We invite You to the Museum – reserve Tsaritsyno 24.04.2015 to the exhibition "Palladio in Russia."
The exhibition will be opened for visitors from 24.04.2015 till 26.07.2015 year.
Italian architect of the late Renaissance, Andrea Palladio (1508 – 1580) was unconditionally accepted by all the historians of art, the most influential architect in the world. For Russia, the Palladian has a special meaning – palladianism not only defined the direction of development of Russian architecture, but also much in the Russian consciousness and being. In September – November 2014 in Venice Correr Museum has hosted the exhibition "Palladio in Russia. From Baroque to modernism / Russia Palladiana. Palladio e la Russia dal Barocco al Modernismo", organized gmvts ROSIZO State Museum of architecture named after A. V. Shchusev. This project of the Ministry of culture of the Russian Federation, implemented in the framework of the official programme of the Year of Russian tourism in Italy 2014, aroused great interest of the Italian public. You can meet with him in Moscow: an extended version of the project will be shown at two venues – the Museum – reserve "Tsaritsyno" and the Museum of architecture named after A. V. Shchusev.
The exposition in Tsaritsyno is devoted to the history of Russian palladianism till 1917. At first,the name Palladio is mentioned in Russian in the title of the manuscript 1699, attributed to one of Dolgorukov, the associate of Peter I. ,the Value of the manuscript is huge – this is the first treatise on architecture in Russian: in Russian the name Palladio immediately marked Architecture, and Architecture with a capital letter.
The flowering of the Russian passion for Palladian architecture came during the reign of Catherine II. In 1779, at the invitation of the Empress of Russia arrived Charles Cameron, and after him, in 1780, – Giacomo Quarenghi. When Catherine did a wonderful Russian architect Nikolai Lvov. These three great architect and committed palladiana defined the neo – classical style that dominated in Russian architecture until the 1830-ies. "In my hometown Yes will taste Palladium", – presented their task Nikolay Lvov: intensive construction started across Russia in Catherine's time and transformed her appearance, is inextricably linked with the name of the great Italian. Palladian prototypes are easily read in a variety of buildings: churches, palaces, public buildings, private homes. Villa Rotonda Vicenza under without exaggeration be called the most significant architectural image of Russia's time of Neoclassicism, no wonder it served as a model for the Hagia Sophia in Tsarskoye Selo, the Greek symbol of utopian project of Catherine II and the Imperial residences. The image reflected in the water surface a manor house with a pediment and portico – pure Palladian sign of the Russian Golden age, as it is called in Russia the first half of the nineteenth century.
Around 1900 the hobby Palladio broke out with renewed vigor, and interest of Russian modernism to the Neoclassicism of the eighteenth century and the Empire, merged with a longing for a bygone culture of the estates, made palladianism an integral part of the culture of the Silver age.
Soviet palladianism of the twentieth century, presented at the State Museum of architecture named Shchusev, is truly phenomenal. I. Zholtovsky, Ivan Fomin, A. Shchusev, who began his career before the revolution and in the Soviet Union created works, imbued with the spirit of Palladio. The brevity of the Palladian style was close avant-garde aesthetics of the revolution (K. Melnikov was an ardent admirer of the great Italian); later the influence of Palladio and noticeably in Stalinist architecture, emerged from a complex alloy of neo – classical and avant – garde. A separate exhibition hall dedicated to the work of I. Zholtovsky, the most consistent of palladiana. Completes the exposition of the work of A. Brodsky, created on the eve of the third Millennium.
The exhibition allows you to trace the entire three hundred years of the history of Russian palladianism and includes a significant number of unpublished and unknown materials from the collections of Russian museums and archives.
Palladianism had become the part of Russian culture and the influence of Palladio went far beyond architecture. So the exhibition can be seen not only architectural drawings, designs, drawings and models of buildings, but also paintings and graphic works by such prominent masters as Levitsky, Borovikovsky, Forty, Borisov – Musatov, Sudeikin, Grabar, Benois, Dobuzhinsky, Kandinsky and Suetin.
The exposition is presented the works from the collections of the State historical Museum, State Tretyakov gallery, the Moscow Museum – estate "Ostankino", the State Museum of ceramics and "Kuskovo XVIII century", State Museum – estate "Arkhangelsk", the Russian state archive of ancient acts, the State Museum of A. S. Pushkin, the Hermitage, the State Russian Museum, State Museum of history of St. Petersburg, the State literary Museum, the Scientific research Museum of the Russian Academy of arts and its branch – the Museum – apartment of I. I. Brodsky, the State Museum – reserve "Peterhof" State Museum – reserve "Pavlovsk", the State Museum – reserve "Tsarskoe Selo", the Russian national library, Library of the Russian Academy of Sciences, Tver regional art gallery, the Cherepovets Museum Association, the Pskov state United historical-architectural and art Museum – reserve, the Perm Museum of modern art, as well as from private collections.
The exhibition is accompanied by a catalogue, prepared by the curators of the project, the staff of the Hermitage Arkady Ippolitov and Vasili Uspensky.
Organizers are Ministry of culture of the Russian Federation, Department of culture of Moscow, the State Museum-reserve "Tsaritsyno", State Museum of architecture named after Schusev State Museum and exhibition center "ROSIZO"
Curators are Arkady Ippolitov, Vasili Uspensky
