in 2014 ensemble of soloists of the State Hermitage Orchestra as well as to the participation of the Historic Dances Theatre “The Small Trianon” (Art Director Ya. Bubnova, Choreographer Ya. Voinova). “The Age of Catherine the Great. The Birth of the Great Museum”

A literary and music theatrical performance Evenings in the Rooms of the Hermitage. Art Masterpieces and Music Presented on 18 November 2012 at the Hermitage Theatre, this literary and music performance is A programme of the Education Department with participation of the State Hermitage Orchestra the second of a series of special cultural events preceding the 2014 Hermitage celebrations (the first one was “The Hermitage before the Hermitage. Peter the Great, the First Russian Collector”, 2011). In 2012, the Hermitage offered a new project to the public, dedicated to the 250th anniversary Four themed events of the series are united under the title “The Greater Hermitage Assembly”, of the museum in 2014. The project’s task was to present to the public the remarkable art works a name reminiscent of Empress Catherine II’s tradition of grand court receptions now available to the that are the pride and glory of the Hermitage, in its own unique setting that made the impression general public, friends and fans of the Hermitage. They highlight the museum’s history on the thresh- much stronger. It was prepared by the Sector for Special Programmes of the Education Department old of its 250th anniversary. The second Greater Hermitage Assembly was dedicated to ­Empress that had already had an experience of successfully combining visual arts and live music in the pro- Catherine II, founder of the Hermitage. Performed on the Hermitage Theatre stage in the authentic grammes called “Art and Music. Associations” that ran between 2008 and 2012. However in that 172 173 Educational Events Educational Events

case the visual material and the subject of the talk about visual JJ programmes of the youth education centre arts were electronic reproductions on the screen. The new project offered by the Sector for Special Programmes combines “live” music with the “live” art masterpiece in the “live atmosphere” of the great museum. It is a kind of present to the St. Petersburg “constructive anatomy or a new paradigm in architecture” public on the threshold of the museum’s jubilee. The new special programme received a most enthusiastic response An educational programme for the exhibition “Santiago Calatrava. The Quest for Movement” from the museum’s audience. The evening silence of a room in the closed museum, comfortable conditions of the event (chairs are In the year reviewed a series of events was organised and held by the staff of the Youth Education brought in for the audience, in case of a lack of light the pictures Centre of the State Hermitage dedicated to the exhibition called “Santiago Calatrava. The Quest for are delicately and carefully lit), the immediate interaction with Movement”, that took place in the Nicholas Hall of the Winter Palace starting from 27 June within the genuine works and art masterpieces, an interesting talk by an a framework of the Hermitage 20/21 project. Among those were meetings with architects and exhi- art historian, sounds of music in the atmosphere of exceptional bition curators as well as a student contest for the best architectural model. beauty and elegance of the Hermitage rooms’ interiors provide A few days before the opening of the exhibition, Alexey Lepork, a research worker of the State Her- for the project’s popularity. The first programme took place mitage and an art historian, delivered a lecture entitled “Santiago Calatrava. Charted Beauty” for twice in 2012, both times with huge success: in spring (during the youth of St. Petersburg. the season of 2011/12) and in autumn, during the new season of On 28 June 2012 Santiago Calatrava himself delivered a long-anticipated lecture at the Hermitage “The Montmartre of the ‘Beautiful Era’”. The Van Dongen Room. 2012/13. The programme consisted of five evenings held in the Theatre. The architect began the lecture with the story about his realised projects and then took L. Torshina and the quartet of soloists of the State Hermitage Orchestra Skylight Hall (“Venetian Palaces”. Italian Music of the 18th a pencil and showed how his ideas on paper came to life. “A project of a chair is as difficult to create Century); at the exposition of the French art of the 17th century as a project of a house”, pointed out the Spanish architect, “You need a great deal of love and a scale (“The Golden Age” of French Art. Pierre Mignard. Magnanim- is of no importance. Working on a project of yours is an existential experience. You must be ready ity of Alexander the Great. Music of Versailles); at the Snyders for any surprises. A building surprises us because it is impossible to “grasp” light and shade and Room (“The Festival of Life”. Stalls by Frans Snyders. Music of the movements of theirs. To a degree my work is similar to the one of a composer. I aim at creating European Baroque); at the exposition of the French art of the late something beautiful. During the process I get rid of certain things inside me. At the end of a project 19th and early 20th centuries (The Montmartre of the “Beauti- of mine I am a completely different person”. ful Era”. “Femme Fatale” by Van Dongen. French Music of the From 11 July to 1 August 2012, employees of the Youth Education Centre Anna Sirro and Pavel Early 20th Century); at the Matisse Room (“Arab Motifs”. Henri Deyneko delivered a cycle of lectures “A New Paradigm in Architecture” within the framework Matisse. Arab Coffee House. Music of the Muslim East). of the educational programme for the exhibition that aroused much interest among both the special- Within the time framework set for every meeting, an hour long story ists and less architecture-savvy audience. Despite summertime the Youth Lecture Centre in the Gen- about the pictures, prepared by the staff of the Education Depart- eral Staff Building was overfull. ment, was told, after which the ensemble of soloists from the State The first lecture in the cycle “From Coral Reefs to Orange Peels” dealt with the work of the greatest Hermitage Orchestra played music for 45–50 minutes according architects of the early and first half of the 20th century: Antoni Gaudi, Frank Lloyd Wright, Eero to the special programme matching the topic. The monumental Saarinen and Le Corbusier who preferred the beauty of curvilinear forms and bends to straight lines panels by Tiepolo that once adorned the Palazzo Dolfin in Venice, of endless colonnades or geometry of glass façades that were the architectural heritage of the past. together with the music by Vivaldi and his Venetian contemporar- The lecture “In Harmony with Nature” dealt with the question of interaction between nature and ies, helped the audience feel the uplifting and festive atmosphere of architectural space using the works of representatives of the so-called organic architecture: Imre “Arab Motifs”. The Matisse Room. the Adriatic capital in the first half of the 18th century and under- Makovecz, Bart Prince and others. A. Glagola stand the specificity of the Italian Baroque. The audience could see the world of Louis XIV’s court that A special surge of interest among the audience was caused by the third lecture of the cycle “Higher was different from that of Venice but still no less theatrical, in Magnanimity of Alexander the Great Mathematics and Architecture”. Using several projects of modern European architects such as Nor- by Mignard. Musical works by court composers like the music by Jean-Baptiste Lully for the ballet man Foster, Greg Lynn and Nicholas Grimshaw as an example, the lecturer attempted to answer the “Ailing Cupid” gave an opportunity to see the “historical” composition of a French artist in a new question of whether the creation of a new architectural space is a free artistic process or should be way and to appreciate special accents in the characteristics of the famous ancient hero, the role of fitted within the strict framework of mathematical formulas. whom in the painting is played by the Sun King himself, who eagerly took part in stage performances. The lecture “Santiago Calatrava. The Quest for ‘The Glimpse of God’” was the final one in the cycle The magnificent Stalls by Snyders with their large sizes, plentitude and complex interaction between “A New Paradigm in Architecture”. A brief look at the architectural trends given in previous lec- objects in space seem to ask to be accompanied by orchestral music. However the music of the 17th tures allowed the creation of a basis for an in-depth study of artistic searches of Santiago Calatrava. century was prevailed by chamber forms and Baroque effects gained a specific angle there. Every The educational programme for the exhibition “Santiago Calatrava. The Quest for Movement” was form of art had its own logic of development and it was not always easy to match paintings to music concluded by a round table discussion called “Architecture as Gesture” that took place on 25 Sep- within a certain period. In those cases this contrast between the languages of painting and music was tember 2012 in the General Staff Building. Among the participants of the discussion were art and intentionally dealt with (and explained to the audience) in an unusual way. architecture historian Alexey Lepork, architects Nikita Yavein, Daniar Yusupov and Oscar Madera One of the evenings was dedicated to the Montmartre of the “beautiful era”, the images of which as well as Dmitry Ozerkov, the Head of the Modern Art Department of the Hermitage who is in found a vivid reflection in the paintings of Kees Van Dongen as well as in the music by Claude charge of the Hermitage 20/21 project within the framework of which the exhibition of Santiago Debussy, Maurice Ravel and Erik Satie. Music by the contemporary St. Petersburg composer Vya­ Calatrava took place. The architects and architecture historians answered the questions of stu- cheslav Gayvoronsky and improvisations of the soloists of the Hermitage State Orchestra on the mu- dents, art historians and St. Petersburg public that concerned practical and theoretical aspects sic themes of the Muslim East became an impressive supporting element for the Moroccan paintings of the possibility and necessity for constructing beautiful and impressive but often difficult to run by Matisse. In this case in both music and paintings, disregarding the fact that they are a century buildings. apart, the image of the East was delivered using the ultramodern image of European avant-garde. During the discussion the question of appropriateness of gesture architecture in cities with a tra- “Evenings at the Hermitage Rooms…” gave the St. Petersburg public an opportunity not only to see ditional historical image was considered. It is known that the traditional image of St. Petersburg the masterpieces of the famous museum enriched by the accompaniment of music, but also to hear is regarded sacred by its community, which is why our city withholds from experiments of modern lots of rarely performed musical pieces. architecture. The neo-expressionism of Santiago Calatrava is one of many vibrant architectural 174 175 Educational Events Educational Events

­novelties of the turn of the Millennium, one of many trends produced in another world by a “non- Meet yamal! – 2012 St. Petersburg” mind. The students also gave their views on architecture. For several months a group of students from On 15–16 December 2012, the Youth Education Centre of the State Hermitage hosted the “Meet St. Petersburg State University of Architecture and Civil Engineering worked on a project “Con- Yamal” programme. structive Anatomy” under the supervision of experienced architects. Geared to the works of San- Since 2005 the Hermitage Student Club has a section “St. Petersburg–Hermitage” founded espe- tiago Calatrava, they produced original models based on the transformation of the human body lan- cially for the students from the Yamalo-Nenets Autonomous Okrug studying in St. Petersburg univer- guage, movements and gestures into the language of engineering constructions, balance and tension. sities and colleges of higher education. This time the programme included a performance of the “Northern Lights” creative group of stu- dents from the Institute of the Peoples of the North at Herzen State Pedagogical University of Rus- sia, an exhibition of objects of applied art and photography telling about the nature and natives “A Vision of Hell by the chapman brothers: ORIGINS and influences” of the Far North, and a tour organised by the student-members of the Yamal section. A happy New Year wish by Yamal Iri, the national equivalent of Santa Claus, and a performance by the “Syoetei An educational programme for the exhibition “Jake and Dinos Chapman. The End of Fun” Yamal” folk song group who had specially come to St. Petersburg for the occasion, came as a pleas- ant surprise. Folk games were played in the rooms of the museum: the “Vet Lov Tin” riddle, the se- Exhibitions of contemporary British artists Jake and Dinos Chapman usually provoke polarised re- cret of five horses, and the “stick and palms” game; there were organised a master class on making sponses in the public, from admiration to complete rejection. For the exhibition “Jake and Dinos tassels (learning the principles of plaiting used in mats) and master classes on making bracelets Chapman. The End of Fun” that took place at the General Staff Building in autumn 2012 within and traditional dolls of the peoples of the North. At the end of the first day everybody had a chance the Hermitage 20/21 project framework, the Youth Education Centre of the State Hermitage had to learn the dances of the peoples of the North. prepared a special educational programme. It started back in September, a month before the exhibi- On 16 December a documentary film “Horoto Nomad Camp” was shown and the work of the “St. Pe- tion’s opening, with a series of lectures that presented these well-known artists of the “Young British tersburg–Hermitage” Student Club Section discussed. Artists” generation in the context of their national roots and ties to the traditions of classical and modern European culture. All lectures were accompanied with coloruful and expressive music and video clips, and invariably ended in a storm of discussion which was equally interesting to the public and to the staff of the State the day of the hermitage cat 2012 Hermitage Museum. The first lecture analysed the concept of “horror” as an aesthetic category in classical art. The sec- On 21 April a special annual event “The Day of the Hermitage Cat” dedicated to the cats that live ond lecture covered the period from the 1960s to the beginning of the 2000s. From the lecture on in the museum took place. the English gothic novel, students were able to learn about the work of the most famous writers of At midday the results of the school contest “Cat Kingdom. Cats Big and Small at the Museum” were the late 18th and early 19th centuries, who made their mark in this genre. The fourth lecture was announced at the Great Courtyard of the Winter Palace. A special prize was awarded to a student devoted to the horror movie industry. The concluding fifth lecture in the series specifically focused of the Gymnasia No 190 Victoria Pyzina. Also a contest “My Hermitage Cat” was held at the Great on the Chapman Brothers’ ouevre in order to show how the cultural history of the 19th and 20th Courtyard where everybody had a chance to draw their own image of a Hermitage cat. A 122.5 me- centuries influenced the emergence of the provocative British art duo. It was decided to turn another ter long magic scarf of Hermites, specially knitted for the “Day of the Hermitage Cat”, joined eve- lecture titled “Horror as a Product of Consumption in Modern Popular Culture” into a discussion rybody in a game in Palace Square and then led them to the Hermitage cellar where the works of the with the audience. Thus the team of the Youth Centre prepared their audience, who constantly at- school contest participants were displayed. tend classes at the Hermitage, for perception of the new exhibition of the Hermitage 20/21 project. In the rooms of the museum visitors could play the “Hunting for Lions, or Travel with a Hermitage On 19 October, an hour before the opening of the exhibition, Jake and Dinos Chapman met with the Cat” game: the aim of it was to help a Hermitage cat to find its predecessor, a lion, in works of art youth of St. Petersburg. The meeting proved to be interesting and useful for both parties from the Hermitage collection. A display of a mummified Egyptian cat lasting for two days in the Room of Ancient Egypt became the climax of the game. Paintings by professional artists inspired by these gracious animals as well as works of students attending creative sections of the Student Club at the Hermitage Youth Centre were on view in the “do you know you speak french?” attic of the Winter Palace. The Festival was prepared with support of Swashbuckler Enterprises, Inc., the Purina PetCare “Museum Night 2012” at the “Staraya Derevnya” Restoration and Storage Centre ­Department of Nestle Russia LLC.

On 19 May 2012 a programme “Do You Know You Speak French” organised by the Youth Education Centre of the State Hermitage and tied to the “Museum Night 2012” took place at the “Staraya Derevnya” Restoration and Storage Centre. About 100 most active members of the Hermitage Student Club participated in a special tour-quest which focused on the numerous items of French applied art. Then the students of the “Creative Photography” section (Director I. Lebedev) showed their photographic interpretations on the theme of French painting. The students of the “Artistic Workshop” section (Director N. Kruglova) demon- strated freestyle imitations of pictures by the Impressionists and masters of the early 20th century, including the ones displayed at the Hermitage, using felt techniques (wool felting). The programme was concluded by the Super Brain Ring. Students could estimate the level of their knowledge of the French language and art. Four teams, consisting of the most erudite and active members of the Student Club, took part in this fun competition. From now on they are sure to re- member what the words “eau-forte”, “lambrequin”, “bosquet” or “dessus de porte” mean; what the name of the court furniture maker of King Louis XIV was; what the difference between “assem- blage” and “collage” is. It was all so interesting, funny and informative and so genuinely “French”! 176 177 Educational Events Educational Events

JJ programmes of the school centre lecture centres of the hermitage • kazan and the hermitage • vyborg

In the year reviewed 87 lectures on 79 topics were delivered by the Hermitage staff in the lecture game quest “discover your europe in the hermitage” centres of the Hermitage • Kazan and Hermitage • Vyborg within the frameworks of 17 themed programmes. The audience of both lecture centres amounted to 6,000 people. Behind these figures On 22 September 2012 a game quest “Discover your Europe in the there are great efforts made by the organisers of the lecture process in the exhibition centres and by Hermitage” took place in the museum within the framework of the staff of the Sector for Special Programmes of the Education Department (curator A. Asanova) the 5th International Festival “Days of Europe”. The Festival who developed the lecture programmes and performed the methodologic training of the lecturers; was organised with support of the European Union Office, consu- of course, much was contributed by the lecturers themselves, the employees of the Education and lates general and cultural centres of the EU countries. The State Storage Departments. Hermitage participated in the Festival for the first time and of- In the year reviewed 72 lectures on 12 themed programmes were delivered at the lecture centre of the fered everybody, regardless of their age, an opportunity not only Hermitage • Kazan according to the approved seasonal schedule. Firstly it was a compulsory pro- to have a fascinating time in the Hermitage halls and see the mas- gramme traditionally linked to the Hermitage exhibition that took place at the centre: a cycle com- terpieces of its painting collections, but also to learn many inter- prising three lecture topics (six lectures) for the exhibition “Nomadic Empires of Eurasia”. Three esting facts about the history and modern life of the European lecture cycles (nine topics, eight lectures) were dedicated to the jubilee dates of 2012. One of them Union countries. “From the History of the Imperial Residences. Alexander II at the Winter Palace” continued a long- The Volunteer Service (consisting of students from various Euro- term programme “The Hermitage. History and Modern Days”, dedicated to the 250th anniversary pean universities completing part of their practical training) was of the museum. A special programme “The Thunder of 1812…” was dedicated to the 200th anniver- entrusted to develop the programme of the Hermitage part of the sary of the victory of Russia over Napoleon in the Patriotic War of 1812. Another cycle of lectures Festival. marked the 300th anniversary of Lomonosov’s birth. The EU Office faced the programme developers with a complex The core of the programmes, united under the name “Essays of World Art”, comprised eight lecture task to introduce the Festival participants to the art and culture cycles including: “Holland–Russia”, “An Island on the Map of European Art. Britain, Periods and of all 27 EU countries. The realisation of the EU volunteers’ ideas Artists”, “English Character Reflected in the Mirror of Art”, “Monumental Ensembles of the 20th became possible due to their close cooperation with the School Century”, “A Costume in Art. Museum and Theatre”. Centre, a methodic department of the museum, the staff of which A relatively successful attempt was also made in Kazan to conduct a “lecture dialogue”: two cycles has long experience in the organisation of educational and game entitled “The Greek Miracle” and “Classics and Modern Days” were united under one topic – “Clas- projects. Materials on the Hermitage exhibits that were part sic Antiquity and Modern Western European Art”. The altering of lectures from the two cycles al- of the game’s route as well as interesting information on Euro- lowed them to demonstrate the emergence of classical trends in the art of Antiquity along with their pean countries had been prepared for several months. As a re- interpretation and understanding in the art of Western Europe. sult there came a new event for children and youth that laid the Unlike the vast lecture centre of the Hermitage • Kazan, the activities of the lecture centre in the foundation for the tradition of holding the “Discover your Europe Hermitage • Vyborg are aimed mainly at senior school pupils and students of the Vyborg Arts in the Hermitage” Festival. School. Taking into account the age of the audience, the Vyborg lecture programmes were designed Among the game participants were schoolchildren and their par- with the view of school programmes, and the lectures were delivered by the person who acted both as ents, school groups with teachers, students, people of different a teacher and as a lecturer and was actively involved with his audience. In 2012, cycles of lectures ages and nationalities. More than 500 sets of the game-journey were read at the lecture centre of the Hermitage • Vyborg according to the following programmes: were distributed in a matter of hours. The game participants were “A Trip to the Middle Ages. Byzantium and the West. Essays on Christian Culture” and “Selected given a special map of the route through the Hermitage rooms Pages from Russian History”. Since the autumn of 2012 a special programme of interactive classes and questions. Thanks to the interesting task, the Hermitage for a young audience, mainly pupils of the 3rd and 4th forms, “A Palace. Art Décor of the Halls” was visitors got a chance to have a glimpse into the history of the EU launched at the lecture centre of the Hermitage • Vyborg. countries, to recall famous figures of art and culture, to learn The themes of the lecture programmes, the schedule for delivering lectures and methods of present- about heraldic symbols, time zones, state government systems, ing the material were all selected with a view of the specifics of the lecture centre and the audience, royal houses, music, inventions and many other things. The quest which contributed to the successful operating of the lecture centres both in Kazan and Vyborg. participants received a memorable prize – a symbolic personal- ised euro-passport with information on European countries.

178 179 special development programmes special development programmes general agreement signed between the state hermitage The parties agreed to establish a working group to coordinate and organise joint activities, prepare and ojsc aikb tatfondbank and agree on long-term cooperation as part of the museum project development, and also to prepare separate development projects. The parties plan to run the Hermitage 20/21 programme in Vilnius, an exhibition of twentieth- and On 18 June 2012, the Hermitage General Director Mikhail Piotrovsky and Chairman of the Board twenty-first-century art, and also to organise, together with the Jonas Mekas Centre of Fine Arts, of OJSC AIKB Tatfondbank Ildus Mingazetdinov signed a General Agreement in Kazan on the terms an exhibition featuring representatives of the Fluxus Art Movement and its founder George Maciu- of preparation and implementation of a three-year cooperation programme relating to the museum’s nas at the State Hermitage Museum. electronic edition project called Hermitage Line, which is part of the events marking the 250th an- The Declaration of Intent came into effect from the moment of its signing and will remain current niversary of the Hermitage. until 1 January 2015. The parties agreed that OJSC AIKB Tatfondbank shall be the General Partner of the Hermitage Line electronic project and will place information on its participation on the online portal. OJSC AIKB Tatfondbank shall be included in the number of corporate members of the Hermitage Friends’ Club and given the right to take part in relevant programmes. The State Hermitage and OJSC AIKB Tatfondbank will present the joint project in St. Peters- burg, Kazan, and gradually launch it in all the regions where the General Partner is carrying out declaration of intent signed between the state hermitage its operations. The parties expressed their interest in creating co-branded programmes, including the transfer and the national art museum of belarus of rights to use images of the museum buildings and exhibits in the manufacture of numismatic and internal corporate executive products. On 8 March 2012, the State Hermitage General Director Mikhail Piotrovsky and the Director of the National Art Museum of Belarus Vladimir Prokoptsov signed a Cooperation Agreement. The agreement covers research and educational projects: academic exchanges between experts in cultural studies, museum studies, restoration; research conferences, seminars, round tables on museum studies and culture; exhibitions; special consultations; the publication of results of joint research projects, including those involving other academic and cultural centres; support for uni- cooperation agreement signed between the state hermitage versity-level programmes, academic exchanges between students of St. Petersburg and Minsk State and the villa russiz foundation, italy Universities; preparation of educational programmes and films relating to the issues of artistic cul- ture; support for cooperation programmes between the Hermitage and other research and cultural centres in the Republic of Belarus. On 23 October 2012, the State Hermitage Museum General Director Mikhail Piotrovsky and Villa Russiz Foundation President Silvano Stefanutti signed a cooperation agreement in the Hermitage Theatre in the presence of the Friuli Venezia Giulia Autonomous Region Assessor for Cultural and International Relations Elio De Anna and the Italian Consul General in St. Petersburg. The agreement is to be the basis for a programme of academic and cultural cooperation focusing on wine and its thousand-year history with special studies, publications, exhibitions, and a variety of cooperation agreement signed between the state hermitage events. Among the suggested topics are winemaking as a creative act and wine as an object of ar- tistic production, the relationship between them and the arts (arts and crafts, design, architecture), and the royal castle museum, the royal lazienki museum wine as an integral part of the culture, customs and traditions of nations and civilisations, its role and the adam mickiewicz institute, warsaw in mythology and literature. The supervision of the programme has been assigned to Vladimir Matveyev, State Hermitage On 23 February 2012, the State Hermitage General Director Mikhail Piotrovsky and Andrzej Rot- ­Museum Deputy Director and member of the Academic Committee at the Hermitage • Italy Centre, termund, Director of the Royal Castle Museum, Tadeusz Zielniewicz, Director of the Royal Lazienki and Dr. Silvano Stefanutti, President of the Villa Russiz Foundation. The Hermitage • Italy Centre Museum, Paweł Potoroczyn, Director of the Adam Mickiewicz Institute, Warsaw, Poland, signed will take a direct part in this cooperation. a Cooperation Agreement in the Hermitage. Bogdan Zdrojewski, the Minister for Culture of the As part of the signing event, the Friulano for the Hermitage wine was officially launched. This white Republic of Poland, and Wojciech Zajaczkowski, the Ambassador of the Republic of Poland to the wine is produced in Villa Russiz’s own vineyards and in honour of the approaching 250th anniversa- Russian Federation, were present at the signing of the agreement. ry of the State Hermitage Museum will be delivered free of charge to the museum for special events The decision to sign a Cooperation Agreement with a view to implementing joint projects in the areas for the next five years between 2012 and 2015. The bottles will be personalised with special labels of research, training programmes and academic visits, organising and taking part in seminars, con- Friulano for the Hermitage and logos of the museum and the foundation. ferences, and exhibitions, and publishing of new materials was made by the parties during a working meeting in Warsaw on 27 November 2011. This cooperation will primarily include research on the residence of the Romanovs in Poland, the col- lection of King Stanislaw August Poniatowski, and materials connected with Grand Duke Constan- tine Pavlovich and Poland. The parties approved the participation of Hermitage employees in the conference entitled “The Roy- declaration of intent signed between the state hermitage al Lazienki Palace: New Evidence, New Meaning” to be held in the Royal Lazienki Museum and and the administration of vilnius, lithuania a visit by the Council of the Royal Lazienki Museum to the State Hermitage Museum. The parties will develop joint exhibition projects, including the concept and content of an exhibit On 17 May 2012, the State Hermitage General Director Mikhail Piotrovsky and the May- dedicated to Classicism in Russia and Poland. or of Vilnius Arturas Zuokas signed a Declaration of Intent in the Hermitage Museum. The parties took into account their experience of working together on feasibility studies with a view to establishing a new modern Vilnius Museum of Art, running a competition for the best architec- tural design for the museum, and their shared interest in cooperation for enriching the cultural life of Vilnius. 180 181 special development programmes special development programmes memorandum of cooperation signed between the state hermitage and adobe systems

On 24 October 2012, a Memorandum of Cooperation was signed at the State Hermitage Museum between the State Hermitage and Adobe Systems to develop, introduce and promote Digital Pub- lishing Solutions. Adobe Digital Publishing Suite was the platform used as a special experiment to create an electronic version of the catalogue for the “Santiago Calatrava. The Quest for Movement” exhibition which ran from 27 June to 30 September 2012. The Adobe Systems digital publishing solutions made it possible to simplify the process of developing the catalogue significantly, and will enable the State Hermitage to create online electronic versions of its future catalogues for temporary exhibitions and publications focusing on permanent displays. Adobe Systems is a global leader in developing innovative programming solutions for any type of data, including text-based information, graphic images, video and web content.

agreement signed between the state hermitage and the government of catalonia to create the hermitage • barcelona museum centre

On 31 October 2012, the State Hermitage Museum and the Government of Catalonia confirmed their intention of establishing a Hermitage • Barcelona Museum Centre in Barcelona. The agree- ment was signed by State Hermitage General Director Mikhail Piotrovsky and the Catalonian Min- ister for Culture Ferran Mascarell i Canalda. The Centre will be located in the historical buildings at the Barcelona Port. As at its other branch- cooperation agreement signed between the state Hermitage, es, the State Hermitage Museum will present exhibitions from its own collection, collections from the municipal government of turin and the turin municipal other museums, and also works by contemporary Russian artists. The Centre will be added to the museum foundation already dynamic network of satellites to the State Hermitage Museum in Europe and will give it a new focus. On 13 February 2012, Mikhail Piotrovsky, General Director of the State Hermitage Museum, The framework agreement needs to be signed, the buildings need to undergo restoration, a plan and Dr. Piero Fassino, Mayor of the City of Turin, and Dr. Maurizio Braccialarghe, Cultural Counse- timetable needs to be prepared for exhibitions and other cultural events, and an appropriate fund lor and President of the Municipal Museum Foundation of the city of Turin signed a Cooperation and infrastructure need to be established. Agreement on the nature and procedure of joint implementation of the programme of cultural and The suggested date for the opening of the State Hermitage Museum branch in Barcelona is 2015, scientific cooperation between the State Hermitage Museum, the Hermitage • Italy Foundation, after the end of the celebrations of the museum’s 250th anniversary. the Municipal Government of the city of Turin and the Municipal Museum Foundation of Turin. The programme is expected to include the following joint projects: – Training programmes and exchange of experience between research fellows and specialists in the fields of art history, cultural heritage, conservation, restoration, museum studies, history and cul- ture and museography; cooperation agreement signed between the state hermitage, – Academic conferences, seminars and round tables (followed by the publication of materials and proceedings) dedicated to the problems of cultural and art history, museum studies, conservation florence mayor’s office and the hermitage • italy foundation and restoration, organisation and running of research programmes; – Special joint programmes in the field of applied and decorative arts considering the importance On 4 July 2012 the Palazzo Vecchio in Florence hosted the signing ceremony for an Agreement of such collections in museums, including the Palazzo Madama in Turin; on Cultural Cooperation between the State Hermitage Museum, the Florence Mayor’s Office and – Organising exhibitions showcasing the results of joint research, both in the State Hermitage the Hermitage • Italy Foundation. The agreement was signed by the General Director of the State ­Museum and in the municipal museums of Turin; Hermitage Museum Mikhail Piotrovsky, the Vice Mayor of Florence Sergio Givone, the Vice May- –Special exchange, research and academic programmes in the areas of restoration, conservation or of Ferrara Massimo Maisto (acting as a representative of the Hermitage • Italy Foundation). and analysis of works of art, especially objects of applied and decorative art; This agreement envisages joint restoration projects, the exchange of masterpieces and specialists – Cooperation aimed at participation in European competitions in areas of mutual interest. between the museums. The academic aspect of the programme will be managed by Professor Mikhail Piotrovsky, General Director of the State Hermitage Museum and President of the Academic Committee of the Hermit- age • Italy Foundation, and Dr. Enrico Pagella, Director of the Palazzo Madama.

182 183 special development programmes special development programmes session of the national association of protocol specialists the strasser grand clock to chime again in the winter palace

On 5 April 2012, a session of the National Association of Protocol Specialists was held at the State On 29 October 2012, the State Hermitage, supported by JTI, Hermitage. launched the project of restoring a unique technological artefact The session involved topics of relevance for protocol experts: the heraldic aspects of protocol, of the turn of the 19th century, Strasser’s Grand Clock, which is and the place of diplomatic gifts in the system of international diplomatic ritual. also known as the Mechanical Orchestra. Visitors to the museum Georgy Vilinbakhov gave a paper on the heraldic aspects of protocol procedures using the example will be able to see the Grand Strasser Clock in 2014. It is one of the re-interment of Empress Maria Fedorovna. Then the Hermitage research staff discussed dip- of the most significant projects marking the preparation for the lomatic gifts received by the members of the Royal Family and kept at the Hermitage. State Hermitage Museum’s 250th anniversary. “We are bring- ing back to life an amazing masterpiece of our collection. Visi- tors will be able to hear the unique sound which no one has heard for almost 200 years”, observed the State Hermitage Museum General Director Mikhail Piotrovsky. A four-metre-high struc- ture, encased in mahogany, serves as the casing for a precise as- tronomical clock and an extremely complex musical mechanism comprising two complementary organs that can play fourteen musical pieces, including those by Mozart and Haydn. The music is recorded on large wooden cylinders. Its particular value is its original arrangement. Today these works are played differently and the Mechanical Or- chestra enables us to hear them exactly as they were conceived and performed 200 years ago. Deciphering the cylinders may well throw up a few surprises, say State Hermitage Museum spe- cialists. “We know that one of the pieces recorded on the cylinders was specially commissioned by the 7th day of maecenas at the hermitage Strasser from Anton Eberl, a composer popular at the turn of the 19th century. The cylinder con- taining one of the few surviving works by Eberl has yet to be deciphered. It is possible that we will On 13 April 2012, the Hermitage Theatre hosted the 7th Art Patron and Benefactor Day, which discover a true masterpiece”, said the Head of the Laboratory for Scientific Restoration of Time- has already become a traditional festival even outside St. Petersburg. This year, the Hermitage pieces and Musical Mechanisms Mikhail Guryev. By 2014, restorers are hoping to reconstruct the welcomed guests from Moscow, Sakhalin and Smolensk regions, Finland, Sweden, and Germany. body of the clock, the wooden elements of the musical mechanism, the mechanical part of the organ The idea of the festival is to promote charitable projects. and recreate the mahogany stand. At present, the contents of the Grand Clock have been dismantled In 2012, the restoration of the unique Royal Doors in the Church of the Savior-on-the-Spilled-Blood into small parts, and the wooden cylinders are being deciphered and transferred to the computer. was completed without any budgetary funding, a monument to Pyotr Bagration, a hero of the Patri- otic War of 1812, has been funded a contribution from the philanthropist A. Ebralidze, and a monu- ment to another legendary military leader, Admiral Pavel Nakhimov is due to be opened thanks to the charitable support from SMU-303 (Construction Office). New sports and health facilities are now under construction as part of the Gazprom for Children pro- gramme, which is currently being implemented in North-Western Russia by the Gazprom Transgaz St. Petersburg company. The charitable programme of the North-Western division of Sberbank of the Russian Federation has been expanded and diversified. Vodokanal of St. Petersburg, Etalon-LenSpetsSMU and other companies are carrying out their own cultural and museum-based projects. The State Hermitage Museum has recently received a unique gift: a collection of medals commemo- rating the Patriotic War of 1812, made from designs by Alexey Olenin, a prominent civil servant and social figure. The donor was Ivan Emanuel, a scientist and businessman and a direct descendant of General Georgy Emanuel, a hero of that war, whose portrait hangs in the military gallery of the Winter Palace. Other uniquely wonderful gifts to the museum include a Latin edition of Horace’s Odes with a remarkable marble cover (a project of the Rare Books from St. Petersburg publishing house). As always, the Hermitage festival welcomed children in need of help, including those staying in the SOS children’ village in Pushkin. The Peacock Clock was specially wound for them. The fa- mous Terem Quartet was invited to the event and presented their charitable programme for the children. According to tradition, a new issue of the Russian Maecenas almanac was published to mark the day, with a special focus on materials dedicated to philanthropic and charitable activities.

184 185 special development programmes special development programmes ninth international festival “musical hermitage” Gonzales and the American musician and composer Ry Cooder brought together all who had played in the club in order to record an album of the same name. This project unexpectedly received wide- Between 18 and 26 February 2012, the Hermitage Theatre hosted the 9th International Musical spread recognition, and a year later its fame grew even further after the release of Wim Wenders’ Hermitage Festival organised by the State Hermitage and the Hermitage Academy of Music with documentary. Since then, despite changes in membership, the Orquesta Buena Vista has remained support from the St. Petersburg Government Committee for Culture. Bands from different countries an example of the Cuban love of life and a welcome guest at festivals all over the world. Four of the prepared performances representing different genres and trends of classical, jazz and experimental legendary original members took the stage, in addition to young musicians and the inimitable singer contemporary music. Omara Portuondo. The Festival was opened by a trio of brilliant young musicians: the English violinist Hugo Ticciati, The concert was organised with the help of the C.A.T. Company (Moscow). The General Partner the Israeli pianist Michael Tsalka, and the Russian cellist Dmitry Yeremin. Hugo Ticciati also gave of the Festival is Heineken International LLC. The official partners of the Festival are: Phillips, On- a solo performance accompanied by the State Hermitage Orchestra. ego Shipping, Lufthansa. The General Informational Partners of the Festival are Radio Hermitage The Polish pianist Leszek Mozdzer and the Swedish double bass player Lars Danielsson present- and Time Out Petersburg magazine. ed the Pasadoble jazz programme. Scandinavian jazz was performed by the Norwegian band Dag Arnesen Trio. The British jazz singer Norma Winstone gave her first vocal performance in Russia as part of the programme “Stories Yet to Tell”, accompanied by the Italian pianist Glauco Venier and German clarinet player Klaus Gesing. The Festival ended with the traditional Belcanto concert: following many years of tradition, the eter- nal music from the most beloved and famous Italian operas was performed by the winners of one eleventh international festival “grand waltz” of the most prestigious competitions for young musicians held in Spoleto: Daniele Antonangeli (bari- tone), Roberto Cresca (tenor) and Anna Maria Carbonera (soprano), conducted by Mats Liljefors The State Hermitage Museum, the Union of Museum Workers of St. Petersburg and the Len- (Sweden). ingrad Region, and the Domus Producer Centre presented the 11th International Grand Festival The Festival was supported by the Consulates General of Norway and Sweden in St. Petersburg and (20–30 July 2012). The concerts were held on the stage of the Hermitage Theatre, the Armorial Hall the Institutes for Culture of Poland and Italy. of the Winter Palace, the Great Palace of Peterhof, the Catherine Palace in Tsarskoye Selo, and, of course, the Rose Pavilion in Pavlovsk. The Festival’s programme included evenings of symphony and chamber music, both instrumen- tal and vocal performed by masters who had already made a significant mark on musical culture: soloists from the Vienna State Opera, Michael Heim and Marcela Cerno, Isabella Ma-Zach and Camillo Dell’Antonio, the famous Russian conductors Alexander Kantorov, Alexey Karabanov, twelfth international festival “music of the great hermitage” Dmitry Khokhlov, Mikhail Sinkevich, Igor Ponomarenko, the soloist of the Mariinsky Theatre Olga Trifonova, and world-famous musicians like the pianist Vladimir Mishchouk and violinist Sergey The 12th International Festival “Music of the Great Hermitage” Stadler. The Festival also featured the State Symphony Orchestra Klassika, the Rimsky-Korsakov was organised by the State Hermitage Museum and the Hermit- Central Concert Orchestra of the Russian Navy, the Andreyev State Academic Russian Orchestra and age Academy of Music with the support of the General Consu- the IPOrchestra. late of the Netherlands in St. Petersburg, the General Consu- Support for the Festival was provided by the Bank of Moscow JSC, which has a long-term partner- late of Sweden in St. Petersburg and the Netherlands Institute ship with the State Hermitage Museum. in St. Petersburg. The 12th Festival opened with classical music. On 10 July, one of the most famous youth groups in Europe, the Great Sympho- ny Orchestra of the Free University of Amsterdam performed in Russia for the first time on the stage of the Academic Capella. The musicians in the orchestra are students and graduates of the sixth international festival “dedication to maestro” Amsterdam Conservatory. In many ways, this orchestra owes its masterful performances to its lead conductor Daan Admiraal, The International Festival “Dedication to Maestro” is a tribute to the memory of great composers, who has headed the orchestra since 1975 and who is a recipient artistic and cultural figures, and musicians. The Festival’s trademarks are its venue and its range of the Order of Orange-Nassau, the highest national order of the of genres. Concert of the Orquesta Buena Netherlands. Under his guidance, young musicians performed The 2012 Festival included concerts of classical and jazz music, and a gala performance by ballet Vista Social Club in the Great works by John Adams, George Gershwin, Dmitry Shostakovich. artists. Musical pieces by Schubert, Brahms, Alyabiev, Glinka, Tchaikovsky and Mussorgsky were Courtyard of the Winter Palace On 12 July, luminaries of Russian jazz Andrey Kondakov and Vladimir Chekasin, along with the performed in the Hermitage Theatre by the Three bassi profondi, Vladimir Miller, Mikhail Kruglov, American drummer Bruce Cox, presented a programme entitled “Jazz-Rock Free”. and Sergey Kryzhnenko. The programme continued with a performance by the International group Mynta, which includes The gala performance by the Mariinsky Ballet dancers accompanied by the St. Petersburg State musicians from Sweden, Cuba and India. This ensemble’s sound integrates “Northern ice” with Symphony Orchestra Klassika conducted by Alexander Kantorov included fragments from ballets “hot Indian spices”, Scandinavian folk songs and Cuban violins, African and Latin rhythms, blended by Russian and world composers. together in the mesmerising, magical rhythms of ancient Indian instruments. A concert by the symphony IPOrchestra conducted by Igor Ponomarenko was held in the Hermitage The evening was concluded with a performance by Musica Nuda, a famous Italian duet of singer Theatre to mark Eduard Artemiev’s 75th anniversary. Petra Magoni and bassist Ferruccio Spinetti. The very name “naked music” is an expression of the The St. Petersburg Symphony Orchestra conducted by Saulus Sondeckis played in the Armorial Hall group’s ambition – to strip music down to the very essence, the core of its appeal, rhythm and voice. of the Winter Palace; the solo recital was given by the violinist Liana Isakidze. On 13 July, the Courtyard of the Winter Palace was filled with the Cuban rhythms of the famous The Festival ended with a concert of Tchaikovsky’s works performed by the St. Petersburg State Orquesta Buena Vista Social Club. Its history goes back to the 1940s. That was the name of a club in Symphony Orchestra Klassika conducted by Alexey Karabanov in the Large Italian Skylight Hall Havana, where young Cubans gathered to dance and make music together. After the revolution the of the New Hermitage. club was closed, and it was only fifty years later, in 1997, that the Cuban guitarist Juan de Marcos The Festival’s traditional General Sponsor is Promsvyzabank. 186 187 International Advisory Board of The State Hermitage Museum

Eighteenth Participants of the 18th Meeting of the State Hermitage Museum Annual Meeting International Advisory Board:

The Eighteenth Meeting of Michael Brand Director, J. Paul Getty Museum the State Hermitage Museum Michael Conforti Director, Sterling and Francine Clark Art Institute, Williamstown, International Advisory Board was held in St. Petersburg Massachusetts on 31 August – 1 September Gabriele Finaldi Director Adjunto de Conservación e Investigación, Museo Nacional 2012. del Prado, Madrid Traditionally, the discussions deal with most pressing issues Max Hollein Director, Städel Museum, Frankfurt am Main of the museum’s development. Henri Loyrette Président directeur général, Louvre, Paris Working sessions were held in the Conference Hall of the Alfred Pacquement Directeur du musée national d’art moderne, Centre Georges Pompidou, State Hermitage Museum. Paris As usually, themes for discus- Hermann Parzinger President, Stiftung Preussischer Kulturbesitz, Berlin sion were developed by the Director of the State Hermitage Annamaria Petrioli Tofani Former Director, Uffizi, Florence Museum Prof. Mikhail Piotro- Henk van Os Former Director, Rijksmuseum, Amsterdam vsky. This year the questions introduced for the consideration Mikhail Piotrovsky General Director, State Hermitage Museum, St. Petersburg of the International Advisory Svetlana Philippova Secretary to the International Advisory Board Head, Hermitage Friends Board included evaluation of Office the museum’s activities (cri- teria and success indicators), organisation of effective visitor circulation during the tourist Current Members Members of the State Hermitage International Advisory Board in the General Staff Building season, as well as a five-year plan of redesigning the museum Neil MacGregor Chairman, Director, The British Museum, London website. The Board members Stuart Gibson Secretary to the International Advisory Board also discussed provocation as one of the functions of Former Director, Hermitage UNESCO Project, USA contemporary art, and plans for exhibiting contemporary art in the new museum space of the Retired members General Staff Building. Members of the Advisory Board Reinhold Baumstark Former Director, Bayerische Staatsgemäldesammlungen, Munich had a tour of the new temporary exhibitions opened in the Her- Irène Bizot Ancien Administrateur général, Réunion des Musées Nationaux, Paris mitage. Prof. Piotrovsky intro- Mounir Bouchenaki Director general of ICCROM-International Centre for the Study duced the project of displaying of the Preservation and Restoration of Cultural Property, Rome paintings dedicated to the bat- tles of the 1812 Patriotic War, J. Carter Brown Director Emeritus, National Gallery of Art, Washington, DC in connection with the 200th an- Wim Crouwel Former Director, Museum Boymans van Beuningen, Amsterdam niversary of the Russian victory over Napoleon. The guests were Wolf-Dieter Dube Former Director, Staatliche Museen zu Berlin Preussischer also invited to see the East- Kulturbesitz, Berlin ern Wing of the General Staff Horst Gödicke Representative of the Director-General of UNESCO, Paris building, where the first phase of reconstruction had already Alan Hancock Director, PROCEED, UNESCO, Paris completed. Anne d’Harnoncourt Director, Philadelphia Museum of Art, Philadelphia On 1 September the Members of the International Advisory Michel Laclotte Directeur honoré du Musée du Louvre, Paris Board had a tour of the Church Ronald de Leeuw Director, Rijksmuseum, Amsterdam of the Savior-on-the-Spilled- Blood, and visited Kronshtadt Edmund Pillsbury Former Director, Kimbell Museum, Fort Worth where they saw the Naval Cathe­ Françoise Rivière Assistant Director-General for Culture, UNESCO, Paris dral and St. Petersburg Flood Protection Barrier Complex. Paolo Viti Direttore Activita Culturale, Palazzo Grassi, Venice 188 guests of the hermitage guests of the hermitage

4 April 2012 Visit of Mr. Sauli Niinistö, President of Finland

17 May 2012 Visit of Mr. Eric Holder, the Attorney General of the United States

22 June 2012 Visit of Mr. Almazbek Atambayev, President of the Republic of Kyrgyzstan

29 June 2012 Visit of Mrs. Hillary Clinton, Secretary of State of the United States

8 October 2012 Visit of Her Royal Highness Mary, Crown Princess of Denmark (to mark the launch of the exhibition “Wild Swans: Découpages and Costumes Designed by Her Majesty Queen Margrethe II of Denmark for the Film Adaptation of Hans Christian Andersen’s Fairy Tale”)

2 July 2012 Visit of Her Royal Highness Princess Consort Sabika bint Ibrahim Al Khalifa (to mark the launch of the exhibition “Tylos. The Journey beyond Life. Rituals and Funerary Traditions in Bahrain in the 1st Century BC – 3rd Century AD”)

14 November 2012 Visit of Mr. Denis Sassou Nguesso, President of the Republic of Congo

Her Royal Highness Mary, Crown Princess of Denmark Sabika bint Ibrahim Al Khalifa, Princess Consort of Bahrain

Sauli Niinistö, President of Finland Visit of the Secretary of State Hillary Clinton. Hillary Clinton, Michael McFaul, Visit of Mr. Almazbek Atambayev, President of the Republic of Kyrgyzstan Visit of Mr. Denis Sassou Nguesso, President of the Republic of Congo. Mikhail Piotrovsky Mr. Sassou Nguesso with his spouse 190 191 guests of the hermitage seventh international charitable gala reception

29 June 2012 saw the annual traditional Charitable Gala Recep- tion which was dedicated to the 200th anniversary of the victory in the Patriotic War of 1812 on this occasion. The guests invited to the event included stars of the contemporary art world Santiago Calatrava and Tony Cragg, representatives of old Russian families like the Romanovs, Yuryevskys, Golitsyns, Rodziankos, Directors of the Hermitage Foundations in the USA, UK and Russia, Directors of the leading museums of the world, representatives of Christie’s and Sotheby’s auction houses, heads of sponsor companies, art collectors, philanthropists and journalists. In the St. George Hall (Large Throne Room), the General Direc- tor of the State Hermitage Museum Mikhail Piotrvosky gave a welcome speech to the assembled guests, followed by the “Art- ist in the Hermitage” award ceremony, presented this year to the prominent contemporary artists Santiago Calatrava and Tony Cragg, whose works were currently on display in the Hermitage. Pierre de Labouchere with his wife, Mikhail Piotrovsky The evening continued with a concert which consisted of musical pieces written in the age of the Napoleonic Wars, performed by the Russian Horn Orchestra (conducted by Sergey Polyanichko) and the Mariinsky Choir (headed by choirmaster Andrey Petrenko). Next, the guests viewed a one-day exhibit in the Armorial Hall entitled 1812, which was specially prepared for the Gala Recep- tion and served as a “taster” for a major Hermitage project en- titled “The Thunder of 1812”, and the exhibit “Santiago Cala- trava. The Quest for Movement”, which had recently opened in the Nicholas Hall. The menu for the grand dinner served in the Jordan Gallery of the Winter Palace was made up of Russian dishes from the 19th cen- tury, which owe a great deal to French cuisine. During the din- ner, the guests were invited to the Great Courtyard of the Winter Palace to view an exhibit entitled Luke by Tony Cragg opened on that very day as part of the “Sculpture in the Courtyard” project. After the dinner, a ball was held in the Armorial Hall, with the participation of performers from the Mariinsky Theatre and the “Most Graceful” lady guest received a diamond pendant (a prize from the Smolensk Diamonds Company) from Victoria Georgy Vilinbakhov, Paul Rodzianko, Sergey Bugayev (Africa) Yastrebova, the prima ballerina of the Mariinsky Theatre. By tradition, the famous Peacock Clock struck midnight. The “grace cup” awaited the guests in the Hanging Garden, opened for the first time after restoration. This Gala Reception is intended to draw attention to the public fund-raising campaign in support of the specialised fund for the management of the Endowment Fund intended for the develop- ment of the State Hermitage Museum. The fund was founded with a donation from one of its creators, Vladimir Potanin. Support for the Gala Reception was provided by Gazprombank OJSC, JTI International, Arktikmorgeo, Neftegazmontazhservis LLC, the INTARSIA Group of Companies, the Hennessy Social and Cultural Foundation, the Blavatnik Family Foundation. The informational partner is the TATLER magazine.

Mikhail Piotrovsky, Prince Dmitry Romanov with his wife Yekaterina Sirakanyan Olga Sviblova 192 193 Hermitage Friends Organisations Hermitage Friends Organisations

Friends’ Events. 2012

1 March Meeting in the Hermitage Friends’ Club entitled “A Visit to Jupiter” was dedicated to the 150 years of the arrival of the Marquis Campana collection to the Hermitage. Dr. Liudmila Davydova, curator of Greek sculpture of the Classical Antiquity Department, talked about the acquisition of this collection.

23 April Visit of the UK Friends delegation (The Furniture History Society, 28 people) and the Canadian Friends of the Hermitage (The Art Gallery of Calgary, 15 people) to St. Petersburg. A special programme, Mon- day in the Hermitage, was organised for them. Our Friends from abroad were given a unique opportunity to visit the Hermitage on the day the museum is closed to visitors. Specialists in history of furniture from Final event of the fifteenth anniversary season Official event dedicated to the 15 years of partnership between Great Britain were able to view in detail the permanent exhibition of Russian and Western European in the Hermitage Friends’ Club the State Hermitage Museum and an international law firm furniture. Baker & McKenzie

14 May 8 June Visit of the Canadian Friends of the Hermitage (The Royal Ontario Museum, 24 people). Monday in the Final event of the fifteenth anniversary season in the Hermitage Friends’ Club. The meeting was dedi- Hermitage programme offered to the Friends a unique opportunity to see the collection when the mu- cated to the 165th Anniversary of the Hermitage Treasure Gallery. The evening programme opened with seum is closed for public. The guests were offered a tour round the museum guided by the curators of the the word of welcome by the General Director of the State Hermitage Museum Prof. Mikhail Piotrovsky. Education Department, with the demonstration of the Peacock Clock in operation. The guests were then invited to the Hercules Room to hear a short talk by the Head of the Treasure Gal- lery Yelena Kashina on the history of the Hermitage Treasure Gallery and its collection. Following it, 16 May Dr. Igor Malkiel, Head of the Laboratory for Scientific Restoration of Precious Metals, showed the Presentation of the joint projects of the State Hermitage Museum and Philips Company for 2012–2014. Friends a film on the restoration of some of the Gallery’s objects. In the end of the meeting, the Friends The State Hermitage Museum General Director Mikhail Piotrovsky announced the start of a Russian- had an opportunity to visit the exhibition of the Diamond Room with the curators of the Hermitage Edu- wide competition The Hermitage in a New Light aimed at creating a concept for lighting the façade of the cation Department, and see some of the objects that were brought back to life with their help. General Staff Building. Arjan de Jongste, General Director of Philips Company in Russia, talked about 25–27 June Meeting in the Hermitage Friends’ the results of lighting project of the Arch of the General Staff Building. Guests were shown a film about This year five representatives from the Hermitage Museum Foundation in the USA attended the tradi- Club entitled “A Visit to Jupiter” the collaborative projects of the State Hermitage Museum and Philips Company that were implemented dedicated to the 150 years of tional International Charity Gala Reception at the Winter Palace. A special programme, Monday in the in 2009–2012. the arrival of the Marquis Campana Hermitage, was organised for them during their stay in St. Petersburg, which included a demonstration collection to the Hermitage of the Peacock Clock in operation and a visit to the “Staraya Derevnya” Restoration, Conservation and Storage Centre. Presentation of the joint projects of the State Hermitage Museum 11 and 13 September and Philips Company Visit of a delegation of the British Friends of the Hermitage (a group of porcelain specialists and lov- for 2012–2014 ers, 10 people). A special programme was organised for them that included a visit to the exhibitions and storages of German, English, French and Russian porcelain, as well as meetings with the curators of the Western European Applied Arts Department, Western European Fine Arts Department and His- tory of Russian Culture Department.

18 October Official event dedicated to the 15 years of partnership between the State Hermitage Museum and an inter- national law firm Baker & McKenzie. Since 1997 Baker & McKenzie has been a corporate member of the Hermitage Friends’ Club and has sponsored programmes for work with disabled children. Starting from 2000, the company has supported the programme of the Hermitage School Centre entitled Our Hermitage. At the Hermitage Theatre, guests of the evening were presented the results of the conservation project Cornflowers and Stems of Oats once made by the craftsmen of the famous Carl Fabergé firm. This project was completed by the Hermitage conservators with the support of Baker & McKenzie.

23 October Opening of the new 2012–2013 season in the Hermitage Friends’ Club. The event “Contemporary Art: Provocation or...” took place in the General Staff Building. Prof. Mikhail Piotrovsky, the General Director of the State Hermitage Museum, opened the evening for the Friends with a few words about the provoca- tive function of contemporary art. Then, the museum Friends were given the unique opportunity to view all of the temporary exhibitions of contemporary art that were taking place at that time in the ­General Staff 194 195 Hermitage Friends Organisations

FOUNDATION HERMITAGE FRIENDS IN THE NETHERLANDS

Despite the economic crisis, the number of Friends stayed more or less on the level of 2011: 5,500 members. The number of Peter and Catharina Friends was also kept on the same level. This year the Friends received two printed newsletters; these newsletters gave information on the exhibitions in Amsterdam as well the Hermitage in St. Petersburg. 2012 was not an ordinary exhibi- tion year for the Hermitage • Amsterdam, due to the fact that the famous Van Gogh Museum had to close down for several months. In order to help the Van Gogh Museum and to have the masterpiec- es available for the numerous tourists of the Amsterdam city, the schedule of the Hermitage exhibi- tions was changed. It was decided to extend the successful “Rubens, Van Dyck & Jordaens. Flemish Painters from the Hermitage” exhibition for three more months and to postpone the “Gaugain, Bonnard, Denis” exhibition until 2013. This made it possible to house the Van Gogh masterpieces for seven months in one of the wings of the Hermitage • Amsterdam museum. Awarding ceremony for sponsors In 2012, two special Friends’ Days were organised for the Dutch Friends, one in June, on the day be- and patrons of the State Building: “The Wild Swans. Découpages and Costumes Designed by Her Majesty Queen Margrethe II Hermitage. Mikhail Piotrovsky fore the public opening of the new “Impressionism: Sensation and Inspiration” exhibition; the other of Denmark for the Film Adaptation of Hans Christian Andersen’s Fairy Tale”, “Architectural Library: was organised in October in conjunction with the opening of the Van Gogh exhibition. Both Friends’ and Olga Monakhova, Director Architectural Drawings from the State Hermitage and Sergey Tchoban’s Collections”, “‘There is No One of the International Chodiev Days were organised exclusively for the Friends and consisted of an introduction into the new exhibi- to Help them’. Tragedy in the Graphic Works of Francisco Goya”, and “Jake and Dinos Chapman. Foundation tion, and the Board informing the Friends on the projects they had supported in Amsterdam as well The End of Fun”. Friends were also welcome to ask their questions to the curators of these exhibitions. as in St. Petersburg. Furthermore on the Friends day the Friends had the possibility to have dinner 29 October in the restaurant of the museum. This special Friends’ dinner attracted more than 100 Dutch Friends each time. Presentation of the long-term project for the restoration of a unique monument of the world technologi- New in 2012 were digital newsletters mailed to the Dutch Friends, the so-called “Friends greeting cal thought in the 18th – 19th centuries: the Grand Strasser Clock. This project is being implemented newsletter”. In these newsletters last minute news were published. by the State Hermitage Museum with the support of the JTI Company. The Foundation Hermitage Friends in the Netherlands contributed in 2012 to the following projects. 8 December For the exhibition “Rubens, Van Dyck & Jordaens” in Amsterdam, two paintings were restored with the support of the Dutch Friends: Lioness and Two Lions by the Rubens school and Lucius Albinus International Hermitage Friends’ Day. Hermitage Friends from around the world are annually invit- Giving his Carriage to Vestals by Bertholet Flemalle. ed to the museum for this celebration. The programme of this event is always unique and interesting. The restoration of gilded frames for the works by Dutch Masters initiated in 2010 continued. This year, the Friends were traditionally the first to see the new space of the State Hermitage Museum – For the future exhibition “Peter the Great, an Inspired Tsar” scheduled to open in the ­Hermitage • Am- the new premises “Х” at the “Staraya Derevnya” Centre. Prof. Mikhail Piotrovsky, the General Director sterdam in March 2013, the Dutch Friends supported the restoration of the uniform of Tsar Peter of the State Hermitage Museum, welcomed the Friends and awarded the sponsors of the museum with the Great, making it possible to bring this unique costume to Amsterdam. Honorary Diplomas and personal membership cards of the Hermitage Friends’ Club. Then, Friends were The Board meetings were held on 7 February, 20 March, 11 September and 19 November 2012. given an opportunity to independently see over the new premises of the Restoration and Storage Centre, The Chairman of the Board Mr. Hein Blocks was replaced by Mr. Ernst Veen, former Director of Her- as well as to enjoy a concert programme and ballroom dancing in the Main Vestibule of the new building. mitage • Amsterdam; and the treasurer Mr. Renze Hasper was replaced by Mr. Joost Leeflang. The evening programme ended with a banquet for the Friends. A new coordinator of the Dutch Friends organisation was hired: Lisette Forbes Wels-de Leeuw suc- 10 December ceeded Jacqueline Lantain, who left the organisation. Presentation ceremony of the Hermitage Friends Association in Italy, creation of which was officially announced in summer 2012. In the Hermitage Days 2012 the Association made a statement in Russia by organising a special visit for the delegation of the Italian Friends as part of a special programme Monday in the Hermitage.

Italian Friends at the Hermitage

Foundation Hermitage Friends in the Netherlands P.O. Box 11675, 1001 GR Amsterdam The Netherlands Tel.: (31) 20 530 87 55 Email: [email protected] www.hermitage.nl 196 197 Hermitage Friends Organisations Hermitage Friends Organisations

Hermitage Museum Foundation (USA) urged all of the assembled guests to come to Norfolk for this once in a lifetime exhibition: the tem- porary return of the Walpole Collection, which had been purchased by Catherine the Great in 1779, to its original Palladian home. The HMF is a full Sponsor of the “Houghton Revisited” exhibition. The Hermitage Museum Foundation (USA), Inc. (“HMF”) is a corporation which contributes In its scale and ambition the exhibition will serve as a fitting commemoration of the 250th anni- to the preservation and promotion of the museum’s collection of more than three million objects versary of Catherine the Great’s accession to the throne, and more broadly the distinguished history and its historic buildings. The HMF raises funds for restoration and conservation projects as well of Anglo-Russian cultural relations. as securing the donation of art and artifacts for the museum. The annual Hermitage Dinner held In December, the HMF sponsored the visit of Helen Drutt English, internationally renowned collec- in New York City supports the Art from America TM effort to secure post-War American art for the tor and scholar in the applied arts and a member of the HMF Advisory Board, to St. Petersburg, museum’s collections. In addition, the HMF hosts educational outreach programs; supports exhibi- the Hermitage Museum and a number of other institutions. The primary purpose of her trip was tions both in the U.S. and Russia; curatorial exchanges, and organizes an annual White Nights tour to share her knowledge of contemporary applied arts with various specialists and student groups. to the museum and St. Petersburg. Her lectures at the Vladimir Palace and at the Academy of Fine Arts were both extremely well The HMF’s activities in 2012 continued to strengthen its commitment to the Hermitage Museum received. Her visit coincided with the publication of the December Antiqvariat Magazine which in- and to Russian-American relations. cluded a comprehensive article about Mrs. Drutt English and her collections. In January the HMF Junior Committee organized a visit to the opening of the Sol LeWitt – Alfred The HMF held its semi-annual full board meetings on 1 June and on 9 November 2012 at the law Jensen Exhibition, “Systems and Transformation” at Pace Gallery. Twenty participants enjoyed an offices of Baker & McKenzie, New York City. The HMF Newsletter (Volume 3, Issue One) was re- impromptu walk-through talk and concluded the evening at a casual dinner. leased in June. In April the Junior Committee hosted, in conjunction with Depesha Magazine, a private tour In addition, the HMF is working on a number of other exhibition efforts as part of its Art from of the museum at FIT exhibition, “IMPACT: 50 Years of the CFDA” followed by a VIP dinner to ben- America ™ initiative. efit the HMF’s Art from America TM campaign with a guest of honor, designer Thom Browne. Patricia Mears, Deputy Director of the Museum at Fashion Institute of Technology, and co-curator of the ­IMPACT exhibition, guided the twenty guests of the HMF, sharing insights about select objects in the show as well as the key ideas behind the exhibit’s conception and installation. The HMF’s fifth White Nights Tour welcomed guests to St. Petersburg in late June for six days of specially organized tours of the Hermitage Museum as well as highlights of the city and country- side. The White Nights program is designed to coinciding with the annual Gala Banquet in the Win- ter Palace. This year, the impressive Gala Dinner took as its theme the 200th anniversary of the vic- tory over Napoleon in the War of 1812. The evening’s activities culminated in a ball in the Armorial Hall featuring Mariinsky dancers leading the guests through the polonaise, the mazurka and more. As a final crescendo, guests were conducted to the newly restored Hanging Garden for an informal jazz concert and champagne. During this six-day program, the guests spent considerable time in the museum, enjoying private viewings of exhibition and collection highlights; paintings, sculpture, applied arts treasures, furni- ture, and the ceremonial opening, on the Jordan Staircase, of the magnificent exhibition “Santiago Calatrava. The Quest for Movement”. A special invitation to the Rare Book Library gave an op- portunity to view centuries-old volumes in rare materials and unusual designs created for Imperial presentation and other purposes, and the Porcelain Storage visit was another interesting event. On 9 November, as part of its program surrounding the Fall Board meeting and the Hermitage Dinner, HMF invited three individuals to speak to supporters of the HMF at the Explorers Club in New York. The speakers were: the celebrated artist and one of the recipients of the 2012 HMF, Erik Bulatov; Eames Demetrios, Principal of the Eames Office; and Dr. Tamara Rappe, Head of the Department of Western European Applied Arts, State Hermitage Museum. The diversity of their presentations made for a memorable evening attended by more than sixty guests. On 10 November, under the Honorary Chairmanship of Eli Broad, the HMF honored American con- temporary art icon Jeff Koons together with Erik Bulatov, one of today’s most important Russian artists at the 3rd Annual Hermitage Dinner co-hosted by Simon de Pury, the legendary Chairman and Chief Auctioneer of Phillips de Pury & Company. He also conducted an auction of works donated especially for the Dinner by artists including Damien Hirst, Michal Rovner, David Levinthal, Jeff Koons and Martin Mull. HMF Awards were presented to Jeff Koons, introduced by Mr. Broad, and Erik Bulatov, introduced by Igor Tsukanov, for their lifelong artistic achievements and contributions to contemporary art. Introduced by Vitaly Komar, philanthropist and collector Neil K. Rector was recognized for his gift of Russian artist Oleg Vassiliev’s Artistic Vision 2009 to the Hermitage Mu- seum’s contemporary art collection in St. Petersburg. This important gift inaugurated the Hermit- age Museum Foundation’s Art from America™ initiative. Hermitage Museum Foundation (USA) In early December, Peter Schaffer, President of the HMF, hosted an elegant cocktail party at 505 Park Avenue, 20th Floor A La Vieille Russie on Fifth Avenue in New York, to bring attention to the forthcoming exhibition New York, “Houghton Revisited” due to open in 2013 at the Houghton Hall in Norfolk, England. Attending NY 10022 USA the event were members of the HMF Board and Advisory Board, collectors and art lovers from New Tel.: (1 212) 826 3074 York and the West Coast. Lord Cholmondeley, Mr. Schaffer, and Dr. Thierry Morel, an HMF Advi- Fax: (1 212) 888 4018 sory Board member and our guest curator, gave a brief outline of what the exhibition was about and www.hermitagemuseumfoundation.org 198 199 Hermitage Friends Organisations Hermitage Friends Organisations

The State Hermitage Museum Foundation of Canada Inc. Hermitage Foundation (UK) and The Canadian Friends of the Hermitage On 14 May 2012 a group of UK Friends – specialists from the Furniture History Society visited In 2012, the State Hermitage Museum Foundation of Canada was happy to once again award schol- the museum to take part in the exclusive Monday in the Hermitage programme. The Friends had arships to six of Canada’s most promising young artists, allowing them to participate in the Art an opportunity to meet museum curators and specialists, and to see the collections of Russian and Semester at the Hermitage program of the Youth Education Center in August of 2012. Western European furniture without distraction of the crowds, on the day when the museum is closed The success of the program was best expressed by the students themselves in their letters of appre- for visitors. ciation to their sponsors. “Tony Cragg. Luke”. For the summer months (from 29 June 29 to 26 July), this bronze sculpture During April and May of 2012 Canadian Friends of the Hermitage, associated with the Royal On- was displayed in the courtyard of the Hermitage from the Cass Foundation, UK. The artist himself tario Museum and the Calgary Art Gallery, visited St. Petersburg and Moscow. The warm hospitality visited the unveiling at the June Gala dinner. and efficiency of the Hermitage staff made this visit truly inspiring. Program Monday in the Hermit- In September, a specialist group of international porcelain collectors visited the Hermitage, organ- age organized as a special privilege for the Hermitage Friends allowed the guests to see the museum ised by UK Trustee Adrian Sassoon and led by Rosalind Savill, former Director of the Wallace Col- and enjoy its treasures without the distraction of large crowds. As a result of these tours, donations lection and world renowned expert on Sevres porcelain. were made towards the restoration project Conservation of the Drawing by Wolgemut “Nativity”. In September “Medals of Dishonour”, an exhibition that originated from The British Museum, co- At the Annual Meeting held on 23 November 2012 the Board of Directors approved a new Mission curated by Yekaterina Lepyokhina from the Hermitage, Felicity Powell and Philip Atwood from the Statement for the Foundation: “Enriching the lives of Canadians through a vibrant program of edu- British Museum, sponsored by The Metabolic Foundation, USA and organised with the help of the cational and exhibition exchanges between the State Hermitage Museum and Canadian universities, Hermitage Foundation UK was shown at the Menshikov Palace. It combined a selection of medals art galleries and museums”. from the British Museum collection and 13 recently commissioned contemporary medals with sev- With the retirement of Robin Young as Executive Director in 2012, the administration of the Cana- eral medals from the Hermitage numismatic collection that had not been displayed in the original dian Friends of the Hermitage has been integrated with the Foundation, with Robert Kaszanits serv- exhibition at the British Museum. ing as President of both organizations. Robin Young has been appointed to the Board of Directors In October, the new exhibition space in the General Staff Building was introduced to the public with of the Hermitage Foundation. the exhibition “The End of Fun” by The Chapman Brothers. The exhibition was funded entirely by The Hermitage Foundation UK, from money raised at the annual charity banquet and auction held in March 2012 at the Connaught Hotel in London. The main piece of the exhibition was the infamous showcases depicting Nazi SS officers mutilating one another. Also exhibited, in other galleries in the General Staff Building, were a display of drawings by Jake and Dinos Chapman entitled Injury to Insult to Injury and the Chapman Brothers series of The Disasters of War, adapted from original etchings by Goya, with their own additions to the works. The “Visiting Curators” scheme continued successfully, thanks to the generosity of the Foundation’s Trustee Elena Heinz and sponsorship from Sotheby’s. During the year, Yekaterina Lopatkina came to develop her knowledge on contemporary installations. Julia Balakhanova came to research the vast collection of Emblem Books in the Glasgow University Museum. Two curators from the Ar- moury, Ilya Yermolayev and Dmitry Lyubin had a very full and busy two-week visit, seeing different museums every day and travelling to the Royal Armouries in Leeds. Later in the year, three curators from different departments visited London: Julia Semyonova and Anastassia Bukina from the Clas- sical Antiquity Department, and Marina Gavrilova from the Oriental Department. Mikhail Dedinkin, Deputy Head of Western European Fine Arts Department, came to London to continue talks with the Hampton Court Palace about a planned exhibition on the drawings of Capability Brown in the Hermitage collection. In December, the publication of the new catalogue raisonee from the Islamic department, Persian Manuscripts, Paintings and Drawings, was celebrated with a book presentation party given by the Intercontinental Hotel, Park Lane. The author Dr. Adel Adamova was present. The publication was made possible by a generous donation from Mrs. Sedigeh Rastegar, as well as contributions from Maryam Eisler and Mr. and Mrs. Farhad Diba. In March 2012, Geraldine Norman retired as Chief Executive of the Hermitage Foundation UK after over 12 years of loyal support and hard work. Katya Galitzine took over as the new Chief Executive of the London based charity.

The State Hermitage Museum Canadian Friends of the Hermitage Hermitage Foundation UK Foundation of Canada Inc. 1500 Bank Street, Suite 302 Pushkin House 900 Greenbank Road, Suite 616 Ottawa, ON K1H 1B8, Canada 5a Bloomsbury Square Ottawa, ON K2J 4P6, Canada Tel.: 1 (613) 236-1116 London WC1A 2TA Tel.: 1 (613) 489-0794 Toll Free: 1-(866) 380-6945 Tel.: +44 20 7404 7780 Fax: 1 (613) 489-0835 Fax: 1 (613) 236-6570 Email: [email protected] Email: [email protected] www.hermitagefoundation.co.uk 200 201 Hermitage Friends Organisations

Association of the Friends of the Hermitage Museum (Italy)

The Associazione Amici del Museo Ermitage (Italia) was founded in Florence on 4 July 2012. Its of- ficial presentation took place in Palazzo Vecchio, in the Hall of Lorenzo the Magnificent, during the ceremony of signing the Agreement on Cooperation between the State Hermitage Museum and the municipal government of Florence. The agreement was signed by the General Director of the State Hermitage Museum Mikhail Piotrovsky and the Vice Mayor of Florence for Culture Mr. Sergio Givone. A gala reception was organised to celebrate this event in the Salvatore Ferragamo Museum and Bardini Museum, where Cav. Francesco Bigazzi, the President of the Association, introduced to Prof. Piotrovsky new Friends – first members of the new Association that has joined the inter- national family of Hermitage Friends’ organisations already existing in Amsterdam, New York, Toronto and London. The Bardini Museum opened its doors for the official inauguration of the Association that was estab- lished largely owing to the support of such internationally important members as Ferruccio Ferraga- mo and the first Italian Friends of the Hermitage: Marchesa Diletta Frescobaldi, Claudia Cremonini, Professor Mina Gregori, Avv. Marco Ramadori – Presidente Codacons, Prince Roberto Troubetskoy, Prince Girolamo Strozzi, the Honorary Consul of the Russian Federation in Florence, actor Giorgio Albertazzi, Goppion S.p.A. and La Compania Italiana, and other representatives of Italian cultural community. On the eve of its first anniversary, the Association is proud to number already fifty Patrons and one hundred Friends, such a rapid and steady growth being directly related to the numerous initiatives of the Association. In November 2012, the Association contributed to the publication of “Imperial Portraits and Pro- files in the Antique Manner. Sculpture of Quattrocento at the Museum Stefano Bardini” by An- tonella Nesi, Director of the Bardini Museum. In December 2012 a delegation of over 50 Italian Friends visited the Hermitage to participate in the celebration of the Hermitage Days. In January 2013 the new campaign will start to raise funds for the restoration of two large paintings that had suffered from the earthquake in the Emilia region. Other plans include: a charitable reception at the Medicean Villa di Artimino on 27 June 2013; conference “The Hermitage: Yesterday, Today, and Tomorrow” at Palazzo Strozzi on 15 April 2013 presided by Prof. Anna-Maria Petrioli Tofani; conference “Culture Promotes Exchange” on 16 April 2013 at Palazzo Vecchio in cooperation with the association “Exploring Eurasia”, with the participation of representatives of culture and busi- ness community from all over Italy; opening of the exhibition of Quinto Martini at the Hermitage on 24 May 2013 where five sculptures of the Tuscan master will be donated to the State Hermitage Museum; “Picnic on the Volga” in September 2013 organised for the Italian Friends of the Hermit- age in collaboration with Hermitage • Kazan Сentre; and in December 2013 a large Italian delega- tion will once again visit St. Petersburg to attend the celebration of the Hermitage Days and to bring a special protective showcase for the Hermitage masterpieces.

ASSOCIAZIONE AMICI DEL MUSEO ERMITAGE (ITALIA) Via Santo Spirito n. 11 Palazzo Frescobaldi 50125 Firenze, Italia Tel./Fax: +39 055 5387819 Email: [email protected] 202 Hermitage Friends’ Club Hermitage Friends’ Club

The State Hermitage Museum is inviting you to participate in its special The Internet café offers a 30% discount to the Hermitage Friends; international programme – The Hermitage Friends’ Club. Shops and kiosks offer a 20% discount to the Hermitage Friends; 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, from the Komendantsky Entrance of the Winter Palace, where they can use the charitable organisations, foundations and individuals have already become cloakroom. Members of the Hermitage Friends’ Club.

Some of the privileges granted by the Hermitage to of the We invite you and/or your company to join the international Hermitage Friends’ Corporate members international Hermitage Friends’ Club in proportion to the level of their charitable Club and thus contribute to the preservation of the priceless treasures which contribution: form the Hermitage’s legacy, guaranteeing that they are available to future generations. The Corporate Members are added to the “List of Sponsors and Patrons of the State Hermitage Museum”, which is published in the Hermitage’s Annual Report and on the official web-site 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 may be made in the form of money or goods, services, materials, or special discounts for “in-kind” donations.

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

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

All Hermitage Friends receive Personal Membership Cards of the Hermitage For further information on the Hermitage Friends’ Club, please contact: Friends’ Club. Friends’ Office Personal Membership Card entitles its holder (according to the Membership Level Komendantsky Entrance to the Winter Palace chosen) to participate in the special programme of visiting temporary exhibitions (from Palace Square) of the State Hermitage Museum, including the permanent displays and the Tel.: (+7 812) 710 90 05 Fax: (+7 812) 571 95 28 Hermitage branches and centres in Russia and abroad (St. Petersburg, Vyborg, Email: [email protected] Kazan, Amsterdam). Postal address: The Holders of the Personal Membership Cards receive invitations to participate The State Hermitage Museum 34 Dvortsovaya Emb. in special events arranged exclusively for the Hermitage Friends’ Club 190000 St. Petersburg Members. Russia 204 205 Financial Statements of the State Hermitage Museum Financial Statements of the State Hermitage Museum

The State Hermitage Museum Expenditures by Sources of Income in 2012 income in 2012 (in thousands of roubles) (in thousands of roubles) 1. Receipts from the Federal Budget 3,424,642,7 79.2% including Federal Budget subsidies, 2,714,417,7 62.8% Federal Budget investments 710,225,0 16.4% Other Revenue Other receipts including: 899,314,1 20.8% Including 2. Proceeds from exhibitions 683,741,0 15.8% 3. Recompense for participation in exhibitions 90,581,6 2.1% Revenue Donations Total Donations and other revenue 29,345,6 0.7% from the Federal Total Business and expenditure 4. Budget undertakings other 5. Grants 812,0 0.02% revenue 6. Earnings from cultural, educational and theatrical programmes 23,445,8 0.5% 7. Fees for reproducing pictures Payroll 327,332,3 595,837,0 586,930,1 8,906,9 923,169,3 from the Hermitage collection 7,646,1 0.2% Payroll social security 91,028,6 166,434,5 163,744,6 2,689,9 257,463,1 8. Earnings from selling catalogues and souvenirs 8,844,5 0.2% Total payroll 418,360,9 762,271,5 750,674,7 11,596,8 1,180,632,4 9. Earnings from renting out property owned by the Hermitage 11,785,7 0.3% Purchase of materials 104,923,2 1,685,3 1,419,0 266,3 106,608,5 10. Other income 43,111,8 1.1% 2 3 4 5 6 7 8 9 10 1 Building services 62,658,3 13,456,0 13,456,0 0,0 76,114,3 Total receipts 4,323,956,8 100% which amounts to USD thousand Transportation and communications 18,740,9 2,819,4 707,7 2,111,7 21,560,3 (at 31,1 roubles per dollar exchange rate) 139,034,0 Repair of equipment 93,155,7 362,1 362,1 0,0 93,517,8 Repair of buildings 66,315,9 0,0 0,0 0,0 66,315,9 Police brigades 18,451,2 39,1 39,1 0,0 18,490,3 Acquisition of art works 68,400,3 0,0 0,0 0,0 68,400,3 Other current expenses 411,370,2 66,362,3 59,575,6 6,786,7 477,732,5 Total current expenses 844,015,7 84,724,2 75,559,5 9,164,7 928,739,9 (excluding payroll)

TOTAL CURRENT EXPENDITURES 1,262,376,6 846,995,7 826,234,2 20,761,5 2,109,372,3 expenditures in 2012 Capital building activities 637,948,2 0,0 0,0 0,0 637,948,2 (in thousands of roubles) Capital repair 485,369,6 0,0 0,0 0,0 485,369,6 1. Payroll 1,180,632,4 31.4% Equipment purchases 522,099,4 2,499,3 491,2 2,008,1 524,598,7 2. Purchase of equipment and materials 631,207,2 16.8% 3. Building services, transportation and communication 97,674,6 2.6% TOTAL CAPITAL EXPENDITURES 1,645,417,2 2,499,3 491,2 2,008,1 1,647,916,5 4. Building and equipment repairs 159,833,7 4.3% 5. Expenses for police brigades 18,490,3 0.5% 6. Acquisition of art works 68,400,3 1.8% TOTAL EXPENDITURES OF THE HERMITAGE 2,907,793,8 849,495,0 826,725,4 22,769,6 3,757,288,8 1 2 3 4 5 6 7 8 which amounts to USD thousand 93,498,2 27,315,0 26,582,8 732,1 120,813,1 7. Other current expenses 477,732,5 12.7% (at 31,1 roubles per dollar exchange rate) 8. Capital repair and construction 1,123,317,8 29.9% Total expenditures: current and capital expenses 3,757,288,8 100% which amounts to USD thousand (at 31,1 roubles per dollar exchange rate) 120,813,1

206 207 Principal Patrons and Sponsors of the State Hermitage Museum in 2012 Principal Patrons and Sponsors of the State Hermitage Museum in 2012

Ms. Jayne Wrightsman (USA) Information Sponsors Hermitage Friends Organisations Abroad of the State Hermitage Museum Foundation Hermitage Friends in the Netherlands Russ Outdoor SPb (St. Petersburg) Mr. Vladimir Potanin (Russia) Hermitage Museum Foundation (USA) LLC “Northern Capital Gateway” (St. Petersburg) The State Hermitage Museum Foundation of Canada, Inc. Joint-Stock Company “Aero-Advertising” (St. Petersburg) Mr. George Sosnovsky (USA) Canadian Friends of the Hermitage PLADIS (St. Petersburg) Friends of the Hermitage (UK) Sign City (St. Petersburg) Mr. Leonard Blavatnik (UK) Associazione Amici del Museo Ermitage (Italia) The LADOGA Group JSC (St. Petersburg) “Vertical” (St. Petersburg) Mr. Yevgeny Satanovsky (Russia) “Tochka Opory” (St. Petersburg) “Russian Jeweller” Ltd. (St. Petersburg) Ilya & Emilia Kabakov (USA) Metropress Ltd. (St. Petersburg) SeveroWest Media Ltd. (St. Petersburg) Vladimir V. Potanin Charitable Foundation (Moscow) Slavia Publishing House (St. Petersburg) Radio Hermitage (St. Petersburg) Smolensk Diamonds Group “Pro Animale für Tiere in Not e.V.” (Germany) “Amfora” Co.Ltd. (St. Petersburg) Open Joint-Stock Company Kristall Production Corporation Prettycat Group Ltd. (St. Petersburg) Mr. Andrey Maslivets, entrepreneur (St. Petersburg) (Smolensk) The company “Ivanko” (St. Petersburg) Coca-Cola Export Corporation (Moscow) “RADIOGUIDE” (St. Petersburg) Coca-Cola HBC Eurasia Ltd. (St. Petersburg) Fazer Group (St. Petersburg) Official Supplier of Information Services to the State Hermitage Museum Korean Air Lines Co., Ltd. (Republic of Korea) “OMC – SPb Catering” Ltd. (St. Petersburg) NIKOLAEV e:Consulting (St. Petersburg) INTARSIA GROUP (St. Petersburg) DELIA, Ltd. (St. Petersburg) International Chodiev Foundation (Moscow) GLENDO-RUS Co. (St. Petersburg) Official Courier of the State Hermitage Museum JSC “AIKB Tatfondbank” (Kazan) The Veterinary clinics network “ELVET” (St. Petersburg) ‘Westpost’ Ltd. (St. Petersburg) CJSC “JTI Marketing & Sales” (Moscow) The KHEPRI, Ltd. (St. Petersburg) Philips Company in Russia (Moscow) St. Petersburg Mint Aksel Motors Co. (St. Petersburg) The Likeon – Museum Concepts and Projects Ltd. Official Legal Advisor of the State Hermitage Museum BMW (Germany) (St. Petersburg) Baker & McKenzie – CIS, Limited (St. Petersburg) Delzell Foundation (USA) Trading House Menachem (St. Petersburg)

Social-Cultural Foundation “Hennessy” (Moscow) “Guide-Intour” (St. Petersburg) Official Partner of the State Hermitage Museum “Heineken Breweries” LLC (St. Petersburg) Arctur Travel Ltd. (St. Petersburg) Renaissance St. Petersburg Baltic Hotel (St. Petersburg) The Bank of Moscow “Rusinco” Ltd. (St. Petersburg)

Art-Color Ltd. (St. Petersburg) “VODOHOD” (Moscow) Official Partner of the State Hermitage Museum Beta-Kom (St. Petersburg) ITC Enterprises LTD (Moscow) LLC “St. Petersburg CY Hotel Leasing” (St. Petersburg) “Ilim Group” (St. Petersburg) Hotel Astoria (St. Petersburg) Open Joint Stock Company Promsvyazbank (St. Petersburg) Schwamborn GmbH (Germany) Official Caterer of the State Hermitage Museum Novotel St. Petersburg Centre Hotel CJSC “Opera” (St. Petersburg) “Nash Piter” Company (St. Petersburg) CafeMax St. Petersburg CSJC (St. Petersburg) “Camfil International Aktiebolag” (Moscow) Bronze Horseman Ltd. (St. Petersburg) “Astra Marine” Ltd. (St. Petersburg) LLC “Samsung Electronics Rus Company” (Moscow) “Museum Technologies” Ltd. (St. Petersburg) Vitrinen- und Glasbau REIER (Germany) Intrust Bank (St. Petersburg) The PRO ARTE Foundation (St. Petersburg) LION Art Servis (St. Petersburg) The Imperial Porcelain Manufactory (St. Petersburg) Komintel, Ltd. (St. Petersburg) Restoring Ancient Stabiae Foundation (Italy) Gazprombank (St. Petersburg) Grand Hotel Europe in St. Petersburg BP (British Petroleum)

208 209 Staff Members of the State Hermitage Museum Staff Members of the State Hermitage Museum

DIRECTORATE OF THE STATE HERMITAGE MUSEUM CLASSICAL ANTIQUITY P. Lurie M. Lopato Yu. Yefimov D. Yolshin B. Kravchunas DEPARTMENT Head of the Middle Asia and Head of the Sector of Precious Head of the Arms and Armoury Academic Secretary, Candidate Head of the Art Studio, Candidate the Caucasus Sector, Candidate Metals and Stones, Doctor of Art Sector of Art Theory and History of Art Theory and History M. Piotrovsky General Director, Corresponding Member A. Trofimova of History Theory and History of the Russian Academy of Sciences, Head of the Department, Candidate N. Krollau Full Member of the Russian Academy of Arts, of Art Theory and History A. Pritula Imperial PORCELAIN RESEARCH LIBRARY Head of the Methodic Sector, Professor of St. Petersburg State University, Head of the Near East and Candidate of Cultural Studies Ye. Ananyich HISTORY OF RUSSIAN Factory MUSEUM Ye. Makarova Doctor of History Byzantium Sector, Candidate Deputy Head of the Department CULTURE DEPARTMENT Head of the Library of Philology A. Ivanova EXHIBITION DESIGN G. Vilinbakhov Deputy Director for Research, Yu. Semenova V. Fedorov Head of the Department O. Zimina Head of the Department DEPARTMENT Chairman of the Heraldic Council Chief Curator T. Kumzerova Deputy Head of the Library at the President of the Russian Federation, WESTERN EUROPEAN N. Guseva B. Kuzyakin A. Kuznetsov Chief Curator N. Martynenko Professor of the Stieglitz St. Petersburg Fine Arts DEPARTMENT Deputy Head of the Department, Head of the Department Academic Secretary Deputy Head of the Library State Academy of Art and Industry, Candidate of Art Theory S. Androsov V. Korolyov Doctor of History A. Butyagin and History Modern Art department I. Gogulina Head of the Department, Head of the Sector of the Head of the Northern Head of the Funds Sector Doctor of Art Theory and History, I. Zakharova D. Ozerkov Exhibition Design and Installation S. Adaksina Deputy Director, Chief Curator Black Sea Area Sector Head of the Department, Candidate R. Klimchenkova Foreign Member of Ateneo Veneto Chief Curator, Candidate of History A. Plotnikova of Philosophy Head of the Catalogue Sector M. Antipova Deputy Director for Finance and Planning Ye. Khodza (Venetian Academy of Sciences), A. Solovyov Head of the Exhibition Equipment Head of the Ancient Greece Full Member of the Academy Academic Secretary Ye. Lopatkina A. Markushina and Management Sector A. Bogdanov Deputy Director for Maintenance, and Ancient Rome Sector, of Arts in Carrara Deputy Head of the Department Head of the International Candidate of Art Theory and G. Miroliubova Exchange Sector Senior Lecturer of St. Petersburg M. Dedinkin History Head of the Sector of Visual Arts, K. Malich PUBLISHING DEPARTMENT University of State Fire Service, Deputy Head of the Department Candidate of Art Theory Academic Secretary A. Samsonova Ye. Zvyagintseva Candidate of Technical Sciences and History Head of the Service Sector M. Garlova Head of the Department ARCHAEOLOGY OF EASTERN Chief Curator R. Shavrina V. Matveyev Deputy Director for Exhibitions S. Nilov MENSHIKOV PALACE EUROPE AND SIBERIA Head of the Bibliography Sector N. Petrova and ­Development, Candidate of Art Theory Ye. Abramova Head of the Winter Palace DEPARTMENT V. Meshcheriakov Deputy Head of the Department and History Academic Secretary of Peter I Sector T. Tarayeva Head of the Department Head of the Completion I. Dalekaya A. Alexeyev N. Tarasova R. Grigoryev and Inventory Sector Head of the Pre-Printing M. Novikov Deputy Director for Construction Head of the Department, Head of the Sector of Decorative A. Dutov Head of the Print Room, Preparation Sector Doctor of History and Applied Arts, Candidate of Art Deputy Head of the Department G. Yastrebinskaya Candidate of Art Theory Theory and History Head of the Library Branches Ye. Nasyrova Yu. Piotrovsky and History Ye. Ignatyeva Head of the Sale Sector OFFICE OF THE DIRECTORATE Deputy Head of the Department Chief Curator Sector I. Grigoryeva V. Pankov A. Mazurkevich I. Saverkina M. Dandamayeva Academic Secretary, Head of the Cabinet of Drawings Head of the Printing Sector Chief Curator Head of the Research MANUSCRIPTS AND Candidate of History NUMISMATIC DEPARTMENT B. Asvarishch and Exhibition Sector, Academic DOCUMENTS DEPARTMENT A. Rodina A. Furasyev Head of the Sector V. Kalinin Secretary, Candidate of History Head of the Editors Sector Ye. Yakovleva M. Khaltunen Personal Assistant to the General Director, Academic Secretary, of the 19th – 20th Century Painting Head of the Department G. Rodionova Candidate of Cultural Studies Candidate of History and Sculpture, Candidate of Art Head of the Department V. Terebenin Ye. Lepekhina Head of the Education Sector Head of the Photography Sector Theory and History Ye. Solomakha Ye. Korolkova Deputy Head of the Department V. Kovalenko Secretary to the Deputy Director Deputy Head of the Department Head of the Sector of the South N. Gritsay for Research O. Stepanova of Eurasia, Candidate of Art Head of the Sector General Staff ELECTRONIC Editions Chief Curator Preparation SECTOR O. Zalutskaya Secretary to the Deputy Director Theory and History of the 13th – 18th Century A. Dydykin EDUCATION DEPARTMENT K. Kravtsov and Chief Curator R. Minasian Painting, Candidate of Art Theory Head of the Department I. Melnikova Academic Secretary, Head L. Yershova Head of the Sector of the Forest and History Head of the Sector of the Sector of Ancient Coins I. Astrov Head of the Department M. Matiyash Secretary to the Deputy Director and Forest-Steppe Zone and Coins from Asia and Africa Head of the General Staff History for Finance and Planning N. Vasilevskaya of Eastern Europe, Candidate Sector Registrar DEPARTMENT of History WESTERN EUROPEAN L. Dobrovolskaya Head of the Excursion Bureau O. Korolkova Secretary to the Deputy Director Applied Arts DEPARTMENT Head of the Sector S. Yashmolkin N. Kozlovskaya N. Grishanova Head of the Visitors Sector for Maintenance T. Rappe of Numismatic Monuments Head of the Methodic Sector Head of the Department Oriental DEPARTMENT from Europe and America, Head of the Department, Candidate S. Kudriavtseva A. Aponasenko Yu. Marchenko Secretary to the Deputy Director Candidate of History N. Kozlova of Art Theory and History HISTORY AND RESTORATION Head of the Youth Centre Deputy Head of the Department for Exhibitions and Development Head of the Department O. Kostiuk OF ARCHITECTURAL and Student Club, Ya. Ivanova Candidate of Art Theory D. Oreshnikova Secretary to the Deputy Director M. Gavrilova Deputy Head of the Department, ARSENAL MONUMENTS DEPARTMENT Head of the Sector and History for Construction Chief Curator Candidate of Art Theory D. Liubin V. Lukin of the Registration of Temporary and History O. Kuznetsova Accepting and Leasing A. Nikolayev Head of the Department, Candidate Head of the Department, Head of the Guide Service Sector of Museum Exhibits Director’s Advisers Academic Secretary, Candidate L. Bulkina of Art Theory and History Chief Architect of the Hermitage, O. Shcherbakova of History Chief Curator M. Zaychenko Candidate of Architecture L. Torshina Yu. Kantor Adviser for Special Projects and PR, Head of the Sector Head of the Sector of Control A. Bolshakov S. Kokareva Chief Curator Doctor of History for Special Programmes for the Preservation of Museum Head of the Ancient East Sector, Academic Secretary I. Yermolayev Architecture Items Doctor of History Academic Secretary and Archaeology Sector A. Galkin Adviser for Security T. Kosourova N. Ternovaya SCHOOL CENTRE O. Deshpande Head of the Applied Arts Sector, V. Danchenko O. Ioannisian Head of the Sector of the Forming Ye. Sirakanian Adviser for Special Programmes, Charity Head of the Far East Sector, Candidate of Art Theory Head of the Military Heraldry Head of the Sector, Candidate I. Diubanova of Data Base on the Hermitage ­Projects and Sponsorship Candidate of History and History Sector, Candidate of History of History Head of the Centre Collections 210 211 Staff Members of the State Hermitage Museum Staff Members of the State Hermitage Museum

Yu. Yefimova Laboratory for Scientific Laboratory for Scientific Chancery Marketing and Advertising SOCIAL DEVELOPMENT N. Khobotov SECURITY SERVICE Head of the Sector Restoration of Oriental Restoration of Chandeliers O. Yushina Sector DEPARTMENT Deputy Head of the Department (MENSHIKOV PALACE) of the Registration of Museum Painting P. Khrebtukov Head of the Department A. Lisitsyna T. Voronova V. Kozlov Exhibits of Precious Metals Head of the Laboratory Head of the Sector Head of the Department Head of the Service and Stones Ye. Shishkova N. Diumina Maintenance DEPARTMENT Head of the Laboratory, Candidate Head of the Typing Sector of the “STARAYA DEREVNYA” of Art Theory and History Ye. Solovyova Centre First Department for DEPARTMENT Laboratory for Scientific Sector of Project Finance Safety of Labour Head of the Office Work Sector Security of the Museum of the Organisation Restoration of Photos and Ecology Department S. Gusev Ye. Fedorov Complex (First Museum of Register and Storage Laboratory for Scientific Head of the Department T. Sayatina Head of the Sector A. Pavlova Security Department) of the “STARAYA DEREVNYA” Restoration of Graphic Head of the Laboratory LEGAL DEPARTMENT Head of the Department B. Pozhemetsky Centre Works V. Zababurin M. Tsyguleva Deputy Head of the Department Head of the Department T. Zagrebina Head of the Department Friends T. Sabianina Maintenance of the General Head of the Department Head of the Laboratory Examination and of the Hermitage Sector A. Inozemtsev Staff Building Authentication of Works COMPUTER Sector Deputy Head of the Department Yu. Gromova S. Philippova of Art DEPARTMENT THEATRE AND Education N. Yakubenko Deputy Head of the Department DEPARTMENT Head of the Sector A. Grigoryev Laboratory for Scientific Head of the Department Second Department for A. Kosolapov Head of the Sector Restoration of Sculpture Head of the Department, N. Orlova T. Romanovskaya Security of the Museum Sector of New Acquisitions Head of the Department Complex (Second Museum and semi-precious Stones Candidate of Technical Sciences SECTOR OF SOCIOLOGICAL Deputy Head of the Department V. Faibisovich S. Mitskevich Security Department) S. Petrova S. Khavrin RESEARCH Supplying of Technical Head of the Sector, Head of the Laboratory Deputy Head of the Department Equipment for Buildings V. Arkhipov Deputy Head of the Department V. Selivanov Maintenance Candidate of Cultural Studies and Exhibitions Department Head of the Department Head of the Sector, of Menshikov Palace Outer COMMUNICATIONS Doctor of Philosophy O. Bogdanova S. Trofimov Laboratory for Scientific I. Prokofyeva SECTOR OF EXHIBITION SCIENTIFIC AND TECHNICAL DEPARTMENT Head of the Department Deputy Head of the Department Restoration of Applied DOCUMENTATION EXAMINATION Laboratory Head of the Department N. Kolomiyets Ye. Riabova Art objects Rights and Reproduction O. Ilmenkova A. Kosolapov Head of the Department Deputy Head of the Department Third Department for Head of the Sector A. Bantikov Head of the Laboratory, Sector CHIEF MECHANIC DEPARTMENT Security of the Museum Head of the Laboratory Candidate of Technical Sciences A. Mikliayeva Complex (Third Museum HOSPITALITY SERVICE R. Baburin Head of the Sector Chief Mechanic SECURITY SERVICE Security Department) Treasure GALLERY N. Silantyeva (Museum SECURITY SERVICE) O. Chebotar LABORATORY FOR SCIENTIFIC LABORATORY FOR PHISICAL Head of the Department I. Baranshchikova Ye. Kashina Head of the Department RESTORATION OF OBJECTS AND CHEMICAL METHODS Deputy Chief Mechanic A. Khozhainov Head of the Department O. Ratnitsyna “STARAYA DEREVNYA” MADE OF ORGANIC MATERIALS OF EXAMINATION OF MATERIALS Head of the Department N. Burmak Head of the Sector Centre for Restoration, Ye. Geyko Deputy Head of the Department Deputy Head of the Department Ye. Mankova L. Gavrilenko of the Administrators Conservation and Storage CHIEF POWER ENGINEER T. Danilova Head of the Laboratory Head of the Laboratory of Entrance and Recreation Zones DEPARTMENT Deputy Head of the Department V. Dobrovolsky Fourth Department for Head of the Centre SCIENTIFIC RESTORATION V. Smirnov A. Subarnov Security of the Museum AND CONSERVATION Laboratory for Scientific LABORATORY Entrance Zone Service A. Terentyeva Chief Power Engineer Deputy Head of the Department Complex (Fourth Museum Restoration of Textiles Department DEPARTMENT FOR BIOLOGICAL CONTROL Deputy Head of the Centre O. Targonsky Security Department) and Water-Soluble A. Leonenko T. Baranova L. Slavoshevskaya Deputy Chief Power Engineer V. Katkov Paintings Head of the Department Operation Department Head of the Department Head of the Laboratory, Head of the Department PLANNING AND BUDGET Ye. Vizner of the Security Service Ye. Chekhova M. Denisova Candidate of Biology Deputy Chief Power Engineer DEPARTMENT S. Taranov I. Garin Deputy Head of the Department Head of the Laboratory Sector of Information Head of the Department Deputy Head of the Department Infrastructure V. Chudinova LABORATORY and Recreation Zones Head of the Department CAPITAL CONSTRUCTION LABORATORY FOR SCIENTIFIC Laboratory for Scientific FOR CLIMATE CONTROL DEPARTMENT GALLERY MONITORS N. Grigoryeva Restoration of Easel Restoration of Precious N. Trofimova Security Service DEPARTMENT T. Bolshakova Head of the Sector Deputy Head of the Department A. Vidineyev Painting Metals (Imperial PORCELAIN Head of the Laboratory Head of the Department I. Belousikova Factory MUSEUM) V. Korobov I. Malkiel Head of the Department Head of the Laboratory Head of the Laboratory SECTOR OF TOURISM BOOK-KEEPING A. Gavrilets Ya. Kostochkin Personnel Department AND SPECIAL PROGRAMMES Restoration and Repairs Head of the Service Deputy Head of the Department Ye. Mironova O. Arkhipova Department LABORATORY FOR SCIENTIFIC V. Khrushch Chief Book-Keeper Laboratory for Scientific Head of the Sector, Candidate Restoration of Tempera Head of the Department A. Moskaleva Transport Department Restoration of Timepieces of Art Theory and History I. Belova SECURITY SERVICE Painting Head of the Department and Musical Mechanisms A. Babenko Deputy Chief Book-Keeper (“STARAYA DEREVNYA” CENTRE) G. Salnikov I. Permiakov Head of the Passport and Visa B. Volkov Head of the Department O. Kuklina O. Boyev Head of the Laboratory M. Guryev Sector PRESS service Deputy Head of the Department Head of the Laboratory Deputy Chief Book-Keeper Head of the Service A. Zavadsky O. Chertova L. Korabelnikova Head of the Garage Head of the Service Laboratory for Scientific Head of the Sector of Employment ELECTRONIC TECHNIQUE, Restoration of Mural Laboratory for Scientific Relationship State Purchases ALARM SYSTEMS AND SECURITY SERVICE Civil Defence Restoration of Furniture DEPARTMENT Communication DEPARTMENT Painting Ye. Odintsova Special Events Sector (GENERAL STAFF BUILDING) and Emergency Sector A. Bliakher V. Gradov Head of the Personnel and Social A. Soldatenko N. Dubinina P. German N. Kisilyov A. Maksimychev Head of the Laboratory Head of the Laboratory Payments Sector Head of the Sector Head of the Department Head of the Department Head of the Service Head of the Civil Defence Staff 212 213 Email Addresses of the State Hermitage Museum

DIRECTORATE Museum Departments

Personal Assistant to the General Director Press Service [email protected] [email protected]

Secretary to the Deputy Director Rights and Reproduction Sector for Research A. Mikliayeva, Head of the Sector [email protected] [email protected]

Secretary to the Deputy Director, Development Department Chief Curator [email protected] [email protected] Education Department Alexey Bogdanov, L. Yershova, Head of the Department Deputy Director for Maintenance, [email protected] Chief Engineer [email protected] School Centre [email protected] Mariam Dandamayeva, Academic Secretary Web-master of the State Hermitage Museum [email protected] [email protected] Electronic Editions Preparation Sector I. Melnikova, Head of the Sector [email protected]

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

214 215 Reference EDITION

The State Hermitage Museum Annual Report. 2012

Photographs by: Pavel Demidov, Alexander Koksharov, Alexander Lavrentyev, Oksana Meleshkina, Alexey Pakhomov, Andrey Terebenin, Vladimir Terebenin, Leonid Volkov

Translated from the Russian by: Maria Artamanova, Ksenia Beletskaya, Alexandra Davydova, Tatiana Dodonova, David Hicks, Yury Kleiner, Natalia Magnes English text edited by Julia Redkina Designed by Irina Dalekaya Computer layout by Nina Sokolova

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