The STaTe hermiTage muSeum annual reporT
The STaTe hermiTage muSeum annual reporT The STaTe hermiTage muSeum annual reporT
The STaTe hermiTage muSeum annual reporT 2010
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<strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> <strong>annual</strong> <strong>reporT</strong> 2010
<strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> <strong>annual</strong> <strong>reporT</strong> 2010<br />
General Editor<br />
Mikhail Piotrovsky,<br />
Director of the state Hermitage Museum,<br />
Corresponding Member of the Russian academy of sciences,<br />
Full Member of the Russian academy of arts,<br />
Professor of st. Petersburg state University,<br />
Doctor of sciences (History)<br />
ediTorial Board:<br />
Mikhail Piotrovsky,<br />
Director of the state Hermitage Museum<br />
Georgy Vilinbakhov,<br />
Deputy Director for Research<br />
Svetlana Adaksina,<br />
Deputy Director, Chief Curator<br />
Marina Antipova,<br />
Deputy Director for Finance and Planning<br />
Alexei Bogdanov,<br />
Deputy Director for Maintenance<br />
Vladimir Matveyev,<br />
Deputy Director for Exhibitions and Development<br />
Mikhail Novikov,<br />
Deputy Director for Construction<br />
Mariam Dandamayeva,<br />
academic secretary<br />
Yelena Zvyagintseva,<br />
Head of the Publishing Department<br />
Larisa Korabelnikova,<br />
Head of the Press service<br />
execuTive group:<br />
Tatiana Baranova, Mariam Dandamayeva, Yekaterina Danilina,<br />
Viktor Faibisovich, Larisa Korabelnikova, Svetlana Philippova,<br />
Yevgenia Viachina, Yelena Zvyagintseva<br />
ISBN 978-5-93572-415-3<br />
© <strong>The</strong> State Hermitage Museum, 2011<br />
conTenTS<br />
a year of two staircases ............................................................. 4<br />
<strong>The</strong> State Hermitage Museum. General Information ............... 6<br />
Awards .......................................................................................... 12<br />
Composition of the Hermitage Collections<br />
as of 1 January 2011 .................................................................... 14<br />
Permanent Exhibitions ............................................................... 27<br />
temporary Exhibitions ............................................................... 30<br />
Restoration and Conservation .................................................... 70<br />
Publications ................................................................................. 85<br />
Conferences ................................................................................. 96<br />
Dissertations ................................................................................ 99<br />
Archaeological Expeditions ....................................................... 100<br />
Major Construction and Restoration ......................................... 110<br />
Structure of Visits to the Hermitage in 2010 ............................ 116<br />
Educational Events ...................................................................... 117<br />
Special Development Programmes............................................. 123<br />
Board of trustees of the state Hermitage Museum ................. 133<br />
International Advisory Board<br />
of the State Hermitage Museum ................................................ 134<br />
Guests of the Hermitage ............................................................. 136<br />
Hermitage Friends Organizations .............................................. 142<br />
Financial Statements of the State Hermitage Museum ............. 148<br />
Principal Patrons and Sponsors of the State Hermitage<br />
Museum in 2010 .......................................................................... 150<br />
Hermitage Friends’ Club ............................................................ 152<br />
staff Members of the state Hermitage Museum ...................... 154<br />
Email Addresses of the State Hermitage Museum .................... 159
a year of Two STaircaSeS<br />
a year of Two STaircaSeS<br />
This year, the Hermitage can be proud of two symbolic achievements –<br />
the restoration of the Jordan Staircase and the erection of an as yet unnamed<br />
grand staircase in the eastern wing of the General Staff building.<br />
One is a symbol of a tradition preserved and transformed. <strong>The</strong> other is a new<br />
construction in a former courtyard. It, too, brings about a transformation,<br />
a harmony between the courtyard and the great suites of the Hermitage.<br />
<strong>The</strong> work on both staircases was very time-consuming and skill-intensive;<br />
it required many of the techniques of the new century. We have held competitions,<br />
installed state-of-the-art energy-saving lighting systems, and benefited<br />
from the input of international organizations. All of this is symbolic<br />
for the Hermitage, which is starting to prepare to celebrate its 250th anniversary<br />
as a model innovative museum of the 21st century.<br />
This Hermitage anniversary celebration will be an international event,<br />
as the museum’s work has a worldwide significance. A dozen of exhibitions<br />
have been held in Russia, including a special one, an anniversary present to<br />
the Saratov Museum of Fine Arts. And – most importantly – we have opened<br />
a new museum centre Hermitage • Vyborg. It uses the experience of the<br />
Hermitage • Kazan Centre (an exhibition of French art) and Hermitage •<br />
Amsterdam Centre (Alexander the Great). <strong>The</strong> Hermitage • Italy Centre has<br />
produced new catalogues and organized new conferences this year. For the<br />
first time, a Hermitage archaeological team was working in Italy, an addition<br />
to the twenty earlier expeditions. All of these contribute to the museum’s<br />
unique research potential, which also manifests itself in dozens of books<br />
and extraordinary restoration projects. Bringing back to life the exceptionally<br />
fine glass beads from the Glass Bead Room in Oranienbaum and the<br />
laser cleaning of the silver “treasure hoard” of the industrialist Likhachyova<br />
are truly miraculous achievements.<br />
<strong>The</strong> Hermitage research once again presented its spectacular findings in<br />
a permanent exhibition of ancient Central Asia and the great Pazyryk burials<br />
featuring the oldest carpet and the oldest tattoos in the world. An exhibition<br />
of ancient Korean art was a revelation which showed us masterpieces<br />
which had never before been seen here on the banks of the Neva; and<br />
a gala exhibition of Picasso’s works in the state rooms of the Winter Palace<br />
was a real celebration. In return, we sent to Paris an impressive collection<br />
of items on the Russian Imperial Guard.<br />
<strong>The</strong> summer reception at the Winter Palace was dedicated to modern art,<br />
where works by Anish Kapoor, Antony Gormley, Zurab Tsereteli (a portrait<br />
of Sobchak), along with wonderful works by young artists, were all on display<br />
together. <strong>The</strong> Hermitage continues its experiments with the 21st century –<br />
we recently amazed our visitors (and shocked some of them perhaps) with<br />
our Pompidou Centre Festival.<br />
This year, the Hermitage Board of Trustees made a decision to create an endowment.<br />
We have finally reached the stage where we can use this modern<br />
instrument for funding our culture and research. Another efficient innovation<br />
is a “ring” of councils which undertake preliminary scrutiny of all plans<br />
and ideas, from exhibition design to grant allocation.<br />
This year, we have had to concentrate specially on the museum entrance<br />
area, where a special regime was introduced. We have many visitors, and<br />
queues are often inevitable. <strong>The</strong> Hermitage has run a social programme<br />
for a long time. <strong>The</strong> museum provides discounts for those who find it hard<br />
to afford a trip to the museum but would still benefit from one. <strong>The</strong> museum<br />
is free for children and students from all countries as well as for Russian<br />
old-age pensioners. Once a month, we have a day when admission is free for<br />
all. Nearly half of all our visitors do not pay admission fees. Russian citizens<br />
tend to be impecunious, which is why we have discounts for them. <strong>The</strong>y<br />
bring the price down to a level below the standard internationally accepted<br />
basic fee.<br />
Such a difference in pricing proves a magnet to frauds and crooks who try<br />
to make a living out of the Hermitage. <strong>The</strong>y get free and discounted tickets<br />
and flog them in the queue at exorbitant prices. It is not surprising that<br />
this causes indignation among the visitors. This is why we are introducing<br />
stricter regulations for discount ticket sales, which require proof of age, student<br />
or pensioner status, and citizenship. This also causes protest, but this<br />
time, I believe, from those interested in backdoor sales. Alas, some people<br />
are impervious even to the ennobling influence of Palace Square and the<br />
Great Courtyard. But others are not. <strong>The</strong> vast majority of our visitors are<br />
appreciative people with cultural values. We are very glad that our numerous<br />
special programmes, music festivals, special exhibitions and events find<br />
a gracious response in their hearts. <strong>The</strong> museum lives for them and for the<br />
treasures entrusted to our loving care.<br />
Mikhail Piotrovsky,<br />
Director of the state Hermitage Museum<br />
4 5
<strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong>. general informaTion<br />
founding of <strong>The</strong> <strong>muSeum</strong><br />
<strong>The</strong> foundation date of the museum is considered<br />
to be 1764, when Empress Catherine<br />
the Great purchased an impressive collection<br />
of works (225 paintings) from the Berlin<br />
merchant Johann Ernest Gotzkowsky.<br />
<strong>The</strong> museum celebrates the anniversary<br />
of its founding each year on 7 December,<br />
St. Catherine’s Day.<br />
STaTuS of <strong>The</strong> <strong>hermiTage</strong><br />
In a Decree by the President of the Russian<br />
Federation dated 18 December 1991<br />
the State Hermitage Museum was included<br />
into a list of the objects of national heritage<br />
belonging to all the people of the Russian<br />
Federation.<br />
In a Decree by the President of the Russian<br />
Federation dated 12 June 1996 the State<br />
Hermitage Museum was placed under<br />
personal patronage of the President<br />
of the Russian Federation.<br />
official nameS<br />
<strong>The</strong> State Hermitage Museum<br />
<strong>The</strong> Hermitage<br />
In honour of the State Hermitage Museum,<br />
according to the Official Certificate of the<br />
International Astronomic Association and<br />
the Institute of <strong>The</strong>oretical Astronomy of the<br />
Russian Academy of Sciences dated 11 April<br />
1997, a minor planet registered in the International<br />
Catalogue of Minor Planets under<br />
No 4758 was named Hermitage.<br />
legal addreSS<br />
34 Dvortsovaya Naberezhnaya<br />
(Dvortsovaya Embankment),<br />
190000 St. Petersburg,<br />
Russian Federation<br />
archiTecTural complex of <strong>The</strong> <strong>muSeum</strong><br />
<strong>The</strong> museum complex consists of the Winter Palace, Small Hermitage, Old Hermitage,<br />
Hermitage <strong>The</strong>atre, New Hermitage and Reserve House (30–38 Dvortsovaya Embankment);<br />
Menshikov Palace (15 Universitetskaya Embankment); eastern wing and the arch<br />
of the General Staff building (6–8 Palace Square); Staraya Derevnya Centre for Restoration,<br />
Conservation and Storage (37 Zausadebnaya Street); Imperial Porcelain Factory Museum,<br />
located on the premises of the Imperial Porcelain Factory Public Company<br />
(151 Prospekt Obukhovskoi Oborony).<br />
<strong>muSeum</strong> BuildingS<br />
Winter Palace. 1754–1762<br />
Architect, Francesco Bartolommeo Rastrelli (1700–1771).<br />
Reconstructed by Vasily Stasov (1769–1848) after a fire in 1837<br />
Small Hermitage. 1764<br />
Architects, Yuri Velten (1730–1801), Jean-Baptiste Vallin de la Mothe (1729–1800)<br />
Old (Big) Hermitage. 1771–1787<br />
Architect, Yuri Velten<br />
Hermitage <strong>The</strong>atre. 1783–1787<br />
Architect, Giacomo Quarenghi (1744–1817)<br />
New Hermitage. 1842–1851<br />
Architect, Leo von Klenze (1784–1864),<br />
construction supervised by Vasily Stasov and Nikolai Yefimov (1799–1851)<br />
Reserve House of the Winter Palace. 1726–1742, 1830, 1878<br />
Architects, Domenico Trezzini (?) (1670–1734), Carlo Giuseppe Trezzini (1697–1768),<br />
Nikolai Bekker (1838 – after 1917)<br />
Menshikov Palace. 1710–1711<br />
Architects, Giovanni Mario Fontana (1670–?), Georg Schedel (1680–1752)<br />
General Staff building (former Ministry of Foreign Affairs<br />
and the Ministry of Finance building). 1819–1829<br />
Architect, Carlo Rossi (1775–1849)<br />
Staraya Derevnya Centre for Restoration, Conservation and Storage<br />
<strong>The</strong> beginning of construction – 1990<br />
<strong>muSeum</strong> Space<br />
Total area 183,820 sq. metres<br />
Exhibition area 66,842 sq. metres<br />
Storage area 45,000 sq. metres<br />
Window surface area approx. 13,500 sq. metres<br />
Parquet floors approx. 26,000 sq. metres<br />
Marble and stone floors approx. 38,000 sq. metres<br />
Exhibition area in the General Staff building more than 3,152 sq. metres<br />
<strong>hermiTage</strong> weBSiTe<br />
www.hermitagemuseum.org<br />
General InformatIon<br />
main collecTionS enTering<br />
<strong>The</strong> <strong>muSeum</strong> Since<br />
iTS foundaTion<br />
1764 – Johann Ernest Gotzkowsky collection<br />
1769 – Count Heinrich von Brühl collection<br />
1772 – Baron Pierre Crozat collection<br />
1779 – Lord Walpole collection<br />
1781 – Count Baudouin collection<br />
1787 – Cabinet of carved stones of Duke<br />
of Orleans<br />
1814 – Paintings from the Malmaison Palace<br />
of Josephine Beauharnais<br />
1861 – Marquis Gian Pietro Campana<br />
collection<br />
1884 – Alexander Basilewsky collection<br />
1885 – Collection of the Arsenal<br />
in Tsarskoye Selo (now the town of Pushkin)<br />
1910 – Piotr Semenov-Tyan-Shansky<br />
collection<br />
After 1918 the Hermitage also received<br />
the socialized collections of the Russian<br />
aristocratic families Sheremetev, Stroganoff,<br />
Shuvalov, Yusupov, as well as the famous<br />
collections of Sergei Shchukin and Ivan<br />
Morozov and others.<br />
1935 – collection of the former Museum<br />
of the Baron Stieglitz Central Higher School<br />
of Technical Drawing<br />
1950 – collection of banners and banners’<br />
accessories, banners’ graphics, the archives<br />
from the Artillery Historic Museum<br />
exhiBiTion cenTreS<br />
of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong><br />
ouTSide ST. peTerSBurg<br />
Hermitage • Amsterdam<br />
<strong>The</strong> Netherlands, Amsterdam<br />
(exhibition area about 2,195 sq. metres)<br />
Hermitage • Italy<br />
Italy, Ferrara<br />
(exhibition centre – Castello Estense)<br />
Hermitage • Kazan<br />
Russia, Kazan<br />
(exhibition area about 1,381.3 sq. metres)<br />
Hermitage • Vyborg<br />
Russia, Vyborg<br />
(exhibition area about 420 sq. metres)<br />
6 7
General InformatIon<br />
J general informaTion on <strong>The</strong> main deparTmenTS and SecTorS of <strong>The</strong> <strong>muSeum</strong><br />
deparTmenT of <strong>The</strong> archaeology<br />
of eaSTern europe and SiBeria<br />
Founded in December 1930 on the basis<br />
of the former Department of Antiquities.<br />
<strong>The</strong> Department consists of two sectors –<br />
Sector of the Forest and Forest-Steppe Zone<br />
of Eastern Europe and Sector of the South<br />
of Eurasia. Its collections include approximately<br />
500,000 objects. Among its thirty-four<br />
staff members, four hold doctorates and<br />
thirteen Kandidat degrees.<br />
deparTmenT of claSSical<br />
anTiQuiTy<br />
One of the oldest departments<br />
in the Hermitage, it consists of two<br />
sectors: Art and Culture of Ancient Greece<br />
and Ancient Rome, and Art and Culture<br />
of the Northern Black Sea Area. Eight of<br />
the Department’s twenty-six staff members<br />
hold Kandidat degrees.<br />
orienTal deparTmenT<br />
Founded in 1920. <strong>The</strong> Department’s<br />
geographical and chronological coverage<br />
is very broad, so it consists of four<br />
sectors: Art and Culture of the Ancient<br />
East; Byzantium and the Near East; Central<br />
Asia, the Caucasus and Crimea; the Far<br />
East. <strong>The</strong> Department’s collections number<br />
about 150,000 items. Of its forty-six staff<br />
members, six hold doctorates and twenty<br />
Kandidat degrees.<br />
weSTern european fine arTS<br />
deparTmenT<br />
One of the oldest and largest departments<br />
in the Hermitage, it consists of four sectors:<br />
Painting of the 13th to 18th Centuries;<br />
Painting of the 19th to 20th Centuries and<br />
Sculpture; Drawings; Prints. <strong>The</strong> Department’s<br />
collections boast approximately<br />
400,000 objects. Among its sixty staff<br />
members, four hold doctorates and thirteen<br />
Kandidat degrees.<br />
deparTmenT of weSTern european<br />
applied arTS<br />
<strong>The</strong> Department consists of two sectors:<br />
one devoted to applied arts and the other<br />
to precious metals and stones. Its stock<br />
comprises about 150,000 items. Of its thirty<br />
staff members, two hold doctorates and nine<br />
Kandidat degrees.<br />
deparTmenT of <strong>The</strong> hiSTory<br />
of ruSSian culTure<br />
Founded in April 1941, the Department<br />
acquired its present-day form after<br />
the Second World War. It has two sectors:<br />
Fine Arts Sector and Applied Art Sector. Its<br />
collections include more than 300,000 items.<br />
Of its fifty-three staff members, two hold<br />
doctorates and fifteen Kandidat degrees.<br />
numiSmaTic deparTmenT<br />
It is one of the oldest departments<br />
in the Hermitage, along with the Classical<br />
Antiquity and Western European Fine<br />
Arts Departments. <strong>The</strong> first coins were<br />
purchased by Catherine the Great in 1764.<br />
It contains 1,200,000 items and consists<br />
of two sectors: one deals with works from<br />
Antiquity and those from Asia and Africa,<br />
the other comprises numismatic pieces<br />
from Europe and America. Among the<br />
Department’s twenty-four staff members,<br />
two hold doctorates and three Kandidat<br />
degrees.<br />
arSenal<br />
<strong>The</strong> Department was founded in 1972<br />
on the basis of the collection of arms and<br />
armoury kept in the Oriental and Western<br />
European Fine Arts Departments.<br />
In 2010 the Department was substantially<br />
expanded. Now it also includes collections<br />
of banners and banners’ accessories,<br />
banners’ and other military graphics.<br />
<strong>The</strong> Alexander Column standing in Palace<br />
Square is considered an exhibit of this<br />
Department. <strong>The</strong> Arsenal consists of two<br />
sectors: Sector of Arms and Armoury<br />
and Sector of Military Heraldry. <strong>The</strong> former<br />
boasts some 16,000 superb examples<br />
of arms and armaments from various<br />
epochs and countries. <strong>The</strong> main exhibition<br />
space is the Knights’ Room. <strong>The</strong> Military<br />
Heraldry Sector has over 60,000 items,<br />
including banners, their accessories and<br />
military graphics. Of the Arsenal’s ten staff<br />
members two hold Kandidat degrees.<br />
menShiKov palace<br />
Founded in February 1981 as “Menshikov<br />
Palace. Russian Culture in the First Quarter<br />
of the 18th Century” Sector within<br />
the Department of the History of Russian<br />
Culture. <strong>The</strong> status of department was<br />
received in 1996. Most noteworthy are<br />
the interiors with their original eighteenthcentury<br />
furnishings. Among the Palace’s<br />
twenty-five staff members two hold<br />
Kandidat degrees.<br />
imperial porcelain facTory<br />
<strong>muSeum</strong><br />
Founded in February 2001 on the basis<br />
of the historical collection at the Lomonosov<br />
Porcelain Factory Museum. Presently,<br />
the Department boasts over 30,000 items,<br />
the most part of which consists of objects<br />
made at the Imperial, then the Lomonosov<br />
and from October 2005 again the Imperial,<br />
Porcelain Factory. <strong>The</strong> collection also<br />
includes porcelain ware produced by private<br />
works and European manufactories, glass,<br />
ceramics, drawings and photographs.<br />
<strong>The</strong> Department has eleven staff members.<br />
deparTmenT of <strong>The</strong> hiSTory<br />
and reSToraTion of archiTecTural<br />
monumenTS<br />
Founded in 1975, the Department functioned<br />
as the Department of the Chief Architect of<br />
the Hermitage. In 1992 it was given the status<br />
8 9
General InformatIon General InformatIon<br />
of a research department. <strong>The</strong> Department<br />
is responsible for the conservation of<br />
the unique architecture of the museum’s<br />
buildings, as well as the adaptation<br />
of the buildings for modern use. It also<br />
provides scientific support for restoration<br />
activities. Of the Department’s fifteen staff<br />
members, one holds doctorate and three<br />
Kandidat degrees.<br />
educaTion deparTmenT<br />
<strong>The</strong> Hermitage has been organizing<br />
educational activities within the museum<br />
since 1925, when first guided excursions<br />
were arranged for the benefit of the public.<br />
<strong>The</strong>ir aim is to introduce the Hermitage’s<br />
collections as well as art history in general<br />
to the museum’s visitors. <strong>The</strong> Department’s<br />
staff members are involved in more than<br />
30,000 guided tours and deliver over<br />
500 lectures a year. Thirteen of the Department’s<br />
one hundred and thirty-seven staff<br />
members hold Kandidat degrees.<br />
School cenTre<br />
<strong>The</strong> School Centre that offers programmes<br />
for children of pre-school and school age<br />
has been functioning as a separate department<br />
since 1999. It has an Art Studio,<br />
various children societies, Young Archaeologists<br />
Club, and Young Art Historians Club<br />
and a Lecture Hall. Two of the Department’s<br />
twelve staff members hold Kandidat degree.<br />
reSearch liBrary<br />
One of the oldest and largest museum<br />
libraries in Russia specializing in art history,<br />
it has been an integral part of the Hermitage<br />
since its foundation. <strong>The</strong> Library grew from<br />
the private collection of Empress Catherine<br />
the Great. At the present moment the Library<br />
holds more than 800,000 volumes on art,<br />
history, architecture and culture in most<br />
European and Oriental languages. <strong>The</strong> Rare<br />
Books and Manuscripts Sector contains<br />
more than 10,000 rare pieces, among them<br />
European and Russian manuscripts, early<br />
Russian and Western European printed<br />
books, a collection of decorative bindings,<br />
unique “gift” editions from the Imperial<br />
libraries, and the autographs of prominent<br />
Russian and European figures. <strong>The</strong> Department<br />
has forty-five staff members, three<br />
of them holding Kandidat degrees.<br />
deparTmenT of manuScripTS<br />
and documenTS<br />
Founded in 1980, the Department<br />
consists of document and photograph<br />
archives, the latter includes a collection<br />
of photographs and negatives. <strong>The</strong> archives<br />
were founded in 1805 and at present<br />
contain sixty-seven funds, among them<br />
are sixty-two private archives and ninetyseven<br />
inventories. 37,392 items were<br />
catalogued in the Hermitage’s archives<br />
between 1767 and 2000. <strong>The</strong> Hermitage<br />
began receiving photographic documents<br />
in the middle of the 19th century when<br />
the first photographic works appeared,<br />
but the photo archive was set in the 1920s.<br />
At the moment it includes 75,134 negative<br />
images and about 1,000 photographs.<br />
<strong>The</strong> Department has nine staff members.<br />
regiSTrar deparTmenT<br />
<strong>The</strong> Registrar Department catalogues<br />
the objects kept in the Hermitage, issuing<br />
all the necessary documents concerning<br />
their inventory and keeping. It supervises<br />
their movement both within and outside<br />
the museum. It is responsible for the timely<br />
inventorying of each new object that enters<br />
the museum. It registers the newly acquired<br />
items, carries out check of safekeeping<br />
documents and regularly checks the<br />
availability of the museum items.<br />
<strong>The</strong> Department has thirty-two staff<br />
members, two of them holding Kandidat<br />
degrees.<br />
SecTor of new acQuiSiTionS<br />
<strong>The</strong> Sector was organized in 2000 with<br />
the main aim to ensure the fruitful activity<br />
of the Hermitage Purchasing Commission<br />
on the completion of the State Hermitage<br />
stocks. It also takes part in the<br />
consideration of stock issues, concerning<br />
stock-keeping and the museum’s expositional<br />
practice. Three of the Sector’s five<br />
staff members hold Kandidat degrees.<br />
deparTmenT of ScienTific<br />
reSToraTion and conServaTion<br />
Restoration activities have been carried<br />
out in the Hermitage ever since the 1760s<br />
when the Picture Gallery of the Hermitage<br />
was founded. Highly qualified restorers<br />
working in the Department undertake<br />
restoration, conservation, and preventive<br />
work on objects in the museum’s collections<br />
and control the conditions under which<br />
objects are maintained in storage areas<br />
and museum permanent and temporary<br />
exhibitions. <strong>The</strong> Department consists<br />
of thirteen restoration laboratories: of easel<br />
painting, tempera painting, mural painting,<br />
Oriental painting, graphic works, sculpture<br />
and coloured stones, applied arts, organic<br />
materials, textiles, timepieces and musical<br />
mechanisms, precious metals, furniture and<br />
chandeliers. It has one hundred and twentysix<br />
staff members.<br />
deparTmenT of experT<br />
examinaTion<br />
Founded in 1936, it was the first in Russia<br />
and one of the first in the world X-ray<br />
analysis laboratories. In 1970, it became<br />
a separate laboratory, and in 1997 was<br />
amalgamated with the chemistry laboratory<br />
and transformed into the Department of<br />
Expert Examination. Now it is amongst the<br />
largest centres engaged in the examination<br />
of works of art and culture in the country.<br />
Applying modern scientific technologies,<br />
the Department studies materials and<br />
technologies, carries out expert examination<br />
and identification of art works. It has<br />
fifteen staff members, one of them holds<br />
a Kandidat degree.<br />
laBoraTory for Biological<br />
conTrol<br />
<strong>The</strong> Laboratory was created around the<br />
group of disinfection specialists which was<br />
established in the 1960s to combat insect<br />
pests. In 1990 it was reorganized into<br />
a research laboratory with highly qualified<br />
experts in entomology, mycology and<br />
microbiology. It has eight staff members,<br />
three of whom hold Kandidat degree.<br />
laBoraTory for climaTe<br />
conTrol<br />
<strong>The</strong> Laboratory’s major task is to provide<br />
favourable conditions for the storage<br />
and display of the museum objects.<br />
Its staff monitors the climate conditions<br />
of the exhibition and storage areas in the<br />
main State Hermitage Museum complex<br />
and its branches. <strong>The</strong> Department develops<br />
major requirements of museum storage<br />
for different types of collections. Its staff<br />
takes part in the design and introduction<br />
of new heating and air condition systems.<br />
<strong>The</strong>y are also involved in scientific and<br />
teaching activities. It has four staff members,<br />
one of whom holds a Kandidat degree.<br />
J collegiaTe BodieS of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
academic council of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong><br />
permanenT diSplay commiTTee<br />
reSToraTion council<br />
Board of curaTorS<br />
purchaSing commiSSion<br />
ediTorial council<br />
ediTorial Board of collecTion caTalogueS<br />
ediTorial Board of <strong>The</strong> RepoRTs of <strong>The</strong> sTaTe heRmiTage museum<br />
ediTorial Board of pedagogical and educaTional ediTionS<br />
exTernal policy council<br />
exhiBiTion commiTTee<br />
reSearch granT commiTTee<br />
archaeological commiTTee<br />
inTerneT SiTe council<br />
educaTion and meThodology council<br />
arTS council<br />
<strong>muSeum</strong> STrucTure and STaff commiTTee<br />
SecuriTy council<br />
engineering SupporT ServiceS council<br />
10 11
awardS<br />
golden Bridge award<br />
In April 2010, the Golden Bridge Prize ceremony was held<br />
at the Moscow residence of the Italian Ambassador. This<br />
prize, established by the Embassy of the Republic of Italy<br />
in the Russian Federation and the ITA Publishing House,<br />
with support from President of Italy Giorgio Napolitano,<br />
is awarded for contributions to the promotion of Italian-<br />
Russian relations.<br />
In 2010, the prize was awarded to Mikhail Piotrovsky, Director<br />
of the State Hermitage Museum.<br />
heavenly line priZe<br />
In October 2010, the first winners of a new St. Petersburg<br />
prize “<strong>The</strong> Heavenly Line” were announced in the presence<br />
of St. Petersburg Governor Valentina Matviyenko.<br />
<strong>The</strong> prize was established by the Baltic Media Group and<br />
the Worldwide Club of Petersburgers.<br />
<strong>The</strong> prize is awarded to the people who the citizens believe<br />
have contributed the most to the preservation of the city’s<br />
architectural and historic heritage.<br />
<strong>The</strong> first winners were Mikhail Piotrovsky, Director of the<br />
State Hermitage Museum, Alexander Sokurov, a film director,<br />
and Vyacheslav Zarenkov, General Director of Etalon-<br />
LenSpetsSMU.<br />
order of meriT for <strong>The</strong> fa<strong>The</strong>rland,<br />
3rd degree<br />
Awarded to Georgy Vilinbakhov, Deputy Director of the<br />
State Hermitage Museum, Head of the Heraldic Council<br />
under the President of the Russian Federation.<br />
order of arTS and leTTerS<br />
In June 2010, the Order of Arts and Letters was awarded at<br />
the General Consulate of France. <strong>The</strong> order was awarded<br />
to Natalia Brodskaya, staff member of the State Hermitage<br />
Museum, for her considerable contribution to art history<br />
and promotion of French art in Russia.<br />
giacomo Quarenghi priZe<br />
In November 2010, the Giacomo Quarenghi prize was<br />
awarded in Bergamo. This international prize is a recognition<br />
of research merit in the area of studying the work<br />
of the great Italian architect and Italian artists whose work<br />
was connected to Quarenghi’s.<br />
<strong>The</strong> prize is established by the Osservatorio Quarenghi<br />
association, founded in 1995 by the Bergamo Mayor and<br />
12<br />
Province Office, the Region of Lombardy and the University<br />
of Bergamo.<br />
This year, the prize was awarded to Sergei Androsov, Head<br />
of the Western European Art Department at the State<br />
Hermitage.<br />
<strong>muSeum</strong> olympuS priZe<br />
<strong>The</strong> Museum Olympus Prize, established by the St. Petersburg<br />
Committee for Culture and the Interdepartmental<br />
Museum Council, was awarded in 2010 for the second<br />
time.<br />
<strong>The</strong> State Hermitage received the statuette of Mnemosyne,<br />
the goddess of memory, in the “Museum for Children” category<br />
for its programme <strong>The</strong> Past at Your Fingertips for deaf<br />
and hard-of-hearing children.<br />
A special prize with a winner’s diploma and a memorable<br />
sign was awarded to the Hermitage restorers for their work<br />
on bringing back to life a beaded panel from the Chinese<br />
Palace in Oranienbaum.<br />
A special prize was also awarded to Tamara Malinina’s book<br />
<strong>The</strong> Imperial Glass Factory (State Hermitage Publishers).<br />
vladimir poTanin chariTaBle foundaTion<br />
granTS awarded To STaff memBerS<br />
of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong><br />
Since 2005, staff members of the State Hermitage have<br />
been competing for grants from the Vladimir V. Potanin<br />
Charitable Foundation. <strong>The</strong>se grants mark key projects in<br />
all spheres of the museum’s life.<br />
In 2010, the system of Potanin grants underwent radical<br />
changes. <strong>The</strong> number of recipients was reduced from<br />
a hundred to fifty, while the overall prize fund became<br />
larger than in the previous year. Besides the familiar prize<br />
grants, new individual travel grants for Hermitage employees<br />
were introduced in 2010 to fund research and study<br />
trips in the areas of museum management, restoration and<br />
conservation.<br />
<strong>The</strong> competition for grants was still held in the autumn<br />
and is in a way a summing up of the year’s work for the<br />
museum. <strong>The</strong> travel grants were distributed twice a year.<br />
In 2010, 25 Hermitage employees won these grants, which<br />
were used for their work on catalogues, monographs, dissertations<br />
and other research projects, for preparing new<br />
permanent exhibitions, for exchanging experience in the<br />
area of conservation techniques and legal support for<br />
museums. <strong>The</strong> trip destinations differ widely: from New<br />
York, Western Europe, Egypt, Turkey, China, Burma and<br />
Laos to Khakassia. <strong>The</strong> reports written by the grant winners<br />
show how important these awards are for the museum<br />
research and the development of the other areas<br />
of museum work.<br />
13
compoSiTion of <strong>The</strong> <strong>hermiTage</strong> collecTionS as of 1 January 2011<br />
<strong>The</strong> State Hermitage Museum inventory contains<br />
2,970,214 items<br />
Including:<br />
paintings 16,851<br />
graphic works 622,172<br />
sculptures 12,623<br />
objects of applied art 301,512<br />
archaeological artifacts 738,389<br />
numismatic objects 1,132,627<br />
other items 146,040<br />
2,880 exhibits (as per inventory) entered the<br />
State Hermitage Museum in 2010 as gifts and<br />
acquisitions through the museum’s Purchasing<br />
Commission and archaeological expeditions.<br />
In 2010 the Research Library of the State Hermitage<br />
Museum purchased 4,110 books as well<br />
as Russian and foreign magazines of 235 names<br />
and received 2,520 editions through the international<br />
and Russian book exchanges.<br />
1,433 publications were sent to other libraries<br />
in accordance with the international book<br />
exchange terms.<br />
J moST noTaBle acQuiSiTionS of 2010<br />
collecTion of decoraTive porcelain<br />
from <strong>The</strong> pariS gallery popov & co.<br />
149 items<br />
Acquired through the Purchasing Commission<br />
<strong>The</strong> collection, as well as the gallery itself, was founded<br />
by Alexander Popov, whose extraordinary talent was nourished<br />
by Russian cultural ideals, including the admiration<br />
of eighteenth-century art. As a professional officer, Popov<br />
took part in the First World War. He moved to France in<br />
1919 and a year later opened an antiques shop opposite<br />
the Élysée Palace. In 1935, the gallery won the first honorary<br />
Paris Grand Prix for the exceptionally high quality<br />
of the works exhibited there. Many items are well known:<br />
they have been successfully displayed at international exhibitions<br />
and repeatedly published.<br />
<strong>The</strong> historical and cultural phenomenon that is this art<br />
collection was formed for nearly a century in the circle of<br />
prominent émigré Russians. Among Alexander Popov’s<br />
friends were Alexander Benois, Zinaida Serebryakova,<br />
Konstantin Somov, Yuri Annenkov, Feodor Chaliapin,<br />
Konstantin Korovin, Serge Lifar, Dmitry Bouchéne, Sergei<br />
Ernst, Natalia Goncharova, and many other eminent cultural<br />
figures who found themselves in Paris after the October<br />
revolution. <strong>The</strong>se acquaintances largely explain the<br />
fact that the collection mainly acquired objects brought<br />
from Russia by emigrants. <strong>The</strong> Popov Gallery obtained<br />
works of art from the splendid collections of the Princes<br />
Saltykov, Dolgorukov, Beloselsky-Belozersky, Orlov, the<br />
Duke of Leuchtenberg and many others.<br />
Objects from a coffee service with Cupids. Early 1760s<br />
Plate from the Yacht Service. 1785–1787<br />
<strong>The</strong> Popov & Co Gallery has always taken special pride in<br />
its unique porcelain. Alexander Popov himself was an accepted<br />
connoisseur in this field. His collection was highly<br />
praised by Alexander Benois: “… Mr. Popov has assembled<br />
his own collection of Russian porcelain, which numbers<br />
hundreds of pieces and contains a multitude of objects<br />
which has never before been seen in private collections<br />
and which could be envied even by such museums as the<br />
Hermitage” (1952). <strong>The</strong> then Director and Curator of the<br />
Hermitage Sergei Troynitsky visited the Paris gallery several<br />
times. <strong>The</strong> most important and interesting part of the<br />
acquired set is the Russian porcelain of the second half<br />
of the 18th century, first and foremost among which are the<br />
products of the St. Petersburg Imperial Porcelain Factory:<br />
Jug painted in the chinoiserie style. Early 1760s<br />
Soup plate from Empress Elizabeth’s Personal Dinner and Dessert Service.<br />
At the earliest 1756 – early 1760s<br />
– early porcelain pieces dating back to the reign of Empress<br />
Elizabeth;<br />
– pieces from tea and coffee sets, plates, basins and bowls<br />
for cooling bottles and glasses, with stamps in the shape<br />
of double-headed eagles made by Dmitry Vinogradov, the<br />
inventor of Russian porcelain;<br />
– a plate signed by the court manufactory painter G. Nikiforov,<br />
which is the first known signed specimen from the<br />
St. Petersburg Factory (late 1750s – early 1760s);<br />
– a typical example of the Vinogradov period – an Easter<br />
egg with “floral painting” (1750s), decorated in a highly<br />
detailed way betraying the manner of Elizabethan masters;<br />
– a number of pieces from a series known as “series with<br />
polychrome Chinamen” (late 1750s – early 1760s), among<br />
Easter egg with a floral design. 1750s<br />
most notable acquIsItIons of 2010<br />
14 15
most notable acquIsItIons of 2010 most notable acquIsItIons of 2010<br />
them a jug showing Chinese people against landscapes<br />
which have a very detailed, highly elaborate design;<br />
– plates with a latticework design from the first Russian<br />
state service – the so-called Empress Elizabeth’s Personal<br />
Dinner and Dessert Service (no earlier than 1756 – early<br />
1760s);<br />
– objects from the well-known Everyday (late 1770s –<br />
1780s) and Yacht (1785–1787) Services;<br />
– works by Dominique Rachette, Head of the Sculptural<br />
Department at the Factory, made of the special “porcelain<br />
plaster” paste.<br />
A special set consists of presentation cups “with the royal<br />
monogramme” which bear monogrammes of their owners.<br />
<strong>The</strong>se were used as presents for members of the Romanov<br />
family and their inner circle or as tokens of special<br />
recognition for foreign guests. It is believed that the cup<br />
with a PP monogramme was made for Grand Duke Paul;<br />
researchers link its production at the St. Petersburg Factory<br />
with the baptism of the Grand Duke on 25 September<br />
1754.<br />
Among the sculpted pieces produced by the Gardner<br />
factory near Moscow, Russia’s first private porcelain factory,<br />
especially noteworthy is a miniature bust of Empress<br />
Catherine II (1780s – 1790s). <strong>The</strong> decoration of the coneshaped<br />
support with a gilded monogramme Е II only exists<br />
in this unique version.<br />
<strong>The</strong> porcelain acquired conforms to high standards of museum<br />
collecting, in accordance with the collecting policy<br />
of the State Hermitage Museum.<br />
By Irina Bagdasarova<br />
Cup with lid and saucer bearing the monogramme<br />
of Grand Duke Paul PP. 1754<br />
Medallion with the portrait of Emperor Paul I. 1798–1801<br />
Bust of Empress Catherine the Great bearing her monogramme E II<br />
on the support. 1780s – 1790s<br />
roSewaTer Jug (incenSe veSSel)<br />
Istanbul, mid-19th century<br />
Silver; embossing, engraving, punching. Height 20 cm<br />
Donated by Nasser D. Khalili<br />
A small bottle-shaped vessel with a nearly round body and<br />
neck with a sculptural finish bears two Turkish brands. One<br />
includes a tughra with the name of Sultan Abdul-Hamid II<br />
(1876–1909) and an inscription on the side “purity 90”;<br />
the second consists of one word “confirmed”. <strong>The</strong> vessel<br />
was made in Istanbul, famous for its Greek and Armenian<br />
silversmiths. Although it bears no inscriptions which could<br />
testify to the origin of its maker, it is quite likely to have<br />
been made by an Armenian jeweller. Originally, it had had<br />
a tall narrow neck and had been similar in shape to typical<br />
Oriental incense vessels or rosewater jugs. <strong>The</strong> shape of<br />
the vessel was altered in the last quarter of the 19th century,<br />
when its neck was shortened. This is the date of the<br />
brands with the name of Sultan Abdul-Hamid II, which<br />
confirm that the vessel is indeed made of silver.<br />
Such vessels were frequently used in the East both in religious<br />
ceremonies and in secular settings, for offering sweet<br />
rosewater to guests. Similar nineteenth-century silver vessels<br />
survive from the Monastery of Prophet Elijah on the<br />
Island of Santorini and from the Benaki Museum in Athens.<br />
<strong>The</strong> vessel’s intended use is suggested by its embossed<br />
decoration.<br />
<strong>The</strong> walls of the body, which are covered in rose designs,<br />
also feature embossed compositions, Christ before High<br />
Priest Caiaphas and a fragmentary of the Transfiguration.<br />
On the other two sides there are two large sculptural designs<br />
of the double-headed eagle under a crown.<br />
Both pictorial images illustrate the Gospels of Matthew<br />
(26: 57–66) and Mark (14: 53–64): after he was arrested<br />
in the Garden of Gethsemane, Jesus was brought before<br />
High Priest Caiaphas and condemned unjustly – not for<br />
his deeds but for being what he was: whatever Jesus did<br />
was read as his crimes. <strong>The</strong> scene Christ before High Priest<br />
Caiaphas is very rarely seen on objects of applied art and<br />
was included here on request from the commissioner.<br />
<strong>The</strong> presence of double-headed eagles under the Byzantine<br />
crown confirms that the vessel was made for the Ecumenical<br />
Patriarch of Constantinople. After the fall of the Byzantine<br />
Empire in 1453, the double-headed eagle became<br />
the official symbol of the Constantinople Patriarchate; its<br />
marble image survives over the entrance to the Patriarchal<br />
Church of St. George in Istanbul. <strong>The</strong> presence of the scene<br />
<strong>The</strong> Miracle of St. George, which is included in the Transfiguration<br />
panel, is another indication that the vessel would have<br />
belonged to the Patriarch. <strong>The</strong> Patriarch was not only the<br />
head of Orthodox Christians in the Turkish Empire, but<br />
also a supreme judge and representative in all the secular<br />
court proceedings between the Orthodox population<br />
and the Sultan. This is why it was common for the Turkish<br />
government to exile inconvenient Patriarchs, dismissing<br />
them from office. It is possible that the vessel was made<br />
around mid-19th century for Patriarch Anthimus IV, who<br />
was removed from his office by the Sultan three times, and<br />
restored under Patriarch Joachim III, who was dismissed<br />
twice. For both Patriarchs, the scene of Caiaphas’ unfair<br />
judgment would have had a special symbolic meaning.<br />
In all respects, this silver vessel is a unique work of Post-<br />
Byzantine art, which has close links with the history of the<br />
Constantinople Patriarchate.<br />
By Yuri Piatnitsky<br />
16 17
most notable acquIsItIons of 2010<br />
august Querfurt (1696–1761)<br />
hunTeRs ouTside a TaveRn<br />
Austria, late 1720s at the earliest<br />
Oil on canvas; backed up. 31.2 × 42.2 cm<br />
Acquired through the Purchasing Commission<br />
<strong>The</strong> painting shows a wayside inn, and a hunter mounted<br />
on a dark horse blowing his horn just outside the entrance,<br />
calling his companions. Before him there is a man in a doublet,<br />
with a hat in his outstretched hand, who is holding<br />
the reigns of a white horse arching its neck and stepping to<br />
and fro impatiently. On the right, a beater is taking care of<br />
the dogs. In the foreground on the left there is a peasant<br />
woman with another dog at her feet.<br />
<strong>The</strong> painting contains all the characteristic features of<br />
a Querfurt work: a common diagonal arrangement, a typically<br />
low horizon executed in yellowish, bluish and grey<br />
shades; the characteristic colour scheme with light and<br />
dark blues and pink and red spots, as well as rough white<br />
brushstrokes which emphasize volume and movement;<br />
a typical horizontal craquelure (short wavy lines somewhat<br />
similar to lines in a book). <strong>The</strong> figure of the rider blowing<br />
a horn could have undergone alterations.<br />
This work is an original version of Querfurt’s painting Leaving<br />
for a Hunt auctioned by Hampel, Berlin (No 309, oil on<br />
canvas, 26.5 × 37 cm, monogramme on the lower right,<br />
backed up). Some details of the design are different: the<br />
signed picture has a castle instead of an inn, and a whole<br />
group of people instead of the peasant woman with the<br />
dog: a lady who is probably about to mount a white horse,<br />
a gentleman accompanying her, and a Moor boy. <strong>The</strong> landscape<br />
as a whole remains unchanged.<br />
August Querfurt was an Austrian battle painter, also famous<br />
for his hunting and genre scenes and portraits.<br />
He was first instructed by his father Tobias Querfurt the<br />
Elder, then completed his education in Augsburg under<br />
the celebrated battle and animal painter Georg Philipp<br />
Rugendas. In 1737, he was commissioned to work for Duke<br />
Karl Alexander von Württemberg, for whose castle at Ludwigsburg<br />
he painted two large panels (11 × 4 m): <strong>The</strong> Battle<br />
of Belgrade and <strong>The</strong> Battle of Höchstädt.<br />
It is well known that eighteenth-century German and<br />
Austrian painters depended heavily on other schools and<br />
were seldom original. This is true for Querfurt, but it has<br />
to be noted that in spite of their imitative character, his<br />
works have a vibrant, spur-of-the-moment air and his battle<br />
scenes are expressive and dynamic.<br />
Querfurt’s works are present in museums and private collections<br />
of all European countries. <strong>The</strong> Hermitage currently has<br />
two of his masterful battle scenes on display in the section<br />
of German painting of the 15th – 18th centuries.<br />
By Maria Garlova<br />
antonio marini (1668–1725)<br />
seaside landscape<br />
Venice, late 17th – early 18th century<br />
Oil on canvas. 75 × 116 cm<br />
Acquired through the Purchasing Commission<br />
<strong>The</strong> painting shows a hilly seaside surrounding a bay; in<br />
the background the shore becomes a wide sandy beach,<br />
while in the foreground it is steep and rocky. Port buildings<br />
can be seen far away, and there is a church (monastery?)<br />
a little closer to the onlooker. <strong>The</strong>re is a fishing schooner<br />
on the left, not far from the shore. In the foreground on<br />
the left, near a sheer cliff, there is a genre scene: soldiers<br />
and officers wearing cuirasses, helmets, and wide-brimmed<br />
hats with plumes, have settled down for a meal on the large<br />
boulders. <strong>The</strong> characteristic manner of staffage painting,<br />
recognizable landscape features, as well as elements of the<br />
colour scheme and chiaroscuro allow for a confident attribution<br />
of this painting to the Venetian artist of the 17th –<br />
18th century. <strong>The</strong> man in a plumed hat sitting on a boulder<br />
with his back to the viewers is nearly identical to the rider<br />
on the painting Rocky Landscape with Soldiers (Accademia<br />
Carrara, Bergamo) signed by Marini; the general landscape<br />
setting is reminiscent of the Sea Port with Fishermen<br />
which was auctioned by Semenzato, Venice in May 1981.<br />
most notable acquIsItIons of 2010<br />
Antonio Marini is one of the Italian painters only recently<br />
included in art histories: after the artist’s signature was<br />
found on one of the works in the Accademia Carrara<br />
in 1963, a considerable number of paintings previously<br />
attributed on the basis of stylistic affinity to the circle of<br />
early Marco Ricci were recognized as works by Antonio<br />
Marini.<br />
Over the next thirty years, the artist’s prominent individual<br />
manner has allowed researchers to form an extensive<br />
corpus of paintings which was brought together in 1992<br />
in the first monograph on Marini by Maria Silvia Proni<br />
(Maria Silvia Proni. Antonio Marini. L’opera completa. Napoli,<br />
1992). It includes 111 works by the artist, who is representative<br />
of a trend in seventeenth-century art which<br />
was not as widespread in Venice as it was in Genoa or Naples:<br />
scenes of shipwreck, fierce cavalry skirmishes, landscapes<br />
with military bivouacs or genre sketches from the<br />
life of fishermen, peasants, and the lazzaroni often seen<br />
in the paintings by Salvator Rosa, Il Cavalier Tempesta,<br />
or Alessandro Magnasco. Marini managed to find his own<br />
manner and not to blend in with the numerous followers<br />
and imitators of Rosa or Magnasco. In the years that<br />
have elapsed since the publication of Proni’s book, the<br />
number of Marini’s paintings on the antiquarian market<br />
have nearly doubled his oeuvre.<br />
By Irina Artemyeva<br />
18 19
most notable acquIsItIons of 2010<br />
Karl Kollmann (1835–1889)<br />
a SerieS of drawingS made during<br />
<strong>The</strong> grand duKe KonSTanTin’S grand Tour<br />
of europe in auTumn 1858 – Spring 1859<br />
Acquired through the Purchasing Commission<br />
<strong>The</strong>se are sixteen drawings made during the voyage around<br />
Europe made by Grand Duke Konstantin and his wife<br />
Grand Duchess Alexandra on the frigate Gromoboy, with<br />
a squadron, in autumn 1858 – spring 1859. <strong>The</strong> drawings<br />
are not signed. But it is known from contemporary reports<br />
that Kollmann, an architect and watercolour artist, was<br />
present aboard one of the ships and “adorned the Grand<br />
Duke’s album with many exquisite sketches” (see A. and<br />
V. Golovin. Materials for the Biography of Tsarevich and Grand<br />
Duke Konstantin Nikolayevich. St. Petersburg, 2006: 175–<br />
176). <strong>The</strong> Brockhaus and Efron Encyclopedic Dictionary<br />
confirms that the architect Karl Kollmann (1835–1889),<br />
sent abroad in 1858 on an Academy of Arts scholarship,<br />
“accompanied HRH Duke Konstantin in his voyage around<br />
the Mediterranean and made an extensive album of drawings<br />
which then passed to His Royal Highness” (Vol. XV,<br />
p. 790). Thus, the authorship of Karl Kollmann can hardly<br />
be called into doubt. A son of a prominent watercolour<br />
painter and a pupil of Karl Briullov and Konstantin Thon,<br />
Kollmann had a profound understanding of architectural<br />
styles and a considerable talent as a graphic artist. After he<br />
returned from his scholarship trip in 1864, he was granted<br />
the title of Academician for his drawings documenting the<br />
restoration of the Alhambra, and in 1886 he was made Professor<br />
in recognition of his design for the World Fair Building<br />
in St. Petersburg.<br />
Kollmann’s works, drawn from nature in a light, sketchlike<br />
manner, demonstrate an unquestionable professionalism.<br />
<strong>The</strong>y serve as snapshots of places visited by the Grand<br />
Duke in Greece, Italy, Spain, Egypt and other countries.<br />
<strong>The</strong> landscapes are often animated by the addition of staffage<br />
figures of local people or the voyagers themselves.<br />
<strong>The</strong>y also bear authorial inscriptions which make it easier<br />
to identify the place depicted.<br />
By Alexander Solovyov<br />
Shea<strong>The</strong>d Sword<br />
China, late 18th – first half of the 19th century<br />
Steel, wood, alloy, leather, fabric, enamel; forging, casting,<br />
embossing, engraving, encrustation<br />
Acquired through the Purchasing Commission<br />
Typologically, such swords could be used as both military<br />
and secular weapons; they could also be attributes of important<br />
government officials. A curved blade, a characteristic<br />
form of the hilt and guard, which are decorated with<br />
images of dragons, are typical of the Qing period. Such<br />
a sword could have belonged to a martial arts teacher<br />
or commander of a self-defence squad. <strong>The</strong> sword has<br />
a curved blade which is wider near the tip, with wide and<br />
most notable acquIsItIons of 2010<br />
narrow fullers in its central part. <strong>The</strong> tang end is decorated<br />
on both sides with an engraved image of a dragon playing<br />
with a sacred pearl. <strong>The</strong> wooden hilt is covered with<br />
braided cords, and the steel pommel is decorated with<br />
embossed white metal with geometric patterns and dragon<br />
designs. <strong>The</strong> sheath is wooden and pasted over with dark<br />
pebble leather and over it with narrow leather strips.<br />
<strong>The</strong> acquisition of this sword by the State Hermitage becomes<br />
especially important if we consider its exceptionally<br />
fine workmanship seen in both the design of the weapon<br />
and the decoration. Moreover, the artifact is in a good condition<br />
and is a rare sample of Chinese weaponry.<br />
By Yuri Yefimov<br />
20 21
most notable acquIsItIons of 2010<br />
mulian’s descenT inTo <strong>The</strong> undeRwoRld<br />
Illuminated manuscript; 3 vols. (Vol. 2 is missing)<br />
China, 1440<br />
Paper pasted on carton, ink, watercolours;<br />
roughly rubbed up blue paint; later binding made of blue fabric<br />
pasted over carton, “butterfly” format<br />
Cover size 40 × 18.5 cm<br />
Illumination size 30 × 16.3 and 30 × 32.6 cm<br />
Acquired through the Purchasing Commission<br />
Vol. 1: 57 sheets of Chinese character text with illuminations,<br />
including 18 double-page and 16 single-page illustrations.<br />
Vol. 3: 41 sheets of Chinese character text with illuminations,<br />
including 14 double-page and 10 single-page illustrations.<br />
Vol. 4: 51 sheets of Chinese character text with illuminations,<br />
including 12 double-page and 3 single-page illustrations.<br />
Each page is framed on top and at the bottom with a double<br />
red line painted with a brush. <strong>The</strong> end of each section<br />
is decorated with naively painted floral designs. <strong>The</strong> title<br />
of the whole manuscript appears in Vol. 1 and is repeated<br />
on the penultimate page of Vol. 4: “A precious scroll concerning<br />
Mulian’s descent into hell in order to save his mother,<br />
and her emerging from the underworld and achieving a supreme<br />
rebirth in heaven”. <strong>The</strong> last page of Vol. 4 bears the<br />
following text in an ornamental cartouche: “In the fifth year<br />
of the reign of Zhengtong of the Great Dynasty of Ming I offer<br />
this to the Emperor’s concubine from the family of...” (the<br />
family name character is erased and illegible). <strong>The</strong> fifth year<br />
of Zhengtong Emperor (1436–1449) of the Ming Dynasty<br />
(1368–1644) corresponds to the year 1440 in our reckoning.<br />
<strong>The</strong> manuscript retells a story in the bianwen genre of tales<br />
based on the sutras and explaining their content in a didactic<br />
manner. <strong>The</strong> text was first written down in the 10th century<br />
and became part of a bianwen collection from Dunhuang<br />
published in Beijing (Dunhuang Bianwen. 4 vols. Beijing,<br />
1984. Vol. 2: 701–756, also mentioned in N. Borevskaya’s article<br />
“Moreplavateli v mire duxov. Kitajskij zagrobnyj mir i jego<br />
osmyslenije v romane 16 veka [Seafarers in the Ghost World:<br />
the Chinese World of the Dead and Its Conceptualization in<br />
Sixteenth-Century Novels]”, which deals with descriptions<br />
of the underworld in chapters 87–92 of the late sixteenthcentury<br />
novel by Lo Mao-teng <strong>The</strong> Voyage of Zheng He over the<br />
Indian Ocean (in Izučenije kitajskoj literatury v SSSR [<strong>The</strong> Study<br />
of Chinese Literature in the USSR]. Moscow, 1973: 121–141).<br />
Since few analogues to this manuscript are known, the cartouche<br />
with the inscription is important for its dating. Such<br />
a cartouche is extant in Vol. 1, with the text reading “Ten<br />
thousand years to the Emperor” repeated three times. Similar<br />
cartouches are found in the Khara-Khoto writings – Tangut<br />
characters with the name of the sutra written on paper,<br />
as well as cartouches in Korean editions of the sutras which<br />
reproduced Chinese texts and were printed from Chinese<br />
woodcuts. <strong>The</strong> authenticity of the manuscript is corroborated<br />
by the lack of aniline pigments and the use of natural<br />
dyes. Similar colours (red and green with gold) can be<br />
found in pictorial scrolls of the same period.<br />
By Kira Samosiuk<br />
22<br />
J acQuiSiTionS of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> in 2010<br />
weSTern european fine arTS<br />
deparTmenT<br />
Gifts:<br />
SculpTure<br />
Wolfgang Eichwede<br />
Madonna and Child<br />
Germany (?), late 15th – early 16th century<br />
Gilding, painting, carving, gesso on wood<br />
graphic worKS<br />
Ye. Tatuzov (Yantarny Dom JSC)<br />
Yury Velten (1730–1801)<br />
Main Façade of the North Pavilion, the Small<br />
Hermitage<br />
Russia, 1760s – 1770s<br />
Quill, ink, watercolour on paper<br />
Yury Velten (1730–1801)<br />
<strong>The</strong> North Pavilion, the Small Hermitage.<br />
Vertical section<br />
Russia, 1760s – 1770s<br />
Quill, ink, watercolour on paper<br />
Yuri Velten (1730–1801)<br />
Toilet Room – One of the Rooms in Catherine II’s<br />
Bath in the Winter Palace<br />
Russia, 1760s – 1770s<br />
Quill, ink, watercolour on paper<br />
Through the Purchasing Commission:<br />
painTing<br />
Isaak von dem Block (after 1572–1626)<br />
<strong>The</strong> Meeting of Mary and Elizabeth<br />
Germany, early 17th century<br />
Isaak von dem Block (after 1572–1626)<br />
<strong>The</strong> Annunciation<br />
Germany, early 17th century<br />
Antonio Marini (1668–1725)<br />
Seaside Landscape<br />
Venice, late 17th – early 18th century<br />
August Querfurt (1696–1761)<br />
Hunters Outside a Tavern<br />
Austria, later than 1720s<br />
Meffren Conte (c. 1630–1705)<br />
Still Life with a Shell<br />
France, late 17th century<br />
graphic worKS<br />
Wilhelm Friedrich Hirt (1721–1772)<br />
Summer<br />
Germany, 18th century<br />
Wilhelm Friedrich Hirt (1721–1772)<br />
Autumn<br />
Germany, 18th century<br />
Ottavio Leoni (1574–1626)<br />
Portrait of the Malta Knight Thomas Stilianus<br />
Western Europe, 1624<br />
Willem Hondius (1597–1660)<br />
Portrait of the King of Bohemia Friedrich V<br />
Western Europe, 1631<br />
Anonymous engraver of the German school (?)<br />
Portrait of Joseph I of Hungary<br />
Western Europe, first half of the 18th century<br />
Jost Amman (1539–1591)<br />
Portrait of Gaspard de Coligny<br />
Western Europe, 1573<br />
Anonymous engraver<br />
After a drawing by Francesco Salviati<br />
Golgotha<br />
Italy, 1541<br />
Jacques Couché (1750 or 1759 – c. 1810)<br />
After the original of Jean-Honoré Fragonard<br />
Mock Flight<br />
1783<br />
Henri de Toulouse-Lautrec (1864–1901)<br />
Mary Hamilton<br />
France, 1894–1896<br />
Marc Chagall (1889–1985)<br />
A Shepherd and His Flock<br />
(illustration to La Fontaine’s Fables)<br />
France, c. 1930<br />
BooKS and documenTS<br />
Books from the library of Yuri Kuznetzov<br />
and Irina Linnik<br />
141 publications altogether<br />
Klatovský, Ondřej z Dalmanhorstu (c. 1504–1551)<br />
Knijžka w Cžekém a Nemeckém Jazyku<br />
složená…<br />
[Praha: Jirži Melantrich], 1577. CLI, [1]<br />
Owner’s pamphlet volume – a collection<br />
of printed works dating from the Reformation<br />
Germany, 1555–1556; binding of 1556<br />
Concionum dispositions in epistolas<br />
dominicales…<br />
[Wittenberg: Simonis Gronenbergius], 1584.<br />
[8], 726 p., [1]<br />
weSTern european applied arTS<br />
deparTmenT<br />
Gifts:<br />
applied arTS<br />
M. Kryzhanovskaya<br />
Casket-shaped bonbonniere with a sailing<br />
ship on the lid<br />
Holland, 17th – 18th century<br />
Painting, enamel on copper<br />
Ivory knob shaped as a lady’s hand<br />
Germany, Erbach, 1860s – 1870s<br />
Carved bone<br />
Collar with a pattern of alternating large rose<br />
flowers and oval medallions linked with garlands<br />
of beads and flowers<br />
Western Europe, second half of the 19th century<br />
Satin stitch and openwork embroidery (machine?)<br />
on mesh, silk<br />
Kerchief with a pattern of agrimony along<br />
the perimeter; on the four corners a picture<br />
of 1908 Scottish National Exhibition pavilions<br />
Western Europe, 1908<br />
Silk<br />
Through the Purchasing Commission:<br />
applied arTS<br />
Framed mirror<br />
Italy (?), second half of the 19th century<br />
Inkstand Bird on Iris Stem<br />
Austria, early 20th century<br />
Lingerie collection<br />
Western Europe, late 19th – first quarter<br />
of the 20th century<br />
15 pieces altogether<br />
modern arT SecTion<br />
Gifts:<br />
SculpTure<br />
Louise Bourgeois<br />
Louise Bourgeois<br />
Nature Study. Sculptural composition<br />
on a platform<br />
USA, 2002<br />
Rubber, stainless steel<br />
F. Dontsov<br />
F. Dontsov<br />
LSF<br />
Russia, 2008<br />
Acrylic glass, author’s technique, fluorescent<br />
tube<br />
A. Zhelud<br />
Anya Zhelud<br />
Wardrobe: composition of objects from different<br />
cycles: Hanger and Coat, Table and Suitcase,<br />
and A Pair of Shoes<br />
Russia, 2009<br />
Welding and painting on metal<br />
graphic worKS<br />
Ilya and Emilia Kabakov<br />
Ilya Kabakov, Emilia Kabakova<br />
Collection of graphic prints (48)<br />
USA, 1990s – 2000s<br />
Silk screening, line engraving, offset printing<br />
23
acquIsItIons of the state hermItaGe museum In 2010 acquIsItIons of the state hermItaGe museum In 2010<br />
phoTography<br />
Ben Langlands and Nikki Bell<br />
Ben Langlands, Nikki Bell<br />
Photo Osama bin Laden’s House Bunker,<br />
Darunta, Afghanistan, in the original frame<br />
Print 1 of 5<br />
United Kingdom, 2000s<br />
Paper, photography; wood, glass, metal<br />
K. Novikova<br />
Collection of photographs by Timur<br />
Novikov (11)<br />
Western Europe, Russia, 1980s – 1990s<br />
Bromide print, pigment print, colour print,<br />
gum pigment print on paper<br />
A. Verkhoturov<br />
Boris Smelov<br />
Photo: Spring Frog Hunt<br />
Russia, 1994<br />
Author’s print on bromide paper<br />
hiSTory of ruSSian culTure<br />
deparTmenT<br />
Gifts:<br />
painTing<br />
Nasser D. Khalili<br />
Icon: Lord Almighty Enthroned<br />
Russia, second half of the 19th century<br />
Mixed technique, diverging patterning, gilding<br />
on wood<br />
graphic worKS<br />
N. Abaz and O. Abaz, I. Kosmin<br />
Portrait of Andrei Abaz (1903–1941).<br />
In plaster-of-Paris bronzed frame under glass<br />
Russia, 1910<br />
Pastel on cardboard<br />
N. Podgornenskaya<br />
A. Belyakova<br />
Bouquet with Three Sunflowers<br />
and a Rowan Branch<br />
Moscow, 1999<br />
Watercolour on paper<br />
A. Belyakova<br />
Ruins of the Castle of Prince Bagration<br />
in the Caucasus<br />
Russia, 1950s<br />
Watercolour on paper<br />
A. Belyakova<br />
Early Spring<br />
Russia, 1958<br />
Watercolour on paper<br />
Central Office, Government<br />
of the Russian Federation<br />
T. Fujibayashi<br />
<strong>The</strong> Hermitage. Print on canvas showing<br />
the Palace Embankment and the Hermitage<br />
buildings<br />
Canvas, colour printing, wood, glass<br />
phoTography<br />
Georgy Vilinbakhov<br />
Otto Kirchner<br />
View of the Academy of Arts<br />
St. Petersburg, 25 May 1902<br />
Bromide print on paper<br />
Ye. Shuplinsky<br />
Portrait of a Woman, on a mount (2)<br />
Leningrad, 1920s<br />
Bromide print on paper<br />
applied arTS<br />
Ye. Tkachenko<br />
Ye. Tkachenko<br />
Scarf Feeling Happy from the Venetian series<br />
St. Petersburg, 2009<br />
Silk, viscose, metal thread; author’s original<br />
weaving technique<br />
Ye. Tkachenko<br />
Scarf Waters of the Lethe from the Venetian series<br />
St. Petersburg, 2009<br />
Silk, viscose, metal thread; author’s original<br />
weaving technique<br />
Ye. Tkachenko<br />
Scarf Dark Gold from the Venetian series<br />
St. Petersburg, 2009<br />
Silk, viscose, metal thread; author’s original<br />
weaving technique<br />
T. Sazhin<br />
T. Sazhin, L. Fomina (SAPHO)<br />
Fish: composition from the Ecology series<br />
Moscow, 1992<br />
Glass, bending<br />
T. Sazhin, L. Fomina (SAPHO)<br />
Eagle: detail for a chandelier in the Presidential<br />
residence in the Moscow Kremlin<br />
Russia, 1995<br />
Glass, bending, gilding<br />
T. Sazhin, L. Fomina (SAPHO)<br />
Graphic design sheets for interior decoration (20)<br />
Moscow, 1990s<br />
Ye. Ivanova<br />
Hand-operated sewing machine, in a case,<br />
with a key<br />
Germany (?), Singer Company<br />
Late 19th – early 20th century<br />
Metal, mother of pearl, ceramics, wood<br />
Through the Purchasing Commission:<br />
graphic worKS<br />
K. Kollmann (1835–1889)<br />
A series of drawings made during Grand Duke<br />
Konstantin’s tour of Europe in autumn<br />
1858 – spring 1859 (16)<br />
A. Strelkovsky (1819/1820–1904)<br />
Portrait of a Young Man<br />
Russia, 1852<br />
J.A. Pfefel<br />
Portrait of Charles XII<br />
Germany (?), early 18th century<br />
Charles-Etienne Gaucher<br />
Portrait of F. Lefort<br />
France, late 18th century<br />
Anonymous engraver<br />
Portrait of Empress Catherine I<br />
Russia (?), 18th century<br />
D.J. Pound<br />
Portrait of Emperor Nicholas I<br />
London, 1855<br />
Anonymous engraver<br />
Portrait of Prince P. Rumiantsev-Zadunaysky<br />
Venice, 18th century (?)<br />
Anonymous engraver<br />
After the original by S. Eriksen<br />
Portrait of Grand Duke Pavel (Paul) Petrovich<br />
England (?), second half of the 18th century<br />
D.E. Minazi<br />
After the original by Kugelchen<br />
Portrait of Emperor Alexander I<br />
London, 1813<br />
J.G. Schefner<br />
Portrait of Peter I<br />
Early 19th century (?)<br />
A. Moret<br />
After the original by Ch. Vernier under<br />
the supervision of A.F. Lemaître<br />
Portrait of Peter I<br />
France, 1838 (?)<br />
W. Rein<br />
After the original by F. Rokotov<br />
Portrait of Grand Duke Pavel (Paul) Petrovich<br />
Second half of the 18th century<br />
D. Chapman<br />
15 Grand Dukes<br />
London, 1800<br />
Anonymous engraver<br />
Portrait of Emperor Peter I<br />
19th century<br />
P.-F. Bertonnier<br />
After the original by A. Devéria<br />
Portrait of Emperor Peter I<br />
Paris, 1825 (?)<br />
Derlis<br />
Portrait of Emperor Peter I<br />
France, 1829 (?)<br />
I. Telegin<br />
After the original by Johann Georg Wille<br />
Resting Child<br />
1799<br />
Illuminated manuscript Apocalypse<br />
with Comments<br />
Russia, 1827<br />
24 25<br />
documenTS<br />
Family archive of Counts Balashov<br />
39 documents<br />
Mid-18th – mid-19th century<br />
applied arTS<br />
Collection of porcelain from the Paris gallery<br />
Popov & Co. (149)<br />
Official uniform of the civil servant<br />
of the 5th titular grade, Department of Public<br />
Education<br />
Russia, early 20th century<br />
Upper lid of the album with the inscription<br />
of gift to S. Tretyakov<br />
Moscow, P. Ovchinnikov Company, 1887<br />
Toiletry case<br />
St. Petersburg, made by I. Britsin, 1910s<br />
Jar<br />
St. Petersburg, Grachev Company, made<br />
by Johann Ferdinand Olsonius, last quarter<br />
of the 19th century<br />
Bracelet<br />
St. Petersburg, made by Samuel Arndt,<br />
mid-19th century<br />
Brooch<br />
St. Petersburg, made by Nikolai Chernokov,<br />
1908–1917<br />
Brooch shaped as a beetle<br />
St. Petersburg, 1908–1917<br />
Brooch with a red cross<br />
St. Petersburg, workshop of A. Holmstroem,<br />
1914–1915<br />
Ye. Lavrishcheva, S. Makovetsky<br />
Angel<br />
St. Petersburg, 2004<br />
T. Sazhin, L. Fomina (SAPHO)<br />
Brook: composition from the Ecology series<br />
Moscow, 2000<br />
orienTal deparTmenT<br />
Gifts:<br />
SculpTure<br />
A. Kozintsev<br />
Funeral relief from Palmyra showing<br />
a bearded man<br />
2nd century<br />
Limestone<br />
D. Namdakov<br />
Dashi Namdakov<br />
Ritual: first cast<br />
Casting, embossing, bronze<br />
applied arTS<br />
<strong>The</strong> Hermitage Museum Foundation<br />
(USA), Inc.<br />
Collection of artifacts from Transcaucasia (159)<br />
Transcaucasia, second half of the 2nd – first half<br />
of the 1st millennium B.C.<br />
Bronze, stone, clay<br />
Nasser D. Khalili<br />
Rosewater jug (incense vessel)<br />
Istanbul, mid-19th century. Possibly made<br />
by an Armenian craftsman on special commission<br />
from Anthimus IV, Ecumenical Patriarch<br />
of Constantinople<br />
<strong>The</strong> vessel was altered in Istanbul in 1876–1909,<br />
when it was branded with a tughra bearing<br />
the name of Sultan Abdulhamid II, 1876–1909<br />
Embossed, engraved, punched silver<br />
A. Eutykh<br />
Rhyton Goddess of Wine, in a case<br />
Russia, made by A. Eutykh, 2010 (?)<br />
Casting, engraving, carving on silver, gold,<br />
precious stones; dressed animal skin, polyester<br />
Through the Purchasing Commission:<br />
SculpTure<br />
Statuette of Osiris<br />
Ancient Egypt, 1st millennium B.C.<br />
applied arTS<br />
Collection of traditional artifacts from West<br />
African cultures (55)<br />
West Africa, 20th century<br />
Goblet<br />
<strong>The</strong> Golden Horde, late 13th – early 14th century<br />
Opium smoking set<br />
China, second half of the 19th century<br />
graphic worKS<br />
Illuminated manuscript Mulian’s Descent<br />
into the Underworld. Vols. I, III and IV<br />
China, 15th century<br />
phoTography<br />
Photo album. <strong>The</strong> cover is decorated<br />
with a picture of two Geishas making music<br />
Japan, 1880s<br />
arSenal<br />
Through the Purchasing Commission:<br />
applied arTS<br />
Sheathed scimitar<br />
Turkey, early 19th century<br />
Tromblon gun, with a wiping rod<br />
Turkey, Levant, early 19th century<br />
Tromblon pistol<br />
Turkey, Levant, early 19th century<br />
Flintlock pistol, with a wiping rod<br />
Italy (?) for Turkey and the Balkan countries,<br />
second half of the 18th century<br />
Sheathed sword<br />
China, late 18th – first half of the 19th century<br />
numiSmaTicS deparTmenT<br />
Gifts:<br />
Ingemar Eliasson, Chancellor<br />
of Swedish Royal Orders<br />
Set of four Swedish orders (29 items)<br />
Sweden, 19th – 20th century<br />
Gold, silver, yellow alloy, enamel, fabric<br />
Yu. Kharko<br />
Medal for participation in the popular<br />
uprising of 1923<br />
Bulgaria, 1942<br />
Yellow alloy, fabric<br />
L. Drill<br />
Ministry of Internal Affairs internal troops badge<br />
“For Exemplary Service”, 2nd degree<br />
USSR, established in 1970<br />
Aluminium, enamel<br />
Badge “Frontline Fighter 1941–1945”<br />
Russian Federation, established in 2000<br />
Copper, enamel<br />
Medal “200 years of the Ministry of Internal<br />
Affairs”<br />
Russian Federation, established in 2002<br />
Yellow and white alloys, fabric<br />
Badge “Veteran of the 225th Special Unit,<br />
People’s Commissariat of Internal Affairs”<br />
Russian Federation, established in 2007<br />
Yellow alloy, enamel
acquIsItIons of the state hermItaGe museum In 2010<br />
V. Kalinin<br />
Badge commemorating the 50th anniversary<br />
of the Piskarevskoye Memorial Cemetery<br />
Russian Federation, 2010<br />
Plastic, yellow alloy<br />
A. Baklanov<br />
Memorial medal – 2010 calendar<br />
St. Petersburg Mint, 2009<br />
Tombac<br />
Memorial medal – Oriental calendar<br />
for 2010<br />
St. Petersburg Mint, 2009<br />
White alloy, proof<br />
Republic of Haiti Bank<br />
Sample 1000 Gourde banknote<br />
Republic of Haiti, 2004<br />
Paper<br />
Ye. Shchukina<br />
1 Austral banknote<br />
Republic of Argentina, no year (1985–1991)<br />
Paper<br />
D. Artamonov<br />
Seljuqs of Rum, Suleyman II<br />
No place and date of printing<br />
Copper<br />
26<br />
Seljuqs of Rum, Suleyman II<br />
No place and date of printing (?), 59(5?) /<br />
1198–1199<br />
Copper<br />
Manana Seturidze<br />
1 Lari<br />
Georgia, 1995<br />
Paper<br />
Henrich Sarkisyan<br />
Paper banknotes (4)<br />
Republic of Armenia, 1993<br />
Paper<br />
Through the Purchasing Commission:<br />
R. Kharitonov (1931–2008)<br />
<strong>The</strong> Beatles plaque<br />
Russia, 1991<br />
On 26 April 2010, the sculptural group Fugitive Slave<br />
by Vladimir Beklemishev, long considered missing, was<br />
found during electro-technical repairs in the wall of the<br />
Winter Palace’s Church Staircase. After breaking through<br />
the brickwork, the electricians found the sculptural group<br />
made of plaster-of-Paris tinted to look like bronze, showing<br />
a man and a boy. Near it were found an old calendar<br />
and a note: “Sculptural group left in the W.P. by the<br />
Revolutionary Museum and walled in the doorway sealed<br />
up with bricks on both sides in the W. Palace Eastern Gallery,<br />
February 1947”. <strong>The</strong> workers left their signatures<br />
and date (22 February 1947) on the reverse side of the<br />
calendar.<br />
In 1888, Vladimir Beklemishev, graduate of the Imperial<br />
Academy of Arts (1861–1920), obtained the right to<br />
a sponsored trip to Italy. <strong>The</strong>re he sculpted several groups,<br />
including the Fugitive Slave (1891, toned plaster).<br />
In 1893, the Fugitive Slave group represented Russian<br />
art at the World’s Columbian Exposition in Chicago.<br />
For a long time, it remained in the sculptor’s possession,<br />
but in 1918 Beklemishev presented it to the Academy<br />
of Arts. In 1920, it was transferred to the Revolutionary<br />
Museum which then had some rooms in the Winter Palace.<br />
It is still unclear why it ended up sealed in the Winter<br />
Palace wall.<br />
deparTmenT “imperial porcelain<br />
facTory <strong>muSeum</strong>”<br />
Gifts:<br />
applied arTS<br />
JSC Imperial Porcelain Factory<br />
Fates composition<br />
St. Petersburg, JSC Imperial Porcelain Factory,<br />
2010 (cast of 2004)<br />
Cast by Sergei Sokolov, molding<br />
by Lyubov Tsvetkova<br />
Bone porcelain, bone bisquit<br />
deparTmenT of <strong>The</strong> archaeology<br />
of eaSTern europe and SiBeria<br />
Gifts:<br />
applied arTS<br />
S. Khavrin<br />
Stone artifact (a wand?) with a bird’s<br />
head image<br />
Khakassia, Bronze Age, 3rd – 2nd millennium B.C.<br />
Stone<br />
menShiKov palace<br />
Through the Purchasing Commission:<br />
applied arTS<br />
Ceramic tile with a relief polychrome image<br />
of the Ost-Indian Company office in Holland<br />
(the Hague?)<br />
Holland, 1920s (?)<br />
permanenT exhiBiTionS<br />
J permanenT exhiBiTionS opened in 2010<br />
cenTral aSia in <strong>The</strong> anTiQuiTy<br />
and <strong>The</strong> middle ageS<br />
12 february 2010. rooms 38–39, 46–54<br />
<strong>The</strong> winter palace: ground floor<br />
<strong>The</strong> wealth and scope of this exhibition, reopened after<br />
a long break, has no analogues in European or world museums.<br />
A great number of exhibits are on display for the first<br />
time. <strong>The</strong> showcases are arranged following a chronological<br />
and geographical principle, and the items are accompanied<br />
with detailed commentaries. <strong>The</strong> exhibition has a didactic<br />
purpose, and illustrates the art of the peoples who lived<br />
in Central Asia before the advent of Islam as well as other<br />
areas of their culture, everyday life, economy, weapons, etc.<br />
<strong>The</strong> first room houses the artifacts of the Saka, the ancient<br />
Central Asian nomadic tribe (including the Great Semirechensk<br />
Altar, a four-legged bronze table with figurines<br />
of animals along the rim); the art of the Hellenized Parthian<br />
realm of the Arsacids: bone rhytons, architectural decorations,<br />
ostraca with inscriptions detailing the keeping of wine<br />
in Mihrdatkirt (modern-day Nisa, Turkmenistan), one of the<br />
Parthian capital cities; Parthian and Graeco-Bactrian coins.<br />
<strong>The</strong> next room features Central Asian items from the Late<br />
Antiquity: 2nd century B.C. – 5th century A.D. In this time,<br />
Buddhism takes hold in its south areas: the finds from the<br />
Buddhist monastery of Kara-tepe in Old Termez and a monumental<br />
frieze from the vestibule of the monastery in Airtam<br />
demonstrate an extraordinary mixture of Indian, Classical<br />
and Iranian cultures: half-figures of women playing musical<br />
instruments or bearing gifts peer out from behind acanthus<br />
leaves; a Corinthian capital features a figure of a zebu ox.<br />
<strong>The</strong> third room tells the story of Khwarezm, an agricultural<br />
area in the lower reaches of the Amu Darya River.<br />
It contains fragments of sculpture and wall paintings from<br />
the palace in Topra Kaleh, the capital of Khwarezm in the<br />
first centuries A.D., and an anthropomorphic clay ossuary,<br />
or casket for the bones of the dead. A separate showcase<br />
contains finds from the Kenkol burial (Talas Region, Kyrgyzstan)<br />
dating back to the 2nd – 5th centuries, where<br />
parts of the earliest known saddle were discovered – an<br />
invention which transformed the nomadic life and warfare<br />
of all the Eurasian peoples.<br />
Several rooms contain exhibits illustrating the culture<br />
of Sogdiana, an area along the Zeravshan and Kashkadarya<br />
Rivers in the middle of Central Asia, in the 5th – 8th centuries.<br />
Most of the items on display come from Penjikent,<br />
a city in the east part of the realm which has been studied<br />
by the Hermitage archaeologists for over 60 years. Nearly<br />
half of the site has been excavated, producing unique examples<br />
of Sogdian painting and sculpture. One of the Sogdian<br />
rooms shows ossuaries, often intended for being walled inside<br />
a building, terracotta, small sculptural works, as well as<br />
a number of religious wall paintings from the 5th to 8th centuries:<br />
images of gods and goddesses, a mystical funeral<br />
scene, oranti and donators. Under them is a clay relief from<br />
a temple in Penjikent showing the underwater world – fish,<br />
dolphins, and tritons as they were imagined by the people<br />
of Sogdiana, lying a thousand kilometres from the ocean.<br />
Another room contains Sogdian ceramics, bronze artifacts<br />
and paintings, including one showing an end-of-harvest festival.<br />
In the room housing the most monumental examples<br />
of Sogdian art, viewers can see the wooden decorations<br />
from Penjikent – columns, friezes and beams which were<br />
burned when the city fell to the Arabs in 722 and so escaped<br />
decay. Burned wood has preserved the figures of Caryatids,<br />
battle and hunting scenes, images of deities which<br />
used to decorate the houses of wealthy rulers of Penjikent.<br />
One of the paintings in this room comes from the Sogdian<br />
city of Varakhsha, a summer residence of Bukhara rulers.<br />
Repetitive scenes of the battle between a hero riding an elephant<br />
and feline predators or dragons are shown against<br />
a red background. <strong>The</strong> wall paintings from the so-called<br />
Blue Hall in Penjikent are probably the longest pictorial<br />
work in the Hermitage. <strong>The</strong>y are divided into four tiers: the<br />
upper one shows the gods; below them are battle scenes;<br />
then illustrations to the Epic of Rostam, the most renowned<br />
hero of the Iranians; and the lowest tier contains “low-style”<br />
images from Sogdian fairy-tales and fables. <strong>The</strong> room which<br />
introduces the visitors to the everyday life of Sogdiana – its<br />
coins, gems and seals, ornaments and games – also showcases<br />
the Sodgian and Khwarezmian silverware, a high point in<br />
ancient toreutics. <strong>The</strong> objects in the cases recall the murals<br />
arranged on the walls of the room.<br />
Further rooms deal with the culture of the Turkic tribes, nomads<br />
from the Altai Region, who held sway over the political<br />
27
permanent exhIbItIons permanent exhIbItIons<br />
Scenes of fight between a deity and predators. Wall painting. Varakhsha. Late 7th – early 8th century.<br />
Fragment of a wall painting from the so-called Red Hall<br />
and military life of Central Asia from the 7th century onwards.<br />
Here, one can see stone sculptures of dead heroes, an<br />
inscribed tombstone, silver vessels of the nomads. <strong>The</strong> culture<br />
of the Turks was greatly influenced by that of the Sogdians,<br />
who traded all over the steppe. <strong>The</strong> walls of the room<br />
are decorated with Penjikent paintings containing an image<br />
of a female warrior. <strong>The</strong> lower tier of the painting is given<br />
over to fables which have a lot in common with the Indian<br />
Panchatantra. Some of them are familiar to the Russian<br />
visitors from their retellings by Ivan Krylov: the fable of the<br />
goose bearing golden eggs; the story of three wise men who<br />
resurrected a tiger who then proceeded to eat them; the<br />
fable about a stupid monkey who killed its beloved master.<br />
<strong>The</strong> next two rooms tell the story of Devashtich, the ruler<br />
of Penjikent who managed to weave his own thread<br />
into the intricate tangle of Sogdian policies of the early<br />
8th century, when the country was claimed by the Chinese,<br />
Turks, and Arabs. He, in turn, laid claim to the rule of<br />
Sogd. After the city was taken by the Arabs, Devashtich fled<br />
with some loyal retainers to the fortress of Abgar in the<br />
mountains to the east of Penjikent (modern-day Mount<br />
Mug). <strong>The</strong> finding of mediaeval manuscripts from Abgar<br />
has given us most of the information about Devashtich’s<br />
rule. <strong>The</strong> mountainous climate has preserved organic remains.<br />
<strong>The</strong> excavations on Mount Mug carried out in the<br />
1930s discovered the unique Sogdian culture. A separate<br />
room contains the wall paintings from Devashtich’s palace<br />
in Penjikent, one of which may be an illustration of the<br />
storming of Samarkand by the Arabs. <strong>The</strong> penultimate<br />
room of the exhibition houses the sculpture and paintings<br />
from Ajina-tepe, a Buddhist monastery which functioned<br />
in the 7th – 8th centuries in North-Eastern Bactria (in the<br />
south of modern-day Tajikistan). In the centre of the room<br />
there stands a stupa, a cult pyramid-shaped structure which<br />
was meant to contain sacred objects.<br />
Finally, the last room contains the paintings from the Kakhkakha<br />
site (Shahriston District, Northern Tajikistan,<br />
mediaeval land of Osrushana), dating back to the 8th –<br />
9th centuries. <strong>The</strong>y are the last manifestations of the pre-<br />
Islamic pictorial art of Central Asia. One of the paintings<br />
shows two infants suckled by a she-wolf – an image which<br />
goes back to the Roman prototype of the Capitoline wolf,<br />
while others follow Sogdian canons but have an astonishing<br />
delicacy of pattern and an unusual colour scheme.<br />
<strong>The</strong> exhibition has not only been renewed, but also significantly<br />
expanded. New acquisitions from the Institute<br />
of the History of Material Culture under the Russian Academy<br />
of Sciences have been added to it, including finds<br />
from nomadic burial sites and from the Kushan-Sassanid<br />
site of Zar-tepe. Monumental paintings from Penjikent<br />
featuring Amazons, harvest and hunting scenes, a number<br />
of paintings from Shahriston, and small sculpture from<br />
Sogdiana are displayed for the first time. <strong>The</strong> paintings Lament<br />
and Feasting Painters have returned after many years<br />
of thorough restoration and conservation.<br />
By Pavel Lourie<br />
SiBerian anTiQuiTieS.<br />
<strong>The</strong> fifTh paZyryK Burial mound<br />
7 december 2010. room 26<br />
<strong>The</strong> winter palace: ground floor<br />
<strong>The</strong> exhibition at the Department of the Archaeology<br />
of Eastern Europe and Siberia tells the story of the excavation<br />
of the Fifth Pazyryk Burial Mound, one of the most<br />
interesting archaeological sites from the Scythian period<br />
in the Altai Region.<br />
Here, one can see the results of excavations conducted under<br />
the supervision of S. Rudenko (1949) in the Pazyryk<br />
Valley in the Altai Mountains. <strong>The</strong> natural climate conditions<br />
of this area created pockets of sub-burial permafrost<br />
which preserved items made of wood, felt, leather, fur, fabrics,<br />
and other organic materials. <strong>The</strong> exhibition focuses<br />
on the finds made during the exploration of a horse burial<br />
found on the outer side of the burial chamber in the north<br />
part of the burial pit. Despite the fact that the barrow was<br />
plundered many centuries ago, the burial remained undisturbed.<br />
<strong>The</strong> rich harness of one of the horses was completed<br />
with a leather mask crowned with a wooden stag’s head<br />
with branching leather antlers, and a saddle-cloth (cheprak)<br />
lined with Chinese silk. <strong>The</strong> saddle-cloth of another horse<br />
was lined with a Persian woollen fabric.<br />
<strong>The</strong> horses were buried together with a ladder, parts of<br />
drag sledges, wheels, draft poles and axles of a dismantled<br />
wooden cart, felt figurines of swans, a large felt carpet and<br />
parts of a funeral “tent”. <strong>The</strong> oldest woollen tufted carpet<br />
in the world was also found here.<br />
<strong>The</strong> exhibition also includes a burial chamber which contained<br />
a log coffin with mummified bodies of a man and<br />
a woman interred in the Fifth Pazyryk Burial Mound.<br />
Chinese silks and Persian wool make it possible to outline<br />
a circle of contacts between the Scythian tribes of the Altai<br />
and the ancient civilizations of Central Asia and the Near<br />
East in the 4th – 3rd centuries B.C.<br />
On 20 May 2009, five rooms illustrating the cultural and<br />
historical evolution of the Sayan-Altai Region, Southern<br />
Siberia and the Transbaikalia from the Early Iron Age up<br />
to the Mongol Conquest (8th century B.C. – 13th century<br />
A.D.) were opened to the public. Materials on display<br />
in Room 26 complete a permanent exhibition which makes<br />
it possible to feel the everyday life, traditions and customs<br />
of the people who once lived in these areas of Central Asia.<br />
In accordance with the research and education policy<br />
of the museum, the exhibition provides a powerful illustration<br />
of the rich and varied cultural heritage of the peoples<br />
of Russia.<br />
By Nikolai Nikolayev<br />
28 29
Temporary exhiBiTionS<br />
In 2010, the Hermitage held 30 temporary exhibitions<br />
(objects from the Hermitage and other museums).<br />
In museums around Russia the Hermitage held eight exhibitions<br />
and took part in twelve exhibitions (a total of 1,656 exhibits).<br />
Outside Russia the Hermitage held five exhibitions and took part<br />
in 32 exhibitions (a total of 2,063 exhibits).<br />
J Temporary exhiBiTionS in <strong>The</strong> <strong>hermiTage</strong><br />
SpaZialiSmo. riccardo licata<br />
and venetian painting at the end<br />
of the 20th century<br />
05.02.10 – 18.04.10<br />
Spazialismo – from the Italian “spazio”<br />
meaning space or distance – is an Italian art<br />
movement of the second half of the 20th<br />
century. <strong>The</strong> majority of works in the exhibition<br />
were by Riccardo Licata, who employed<br />
the traditional bright colour and linear<br />
expressiveness of Mediterranean cultures,<br />
combined with symbolic abstract forms.<br />
nostalgia for the roots. dashi<br />
namdakov’s universe of the nomads<br />
26.02.10 – 04.04.10<br />
This exhibition of works by the celebrated<br />
Buryat artist and sculptor was organized<br />
jointly with the Dashi Namdakov Creative<br />
Workshop. It continued the Hermitage<br />
tradition of showing modern art within<br />
the context of the museum’s own collections.<br />
<strong>The</strong> exhibition presented more than<br />
100 works by Namdakov, including bronze<br />
sculptures, drawings and jewellery.<br />
watercolour portraits and decorative<br />
porcelain. new acquisitions<br />
21.04.10 – 23.05.10<br />
In late 2009 the Hermitage acquired 92 watercolours<br />
and more than 140 pieces of<br />
porcelain from the owner of the celebrated<br />
Popov (Popoff) & Co. Gallery, Maurice<br />
Baruch. <strong>The</strong> gallery’s collection was established<br />
by Alexander Alexandrovich Popov,<br />
a regular officer in the Russian army who<br />
fought in the First World War and settled in<br />
France in 1919. He set up an antique shop<br />
in Paris which dealt in works of art of superb<br />
quality. At the heart of his collection<br />
Opening of Nostalgia for the Roots.<br />
Dashi Namdakov’s Universe of the Nomads<br />
exhibition<br />
were watercolour portraits of the first half of<br />
the 19th century, the time when this genre<br />
flourished in Europe and Russia. <strong>The</strong> Hermitage<br />
acquired works by more than 30 artists<br />
of this period, both famous and longforgotten.<br />
Back to russia. photographs<br />
by roger fenton<br />
14.05.10 – 07.06.10<br />
One of the most remarkable acquisitions<br />
made by the Hermitage in recent years is<br />
a collection of 22 photographs by Roger<br />
Fenton, from 1852 and 1855. Fenton, one<br />
of the pioneers of photography, started his<br />
career in Paris where he learnt the waxed<br />
paper process invented by Gustave Le Gray.<br />
He was to use this technique during his first<br />
long trip through Russia in the summer and<br />
autumn of 1852. <strong>The</strong> exhibition included<br />
six prints from 1852, demonstrating Fenton’s<br />
mastery of the technique and his skill<br />
in creating artistic effects from the most<br />
modest landscape motifs. Fenton’s most famous<br />
works, however, are the photographs<br />
he took in 1855 during the Crimean War.<br />
Opening of SPAZIALISMO.<br />
Riccardo Licata and Venetian Painting at the End<br />
of the 20th Century exhibition<br />
Opening of Watercolour Portraits and Decorative Porcelain. New Acquisitions exhibition<br />
Opening of Back to Russia. Photographs by Roger Fenton exhibition<br />
temporary exhIbItIons<br />
30 31
temporary exhIbItIons<br />
<strong>The</strong> exhibition presented sixteen prints<br />
showing different sites in the Crimea where<br />
events of the war had taken place.<br />
from gothic to mannerism.<br />
early netherlandish drawings<br />
in the State hermitage museum<br />
18.05.10 – 12.09.10<br />
<strong>The</strong> Hermitage’s collection of early Netherlandish<br />
drawings is notable for its variety,<br />
both chronological and typological. Whilst<br />
the exhibition included a number of works<br />
known to specialists around the world, the<br />
vast majority were presented for the first<br />
time, more than 40 of them having never<br />
previously been published.<br />
“<strong>The</strong> wind in the pines…” 5,000 years<br />
of Korean art. from the national<br />
museum of Korea<br />
01.06.10 – 05.09.10<br />
“<strong>The</strong> Wind in the Pines” is the title of an ancient<br />
Korean melody performed on the traditional<br />
long-board zither known as a komungo.<br />
Opening of From Gothic to Mannerism. Early Netherlandish Drawings<br />
in the State Hermitage Museum exhibition. M. Dedinkin and A. Larionov<br />
Opening of “<strong>The</strong> Wind in the Pines…” 5,000 Years of Korean Art.<br />
From the National Museum of Korea exhibition<br />
Opening of Contemporary Porcelain of Sévres<br />
exhibition. N. Shibayev and E. de Lumley<br />
This exhibition included 354 objects from<br />
the Neolithic Age to the Modern period:<br />
finds from excavations of royal burials, Buddhist<br />
sculptures of the 7th to 16th centuries,<br />
ceramics and porcelain of the 3rd to 18th<br />
centuries, silk scrolls on Buddhist subjects,<br />
genre paintings, portraits and a variety of<br />
examples of applied art, examples of written<br />
and printed texts. Twelve of the objects<br />
included in the exhibition have the status<br />
of national treasures.<br />
contemporary porcelain of Sévres<br />
15.06.10 – 12.09.10<br />
<strong>The</strong> exhibition was held as part of the 2010<br />
France – Russia Year in Russia celebrations.<br />
It showed works by 40 artists whose<br />
creative experiments and ideas have been<br />
given shape in Sévres porcelain. Organized<br />
jointly with “Sévres – the City of Ceramics”<br />
(Sévres National Manufactory), with the<br />
support of the Ministry of Culture of the<br />
Russian Federation and the Ministry of Culture<br />
and Communications of the French<br />
Republic.<br />
picasso. from the collection<br />
of the picasso museum – paris<br />
18.06.10 – 05.09.10<br />
Organized jointly with the Picasso Museum<br />
in Paris, the exhibition formed part of the<br />
2010 France – Russia Year celebrations,<br />
supported by the Ministry of Culture of the<br />
Russian Federation and the Ministry of Culture<br />
and Communications of the French<br />
Republic and the Potanin Charitable<br />
Foundation. <strong>The</strong> exhibition ran chronologically,<br />
allowing the visitor to follow year<br />
by year the evolution of this great artist<br />
Opening of Picasso. From the Collection of the Picasso Museum – Paris exhibition.<br />
M. Piotrovsky, F. Mitterand, C. Lagarde and A. Baldassari<br />
temporary exhIbItIons<br />
32 33
temporary exhIbItIons<br />
of the 20th century, from the early period<br />
through to the philosophical creations of<br />
his last years.<br />
“Since Tobacco you love So much...”<br />
25.06.10 – 04.09.11<br />
Bringing together numerous examples of<br />
the applied arts linked by their connection<br />
to the culture and history of the use<br />
of tobacco in Europe, the exhibition presented<br />
120 objects made in the 18th to early<br />
20th centuries from the Hermitage storerooms.<br />
Swiss Stained glass from the 16th –<br />
18th centuries in the hermitage<br />
collection<br />
06.07.10 – 31.10.10<br />
<strong>The</strong> Hermitage has a rare collection of Swiss<br />
stained glass of the 16th to 18th centuries.<br />
70 of the best examples were selected to demonstrate<br />
the technical and iconographical<br />
variety of the collection. <strong>The</strong> exhibition was<br />
organized to coincide with the St. Petersburg<br />
meeting of the XXV Colloquium of the<br />
international Corpus Vitrearum Medii Aevi<br />
(<strong>The</strong> Corpus of Mediaeval Stained Glass).<br />
<strong>The</strong> Sails of hellas. Seafaring<br />
in the ancient world<br />
21.09.10 – 03.04.10<br />
Telling the story of seafaring and shipbuilding<br />
in the Ancient World, of fishing industries<br />
and piracy, the exhibition presented<br />
more than 200 objects covering the period<br />
from the 6th century B.C. to the 3rd century<br />
A.D.: painting, sculpture, ceramics, glyptics,<br />
numismatics and bronze.<br />
pablo picasso. nude woman<br />
in a Red armchair from Tate<br />
modern, london. from the series<br />
“masterpieces from the world’s<br />
museums in the hermitage”<br />
03.10.10 – 12.12.10<br />
In this painting Picasso captured the image<br />
of his mistress, Marie-Thérèse Walter.<br />
<strong>The</strong> exhibition was held as part of the 2010<br />
France – Russia Year celebrations.<br />
34<br />
a glass fantasy. ancient glass<br />
from the hermitage collection<br />
12.10.10 – 16.01.11<br />
<strong>The</strong> exhibition showcased 250 of the most<br />
precious examples of ancient glass in the<br />
Hermitage collection, which consists of several<br />
thousand items. Many of the objects<br />
were shown to the public for the first time.<br />
centre pompidou in the State<br />
hermitage museum<br />
13.10.10 – 14.11.10<br />
Part of the 2010 France – Russia Year celebrations,<br />
the exhibition consisted of twelve<br />
masterpieces of French twentieth-century<br />
art from the collection of the Centre Pompidou:<br />
celebrated works by Marcel Duchamp,<br />
Yves Klein, Martial Raysse and Jean Dubuffet,<br />
and others by César, Roman Opalka,<br />
Robert Filiou, Daniel Buren, Gerard Garouste,<br />
Georges Mathieu and Bernard Lavier,<br />
whose works were shown in St. Petersburg<br />
for the first time.<br />
flemings through the eyes<br />
of david Teniers the younger<br />
(1610–1690)<br />
15.10.10 – 16.01.11<br />
To mark the 400th anniversary of the artist’s<br />
birth, the Hermitage presented its collection<br />
of paintings by Teniers – one of the<br />
best in the world. 33 paintings, most of them<br />
from the artist’s most active period (the<br />
1640s and 1650s), presented the thematic<br />
variety and high quality of the collection.<br />
A number of these works are considered<br />
to be among Teniers’ greatest.<br />
Titian. madonna and child<br />
with st. catherine (madonna<br />
with a Rabbit). from the collection<br />
of the louvre. from the series<br />
“masterpieces from the world’s<br />
museums in the hermitage”<br />
26.10.10 – 12.12.10<br />
In selecting this painting for display in the<br />
Hermitage, particular account was taken<br />
of its expression of a new understanding of<br />
man’s place in the world, so perfectly captured<br />
in Venetian art during the first decade<br />
of the 16th century. <strong>The</strong> Louvre loaned this<br />
work as a reciprocal gesture for the loan of<br />
the Hermitage’s Lamentation by Paolo Veronese<br />
in 2009.<br />
a romantic view. dutch and Belgian<br />
paintings of the 19th century<br />
from the rademakers collection<br />
29.10.10 – 06.02.11<br />
Jef Rademakers – writer, poet and art historian<br />
– has a superb collection of more than<br />
a hundred works by Belgian and Dutch artists<br />
of the 19th century in which artists sought<br />
to revive the great traditions of the Golden<br />
Age of Dutch and Flemish painting. Dominating<br />
the selection of works were paintings<br />
in which landscape plays a central role.<br />
<strong>The</strong> hermitage in the world<br />
of publications – 2010.<br />
<strong>The</strong> hermitage in photographs – 2010<br />
07.12.10 – 19.12.10<br />
Every year the Hermitage presents photographs<br />
of different events over the course<br />
of the past twelve months. Capturing everyday<br />
events and special celebrations, the<br />
Hermitage’s photographers are present<br />
at scholarly conferences and visits by highranking<br />
guests, they record restoration<br />
programmes and educational events for<br />
children, temporary exhibitions and archaeological<br />
excavations, concerts and performances,<br />
both on the territory of the Hermitage<br />
and beyond.<br />
<strong>The</strong> hoard of mrs. likhachyova<br />
08.12.10 – 27.02.11<br />
One of the most unusual groups of objects<br />
in the Hermitage is this hoard of silver once<br />
belonging to a wealthy St. Petersburg family.<br />
It was found hidden away in the building<br />
of the old Nevskaya Wallpaper Factory,<br />
once owned by Maria Ivanovna Likhachyova.<br />
Hidden under the floorboards, the<br />
silver items had suffered considerable damage<br />
and their full study is only now possible,<br />
after the items have been carefully restored<br />
in the Laboratory for Scientific Restoration<br />
of Precious Metals of the State Hermitage<br />
Museum.<br />
<strong>The</strong> glass Bead cabinet.<br />
panels from the chinese palace<br />
at oranienbaum<br />
08.12.10 – 20.03.11<br />
Organized jointly by the Hermitage and the<br />
Peterhof State Museum Reserve, this exhibition<br />
presented a unique restoration project.<br />
<strong>The</strong> Russian glass bead panels that cover<br />
Opening of “Since Tobacco You Love So Much...” exhibition<br />
Opening of Pablo Picasso. Nude Woman in a Red Armchair from Tate<br />
Modern, London. From the series “Masterpieces from the World’s Museums<br />
in the Hermitage” exhibition<br />
Opening of Centre Pompidou in the State Hermitage Museum exhibition<br />
Opening of Swiss Stained Glass from the 16th – 18th Centuries<br />
in the Hermitage Collection exhibition<br />
Opening of Flemings through the Eyes of David Teniers the Younger<br />
(1610–1690) exhibition<br />
Opening of <strong>The</strong> Hoard of Mrs. Likhachyova exhibition<br />
temporary exhIbItIons<br />
35
temporary exhIbItIons<br />
the walls of the famous cabinet in the Chinese<br />
Palace were restored in the Laboratory<br />
for Scientific Restoration of Textiles of the<br />
State Hermitage Museum.<br />
<strong>The</strong> roman Two-headed eagle.<br />
from the archaeological museum<br />
at alicante, Spain. from the series<br />
“masterpieces from the world’s<br />
museums in the hermitage”<br />
09.12.10 – 09.03.11<br />
Exhibition of a single object – a fragment<br />
of a bronze sculpture of an arm and hand<br />
clasping the hilt of a sword with a finial in<br />
the form of a two-headed eagle. <strong>The</strong> fragment<br />
was discovered in 2005 during excavations<br />
of the Roman town of Lucentum.<br />
artifacts of urartu.<br />
new acquisitions<br />
09.12.10 – 16.01.11<br />
This collection of Urartu and Caucasian<br />
antiquities was presented to the Hermitage<br />
by the collector Torkom Demirjian,<br />
owner of the Ariadne Galleries in New York,<br />
through the Hermitage Foundation (USA)<br />
in late 2009. It was one of the most superb<br />
acquisitions made by the Oriental Department<br />
in recent years.<br />
porcelain and roses.<br />
from the “christmas gift” series<br />
21.12.10 – 03.04.11<br />
Works from the Hermitage and from the<br />
collection of the Imperial Porcelain Factory<br />
Company were brought together in<br />
this exhibition, devoted to the depiction<br />
of that most romantic of flowers, the rose,<br />
on ceramics produced at the famous factory<br />
from the middle of the 18th century to the<br />
present day. <strong>The</strong> selection demonstrated<br />
the changing technical devices and styles<br />
used to depict roses by different artists.<br />
we draw and paint<br />
in the hermitage<br />
25.12.10 – 30.01.11<br />
<strong>The</strong> Hermitage’s <strong>annual</strong> presentation of<br />
the achievements of its celebrated School<br />
Centre art school.<br />
Opening of Artifacts of Urartu. New Acquisitions exhibition. To mark the 90th anniversary<br />
of the Oriental Department<br />
Opening of <strong>The</strong> Roman Two-Headed Eagle. From the Archaeological Museum at Alicante, Spain.<br />
From the series “Masterpieces from the World’s Museums in the Hermitage” exhibition<br />
J exhiBiTion evenTS<br />
presentation of a design<br />
by the architect a. nikolsky,<br />
created in Besieged leningrad<br />
in 1942<br />
05.05.10 – 19.05.10<br />
<strong>The</strong> architect A. Nikolsky produced this<br />
sheet of drawings between October 1941 and<br />
February 1942, during the terrible Siege of<br />
Leningrad. It shows Prospekt Stachek near<br />
the current site of the Avtovo metro station,<br />
with the buildings erected there between<br />
1937 and 1941.<br />
Tonino guerra. honey<br />
19.06.10 – 02.06.10.<br />
Marking the 90th birthday of the celebrated<br />
Italian poet, writer, dramatist, artist<br />
and sculptor Tonino Guerra, the exhibition<br />
presented the book Honey, produced<br />
by the Rare Books from St. Petersburg<br />
publishing house, and four mosaic panels<br />
crated by Marco Bravura after drawings<br />
by Guerra.<br />
<strong>The</strong> printer’s mistake<br />
<strong>The</strong> gift of ilya and emilia Kabakov<br />
to the State hermitage<br />
25.06.10 – 25.07.10<br />
On display were prints done by Ilya and<br />
Emilia Kabakov that formed part of these<br />
Opening of the exhibition dedicated to the publication of Tonino Guerra’s Honey<br />
contemporary artists’ gift to the State Hermitage<br />
Museum in 2010.<br />
antony gormley. clasp<br />
25.06.10 – 29.08.10<br />
CLASP by Antony Gormley, Britain’s leading<br />
monumental sculptor, was displayed<br />
in the Hall of Dionysus in the Antiquity Department,<br />
reflecting a practice established<br />
in the State Hermitage Museum in recent<br />
years of displaying contemporary and Classical<br />
works alongside each other.<br />
anish Kapoor. stainless steel<br />
25.06.10 – 29.08.10<br />
This monumental work by Anish Kapoor,<br />
a British artist of Indian origin, was displayed<br />
in the Great Courtyard of the Winter<br />
Palace. <strong>The</strong> vast polished steel hemisphere<br />
reflected the sky and clouds and the distorted<br />
facades of the Hermitage buildings.<br />
temporary exhIbItIons<br />
CLASP by Antony Gormley (Hall of Dionysus)<br />
Tonino Guerra presenting his Honey to the public<br />
36 37
temporary exhIbItIons<br />
J exhiBiTionS in <strong>muSeum</strong>S around ruSSia<br />
images of italy. western european<br />
painting of the 17th to 19th centuries<br />
from the hermitage<br />
Vladimir-Suzdal Museum Reserve,<br />
Vladimir<br />
05.02.10 – 11.04.10<br />
<strong>The</strong> exhibition presented 50 works linked<br />
by a single theme – the art of Italian masters<br />
and artists of other European schools inspired<br />
by Italy. It included paintings revealing<br />
the Italian influence on European painting<br />
overall, and the most typical examples of<br />
the different genres in which that influence<br />
is most tangible.<br />
<strong>The</strong> embroiderer’s art. western<br />
european embroidery for costume<br />
and interior decoration of<br />
the 16th to early 20th century<br />
from the hermitage<br />
Kaliningrad Regional Museum of History<br />
and Art, Kaliningrad<br />
23.03.10 – 29.08.10<br />
Some one hundred works of applied art<br />
produced in Italy, France, Germany, Spain<br />
and the Netherlands between the 16th and<br />
early 20th century, many of them exhibited<br />
for the first time.<br />
french art of the 17th and<br />
18th centuries from the hermitage<br />
Hermitage • Kazan Centre<br />
Kazan, Tatarstan<br />
14.04.10 – 16.01.11<br />
More than 140 paintings, sculptures and<br />
works of applied art were exhibited, creating<br />
a picture of French artistic life during<br />
the period when France set the fashion<br />
across Europe.<br />
catherine the great<br />
Hermitage • Vyborg Exhibition Centre,<br />
Vyborg<br />
16.06.10 – 07.02.11<br />
<strong>The</strong> name of Catherine the Great immediately<br />
summons up a picture of Russian<br />
culture as a whole in the second half of the<br />
18th century. This exhibition included Western<br />
European paintings from Catherine’s<br />
Opening of Images of Italy. Western European Painting of the 17th to 19th Centuries<br />
from the Hermitage exhibition<br />
Opening of Amber in Ancient Cultures. Masterpieces from the Hermitage Museum<br />
Collection exhibition<br />
Hermitage, examples of the products of the<br />
Imperial Porcelain and Glass Factories, the<br />
Peterhof Lapidary Factory and other leading<br />
artistic manufactories in Russia.<br />
Spanish art in the hermitage<br />
A. Radishchev Museum of Fine Arts,<br />
Saratov<br />
29.06.10 – 21.11.10<br />
Marking the 125th anniversary of the Saratov<br />
museum, this exhibition presented<br />
Spanish paintings from the State Hermitage<br />
Museum.<br />
amber in ancient cultures.<br />
masterpieces from the hermitage<br />
museum collection<br />
Kaliningrad Amber Museum, Kaliningrad<br />
14.09.10 – 12.12.10<br />
Presenting amber objects found during<br />
archaeological excavations of settlements,<br />
barrows and burials, the exhibition told the<br />
J parTicipaTion in exhiBiTionS in <strong>muSeum</strong>S around ruSSia<br />
music and the masons<br />
St. Petersburg State Museum of <strong>The</strong>atre<br />
and Music, St. Petersburg<br />
12.03.10 – 16.05.10<br />
<strong>The</strong> age of roerich<br />
Manege Exhibition Hall, St. Petersburg<br />
15.04.10 – 16.05.10<br />
preserving the memory.<br />
commemorative items and gifts.<br />
past and present<br />
Tsarskoye Selo State Museum Reserve,<br />
St. Petersburg<br />
15.06.10 – 30.09.10<br />
<strong>The</strong> northern war. <strong>The</strong> Taking<br />
of vyborg by russian Troops<br />
in 1710<br />
Hermitage • Vyborg Exhibition Centre,<br />
Vyborg<br />
16.06.10 – 11.07.10<br />
story of amber itself and of its role in different<br />
cultures. <strong>The</strong> finds come from the<br />
wooded regions of Eastern Europe, across<br />
the Caucasus and the Black Sea Area to Siberia,<br />
source of some of the most mysterious<br />
objects. <strong>The</strong> chronological scope of the<br />
exhibition was no less impressive, running<br />
from the 5th millennium B.C. to the Migration<br />
Period of the 4th to 7th centuries<br />
A.D.<br />
<strong>The</strong> Stroganovs – collectors<br />
of antiquities<br />
Perm Regional Museum, Perm<br />
16.11.10 – 13.03.11<br />
In 2010 the Perm Regional Museum marked<br />
its 120th anniversary. This exhibition was<br />
deliberately chosen to reflect just one aspect<br />
of the varied collecting activities of the<br />
Stroganov family. It included a variety of<br />
examples of Classical art, coins and medals<br />
and Mexican antiquities but the concentration<br />
was on finds made in the Perm Region:<br />
silver objects from Sassanid Iran and Sogd<br />
“<strong>The</strong> Smolyanki” [girls of the Smolny<br />
institute]. on the 275th anniversary<br />
of the Birth of dmitry levitsky<br />
State Russian Museum, St. Petersburg<br />
19.08.10 – 08.11.10<br />
“By highest decree…”<br />
on the 175th anniversary<br />
of the consecration of the Smolny<br />
cathedral<br />
Smolny Cathedral, St. Petersburg<br />
01.10.10 – 15.12.10<br />
<strong>The</strong> art of rené lalique.<br />
a retrospective<br />
Moscow Kremlin State Historical and<br />
Cultural Museum Reserve, Moscow<br />
26.10.10 – 09.03.11<br />
mighty Knights. foreign orders<br />
of the russian emperors<br />
Moscow Kremlin State Historical and<br />
Cultural Museum Reserve, Moscow<br />
26.10.10 – 09.03.11<br />
and bronze plaques showing fantastical<br />
zoomorphic beings created by Finno-Ugric<br />
tribes who lived on the Perm lands in the<br />
6th and 7th centuries.<br />
russian Silver of the 18th<br />
to early 20th centuries from<br />
the hermitage<br />
I. Shemanovsky Yamalo-Nenetsk Regional<br />
Museum and Exhibition Complex,<br />
Salekhard<br />
03.12.10 – 31.01.11<br />
<strong>The</strong> Hermitage possesses a unique range of<br />
Russian silver, items of applied and decorative<br />
art of superb quality. This exhibition<br />
included a selection of silver objects complemented<br />
by painted portraits of Russian<br />
monarchs and members of the aristocracy<br />
and merchant classes, illustrating the development<br />
of artistic silver in Russia over the<br />
course of three centuries, from the 18th to<br />
the early 20th centuries.<br />
childhood. Boyhood. youth<br />
Pushkin State Museum of Fine Arts,<br />
Moscow<br />
06.12.10 – 13.02.11<br />
clio’s chosen…<br />
State Russian Museum, St. Petersburg<br />
08.12.10 – 21.02.11<br />
pushkin’s contemporaries<br />
in the watercolours of vladimir<br />
ivanovich gau<br />
State Pushkin Museum, Moscow<br />
14.12.10 – 14.03.11<br />
william carrick<br />
temporary exhIbItIons<br />
State Photographic Centre, St. Petersburg<br />
21.12.10 – 31.01.11<br />
38 39
temporary exhIbItIons<br />
J exhiBiTionS aBroad<br />
matisse to malevich.<br />
pioneers of modern art<br />
from the hermitage<br />
Hermitage • Amsterdam Exhibition Centre<br />
Amsterdam, Netherlands<br />
06.03.10 – 17.09.10<br />
<strong>The</strong> Hermitage has one of the world’s great<br />
collections of French painting of the early<br />
20th century. This exhibition consisted of<br />
76 works from that collection, covering the<br />
establishment of Modernism overall and,<br />
above all, emphasizing the unfading significance<br />
of those masters who revolutionized<br />
art at the start of the 20th century. Alongside<br />
canvases by the great artists of the French<br />
school – Henri Matisse, Pablo Picasso, Kees<br />
Van Dongen and Maurice de Vlaminck –<br />
were works by their celebrated Russian<br />
contemporaries such as Kazimir Malevich<br />
and Wassily Kandinsky. Nearly all the works<br />
came from the Hermitage’s permanent display<br />
in the Winter Palace. Most of them derived<br />
from the private Moscow collections of<br />
Sergei Shchukin and Ivan Morozov.<br />
Star of the north. catherine the great<br />
and the golden age of the russian<br />
empire<br />
Shanghai Museum, Shanghai, China<br />
25.08.10 – 12.12.10<br />
Covering both Catherine II herself and<br />
the age in which she lived, the exhibition<br />
included superb examples of elegant porcelain,<br />
gold and silver items, sculpture, costumes,<br />
watches and candlesticks and much<br />
more.<br />
<strong>The</strong> immortal alexander the great.<br />
<strong>The</strong> myth. <strong>The</strong> reality. his Journey.<br />
his legacy. hermitage<br />
Hermitage • Amsterdam Exhibition Centre<br />
Amsterdam, Netherlands<br />
18.09.10 – 16.03.11<br />
<strong>The</strong> first exhibition in the Netherlands devoted<br />
to Alexander the Great, his Eastern<br />
campaigns and the influence of Hellenism<br />
on artistic culture. Covering more than<br />
2500 years, the exhibition presented objects<br />
dating from the 5th century B.C. to the 20th<br />
century.<br />
<strong>The</strong> Immortal Alexander the Great. <strong>The</strong> Myth. <strong>The</strong> Reality. His Journey. His Legacy. Hermitage exhibition<br />
Staging power. napoleon–charles<br />
John–alexander<br />
National Museum of Fine Arts, Stockholm,<br />
Sweden<br />
29.09.10 – 23.01.11<br />
Telling the story of three individuals – Napoleon<br />
Bonaparte of France, Alexander I<br />
of Russia and Charles XIV John of Sweden<br />
– of their power and fame, and how<br />
they used art to reinforce their position,<br />
this exhibition of some 420 objects included<br />
personal items, portraits, sculptures,<br />
uniforms, weapons, clocks, jewellery, medals<br />
and furniture.<br />
in the Service of the Tsars.<br />
<strong>The</strong> russian imperial guard<br />
from peter the great to the october<br />
revolution<br />
Army Museum, Paris, France<br />
08.10.10 – 23.01.11<br />
One of the central events in the 2010<br />
France – Russia Year celebrations. Some<br />
250 superb paintings, prints, weapons and<br />
examples of applied and decorative art<br />
were arranged not in chronological order<br />
but as a series of images, each of them<br />
built up around an individual or a specific<br />
event.<br />
J parTicipaTion in exhiBiTionS aBroad<br />
flowers. nature and Symbol from<br />
the 17th century to van gogh<br />
San Domenico Museums, Forli, Italy<br />
24.01.10 – 20.0610<br />
venice – <strong>The</strong> Sense of masquerade<br />
Finnish National Gallery, Sinebrychoff Art<br />
Museum, Helsinki, Finland<br />
05.02.10 – 23.05.10<br />
from Stage to painting – <strong>The</strong> magic<br />
of <strong>The</strong>atre in nineteenth-century<br />
painting<br />
Museum of Modern and Contemporary Art<br />
of Trento and Rovereto, Rovereto, Italy<br />
06.02.10 – 23.05.10<br />
louis c. Tiffany: master of glass<br />
Montreal Museum of Fine Arts. Montreal,<br />
Quebec, Canada<br />
11.02.10 – 02.05.10<br />
Virginia Museum of Fine Arts, Richmond,<br />
USA<br />
05.06.10 – 29.08.10<br />
caravaggio<br />
Scuderie del Quirinale, Rome, Italy<br />
18.02.10 – 01.06.10<br />
rubens and van dyck<br />
National Museum of Fine Arts, Stockholm,<br />
Sweden<br />
25.02.10 – 23.05.10<br />
lydia d.: muse and model of matisse<br />
Musée Matisse, Le Cateau-Cambrésis,<br />
France<br />
27.02.10 – 30.05.10<br />
holy russia<br />
Louvre, Paris, France<br />
01.03.10 – 24.05.10<br />
architecture as icon<br />
Princeton University Art Museum,<br />
Princeton, New Jersey, USA<br />
06.03.10 – 07.06.10<br />
hans von aachen. court artist<br />
in europe<br />
Suermondt-Ludwig-Museum, Aachen,<br />
Germany<br />
11.03.10 – 13.06.10<br />
Prague Castle, Prague, Czech Republic<br />
01.07.10 – 03.10.10<br />
a True friend – hoof and paw<br />
in royal Service<br />
<strong>The</strong> Royal Armoury, Stockholm, Sweden<br />
20.03.10 – 10.01.11<br />
450 years of the dresden art<br />
collections<br />
Staatliche Kunstsammlungen Dresden,<br />
Dresden, Germany<br />
18.04.10 – 07.11.10<br />
from the Bible to the Koran. Joseph<br />
and the Tapestries of pontormo<br />
and Bronzino<br />
Palazzo del Quirinale, Rome, Italy<br />
28.04.10 – 18.07.10<br />
Triumph of the Blue Swords –<br />
meissen porcelain for aristocracy<br />
and Bourgeoisie<br />
Staatliche Kunstsammlungen Dresden,<br />
Dresden, Germany<br />
08.05.10 – 29.08.10<br />
<strong>The</strong> fascination of fragility<br />
Staatliche Kunstsammlungen Dresden,<br />
Dresden, Germany<br />
09.05.10 – 29.08.10<br />
from Byzantium to istanbul –<br />
8,000 years of a capital<br />
Sakip Sabanci Museum, Istanbul, Turkey<br />
04.06.10 – 04.09.10<br />
domenico ghirlandaio: portrait<br />
of giovanna Tornabuoni<br />
Thyssen-Bornemisza Museum, Madrid,<br />
Spain<br />
22.06.10 – 10.10.10<br />
<strong>The</strong> future of Tradition –<br />
the Tradition of future. 100 years<br />
after the exhibition “masterpieces<br />
of muhammadan art”<br />
Haus der Kunst, Munich, Germany<br />
17.09.10 – 09.01.11<br />
claude monet<br />
Grand Palais, Paris, France<br />
20.09.10 – 24.01.11<br />
temporary exhIbItIons<br />
from xanadu to dadu: the world<br />
of Khubilai Khan<br />
Metropolitan Museum of Art, New York,<br />
USA<br />
21.09.10 – 02.01.11<br />
Bronzino<br />
Palazzo Strozzi, Florence, Italy<br />
24.09.10 – 23.01.11<br />
paul gauguin – maker of myth<br />
Tate Modern, London, UK<br />
30.09.10 – 16.01.11<br />
from canova to modigliani: <strong>The</strong> face<br />
of the 19th century<br />
Palazzo Zabarella, Padua, Italy<br />
02.10.10 – 27.02.11<br />
man, myth and Sensual pleasures:<br />
Jan gossart’s renaissance<br />
Metropolitan Museum of Art, New York,<br />
USA<br />
04.10.10 – 17.01.11<br />
matisse and the alhambra<br />
Alhambra Museum, Granada, Spain<br />
08.10.10 – 28.02.11<br />
masterpieces of goryeo Buddhist<br />
paintings<br />
National Museum of Korea, Seoul, Korea<br />
12.10.10 – 21.11.10<br />
venice: canaletto and his rivals<br />
National Gallery, London, UK<br />
13.10.10 – 16.01.11<br />
cézanne’s card players<br />
Courtauld Institute of Art, London, UK<br />
21.10.10 – 16.01.11<br />
hugo Backmansson 1860–1953<br />
Amos Anderson Art Museum, Helsinki,<br />
Finland<br />
22.10.10 – 10.01.11<br />
rome and the antique in the 18th<br />
century<br />
Fondazione Roma Museo, Rome, Italy<br />
29.11.10 – 06.03.11<br />
modigliani Sculptor<br />
Museum of Modern and Contemporary Art<br />
of Trento and Rovereto, Rovereto, Italy<br />
18.12.10 – 27.03.11<br />
40 41
temporary exhIbItIons<br />
france – ruSSia year 2010<br />
2010 was declared the France – Russia Year. A number of exhibitions<br />
were organized as part of the celebrations, with loans of French art to the Hermitage<br />
and loans of works from the Hermitage to France.<br />
exhiBiTionS of french arT in <strong>The</strong> <strong>hermiTage</strong><br />
picasso. from the collection of the picasso museum –<br />
paris<br />
18 June – 5 September 2010<br />
In the summer a major exhibition of works by Pablo Picasso<br />
from the Musée National Picasso in Paris – one of<br />
the most important events on the St. Petersburg art scene<br />
in the last decade – was mounted in the state rooms of the<br />
Winter Palace. During major refurbishment at the Musée<br />
National Picasso its collections were sent on a world tour.<br />
Each version of the exhibition – shown in Madrid, Abu<br />
Dhabi, Helsinki and Moscow before coming to St. Petersburg<br />
– was slightly different in composition.<br />
<strong>The</strong> Paris museum was founded in 1985. Despite its comparative<br />
youth, it possesses the world’s largest collection of<br />
the great artist’s works, 290 of which were selected for the<br />
Hermitage to reflect all the periods in his career, all the<br />
types and genres of his art. In order to achieve this, it was<br />
necessary to resolve the problems of showing them in an<br />
old palace that had no specially equipped display rooms<br />
of the required size. This demanded no small measure of<br />
inventiveness on the part of those who devised the concept<br />
of the exhibition (on the French side – Anne Baldassari,<br />
Director of the Musée Picasso, on the Russian side – Boris<br />
Kuzyakin and Vitaly Koroliov, members of staff of the Exhibition<br />
Design Department). It was decided to hold the<br />
exhibition mainly in four state rooms of the Winter Palace<br />
– the Oriental Gallery, the Field-Marshals, Armorial<br />
and Picket Rooms – in chronological order, from Picasso’s<br />
early youthful works of the first decade of the 20th century<br />
to his last works dating from the late 1960s and early 1970s.<br />
<strong>The</strong> exhibition opened with the world-famous masterpieces<br />
Death of Casagemas (1901) and La Celestina (1904).<br />
<strong>The</strong> most important works of his Cubist period – Three<br />
Women under a Tree (1908) and the etudes for Les Demoiselles<br />
d’Avignon (1907) – were supplemented by etudes for<br />
several of the Hermitage’s works, such as <strong>The</strong> Farmer’s Wife<br />
and <strong>The</strong> Dance of the Veils. <strong>The</strong> display ended in the Oriental<br />
Gallery with works from Picasso’s neoclassical period – Portrait<br />
of Olga in an Armchair (1918), Paul as Harlequin (1924)<br />
and <strong>The</strong> Village Dance (1922).<br />
Never before had the art of Picasso’s surrealist period been<br />
shown so fully in the Hermitage. Surrealism and works from<br />
the 1950s were featured in the Armorial Hall, which was<br />
a bold venture: Picasso’s pictures had to brave the ordeal<br />
of the sumptuous hall’s classical architecture. Major works<br />
from the 1930s were displayed alongside his sculpture of<br />
that period, chiefly a series of female busts from 1931, while<br />
the 1950s canvases were surrounded by the splendid bronzes<br />
<strong>The</strong> Goat (1950) and Woman with a Pushchair (1950).<br />
<strong>The</strong> same hall included celebrated works from Picasso’s<br />
war period that became symbols of that bleak time: Cat<br />
Catching a Bird (1939), the sculpture Head of a Bull (1942)<br />
and Man with a Lamb (1943). <strong>The</strong> large canvas Massacre in<br />
Korea (1951) acted as an unusual link between the Oriental<br />
Gallery and the works in the Armorial Hall. This, the<br />
only Picasso’s work to be displayed in the Field-Marshals<br />
Room, was deliberately placed facing a customary example<br />
of a battle painting – Peter von Hess’s Battle of Klyastitsi.<br />
<strong>The</strong> Picket Room was given over to some of the most representative<br />
works of the 1960s and 1970s, when a very<br />
important place was occupied by Picasso’s dialogue with<br />
old masters. <strong>The</strong>y include a variation on Edouard Manet’s<br />
Le Dejeuner sur l’Herbe (1960), images of matadors, lovers,<br />
and also a sculpture of cut iron leaf. <strong>The</strong> display came<br />
to an end with the virtuoso canvas <strong>The</strong> Young Artist (1972),<br />
Picasso’s latest work in the exhibition.<br />
A remarkable part of the retrospective was provided by Picasso’s<br />
sketches linked to Russian ballet productions, which<br />
were displayed on the second floor of the Winter Palace.<br />
<strong>The</strong>y were supplemented by 70 photographs of the master<br />
and his friends and books. Documentary films about the<br />
master’s career were shown in the last room.<br />
<strong>The</strong> exhibition in the state rooms of the Hermitage was<br />
the principal event in the 2010 France – Russia Year to be<br />
held in St. Petersburg.<br />
contemporary porcelain of Sévres<br />
15 June – 15 September 2010<br />
By Albert Kostenevich<br />
<strong>The</strong> exhibition took place in the Great Hall of Menshikov<br />
Palace. Pieces made in the Sévres factory in the second<br />
half of the 20th and early 21st centuries were displayed<br />
in Russia for the first time. Around 100 works by 40 contemporary<br />
masters demonstrated the principal genres in<br />
porcelain manufacture.<br />
Sculptors Vincent Barré, Louise Bourgeois, Joan Chretien,<br />
Jim Dean, Francoise Petrovitch, Francoise Vergier and Natalie<br />
Talek preferred to express their creative individuality<br />
not in marble or bronze, but in delicate porcelain. All the<br />
variety in the contemporary decoration of services was<br />
evident in the works of Pierre Aleschinski, Marc Couturier,<br />
Philippe Faviere, Raoul Marek and Adrian Sachs, as<br />
well as in pieces made by the Russians Erik Bulatov and<br />
Sergei Polyakov. Some of the most original exhibits were<br />
vases with the most unusual shapes and profiles (by Pierre<br />
Charpin, José Levy, Richard Peduzzi, Christian Renonciat,<br />
Ettore Sottsass and Betty Woodman).<br />
<strong>The</strong> Sévres representatives remarked on the fact that the<br />
exhibits were shown in the special “historic” atmosphere<br />
of Menshikov Palace, conveying a link between periods.<br />
It was particularly significant for the Sévres factory that<br />
the exhibition was shown in one of the world’s leading<br />
museums, the State Hermitage, and in St. Petersburg –<br />
a city where Sévres porcelain was known, valued and loved<br />
as early as in the 18th century.<br />
<strong>The</strong> exhibition attracted over 22,000 people, including ceramists,<br />
sculptors and artists from St. Petersburg, Moscow<br />
and other Russian cities, as well as foreign visitors.<br />
centre pompidou in the State hermitage museum<br />
5 October – 14 November 2010<br />
By Yan Vilensky<br />
This project, held in the Antechamber, the Nicholas Hall<br />
and the Hermitage <strong>The</strong>atre, was one of the events in the<br />
France – Russia Year and was intended to demonstrate the<br />
various forms of the Pompidou Centre’s work with contemporary<br />
art.<br />
<strong>hermiTage</strong> exhiBiTionS in france<br />
Besides the Holy Russia exhibition in the Louvre, in which<br />
the Hermitage took part together with other Russian museums,<br />
an exhibition from our museum’s collection was<br />
staged in the Musée d’Armée in Paris<br />
in the Service of the Tsars. <strong>The</strong> russian imperial guard<br />
from peter the great to the october revolution<br />
8 October 2010 – 23 January 2011<br />
<strong>The</strong> Imperial Guard is a subject that is very dear to the<br />
Hermitage. <strong>The</strong> Guard played a very important part in the<br />
history of the Russian Empire, the centre of which was the<br />
Winter Palace – the residence of its sovereigns for a century<br />
and a half. <strong>The</strong> glory of the Russian Imperial Guard<br />
is recorded forever in the Winter Palace’s celebrated 1812<br />
War Gallery. <strong>The</strong> history of the Russian Imperial Guard<br />
ended with the fall of the Empire in 1917, the bloody bat-<br />
temporary exhIbItIons<br />
<strong>The</strong> aim of the project was to focus attention on ways<br />
of showing contemporary art works and on a conversation<br />
about them. This was the continuation of the interaction<br />
and mutual enrichment between Russian and French culture<br />
over many years. <strong>The</strong> staging of the project in the<br />
main state rooms of the Winter Palace led to the opening<br />
of a multilevel dialogue between styles and ages, which<br />
became a well-balanced narrative about transformations<br />
in contemporary art.<br />
<strong>The</strong> project consisted of two parts: a festival and an exhibition.<br />
For the festival designer pavilions (Heimo Zobering,<br />
Jorge Pardo) were arranged in the Nicholas Hall from<br />
5 October, and various types of artistic activity revolved<br />
around them for the following week: experimental performances<br />
by French and Russian actors, round tables,<br />
master classes and discussions. <strong>The</strong> Hermitage <strong>The</strong>atre<br />
staged showings of video works by French artists from the<br />
Pompidou Centre collection, as well as a number of dramatic<br />
presentations. French and Russian performers and<br />
figures in the world of contemporary art were invited<br />
to participate in the festival.<br />
<strong>The</strong> exhibition opened in the Antechamber on 13 October<br />
and continued until 14 November. <strong>The</strong> display included<br />
twelve masterpieces of twentieth-century French art from<br />
the Pompidou Centre collection – famous works by Marcel<br />
Duchamp, Yves Klein, Martial Raysse, Jean Dubuffet, César,<br />
Roman Opalka, Robert Filliou, Daniel Buren, Gerard Garouste,<br />
Georges Mathieu, Bernard Lavier and other artists,<br />
all of which were being shown in St. Petersburg for the<br />
first time.<br />
By Dmitry Ozerkov<br />
tles of the First World War and the tragedy of the Civil War.<br />
Guards that fled the country carefully preserved the memory<br />
of their regiments abroad. Memories of events in Russian<br />
history, undeservedly forgotten for several decades,<br />
are now being revived, and the State Hermitage Museum<br />
is taking an active part in this.<br />
In the exhibition at the Musée d’Armée in Paris the State<br />
Hermitage Museum showed around 250 first-rate works:<br />
painting, graphic art, decorative applied art and weapons.<br />
Under the exhibition agreement the Musée d’Armée and<br />
the Museum of the Lifeguards of the Cossack Regiment<br />
in Paris also took part.<br />
This exhibition was the last to be organized by our colleague<br />
Sergei Plotnikov, Head of the Arsenal Department –<br />
an outstanding authority on military history, a talented<br />
scholar and a good friend.<br />
By Dmitry Liubin<br />
42 43
temporary exhIbItIons<br />
J <strong>hermiTage</strong> cenTreS<br />
<strong>hermiTage</strong> • amSTerdam cenTre<br />
amsterdam, <strong>The</strong> netherlands<br />
Last year was the first full year of operation for the Centre,<br />
which opened in June 2009. With three exhibitions, a rich<br />
programme of lectures and a fully operative children’s<br />
centre, 2010 can be rated a very successful year.<br />
<strong>The</strong> Centre welcomed 650,000 visitors, the third highest<br />
number among Amsterdam museums after the Rijksmuseum<br />
and the Van Gogh Museum. Over 10,000 children<br />
took part in the programmes for children.<br />
In 2010 two new members – Wim Keuken and Jan Ernst de<br />
Groot – joined the Hermitage on the Amstel board, which<br />
manages the Hermitage • Amsterdam Exhibition Centre.<br />
It is with deep regret that we have to announce the death<br />
of Hans Dijkstal, who was a member of the board for many<br />
years.<br />
exhiBiTionS<br />
at the russian court. palace and protocol<br />
in the 19th century<br />
January 2010 was the last month of this exhibition. For the<br />
first and last time the display was accommodated in both<br />
wings of the exhibition centre. At the end of the exhibition,<br />
which attracted over 700,000 visitors, the Centre was<br />
closed for a month to rehabilitate the building after this<br />
large influx of people.<br />
matisse to malevich.<br />
pioneers of modern art from the hermitage<br />
This was the first time that such an imposing exhibition<br />
of avant-garde masterpieces had been shown in the Netherlands:<br />
from 6 March to 17 September 2010 the Centre<br />
featured masterpieces by Matisse, Picasso, van Dongen,<br />
de Vlaminck and other outstanding pioneers of modern<br />
art. <strong>The</strong> exhibition described the sources of modern art as<br />
a historical phenomenon and also provided an idea of the<br />
artistic trends at the turn of the 19th and 20th centuries,<br />
when a revolution in the history of world art took place.<br />
<strong>The</strong> exhibition, which was designed by Pieter Roosen,<br />
was very successful, attracting more than 375,000 visitors.<br />
It was accompanied by a whole series of educational programmes<br />
– for example, a special “educational wall” was<br />
built, describing Paris at the turn of the 19th and 20th centuries.<br />
Visitors purchased over 15,000 catalogues, with<br />
articles by State Hermitage researchers.<br />
From 1 April to 9 May 2010 the exhibition welcomed<br />
a “special guest”: <strong>The</strong> Dance, one of Henri Matisse’s most<br />
important works, which had never previously been shown<br />
in the Netherlands, was sent to Amsterdam from St. Petersburg.<br />
<strong>The</strong> Russian Ministry of Culture gave permission<br />
Installing Matisse to Malevich. Pioneers of Modern Art from the Hermitage exhibition<br />
for the canvas to be on display for six weeks. <strong>The</strong> painting<br />
was included in the exhibition with the support of the<br />
Turing Foundation and KLM Royal Dutch Airlines, which<br />
provided a special aircraft for its transportation.<br />
As part of the preparations for the exhibition the Centre<br />
organized a special press trip to Moscow. A film about the<br />
collectors Sergei Shchukin and Ivan Morozov and the fate<br />
of their collections was made for Dutch television.<br />
Several thousand masks in the Cubist style were made by<br />
schoolchildren in the children’s centre. <strong>The</strong> best works<br />
by pupils in classes for gifted children were shown in three<br />
rooms directly adjoining the exhibition.<br />
<strong>The</strong> exhibition was accompanied by an extensive cultural<br />
programme: lectures, courses, theatrical and musical<br />
presentations.<br />
from dusk to dawn<br />
From 11 June to 12 September 2010 the Hermitage • Amsterdam<br />
Exhibition Centre presented a major art project<br />
by the famous Dutch photographer Erwin Olaf.<br />
<strong>The</strong> immortal alexander the great. <strong>The</strong> myth. <strong>The</strong> reality.<br />
his Journey. his legacy. hermitage<br />
An exhibition devoted to Alexander the Great, his Eastern<br />
campaign and the spread of Hellenism, shown in the<br />
Netherlands for the first time, was held in the Centre from<br />
18 September 2010 to 16 March 2011. <strong>The</strong> exhibition was<br />
designed by Ger Feijen, and the graphic design and design<br />
of the catalogue was by “UnA Designers”.<br />
temporary exhIbItIons<br />
Erwin Olaf created photographic interpretations of Alexander<br />
for the exhibition. By superimposing images of a real<br />
model on pictures of the museum exhibits, Olaf managed<br />
to convey the character of Alexander and to re create his<br />
facial features. <strong>The</strong> project was started by Erwin Olaf and<br />
his team in the State Hermitage’s photographic studio,<br />
where photographs of the museum exhibits were taken,<br />
and completed in Olaf’s studio in Amsterdam with shots of<br />
a live model. Erwin Olaf’s photographs became the basis<br />
of the advertising campaign for the exhibition and were<br />
included on the posters. One of Olaf’s works was used on<br />
the cover of the catalogue.<br />
<strong>The</strong> Dutch TV company “AVRO” made a documentary<br />
film for the exhibition. It was shot in Pella, Alexander’s<br />
birthplace. At sessions in the children centre pupils made<br />
special medals of Alexander the Great. <strong>The</strong> courses and<br />
lectures that accompanied the exhibition were invariably<br />
well received by their audiences.<br />
As part of “Museum Night 2010” the Hermitage • Amsterdam<br />
Exhibition Centre organized a presentation of battles<br />
in the style of Alexander the Great in the Centre’s inner<br />
courtyard.<br />
lucia ganieva’s ermitazhniki<br />
From 22 September 2010 the Hermitage • Amsterdam<br />
staged a project entitled Ermitazhniki by the Russian-Dutch<br />
photographer Lucia Ganieva. <strong>The</strong> project depicted State<br />
Hermitage custodians in front of paintings.<br />
44 45
temporary exhIbItIons<br />
<strong>hermiTage</strong> • iTaly cenTre<br />
ferrara, italy<br />
In the forefront of the activities of the Hermitage Centre<br />
in Italy during 2010 were research work and the broadening<br />
of the “geography” of the Hermitage’s links. As before,<br />
our staff’s work in Italy encompassed a wide variety of occupations,<br />
the most important of which was the preparation<br />
of academic catalogues of Hermitage collections. This<br />
task was undertaken by staff of the Department of Classical<br />
Antiquity (Olga Gorskaya and Yelena Arsentyeva) and the<br />
Department of Western European Fine Arts (Tatiana Kustodieva)<br />
in Ferrara. It should be noted that the Centre does<br />
not propose a permanent stay in Ferrara, but provides the<br />
opportunity to travel and stop in the places that relate to<br />
the field of interest of each stipendiary. <strong>The</strong> “debut” of Hermitage<br />
restorers should also be mentioned: in 2010 grants<br />
were awarded to Igor Malkiel (jointly with Marina Lopato)<br />
for the study of modern methods of restoring pieces made<br />
from precious metals, and to Svetlana Petrova, who worked<br />
temporarily at the Institute for the Restoration of Natural<br />
Stone in Florence, where she learned about the traditional<br />
methods of making and restoring Florentine mosaics. Svetlana<br />
Petrova described her work in the Institute in detail at<br />
a seminar in the Centre in December, where her account<br />
aroused lively interest among her Italian colleagues.<br />
From 2011 the Hermitage plans to be a regular participant<br />
in the <strong>annual</strong> Restoration and Conservation of Cultural<br />
and Artistic Heritage Show in Ferrara, where each of our<br />
museum’s restoration laboratories will be able to show the<br />
most significant results of its work.<br />
<strong>The</strong> main result of the Centre’s activity in 2010 was undoubtedly<br />
the publication of a catalogue of seventeenth-<br />
<strong>hermiTage</strong> • KaZan cenTre<br />
Kazan, republic of Tatarstan, russia<br />
chronicle of evenTS<br />
1 March<br />
Opening of the Women and Cats exhibition (part of the Second<br />
Republic Festival Hermitage Strolls with a Kazan Cat).<br />
<strong>The</strong> display included works by masters of the brush, the<br />
chisel, clay, felt and other artistic material, both acknowledged<br />
masters and debutants, vividly reflecting the mutual<br />
relations between women and cats.<br />
14 April<br />
Opening of the exhibition French Art of the 17th and 18th<br />
Centuries from the Hermitage. Over 200 works of painting,<br />
sculpture, furniture, pottery and porcelain, tapestries<br />
and artistic bronze represented the artistic life of France<br />
century Italian art by Svetlana Vsevolozhskaya, the result of<br />
the combined efforts of Hermitage staff and their Italian<br />
colleagues. <strong>The</strong> publication was presented to a large gathering<br />
of Italian journalists by State Hermitage Director<br />
Mikhail Piotrovsky on 8 July in the Palazzo Clerici in Milan,<br />
and immediately afterwards in Ferrara.<br />
A successful departure in the Centre’s activity last year was<br />
the introduction of regular public lectures given by the<br />
best-known and most respected specialists from all over<br />
the world. <strong>The</strong> main series was devoted to the 400th anniversary<br />
of Caravaggio’s death. In parallel the Centre ran<br />
a second series of lectures concerning the collections of<br />
the largest museums. Among those taking part were Gabriele<br />
Finaldi, who talked about the Prado collection, Alain<br />
Bregent de Lavernier (Director of the factories of Gobelin,<br />
Beauvais and the furniture collections of France) and Irina<br />
Artemyeva, who lectured on the history of the Hermitage<br />
collections of Italian painting.<br />
Last summer State Hermitage Director Mikhail Piotrovsky<br />
signed a Protocol of Intent with the Trieste port<br />
authority and city administration. Trieste – the eastern<br />
outpost of Italy – borders with Slovenia and thus links<br />
Western and Eastern Europe. This relatively young city<br />
(it only began to be built in the late 18th century and the<br />
main part was built in the 19th and early 20th centuries)<br />
is unlike other Italian cities and is somewhat reminiscent<br />
of St. Petersburg. Trieste is also similar to this city in its<br />
importance as a seaport, one of the largest in Italy. It was<br />
no coincidence that along with the Hermitage a protocol<br />
concerning co-operation in the cultural sphere was also<br />
signed by Andrei Lialin, Director of the Central Naval<br />
Museum: a future possibility is a joint exhibition project<br />
on a naval theme.<br />
in that period. It was the first time the Hermitage had<br />
shown French art in such a volume and variety of genres<br />
in Kazan.<br />
Many of these works had been included in international exhibitions,<br />
others were kept in reserves and only rarely put<br />
on display, and some were being shown for the first time.<br />
A fine example was a portrait of Louis XIV (1638–1715),<br />
made of various shades of leather, shown in this exhibition<br />
for the first time and specially restored for the purpose.<br />
<strong>The</strong> reign of the Sun King was represented by the first<br />
half of the display, which opened with an equestrian statue<br />
of Louis. One of the rooms was devoted to the work of the<br />
two major artists of the 17th century – Nicolas Poussin<br />
(1594–1665) and Lorrain (Claude Gellée) (1600–1682).<br />
<strong>The</strong> seventeenth-century room also featured religious<br />
paintings of the second half of the century and portraits.<br />
Besides paintings, the rooms also included furniture, tapestries<br />
and pottery from that time.<br />
Opening of French Art of the 17th and 18th Centuries<br />
from the Hermitage exhibition.<br />
Zilya Valeyeva, Deputy Prime Minister and Minister of Culture<br />
of the Republic of Tatarstan; Ramil Khayrutdinov, Director of the Kazan<br />
Kremlin State Historical-Architectural and Artistic Museum Reserve;<br />
Vladimir Matveyev, State Hermitage Deputy Director for Exhibitions<br />
and Development<br />
temporary exhIbItIons<br />
<strong>The</strong> second, more extensive, part of the exhibition presented<br />
the brilliant art of the 18th century – the elegant<br />
light Rococo with its “gallant scenes” from the beginning<br />
of the century and the genre paintings and portraits from<br />
the end of it. <strong>The</strong> Rococo style was also extensively represented<br />
in works of applied art – furniture, sculpture and<br />
tapestries supplemented the furnishing of the room where<br />
works of the major late eighteenth-century painter Hubert<br />
Robert (1733–1808) were displayed. One of the rooms<br />
included a collection of Sévres porcelain. Items from two<br />
different services gave an idea of the work of the royal porcelain<br />
factory and the pieces made there.<br />
Most of the works were prepared and restored specially for<br />
this exhibition.<br />
15 May<br />
“Museum Night 2010”. Exhibition project So Near, So Far…<br />
by the “Razniye Shtuki” group, the result of the gradual acquaintance<br />
of the staff of the Hermitage • Kazan Centre’s<br />
Laboratory of Topical Art with the types, genres and forms<br />
of topical art.<br />
18 May<br />
Opening of a retrospective exhibition of the work of Lev<br />
Potiagunin (1925–1996), marking the 85th anniversary<br />
of the birth of one of the leading graphic artists in the Republic<br />
of Tatarstan active from the 1960s to 1990s.<br />
46 47
temporary exhIbItIons<br />
1 August<br />
Introduction of the Veni, Vidi, Vici crossword-guide to the<br />
exhibition French Art of the 17th and 18th Centuries from the<br />
Hermitage. <strong>The</strong> crossword-guide was a sort of analogue of<br />
a guided tour for every visitor to the museum. It made<br />
it possible for each visitor to converse, ask questions, solve<br />
puzzles, notice subtleties and make discoveries. On the<br />
one hand the visitor was independent, but on the other<br />
hand was drawn into a scenario of a dialogue with an object<br />
in the museum as conceived by the author.<br />
9 August<br />
Opening of the exhibition <strong>The</strong> Changing Image of Changing<br />
Fashion from the collection of the “Moscow House of Photography”<br />
Museum, organized as part of the France – Russia<br />
Year. <strong>The</strong> exhibition included 53 photographs by two<br />
well-known French photo graphers – Gerard Uferas and<br />
Francoise Uguet, capturing the most interesting moments<br />
in the history of French fashion houses.<br />
24 August<br />
Hermitage assembly to mark the Centre’s fifth anniversary.<br />
<strong>The</strong> following programmes were based on materials in the<br />
exhibition French Art of the 17th and 18th Centuries from the<br />
Hermitage:<br />
• Interactive guided tour Close Your Eyes and See. Museum<br />
atmosphere, bandage over your eyes, the guide’s voice<br />
letting you switch off from what is going on around you,<br />
enter into a dialogue with the artist and understand the<br />
codes and symbols in his work.<br />
• Interactive tour-game French Hat Festival. In each room,<br />
after viewing the exhibits, specific tasks were set (searching<br />
for fragments of works of art in the display, learning<br />
the purpose of objects from a bygone age, getting to know<br />
an old French game and the language of the fan). After<br />
completing it, children won playing bonuses (flowers),<br />
to decorate the main prize – a hat.<br />
• Practical session Lesson in Cryptography – addendum to<br />
the guided tour of the exhibition. <strong>The</strong> political history<br />
of Europe was awash with diplomatic intrigues. Important<br />
letters were written in invisible ink. Each correspondent<br />
had a whole chemical laboratory in his writing-desk, with<br />
lecTure hall<br />
of <strong>The</strong> <strong>hermiTage</strong> • KaZan cenTre<br />
In the five years that the lecture hall in Kazan has been<br />
in operation Hermitage staff have given over 360 lectures,<br />
but it is more than a matter of numbers. <strong>The</strong>re are two<br />
main results of the lecture hall’s activity, two main conclusions<br />
drawn by the staff of the Kazan Centre – the or-<br />
the aim of being able to read the real message behind the<br />
meaningless lines. At the end of the guided tour visitors<br />
discovered the secret of cryptography.<br />
• <strong>The</strong>matic guided tour Plate with a Gold Edge, based on materials<br />
in the exhibition. <strong>The</strong> tour described the 300-year<br />
history of Sévres porcelain – everyday items that always<br />
arouse admiration and are leading examples of decorative<br />
applied art.<br />
11–12 September<br />
Exhibition project <strong>The</strong> Digital Tower, part of the “Kremlin<br />
Live 2010” Festival.<br />
Exhibition by the contemporary Dutch artist Pauline<br />
Olteiten. Five video works entitled Collection of an Observer<br />
demonstrated documentary film sessions – not staged<br />
by the artist, but scenes observed by chance.<br />
Demonstration of works by the Orenburg video artist Kit<br />
Plekhanov entitled Digital Generative Art, featuring the pulsation<br />
of complex multicoloured patterns on the walls<br />
of the Tainitskaya Tower. GrrrBzzz, a programme of electronic<br />
music by Muscovite Alexander Sinyagin, accompanied<br />
the video showing.<br />
13 October<br />
Opening of an exhibition by diploma-winners at the 8th<br />
“Russian Art Week” International Festival-Competition<br />
of Contemporary Art.<br />
29 October<br />
Individual exhibition by the artist-sculptor Mahmut Gasimov<br />
to mark his 65th birthday.<br />
27 November<br />
Opening of an exhibition of works by pupils of the Hermitage<br />
• Kazan Centre’s children’s art studio, including watercolours,<br />
collages and large installations on the themes<br />
of exhibitions from the State Hermitage.<br />
15 December<br />
Opening of the exhibition A Silver Christmas. <strong>The</strong> Art of Jewellers<br />
from Krasnoye Selo<br />
ganizers of the lecture programme and the staff of the<br />
Special Programmes Sector of the Hermitage Education<br />
Department responsible for devising programmes and<br />
training lecturers: firstly, in the words of the Centre’s staff,<br />
“<strong>The</strong> Hermitage has brought lectures back to Kazan” – this<br />
type of contact of science and art with the general public<br />
was apparently forgotten completely since the early 1990s;<br />
secondly, in those five years an essentially “Kazan” lecture<br />
programme has been created – an organizational, rich<br />
in content and methodical formula for a lecture theatre of<br />
Hermitage standard has been found, meeting the conditions,<br />
cultural needs and perception of the Kazan public.<br />
<strong>The</strong> Hermitage lecture programme in Kazan was<br />
launched in 2005, immediately after the Centre opened.<br />
<strong>The</strong> first season was the most difficult, throwing up numerous<br />
problems on both sides. <strong>The</strong> people of Kazan<br />
had actually forgotten what a public lecture in a museum<br />
was. <strong>The</strong> general public in the city did not respond to invitations<br />
to the lectures – advertising had no effect, tickets<br />
and subscriptions remained unsold. And the lecture<br />
hall’s staff did not see any way of organizing it other than<br />
to distribute advertisements to educational establishments<br />
and appealing to teachers to bring their students<br />
to the lecture hall. As a result, Hermitage lecturers were<br />
faced with the necessity of giving lectures according to an<br />
academic, educational method, essentially simply replacing<br />
educational programmes in schools and colleges with<br />
Hermitage lectures, which contradicted the very essence<br />
of museum education and the method of public lectures<br />
in museums. However, even the direct transfer to the Kazan<br />
lecture hall of the Hermitage’s lecturing method and<br />
the principle of compiling large series of lectures with<br />
a common general theme, stretched out over the whole<br />
season and even spilling over into the next, which is customarily<br />
successful in the Hermitage, proved fairly unproductive<br />
here in Kazan. What was necessary was a lengthy<br />
collaboration based primarily on the common desire of<br />
the Hermitage and the Centre to find a mutual understanding<br />
and compile a programme of lectures and make<br />
them an effective, necessary and interesting part of the<br />
Hermitage’s activity in Kazan. <strong>The</strong> constant contact and<br />
co-operation between the Hermitage staff and the Kazan<br />
Centre was expressed not only in agreeing subjects, periods<br />
and schedules, but above all in a careful study of<br />
the interests and requirements of the potential Kazan<br />
audience. In 2007 the Hermitage’s Sociological Sector<br />
devised a questionnaire that became the basis of regular<br />
public opinion polls conducted by the Centre’s staff.<br />
<strong>The</strong> opinions expressed in the questionnaires, systematic<br />
polls carried out once a season, round table discussions,<br />
meetings of staff of the Hermitage and the Centre with<br />
members of the audience, direct contact between Hermitage<br />
lecturers and the public – all this became an essential<br />
source of information, on the basis of which the<br />
system of thematic programmes, the method and organization<br />
of lectures were devised and adjusted.<br />
Colleagues from Kazan who worked extensively and actively<br />
with the people of Kazan were able to establish various<br />
links with them. <strong>The</strong>y not only consolidated and significantly<br />
broadened links with the teacher-student audience<br />
of Kazan, which now forms almost half of the lecture hall’s<br />
regular audience. <strong>The</strong>y also managed to attract middleaged<br />
Kazan residents, the city’s intelligentsia, with which<br />
temporary exhIbItIons<br />
the Centre’s staff maintain contact not only by conventional<br />
means – through advertisements, newspapers, radio and<br />
cultural institutions, but also by direct personal contact<br />
with almost every member of the audience.<br />
What we now have, it seems to us, is a schedule of lectures<br />
that is as convenient as possible for the Kazan audience<br />
and the Hermitage. <strong>The</strong> Hermitage lecture programme<br />
operates in the Kazan Centre for three successive days every<br />
month, two lecturers from the Hermitage giving two lectures<br />
each per day. <strong>The</strong>re are fewer lectures in comparison<br />
with the difficult first season of 2005/06 (72 as opposed<br />
to 120), but the number of listeners has increased from<br />
2,600 in the first season to nearly 4,000 in 2009/10. And in<br />
just the first two sessions of the 2010/11 season (two trips)<br />
in October and November 1,600 people have already attended<br />
lectures.<br />
<strong>The</strong> principles for forming the thematic programmes of<br />
lectures were substantially different from those traditionally<br />
followed by the Hermitage; they took into account<br />
the schedule, the conditions of work, the make-up and<br />
needs of the audience. Above all, we dispensed with large<br />
comprehensive cycles of lectures. <strong>The</strong> basic “module” for<br />
drawing up the programmes was a cycle of three lectures<br />
on one subject by one lecturer, which could be given on<br />
one visit to Kazan (each lecture twice). A mini-cycle such<br />
as this could stand alone or could be correlated with another<br />
three-lecture cycle on a related subject by another<br />
lecturer.<br />
<strong>The</strong> choice of subjects for the Kazan audience is always<br />
a matter of serious work. We study the needs of the audience<br />
and the suggestions of the Hermitage • Kazan Centre,<br />
and without fail relate these to the specifics of the Hermitage’s<br />
academic and educational activity. <strong>The</strong> themes of our<br />
lectures are always the history of art and artistic culture.<br />
Matters of socio-political history and religion are subjects<br />
frequently requested by our Kazan listeners – they are seen<br />
not as independent subjects but only in the context of the<br />
history of art and culture. Each season’s programme includes<br />
a cycle on the latest Hermitage exhibition staged<br />
in the Centre.<br />
Five years is not a long time – it is just a beginning that<br />
has enabled us to acquire positive experience, leading<br />
us to hope for the successful future development of the<br />
Hermitage lecture hall, which has “brought lectures back<br />
to Kazan”.<br />
By Ludmila Torshina<br />
Head of the Special Programmes Sector<br />
Education Department, State Hermitage Museum<br />
48 49
temporary exhIbItIons<br />
<strong>hermiTage</strong> • vyBorg cenTre<br />
On the basis of an Agreement on Co-operation between<br />
the Government of the Leningrad Region, the State Hermitage<br />
Museum and the Vyborg District municipal structure,<br />
the Hermitage • Vyborg Exhibition Centre opened<br />
on 16 June 2010. <strong>The</strong> Centre is located in a building<br />
that is an architectural monument – the former Museum<br />
of Fine Arts, designed by Uno Ulberg.<br />
<strong>The</strong> first exhibitions at the Centre were: Catherine the Great,<br />
devoted to the Hermitage’s founder Catherine II, and<br />
<strong>The</strong> Northern War. <strong>The</strong> Taking of Vyborg by Russian Troops in<br />
1710, marking the 300th anniversary of that event.<br />
Catherine the Great (16 June 2010 – 7 February 2011) comprised<br />
211 exhibits arranged in four sections, reflecting<br />
the Empress’s state and educational activities, as well as<br />
her personal life. A separate subject was St. Petersburg.<br />
<strong>The</strong> exhibition included painting, graphic art, sculpture,<br />
medals and jewellery.<br />
<strong>The</strong> rooms devoted to Catherine as a patron of science<br />
and art featured paintings from the collection of Catherine’s<br />
Hermitage (by Mattia Preti, Salvatore Rosa and Adolf<br />
Kaufmann), pieces from the Imperial Porcelain Factory<br />
and Glassworks and the Peterhof Lapidary Factory. <strong>The</strong> display<br />
also included portraits of her closest associates, who influenced<br />
the development of Russian science and culture,<br />
playing a significant part in the establishment of the Imperial<br />
Academy of Arts, the development of the Academy of<br />
Sciences and the formation of the Empress’s brilliant art<br />
collection: Yekaterina Dashkova, Ivan Betskoi, Ivan Shuvalov,<br />
Alexander Stroganov and Nikita Panin. <strong>The</strong> activity<br />
of French educators and Catherine’s correspondence with<br />
Voltaire were also reflected in these rooms.<br />
Numismatic exhibits, jewellery and military uniforms, as<br />
well as allegorical paintings portraying the successes of the<br />
Russian army in wars in the north and south of the country<br />
(by Heinrich Buchholz and Andreas Guney) and portraits<br />
of military leaders, cast light on Russian foreign policy<br />
in the second half of the 18th century.<br />
<strong>The</strong> third section was devoted to the history of the Empress’s<br />
accession, her family and the principal events in<br />
her private life. In these rooms one could see painted<br />
and drawn portraits of Catherine and members of her<br />
family – Emperor Peter III, Grand Duke Pavel (Paul)<br />
Petrovich, Grand Duchess Maria Fiodorovna, Grand<br />
Dukes Alexander and Konstantin. Also on display were<br />
Catherine’s uniform dresses and medals issued on the occasion<br />
of births, weddings and other events in the life<br />
of the Imperial family.<br />
<strong>The</strong> city of St. Petersburg, which became a genuine Imperial<br />
capital under Catherine, was represented by engravings<br />
(by Thomas Melton, Ludwig and Matthias Laurie,<br />
Benjamin Paterssen and Karl Beggrov), memorial medals<br />
and works of decorative applied art devoted to the creation<br />
of the famous architectural ensembles.<br />
<strong>The</strong> famous “mug with ears of corn” was specially restored<br />
for this exhibition, as were portraits of Grand Duke Peter<br />
and Grand Duchess Catherine from the collection of<br />
the Department of the History of Russian Culture (these<br />
portraits had never previously been shown). Other items<br />
put on display for the first time were: a steel medallion<br />
depicting Catherine II by A. Wiedemann and a series of<br />
medals entitled Famous Men of France in honour of French<br />
educators.<br />
Since the Centre opened it has welcomed more than<br />
11,000 visitors: from St. Petersburg, Vyborg, the Leningrad<br />
Region, from 69 other cities and regions of Russia (Moscow,<br />
Volgograd, Krasnoyarsk, Petropavlovsk-Kamchatsky,<br />
Omsk, Komsomolsk-na-Amure, Salekhard, Tyumen, Ishim,<br />
Magnitogorsk, Vladivostok and Yakutsk), and from abroad<br />
(Finland, Brazil, Germany, Israel, Spain, Britain, South<br />
Africa, China, Latvia, Ukraine, Belarus and Estonia).<br />
<strong>The</strong> centre’s staff have conducted over 200 guided tours,<br />
including some in Finnish and English.<br />
<strong>The</strong> visitors to exhibitions have included schoolchildren<br />
and students, forces personnel and pensioners, people<br />
with restricted physical abilities – members of the Korchaginets<br />
club for wheelchair invalids, and people with restricted<br />
eyesight who were able to familiarize themselves with<br />
Hermitage collections for the first time. By an agreement<br />
with the Vyborg District Education Committee around<br />
1,500 secondary school pupils have visited the Hermitage •<br />
Vyborg Centre.<br />
Vyborg Day (19 August) and Elderly Person’s Day (1 October)<br />
were open days at the Centre for war veterans and the<br />
older generation.<br />
<strong>The</strong> Centre has initiated particularly valuable mutual relations<br />
with the students and teachers of the Vyborg School<br />
of Art, which is part of the same complex of buildings.<br />
Since the Centre was constructed and opened in 2008<br />
a season of lectures on the museum collections for students<br />
of higher educational establishments in Vyborg was<br />
launched and is still continuing with the direct participation<br />
of State Hermitage research staff. In the 2010 season<br />
seven lectures were given in the series Pages from the History<br />
of Renaissance Art, some of them in the Vyborg Humanitarian<br />
Gymnasium and in the Vyborg branch of the Herzen<br />
Pedagogical University in St. Petersburg.<br />
<strong>The</strong> Centre runs a museum study group for primary and<br />
secondary schoolchildren. Just before the Christmas holidays,<br />
with the view of attracting children and their parents<br />
into the creative process, the Centre announced a competition<br />
entitled “A Christmas Card in the ‘Hermitage’<br />
Style”. Over 150 works in a variety of sizes and techniques<br />
were submitted to the jury. At a ceremony on 25 December<br />
the finalists were awarded prizes and an invitation for their<br />
families to visit the Centre.<br />
For adult visitors the Centre organized artistic events in<br />
the Art Foyer. <strong>The</strong>y included: a concert and the presentation<br />
of a new book of poetry by Valery Remeniuk, a Vyborg<br />
Opening of the Hermitage ∙ Vyborg Centre<br />
author-performer who has participated in numerous music<br />
festivals; a meeting with Doctor of History Hannu Takala,<br />
Director of the Lahti Historical Museum, who spoke about<br />
the history of former Vyborg museums; the presentation<br />
of the Monrepos almanac, marking the 250th anniversary<br />
of the famous Vyborg park-reserve. In an article entitled<br />
“Each of us is an Author of History”, Yekaterina Zuyeva,<br />
a journalist from the Vyborg newspaper, wrote the following<br />
concerning the event: “<strong>The</strong> presentation of this beautifully<br />
illustrated publication took place in the Hermitage •<br />
Vyborg Exhibition Centre, which (coincidentally) was celebrating<br />
100 days since its opening ceremony. Unexpected<br />
coincidences, little discoveries, the intersection of the<br />
cultural currents in Vyborg’s history – this is so typical of<br />
a multicultural ancient city”.<br />
Once a month the Hermitage Cinema Club in the Centre<br />
shows a historical feature film free of charge, with a preliminary<br />
introduction to the subject or other artistic phenomenon<br />
to which the film is devoted and the story of its<br />
making. <strong>The</strong> Club started its activities with a showing and<br />
discussion of Alexander Sokurov’s film <strong>The</strong> Russian Ark.<br />
A substantial number of the Centre’s foreign visitors are<br />
temporary exhIbItIons<br />
Finnish nationals, who appreciate the opening of an art<br />
centre in Vyborg as a revival of multinational (including<br />
Finnish) cultural traditions. On a commission from one<br />
of the Finnish television channels the TV presenter Lisa<br />
Hovinheimo made a documentary about the creation of<br />
an exhibition centre in the former Museum of Fine Arts<br />
as a sign of respect for Vyborg’s historic past; the film has<br />
already been shown three times in the Centre. <strong>The</strong> Centre<br />
is a regular focus of attention for the Finnish media<br />
and art museums in Finland, as confirmed by the number<br />
of proposals for joint projects at the 11th Russian-Finnish<br />
Cultural Forum, which took place in October 2010 in the<br />
Finnish town of Hameenlinna. <strong>The</strong>se included an exhibition<br />
of watercolours by Viktor Svetikhin from the South<br />
Karelia Regional Museum in the town of Lappeenranta<br />
and a possible exhibition from the collections of the<br />
former Vyborg Museum of Fine Arts (1930–1939). Various<br />
kinds of support for these undertakings are being provided<br />
by the Finnish Consulate-General in St. Petersburg, the<br />
Viipuri Centre autonomous noncommercial organization<br />
and its main partner in Helsinki – the Viipuri Keskus public<br />
organization.<br />
50 51
temporary exhIbItIons<br />
J curaTorS on exhiBiTionS<br />
maTiSSe To malevich.<br />
pioneerS of modern arT<br />
from <strong>The</strong> <strong>hermiTage</strong><br />
Hermitage ∙ Amsterdam Exhibition Centre<br />
6 March – 17 September 2010<br />
<strong>The</strong> title of the exhibition – one of the most interesting<br />
projects of recent years – was an exact reflection of the<br />
compass and the high standard of this “away session”.<br />
76 exhibits, predominantly paintings, helped to create<br />
a display the like of which had never previously been seen<br />
in the Netherlands. <strong>The</strong> status of any exhibition is chiefly<br />
determined by the masterpieces featured in it. Among the<br />
canvases that have long been included in any textbook<br />
on modern art are: Matisse’s <strong>The</strong> Red Room, Game of Bowls,<br />
Still Life with Blue Tablecloth and Moroccan in Green, Picasso’s<br />
<strong>The</strong> Absinthe Drinker, Woman with Fan and Dryad, Derain’s<br />
Portrait of a Man Reading a Newspaper, van Dongen’s Lady<br />
in a Black Hat and Kandinsky’s Composition VI. One more<br />
masterpiece, Matisse’s <strong>The</strong> Dance, which rarely leaves the<br />
Hermitage as it is one of the museum’s trademark paintings,<br />
joined the exhibition in April for a month.<br />
In compiling the exhibition, we tried to highlight the most<br />
influential trends of the first two decades of the 20th century<br />
– chiefly the work of painters represented at the Hermitage<br />
at the very highest level: Matisse, Picasso, Derain,<br />
Kandinsky and their colleagues. In this way Fauvism, Expressionism,<br />
Cubism and early Abstractionism were demonstrated<br />
vividly and in great variety.<br />
<strong>The</strong> Hermitage generously loaned its Amsterdam “namesake”<br />
sixteen works by Matisse, fourteen by Picasso, nine by<br />
Derain and five by Kandinsky. Each of these groups formed<br />
a unique mini-exhibition within the broad panorama of<br />
European avant-garde at the height of its popularity. In encompassing<br />
the various trends followed by its pioneers,<br />
the display in Amsterdam was organized as a combination<br />
of five sections: Henri Matisse, the Fruit of Twinkling Light;<br />
<strong>The</strong> Fauvists and <strong>The</strong>ir Fellow-Travellers; Andre Derain, the Conservative<br />
Avant-Garde Painter; Pablo Picasso, Equation of Super-<br />
Realities and <strong>The</strong> Attraction of Abstractionism.<br />
When negotiations on the organization of exhibitions from<br />
the Hermitage collection in Amsterdam were held in 2008,<br />
a decision was taken to begin with a display of early twentieth-century<br />
art, and two years later to show works from the<br />
preceding stage, Impressionism, Post-Impressionism and<br />
Nabi, which it is planned to do in the projected period.<br />
By Albert Kostenevich<br />
“<strong>The</strong> wind in <strong>The</strong> pineS…” 5,000 yearS<br />
of Korean arT. from <strong>The</strong> naTional <strong>muSeum</strong><br />
of Korea<br />
State Hermitage Museum<br />
1 June – 5 September 2010<br />
<strong>The</strong> exhibition was timed to coincide with the 20th anniversary<br />
of the establishment of diplomatic relations<br />
between Russia and the Republic of Korea. Masterpieces<br />
dating from the Neolithic Age to modern times from the<br />
National Museum of Korea and provincial Korean museums<br />
were shown in Russia for the first time.<br />
Material from archaeological excavations, particularly<br />
a fine display of ceramics and bronze, provided an idea<br />
of the ancient history of Korea.<br />
<strong>The</strong> period of the Three Kingdoms (1st century B.C. –<br />
7th century A.D.) was represented by a number of fascinating<br />
objects that provided evidence of the complexity<br />
of religious concepts and the perfection of technologies<br />
for working with various materials. <strong>The</strong>y included ceramic<br />
pieces made in Baekje and Silla – for example, a magnificent<br />
vessel in the shape of a horseman, which was used<br />
during various rituals and has the status of a national<br />
treasure.<br />
<strong>The</strong> jewellery pieces found in the burials of rulers of Silla<br />
are famous the world over: crowns, bracelets, waist adornments<br />
and earrings. <strong>The</strong> crown with pendants from the<br />
burial of Sobon-Chong (5th century) also has the status<br />
of a national treasure.<br />
<strong>The</strong> development of culture and art received a new impulse<br />
with the unification of the Three Kingdoms in 668.<br />
<strong>The</strong> introduction of a common state language (spoken<br />
and written) led to the erosion of differences between<br />
regions. <strong>The</strong> powerful influence of Buddhism, imported<br />
from China in the 4th century, and the consequent growing<br />
demand for artistic works led to a boom in Korean art,<br />
especially in sculpture. <strong>The</strong> sculpture included on display<br />
demonstrates a stylistic unity among a variety of themes<br />
and means of expression.<br />
In the late 9th and 10th centuries the country was plunged<br />
into a series of internecine wars that ended with the fall<br />
of Silla and the founding of the Goryeo state (918–1392).<br />
At that time the leading role passed to small sculptures<br />
and decorative art. Ceramics enjoyed a particular boom.<br />
Among the most remarkable achievements of Korean potters<br />
were the famous Korean celadons, which were originally<br />
influenced by Chinese pieces, but subsequently took<br />
on an entirely different character. <strong>The</strong>y included objects,<br />
which had no analogues in the world, inlaid with coloured<br />
sangam clays and painted with coloured oxides of metals;<br />
decorated with gold, relief, carving and engraving.<br />
<strong>The</strong> exhibition featured fine examples of celadons from<br />
the period when their popularity was at its highest.<br />
In 1273 Korea fell under the power of the Mongols, and<br />
in 1392, as a result of a crisis of power, the Goryeo dynasty<br />
collapsed and was replaced by the new Li dynasty (1392–<br />
1897). <strong>The</strong> country started to be called Chosun (“Land of<br />
Morning Freshness”). Confucianism became the official<br />
religion, and this had a great influence on the country’s<br />
cultural life.<br />
One of the most important events was the invention in<br />
the 15th century of a Korean alphabet and a mobile metal<br />
script that enabled classical Chinese texts to be translated<br />
into Korean. Painting became the principal type of pictorial<br />
art in this period, since the skilful wielding of a brush<br />
was considered to be one of the Confucian virtues. <strong>The</strong><br />
portrait genre became particularly popular. <strong>The</strong> exhibition<br />
featured works by well-known masters in various genres.<br />
Decorative art in the Chosun period was marked by outstanding<br />
innovations in ceramics, like, for example, punchhon<br />
pieces decorated with underglaze painting or carving<br />
on engobe. Along with ceramics, an important place was<br />
occupied by the manufacture of lacquered items. A particular<br />
type of decorative art was hwagak pieces, decorated<br />
with transparent strips of horn painted with coloured<br />
paints. This technique, invented in Korea, was widely used<br />
in folk crafts in the late Chosun period for decorating sewing<br />
caskets, boxes, furniture, etc.<br />
<strong>The</strong> exhibition included 238 items, eleven of which had<br />
the status of national treasures. <strong>The</strong>se masterpieces of Korean<br />
national art provided a vivid idea of the original art<br />
that has developed in the country over several millennia.<br />
By Tatiana Arapova<br />
“Since ToBacco you love So much…”<br />
State Hermitage Museum<br />
25 June 2010 – 4 September 2011<br />
This exhibition, the title of which was taken from one of<br />
Pushkin’s early poems, featured items of applied art linked<br />
by a single theme – the history and culture of tobacco use<br />
in Europe. Visitors could see 120 works that formed part<br />
of the tobacco culture of Europeans from the 17th to early<br />
20th centuries. <strong>The</strong>se were tobacco graters – a rare item for<br />
shredding tobacco leaves that has completely disappeared<br />
from use – made of wood, ivory, mother-of-pearl and silver.<br />
<strong>The</strong> largest group of works comprised containers for storing<br />
tobacco: boxes, pouches, and particularly snuffboxes,<br />
which were so firmly entrenched in eighteenth-century<br />
life that the century came to be known as the snuffbox<br />
age. <strong>The</strong>re were portable and table snuffboxes, chosen to<br />
suit a costume and the period. <strong>The</strong> exhibition included<br />
elegant boxes of stone and tortoiseshell, ivory and porcelain,<br />
mother-of-pearl and rock crystal that belonged to<br />
society ladies and gentlemen. A special group consisted<br />
temporary exhIbItIons<br />
Opening of “Since Tobacco You Love so Much…” exhibition<br />
52 53
temporary exhIbItIons<br />
of soldiers’ snuffboxes made of copper and tin, intended<br />
for storing tobacco in campaign conditions. Gold and silver<br />
snuffboxes, decorated with precious stones, were used<br />
not only for their main purpose, but also served as valuable<br />
gifts, equal in significance to medals and orders.<br />
<strong>The</strong> exhibition also featured snuffboxes that belonged<br />
to the Russian Emperors Peter I and Peter II, Empresses<br />
Anna, Elizabeth and Catherine II, and the European monarchs<br />
Augustus the Strong, Frederick the Great and Louis<br />
XV. <strong>The</strong>y were gold boxes with portraits, monogrammes,<br />
and compositions on allegorical and historical themes.<br />
<strong>The</strong>y were made by leading European masters, and by the<br />
end of the 18th century snuffboxes had become collector’s<br />
items. <strong>The</strong> Hermitage’s collection of snuffboxes is one<br />
of the best in the world.<br />
Throughout the century the sniffing and chewing of tobacco<br />
had also been accompanied by smoking, which in<br />
the 19th century eclipsed the other practices and became<br />
the widespread habit that is still popular today. Tobacco<br />
smoking led to the manufacture of cigars, cigarettes and<br />
varieties of them, and special containers were made for<br />
storing them – cigarette cases and cigar boxes. <strong>The</strong>se were<br />
represented in the exhibition by the works of masters from<br />
many Western European countries, as well as Russia.<br />
One of the most romantic habits was pipe smoking.<br />
<strong>The</strong> exhibition included several clay pipes found during<br />
excavations on the territory of the Winter Palace in 2006.<br />
<strong>The</strong>y have come down to us in a fragmentary condition,<br />
but their importance is in that they belonged to the first<br />
builders of St. Petersburg. <strong>The</strong>ir simple design contrasts<br />
<strong>The</strong> immorTal alexander <strong>The</strong> greaT.<br />
<strong>The</strong> myTh. <strong>The</strong> realiTy. hiS Journey.<br />
hiS legacy. <strong>hermiTage</strong><br />
Hermitage ∙ Amsterdam Exhibition Centre<br />
18 September 2010 – 16 March 2011<br />
This was the first time that an exhibition devoted to Alexander<br />
the Great, his Eastern campaign and the subsequent<br />
influence of Hellenism on world artistic culture was<br />
staged in the Netherlands. <strong>The</strong> display encompassed a period<br />
of over 2,500 years – from the 5th century B.C. to the<br />
20th century. <strong>The</strong> project was a version of the exhibition<br />
Alexander. Road to the East held in the Hermitage in 2007.<br />
<strong>The</strong> main subject of the exhibition was the myth of Alexander,<br />
his Eastern campaign and its consequences for the<br />
West and for the East. It described the meeting of the great<br />
civilizations – the Hellenic world, the ancient empires of<br />
the East and the world of the nomadic peoples; how the<br />
process of Hellenization began everywhere Alexander<br />
went – Greek art and architecture, the Greek language<br />
and way of life spread everywhere. This influence affected<br />
a huge area from Greece to India, as far as Mongolia and<br />
with the high artistic standard of the pipes made for members<br />
of the Imperial family. <strong>The</strong> sizes of the pipes, as well<br />
as the materials from which they are made, the subjects<br />
of the painted and carved decoration, are extremely varied.<br />
Pipes were supplemented by ashtrays and matchboxes,<br />
lighters, and stands and boxes of various shapes.<br />
From the time tobacco first appeared in Europe, masters<br />
have created a wealth of various items for its storage and<br />
use – not only utilitarian, but sometimes exquisitely expensive.<br />
Many of them, by virtue of their high artistic merit,<br />
have become genuine masterpieces of decorative applied<br />
art and monuments of an era.<br />
By Olga Kostyuk<br />
other states beyond the boundaries of Ecumene (the world<br />
known to the Greeks). Attention was focused on the historic<br />
role of Alexander for the future of Western Europe,<br />
Russia and the East, and Hellenism as a global process of<br />
the interaction of civilizations and cultures.<br />
<strong>The</strong> first section of the display highlighted the myth of Alexander<br />
in the art and culture of Western Europe in the<br />
modern age. Among the sixteenth – nineteenth-century<br />
works based on the ruler’s life, exploits and triumphs were<br />
paintings by Sebastiano Ricci (Apelles Painting a Portrait<br />
of Campaspe) and Pietro Antonio Rotari (Alexander the Great<br />
and Roxana), the tapestry Alexander and the Family of Darius,<br />
as well as items of armaments and armour made in<br />
imitation of ancient ones. <strong>The</strong> visitor was then plunged<br />
into the atmosphere of antiquity in which the young conqueror<br />
grew up. <strong>The</strong> account began with the art of Classical<br />
Greece in the period preceding the great Eastern campaign.<br />
<strong>The</strong> display included Italian and Attic vases with<br />
themes from Homer’s Iliad, which served as a “textbook of<br />
valour” for Alexander. Particularly eye-catching were the<br />
colossal statues of Heracles and Dionysus, the mythological<br />
heroes who were Alexander’s “guiding stars”.<br />
A separate section was devoted to the semi-barbarian culture<br />
of the Balkans: the exhibits depicted the way and style<br />
of life of the Macedonians, armaments and funeral items.<br />
Undoubtedly of great interest for the European viewer<br />
were works by the northern nomads, a powerful political<br />
force of that period: the famous gorytos from the Chertomlyk<br />
Burial Mound and parts of a horse’s harness. Taken<br />
together, these items acquainted visitors with the cultural,<br />
political and artistic environment that shaped the personality<br />
of the great king and military leader.<br />
<strong>The</strong> following sections of the exhibition were devoted to<br />
Alexander’s campaign to the East, which embodied the<br />
idea of the expansion of Greek culture; the sections followed<br />
Alexander’s route in sequence: works of art from<br />
Asia Minor, ancient Egypt in the Ptolemaic period, and<br />
monuments demonstrating the ancient traditions in the<br />
Christian art of Coptic Egypt. Among the masterpieces on<br />
display were: Alexander in the Guise of Zeus on a gem from<br />
the 4th century B.C.; depictions of Alexander on coins<br />
and a miniature portrait of him in marble; portraits of<br />
the Hellenistic kings Mithridates VI Eupator and Ptolemy;<br />
the celebrated Gonzaga cameo; a fresco from Nymphea<br />
depicting the ship of Isis – possibly an ambassadorial ship<br />
from Egypt to the Bosporus; items of Hellenistic jewellery.<br />
A small section of the exhibition featured the art of Achaemenid<br />
Iran in Alexander’s time. Syria in the Hellenistic<br />
period was represented by a group of coins with rulers’<br />
portraits. Many of the exhibits in the section <strong>The</strong> Hellenized<br />
Installation of <strong>The</strong> Immortal Alexander the Great. <strong>The</strong> Myth. <strong>The</strong> Reality.<br />
His Journey. His Legacy exhibition<br />
temporary exhIbItIons<br />
East were unique: they included monuments from Central<br />
Asia, Parthia and the Greek-Bactrian Kingdom.<br />
<strong>The</strong> Greek artistic style became universal in the Hellenistic<br />
period – it was accepted by various peoples, irrespective of<br />
their religion or state structure. Thus was conceived and<br />
incarnated the idea of the cultural unity of the world –<br />
the main consequence of the Macedonian king’s Eastern<br />
campaign.<br />
<strong>The</strong> last section of the display concentrated on Alexander’s<br />
legacy. Reliefs from Palmyra dating from the 2nd and 3rd<br />
centuries A.D. prove how firmly entrenched Greek influence<br />
remained beyond its national frontiers. This is also<br />
confirmed by Greek papyruses from Egypt, which provide<br />
evidence of the use of Greek in post-Hellenistic territory<br />
right up to the 9th century. On the other hand, ancient traditions<br />
were continued in the culture of Byzantium – the<br />
last Hellenistic state, which created the new Christian world<br />
on ancient foundations. In the 15th and 16th centuries Alexander<br />
played an important role in Persian literature as<br />
Iskander. In the 18th and 19th centuries “<strong>The</strong> Alexander<br />
Romance” became part of Russian culture – in education,<br />
political thought, art and literature.<br />
Alexander the Great remains topical even today. In a series<br />
of photographs and videos specially made for the Hermitage<br />
exhibition the Dutch photographer Erwin Olaf created<br />
an image of its main character by combining images of<br />
the exhibits and images of a live model. Alexander is still<br />
immortal, as evidenced by the exhibition in the Hermitage<br />
• Amsterdam Centre.<br />
By Anna Trofimova<br />
54 55
temporary exhIbItIons<br />
a glaSS fanTaSy. ancienT glaSS<br />
from <strong>The</strong> <strong>hermiTage</strong> collecTion<br />
State Hermitage Museum<br />
12 October 2010 – 16 January 2011<br />
This was the first time the Hermitage staged an exhibition<br />
devoted entirely to glassmaking in the ancient period,<br />
which gives some idea of the richness and variety of the museum’s<br />
collection of this type of art. It included pieces that<br />
had come from the private collections of the Shuvalovs,<br />
the Stroganovs, Alexander Bobrinsky and other collectors,<br />
as well as from the Baron Stieglitz Central Higher School<br />
of Technical Drawing and the former Russian Archaeological<br />
Institute in Constantinople. Substantial additions to<br />
the Hermitage collection were acquired from the Roman<br />
collector of antiquities Giuseppe Pizzati and the Parisian<br />
antique dealer M. Sivadjan. In Russia the most significant<br />
purchases were made in the last quarter of the 19th century<br />
from such collectors as Yu. Lemme and A. Novikov.<br />
An important part of the display consisted of objects found<br />
over a period of decades during excavations of the ancient<br />
Greek city-colonies on the Northern Black Sea coast (Pantikapaion,<br />
Nymphea, Chersonesos and Olbia).<br />
<strong>The</strong> five sections of the exhibition gave visitors the opportunity<br />
to learn about all the main techniques of glassmaking<br />
used by ancient masters. <strong>The</strong> first section, which<br />
included the earliest exhibits (5th – 4th centuries B.C.),<br />
featured miniature bottles for fragrances and various<br />
pendant-amulets of multicoloured transparent glass of the<br />
type that had been made in Mesopotamia and Egypt as<br />
early as the 2nd millennium B.C. <strong>The</strong> so-called “core” technique<br />
in which these pieces were made was borrowed from<br />
the Ancient East.<br />
<strong>The</strong> second section comprised glass vessels cast in moulds<br />
and transformed into exquisite works of art by polishing,<br />
carving and ornamental painting. Here visitors were able<br />
to see a unique masterpiece – a cup made in Alexandria<br />
(Egypt) at the turn of the 3rd and 2nd centuries B.C., with<br />
a tracery ornament of gold foil contained within two layers<br />
of clear glass. A separate showcase featured rings with glass<br />
insets and phalerae (Roman military decorations).<br />
<strong>The</strong> mosaic technique, which requires particular virtuosity<br />
and whose heyday was between the 1st century B.C. and<br />
the 1st century A.D., is represented in the Hermitage collection<br />
by some superb exhibits. In terms of the richness of<br />
their colour range the cups, bottles and necklaces are no<br />
inferior to pieces of agate and jasper, even surpassing them<br />
in elegance on account of the use of gold foil.<br />
<strong>The</strong> two most comprehensive sections of the exhibition reflected<br />
the most important stage in the development of ancient<br />
glassmaking, which began in the mid-1st century B.C.<br />
with the invention of the glassblowing tube. It was then<br />
that glass took on its special qualities – delicateness and<br />
transparency. In addition, masters already had the ability<br />
to give it every imaginable colour, from delicate light<br />
blues and greens to garnet-red, bright blue, cold and warm<br />
shades of green and amber-yellow. <strong>The</strong> display included<br />
fascinating examples of the work of Syrian masters, who<br />
specialized in blowing glass into a mould, a negative multipiece<br />
mould of clay or stone. This technique made it possible<br />
to create items with relief decoration and inscriptions.<br />
<strong>The</strong> cups with depictions of gods or wishes for victory were<br />
of particular interest.<br />
<strong>The</strong> last section of the exhibition included, besides glass<br />
items, ceramic vessels and pieces of bronze and silver that<br />
were similar to glass in the forms and methods used in<br />
their production. This juxtaposition gave the opportunity,<br />
on the one hand, to see common aesthetic trends in Roman<br />
applied art and, on the other hand, to appreciate the<br />
different effects that were achieved with the use of similar<br />
forms in pieces of transparent glass that let in rays of light<br />
and those made of clay or metal.<br />
<strong>The</strong> exhibition also gave an idea of utilitarian items – from<br />
toilet requisites and tableware to funeral urns, which have<br />
survived for thousands of years despite the fragility of the<br />
material.<br />
<strong>The</strong> project was dedicated to the memory of Nina Kunina,<br />
a remarkable academic archaeologist, a great specialist on<br />
the history of ancient glassmaking and curator of the State<br />
Hermitage collection of ancient glass.<br />
By Nadejda Jijina and Yelena Khodza<br />
J SociologiSTS on <strong>The</strong> exhiBiTionS<br />
<strong>The</strong> puBlic aT <strong>The</strong> paBlo picaSSo<br />
exhiBiTion Today<br />
<strong>The</strong> exhibition of the most famous of twentieth-century<br />
artists from the Musée National Picasso, Paris, has been<br />
a great success with the public. It was attended by around<br />
800,000 people, of whom 70% lived in St. Petersburg and<br />
30% came from other cities (nearly a third from Moscow).<br />
It is worth noting that not only regular museum-goers,<br />
but even those residents of St. Petersburg who had rarely<br />
or never been to the Hermitage before, decided to visit<br />
this exhibition. A considerable number of repeat visits<br />
were also recorded.<br />
In the break-up of the public, the prevalent share (89%)<br />
belonged to those with higher education (completed or<br />
not), mostly in the areas of arts (26%), humanities (26%),<br />
and exact sciences and technologies (24%). <strong>The</strong>re were<br />
many young visitors (47%), half of them students, but this<br />
percentage was not as high as that for other exhibitions<br />
of twentieth-century art. A greater part of the public were<br />
older visitors with a long and complex history of appreciating<br />
Picasso’s art, those who remembered previous exhibitions<br />
and unending arguments around the artist.<br />
temporary exhIbItIons<br />
<strong>The</strong> great majority of visitors had come specially for the<br />
exhibition; only 8% had seen it by chance. <strong>The</strong> study uncovered<br />
a multi-level structure of reasons behind the visit:<br />
from simple curiosity and attraction of Picasso’s name to<br />
the interest (including professional interest) in the collection<br />
of the Paris museum and the artist’s work.<br />
<strong>The</strong> main body of the visitors (75%) had a high opinion<br />
of the exhibition as a whole, which, together with the attendance<br />
numbers, provides evidence of its unqualified<br />
success. Among the descriptions used to convey the visitors’<br />
impressions, the most prevalent were: “emotional”,<br />
“expressive”, “absorbing”, “original”, “unexpected”, “intellectual”,<br />
“provoking”, “ironic”, and “playful”.<br />
<strong>The</strong> vast panorama of Picasso’s art uncovered by the exhibition<br />
opened a wide field for individual artistic preferences:<br />
the answers to the question “Which works did you like best?”<br />
offer a wide range of options. A considerable part of the list<br />
consisted of both well-known and frequently reproduced<br />
pieces and the works which had never been on display in<br />
Russia before. It is interesting that the list of the best-liked<br />
includes such works as Portrait of Olga in an Armchair, La Celestina,<br />
Paul as Harlequin, as well as <strong>The</strong> Kiss (1925), Cat Catching<br />
a Bird, <strong>The</strong> Bathers series, Figures on a Beach – those which<br />
56 57
temporary exhIbItIons<br />
had been rejected and would certainly have been rejected<br />
in the past. Such an expansion of the circle of preferences<br />
is an indication of a change in the public taste.<br />
It should be added that the majority of respondents were<br />
able to explain why they had selected specific works; their<br />
motivation was often more precise and confident than<br />
in the previous years. For instance, Cat Catching a Bird<br />
attracted the viewers by its “special force of expression”,<br />
“tense and expressive image”, “grotesque image”, “clearcut<br />
idea”, while <strong>The</strong> Kiss was an “unusual, original presentation<br />
of the male and female images”, with “a bright colour<br />
scheme”, “a complex combination of form, colour, and design”,<br />
“strength of feeling”, and showed “the artist’s ability<br />
to convey love and conflict in simple forms”.<br />
Among the respondents, there were also those who pointed<br />
out the works which had provoked a negative response<br />
alongside those which they had liked (it is to be expected<br />
that a large section of this segment was represented by the<br />
visitors who had a mixed impression of the exhibition –<br />
22% of the sample as a whole). <strong>The</strong>se include the sculptural<br />
female heads, Surrealist paintings, as well as Cubist<br />
and late works. <strong>The</strong> visitors were critical of “Picasso’s dislike<br />
of women”, “exaggerated bodily sensations”, “anomalous<br />
anatomy”, “fragmented forms”, “simplification”, and<br />
“disharmony”. It is important to note that only a small<br />
percentage of the visitors (the 3% who disliked the exhibition)<br />
chose to speak exclusively of the works which they<br />
had disliked. This is one of the lowest percentages during<br />
the whole period of studying the temporary exhibitions<br />
of twentieth-century art.<br />
<strong>The</strong> public on the whole was of the opinion that Picasso<br />
had gained a firm foothold in the history of art, but differed<br />
in their evaluation of his work: for some it was “an<br />
artistic revolution”, and for some “a creative experiment”.<br />
<strong>The</strong> meaning of the exhibition for the viewers can be<br />
gauged with the help of the following figures. 7% of respondents<br />
called it “a sensation”, and 14% named it “one<br />
of the outstanding cultural events of recent years”. Such<br />
answers were mostly given by young visitors from outside<br />
St. Petersburg who saw such a great number of the master’s<br />
original works for the first time. At the same time, one<br />
third of the respondents who already had a certain familiarity<br />
with Picasso’s art but did not necessarily accept everything<br />
about it described the exhibition as “a cultural event<br />
among equally important ones”. This part of the public,<br />
heterogeneous in its makeup, level and area of education,<br />
was mainly represented by those who had a mixed impression<br />
of the exhibition.<br />
<strong>The</strong> most numerous share of the visitors (46%), who had<br />
long had an abiding interest in Picasso’s work and had<br />
a considerable familiarity with it, gave the exhibition high<br />
marks for a “full, multi-faceted reflection of the master’s<br />
work”. This category of viewers was mostly represented<br />
by middle-aged and older people in intellectual and creative<br />
occupations, including the sphere of art.<br />
Judging by the impressions and evaluations quoted above,<br />
the public has undergone a significant evolution in its response<br />
to Picasso since the time of his famous exhibition<br />
of 1956, which was a real “culture shock”. Picasso has long<br />
been well-known and accepted as a twentieth-century classic.<br />
<strong>The</strong> wider audience has embraced the artist and is now<br />
ready to appreciate his works.<br />
By Irina Bogacheva<br />
cenTRe pompidou in <strong>The</strong> sTaTe heRmiTage<br />
museum exhiBiTion. <strong>The</strong> puBlic deBaTeS<br />
<strong>The</strong> France – Russia Year brought another exhibition to<br />
the attention of our visitors: Centre Pompidou in the State<br />
Hermitage Museum. Around 150,000 people saw it within<br />
a short space of time (between 13 October and 14 November).<br />
<strong>The</strong> visitors were mostly from St. Petersburg (68%),<br />
female (69%), with complete or incomplete higher education<br />
(84%), and under 30 years of age (61%), nearly half<br />
of whom were students. Around 50% of the visitors had<br />
learned about the exhibition beforehand and had a special<br />
or general cultural interest in contemporary art. Here are<br />
some typical answers which comment on the reasons for<br />
coming: “I enjoy and strive to understand contemporary<br />
art, including the art of France”, “the exhibition contains<br />
interesting pieces by the founding fathers of Conceptualism”,<br />
“I could see a Duchamp here! I’ve had a long-time<br />
ambition to see a readymade of his with my own eyes”.<br />
Another, equally important, share of the visitors had not<br />
come specially to see this exhibition, but included it in their<br />
general tour of the museum, which also encompassed the<br />
actual rooms which housed the exhibits. It has to be said<br />
that the majority of these visitors were not familiar with the<br />
works or even the names of the artists represented.<br />
<strong>The</strong> differences in the public’s readiness to embrace contemporary<br />
Western art necessarily had an effect on the<br />
distribution of the evaluations of the exhibition. Some respondents<br />
“liked it” (56%), and some “had mixed feelings<br />
about it” (35%) or “disliked it” (9%). It is evident that the<br />
percentage of mixed and low opinions turned out to be<br />
quite high.<br />
<strong>The</strong> respondents were invited to justify their impressions.<br />
Those who liked the exhibition (primarily young visitors)<br />
picked the following response options: “I like contemporary<br />
art”; “I generally like new and original things”. <strong>The</strong> responses<br />
were supported with freely expressed individual<br />
ideas, such as: “I like the different ways of self-expression<br />
chosen by the artists, they are sometimes more powerful<br />
than those of classical artists”; “contemporary works<br />
of art are bold pronouncements, sometimes made at the<br />
expense of craft. But if the painting, the image is thoughtprovoking,<br />
it means the work was not done in vain”.<br />
<strong>The</strong> visitors who did not like the exhibition mostly picked<br />
the following weighty reasons for not doing so: “This is not<br />
art”, “it provokes a strong negative reaction”, “it is out of<br />
place in the halls of the Hermitage”. More elaborate evaluations<br />
given by this category of visitors, quoted under “a different<br />
opinion”, were along the same lines (“the disregard<br />
for structure and the clear rules developed over centuries<br />
is abhorrent”). <strong>The</strong>se were primarily the answers given by<br />
older and middle-aged St. Petersburgers, including both<br />
frequent and infrequent museum-goers, those who saw the<br />
exhibition by chance.<br />
It has already been noted that one third of the respondents<br />
had mixed feelings about the exhibition.<br />
But it is also important to point out that the majority of<br />
answers were not overtly negative. <strong>The</strong> visitors would more<br />
often say something like: “I am not familiar with the art<br />
represented here, but I was happy to be introduced to it”,<br />
“I am indifferent to it, but I approve the policy of the museum<br />
of introducing visitors to the art we are not familiar<br />
with”. A much less frequent answer was “I am interested<br />
in contemporary art, but I don’t think this exhibition is<br />
a success” (what was meant was that there were “not enough<br />
exhibits” to have “a full understanding of the evolution of<br />
twentieth-century French art”). <strong>The</strong>se respondents were<br />
mostly middle-aged residents of St. Petersburg and young<br />
people from elsewhere who were in the Hermitage for the<br />
first time ever or in a long while.<br />
<strong>The</strong> artistic preferences of the visitors yielded an interesting<br />
picture. <strong>The</strong> favourite which emerged was Roman Opalka’s<br />
work From 1 to ∞. Fragment. <strong>The</strong> reasons for preferring<br />
this painting include “a concept which is easy to grasp” and<br />
“a clear way of visualizing an idea”. Among other preferred<br />
works were those by Georges Mathieu, Yves Klein, and Martial<br />
Raysse, selected for a number of aesthetic reasons (“an<br />
elegant design”, “the colour scheme”, “an attractive female<br />
face”, “an unusual technique”, “the effect of combining<br />
blue and gold”).<br />
It is a common phenomenon for exhibitions of contemporary<br />
art when the same works are both liked and disliked<br />
by the public. Some of these split the visitors into “admirers”<br />
and “haters”. In this exhibition, such works were those<br />
by César, Heimo Zobernig, and Robert Filiou.<br />
<strong>The</strong> least popular work was Painting (Manifesto 3) by Daniel<br />
Buren. It occupied the first place in the list of works<br />
disliked by the public, and it came last in the list of works<br />
liked by them. <strong>The</strong> painting was met with a lack of understanding<br />
(“I couldn’t see the meaning of it”) and provoked<br />
banal associations (“It looks like a mattress”).<br />
<strong>The</strong> study has once again confirmed a well-known fact:<br />
mass audiences prefer the works which are easier to understand<br />
and fill the need for aesthetic pleasure to a greater<br />
extent.<br />
By Irina Bogacheva<br />
temporary exhIbItIons<br />
“<strong>The</strong> wind in <strong>The</strong> pines…” 5,000 YeaRs<br />
of KoRean aRT. fRom <strong>The</strong> naTional<br />
museum of KoRea exhiBiTion<br />
<strong>The</strong> exhibition was clearly of interest for many visitors to<br />
the Hermitage; it was attended by 550,000 people. <strong>The</strong> majority<br />
of the visitors came from St. Petersburg (59%), from<br />
other Russian cities (37%, a third of whom came from<br />
Moscow), and from the former Soviet republics (6%).<br />
<strong>The</strong> prevalence of local visitors in summer was caused by<br />
the desire to see the exhibition they were interested in,<br />
which was corroborated by the cited reasons for coming:<br />
82% of local visitors said they were interested in the exhibition<br />
and specially in the culture of the East.<br />
Young people predominated in the break-up of the visitors,<br />
like in many temporary exhibitions: 53% of local residents<br />
and 54% of those who travelled to see it; there were<br />
high percentages of middle-aged visitors (34% and 37%<br />
respectively); professionally they were students, school and<br />
university teachers, economic and financial sector employees,<br />
intellectuals with a background in the sciences and<br />
humanities, and people of other occupations.<br />
<strong>The</strong> general impression left by the exhibition was in most<br />
cases clearly positive (97%). Impressions varied between<br />
58 59
temporary exhIbItIons<br />
such evaluations as “interesting”, “excellent”, “rare”, “wonderful”,<br />
“original” and “relaxing”.<br />
We have tried to identify the visitors’ response to the<br />
general organization of the exhibition and its structural<br />
planning. Most of the respondents noted the success of<br />
arranging the exhibits, the logic behind displaying varied<br />
and multi-faceted series, the convenient location of the objects<br />
in the rooms so that groups of exhibits and individual<br />
works could be enjoyed by the viewers.<br />
Apart from the general impressions, the respondents selected<br />
specific exhibits and sections of the exhibition<br />
which had provoked the greatest interest. <strong>The</strong>y tried to explain<br />
their choices by highlighting the originality of the<br />
artifacts and appreciating their artistic quality. <strong>The</strong> most<br />
frequently named objects were the sculptures of the Buddhas:<br />
they are “filled with spirituality”, “enigmatic and mysterious”,<br />
“have a feeling of inner strength and a kind of<br />
revelation about them”, “create a special atmosphere”, “attract<br />
the attention and draw your gaze to details”. <strong>The</strong> Neolithic<br />
artifacts and early vessels amazed the viewers with<br />
their craftsmanship and excellent state of preservation.<br />
<strong>The</strong> eighteenth-century Choson porcelain, the twelfth- and<br />
thirteenth-century Kore ceramics, the fourteenth-century<br />
Kore image of Bodhisattva all have incredibly pure and<br />
harmonious outlines. <strong>The</strong> scrolls with monochrome landscapes<br />
and illustrations to poetic lines were remarkable in<br />
the way they conveyed moods and were filled with a special<br />
feeling. <strong>The</strong> screens with drawings by Kim Khondo were<br />
appreciated as examples of artistic brilliance and elegance,<br />
as representatives of specifically Korean culture, etc.<br />
<strong>The</strong> appreciation of the exhibition and the Korean culture<br />
as a whole was much enhanced by the detailed information<br />
provided in the exhibition room, which contained important<br />
historical facts about the establishment and evolution<br />
of the Korean state. Many visitors called these texts<br />
a discovery of Korea and the long history of its art.<br />
<strong>The</strong> vast majority of respondents had a high opinion<br />
about the explanatory texts, believing that they were informative,<br />
provided a historical background, were clearly<br />
worded, helped the appreciation of a complex and littleknown<br />
material, and paved the way for a further exploration<br />
of Korean history and culture. A number of visitors,<br />
while paying tribute to the informative and well-structured<br />
explanatory texts, also had a number of suggestions and<br />
comments, which testify to their in-depth appreciation<br />
of Korean art:<br />
– it would be nice to have a literary, poetic commentary;<br />
– more translations from Korean would be welcome;<br />
– some labels had a description of the object rather than<br />
its use;<br />
– it is a pity that there was no map showing the locations<br />
where the ancient artifacts were found.<br />
An important matter of the exhibition title also has to be<br />
mentioned. “<strong>The</strong> Wind in the Pines” was associated in the<br />
minds of the visitors with the pure sounds of Korean music<br />
and proved attractive and enticing. Did the visitors believe<br />
the title was meaningful? It is beyond doubt that many of<br />
them did: a certain understatement, an emotional and<br />
philosophical value of the title appealed to the viewers and<br />
was reflected in the responses to the question “What do<br />
you think is the hidden meaning of the title ‘<strong>The</strong> Wind<br />
in the Pines…’”? 68% of respondents of different ages and<br />
occupations expressed some reactions and associations<br />
provoked by the title and appreciation of the exhibition.<br />
By Tatiana Galich<br />
<strong>The</strong> puBlic on <strong>The</strong> <strong>hermiTage</strong> acQuiSiTionS<br />
(on the basis of a sociological survey held at the temporary<br />
exhibition watercolour portraits and decorative<br />
porcelain. new acquisitions)<br />
<strong>The</strong> acquisition by the Hermitage of 92 watercolours and<br />
over 140 porcelain pieces from the current owner of the<br />
famous Gallerie Popoff (Popov Gallery), Maurice Baruch,<br />
is often called the purchase of the century. <strong>The</strong> foundation<br />
of the collection was laid by Alexander Popov. A professional<br />
officer who fought in the First World War, Popov<br />
moved to France in 1919 and opened an antiques shop<br />
which acquired exceptional works of art. <strong>The</strong> central place<br />
in Popov’s collection belongs to the watercolour portraits<br />
of the first half of the 19th century – a time when this genre<br />
flourished both in Russia and in Europe. <strong>The</strong> exhibition<br />
displayed the works by over 30 artists of the period, both<br />
well-known and forgotten (Piotr Sokolov, Edward Hau, Orest<br />
Kiprensky, Karl Briullov, Alexander Orlovsky, Christina<br />
Robertson, Alexander Molinari, Franz Krueger and other<br />
nineteenth-century Russian and Western painters).<br />
<strong>The</strong> Gallerie Popoff & Co has always taken special pride<br />
in its unique porcelain. An important part of the exhibition<br />
was a display of Russian porcelain of the second half<br />
of the 18th century, first and foremost the products of the<br />
St. Petersburg Imperial Porcelain Factory, made specifically<br />
for the members of the Romanov family and their closest<br />
associates.<br />
Around 160,000 people visited the exhibition in a month,<br />
on average 5,500 visitors per day. Throughout the time<br />
it was open, a random selection of Russian-speaking visitors<br />
were asked to fill in a questionnaire after seeing it.<br />
<strong>The</strong> sociological study aimed to reflect the structure of the<br />
visiting public, their reasons for coming to the Hermitage,<br />
the impressions left by the temporary exhibition and the<br />
reasons for such responses.<br />
<strong>The</strong> exhibition was primarily attended by women, who<br />
accounted for 90% of the respondents. In quantitative<br />
terms, the largest category were young people under<br />
30 (40%), followed by an older generation (over 51 years<br />
of age: 35%) and middle-aged people (25%). <strong>The</strong> visitors<br />
mostly had a higher education, complete (70%) or incom-<br />
plete (16%). <strong>The</strong> structure of the public was dominated by<br />
old age pensioners, engineers and technicians, students,<br />
school and university teachers. <strong>The</strong> majority of the visitors<br />
lived in St. Petersburg and the Leningrad Region (78%).<br />
18% of the visitors had come from other parts of Russia,<br />
and 4% from abroad.<br />
Half of the respondents (51%) quoted the temporary exhibitions<br />
at the Hermitage as the primary goal of their<br />
visit. 32% were exclusively interested in the exhibition Watercolour<br />
Portraits and Decorative Porcelain. New Acquisitions,<br />
while 16% were interested in all the current temporary exhibitions,<br />
and 3% were interested in temporary exhibitions<br />
and certain permanent displays. <strong>The</strong> “exhibition” public,<br />
i.e. those who had come specially, consisted only of St. Petersburg<br />
(48%) and Leningrad Region (3%) residents.<br />
Around 3/5 of the respondents (58%) had known about<br />
the exhibition before coming to the Hermitage; they had<br />
mostly learned about it from television (the Culture and<br />
STO Channels), newspapers (Panorama TV, Sankt-Peterburgskie<br />
Vedomosti), and the radio (Radio Hermitage, Radio<br />
of Russia).<br />
Half of the respondents (50%) had specific reasons for<br />
wanting to see the exhibition, which encompassed a wide<br />
range of artistic, cultural and historical topics:<br />
– eighteenth- and nineteenth-century pictorial art;<br />
– the technologies of watercolour drawings and making<br />
porcelain objects;<br />
– the history of porcelain and watercolour;<br />
– the Vinogradov porcelain and the techniques of its<br />
production;<br />
– biographies of the artists;<br />
– the persons portrayed in the watercolours;<br />
– the age when the works of art were made;<br />
– the story of the acquisition of the collection by the Hermitage,<br />
its previous history, and the price paid for it.<br />
Half of the respondents were moved by the general desire<br />
to broaden their horizons: they “came out of interest”,<br />
“wanted to see the exhibition as a whole”, “felt it necessary<br />
for the sake of general awareness”, etc.<br />
<strong>The</strong> exhibition was highly rated by the general public;<br />
the impressions were exclusively positive. <strong>The</strong> vast majority<br />
of respondents (nearly 4/5) gave it the highest mark<br />
(the evaluations were ranged as excellent/good/satisfactory/unsatisfactory).<br />
Among the strong points, the respondents<br />
noted the high artistic level and rarity of the exhibits,<br />
the selection of the works on display, the excellent<br />
preservation of the watercolours, and the recreation of the<br />
spiritual atmosphere of the represented historical period.<br />
Evaluation of the exhibition<br />
as a whole<br />
Excellent<br />
Good<br />
No response<br />
Average points<br />
% of the overall number<br />
of respondents<br />
2/3 of the respondents (66%) had a positive opinion concerning<br />
the topic of the exhibition; it was “interesting and<br />
relevant”, and the degree to which this topic was reflected:<br />
“full”. Around 30% of the visitors believed themselves<br />
to be insufficiently competent to give a detailed answer<br />
to this question.<br />
5% of the respondents described the topic of the exhibition<br />
as insufficiently reflected:<br />
– there was no information on how the Hermitage had acquired<br />
the collection, and little information on the collectors<br />
(female, 29, higher education (humanities), museum<br />
worker, St. Petersburg).<br />
– not enough general information helping to form an overall<br />
impression of the exhibition (female, 21, uncompleted<br />
higher education (economics), student of the St. Petersburg<br />
State Academy of Management Systems).<br />
Evaluation of the exhibition<br />
topic and its representation<br />
Excellent<br />
Good<br />
Satisfactory<br />
No response<br />
Average points<br />
% of the overall number<br />
of respondents<br />
60 61<br />
78<br />
20<br />
2<br />
4.8<br />
45<br />
21<br />
5<br />
29<br />
4.6<br />
<strong>The</strong> vast majority of the respondents (around 90%) had<br />
a positive opinion about the structure and presentation<br />
of the exhibition. <strong>The</strong>y noted the convenient placement<br />
of the objects, a good light and the quality of the accompanying<br />
information:<br />
– the exhibits were well-spaced so that they could be<br />
viewed without waiting in a queue, which is a very big plus<br />
(female, 23, uncompleted higher education (art), student<br />
of St. Petersburg State University).<br />
– the objects were easy to view and well-lit (male, 74, higher<br />
education (technology), retired, St. Petersburg).<br />
– informative labels and well-planned spacing of the<br />
exhibits (female, 50, higher education (art), restorer,<br />
St. Petersburg).<br />
Evaluation of the exhibition<br />
structure and planning<br />
Excellent<br />
Good<br />
Satisfactory<br />
No response<br />
Average points<br />
temporary exhIbItIons<br />
% of the overall number<br />
of respondents<br />
57<br />
29<br />
4<br />
10<br />
4.6<br />
By Alexei Roshchin
temporary exhIbItIons<br />
J <strong>The</strong> preSS<br />
on <strong>The</strong> exhiBiTionS<br />
painTingS By remBrandT and<br />
hiS pupilS in <strong>The</strong> nicholaS hall<br />
I know it myself that you are inevitably<br />
drawn to the Rembrandts when you come<br />
to the Hermitage – whether you come often<br />
or for the first time. It would be an injustice<br />
to rob the public of the joy of appreciating<br />
his genius, even for a short time. <strong>The</strong> museum<br />
respects its visitors so it has found<br />
a solution, which at the same time permitted<br />
it to engage in a favourite pastime of playing<br />
with the space of the palace. It has often<br />
been said that the vast Nicholas Hall was<br />
a trial for artists. It puts everyone in their<br />
place. <strong>The</strong>re is no doubt as to what it makes<br />
of the Rembrandts.<br />
Ludmila Leusskaya,<br />
“<strong>The</strong> Rembrandts Have Moved!”,<br />
Sankt-Peterburgskie Vedomosti,<br />
3 February 2010<br />
We were at first saddened to discover that<br />
the Rembrandt Room in the New Hermitage<br />
was going to be closed for a routine restoration<br />
of the parquet floors. We thought we<br />
were going to have no opportunity of seeing<br />
the works by this great Dutch master<br />
for a whole month. But no, it looks like<br />
the exhibition of Rembrandt and his pupils<br />
has moved to the Nicholas Hall of the Winter<br />
Palace for this period. One immediately<br />
wants to see the familiar canvases in their<br />
new surroundings and in a new light.<br />
Mikhail Kuzmin,<br />
“<strong>The</strong> Rembrandts Have Moved!”,<br />
Chas Pik, 17–23 February 2010<br />
SpaZialiSmo. riccardo licaTa<br />
and veneTian painTing<br />
aT <strong>The</strong> end of <strong>The</strong> 20Th cenTury<br />
<strong>The</strong> exhibition contains 80 works by Spatialist<br />
artists – Lucio Fontana himself and<br />
his followers. <strong>The</strong>y didn’t waste time thinking<br />
of the titles for their works: there is either<br />
no title at all or a title which is not really<br />
a title, like Composition No…. Or take the<br />
Scratches by Mario Deluigi, which are, indeed,<br />
scratches on the pigment surface of<br />
the painting. And Santomaso made a collage<br />
of geometric shapes in subdued colours –<br />
and called it Venice.<br />
Tatiana Kirillina,<br />
“Venice in Squares”, Vecherny Peterburg,<br />
12 February 2010<br />
It is difficult to see any familiar images in<br />
these abstract paintings, however hard one<br />
tries. Those interested in the art of the previous<br />
century may be reminded of the Art<br />
Informel, a post-war style of painting which<br />
offered abstract images as a way of breaking<br />
with the realistic tradition of the 1930s and<br />
early 1940s. This is Informel, which is now<br />
primarily associated with bourgeois interior<br />
design, since it has been used for several<br />
decades in offices, reception rooms and<br />
sitting rooms. But one needs to remember<br />
that in the 1950s, the works by Fontata or<br />
Licata were not designer projects but artistic<br />
experiments.<br />
Stanislav Savitsky,<br />
“Problems of the World and<br />
Spatialism”, Kommersant,<br />
11 February 2010<br />
noSTalgia for <strong>The</strong> rooTS.<br />
daShi namdaKov’S univerSe<br />
of <strong>The</strong> nomadS<br />
I cannot even begin to interpret the meaning<br />
of the Tsar-birds and garudas, shamans and<br />
legendary warriors, but I can try to sense the<br />
mood and the inner spirit which the artist tried<br />
to convey. Thus, to understand the meaning<br />
of the huge Surrealist head with three pairs of<br />
eyes one only needs to read its title, Clairvoyance.<br />
But there is something more profound<br />
here. <strong>The</strong> huge, bulging head with empty eye<br />
sockets which seem to be concealing the<br />
hidden eyes looks really alive and provokes<br />
At Nostalgia for the Roots. Dashi Namdakov’s Universe of the Nomads exhibition<br />
a slightly creepy feeling: it seems to be burning<br />
my body and soul with its gaze.<br />
Alexei Tsoi, “Dashi Namdakov Conquers<br />
the Hermitage”, Novaya Buryatia,<br />
1 March 2010<br />
<strong>The</strong> large-scale bronze sculptures and the<br />
small-scale golden ones, stationary by definition,<br />
are filled with the passion of pursuing<br />
a goal. <strong>The</strong> goal is the prey (not the harvest;<br />
Namdakov is a nomad, not a ploughman).<br />
<strong>The</strong> prey is a literal one – we have here<br />
a warrior, a fighter, a ruler or a captor. It can<br />
also be an inner one – then it is a lama or an<br />
observer. It can be both – in an erotic feeling<br />
with its temptation of delight and playfulness.<br />
And it can be all together as in Composition<br />
2: Abduction: the woman, the beast<br />
and the myth are one…<br />
Olga Shervud, “Dashi Namdakov:<br />
Abduction”. Sankt-Peterburgskie Vedomosti,<br />
10 March 2010<br />
A cynical cosmopolite critic will see in this<br />
story only a glimpse of the mythological selfawareness<br />
of a nomadic people; the Europeans,<br />
charmed by the Orient, are ready to perceive<br />
the bronze embodiment of shamanism<br />
and the higher forces in the creations of this<br />
death-defying hero, but it is, amazingly, the<br />
archaeologists who will be able to appreciate<br />
this newly-created art in the best way possible.<br />
<strong>The</strong>y don’t care that Dashi Namdakov’s<br />
figures may be stalked by the shadowy salon<br />
Modernist Mikhail Shemyakin or the joyful<br />
Columbian Fernando Botero. <strong>The</strong>y don’t care<br />
that this sculpture is in no way “contemporary<br />
art”, as it never even attempts to speak<br />
its language. <strong>The</strong>y value the cultural experience<br />
of discourse in plastic form, which<br />
is all the more evident when these sculptures<br />
are viewed side by side with the monuments<br />
left behind by the ancient nomads.<br />
<strong>The</strong> Scythians, of course, have won this battle<br />
too – but we have the opportunity to see<br />
the transformation of the Ancient East in the<br />
age of Avatar.<br />
Kira Dolinina, “Avatar B.C.”,<br />
Kommersant, 2 March 2010<br />
waTercolour porTraiTS<br />
and decoraTive porcelain.<br />
new acQuiSiTionS<br />
At the end of 2009, the Hermitage made an<br />
awesome acquisition. It bought 92 watercolour<br />
portraits and over 140 Russian porcelain<br />
pieces from the Paris Gallerie Popoff (Popov<br />
Gallery). <strong>The</strong>se are unique objects, perfectly<br />
in line with the museum’s academic programme.<br />
According to Mikhail Piotrovsky,<br />
Director of the Hermitage, “this is a once-ina-century<br />
opportunity, we had to bend over<br />
backwards but get it”.<br />
Olga Luzina, “<strong>The</strong> Russia We Gained”,<br />
Fontanka.Ru, 19 April 2010<br />
For the first time, the visitors could see<br />
92 watercolours and over 140 porcelain<br />
pieces. <strong>The</strong> Hermitage bought these objects<br />
from Maurice Baruch, the current owner of<br />
the famous Parisian Gallerie Popoff. According<br />
to the experts, the unique watercolours<br />
and exquisite porcelain from the Popov collection<br />
reflect a high style of museum collecting.<br />
<strong>The</strong>y are of interest for professionals and<br />
amateurs alike, which is in like with the collecting<br />
policy of the Hermitage.<br />
Ludmila Leusskaya, “Returned Home<br />
Without an Auction”, Sankt-Peterburgskie<br />
Vedomosti, 22 April 2010<br />
“<strong>The</strong> wind in <strong>The</strong> pineS…”<br />
5,000 yearS of Korean arT<br />
<strong>The</strong>se unique and original works seem to<br />
have cheated time itself. Unscathed by hundreds<br />
of centuries, they have preserved their<br />
beauty to this day. Just like the old Korean<br />
song “<strong>The</strong> Wind in the Pines”, they have not<br />
been lost, swept away forever, and its pure<br />
sound can attune your perception for a special<br />
mode needed to appreciate the art unknown<br />
before…<br />
At Watercolour Portraits and Decorative Porcelain. New Acquisitions exhibition<br />
<strong>The</strong> imagination of those who created these<br />
masterpieces is original, and their execution<br />
is exquisite. Take a horseman which is not<br />
really a sculpture but rather a vessel or bell,<br />
topped with a dragon holding a pearl.<br />
Marina Yeliseyeva, “Twelve Treasures<br />
from the Land of the Morning Calm”,<br />
Sankt-Peterburgskie Vedomosti,<br />
3 June 2010<br />
This exhibition was long prepared and long<br />
awaited: in 1991 the Hermitage took its<br />
Scythian gold to the National Museum of Korea,<br />
and a return exhibition was first planned<br />
at that time. <strong>The</strong>se plans were remembered<br />
thanks to a purely political anniversary – it is<br />
twenty years since the establishment of diplomatic<br />
relations between Russia and South<br />
Korea. <strong>The</strong> exhibition was arranged by the<br />
Hermitage curators, who tried to achieve the<br />
temporary exhIbItIons<br />
most representative selection, to show all the<br />
most representative and outstanding pieces.<br />
<strong>The</strong> finds from royal tombs, Buddhist sculptures,<br />
ceramics and porcelain, portraits, applied<br />
art have filled the Nicholas Hall of the<br />
Winter Palace…<br />
Olga Luzina, “‘<strong>The</strong> Wind in the Pines’.<br />
5,000 Years of Freshness”, Fontanka.Ru,<br />
9 June 2010<br />
<strong>The</strong> poetic title is reminiscent of an old tune<br />
played on the plucked strings of a komungo.<br />
In the Korean tradition, the noise of the wind<br />
in the tops of the mighty pines is a symbol of<br />
all the pure, noble, and chaste. This spiritual<br />
mood is reflected by the exhibition itself.<br />
Yakov Yevglevsky, “<strong>The</strong> Wind in the Pines’,<br />
Parlamentskaya Gazeta,<br />
11 June 2010<br />
62 63
temporary exhIbItIons<br />
BacK To ruSSia.<br />
phoTographS By roger fenTon<br />
On 14 May, a small-scale exhibition opened<br />
at the State Hermitage: Roger Fenton (1819–<br />
1869). Back to Russia. It contains 22 photographs<br />
– a small but remarkable part of the<br />
two famous series by one of the pioneers<br />
of British photography: the first one made<br />
during the trip to Russia in 1852 and the second<br />
one which documented the events of the<br />
Crimean War (1855). From a historical point<br />
of view, Fenton’s images are a must for any<br />
museum which lays claim to an independent<br />
photograph collection. <strong>The</strong> fact that he is one<br />
of the first is not as important as the fact that<br />
he is really the first official war photographer<br />
in history.<br />
Kira Dolinina, “<strong>The</strong> Hermitage Enjoys<br />
Photos of Russia”, Kommersant,<br />
18 March 2010<br />
In 1852, Fenton came to Russia in order<br />
to photograph the construction of a bridge<br />
across the Dnieper, commissioned by Nicholas<br />
I to Fenton’s compatriot, the architect<br />
Charles Vignoles, and so he was attracted<br />
to the exotic local scenes, comparable for<br />
a Westerner to those of Egypt, Greece and<br />
the Near East, and started to photograph the<br />
views of Russian cities and their residents.<br />
<strong>The</strong> Hermitage exhibition includes six prints<br />
from this period. In 1855, Fenton was commissioned<br />
by his publisher and the British<br />
Government to make over 300 photographs<br />
of the frontline of the Crimean War, waged<br />
by the United Kingdom and France against<br />
Russia.<br />
Fontanka.Ru, “English Photographs<br />
of the Crimean War Return to Russia”,<br />
14 May 2010<br />
from goThic To manneriSm.<br />
early ne<strong>The</strong>rlandiSh drawingS<br />
in <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
<strong>The</strong> task of using the Dutch drawings in order<br />
to trace how the world was changing alongside<br />
art is a difficult one for the exhibition organizers<br />
as well as the public. <strong>The</strong> difficulty<br />
lies in the fact that Dutch art has no well-defined<br />
borderline marking the transition from<br />
religious miniatures and images to sketches<br />
of landscapes and genre scenes, that is,<br />
from the Middle Ages to the Renaissance.<br />
<strong>The</strong> genres exist side by side, often in the<br />
works by the same master. So it is impossible<br />
to show how art is changed by developing<br />
new themes. But this parallelism is a unique<br />
At Contemporary Porcelain of Sèvres exhibition<br />
feature of Dutch art. Just like it is possible<br />
for the works by Bosch and Brueghel to combine<br />
religious exultation with a sombre naturalism,<br />
it is also possible to reconcile Biblical<br />
scenes and caricatures or everyday scenes<br />
in the Dutch paintings and drawings.<br />
Ivan Chuviliayev, “From Timid Pencil<br />
to Dances of the Pen”, Infox.ru,<br />
20 May 2010<br />
For the first time, the Hermitage displays<br />
its unique collection of early Netherlandish<br />
drawings – 70 pieces from the 15th and 16th<br />
centuries, including works by Rogier van der<br />
Weyden, Petrus Christus, Peter Brueghel the<br />
Elder, Jan Gossaert. <strong>The</strong> exhibition is entitled<br />
From Gothic to Mannerism.<br />
<strong>The</strong> stylistic landmarks set by the title indicate<br />
the beginning and end of the artistic<br />
evolution of Dutch art, as well as its paradoxical<br />
nature: the Dutch painters made an<br />
elegant leap from mediaeval forms to imitating<br />
Classical art and following the achievements<br />
of Italian artists, skipping the stage of<br />
the High Renaissance itself with its harmonious<br />
integral view of the world.<br />
Olga Luzina, “Drafts for Masterpieces”,<br />
Fontanka.Ru, 18 May 2010<br />
conTemporary porcelain<br />
of SèvreS<br />
<strong>The</strong> best examples of contemporary Sévres<br />
porcelain are represented at the exhibition<br />
which opens in St. Petersburg today. It is organized<br />
as part of the France – Russia Year<br />
in Menshikov Palace, which is a section of the<br />
State Hermitage Museum. Around 100 works<br />
by forty artists, whose creative ideas come<br />
to life in the Sévres ceramics, will help the<br />
Russian visitors to form an understanding of<br />
the main genres of modern porcelain production<br />
at Sévres. <strong>The</strong> exhibition includes sculptures,<br />
vases, table decorations, and pieces<br />
from dinner sets.<br />
ITAR-TASS, “Best Examples<br />
of Contemporary Sévres Porcelain<br />
Represented at an Exhibition in<br />
St. Petersburg”, 15 June 2010<br />
picaSSo. from <strong>The</strong> collecTion<br />
of <strong>The</strong> picaSSo <strong>muSeum</strong> – pariS<br />
Picasso’s art has one mysterious characteristic,<br />
which is hard to pinpoint and even harder<br />
to explain although it seems to be lying<br />
on the surface. Picasso irritates. He makes<br />
one mad. More often than any other artist,<br />
contemporary or not, he provokes the reaction<br />
of “I don’t understand him”.<br />
Nevertheless, any Picasso exhibition is always<br />
crowded. And the crowd can be neatly<br />
divided into two halves. Some visitors derive<br />
an interest and pleasure incomprehensible<br />
to others from viewing the master’s paintings,<br />
drawings, and sculptures; while the<br />
other half either sneers in derision, swears,<br />
or stops by his entirely realistic, even Salon-like,<br />
portrait of his third woman and first<br />
wife, the Russian ballerina Olga Khokhlova,<br />
only to exclaim in indignant bewilderment:<br />
“He can do it normally when he wants to, so<br />
what’s the hell?”<br />
Nikita Yeliseyev, “<strong>The</strong> Borders<br />
of Picasso”, Expert Severo-Zapada,<br />
30 August 2010<br />
It is incredible how Picasso has managed to<br />
take the Winter Palace by storm without firing<br />
a single shot (no revolutionary sailors but<br />
several designers were involved). Or, strictly<br />
speaking, it is the main state rooms of the<br />
Winter Palace (the Field Marshall, Armorial,<br />
and Piquet Rooms), as well as the Eastern<br />
Gallery and the Rooms of the Courtyard Gallery<br />
in the second floor.<br />
Before the opening of the exhibition, the Director<br />
of the Picasso Museum Anne Baldassari<br />
took a whirlwind tour of the rooms in<br />
order to make sure that the collection was<br />
ready to be shown to the public. And this is<br />
when she was asked whether she thought<br />
that Picasso the rebel and non-conformist<br />
had managed to conquer the Winter Palace,<br />
that Everest of Imperial spirit? And her answer<br />
was clear: Of course he has, how could<br />
it be otherwise?<br />
Artur Mezentsev, “Parad-Alle<br />
of Pablo Picasso”, Peterburgsky Chas Pik,<br />
23 June 2010<br />
This exhibition is doomed to success, and<br />
not only because it is promoted as the main<br />
event of the France – Russia Year and has<br />
the special patronage of the Presidents<br />
of both countries. This is the first display of<br />
Picasso’s works on such a scale in Russia.<br />
<strong>The</strong> famous 1956 exhibition at the Hermitage,<br />
which paved the way for new art in this<br />
country, had four times fewer exhibits.<br />
One of the important things about the exhibition<br />
is that it is located in the state rooms of<br />
the Winter Palace. Not every artist can survive<br />
such surroundings. A huge space full of architectural<br />
detail, bas-reliefs, and colours,<br />
At Picasso. From the Collection of the Picasso Museum – Paris exhibition<br />
tends to be oppressive. But Picasso holds his<br />
ground, putting up a good fight. It turns out<br />
the space is worthy of him.<br />
Ludmila Leusskaya, “Pablo and His<br />
Models”, Sankt-Peterburgskie Vedomosti,<br />
21 June 2010<br />
“Since ToBacco you love<br />
So much...”<br />
At the opening of the Hermitage exhibition<br />
“Since Tobacco You Love So Much...”, dedicated<br />
to the tobacco accessories in art, the<br />
Director of the museum Mikhail Piotrovsky<br />
admitted that in his youth, he used to smoke<br />
Belomor during the field trips. But he had<br />
given it up in time. This was the end of the<br />
unhealthy topic, and everyone proceeded<br />
to view the snuffboxes, tobacco pouches,<br />
pipes, cigar cases and match boxes made<br />
of porcelain, amber and precious metals.<br />
V.Sh., “<strong>The</strong> Nineteenth-Century Hydrogen<br />
Bomb”, Gorod, 27 September 2010<br />
<strong>The</strong> Blue Bedroom of the Winter Palace is<br />
always shrouded in twilight and has an air<br />
filled with dreams and memories. Some are<br />
pleasant, but some are nightmares. At the<br />
moment, this tiny room (in palace terms)<br />
temporary exhIbItIons<br />
is filled with the most curious stories. <strong>The</strong>y<br />
are not told by paintings or sculptures, but<br />
tiny little objects – mere trifles such as<br />
snuffboxes, pipes, cigar cases. <strong>The</strong> exhibition<br />
which opened here uses Pushkin’s<br />
words in its title: “Since Tobacco You Love<br />
So Much...”. It is dedicated to smoking. But<br />
before you start to frown and protest, we<br />
have to say that we are not at all condoning<br />
this unhealthy habit which poisons the<br />
lives of the smokers and non-smokers alike.<br />
But smoking is more than just a vice.<br />
Zinaida Arsenieva, “It’s Not a Morning<br />
Flower You Like to Smell”, Vecherny<br />
Peterburg, 1 July 2010<br />
<strong>The</strong> smokers of today, whose bad habit is<br />
nothing more than a sequence of opening the<br />
pack-clicking the disposable Cricket lighter–<br />
lighting up–finishing the cigarette–throwing<br />
away the butt, can hardly imagine how elegant<br />
was the ritual of smoking of inhaling tobacco<br />
in the Gallant Century. In the 18th century,<br />
tobacco was a required accessory for<br />
a man of the world. And what snuffboxes they<br />
use! Gold and diamonds, enamel and carving,<br />
tortoiseshell and ivory, crystal and mother-<br />
of-pearl – a snuffbox was not a utilitarian<br />
64 65
temporary exhIbItIons<br />
object but an exquisite decoration used by<br />
both ladies and gentlemen.<br />
Anna Matveyeva, “<strong>The</strong> Artificial Week:<br />
a Week of Simple Pleasures”, BaltInfo.Ru,<br />
27 June 2010<br />
SwiSS STained glaSS from<br />
<strong>The</strong> 16Th – 18Th cenTurieS<br />
in <strong>The</strong> <strong>hermiTage</strong> collecTion<br />
Swiss stained glass panels did not just reflect<br />
the traditional Biblical subjects – they were<br />
a mirror of people’s lives, which makes them<br />
a valuable historical source. After the age of<br />
splendid cathedrals had passed and the large<br />
stained glass windows were no longer in demand,<br />
the “cabinet stained glass” used in<br />
secular buildings came into fashion. <strong>The</strong> Hermitage<br />
possesses samples of all the types:<br />
illustrative, armorial, figurative, salutatory,<br />
matrimonial, panels with a standard-bearer,<br />
marking accession to an office, peasant, and<br />
magistrate ones.<br />
Ludmila Leusskaya, “Stained Glass with<br />
a Peasant Wedding”, Sankt-Peterburgskie<br />
Vedomosti, 8 July 2010<br />
At “Since Tobacco You Love So Much...”<br />
exhibition<br />
<strong>The</strong> Hermitage possesses 70 Swiss stained<br />
glass panels of the 16th – 17th centuries.<br />
This is all that remains of a considerable collection<br />
of stained glass after the barbarous<br />
sales of valuable artwork in the 1930s. According<br />
to Svetlana Adaksina, Chief Curator<br />
of the Hermitage, the history of adding to<br />
the Hermitage collection of “painted window<br />
glass separated by lead bars” is no less exciting<br />
than the study of the art of the mediaeval<br />
Swiss masters, heirs of the Holy Roman Empire.<br />
“This collection has been forming since<br />
the foundation of the Hermitage. To a certain<br />
extent, it was expanding quite haphazardly –<br />
the elegant luminous miniatures were presented<br />
to the Emperors by the connoisseurs<br />
of Swiss stained glass”.<br />
Natalia Shergina, “Luminous Glass”,<br />
Novye Izvestiya, 12 July 2010<br />
<strong>The</strong> SailS of hellaS. Seafaring<br />
in <strong>The</strong> ancienT world<br />
<strong>The</strong> exhibition displays over 200 objects<br />
which tell the story of seafaring and shipbuilding<br />
in the Ancient World, of pirates and<br />
sea deities benevolent or hostile to the sailors.<br />
<strong>The</strong> exhibition is divided into sections:<br />
the heroic cults of Ancient Greece, the real<br />
heroes – Alexander the Great and Julius Caesar,<br />
the marine deities and fantastic creatures,<br />
the dwellers and gifts of the sea, the<br />
marine trade – coins and amphorae, the advances<br />
in seafaring – sailing warships.<br />
Rosbalt-Peterburg, “ <strong>The</strong> Hermitage<br />
Presents the Sails of Hellas”,<br />
22 September 2010<br />
“Seafaring” is traditionally associated with<br />
shipbuilding and navigation, but the scope<br />
of the exhibition is wider. From squids<br />
to gods, from warriors to fishermen and<br />
vintners, from women to sea monsters –<br />
these are the animate characters it presents<br />
to us. From coins to seafood dishes (as in<br />
plates) and cups, from earrings decorated<br />
with a pearl or a golden dolphin, and armour<br />
(don’t miss the impressive chausses<br />
with the head of Gorgon Medusa) to the<br />
remnants of anchors, from inscriptions to<br />
mosaics – these are the objects represented<br />
here. This is why the word “sails” in the<br />
title should not be taken literally, but rather<br />
as a symbol, a powerful image in the history<br />
of humanity: the yearning for a dream, the<br />
wanderlust, the past, the beauty.<br />
Olga Shervud, “<strong>The</strong> Dark Waters Boiled”,<br />
Sankt-Peterburgskie Vedomosti,<br />
12 October 2010<br />
paBlo picaSSo. nude woman<br />
in a Red aRmchaiR from TaTe<br />
modern, london<br />
<strong>The</strong> exhibition of a single painting is a commendable<br />
but controversial task. Sometimes<br />
it is spot on, like in the case of many other<br />
Hermitage exhibitions which show one by<br />
one the works sold by the Bolsheviks in the<br />
1930s. Sometimes it is a unique masterpiece<br />
brought from somewhere else. But sometimes<br />
an outstanding work, even a masterpiece,<br />
does not make an exhibition – maybe<br />
the genius loci is against it, or the stars decree<br />
that it is not to be. But a beautiful story<br />
can rescue the whole business, or else it<br />
will just go away quietly. One can argue which<br />
category the current display of Nude Woman<br />
in a Red Armchair belongs to…<br />
Kira Dolinina, “A Chance Meeting”,<br />
Kommersant, 6 October 2010<br />
<strong>The</strong> Hermitage has no works by Picasso executed<br />
in the same manner in the 1930s. It is<br />
all the more important that our visitors now<br />
have the opportunity to see Nude Woman in<br />
a Red Armchair in St. Petersburg. According<br />
to Mikhail Piotrovsky, the new one-painting<br />
exhibition is an example of museum solidarity.<br />
An exchange of masterpieces is a complicated<br />
affair in the age of the financial crisis,<br />
soaring prices and general problems. Nevertheless,<br />
after sending three Gaugins to be<br />
displayed in London, the Hermitage was able<br />
to get a Picasso in return.<br />
Natalia Shergina, “<strong>The</strong> Walter Girl”,<br />
Novye Izvestiya, 7 October 2010<br />
This was the time when the Shchukins and<br />
Morozovs were no longer able to collect art<br />
in Russia, so we have no works by Picasso<br />
from his “Marie Walter Period”. It is all the<br />
more interesting to see Nude Woman in a Red<br />
Armchair, which the Hermitage secured from<br />
the London Tate Modern Gallery in exchange<br />
for the use of the Hermitage paintings in a<br />
Gaugin exhibition. It is a good thing that this<br />
is just one painting. It is worth a long contemplation<br />
which reveals affinities with portraits<br />
by Ingres and highlights Picasso’s mastery<br />
of colour.<br />
V.Sh., “Picasso of the Marie-<strong>The</strong>rese<br />
Period”, Gorod, 18 October 2010<br />
cenTre pompidou in <strong>The</strong> <strong>STaTe</strong><br />
<strong>hermiTage</strong> <strong>muSeum</strong><br />
A performance, an installation, an abstraction<br />
– these are unfamiliar events for the Hermitage<br />
halls. Provocation meets you at the<br />
doorstep. <strong>The</strong> Bottle Drier is called a masterpiece.<br />
It is even used as the emblem of the<br />
exhibition. This is the mother of all contemporary<br />
art. <strong>The</strong> visitors frown, look down –<br />
and they are trapped.<br />
At this exhibition, even the Comments Book<br />
is a provocation. In order to leave a comment,<br />
you have to climb to the podium, approach<br />
a speaking platform. And this is already a performance<br />
or an installation, call it what you<br />
like. In any case it is a creative act of contemporary<br />
art.<br />
Dmitry Vitov, “<strong>The</strong> Hermitage Presents<br />
an Exhibition from the Famous Centre<br />
Pompidou”, <strong>The</strong> First Channel,<br />
18 October 2010<br />
It must be a joke! <strong>The</strong> Hermitage, the greatest<br />
museum of Western art in Russia, has<br />
no works by Expressionists, or Futurists, or<br />
Dadaists, or Surrealists. As for the second<br />
half of the 20th century – the least said… <strong>The</strong><br />
conservatism of the museum and the public<br />
is a legacy of Soviet times, when avant-garde<br />
art was not in favour. <strong>The</strong> Pompidou Festival<br />
is an attempt to introduce contemporary art<br />
to the Hermitage.<br />
Stanislav Savitsky, “<strong>The</strong> Bottle Drier<br />
in the Hermitage”, Delovoy Peterburg,<br />
16 October 2010<br />
<strong>The</strong> exhibition of the Centre Georges Pompidou<br />
in the Hermitage organized as part of the<br />
France – Russia Year is in a way a concise<br />
temporary exhIbItIons<br />
history of contemporary art in its French incarnation.<br />
On the whole, the most interesting journey in<br />
the exhibition is the evolution from Duchamps<br />
to Lavier, from readymade to appropriationism,<br />
which works in the same way. But the<br />
object appropriated by the artist is no longer<br />
a household item from outside the sphere of<br />
art, but the art of the previous generation itself.<br />
This is the story in which contemporary<br />
art is biting its own tail: several decades after<br />
inventing the technique of readymade, it becomes<br />
readymade itself.<br />
Igor Gulin,<br />
“<strong>The</strong> Readymade Creators”, Weekend,<br />
8 October 2010<br />
<strong>The</strong> Comments Book is a testimony to the indifferent<br />
reaction of the Hermitage visitors to<br />
contemporary art, which finds its way to the<br />
city’s greatest museum more and more often.<br />
So far, the pages are dominated by various<br />
negative emotions. <strong>The</strong>re is also a laconic<br />
“Cool” in a child’s hand, and a condescending<br />
“It is good that the museum is not afraid<br />
of taking risks”.<br />
<strong>The</strong> existence of contemporary art in classical<br />
space is a little like a mock trial with defence<br />
and prosecution lawyers. <strong>The</strong> visitors<br />
who don’t want to impair their aesthetic sensibility<br />
usually represent the prosecution,<br />
while the professional community is trying<br />
hard to prove that the defendant has a right<br />
to be playful.<br />
Polina Vinogradova.<br />
“<strong>The</strong> Defence of Spring and Love”,<br />
Sankt-Peterburgskie Vedomosti,<br />
22 October 2010<br />
At Centre Pompidou in the State Hermitage<br />
Museum exhibition<br />
66 67
temporary exhIbItIons<br />
a glaSS fanTaSy. ancienT<br />
glaSS from <strong>The</strong> <strong>hermiTage</strong><br />
collecTion<br />
<strong>The</strong>re are several reasons for being amazed<br />
and excited by the exhibition. First of all, there<br />
is the great age of the glass artifacts, some of<br />
which have survived from the time before the<br />
birth of Christ! According to everyday logic,<br />
they were bound to shatter at some point<br />
during so many years. But in some mysterious<br />
way they have managed to come down<br />
to us. Secondly, one is spellbound by the exquisite<br />
beauty, variety and intricacy of the<br />
craftsmanship. We recognize glasses, cups,<br />
amphorae, jugs, flagons. But at the exhibition<br />
we learn about the existence of amphoriskoi,<br />
askoi, aryballoi, alabasters, phalerae, pyxides,<br />
and many others.<br />
Yelena Druzhinina, “<strong>The</strong> Glass Fantasy<br />
of an Incredible Age”, Intellektualny<br />
Kapital, 13 October 2010<br />
<strong>The</strong> craftsmen have learned to create objects<br />
out of the most delicate glass, so that it has<br />
hardly any weight in the hand, and also to colour<br />
them with pure and deep colours using<br />
various metal oxides. Sometimes the glass<br />
blowers played on the contrast between the<br />
transparent background and the image applied<br />
by means of opaque enamel pigments.<br />
A splendid example from the exhibition is<br />
a bright green amphora with a painted floral<br />
ornament of vine and ivy shoots and leaves<br />
with birds nesting in them.<br />
ARTinvestment.ru, “A Glass Fantasy.<br />
Ancient Glass from the Hermitage<br />
Collection”, 27 October 2010<br />
flemingS Through <strong>The</strong> eyeS<br />
of david TenierS <strong>The</strong> younger<br />
When I was a child, I loved looking at one of<br />
Teniers’ paintings, Monkeys in the Kitchen.<br />
Later I learned that the monkeys’ antics were<br />
the artist’s specialty – he portrayed them frolicking<br />
about in the kitchens, barber’s salons,<br />
and pubs.<br />
Although he was happy to accept any commissions<br />
(landscapes, portraits, mythological<br />
and everyday scenes, hunting scenes),<br />
his favourite subject was the folk revels like<br />
A Peasant Wedding which resides in the Hermitage.<br />
Yelena Bobrova, “Mischievous<br />
Monkeys”, Sankt-Peterburgsky Kurier,<br />
21 October 2010<br />
<strong>The</strong> Hermitage possesses 33 paintings from<br />
the artist’s mature period. In his pictures,<br />
peasants dance at a wedding, play bowls<br />
and dice, and have fun in a tavern. He painted<br />
festivals, rural fairs, and sometimes also<br />
scenes of peasant labour – harvesting and<br />
haymaking.<br />
Kultura Sankt-Peterburga, “Flemings<br />
through the Eyes of David Teniers<br />
the Younger”, 18 October 2010<br />
TiTian. madonna and child wiTh<br />
sT. ca<strong>The</strong>Rine (madonna wiTh<br />
a RabbiT). from <strong>The</strong> collecTion<br />
of <strong>The</strong> louvre<br />
An exhibition of a masterpiece by the Venetian<br />
artist Titian Vecellio Madonna and Child<br />
with St. Catherine (Madonna with a Rabbit).<br />
From the Collection of the Louvre has opened<br />
at the Hermitage. This was Louvre’s return<br />
loan in exchange for a painting by Paolo Veronese.<br />
As the Hermitage curators explain,<br />
the painting was chosen deliberately: with<br />
all its seeming simplicity it reflects the ideas<br />
novel for the period, which ultimately led<br />
to the emergence of the landscape as an independent<br />
genre.<br />
Yevgenia Tsinkler, “Titian’s Masterpiece<br />
Madonna with a Rabbit<br />
Has Arrived to the Hermitage from the<br />
Louvre”, Rossiyskaya Gazeta,<br />
28 October 2010<br />
“This is Titian on the brink of his mature period,<br />
– says the curator of the exhibition, the<br />
leading research worker of the Department<br />
of Western European Fine Arts Irina Artemyeva,<br />
– We have here a “farewell” to the style<br />
of Giorgone and the art which used to be the<br />
leitmotif of Venetian art for the first three<br />
decades of the 16th century. Here everything<br />
is concentrated, and the detail is of utmost<br />
importance – this is not going to be typical<br />
for Titian’s later work.”<br />
Alina Tsiopa, “<strong>The</strong> Madonna with<br />
a Rabbit Comes to St. Petersburg”,<br />
Nevskoye Vremya, 28 October 2010<br />
All the details of this expressive scene are<br />
painted with loving meticulousness. <strong>The</strong> apple<br />
and the grapes in the half-open basket<br />
at Mary’s feet, the strawberry leaves and berries,<br />
the outline of a distant church tower. And<br />
these are not here by chance. However the<br />
essence of the painting is not in these details,<br />
but in the overall poetic impression it pro-<br />
duces. <strong>The</strong> art of the master is remarkable –<br />
in one scene, he manages to convey all his<br />
admiration for this world, all his love for life<br />
and a wonderful harmony between man and<br />
surrounding nature. This is in a way a Utopia,<br />
a dream of ideal life in a Universe ordained by<br />
God in a perfect way. But this dream is so realistic<br />
and convincing that it is easy to believe<br />
that it can come true.<br />
Yekaterina Emme, “Madonna<br />
with a Rabbit”, InfoSkop,<br />
October 2010<br />
a romanTic view. duTch<br />
and Belgian painTingS<br />
of <strong>The</strong> 19Th cenTury from<br />
<strong>The</strong> rademaKerS collecTion<br />
<strong>The</strong> start of each century marks a certain<br />
change in aesthetic taste. In our time<br />
this is evident, among other things, in the<br />
growing interest in nineteenth-century art,<br />
which is not limited to textbook Romanticism,<br />
Realism, and Impressionism. This is<br />
why the Hermitage presents the artists littleknown<br />
in Russia today, although 150 years<br />
ago paintings by Verboeckhoven, Willems,<br />
Jenisson, Koekkoek, Meyer, Schelfhaut<br />
would be an expected attribute of any important<br />
private collection.<br />
Yelena Druzhinina, “<strong>The</strong>re will Always<br />
be Romantics”, Intellektualny Kapital,<br />
30 October 2010<br />
<strong>The</strong> visitors to the museum will see 70 works<br />
of art from the largest private collection<br />
of Dutch and Flemish paintings in Europe.<br />
At present, it includes over a hundred prominent<br />
Romantic paintings. <strong>The</strong> exhibition will<br />
include nearly all the topics which were of interest<br />
for Romantic artists: summer and winter<br />
landscapes, seascapes, cityscapes, stilllifes,<br />
portraits, and genre scenes.<br />
Sankt-Peterburgskie Vedomosti,<br />
“A Romantic View”, October 2010<br />
<strong>The</strong> hoard of mrS. liKhachyova<br />
<strong>The</strong> exhibition represents extremely rare<br />
historic and household items made of silver,<br />
which had belonged to a rich St. Petersburg<br />
family before the Revolution. All of them<br />
were acquired together. In 1978, a hoard of<br />
around two hundred pieces was discovered<br />
at the Voskhod shoe factory, which is located<br />
in No 52, 3rd Line, Vasilievsky Island, which<br />
had housed the Nevskaya Wallpaper Factory<br />
since the start of the 20th century. Some<br />
of them bore presentation inscriptions addressed<br />
to Maria Likhachyova, the owner of<br />
the shoe factory, marking memorable and<br />
festive occasions.<br />
Andrei Yerofeyev, “<strong>The</strong> Likhachyova<br />
Hoard at the Hermitage”,<br />
Parlamentskaya Gazeta,<br />
10 December 2010<br />
Commemorative dishes and cups, frames and<br />
stands for crystal vases, teapots, milk jugs,<br />
sugar basins, tableware, cups, and salt cellars<br />
made of silver by the Russian craftsmen<br />
of the second half of the 19th – early 20th<br />
centuries in different techniques reflect a variety<br />
of forms and decorations. <strong>The</strong> most numerous<br />
group of items are those made in the<br />
so-called Russian style. <strong>The</strong> earliest of them,<br />
a salt cellar shaped like a washtub, is a rare<br />
example of the interpretation of a traditional<br />
theme in the applied art of the first quarter<br />
of the 19th century.<br />
Tea.ru, “An Exhibition of Old Teapots<br />
Opens at the Winter Palace”,<br />
14 December 2010<br />
<strong>The</strong> roman Two-headed eagle.<br />
from <strong>The</strong> archaeological <strong>muSeum</strong><br />
aT alicanTe, Spain<br />
An exhibition of one item – a Roman twoheaded<br />
eagle – is opening at the State Hermitage<br />
on St. George’s Day. This exhibit is a<br />
unique fragment of a bronze sculpture found<br />
during the excavations of the Roman town of<br />
Lucentum in 2005. <strong>The</strong> statue’s ring finger<br />
bears a ring with an image of a staff which<br />
was used by Roman augurs as a sign of belonging<br />
to the priestly rank.<br />
Interfax–Severo-Zapad, “A Handle<br />
of a Roman Sword with a Two-Headed<br />
Eagle will be on Display at the Hermitage”,<br />
St. Petersburg, 9 December 2010<br />
<strong>The</strong> State Hermitage is displaying one of the<br />
first images of a two-headed eagle in history.<br />
<strong>The</strong> bronze hand holding a sword is a fragment<br />
of a statue found during of the excavations<br />
of the ancient city of Lucentum on the<br />
shores of the Mediterranean. It is the only<br />
item displayed at the exhibition <strong>The</strong> Roman<br />
Two-Headed Eagle, organized jointly with the<br />
Spanish Archaeological Museum in Alicante.<br />
<strong>The</strong> important Roman citizen portrayed in<br />
bronze was holding a special sword in his left<br />
hand – an attribute of military leaders and an-<br />
cient heroes. <strong>The</strong> pommel of this weapon was<br />
decorated with the image of the two-headed<br />
eagle, which had never before been seen in<br />
the art of Ancient Greece or Rome.<br />
ITAR-TASS, “One of the First Images<br />
of the Two-Headed Eagle is on Display<br />
at the Hermitage to Mark St. George’s<br />
Day”, Moscow, 9 December 2010<br />
<strong>The</strong> glaSS Bead caBineT.<br />
panelS from <strong>The</strong> chineSe palace<br />
aT oranienBaum<br />
<strong>The</strong> Hermitage is ready to introduce the public<br />
to a unique inter-museum project – the restored<br />
Glass Bead Cabinet from the Chinese<br />
Palace at Oranienbaum.<br />
This masterpiece of applied art has had<br />
a rather troubled history. It has long been<br />
known that it was in need of a complex and<br />
expensive restoration procedure. <strong>The</strong> unique<br />
job of saving the unique panels was entrusted<br />
to the experts from the Hermitage Laboratory<br />
for Scientific Restoration of Textiles.<br />
<strong>The</strong> outstanding work of the Hermitage experts<br />
was highly praised by their colleagues.<br />
<strong>The</strong> Glass Bead Cabinet. Panels from the Chinese<br />
Palace at Oranienbaum was awarded<br />
a special Sautov Restoration Prize in the category<br />
“Best Restoration Project” of the “Museum<br />
Olympus” award presented this year.<br />
Ludmila Leusskaya, “Glass Beads<br />
on Olympus”, Sankt-Peterburgskie<br />
Vedomosti, 7 December 2010<br />
<strong>The</strong> floor-to-ceiling panels, richly embroidered<br />
with glass beads, bring about a surge<br />
of respect for manual labour. Twelve glass<br />
bead panels, 3.5 m by 1.5 m each, used by<br />
Catherine the Great to knock dead her worldweary<br />
guests in a state drawing room, will be<br />
displayed like paintings. In the 18th century,<br />
the connoisseurs of the chinoiserie style<br />
thought that the Imperial “wallpaper” was the<br />
last word in sumptuous interior design, while<br />
the modern viewer will be reminded of fairytales<br />
and the wonders of the East when looking<br />
at these luminous glass panels.<br />
Time Out Peterburg,<br />
“<strong>The</strong> Glass Bead Cabinet from<br />
the Chinese Palace at Oranienbaum”,<br />
26 November – 9 December 2010<br />
temporary exhIbItIons<br />
porcelain and roSeS.<br />
from <strong>The</strong> “chriSTmaS gifT”<br />
SerieS<br />
<strong>The</strong> first dinner service of Empress Elizabeth,<br />
the wedding dishes used by the daughters<br />
of Paul I, Soviet and contemporary porcelain.<br />
What brings them all together is that most romantic<br />
of all flowers, the rose.<br />
<strong>The</strong> organizers of the exhibition have selected<br />
unique rather than mass-produced objects.<br />
<strong>The</strong> exhibition has no pieces with printed designs.<br />
<strong>The</strong> oldest and most valuable object<br />
in the collection is a snuffbox with a picture<br />
of playing pugs.<br />
Vesti.Ru, “Porcelain and Roses:<br />
the Most Romantic Exhibition<br />
at the Winter Palace”, 22 December 2010<br />
<strong>The</strong> Imperial Porcelain Factory used roses<br />
to decorate the pieces made for Empress Elizabeth.<br />
Garlands of moulded roses could be<br />
seen on the very first “Personal” Service, they<br />
bloomed in the painting of the gilded tea service<br />
made during the life of the founding father<br />
of Russian porcelain, Dmitry Vinogradov.<br />
In Catherine’s age, roses were put on everyday<br />
services, they were woven into monogrammes<br />
and designs on teacups, vases, and<br />
other presentation pieces.<br />
Sankt-Peterburgskie Vedomosti,<br />
“Roses on Porcelain”,<br />
24 December 2010<br />
68 69
eSToraTion and conServaTion<br />
In 2010, the Department of Scientific Restoration<br />
and Conservation (headed by T. Baranova)<br />
restored 4,648 cultural and artistic objects<br />
Including:<br />
easel paintings 682<br />
graphic works 287<br />
sculptures 81<br />
objects of applied art 702<br />
numismatic objects 116<br />
archaeological artifacts 1,973<br />
arms and armoury 213<br />
documents, rare books 47<br />
mounted works 547<br />
laBoraTory for ScienTific reSToraTion<br />
of eaSel painTing<br />
Headed by V. Korobov<br />
George Dawe. Portrait of Empress Alexandra with Her Children.<br />
After restoration<br />
george dawe<br />
poRTRaiT of empRess aleXandRa<br />
wiTh heR childRen<br />
Oil on canvas. 277 × 187 cm<br />
Restored by V. Brovkin, A. Nikolsky<br />
<strong>The</strong> painting spent several decades rolled up with other canvases<br />
in the storage area of the State Hermitage, and was only admitted<br />
for restoration at the end of 2008. <strong>The</strong> painting looked much older<br />
than its real age: the varnish was dark and patchy, there were many<br />
overpaintings along the whole surface, and the size of the canvas had<br />
been altered. <strong>The</strong> conservation and restoration work started in the<br />
autumn of 2008. An examination of the painting revealed that it had<br />
been transferred to a different canvas, with additions on three sides:<br />
c. 14 cm on top, and 3.5 cm on both sides. <strong>The</strong>re also were restoration<br />
retouchings along the whole surface, which had changed colour, and<br />
a dark yellow layer of surface varnish – both typical for paintings which<br />
had their original canvas replaced by a new one in the 19th century.<br />
George Dawe. Portrait of Empress Alexandra with Her Children (detail: before restoration; during restoration; after restoration)<br />
<strong>The</strong> technical restoration involved making a new stretcher, straightening<br />
and patching the painting, adding canvas conservation hems<br />
to help keep it in place on the new stretcher. This removed the decrepit<br />
canvas in the corners and rectified the deformities. <strong>The</strong> restoration<br />
of the painting itself started with the cleaning of test areas<br />
from varnish and overpainting. <strong>The</strong> painting and its structure was<br />
studied and described in detail.<br />
<strong>The</strong> opaque layer of yellow varnish with dark retouching was removed<br />
by application of a 1:4 alcohol: pinene solution and tools<br />
such as a brush, a cotton wool pad and a scalpel. As a result, among<br />
other things, the colour of the dress changed from dirty green to<br />
dark blue, while the colour of the canopy changed from brown to<br />
dark red-wine colour. A thinner layer of varnish was re-applied to the<br />
whole surface with the help of ethanol vapours (Pettenkofer process).<br />
<strong>The</strong> painting was covered with a thin layer of megilp, and the<br />
losses were filled in with oil paints with microscopic precision.<br />
Now a formerly lost painting by Dawe, Portrait of Empress Alexandra<br />
with Her Children, will occupy its rightful place in the museum gallery<br />
as a splendid example of the wonderful English portrait painter’s<br />
mature work.<br />
<strong>The</strong> first versions of the portrait of Emperor Nicholas I and Empress<br />
Alexandra with their children were transferred in 1846 to the Romanov<br />
Family Gallery from the Nicholas (Anichkov) Palace, which<br />
probably led to their restoration and enlargement (which may be<br />
linked to the architectural designs for a new gallery and the preparation<br />
of new wall finishing and new frames). Transferring paintings<br />
to a new canvas in order to enlarge the picture was normal practice<br />
for nineteenth-century Russian restorers. It allowed them to avoid<br />
deformities inevitable when restoration painting was joined to the<br />
original layers. <strong>The</strong> reverse side of the new canvas would still bear<br />
the name of the artist along with the place and date of completion.<br />
Our canvas, however, does not have such an inscription, and only<br />
the number 460 bears testimony to the fact that the portrait was<br />
included in the inventory of the Nicholas Palace. It is logical to suppose<br />
that the complex restoration was carried out between 1846 and<br />
1855. Thus, the size of the painting was altered in the 19th century,<br />
making the picture 15 cm higher. It is interesting that the author’s<br />
copies of the portraits of Nicholas and Alexandra are 262 cm high,<br />
which corresponds to the original size of the painting in question.<br />
Thus, it was possible to determine that:<br />
restoratIon anD conserVatIon<br />
– the size of the portrait was enlarged to fit that of the companion<br />
portrait of Nicholas I, and this was done during the nineteenthcentury<br />
restoration;<br />
– the restoration (transferral to a new canvas and altering the size)<br />
took place after the artist’s original copies of both portraits were made,<br />
in the middle of the 19th century but preceding the 1855 inventory<br />
of the Nicholas Palace when the portrait was recorded as No 460;<br />
– the additional pieces of canvas are not original; the colour scheme,<br />
texture and foundation are different from those in the original<br />
painting.<br />
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laBoraTory for ScienTific reSToraTion<br />
of mural painTing<br />
Headed by A. Bliakher<br />
reSToraTion of an old ruSSian<br />
freSco Showing <strong>The</strong> lower parT<br />
of <strong>The</strong> figure of a SainT<br />
(<strong>The</strong> hem of <strong>The</strong> roBe and feeT)<br />
Pskov, the Cathedral of the Holy Trinity,<br />
12th century<br />
Under restoration<br />
Restored by O. Khakhanova<br />
In 1981, a fresco from the Cathedral of<br />
the Holy Trinity was lifted from the ruins.<br />
It had fallen from a great height onto an<br />
uneven hard surface together with a heavy<br />
block of masonry. <strong>The</strong> blow had a destructive<br />
effect on the front of the fresco, which<br />
shattered into many pieces. <strong>The</strong> fresco was<br />
greatly deformed, broken into multiple tiny<br />
fragments (from 1 sq. mm to 5 sq. cm), and<br />
the image was nearly impossible to recover.<br />
R. Belyakova, restorer from the Laboratory<br />
for Scientific Restoration of Mural Painting,<br />
managed to undertake the preliminary conservation<br />
work in situ.<br />
At the Lab, the fresco had to be taken apart<br />
into separate blocks because of the damage<br />
it had sustained, and these blocks had to be<br />
further broken into fragments. <strong>The</strong> fresco<br />
was in a poor state, with many fragments<br />
almost crumbling to dust. <strong>The</strong> restorers<br />
straightened the surface level of the fresco,<br />
cleaned the seams and glued the whole work<br />
together again.<br />
<strong>The</strong> work also entailed tracing copies of<br />
each fragment on plastic film (a working<br />
scheme), which made it possible to locate<br />
each piece, including the tiniest ones. This<br />
method of using a working scheme section<br />
by section was used for the first time.<br />
A drawn copy was also made in order to define<br />
the patterns of the image.<br />
<strong>The</strong> fresco is being restored under the supervision<br />
of V. Fominykh, top grade restorer.<br />
ancienT egypTian carTonnage<br />
SarcophaguS wiTh columnS<br />
of dedicaTory inScripTion<br />
on <strong>The</strong> fronT Side<br />
Restored by L. Gagen<br />
<strong>The</strong> cartonnage was received in several pieces.<br />
Its reverse side had sustained the most<br />
damage – there were six large fragments<br />
with the foundation peeling off in many<br />
places, many cracks, torn-off strips of fabric,<br />
and other defects. <strong>The</strong> pieces were all much<br />
stained.<br />
<strong>The</strong> sarcophagus underwent a full restoration<br />
and conservation procedure: the foundation<br />
was strengthened, it was backed up<br />
on a new fabric, the separate fragments were<br />
pieced and glued together, the colour layer<br />
was uncovered and cleaned, the deformities<br />
removed, and internal inserts added to preserve<br />
the shape of the object.<br />
laBoraTory for ScienTific reSToraTion<br />
of SculpTure and coloured SToneS<br />
Headed by S. Petrova<br />
SculpTureS To Be diSplayed aT <strong>The</strong> exhiBiTion<br />
<strong>The</strong> immoRTal aleXandeR <strong>The</strong> gReaT. <strong>The</strong> mYTh. <strong>The</strong> RealiTY.<br />
his jouRneY. his legacY in <strong>The</strong> exhiBiTion roomS<br />
of <strong>The</strong> <strong>hermiTage</strong> • amSTerdam cenTre<br />
Restored by Ye. Andreyeva, K. Blagoveshchensky, V. Klur,<br />
V. Mozgovoi, S. Petrova<br />
Over 40 artifacts from the collections of the<br />
Department of Classical Antiquity and the<br />
Oriental Department of the State Hermitage<br />
underwent restoration. <strong>The</strong> most difficult<br />
and time-consuming task was the restoration<br />
of ancient sculpture.<br />
<strong>The</strong> marble surface of the statue of Dionysus<br />
(Roman copy of the Greek original of the<br />
3rd century B.C., marble, inv. no. ГР-3004<br />
(A.104)) was covered with persistent, uneven<br />
dust deposits. <strong>The</strong> numerous nineteenthcentury<br />
plaster additions were stained and<br />
in many places overlay the original marble.<br />
<strong>The</strong> wax and galipot mastic used in the 18th<br />
and 19th centuries to fill in the seams between<br />
fragments and varnish layers had<br />
changed colour, darkened and yellowed,<br />
revealing multiple seams and cracks. During<br />
the conservation and restoration, the<br />
surface was cleaned, and the stains and<br />
impurities removed, along with drops of<br />
dark mastic and soiled plaster additions.<br />
<strong>The</strong> original marble surface was uncovered.<br />
<strong>The</strong> numerous seams between large and<br />
small fragments were cleared of the yellowed<br />
wax and galipot mastic and filled in<br />
with a polymeric and crushed marble mixture.<br />
<strong>The</strong> insignificant losses were filled in<br />
using composite materials.<br />
<strong>The</strong> work on the statue of Hercules (marble,<br />
inv. no. ГР 26 (A.308)) entailed making<br />
a replacement for a large lost fragment of<br />
the plinth, which was moulded and cast<br />
of a composite imitation material. A large<br />
amount of work was also needed to remove<br />
the stains, clean the seams, remove rough<br />
mastic and replace it with a reversible polymeric<br />
and crushed marble mixture.<br />
During the restoration of the statue of Serapis<br />
(marble, inv. no. ГР-3550 (A.216)) it<br />
was considered necessary to make a mould<br />
of the marble original head dismantled<br />
by O. Waldhauer, since it was impossible to<br />
exhibit the statue in fragments. <strong>The</strong> copy<br />
made of composite material imitating the<br />
colour and texture of the marble torso was<br />
placed on the statue, with a specially designed<br />
system of combining the fragments<br />
which would allow for a straightforward<br />
removal of the restoration addition.<br />
<strong>The</strong> unique statue of Eros with his bow<br />
(marble, inv. no. ГР-3102 (A.199)) was restored<br />
as well. Its plinth has a bronze band<br />
with the inscription reading “Acquired in<br />
1851 from the Papal Government in exchange<br />
for yielding to it land on the Palatine<br />
Hill”. <strong>The</strong> broken plinth was glued<br />
together and mounted to its original place,<br />
the marble surface was cleaned, the seams<br />
were cleaned and varnished over; later<br />
mastic not matching the original colour<br />
and texture was removed from the original<br />
parts of the artifact, large fractures were varnished<br />
over.<br />
As a result of the conservation and restoration,<br />
the marble statues from the collection<br />
of the Department of Classical Antiquity became<br />
fit to be exhibited again.<br />
Statue of Eros with a bow. Fragment.<br />
Before restoration<br />
Statue of Eros with a bow. Fragment.<br />
After restoration<br />
Statue of Hercules. Before restoration Statue of Hercules. After restoration<br />
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estoratIon anD conserVatIon restoratIon anD conserVatIon<br />
laBoraTory for ScienTific<br />
reSToraTion of applied arT<br />
oBJecTS<br />
Headed by A. Bantikov<br />
SecTor for reSToraTion<br />
of archaeological meTal<br />
In 2010, 1,500 items were restored in this<br />
sector. A few of the more important and<br />
challenging jobs are described below.<br />
iron helmeT wiTh Silver<br />
decoraTion in relief<br />
Northern Black Sea Area, near Kerch<br />
(ancient Pantikapaion),<br />
first half – middle of the 3rd century B.C.<br />
Restored by N. Yankovskaya<br />
<strong>The</strong> exhibit had already undergone restoration,<br />
with fragments of the helmet walls<br />
pieced together and consolidated with wax<br />
and galipot mastic. An examination of the<br />
items revealed that the back part and neck<br />
flap had disintegrated. In order to exhibit<br />
the helmet, it was necessary to reassemble<br />
all the pieces and to clean the surface of the<br />
silver plates on the cheek guards. In order to<br />
restore the artifact to its original shape and<br />
to reinforce the individual pieces, it had to<br />
be cleaned of old conservation materials:<br />
wax-and-galipot mastic deposits from the<br />
seams and dilapidated conservation varnish<br />
from the surface, which skewed the joining<br />
edges of individual fragments. <strong>The</strong> silver<br />
plates were cleaned and the original shape<br />
reconstructed. <strong>The</strong> conservation made it<br />
possible to consolidate the original materials,<br />
remove the surface stains and recover<br />
the fine details of the silver plate patterning.<br />
Silver rhyTon<br />
Kuban Area, 4th Semibratny Burial Mound,<br />
5th century B.C.<br />
Restored by O. Senatorova<br />
At the start of the restoration process, the<br />
rhyton consisted of two fragments. <strong>The</strong>re<br />
were significant losses and cracks across the<br />
whole surface. <strong>The</strong> metal inside the rhyton<br />
was peeling. <strong>The</strong> butyral film used for backing<br />
in places had disintegrated, causing the<br />
original metal to crack. <strong>The</strong> butyral film and<br />
the old conservation varnish were removed,<br />
the losses and cracks were backed up onto<br />
thin fibreglass cloth and where necessary<br />
supplemented with thin polymer plates following<br />
the original shape.<br />
Iron helmet with silver decoration in relief. Before restoration<br />
Iron helmet with silver decoration in relief. After restoration<br />
Silver rhyton. Fragment. Before restoration Silver rhyton. Fragment. After restoration<br />
Silver Bowl on Three<br />
Shell-Shaped legS wiTh gilding<br />
along <strong>The</strong> rim<br />
Northern Black Sea Area, the Pantikapaion<br />
necropolis, first half of the 3rd century B.C.<br />
Restored by N. Panchenko<br />
<strong>The</strong> object had undergone restoration in<br />
the 1950s, when the walls were reinforced<br />
with copper wire armouring welded on tin<br />
and backed up on thin fabric.<br />
This hardwiring later caused the thin walls<br />
of the cup to crack and fall through, which<br />
created losses and threatened the integrity<br />
of the whole object. <strong>The</strong> old conservation<br />
materials were partially removed: the silver<br />
and wire were cleaned of tin deposits, and<br />
the conservation varnish was removed from<br />
the surface of the object.<br />
<strong>The</strong> cleaning of the surface uncovered the<br />
gilded rim of the cup, which was cleaned as<br />
well. <strong>The</strong>n the cup was strengthened, partly<br />
backed up on fibreglass cloth, and the fragments<br />
were assembled and glued together.<br />
BronZe Jug<br />
Syria – Iraq, 8th – 9th century<br />
Restored by O. Semenova<br />
<strong>The</strong> jug had never undergone conservation<br />
before. <strong>The</strong> whole object was covered<br />
in thick corrosion and soil deposits, under<br />
which it was possible to see the metal surface.<br />
<strong>The</strong>re was a hole in the bottom of the<br />
jug, which was covered with a fabric stopper<br />
in the Middle Ages. <strong>The</strong> body was decorated<br />
with an inlaid rosette. <strong>The</strong> restorers uncovered<br />
the original surface of the jug, revealing<br />
the ornamental neck and the inlay.<br />
BronZe mirror on a lea<strong>The</strong>r<br />
STrap<br />
Tyva, Chinge-Tei, 7th century B.C.<br />
Restored by M. Borovikova<br />
<strong>The</strong> mirror was brought for conservation<br />
after it was uncovered during excavations.<br />
<strong>The</strong> whole surface of the object was covered<br />
in corrosion and soil deposits, the<br />
mirror edges were uneven. On the reverse<br />
in the centre of the mirror there is a handle<br />
shaped as a goat figure, tightly braided<br />
with a fragile leather strap. <strong>The</strong> restorers<br />
uncovered a paste bead on the strap near<br />
the centre of the mirror. <strong>The</strong> conservation<br />
resulted in the surface of the mirror being<br />
cleaned, the strap reinforced and the white<br />
paste bead cleaned.<br />
Silver bowl on three shell-shaped legs with gilding along the rim. After restoration<br />
Bronze jug. Before restoration<br />
Bronze jug. After restoration<br />
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estoratIon anD conserVatIon restoratIon anD conserVatIon<br />
SecTor for reSToraTion<br />
of STained glaSS<br />
STained glaSS panel lamenTaTion<br />
Germany, 16th century<br />
Restored by Ye. Krylova, V. Lebedev,<br />
Ye. Dutova<br />
<strong>The</strong> year 2010 saw the end of three years of<br />
restoration work on a unique stained glass<br />
panel from the Hermitage collection – Lamentation,<br />
a sixteenth-century German panel<br />
probably based on a drawing by Bartolomäus<br />
Bruyn. <strong>The</strong> panel is outstanding in its masterly<br />
use of multi-layered glass painting and<br />
an exquisite quality of the image betraying<br />
the art of High Renaissance. O. Novikova,<br />
a member of the Expert Examination Department,<br />
assessed the layers of paint on the<br />
glass frames to reveal the original glass panels.<br />
<strong>The</strong> numerous later overpaintings have<br />
significantly distorted the original look of<br />
the work. <strong>The</strong> conservators managed to find<br />
a solution to the challenging problem of<br />
replacing the old low-quality overpaintings<br />
in cold colours with new ones made in the<br />
traditional multi-layered technique. Many<br />
of the well-preserved overpaintings from the<br />
turn of the 20th century were left in place.<br />
<strong>The</strong> most challenging task was replacing<br />
the damaged glass panels containing fragments<br />
of figures from the central part of the<br />
stained glass.<br />
All the restoration additions were made of<br />
glass of one quality and shade, selected to fit<br />
the original glass. Opaque brown glass ink<br />
was used to achieve the necessary tint.<br />
<strong>The</strong> corroded lead pieces were replaced<br />
with new ones conforming to the shape<br />
and composition of the original material.<br />
<strong>The</strong> rusty fastenings were replaced with new<br />
brass ones.<br />
After the conservation and restoration, Lamentation<br />
will be included in the exhibition of<br />
German art.<br />
Lamentation, stained glass panel. After restoration<br />
“<strong>The</strong> head of Joseph of Arimathea”: a nineteenth-century addition removed<br />
by the restorers; modern overpainting and burning<br />
laBoraTory for ScienTific reSToraTion of oBJecTS<br />
made of organic maTerialS<br />
Headed by Ye. Mankova<br />
gun from <strong>The</strong> arSenal<br />
deparTmenT<br />
Painted wood and metal<br />
Iran (?), 18th century<br />
Restored by M. Michri<br />
A group of exhibits was prepared for display<br />
at the temporary exhibition Decorative Weapons<br />
from the State Hermitage Collection (Hermitage<br />
• Kazan Centre, February–October<br />
2011).<br />
<strong>The</strong> gun in question is among the most<br />
interesting and outstanding exhibits: it is<br />
around 2 metres long and decorated with<br />
floral patterns and images of “mythical” lions<br />
(beasts) and birds, which may be symbolic<br />
as well as decorative; the decoration is<br />
bright and eye-catching.<br />
<strong>The</strong> exhibit was sent to the Laboratory after<br />
the metal elements had been dismantled<br />
at the Laboratory for Scientific Restoration<br />
of Applied Art Objects. <strong>The</strong>re were<br />
signs of physical damage, dents and flaking<br />
wood along the edge of the wooden stock.<br />
Gun stock with image of a lion. Fragment.<br />
Before restoration<br />
Gun stock with image of a lion. Fragment.<br />
After restoration<br />
<strong>The</strong> brick-red paint layer was thick but partially<br />
lost, especially on the protruding parts<br />
in the central part of the butt-stock. <strong>The</strong> layer<br />
of textured yellow-golden paint had been<br />
rubbed off and lost in many places across<br />
the whole surface, and the paint was peeling.<br />
<strong>The</strong> original surface varnish had been<br />
renewed before. <strong>The</strong> original colour was<br />
distorted by the uneven layer of dark and<br />
yellow varnish. <strong>The</strong> painted surface of the<br />
stock had many scratches reaching the paint<br />
and wood layers.<br />
<strong>The</strong> surface was dusty and stained with grey<br />
paint.<br />
According to the task set by the Restoration<br />
Commission, the necessary technical<br />
and technological assessment was carried<br />
out, the surface impurities and paint stains<br />
were removed, the priming and paint layer<br />
were strengthened. <strong>The</strong> restorers worked<br />
out a method of removing the later varnish,<br />
thinning out the dark layer of the original<br />
varnish and covering the painted surface<br />
with a new protective layer of conservation<br />
varnish. Photographs were taken to record<br />
the different stages of the restoration process.<br />
<strong>The</strong> stock is made of walnut (the type of<br />
wood determined by M. Kolosova, member<br />
of the Expert Examination Department).<br />
<strong>The</strong> most challenging areas in terms of thinning<br />
out the varnish layer were those where<br />
the uneven varnish lay over the dilapidated<br />
ochre-yellow paint layer, especially on the<br />
images of the two beasts on the butt-stock.<br />
<strong>The</strong> clearing of these areas was performed<br />
in several stages, layer by layer. After the decorative<br />
painting was conserved, there was<br />
no more danger of further disintegration<br />
of the painting on the stock. <strong>The</strong> patterns<br />
became much clearer after the varnish layer<br />
had been diluted, with brighter colours and<br />
more prominent image details.<br />
After the complex conservation and restoration<br />
procedure, the exhibit was re-assembled.<br />
<strong>The</strong> gun became fit for display as an<br />
organic whole. <strong>The</strong> uncovered patterns will<br />
help to shed more light on the history of the<br />
artifact and pave the way for further art history<br />
research.<br />
Horse mask with a stag’s head.<br />
After restoration<br />
horSe maSK wiTh a STag’S head<br />
from <strong>The</strong> fifTh Burial mound,<br />
paZyryK SiTe<br />
Wood, leather; 4th – 3rd century B.C.<br />
Restored by Ye. Chekhova<br />
<strong>The</strong> final updating and re-launch of the<br />
permanent exhibition Siberian Antiquities<br />
marked the end of a long series of conservation<br />
projects for the finds from the<br />
so-called ice burials in the Altai Region.<br />
Most of the objects found during the Altai<br />
excavations between 1929 and 1947 were<br />
uncovered in a much fragmented state. An<br />
impressively ambitious emergency effort<br />
to re-assemble the fragments was first attempted<br />
in field conditions before the excavations<br />
were over. In the 1950s, once they<br />
had been given over to museums, the Altai<br />
finds underwent certain standard conservation<br />
procedures, which mostly involved removing<br />
the impurities, gluing together and<br />
backing up the fragments. A more regular<br />
restoration programme was started in the<br />
1970s, by which time the conservationists<br />
of the world had accumulated sufficient experience<br />
of working with archaeological artifacts,<br />
and a number of new conservation<br />
chemicals had become available.<br />
A leather horse mask with a stag’s head from<br />
the Fifth Pazyryk Burial Mound, like many<br />
other finds, had been torn in places, with<br />
some leather fragments and details lost.<br />
<strong>The</strong> leather had been deformed, crinkled<br />
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estoratIon anD conserVatIon restoratIon anD conserVatIon<br />
and hardened, but it was still supple. <strong>The</strong><br />
wooden supports of the antlers were nearly<br />
entirely absent, as was a large part of the<br />
left antler. During the emergency conservation,<br />
all the torn areas had been backed<br />
up on fabric; the lost leather base had been<br />
replaced with dark glutinous mastic; the<br />
extant fragments of the second antler had<br />
been glued to a carton base and attached<br />
with thread to aluminium wire which replaced<br />
the wooden supports. <strong>The</strong> thick<br />
layer of glue, which had lost all its elasticity,<br />
was making the leather even more rigid.<br />
A second restoration was called for, especially<br />
since it was not only the backing<br />
materials that had become obsolete (for<br />
instance, dyed muslin was used for keeping<br />
fragments together), but the adhesives<br />
as well – most of them did not conform to<br />
conservation standards. Moreover, it was<br />
now possible to subject the collection to<br />
a modern chemical, physical-chemical,<br />
and microbiological assessment. S. Khavrin<br />
from the Expert Examination Department<br />
analyzed the pigments on the leather antlers<br />
and the wooden support and established<br />
that the pigment used was cinnabar. M. Kolosova<br />
determined that the stag’s head was<br />
made of Siberian pinewood, and the support<br />
of the antlers of honeysuckle wood.<br />
During the restoration, the surface of the<br />
leather base of the mask was cleaned of impurities<br />
and adhesive deposits, the deformities<br />
of the leather were removed inasmuch as<br />
that was possible, the old rigid patches were<br />
replaced with up-to-date backing materials<br />
using polymeric compounds specially developed<br />
for gluing leather pieces together.<br />
<strong>The</strong> rough mastic with colour and texture<br />
different from those of the original was removed,<br />
and the lost leather fragments filled<br />
in with new elastic varnishes selected to<br />
match the original; the left antler was made<br />
out of a piece of rawhide to match the right<br />
one. A light detachable wooden support was<br />
made by the restorer V. Gradov (Laboratory<br />
for Scientific Restoration of Furniture)<br />
to attach the leather antlers to the wooden<br />
stag’s head. It keeps the antlers secure on<br />
the leather mask base but does not distract<br />
the attention of the viewers.<br />
<strong>The</strong> mask is displayed together with the<br />
complete harness set composed of the bridle,<br />
saddle, saddle cover and saddle-cloth<br />
which were found in the same horse burial.<br />
preparing <strong>The</strong> amBer<br />
archaeological arTifacTS<br />
for <strong>The</strong> exhiBiTion ambeR in<br />
ancienT culTuRes. masTeRpieces<br />
fRom <strong>The</strong> heRmiTage museum<br />
collecTion<br />
Restored by K. Nikitina, Ye. Chekhova,<br />
M. Michri, Ye. Mankova,<br />
N. Vasilyeva<br />
<strong>The</strong> State Hermitage possesses many amber<br />
artifacts, a considerable number of which<br />
are archaeological finds discovered in settlements<br />
and burial sites.<br />
<strong>The</strong> Laboratory restorers prepared over<br />
50 such finds for the exhibition. Among the<br />
items which underwent conservation were<br />
pendants, beads, amber pieces, fragments<br />
of necklaces, cowry shells, shell-shaped pendants<br />
made of horn; beads composed of amber,<br />
glass, paste, lignite, carnelian; beads of<br />
lignite, chalcedony, glass, paste, and bones<br />
of ancient fish. An interesting find is a figurine<br />
of a lion from the Bolshoi Burial near<br />
Armavir (Kuban Region) (first half of the<br />
1st century). <strong>The</strong> most numerous finds are<br />
bead necklaces and pendants, from tiny<br />
beads (3 mm), flat plaques, or cylindrical<br />
hollowed pieces to large single pieces (up to<br />
6 cm) which had undergone only the most<br />
superficial treatment.<br />
Archaeological amber – that is, artifacts<br />
made of ancient resin found underground –<br />
is a brittle material which is very susceptible<br />
to atmospheric impact. It is well known that<br />
when amber pieces undergo a primary treatment<br />
in order to make them into artifacts,<br />
this triggers oxidation processes causing<br />
the amber to darken or change its original<br />
colour. <strong>The</strong> preservation of amber, even in<br />
normal temperature and humidity, depends<br />
on the environment: air, light, and heat.<br />
Necklace. Before restoration<br />
Necklace. During conservation<br />
Necklace. After restoration<br />
Any of these factors can cause tiny cracks<br />
to appear on the surface, which then widen<br />
and spread to the whole surface of the amber<br />
object, making the amber brittle and<br />
opaque.<br />
<strong>The</strong> exhibits were brought for restoration<br />
from storage, where they had usually been<br />
placed immediately after the excavations<br />
after only superficial treatment in field conditions.<br />
A great number of items had never<br />
undergone conservation before. <strong>The</strong> state<br />
of their preservation varied, but the majority<br />
were in urgent need of restoration. A great<br />
number of amber beads were in a very poor<br />
condition, with many cracks, broken fragments,<br />
stains, damage and flaking of the<br />
surface layer. In some of the artifacts, the<br />
material had partially disintegrated, causing<br />
changes in the texture of the amber: some<br />
of the beads had an opaque oxidized shell<br />
on the surface, while the body of the amber<br />
laBoraTory for ScienTific<br />
reSToraTion of TexTileS<br />
Headed by M. Denisova<br />
chenille and glaSS Bead panelS<br />
from <strong>The</strong> glaSS Bead room<br />
of <strong>The</strong> chineSe palace<br />
Restored by M. Denisova,<br />
G. Fedorova, L. Loginova,<br />
M. Tikhonova, T. Grunina-Shkvarok,<br />
A. Shapran<br />
Twelve panels embroidered with chenille<br />
and glass beads were made in 1762–1764 in<br />
the de Chele workshop in St. Petersburg for<br />
the Glass Bead Room in the Chinese Palace<br />
(Oranienbaum). Each panel is placed in a<br />
wooden carved and gilded frame.<br />
In the mid-19th century, the chenille embroidery<br />
was painted over. In 1941–1945 the<br />
glass bead panels were taken down from the<br />
walls and moved to Leningrad, where they<br />
were kept in the crypt of St. Isaac’s Cathedral,<br />
which caused mould to spread over<br />
them. <strong>The</strong>y were then brought to the State<br />
Hermitage for restoration, and in 1946 they<br />
were returned to Oranienbaum.<br />
On 10 September 2009, the glass bead panels<br />
were again dismantled and admitted for<br />
restoration. Once test clearings and a full<br />
examination were carried out with the help<br />
of the experts from the Biological Control<br />
Laboratory and the Expert Examination<br />
Department of the State Hermitage, plans<br />
were laid for the necessary restoration procedure<br />
which was approved by the Restoration<br />
Commission of the State Hermitage<br />
and the Committee for State Control, Use<br />
piece itself had crystallized and was ready to<br />
fall into pieces. <strong>The</strong> restoration procedures<br />
included macrophotography, which made<br />
it possible to evaluate the state of preservation<br />
of the objects and decide on the best<br />
ways of preserving them.<br />
<strong>The</strong> main task in preparing the items for the<br />
exhibition was to conserve them, i.e. preserve<br />
them in their original state. <strong>The</strong> lost<br />
fragments and cracks were primarily filled<br />
in to make the objects more durable.<br />
<strong>The</strong> formula for saturating and pasting the<br />
finds was specially developed for each individual<br />
case. <strong>The</strong> conservation itself depended<br />
on the state of preservation – with some<br />
of the objects, the infusions were limited to<br />
damaged areas, and some needed to be saturated<br />
in their entirety.<br />
<strong>The</strong> preparation of the exhibits included<br />
a number of restoration procedures such as<br />
examination, photography, reinforcement,<br />
and Protection of Monuments of History<br />
and Culture.<br />
At the start of the restoration, all the embroidered<br />
glass bead panels had been severely<br />
soiled, deformed, with mould and leak stains.<br />
Glass bead threads had come loose, sagged,<br />
and torn off in places. Chenille embroidery<br />
was covered with coarse gouache paint coatings<br />
all over the surface. <strong>The</strong>re was a dense<br />
layer of paint forming a rigid cracked crust,<br />
which almost covered the original velvety<br />
surface of the embroidery and distorted its<br />
colour scheme. In some places, the threads<br />
of the embroidery were badly worn out, the<br />
velvety chenille fleece had been lost, the<br />
base of threads thinned, and the threads<br />
themselves pulled out. In places of severe<br />
cleaning, pasting together, varnishing of the<br />
amber finds (replicas of lost fragments were<br />
used in very few cases). <strong>The</strong> small beads<br />
from the Kichmalka II burial were assembled<br />
in a necklace.<br />
<strong>The</strong> amber finds from ancient burial and<br />
settlement sites are an important archaeological<br />
source which yields valuable information<br />
about both the applied art and the<br />
prosperity of the population who owned<br />
them, as well as about the contacts between<br />
different cultures. <strong>The</strong> preservation of such<br />
artifacts equals the preservation of information<br />
which can be used by researchers both<br />
in the present and the future.<br />
Detail of the panel with overpainting Detail of the panel after the ovepainting’s removal<br />
78 79
estoratIon anD conserVatIon restoratIon anD conserVatIon<br />
thinning and thread loss it was possible to<br />
see the canvas base, also covered by later<br />
overpainting. On the canvas, there were numerous<br />
tears and holes made by nails, as well<br />
as rust stains. <strong>The</strong> flax lining of each panel<br />
was also badly soiled and deformed, and infected<br />
with mould fungi spores. <strong>The</strong> lining<br />
canvas shows signs of old repairs: threads for<br />
fixing glass beads, additional embroidery<br />
with chenille and woollen threads made at<br />
different times.<br />
<strong>The</strong> restoration lasted for a year and consisted<br />
of several stages. First, each panel<br />
was detached from its backing and the old<br />
threads used for mending the glass bead<br />
embroidery were removed. In the areas<br />
where the chenille embroidery pierced the<br />
canvas lining, the lining was removed without<br />
affecting the chenille threads and ultimately<br />
completely detached from the panel.<br />
<strong>The</strong> glass beads were temporarily fixed in<br />
place where there was a danger of them<br />
coming loose. <strong>The</strong> next stage was the cleaning<br />
of the panels. It was necessary to soften<br />
and remove the coarse paint coating from<br />
the velvety surface of the embroidery and<br />
the dense layer of soiling from the whole<br />
surface of the panels. Once each panel had<br />
been cleaned, the next step was to back it<br />
up against a new canvas and to reinforce the<br />
embroidery. First, all the “weak spots” of the<br />
embroidery base and the most badly damaged<br />
panel edges had to be strengthened.<br />
<strong>The</strong>n, loose and crumbling glass beads were<br />
fastened following the embroidery pattern.<br />
Where the canvas had been badly damaged<br />
and many glass beads lost, modern beads<br />
were strung in accordance with the original<br />
embroidery technique. Chenille threads<br />
over the whole surface of the embroidery<br />
were reinforced with silk threads in matching<br />
colours.<br />
During the restoration and conservation<br />
procedures, the thick layer of dirt and mould<br />
and the later paint were removed from all<br />
the panels; the glass beads and embroidery<br />
threads were held fast in place all over the<br />
surface; the deformities were partially rectified;<br />
the panels were backed up against an<br />
entirely new canvas and made ready to be<br />
mounted on a stretcher.<br />
<strong>The</strong> restored glass bead panels are on display<br />
at a temporary exhibition in the Hermitage.<br />
<strong>The</strong>y represent the result of cooperation between<br />
two museums – the State Hermitage<br />
and the Peterhof State Museum Reserve.<br />
Panel. After restoration<br />
laBoraTory for ScienTific<br />
reSToraTion of preciouS<br />
meTalS<br />
Headed by I. Malkiel<br />
<strong>The</strong> hoard of mrS. liKhachyova<br />
Restored by I. Malkiel<br />
In May 1978, a precious hoard was found<br />
at the Voskhod Factory in Leningrad. It was<br />
later given to the Department of the History<br />
of Russian Culture at the State Hermitage.<br />
<strong>The</strong> items in the hoard, which date back to<br />
1824–1910, were made by the best craftsmen<br />
and companies in St. Petersburg and Moscow.<br />
Before they were stashed away, all the<br />
objects had been meticulously polished and<br />
packed. <strong>The</strong>re was a date – March 1917 –<br />
on one of the newspapers used for wrapping<br />
them, which provides a terminus ante quem<br />
date for the hiding of the hoard.<br />
<strong>The</strong> restoration of the pieces began in<br />
March 2008. <strong>The</strong> work was hampered by<br />
soil corrosion, since all the objects had been<br />
wrapped in newspapers and hidden under<br />
floorboards. Besides, gilded silver tends to<br />
darken with time because of the porous<br />
structure of the gilding and the diffusion<br />
of the silver itself. <strong>The</strong> copper component<br />
of silver alloys and solders had oxidized, so<br />
that the objects, coated in a green oxide<br />
layer, had fallen apart where they had been<br />
soldered together. Soil corrosion and other<br />
hostile factors turned “new metal” into “archaeological<br />
metal”. Some of the objects<br />
in the hoard (knives, spatulas etc.) were<br />
made of a combination of silver, bone, and<br />
iron, with iron being the most susceptible<br />
Coffee pot. Before and after restoration<br />
Items from Mrs. Likhachyova’s hoard. Before restoration<br />
Items from Mrs. Likhachyova’s hoard. After restoration<br />
to changes in outside conditions. After the<br />
hoard had been extracted, the condition<br />
of the iron objects deteriorated rapidly: the<br />
changed humidity and the access of oxygen<br />
to the dilapidated metal caused a rapid attack<br />
of corrosion. In order to preserve the<br />
iron details of the knives, spatulas and pins,<br />
it was necessary to cover them with a special<br />
anti-corrosive solution. Nearly all the<br />
iron objects were oxidized and covered with<br />
a corroded crust, while iron pins fell apart.<br />
Laser cleaning of works of art has now become<br />
a familiar technique; it is successfully<br />
used by restorers all over the world,<br />
who have by now accumulated considerable<br />
experience of using laser technology<br />
for cleaning metal objects. While the laser<br />
cleaning of metals is still in its early stages,<br />
laser welding has long been a key technique<br />
used by restorers in many of the world’s museums.<br />
State-of-the-art laser technologies<br />
make it possible to restore unique metal artefacts.<br />
<strong>The</strong> Hermitage was the first museum<br />
in Russia to use the latest generation of laser<br />
welding tools in its restoration practice, in<br />
compliance with all the requirements of museum<br />
work.<br />
This work was interesting not only as a treatment<br />
of a whole set of precious objects with<br />
a high artistic, historical and social value,<br />
but also as a major restoration project. After<br />
the end of the procedures, which took<br />
two and a half years, all the objects were displayed<br />
to the public.<br />
80 81
estoratIon anD conserVatIon restoratIon anD conserVatIon<br />
laBoraTory for ScienTific reSToraTion<br />
of furniTure<br />
Headed by V. Gradov<br />
longcaSe clocK<br />
and chinoiSerie caSe<br />
Case: England, c. 1700<br />
Dial and clockwork: London, William Post<br />
of London Bridge, 1750s<br />
Restored by V. Kashcheyev<br />
<strong>The</strong> Laboratory has accumulated considerable<br />
experience of restoring objects made<br />
in the “chinoiserie” technique, imitating the<br />
Chinese red and black lacquer. Such objects<br />
include the longcase clock restored in 2010.<br />
<strong>The</strong> case of the clock was made of English<br />
oak at the end of the 17th century. <strong>The</strong> case<br />
and its decoration have since been repeatedly<br />
altered and renovated.<br />
<strong>The</strong> examination of the item revealed that<br />
the clock had originally had a dark-green<br />
background, which was changed to red,<br />
probably in the 18th century. <strong>The</strong> existing<br />
clockwork and dial were probably added at<br />
the same time, around the 1750s.<br />
By the time it was brought to the Laboratory,<br />
the case of the clock was dilapidated.<br />
<strong>The</strong> structure was loose, and the glue in<br />
the mortise and tenon joints had disintegrated.<br />
<strong>The</strong> drying of the wood had caused<br />
the priming under the lacquer painting to<br />
come loose and flake. <strong>The</strong>re were many late<br />
and imprecise overpaintings over the whole<br />
surface. <strong>The</strong> shell gold, which was the key<br />
component of the original painting, was<br />
lost in places, as was the black glue colour<br />
(bone black).<br />
Restorer V. Kashcheyev<br />
According to the restoration task, the loose<br />
priming was pasted to the painting again,<br />
so that the case could be dismantled inasmuch<br />
as that was possible. V. Kashcheyev<br />
developed a new method of filling in the<br />
lost areas of the old priming, which made<br />
it possible to avoid the levelling finish<br />
when removing the excess new priming.<br />
<strong>The</strong> method follows the key principle of<br />
conservation – the new priming is removable<br />
and maximizes the preservation of<br />
the original priming and lacquer painting.<br />
<strong>The</strong> remnants of old glue were removed<br />
from all the components of the case, and<br />
the mortise and tenon joints were restored.<br />
Flaking areas and cracks on the panels,<br />
boards and profiles were patched with new<br />
wood close to the original in its physical and<br />
technical characteristics. <strong>The</strong> case was reassembled<br />
using new glue, and late imprecise<br />
overpaintings were removed. <strong>The</strong> lost areas<br />
of shell gold were filled in with imitation<br />
materials, which can be removed again<br />
without having any effect on the original<br />
painting. <strong>The</strong> remaining layer of lacquer<br />
was an alcohol-based combination of shellac<br />
and sandarac resin, so the final stage was<br />
a shellac varnish finishing.<br />
<strong>The</strong> clockwork produced by William Post of<br />
London Bridge was restored and installed<br />
at the Laboratory for Scientific Restoration<br />
of Timepieces and Musical Mechanisms by<br />
O. Zinatullin.<br />
Longcase clock. After restoration<br />
laBoraTory for<br />
ScienTific reSToraTion<br />
of chandelierS<br />
Headed by P. Khrebtukov<br />
lighTing uniTS of <strong>The</strong> Jordan<br />
STaircaSe<br />
<strong>The</strong> current lighting units on the Jordan<br />
Staircase were installed when the old spelter<br />
lamps in the state rooms of the Winter Palace<br />
were replaced with gilded bronze ones.<br />
<strong>The</strong> work started in 1899 under the supervision<br />
of Leonty Benois, Chief Architect of the<br />
Imperial court. <strong>The</strong> artist N. Emme was invited<br />
to work on detailed designs for chandeliers<br />
and bracket lamps. All the plaster models<br />
were made in the workshop of P. Kozlov,<br />
one of the best modellers in St. Petersburg,<br />
whose signature can be seen on each of the<br />
chandeliers. <strong>The</strong> Adolph Moran factory was<br />
chosen to make the units themselves. All the<br />
replacement work was completed by 1903.<br />
<strong>The</strong> latest restoration of the bronze items<br />
from the Jordan Staircase was undertaken<br />
over thirty years ago, while the bracket<br />
lamps of the upper tier were last restored in<br />
the 1950s. Over this time, the electric wiring<br />
had become faulty, and the bronze had<br />
become darkened and stained.<br />
After it was decided to start a complex restoration<br />
of the Jordan Staircase, the lighting<br />
units (22 wall brackets and 5 rocaille<br />
chandeliers) were dismantled and moved<br />
to the Laboratory for Scientific Restoration<br />
of Chandeliers.<br />
<strong>The</strong> lighting units of the Jordan Staircase<br />
were in a satisfactory state of preservation.<br />
But the gilding had partly worn out and was<br />
stained with rust. <strong>The</strong> metal was partially<br />
stained and corroded, with craquelure and<br />
cracks. Some fixtures had been lost or deformed,<br />
and some tulip-shaped crystal decorations<br />
had been lost. <strong>The</strong> electric wiring<br />
was faulty.<br />
In order to minimize the weight of the units<br />
(each bracket lamp weighs 100 kg, and<br />
each chandelier weighs 300 kg), as many<br />
elements as possible were dismantled before<br />
the units could be removed from the<br />
suspension hooks. After these components<br />
had been dismantled, the chandeliers were<br />
taken down from the hooks and lowered<br />
by means of a polyspast pulley block with<br />
the lifting capacity of 200 kg. This work<br />
required the erection of scaffolding and<br />
electric hoists. <strong>The</strong> Laboratory made a new<br />
pulley block with the lifting capacity of over<br />
300 kg, which was used to lift and attach<br />
the fully mounted chandeliers after the restoration.<br />
<strong>The</strong> restoration largely consisted in washing<br />
and cleaning the lighting units. <strong>The</strong> removal<br />
of dust and oil deposits, corrosion traces,<br />
Start of the work. December 2009<br />
Stains of many years<br />
Mounting the wiring<br />
82 83
estoratIon anD conserVatIon<br />
Mounting the horns<br />
old varnish and paint, especially from the<br />
upper-tier bracket lamps, was very timeconsuming<br />
because of the great weight and<br />
size of the pieces. But despite their durability,<br />
one of the chandeliers was found to have<br />
damaged horns.<br />
After the restoration the horns became solid<br />
and regained their original look.<br />
Any restoration of electric lighting units entails<br />
the replacement of the wiring. At the<br />
turn of the 20th century, brass sockets with<br />
ceramic inserts were used – these could no<br />
longer be obtained. Cermet sockets identical<br />
in shape to the old brass ones were used<br />
instead. <strong>The</strong> use of bronze-coloured insulated<br />
wiring made it possible to avoid painting<br />
the wires with “bronze” varnish.<br />
<strong>The</strong> mounting and assembly work was undertaken<br />
when the interior restoration was<br />
complete. <strong>The</strong> last chandelier was mounted<br />
and re-hung at the end of November 2010.<br />
<strong>The</strong> riggers provided priceless assistance<br />
to the restorers in dismantling, moving and<br />
re-assembling the brackets and chandeliers<br />
of the Jordan Staircase.<br />
<strong>The</strong> <strong>hermiTage</strong> reSToraTion School programme<br />
Coordinated by the restorer M. Michri<br />
<strong>The</strong> 2010 programme included an in-depth<br />
seminar on Field Conservation: <strong>The</strong>ory and<br />
Practice, held in the restoration workshops<br />
of the Sverdlovsk Local History Museum<br />
and presented by the top grade restorer<br />
S. Burshneva (Laboratory for Scientific Restoration<br />
of Applied Art Objects, Archaeological<br />
Metal Sector). <strong>The</strong> training course<br />
was attended by restorers and experts who<br />
take part in archaeological field trips in the<br />
Ural Region.<br />
<strong>The</strong>oretical lectures were held on the following<br />
topics: Aims of Field Conservation,<br />
Materials and Requirements for Field<br />
Conservation, Factors Contributing to the<br />
Disintegration and Preservation of Finds,<br />
Recommendations on Field Conservation<br />
for Different Material Groups (Glass, Stone,<br />
Ceramics, Wood, Leather, Bone), Methods<br />
of Removing the Finds from the Soil, Restoration<br />
in Camp, and Packing the Objects for<br />
Transporting. <strong>The</strong> lectures were accompanied<br />
by photo presentations. <strong>The</strong> course included<br />
practical classes on solution-making<br />
and practising the methods of field conservation<br />
of archaeological finds with the use<br />
of models.<br />
Practical classes. Taught by S. Burshneva<br />
<strong>The</strong> course was extremely important for<br />
training experts for work in field conditions<br />
(both restorers and field archaeologists).<br />
<strong>The</strong> correct removal, fixation and<br />
transporting of archaeological finds to the<br />
restoration workshops ensures the preservation<br />
of the objects and yields the most information<br />
in order to make them useful for<br />
research.<br />
<strong>The</strong> Hermitage Laboratory for Scientific<br />
Restoration of Graphic Works held a special<br />
training programme on Restoration of Rare<br />
Books and Library and Archival Materials<br />
as part of the Hermitage Restoration School<br />
Programme.<br />
<strong>The</strong> plans for the years 2011–2015 include<br />
more training sessions on the most in-demand<br />
topics for the restorers of the Sverdlovsk<br />
Local History Museum and other<br />
museums of the Urals and Siberia, as well as<br />
teaching master classes for experts who have<br />
already undergone training within the Hermitage<br />
Restoration School Programme.<br />
Two training sessions are planned for 2011:<br />
one on the restoration of graphic works<br />
(Second World War Posters) and one on the<br />
restoration of leather.<br />
puBlicaTionS<br />
J puBlicaTionS of 2010<br />
collecTion caTalogueS<br />
Persian Manuscripts, Paintings and<br />
Drawings of the 15th to Early 20th Centuries.<br />
Catalogue of the Collection. By Adel Adamova.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 512 pp., ills.<br />
For the first time, the catalogue presents the<br />
entire collection (over 400 works) of Persian illustrated<br />
and illuminated manuscripts, miniatures<br />
and drawings on separate leaves, painted<br />
lacquers and paintings in oil on canvas, preserved<br />
in the State Hermitage Museum. Most<br />
of the works in the catalogue are published for<br />
the first time. <strong>The</strong> book opens with a history of<br />
Persian painting and drawing in Iran from the<br />
14th to early 20th centuries. <strong>The</strong> major part of<br />
the catalogue is 296 descriptions (184 playing<br />
cards are described in one and the same catalogue<br />
entry), which contains complete information<br />
about the works, interpretation of the<br />
plots, attribution and dating.<br />
Tibetan Painting (Tangka) from the Collection<br />
of Yuri Roerich (Stored in the State Hermitage<br />
Museum). By Yulia Yelikhina. St. Petersburg:<br />
GAMAS, 2010. – 128 pp., ills.<br />
Yuri Roerich (1902–1960) was an outstanding<br />
orientalist and collector of Oriental art. His<br />
collection was divided into several portions,<br />
one of which is represented in the catalogue.<br />
Tibetan paintings (tangka), distemper paints<br />
on cloth scrolls, datable between the 17th and<br />
early 20th centuries, are outstanding specimens<br />
of Tibetan Buddhist art. <strong>The</strong> catalogue<br />
includes 44 works.<br />
Museo Statale Ermitage. La pintura Italiana<br />
del Seicento. Catalogo della Collezione.<br />
Ermitage • Italia. Milanо: Skira, 2010. –<br />
270 pp., ills.<br />
<strong>The</strong> catalogue of the Hermitage collection of<br />
seventeenth-century Italian art discusses the<br />
acquisition of works by famous Italian artists<br />
active in the 17th century and analyzes their<br />
artistic qualities.<br />
caTalogueS of Temporary<br />
exhiBiTionS<br />
“<strong>The</strong> Wind in the Pines…” 5,000 Years<br />
of Korean Art. From the National Museum<br />
of Korea. Exhibition Catalogue. <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 304 pp., ills.<br />
<strong>The</strong> catalogue, addressed to those interested<br />
in Far Eastern art, demonstrates the works<br />
of the National Museum of Korea shown for<br />
the first time in Russia. It is a panorama of<br />
the history of Korean art, from the Neolith to<br />
the present day, exemplified by outstanding<br />
works in different techniques and materials,<br />
some of which having the status of national<br />
treasure.<br />
A Romantic View. Dutch and Belgian Paintings<br />
of the 19th Century from the Rademakers<br />
Collection. Exhibition Catalogue. <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 208 pp., ills.<br />
On the basis of works, different in genre and<br />
style, the catalogue of nineteenth-century Belgian<br />
and Dutch paintings demonstrates specificities<br />
of the art of the two countries.<br />
<strong>The</strong> Hoard of Mrs. Likhachyova. Exhibition<br />
Catalogue. <strong>The</strong> State Hermitage. St. Petersburg:<br />
<strong>The</strong> State Hermitage Publishers, 2010. –<br />
208 pp., ills.<br />
<strong>The</strong> catalogue shows the hoard discovered in<br />
1978, which is a complex of objects of applied<br />
arts created in the 19th and early 20th centuries<br />
by leading silversmiths of St. Petersburg<br />
and Moscow, as well as some Western European<br />
masters. <strong>The</strong> silver of the well-to-do family<br />
of St. Petersburg industrialists shows the main<br />
trends in the art of the time, giving an idea<br />
of the tastes of the metropolitan bourgeoisie.<br />
<strong>The</strong> catalogue gives some unique details concerning<br />
the Hermitage restorers’ work on the<br />
objects of precious metals and organic materials,<br />
which make up the hoard.<br />
“Since Tobacco You Love So Much”.<br />
Exhibition Catalogue. <strong>The</strong> State Hermitage.<br />
St. Petersburg: <strong>The</strong> State Hermitage Publishers,<br />
2010. – 184 pp., ills.<br />
<strong>The</strong> volume includes objects of applied arts,<br />
different in shape and decor, used by Europeans<br />
in the 17th – 20th centuries, which have<br />
become part of the life of many generations<br />
and of the many-centuries tobacco culture of<br />
Europe, e.g. snuffboxes, also used as valuable<br />
gifts, graters for tobacco leaves, pipes, and various<br />
tobacco containers, such as tobacco boxes<br />
and pouches, cigarette cases, etc.<br />
84 85
publIcatIons publIcatIons<br />
Nostalgia for the Roots. Dashi Namdakov’s<br />
Universe of the Nomads. Exhibition Catalogue.<br />
<strong>The</strong> State Hermitage. St. Petersburg: Chisty<br />
List, 2010. – 216 pp., ills.<br />
<strong>The</strong> catalogue of Dashi Namdakov’s exhibition<br />
in the State Hermitage Museum is part<br />
of a larger exhibition project, in which works<br />
by modern Russian artists reside by and communicate<br />
with ancient objects, making nostalgia<br />
a continuation of traditions. In Namdakov’s<br />
compositions mythological imagery<br />
and historical reality combine, bringing to the<br />
surface deeper associations of the two with the<br />
militant and austere world of nomads, which,<br />
at the same time, are wonderfully harmonious.<br />
His art brings to us the echoes of the past,<br />
in a new form and from an unexpected point<br />
of view.<br />
From Gothic to Mannerism. Early Netherlandish<br />
Drawing in the State Hermitage Museum.<br />
Exhibition Catalogue. By Alexei Larionov.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 364 pp., ills.<br />
<strong>The</strong> catalogue of the temporary exhibition of<br />
early Netherlandish drawings includes some<br />
of the works from a richest Hermitage collection,<br />
some of which had never been exhibited<br />
before. A considerable number of drawings<br />
have been re-attributed, some of these having<br />
acquired an attribution (to an author<br />
or school) for the first time. Each of the drawings<br />
published is accompanied by an extensive<br />
author’s comments.<br />
<strong>The</strong> Sails of Hellas. Seafaring in the Ancient<br />
World. Exhibition Catalogue. <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 304 pp., ills.<br />
<strong>The</strong> volume includes objects of applied and<br />
visual arts, as well as weapons and coins of ancient<br />
Greece and Rome. <strong>The</strong> catalogue, showing<br />
a pantheon of sea gods, allows one to trace<br />
the history of navigation and shipbuilding in<br />
Classical Antiquity. <strong>The</strong> catalogue contains<br />
over 200 works of art and objects of material<br />
culture.<br />
Picasso. From the Collection of the Picasso<br />
Museum – Paris. Exhibition Catalogue.<br />
<strong>The</strong> State Hermitage. Paris: Skira Flammarion –<br />
St. Petersburg: <strong>The</strong> State Hermitage Publishers,<br />
2010. – 320 pp., ills.<br />
<strong>The</strong> catalogue of the exhibition from the Picasso<br />
Museum in Paris demonstrates the evolution<br />
of Picasso’s technique, from the earliest<br />
works to the mature period.<br />
A Glass Fantasy. Ancient Glass from<br />
the Hermitage Collection. Exhibition Catalogue.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 296 pp., ills.<br />
<strong>The</strong> Hermitage collection is one of the richest<br />
in the world, in terms of the number and<br />
variety of glasswares created in the Eastern<br />
Mediterranean and Europe in Classical Antiquity.<br />
<strong>The</strong> decorations and everyday-life objects<br />
in different techniques, covering a period<br />
of almost a thousand years (from the late<br />
5th century B.C. to the 4th century A.D.),<br />
were acquired at different times from various<br />
collections and from the Greek colonies in the<br />
Northern Black Sea Area. Both the catalogue<br />
and the exhibition are dedicated to the memory<br />
of the Hermitage curator and archaeologist<br />
Nina Kunina (1929–2007), an outstanding<br />
expert in Classical Antiquity glassmaking,<br />
who had put forward the idea of the present<br />
exhibition.<br />
Titian. Madonna and Child with St. Catherine<br />
(Madonna with a Rabbit). From the Collection<br />
of the Louvre. By Irina Artemyeva. <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 16 pp. (“Masterpieces<br />
from the World’s Museums in the Hermitage”<br />
series).<br />
<strong>The</strong> masterpiece by Titian was brought to the<br />
Hermitage from the Louvre. In a captivating<br />
form, the book tells about the history of the<br />
painting and the School of Venice, to which<br />
the great master belonged.<br />
Swiss Stained Glass from the 16th to<br />
18th Centuries in the Hermitage Collection.<br />
Exhibition Catalogue. By Yelena Shlikevich.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 184 pp., ills.<br />
Swiss stained glass from the 16th to 18th centuries<br />
is a truly unique phenomenon in the<br />
art of the small country located in the very<br />
centre of Europe. Even the contemporaries<br />
found the so-called “cabinet stained glasses”<br />
mass-produced during the period in question<br />
truly surprising from the point of view of both<br />
the style and scale of production. In addition<br />
to Biblical subjects, the stained glasses reflect<br />
various aspects of the life of the country at different<br />
periods, which makes them a valuable<br />
historical source. <strong>The</strong> catalogue shows the history<br />
of the Hermitage collection and the principal<br />
characteristics and subject diversity of the<br />
compositions.<br />
Porcelain and Roses. Exhibition Catalogue.<br />
<strong>The</strong> State Hermitage. St. Petersburg. <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 160 pp., ills.<br />
(“Christmas Gift” series)<br />
<strong>The</strong> catalogue contains productions of the Imperial<br />
Porcelain Factory, created from the mid-<br />
18th century to the present time. <strong>The</strong> works<br />
represented show one of the most important<br />
elements of the flower motif, the decorated or<br />
moulded rose, in all of its diversity, used in porcelain.<br />
<strong>The</strong> catalogue contains new information<br />
about the artists of the Porcelain Factory<br />
at the Imperial period. It includes works from<br />
the collection of the State Hermitage, as well<br />
as those by today’s artists of the Imperial Porcelain<br />
Factory, Ltd.<br />
Flemings through the Eyes of David Teniers<br />
the Younger (1610–1690). Exhibition<br />
Catalogue. By Natalia Babina. <strong>The</strong> State<br />
Hermitage. St. Petersburg. <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 108 pp., ills.<br />
<strong>The</strong> catalogue, published on the occasion<br />
of 400 years of the outstanding Flemish artist,<br />
includes 33 paintings, mostly genre ones,<br />
belonging to the peak of his artistic career<br />
(1640s – 1650s), preserved at the State Hermitage.<br />
Many of these are true masterpieces<br />
demonstrating the various aspects of Teniers’<br />
art and the specificities of his style.<br />
Centre Pompidou in the State Hermitage<br />
Museum. Exhibition Catalogue. <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 64 pp., ills.<br />
<strong>The</strong> catalogue was prepared within the Centre<br />
Pompidou in the State Hermitage Museum exhibition<br />
and festival. In Russia, it was the first largescale<br />
show of masterpieces of painting, sculpture<br />
and video art from the renowned Musée<br />
National d’Art Moderne, Paris, which belongs<br />
to the Centre Pompidou, as well as the demonstration<br />
of other artistic forms by modern<br />
French artists. <strong>The</strong> catalogue includes articles<br />
by leading experts in modern French art.<br />
<strong>The</strong> Hermitage in Photographs. Exhibition<br />
Catalogue. <strong>The</strong> State Hermitage. St. Petersburg:<br />
<strong>The</strong> State Hermitage Publishers, 2010. –<br />
176 pp., ills.<br />
86 87
publIcatIons publIcatIons<br />
<strong>The</strong> <strong>hermiTage</strong><br />
loanS To o<strong>The</strong>r <strong>muSeum</strong>S<br />
Catherine the Great. Exhibition Catalogue.<br />
St. Petersburg: Slavia, 2010.<br />
Catalogue of the exhibition devoted to the time<br />
and personality of Catherine the Great, held<br />
in the Hermitage • Vyborg Exhibition Centre,<br />
from 16 June 2010 to 7 February 2011.<br />
<strong>The</strong> Embroiderer’s Art. Western European<br />
Embroidery for Costume and Interior<br />
Decoration of the 16th to the Early<br />
20th Centuries. Exhibition Catalogue.<br />
By Tatiana Kosourova. St. Petersburg: Slavia,<br />
2010.<br />
Catalogue of the exhibition devoted to Western<br />
European embroidery from the 16th to<br />
the early 20th centuries held at the Museum<br />
of History and Arts of the Kaliningrad Region<br />
from 23 March to 29 August 2010.<br />
French Art of the 17th and 18th Centuries<br />
from the Hermitage. Exhibition Catalogue.<br />
St. Petersburg: Slavia, 2010.<br />
<strong>The</strong> catalogue of the exhibition held at the<br />
Hermitage • Kazan Centre, <strong>The</strong> Kazan Kremlin<br />
State Historical-Architectural and Artistic<br />
Museum Reserve (14 April 2010 – 16 January<br />
2011) includes paintings, sculptures and works<br />
of applied arts from the period of thriving of<br />
French art.<br />
Spanish Art in the Hermitage. Exhibition<br />
Catalogue. St. Petersburg: Slavia, 2010.<br />
<strong>The</strong> catalogue of the exhibition held in the<br />
Radishchev Museum of Fine Arts in Saratov<br />
(29 June – 21 November 2010) includes works<br />
by Spanish painters from the collection of the<br />
State Hermitage.<br />
Images of Italy. Western European<br />
Painting of the 17th – 19th Centuries<br />
from the Hermitage. Exhibition Catalogue.<br />
St. Petersburg: Slavia, 2010.<br />
<strong>The</strong> catalogue of the exhibition held at the<br />
Vladimir-Suzdal Museum Reserve (5 February<br />
– 11 April 2010) includes views of Italian<br />
cities and landscapes by European painters of<br />
the 17th – 19th centuries.<br />
Russian Silver of the 18th to Early<br />
20th Centuries from the Hermitage. Exhibition<br />
Catalogue. St. Petersburg: Slavia, 2010.<br />
<strong>The</strong> catalogue of the exhibition held at the<br />
Ivan Shemanovsky Museum Exhibition Complex<br />
of the Yamalo-Nenetsk Region (3 Decem-<br />
ber 2010 – 31 January 2011) includes works by<br />
Russian and Western European masters active<br />
in Moscow and St. Petersburg in the 18th –<br />
20th centuries.<br />
<strong>The</strong> Stroganovs – Collectors of Antiquities.<br />
Treasures of the Hermitage in the Perm<br />
Regional Museum. Perm: <strong>The</strong> Perm Regional<br />
Museum, 2010.<br />
<strong>The</strong> booklet devoted to the exhibition held<br />
at the Perm Regional Museum (16 November<br />
2010 – 13 March 2011) is concerned with the<br />
antiquities acquired by the Hermitage from<br />
the collections of the Stroganovs.<br />
Amber in Ancient Cultures. Masterpieces<br />
from the Hermitage Museum Collection.<br />
Exhibition Catalogue. St. Petersburg: Slavia,<br />
2010.<br />
<strong>The</strong> catalogue of the exhibition held at the<br />
Amber Museum in the Kaliningrad Region<br />
(14 September – 12 December 2010) includes<br />
amber objects discovered by excavations.<br />
Au service des Tsars. La garde imperial russe<br />
de Pierre le Grand à la révolution d`Octobre.<br />
Musée de l`Armée. Paris: Somogy édition d’art,<br />
2010.<br />
<strong>The</strong> catalogue of the exhibition In the Service<br />
of the Tsars. <strong>The</strong> Russian Imperial Guard from Peter<br />
the Great to the October Revolution held at the<br />
Museum of the Army, Paris (8 October 2010 –<br />
23 January 2011), devoted to the Russian Imperial<br />
Guard playing a most significant role in<br />
the history of Russian state.<br />
Matisse to Malevich. Pioneers of Modern<br />
Art from the Hermitage. Amsterdam:<br />
Stichting Publieksfasiliteiten De Nieuwe Kerk<br />
en Hermitage • Amsterdam, 2010.<br />
<strong>The</strong> catalogue of the exhibition Matisse to<br />
Malevich. Pioneers of Modern Art from the Hermitage<br />
held at Hermitage • Amsterdam Centre<br />
(6 April – 17 September 2010) includes early<br />
twentieth-century French paintings from the<br />
collection of the State Hermitage.<br />
Staging Power. Napoleon–Charles John–<br />
Alexander. Stockholm, 2010.<br />
<strong>The</strong> catalogue of the Staging Power. Napoleon–<br />
Charles John–Alexander exhibition held at the<br />
National Museum of Fine Arts, Stockholm<br />
(29 September 2010 – 23 January 2011) includes<br />
personal belongings, portraits, sculptures,<br />
uniforms, weapons, watches, decora-<br />
tions, medals and furniture reflecting power<br />
and glory and connected with the three main<br />
characters of the exhibition.<br />
Star of the North. Catherine the Great<br />
and the Golden Age of the Russian<br />
Empire. Shanghai: Shanghai Museum<br />
(Chinese edition), 2010.<br />
Catalogue of the exhibition Star of the North.<br />
Catherine the Great and the Golden Age of the Russian<br />
Empire, devoted to Catherine the Great,<br />
held at the Shanghai Museum (25 August –<br />
12 December 2010).<br />
<strong>The</strong> Immortal Alexander the Great. <strong>The</strong> Myth.<br />
<strong>The</strong> Reality. His Journey. His Legacy.<br />
Amsterdam: Stichting Publieksfasiliteiten<br />
De Nieuwe Kerk en Hermitage • Amsterdam,<br />
2010.<br />
Catalogue of the Immortal Alexander the Great.<br />
<strong>The</strong> Myth. <strong>The</strong> Reality. His Journey. His Legacy exhibition<br />
held at the Hermitage • Amsterdam<br />
Centre (18 September 2010 – 16 March 2011),<br />
devoted to the Alexander the Great myth and<br />
his Oriental campaign and its consequences<br />
for the East and the West.<br />
<strong>reporT</strong>S<br />
of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
Reports of the State Hermitage Museum.<br />
Vol. LXVIII. <strong>The</strong> State Hermitage.<br />
St. Petersburg: <strong>The</strong> State Hermitage Publishers,<br />
2010. – 152 pp., ills<br />
<strong>The</strong> Reports is an <strong>annual</strong> edition presenting the<br />
results of the museum’s recent research, restoration,<br />
preservation and exhibition activities.<br />
<strong>The</strong> articles are primarily concerned with the<br />
Hermitage collections and individual works<br />
of art. <strong>The</strong>ir authors introduce art pieces unknown<br />
to the wide public and, using the latest<br />
scientific and scholarly achievements, specify<br />
and make more accurate attributions, datings<br />
and interpretations of the works already published.<br />
Other sections of the book deal with<br />
most important recent acquisitions of the museum,<br />
its newly-opened and reorganized permanent<br />
exhibitions as well as new studies in<br />
the Hermitage`s history. <strong>The</strong> “In Memoriam”<br />
section covers careers of outstanding members<br />
of the Hermitage staff. Published in Russian<br />
and English.<br />
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publIcatIons publIcatIons<br />
TranSacTionS<br />
of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
Transactions of the State Hermitage<br />
Museum. XLIX. <strong>The</strong> Origins of Russian<br />
Statehood in the Context of the Early Mediaeval<br />
History of the Old World. Proceedings of<br />
the International Conference Held at the State<br />
Hermitage Museum. 14 to 18 May, 2007.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 656 pp., ills.<br />
<strong>The</strong> volume, containing papers of a conference<br />
under the same title, is devoted to the<br />
key problem in the history of the Russian Empire,<br />
viz. the origin of Russian statehood and<br />
the formation of the ethnos. To this end, the<br />
Slavic ethnic basis has been discussed, as well<br />
as the role in the process of Scandinavians<br />
and the contacts with Byzantium, the Frankish<br />
Empire, Khazar Kaganate, Volga Bulgaria and<br />
Arab Caliphate. <strong>The</strong> various points of view on<br />
the problems in question, in combination, give<br />
a more precise idea of the initial period of the<br />
history of Rus’/Russia.<br />
Transactions of the State Hermitage<br />
Museum. L. Museums of the World in<br />
the 21st Century. Restoration, Reconstruction,<br />
Renovation. Proceeding of the International<br />
Conference 20–22 October 2008.<br />
Ed. by A. Trofimova. <strong>The</strong> State Hermitage.<br />
St. Petersburg: <strong>The</strong> State Hermitage Publishers,<br />
2010. – 190 pp., ills.<br />
<strong>The</strong> papers of the conference that took place<br />
in the State Hermitage Museum are devoted<br />
to one of the most important themes of museology<br />
in the late 20th – early 21st centuries,<br />
i.e. reconstruction of museum space, museum<br />
expanding, restoration and re-exposition. <strong>The</strong><br />
participants of the conference were representatives<br />
of such major museums as the Metropolitan,<br />
Villa Ghetty, Staatliche Museen zu Berlin,<br />
Museum of the History of Arts (Vienna),<br />
Glyptotheke (Munich), Museum of Modern<br />
Art (New York), New Museum of the Acropolis<br />
(Athens), Rijksmuseum (Amsterdam), Museum<br />
of Arts (Philadelphia), Museums of the<br />
Moscow Kremlin, Pushkin State Museum of<br />
Fine Arts (Moscow), State Historical Museum<br />
(Moscow) and State Russian Museum (St. Petersburg).<br />
Each museum was represented by a<br />
group of experts who presented new projects,<br />
concepts and programmes. <strong>The</strong> State Hermitage<br />
presented the project of the restoration of<br />
the General Staff building, the Hermitage-2014<br />
master plan (with the Rem Koolhaas Studio)<br />
and re-exposition programme of Classical Antiquity<br />
rooms.<br />
Transactions of the State Hermitage<br />
Museum. LI. Byzantium within the Context<br />
of World Culture. Proceedings of the<br />
Conference Dedicated to the Memory of Alisa<br />
Vladimirovna Bank (1906–1984). <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 638 pp., ills.<br />
<strong>The</strong> volume prepared by the Oriental Department<br />
of the Hermitage is based on the materials<br />
of the mediaevalist conference held at the<br />
Hermitage in 2008. It includes six sections:<br />
Byzantine Painting, Applied Arts, Numismatics,<br />
Sphragistics, Palaeography, Byzantine Archaeology,<br />
Byzantium and Adjacent Countries and<br />
Problems of the History of Byzantine Culture.<br />
Transactions of the State Hermitage<br />
Museum. LII. Personalities from Peter<br />
the Great`s Time – 2010. To Mark the<br />
300th Anniversary of Menshikov Palace<br />
(1710–2010). Conference Proceedings.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 360 pp., ills.<br />
<strong>The</strong> materials of the <strong>annual</strong> conference are<br />
devoted to various aspects of the history of Peter<br />
the Great’s time and the biographies of the<br />
contemporaries of the Tsar’s reforms, in particular,<br />
of his outstanding associate Alexander<br />
Menshikov; several papers deal with the latter’s<br />
palace and the museum displays located in it.<br />
<strong>The</strong> articles are based on the study of works<br />
of art and archival materials, some of them referred<br />
to for the first time.<br />
Transactions of the State Hermitage<br />
Museum. LIII. Architecture of Byzantium and<br />
Kievan Rus from the 9th to the 12th Centuries.<br />
Materials of the International Seminar.<br />
November 17–21, 2009. <strong>The</strong> State Hermitage.<br />
St. Petersburg: <strong>The</strong> State Hermitage Publishers,<br />
2010. – 498 pp., ills.<br />
Materials of the seminar devoted to the Middle<br />
Byzantine monumental architecture in the Byzantine<br />
world.<br />
Transactions of the State Hermitage<br />
Museum. LIV. Boristhenos–Berezan.<br />
Archaeological Collection of the State<br />
Hermitage. Vol. 2. Ed. by Sergei Solovyov.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 322 pp., ills.<br />
<strong>The</strong> edition continues publication of the materials<br />
of the Berezan archaeological collection<br />
of the State Hermitage. In the present<br />
volume, leading experts in Classical Antiquity<br />
describe and analyze the production of pottery<br />
workshops of Corinth, Athens and Klasomenos<br />
brought to Berezan in the 4th – 3rd centuries<br />
B.C.<br />
monographS<br />
Androsov, Sergei. Sculptors and Russian<br />
Collectors in Rome in the Second Half<br />
of the 18th Century. St. Petersburg: Dmitry<br />
Bulanin, 2010. – 258 pp., ills.<br />
<strong>The</strong> monograph is concerned with the connection<br />
between the thriving of Neoclassical<br />
sculpture in Rome in the second half of the<br />
18th century and that of Russian collecting,<br />
when travellers and art lovers visited Rome,<br />
attracted by the art of Classical Antiquity.<br />
<strong>The</strong> problem has never been dealt with systematically.<br />
Korshunova, Militsa. Collection of Russian<br />
Architectural Drawings in the Trinity College.<br />
Dublin. St. Petersburg: Alpharet, 2010.<br />
<strong>The</strong> monograph presents descriptions, in Russian<br />
and English, of Russian architectural drawings<br />
of the late 1740s, discovered by Edward<br />
McParland in the library of the Trinity College,<br />
Dublin. <strong>The</strong> majority of these are record drawings,<br />
but some are original authentic ones, e.g.<br />
the plan of the St. Alexander Nevsky Monastery<br />
by <strong>The</strong>odor Schwertfeger.<br />
Kosolapov, Alexander. Scientific Methods<br />
in the Examination of Works of Art. <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 170 pp., ills.<br />
<strong>The</strong> textbook is based on a lecture course at<br />
the Department of Museology and Protection<br />
of Cultural Heritage, Faculty of Philosophy,<br />
St. Petersburg State University. Problems of<br />
stylistic or artistic and historical examination<br />
are not dealt with specifically in the course.<br />
<strong>The</strong> textbook includes descriptions of the major<br />
scientific examination methods used in the<br />
laboratories of the museums of Russia, Western<br />
Europe and North America.<br />
Matveyev, Vladimir. Mechanical Arts and<br />
the Imperial Academy of Arts. Dedicated<br />
to 250 Years of the Russian Academy of Arts<br />
and the State Hermitage. Moscow: <strong>The</strong> Ruda<br />
i Metally Publishers, 2010. – 280 pp., ills.<br />
<strong>The</strong> book is devoted to one of some lesser<br />
known aspects in the history of the Imperial<br />
Academy of Arts, connected with the eighteenth-century<br />
classes of “mathematic instruments<br />
and watchmaking”.<br />
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publIcatIons publIcatIons<br />
Khmelnitskaya, Yekaterina. Serafim Sudbinin.<br />
At the Turn of Epochs: from Art Nouveau<br />
to Art Deco. St. Petersburg: Chisty List,<br />
2010. – 164 pp., ills.<br />
<strong>The</strong> book is devoted to the actor, painter and<br />
sculptor Serafim Sudbinin and porcelain productions<br />
after sketches by him.<br />
Yarovaya, Yelena. <strong>The</strong> Heraldry of the Genoese<br />
Crimea. <strong>The</strong> State Hermitage. St. Petersburg:<br />
<strong>The</strong> State Hermitage Publishers, 2010. –<br />
208 pp., ills.<br />
Comparison of the coats-of-arms on the tombstones<br />
of the Genoese nobility of the 14th and<br />
15th centuries and the depictions of these<br />
in armorials demonstrates the use of heraldry<br />
practices in the Genoese colonies in the<br />
Crimea.<br />
Julia Kagan. Gem Engraving in Britain from<br />
Antiquity to the Present. With a Catalogue<br />
of British Engraved Gems in the State<br />
Hermitage Museum. <strong>The</strong> Beazley Archive and<br />
Archaeopress. Oxford, 2010. – 496 pp., ills.<br />
For the first time, the author describes changes<br />
in the use of gems, methods of their reproduction,<br />
the nature of patronage and collecting in<br />
England, history of museum collections and<br />
the role of Britain in the study of it. <strong>The</strong> book<br />
includes A Catalogue of British Engraved Gems<br />
and an appendix (also on CD) with An Alphabetical<br />
Chronological Table of British Gem Carvers<br />
and Imitators made with the American glyptologist<br />
Helen Serras-Herman.<br />
<strong>The</strong> cuRaToR SerieS<br />
Nikulin, Nikolai. War Memories. <strong>The</strong> State<br />
Hermitage. 3rd ed. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 244 pp., ills.<br />
(“Curator” series)<br />
For over thirty years, the author had kept the<br />
manuscript of the book in the drawer of his<br />
desk, without any hope to have it published.<br />
He had barely finished high school, when he<br />
found himself in the most bloodshed sections<br />
of the Leningrad and Volkhov fronts, finishing<br />
the war in Berlin. It was a miracle that he survived.<br />
<strong>The</strong> book is an attempt to rid himself<br />
of the burden of the memories of that war.<br />
In it, the reader will not find optimistically<br />
patriotic battle scenes typical of literary garbage.<br />
<strong>The</strong> story Nikulin tells is the truth of the<br />
trenches.<br />
pedagogical and<br />
educaTional ediTiTionS<br />
Krollau, Natalia. French Painting of the 19th –<br />
Early 20th Centuries. <strong>The</strong> State Hermitage.<br />
St. Petersburg: <strong>The</strong> State Hermitage Publishers,<br />
2010. – 136 pp., ills. (“Your Hermitage” series)<br />
This is a story of the evolution of French painting,<br />
based on works from the collection of the<br />
State Hermitage Museum. <strong>The</strong> book tells about<br />
the radical changes in the pictorial idiom, connected<br />
with the appearance of Impressionism<br />
and subsequent trends, such as Post-Impressionism,<br />
Fauvism, Cubism and Purism.<br />
<strong>The</strong> Crouching Boy by Michelangelo. By Sergei<br />
Androsov. <strong>The</strong> State Hermitage. St. Petersburg:<br />
<strong>The</strong> State Hermitage Publishers, 2010. –<br />
20 pp., ills. (“Masterpieces of the Hermitage”<br />
series)<br />
<strong>The</strong> sculpture, known traditionally as the<br />
Crouching Boy, by the Italian Renaissance sculptor,<br />
painter and architect Michelangelo Buonarroti<br />
(1475–1564), came to Russia in 1785<br />
as part of John Lyde-Brown’s collection. <strong>The</strong><br />
highest quality of execution confirms that the<br />
unfinished sculpture belongs to Michelangelo.<br />
As was formerly believed, it had been created<br />
c. 1524, during his work in the Capella Medici<br />
in Florence. It is more plausible, however, that,<br />
although conceived about 1523–1524, the<br />
sculpture was made somewhat later, c. 1530–<br />
1534, probably in connection with the sculptor’s<br />
other plan that never materialized.<br />
arT BooKS<br />
Masterpieces of Western European Jewellery<br />
from the 16th to 19th Centuries from the<br />
Hermitage Collection. By Olga Kostyuk.<br />
<strong>The</strong> State Hermitage. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 264 pp., ills.<br />
In 2010, the Hermitage started a new publishing<br />
project, art books. <strong>The</strong> first in the series<br />
was the book devoted to the renowned collection<br />
of Western European and Russian jewellery<br />
of the 16th – 19th centuries. It includes<br />
but 100 objects of the collection of many thousand<br />
works of precious metals and gems. <strong>The</strong><br />
core of the collection was the Imperial Gallery<br />
of Precious Objects, which had productions of<br />
the best European jewellers. Some were commissioned<br />
by members of the Imperial family,<br />
others received as diplomatic gifts. <strong>The</strong> Gallery<br />
acquired not only the most expensive works,<br />
but also the rarest and artistically valuable<br />
ones. <strong>The</strong>refore nowadays, the Hermitage jewellery<br />
collection is characterized by exquisite<br />
works of art, rather than just the abundance<br />
of gold, precious stones and platinum.<br />
reSearch and<br />
meThodological puBlicaTionS<br />
Children’s Art Classes as a Factor<br />
in Personality Formation and Creative<br />
Development. Proceedings of the International<br />
Conference. 17–18 January 2008. <strong>The</strong> State<br />
Hermitage. St. Petersburg: <strong>The</strong> State Hermitage<br />
Publishers, 2009. – 86 pp., ills.<br />
<strong>The</strong> volume includes the materials of the conference<br />
devoted to 50 years of the Art Studio<br />
of the School Centre held at the School Centre<br />
Methodology Sector of the State Hermitage<br />
Museum. <strong>The</strong> conference papers were devoted<br />
to theoretical and practical aspects of the impact<br />
of art classes on the formation of a creative<br />
personality.<br />
<strong>The</strong> Museum and Problems of “Cultural<br />
Tourism”. Materials of the 8th Round Table.<br />
8–9 April 2010. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 184 pp., ills.<br />
<strong>The</strong> materials of the <strong>annual</strong> Round Table devoted<br />
to the exchange of experiences between<br />
museums.<br />
<strong>The</strong> First Decade of the 21st Century: New<br />
Language of Art?! Materials of the Russo-British<br />
Round Table with the Newspeak: Today’s British<br />
Art programme. 25 October 2009. Ed. by<br />
S. Kudryavtseva and Ye. Lopatkina. <strong>The</strong> State<br />
Hermitage; Pro Arte. St. Petersburg: <strong>The</strong> State<br />
Hermitage Publishers, 2010. – 74 pp., ills.<br />
Modern art became the centre of interests in<br />
the Hermitage policy in 2007, when the Hermitage<br />
20/21 project was officially adopted. In accordance<br />
with the main goals of the project<br />
(the expanding of the twentieth-century art<br />
exposition and the organization of exhibition<br />
and other activities connected with modern<br />
art), several exhibition programmes became<br />
materialized in the Hermitage. <strong>The</strong> Russo-British<br />
Seminar – Round Table, with the participation<br />
of well-known art critics, curators and<br />
artists from Russia and elsewhere, was held in<br />
connection with the Newspeak: Today’s British<br />
Art exhibition.<br />
<strong>The</strong> Art of Jewellery and Material Culture.<br />
Eighteenth colloquium: 19–23 April 2010.<br />
Abstracts of papers. <strong>The</strong> State Hermitage.<br />
St. Petersburg: <strong>The</strong> State Hermitage Publishers,<br />
2010. – 188 pp.<br />
<strong>The</strong> Art of Jewellery and Material Culture colloquium<br />
has been held in the Hermitage since<br />
1996. <strong>The</strong> abstracts published are by experts<br />
in various spheres, viz. archaeologists, gemmologists,<br />
historians, art scholars, anthropologists,<br />
specialists in archival science, designers,<br />
artists and jewellers. In combination,<br />
they give an overall picture of the origin and<br />
development of jewellery, as well as the state<br />
of the art.<br />
92 93
publIcatIons<br />
<strong>reporT</strong>S of<br />
archaological expediTionS<br />
Archaeological Papers. Issue 38. Studies<br />
in Archaeology of Eurasia. Dedicated to<br />
the Memory of Yaroslav Domansky. <strong>The</strong> State<br />
Hermitage. St. Petersburg. <strong>The</strong> State Hermitage<br />
Publishers, 2010. – 213 pp., ills.<br />
<strong>The</strong> present issue of the Reports is dedicated<br />
to the memory of the renowned archaeologist<br />
Yaroslav Domansky of the State Hermitage.<br />
It includes papers by his colleagues and<br />
friends, experts in the archaeology of Classical<br />
Antiquity and the Stone and Bronze Age of the<br />
Urals and Siberia, the early Iron Age of the<br />
North-East of Russia, and mediaeval Eastern<br />
Europe.<br />
Report on Archaeological Excavations<br />
of Mediaeval Chembalo Fortress (Balaklava)<br />
in 2008–2009. Materials of the South Crimean<br />
Expedition. VIII. Ed. by S. Adaksina, V. Myts<br />
and S. Ushakov. <strong>The</strong> State Hermitage Museum;<br />
Institute of Archaeology, Ukrainian National<br />
Academy of Sciences (Crimean Branch);<br />
<strong>The</strong> Chersonesos Taurica National Reserve.<br />
St. Petersburg and Simferopol, 2010. –<br />
300 pp., ills.<br />
Expedition Field Report for 2008–2009. Materials<br />
of the Penjikent Archaeological Expedition.<br />
XII. Ed. by P. Lurye, I. Malkie and A. Omelchenko.<br />
<strong>The</strong> State Hermitage; A. Danish Institute<br />
of History, Archaeology and Ethnography<br />
(Republic of Tajikistan Academy of Sciences);<br />
Institute for Iranian Studies (Austrian Academy<br />
of Sciences); Institute for the History of Material<br />
Culture (Russian Academy of Sciences).<br />
St. Petersburg, 2010. – 136 pp., ills.<br />
Display of the State Hermitage Museum<br />
at the Moscow Book Fair<br />
94 95
conferenceS<br />
in memoriam igor dyakonov<br />
With the Institute of Oriental Manuscripts,<br />
Russian Academy of Sciences<br />
12–13 January<br />
Conference devoted to the problems of ancient<br />
Mesopotamia and adjacent countries.<br />
the conference is held on a regular basis,<br />
with the participation of assyriologists from<br />
research institutes and universities of st. Petersburg<br />
and Moscow.<br />
in memoriam vladimir lukonin<br />
27 January<br />
<strong>annual</strong> meeting devoted to the study of ancient<br />
and mediaeval East.<br />
in memoriam Boris piotrovsky<br />
12 February<br />
<strong>annual</strong> meeting devoted to a wide range of<br />
problems of archaeology and ancient history,<br />
and new discoveries in various spheres<br />
of research carried out in the Hermitage<br />
Museum.<br />
round Table: cultural layer and<br />
architectural objects in the cultural<br />
layer<br />
17 February<br />
Round table devoted to archaeological and<br />
legal aspects of the preservation of cultural<br />
layer. the meeting was attended by experts<br />
from various institutions of st. Petersburg,<br />
Moscow, Pskov, Novgorod and other cities<br />
of Russia.<br />
enlarged meeting of the department<br />
of the archaeology of eastern europe<br />
and Siberia. dedicated to 80 years<br />
of irina Zasetskaya’s Birth<br />
25 February<br />
the meeting was devoted to the problems<br />
of scythian and sarmatian archaeology.<br />
<strong>The</strong> museum and the problems<br />
of “cultural Tourism”<br />
8–9 April<br />
<strong>annual</strong> seminar of the Hermitage and other<br />
museums in Russia and abroad, devoted to<br />
the exchange of experience in the sphere<br />
of tourism and cultural programmes.<br />
Award System: Russia and Scandinavia. International Symposium<br />
international conference:<br />
<strong>The</strong> museum and the state<br />
15–17 April<br />
Conference devoted to the current problems<br />
of the collaboration of the museum<br />
and governmental institutions<br />
art of Jewellery and material<br />
culture<br />
19–23 April<br />
<strong>annual</strong> seminar devoted to the art of jewellers<br />
of different periods, from ancient times<br />
to the productions of modern artists.<br />
25th international colloquium<br />
of the corpus vitrearum medii aevi<br />
(cvma): stained glass collections<br />
and <strong>The</strong>ir history<br />
5–9 July<br />
Conference devoted to the history of<br />
stained glass collections and the problems<br />
of the museumification and exhibiting of<br />
stained glass works in modern museum collections.<br />
meeting of the numismatics<br />
department, dedicated to 80 years<br />
of igor dobrovolsky’s Birth<br />
14 July<br />
the meeting was devoted to the current<br />
problems of ancient and mediaeval Oriental<br />
numismatics.<br />
international Symposium: award<br />
systems: Russia and scandinavia<br />
2–3 September<br />
the 2nd International symposium devoted<br />
to the problems of Russian and scandinavian<br />
phaleristics was attended by renowned<br />
experts from Russia, sweden and Finland.<br />
byzantium in the context of the world<br />
culture. in memoriam alisa Bank<br />
With the Imperial Orthodox Palestinian<br />
Society<br />
5–7 October<br />
Conference devoted to Byzantine art is held<br />
on a regular basis. the theme of this meeting<br />
was “theology and Byzantine art”.<br />
round Table: This Terrible modern<br />
art in the universal museum<br />
6 October<br />
the round table was devoted to problems<br />
of modern art in the museum space.<br />
<strong>The</strong> central asian city within<br />
the system of mediaeval oriental<br />
cities. conference dedicated to<br />
60 years of grigory Semenov’s Birth<br />
20–21 October<br />
the conference was devoted to the problems<br />
of archaeology and history of town<br />
planning, fortification and development<br />
of the Oriental city in the middle of the<br />
1st – middle of the 2nd millennium B.C.<br />
in memoriam vladimir levinson-lessing<br />
27–28 October<br />
traditional <strong>annual</strong> conference devoted to<br />
the problems of the history and attribution<br />
of museum collections.<br />
in memoriam ivan Spassky (1904–1990)<br />
11–12 November<br />
the conference reflected the entire spectre<br />
of Ivan spassky’s interests, from Russian<br />
numismatics, sphragistics, medallurgy and<br />
heraldry to Oriental and Classical antiquity<br />
numismatics. the meeting was attended by<br />
the researchers of the Hermitage and other<br />
museums and institutions of st. Petersburg,<br />
Moscow and the Ukraine.<br />
personalities from peter the great`s<br />
Time<br />
16–17 November<br />
<strong>annual</strong> conference devoted to the reign<br />
of Peter the Great.<br />
early russian architecture of the Time<br />
of St. vladimir and yaroslav the wise<br />
With Novgorod State Museum Reserve<br />
22, 24 November<br />
seminar devoted to the archaeological<br />
study of the tithes Church in Kiev and<br />
the dating of st. sophia’s in Kiev.<br />
russian lithograph portrait<br />
from the hermitage collection<br />
30 November<br />
the seminar devoted to the study of Russian<br />
lithograph portrait in the Hermitage<br />
inTernaTional conference: <strong>The</strong> museum<br />
and <strong>The</strong> sTaTe<br />
<strong>The</strong> international conference, devoted to the problems of<br />
cooperation of museums and governmental institutions,<br />
continued a series of conferences and meetings of leading<br />
representatives of the museum community, which have<br />
been held at the State Hermitage Museum since 2006 with<br />
the participation of the directors of the world most important<br />
museums, representatives of municipal and federal<br />
governmental institutions and ministries of Russia and other<br />
countries. <strong>The</strong> talks given covered topics of the primary<br />
significance, concerning the development of museums in<br />
today’s economic and legal situation. <strong>The</strong> issues discussed<br />
included museum economics, museum activities and their<br />
financing, preservation of cultural heritage, the role of the<br />
state and the museum in the reconstruction of museum<br />
and the problems of restoration of Russian<br />
lithographs was organized jointly by<br />
the Department of the History of Russian<br />
Culture and the Laboratory for scientific<br />
Restoration of Graphic Works of the Department<br />
of scientific Restoration and<br />
Conservation of the state Hermitage.<br />
It was the fist specialized seminar of restorers<br />
and curators held in the Hermitage<br />
in the recent decades. the participants<br />
visited laboratories of the Department of<br />
scientific Restoration and Conservation<br />
of the Hermitage Museum, including the<br />
Laboratories for scientific Restoration of<br />
textiles, tempera Painting and Graphic<br />
Works, where they were shown the equipment<br />
of the workshops and the restoration<br />
process in progress.<br />
90 years of the oriental<br />
department<br />
1–2 December<br />
the conference was devoted to the history<br />
of the Oriental Department and to Oriental<br />
studies in the state Hermitage Museum.<br />
30 years of the heraldic Seminar<br />
15–16 December<br />
the conference was devoted to the 30th anniversary<br />
of the Heraldic seminar.<br />
archaeological Session<br />
21–22 December<br />
the meeting was devoted to the results<br />
of the work of archaeological expeditions<br />
in 2010.<br />
conferences<br />
Laboratory of the Department of Scientific<br />
Restoration and Conservation. <strong>The</strong> State<br />
Hermitage Museum<br />
80 years of the department<br />
of the archaeology of eastern europe<br />
and Siberia<br />
23 December<br />
the conference was devoted to the history<br />
of the Department and the main directions<br />
of the development of archaeology at the<br />
Hermitage.<br />
heraldry, as an auxiliary historical<br />
discipline<br />
traditional monthly seminar on the problems<br />
of heraldry.<br />
premises, collection enhancement, and state legislation<br />
and museum development. <strong>The</strong> participants of the conference<br />
included the Federal Service for Control over the Implementation<br />
of Law in the Sphere of Protection of Cultural<br />
Heritage, the Government of St. Petersburg, Committee<br />
for State Protection of Monuments of History and Culture,<br />
Victoria and Albert Museum (London), Staatliche Museen<br />
zu Berlin, Rijksmusem (Amsterdam), the Stabiae Restoration<br />
Fund (RAS), Shanghai Museum, the State Tretyakov<br />
Gallery, Peterhof State Museum Reserve, Tsarskoye Selo<br />
State Museum Reserve, Kerch State Museum Reserve, Italian<br />
Ministry for Culture, Russian State University for the<br />
Humanities, Kemerovo Provincial Museum of Fine Arts,<br />
and Tsaritsino State Historical, Architectural, Art and Landscape<br />
Museum Reserve. <strong>The</strong> conference provided a forum<br />
for a discussion among representatives of governmental<br />
institutions and museum professionals. <strong>The</strong> international<br />
96 97
conferences<br />
participants had an opportunity to exchange their experiences,<br />
present and discuss various strategies and scenarios<br />
in solving problems that the state and the museum have<br />
to face in the sphere of preservation of cultural heritage.<br />
<strong>The</strong> spectrum of problems discussed included today’s legislation<br />
and museum activities, museology and investments,<br />
adaptation of historical buildings for museum premises,<br />
museum collection enhancement and the history of state,<br />
and legislation in the sphere of fundraising. <strong>The</strong> conference<br />
was organized with the support of the Pro-Arte Foundation,<br />
Ford Foundation, and Likeon – Museum Concepts<br />
and Projects, Ltd.<br />
By Anna Trofimova<br />
25Th inTernaTional colloQuium of<br />
<strong>The</strong> coRpus viTReaRum medii aevi (cvma)<br />
It is the first colloquium in the history of the Corpus, held<br />
in Russia. <strong>The</strong> theme of the colloquium was Stained Glass<br />
Collections and <strong>The</strong>ir History. It included about one hundred<br />
participants from Europe and North America. During the<br />
four days of the colloquium, twenty-two papers were read,<br />
plus a number of poster presentations. <strong>The</strong> papers of the<br />
Hermitage researchers were devoted to the history of the<br />
Hermitage collection of stained glasses (Yelena Shlikevich),<br />
the history and methods of restoring stained glasses at the<br />
Hermitage laboratory (Yelena Krylova) and the collection<br />
of cartoons for the Swiss sixteenth- and seventeenth-century<br />
stained glasses preserved at the Department of Drawings<br />
(Natalia Sepman). <strong>The</strong> other participants’ papers dealt<br />
25th International Colloquium of the Corpus Vitrearum Medii Aevi (CVMA)<br />
with the history of collections of Great Britain, France, the<br />
United States, Germany, Switzerland, the Netherlands, Belgium,<br />
Austria, Spain and Poland. <strong>The</strong> participants also visited<br />
the newly organized stained glass repository and restoration<br />
workshop. In connection with the event, the museum<br />
organized the exhibition, Swiss Stained Glasses of the 16th –<br />
18th Centuries in the Collection of the Hermitage. <strong>The</strong> seventy<br />
stained glasses shown at the exhibition are the best ones<br />
in the Hermitage collection. <strong>The</strong> eight-year restoration had<br />
been carried out jointly by the Section of Restoration of<br />
Stained Glasses and the Expert Examination Department,<br />
with the use of new restoration methods.<br />
By Yelena Shlikevich<br />
inTernaTional conference:<br />
<strong>The</strong> cenTRal asian ciTY wiThin <strong>The</strong> sYsTem<br />
of mediaeval oRienTal ciTies<br />
<strong>The</strong> conference was dedicated to 60 years of Grigory Semenov<br />
(1950–2007), Head of the Oriental Department<br />
(from 2001) and the founder and head of the Hermitage<br />
Bukhara Expedition (1981–2007), who has made an invaluable<br />
contribution to the study of Central Asian antiquities.<br />
Besides the researchers of the Hermitage, their colleagues<br />
from other research centres took part in the conference,<br />
viz. those of St. Petersburg, Moscow, Uzbekistan, Tajikistan,<br />
Kirghizia, France, Germany and the United States. Most<br />
of the papers given dealt with the topic Semenov had been<br />
concerned with, i.e. the evolution of the mediaeval Central<br />
Asian city. A special session was devoted to Penjikent<br />
(Tajikistan), a most completely explored early mediaeval<br />
site closely connected with Semenov’s career as an archaeologist<br />
and Orientalist. Worthy of a special note are the papers<br />
by participants from Tajikistan and Germany, devoted<br />
to the recent excavation of the Sandjar-shokh site, and by<br />
Pavel Lourie and Igor Malkiel of the State Hermitage, on<br />
the excavation of Khisrak (Upper Zarevshan), characterized<br />
by unusual architecture and unparalleled state of preservation<br />
of the organic finds. With the ancient and early<br />
mediaeval Oriental city were also connected papers concerned<br />
with recent discoveries in Kirghizia and at Paikend<br />
(Province of Bukhara, Uzbekistan), the site closely linked<br />
to Grigory Semenov’s whole archaeological career. <strong>The</strong> socalled<br />
“long walls” of Bukhara Oasis were used as an example<br />
in the discussion of the problems connected with<br />
the appearance and existence of similar structures in other<br />
agricultural areas of Central Asia. A number of papers were<br />
devoted to Mediaeval Buddhism in Semirechye (Kirghizia)<br />
and Balkh Oasis (Northern Afghanistan), as well as the<br />
antiquities of Fergana, Khoresm, Uyghur Khaganate,<br />
the Golden Horde (Volga Region and the Crimea) and the<br />
Northern Caucasus. A volume of the conference papers<br />
is in preparation.<br />
By Andrei Omelchenko<br />
conferences<br />
conference devoTed To 30 yearS<br />
of <strong>The</strong> heraldic Seminar<br />
It is, largely, due to close connection of heraldry and the<br />
history of culture that the Hermitage has traditionally been<br />
a repository of heraldic knowledge and centre of heraldry<br />
research. In the 19th century, outstanding heraldry experts,<br />
such as Florian Gilles and Baron Boris von Koehne,<br />
worked in the Hermitage. <strong>The</strong> curator of the Jewellery<br />
Gallery, Arminius von Voelkersahm and the curator of the<br />
arms collection, Eduard Lenz were experts in methods of<br />
heraldic analysis as well. In the early 20th century, among<br />
the Hermitage curators was a renowned Russian heraldist<br />
Sergei Troinitsky. During the Soviet period, the traditions<br />
of heraldic studies in the Hermitage, with its richest<br />
collections and the library, were maintained by the elder<br />
generation of curators, such as Alexander Voitov (Russian<br />
heraldry), Andrei Korsun (general and Western European<br />
heraldry), Lev Rakov and Vladislav Glinka (Russian uniforms).<br />
<strong>The</strong> outstanding numismatist Ivan Spassky was also<br />
a historian of awards; Nikolai Semenovich was concerned<br />
with the study of standards and banners. This tradition was<br />
continued later on, the logical result of it having been the<br />
organization, in 1980, of the seminar “Heraldry, an Auxiliary<br />
Historical Discipline”. On 15–16 December 2010<br />
a meeting dedicated to 30 years of the Hermitage Heraldic<br />
Seminar was held in the State Council Room of the State<br />
Hermitage, with the participation of representatives of the<br />
Hermitage, the State Russian Museum, the Heraldic Council<br />
under the President of the Russian Federation, the Institute<br />
of Material Culture (Russian Academy of Sciences),<br />
Historical and Archival Institute (Moscow) and Institute<br />
of World History (Russian Academy of Sciences), as well<br />
as researchers from Kirov, Ryazan, Yekaterinburg, Tver<br />
and Krasnodar. A very significant role in the organization<br />
of the meeting belongs to the leading expert on the history<br />
of uniforms, head of the Military Heraldry Division of the<br />
Hermitage Arsenal, Sergei Plotnikov, who died on 14 February<br />
2011. Those who knew him and worked with him will<br />
always miss a good friend and an outstanding scholar and<br />
museologist worthy of the museum, which he represented<br />
with dignity.<br />
<strong>The</strong> range and scope of the papers given has demonstrated<br />
close ties of the Hermitage Heraldic Seminar’s thirty<br />
years’ activity with various directions in Russian heraldry,<br />
both theoretical and applied.<br />
By Georgy Vilinbakhov<br />
diSSerTaTionS<br />
98 99<br />
inga yakovleva<br />
chineSe porcelain of <strong>The</strong> laTe Qing<br />
period (1796–1911). arTiSTic TradiTionS<br />
and <strong>The</strong>ir culTural conTexT<br />
For the Degree of Kandidat (Candidate) of Art History<br />
<strong>The</strong> object of the study is Chinese porcelain of the Late<br />
Qing Period (1796–1911), which has not been duly dealt<br />
with in scholarly publications so far. For this reason, the<br />
theme is a considerable lacuna in the study of Chinese<br />
pottery. <strong>The</strong> dissertation is a multi-aspect study of Late<br />
Qing porcelain production, including criteria to discern<br />
authentic works from fakes. <strong>The</strong> significance of the problem<br />
of porcelain authenticity for the period in question<br />
is connected with the fact that certain categories of works<br />
were created as part of a retrospective trend concerned<br />
with making replicas of earlier productions and aging<br />
techniques.<br />
<strong>The</strong> features of novelty of the present work include the<br />
description of Chinese porcelain art in 1796–1911 as a historical<br />
and cultural phenomenon, as well as a study of its<br />
nineteenth-century milieu. A new periodization of Chinese<br />
porcelain making in the 19th century has been suggested,<br />
which reflects the major stages in its stylistic evolution. Besides,<br />
the dissertation contains a differential classification<br />
system of porcelain productions and principles of characterization<br />
of individual works. <strong>The</strong> dissertation includes<br />
translations from European and Chinese sources, fundamental<br />
for the field in question, which contain data unreflected<br />
in Russian publications.<br />
<strong>The</strong> reconstruction of the general panorama of the development<br />
of Chinese porcelain in the 19th century given in<br />
the dissertation, as well as the description of the methods<br />
and techniques used by porcelain makers can be the basis<br />
for future studies in the present area.
archaeological expediTionS<br />
inTegraTed anTiQuiTy expediTion<br />
Head of expedition: Sergei Solovyov<br />
Excavation works on the Zavetnoye-5 settlement in the<br />
vicinity of the ancient Greek city of Acra (Zavetnoye Village,<br />
Crimean AR, Ukraine) were continued jointly with<br />
Donetsk National University (Head: L. Shepko) and Krakow<br />
University (Head: Ye. Papuci-Vladyko). <strong>The</strong> excavations<br />
formed part of the research programme “Acra:<br />
Ancient City and Its Environs” (2002–2010) focusing on<br />
the archaeological sites in the rural districts of this<br />
Ionian colony on the European shore of the Cimmerian<br />
Bosporus. <strong>The</strong> field work was performed to the north-east<br />
Terracotta protome of Demeter<br />
of the ancient city on the plateau where a large manor<br />
house (dating from the last quarter of the 4th – first third<br />
of the 3rd century B.C.) with a basement facility, a courtyard,<br />
living rooms and household pits had been explored<br />
in 2005–2007 and where a large monumental structure<br />
dating back from the same period had been discovered<br />
in 2009. A geophysical survey carried out on a 0.8 ha area<br />
prior to the excavation works revealed the remains of antique<br />
buildings as well as overlying military facilities dating<br />
from the Second World War. <strong>The</strong> principal achievements<br />
of the 2010 field season were exploratory works on<br />
325 sq. m of the settled area, with the occupation layer<br />
reaching 1.20 m in some places; the uncovering of a large<br />
proportion of a monumental religious building, possibly<br />
a village temenos from the last quarter of the 4th century<br />
B.C., and a large soil structure (a dwelling dugout built in<br />
the first half of the 4th century B.C); the retrieval of multiple<br />
and various fragments of Greek and local containers,<br />
tableware and kitchenware, bone, stone and metal<br />
articles as well as fragments of terracotta figurines.<br />
<strong>The</strong> part of the temenos unearthed in Zavetnoye-5<br />
in 2009–2010 consists of a 15-m long platform with a pad<br />
paved with large well-processed stone plates to the north.<br />
Initially the pad may have measured at least 6.5 × 7 m.<br />
Adjacent to the platform on the east were at least four<br />
rooms sized 4.8 × 6.3 m; 4.8 × 4.5 m and 3.8 × 4 m, arranged<br />
in a line. One of the rooms was found to contain<br />
a large number of ceramic articles on an area of c. 4 sq. m.<br />
<strong>The</strong> findings included large fragments of at least four amphorae<br />
produced in Sinop, Thassos and Cnidus, pieces<br />
of red clay and black lacquer table dishes, numerous<br />
fragments of pottery and a whole kalypter. One remarkable<br />
find is a fragmented red clay dinos covered in red<br />
engobe, with white plant-shaped patterns painted over<br />
it. In the same area seven terracotta protomes and their<br />
fragments representing similar images of Demeter were<br />
found. Judging from these articles, the unearthed monumental<br />
building complex was a ground consecrated<br />
to Demeter.<br />
archiTecTural and archaeological<br />
expediTion<br />
Head of expedition: Oleg Ioannisian<br />
Works continued on the territory of the Tithes Church<br />
of the Virgin in Kiev. A gross area of about 50 sq. m was<br />
excavated. Additional exploratory works were conducted<br />
on the north-west corner of the main four-pillar space; the<br />
corner was found to have had large protrusions on the<br />
basement level. This allows to conclude that the original<br />
facades had lesenes, which have previously gone undetected<br />
by researchers. <strong>The</strong> pylon located 2.65 m to the<br />
west of the south lesene of the west wall’s central curtain<br />
was explored. <strong>The</strong> surviving parts include the foundation<br />
(1.8 m thick; 3 × 3 m) and the lower part of the stone wall<br />
which used to have a 1.7 m protrusion on the east side.<br />
<strong>The</strong> masonry technique and the plinth of the pylon are<br />
similar to the previously explored repair stonework found<br />
in the south-west corner of the ancient church galleries<br />
and can be dated by the first third of the 12th century.<br />
Only one pylon had been constructed as the occupation<br />
layer in the symmetric area to the north was found to be<br />
intact. This structure, unprecedented in sturdiness, served<br />
to reinforce the west wall or the thrust of the slab in the<br />
BereZan (lower Bug) expediTion<br />
Head of expedition: Dmitry Chistov<br />
Excavations continued on Site O located in the north-west<br />
part of Berezan Island. A total of about 400 sq. m was excavated<br />
over the past two seasons. <strong>The</strong> traces of residential<br />
and production activities detected on the site (dating back<br />
to the second or third quarter of the 5th century B.C.) were<br />
of immense interest. Three household pits were found on<br />
the level explored, one of them filled with waste containing<br />
large fragments of several dozens of broken tare amphorae<br />
of the third quarter of the 5th century B.C.<br />
<strong>The</strong> key achievement of the past season was the uncovering<br />
of a complex of buildings dating from the late 6th –<br />
first third of the 5th century B.C. In the past three years,<br />
remains of two closely situated similarly aligned buildings<br />
BuKhara expediTion<br />
Head of expedition: А. Torgoyev<br />
excavaTionS in paiKend<br />
Head of unit: A. Omelchenko<br />
<strong>The</strong> expedition continued excavations in Paikend. Works<br />
were conducted on two sites: the Citadel and the South<br />
Suburb.<br />
Similarly to the previous seasons, excavations in the southwest<br />
sector of the citadel were conducted on barrack-type<br />
rooms adjacent to the south wall of the fortress and opening<br />
into a single corridor. By present, a total of eleven<br />
rooms have been unearthed. <strong>The</strong> building complex is<br />
the first monumental structure in this part of the citadel.<br />
central compartment of the west gallery after the southwest<br />
corner of the church was destroyed by a natural disaster<br />
(earthquake).<br />
In 2010 surveillance over ground works in the courtyards<br />
and interior facilities of the State Hermitage was conducted.<br />
Remains of an eighteenth-century brick collector<br />
dismantled during the construction activities in the first<br />
quarter of the 19th century were explored in the General<br />
Staff building. In the Reserve House (Zapasnoi Dom)<br />
of the Winter Palace at 30 Palace Embankment, some<br />
structures and the early eighteenth-century brick floor<br />
were stabilized; the thickness and makeup of the occupation<br />
layer in the courtyards were explored.<br />
Fragment of the capital. Peter I’s Winter Palace<br />
archaeoloGIcal expeDItIons<br />
were examined. Judging by the layout, structural features,<br />
location within a fenced area and different alignment<br />
compared with the rest of the complex, these facilities<br />
were intended for public or religious rather than residential<br />
purposes.<br />
<strong>The</strong> cultural deposits and building remains of the previous<br />
periods were examined on the 2009 site (gross area<br />
c. 200 sq. m). It was found that these buildings had been<br />
added to earlier structures destroyed by fire in the last<br />
quarter of the 6th century B.C.; although badly damaged,<br />
traces of several surface pillar (possibly wattle) structures<br />
of unclear purpose were discovered. Following the exploration<br />
of the earliest layers of the archaic Berezan settlement,<br />
a series of complexes dating from the first half of the<br />
6th century B.C. was unearthed, including round-shaped<br />
half-dugouts and household pits.<br />
Imitation of Euthydemus tetradrachm (type: “Ruler wearing a tiara”)<br />
Silver. Diameter 2.7 cm. Room 7<br />
100 101
archaeoloGIcal expeDItIons archaeoloGIcal expeDItIons<br />
<strong>The</strong> copper imitations of Late Kushan coins found on the<br />
floor in the rooms suggest that the facilities were operational<br />
during the 3rd and 4th centuries.<br />
Exploration works on the street to the east of the complex<br />
which ran past the dungeon and led to the arch showed<br />
that the entrance to the Citadel had been reconstructed<br />
at least thrice.<br />
In the South Suburb, part of a mihrab was unearthed in the<br />
building which served as local mosque in the late 10th –<br />
early 11th century; clay-and-gypsum coating was preserved<br />
in situ on both sides of the mihrab niche. Other fragments<br />
of the panel found on the floor nearby were decorated<br />
with a carved geometric and plant ornament and colourful<br />
frescoes; the fragments were stabilized and transferred<br />
to the local museum.<br />
Restoration works were performed on previously excavated<br />
facilities, i.e. Tower 8 in Shahristan II as well as the minaret<br />
and column bases in an early temple located inside the<br />
citadel.<br />
KraSnaya rechKa excavaTionS<br />
Head of unit: А. Torgoyev<br />
Archaeological excavations on the Krasnaya Rechka site<br />
were continued jointly with the expedition of the Institute<br />
of History and Cultural Heritage of the Kyrgyz Republic<br />
National Academy of Sciences. <strong>The</strong> works were<br />
conducted on three areas, two of which were located<br />
within the so-called south extension and the third one in<br />
Shahristan II.<br />
<strong>The</strong> most interesting results were obtained in the south extension,<br />
which includes a complex of buildings with a high<br />
triangular hill identified as a Zoroaster temple.<br />
A wall in the south extension was sectioned; like other<br />
walls on the site, it was constructed using the khantu technique<br />
from separate clay ribbons placed into the frame.<br />
upper dvina expediTion<br />
Head of expedition: Boris Korotkevich<br />
Archaeological excavations were conducted in the south<br />
of the Pskov Region in Anashkino, Borokhnovo and<br />
Mikhailovskoye. <strong>The</strong> works in Anashkino continued the<br />
activities launched in 1991. <strong>The</strong> occupation layer was<br />
found to contain materials from the Late Bronze (late<br />
2nd – early 1st millennium B.C.) to the mediaeval period<br />
(9th – 10th century). In 2010 the edge of the flat ground<br />
and the slopes were examined for surviving ancient layers<br />
and traces of ancient defence structures. As a result,<br />
new data were obtained on the use of the site during the<br />
first half of the 1st millennium B.C. and at the end of the<br />
Paikend Citadel. South-west sector. “Barracks”.<br />
Room 5 (khumkhona storage facility)<br />
<strong>The</strong> building history of the wall was limited to just one<br />
period. Apparently, the wall quickly became unnecessary<br />
and was used for burials. In the past season, a burial with<br />
a small Tyurgesh coin lying near the head was unearthed.<br />
<strong>The</strong> most interesting results were obtained in the course<br />
of exploratory works on one of the hills within the building<br />
complex with a triangular hill in the middle. A detached<br />
building with massive adobe walls was discovered. <strong>The</strong> unearthed<br />
area shows that the building was surrounded<br />
by corridors and may be identified as a Buddhist temple.<br />
<strong>The</strong> area near the entrance was found to contain small<br />
fragments of an unbaked clay sculpture which formed part<br />
of the headdress of a Buddhist character.<br />
On Shahristan II, stratigraphy and excavation works on<br />
residual twelfth-century structures (destroyed by fire)<br />
in the top building layer were performed.<br />
1st millennium A.D. Works in Mikhailovskoye became necessary<br />
as the land with the ancient site was bought by a private<br />
owner. <strong>The</strong> cultural layer was damaged on the slope<br />
along the whole of the site by a fence built around the<br />
plot. <strong>The</strong> expedition cleaned up the edge of the terrace<br />
resulting from the construction. Traces of previously undetected<br />
ancient defence moats were found together with<br />
the cultural layer that contained artifacts dating from the<br />
Early Iron Age. In Borokhnovo, exploration works were<br />
started on the mediaeval defence structures dating back<br />
to the middle or late 1st millennium. A large area with remains<br />
of a defence wall or levee running along the edge<br />
was unearthed. <strong>The</strong> works are scheduled for completion<br />
in the next year.<br />
ancienT ruSSian expediTion<br />
Head of expedition: Sergei Tomsinsky<br />
Inspection of the conserved 2009 excavation pit on the site<br />
of Vasily III and Ivan IV’s residence in Aleksandrovskaya<br />
Sloboda (Aleksandrov, Vladimir Region) was performed;<br />
the topography was clarified of the residual palace structures<br />
outside the Dormition Convent (the Tsar’s Court)<br />
awaiting further field research. <strong>The</strong> location of at least<br />
one large structure was identified which formed a single<br />
planning pattern with the building remains explored<br />
in 2005–2009.<br />
TranSKuBan expediTion<br />
Head of expedition: Yuri Piotrovsky<br />
Exploration works continued on the Eneolithic settlement<br />
of Meshoko located on the south of Kamennomostsky village<br />
(Adyg Republic) dating from the late 5th – early 4th<br />
millennium B.C. Stratigraphic works were completed on<br />
Pit VII to explore the site’s lowest layer (light-grey humus<br />
loam) reaching 1 m in thickness. As a result, a large<br />
collection of artifacts was obtained dating from the early<br />
period of Meshoko. <strong>The</strong> most significant observations<br />
can be made from the pottery ornaments. Apart from<br />
stick-on decorations, the ceramic material found in the<br />
lowest layer bore pearly patterns most typical of the pottery<br />
retrieved from the top layer (dark-grey humus saturated<br />
with rubble), indicating certain cultural succession<br />
between the two main layers. A large number of shale<br />
bracelets were found. <strong>The</strong> retrieved flint tools included<br />
arrowheads and inserts chipped on both sides, as well<br />
as scrapers. <strong>The</strong> most common stone tools retrieved were<br />
flat objects sharpened by chipping on both sides (stone<br />
knives). In addition, remains of a cob floor were found at<br />
the depth of about 2 m at the border of the lowest level<br />
and the buried soil; most of the flooring remains outside<br />
the area explored.<br />
Archaeological exploration was restarted on the Kostromskoi<br />
Mound (Division Kurgan 1) near Severny Khutor, Mostovsky<br />
District, Krasnodar Region. Although the mound,<br />
explored by N. Veselovsky in 1897, has long been considered<br />
a definitive Early Scythian monument, our knowledge<br />
of the burial structure, funerary ritual and inventory is still<br />
incomplete. <strong>The</strong> current height of the mound is 4 m; the<br />
diameter is 45 m. <strong>The</strong> 2010 pit (gross area c. 480 sq. m)<br />
included a large segment of Veselovsky’s trench, in the<br />
previously unexplored part of which an artificial pad<br />
was unearthed, partly sectioned by Veselovsky’s trench.<br />
An oval pit sized 1 × 1.2 m, filled with 18 horse sculls was<br />
located at the north edge of the pad; on the south, the upper<br />
parts of two burnt pillars were found. On the surface<br />
of the pad, fragments of three radially arranged burnt<br />
Kostromskoi Mound, seen from the west<br />
102 103
archaeoloGIcal expeDItIons archaeoloGIcal expeDItIons<br />
wooden half-beams were found. <strong>The</strong> section of the east wall<br />
of the trench shows that the pad is covered with a layer<br />
containing the same organic inclusions as the pad surface.<br />
At the depth of 1.7 m from the present surface of the<br />
mound, this layer is covered with clay and sand coating<br />
carrying fragments of moulded Early Meot pottery.<br />
A Bronze Age catacomb burial was found with a destroyed<br />
vault and the entrance well with two steps on the south<br />
(explored in 1897) in the part of Veselovsky’s trench adjacent<br />
to the east wall section of the present trench. <strong>The</strong> catacomb<br />
was found to contain fragments of broken covering<br />
slabs, human bones and ceramic fragments.<br />
An unexplored Bronze Age pit burial was found to the<br />
south of the catacomb.<br />
<strong>The</strong> early stage of advanced exploratory works on the Kostromskoi<br />
Mound confirmed some data quoted in N. Veselovsky’s<br />
report; however, no reliable evidence of a tentshaped<br />
sub-mound structure has been found.<br />
goldern horde expediTion<br />
Head of expedition: Mark Kramarovsky<br />
Exploratory works continued on the defence line of mediaeval<br />
Solkhat. Three pits were made on the ridge of the<br />
south-east branch of Maly Argamysh Mountain. Walls of<br />
an open-type defence tower measuring 10 × 10 m were<br />
found in Pit XXXIII; remains of a forge (?) including<br />
a furnace chamber and a mouth with a pre-furnace<br />
area were unearthed in one area of the excavation site.<br />
Pit XXXIV contained the foundation of the defence wall.<br />
<strong>The</strong> defence wall line includes a three-part trench consisting<br />
of the central recess filled with crushed stone and<br />
lime mortar, and light clay substructures adjacent to the<br />
recess on the north and south which were intended for<br />
constructing the footing course of the defence wall jacket.<br />
<strong>The</strong> total width of the trench for the bedding and packing<br />
of the defence wall was about 2.5 m. <strong>The</strong> wall consisted of<br />
two jackets made from stones fixed together with mortar.<br />
<strong>The</strong> space between the jackets was filled with rubble and<br />
the same type of mortar. <strong>The</strong> profiles of the sides and edges<br />
of the pit support the findings of the previous season.<br />
In the south-west corner of the site, a burial of a woman<br />
and child without any inventory was found at the depth<br />
of 0.37 m. <strong>The</strong> burial was covered with reused facing slabs<br />
of the defence wall.<br />
In Pit XXXV the infill of the central part of the trench for<br />
the defence wall was clearly localized. At the bottom on<br />
the east and west parts of the trench medium and large<br />
stones fixed together with clay mortar were preserved in<br />
situ, which apparently formed part of the wall foundation<br />
on the site.<br />
<strong>The</strong> finds included fragments of metal objects of unknown<br />
use and nails; an arrowhead; fragments of bone objects<br />
and pottery fragments; a four-part caltrop; an anthropomorphic<br />
figurine made of a metal (brass?) plate – ongon,<br />
and a fragment of a tomb.<br />
A total of 23 coins were found, two of which were worn<br />
out, one had been minted in Turkey, one in Moldavia<br />
(stamp of Alexander the Kind (1400–1432?)), one in Russia<br />
(1730–1740). <strong>The</strong> other coins were copper Jochid puls<br />
(one with a Genoese portal stamp). A Russian grosh, minted<br />
during Anna Ioannovna’s reign, allows to define the<br />
period when the walls of mediaeval Solkhat’s defence belt<br />
were dismantled and their stones were reused.<br />
myrmeKeyon expediTion<br />
Head of expedition: Alexander Butiagin<br />
Works continued on the site of the ancient city of Myrmekeyon<br />
located on the territory of Kerch. Excavations<br />
were performed on Ash Pit 2 as well as to the north of<br />
it, in the north-west corner of the adjacent Site И (I).<br />
Poorly preserved walls of buildings dating back to the<br />
first centuries A.D. were found. On the main site, the<br />
ash pit was explored to the depth of 0.8 m. Apart from<br />
the areas completely destroyed by later excavations, the<br />
occupation layer had a typical ash pit stratigraphy, with<br />
Terracotta figurine. 3rd – 2nd century B.C.<br />
alternating layers of grey and brown ash loam and multiple<br />
fragments of mussels, ash, baked soil, coals and small<br />
stones. <strong>The</strong> ash pit layers contained abundant ceramic<br />
material, including over a hundred fragments of branded<br />
amphorae from Sinop, Heraclea, Rhodes, Cnidus and<br />
other cities, terracotta fragments, copper coins and fragments<br />
of ceramic vessels with graffiti. One special find<br />
was a remarkably well-preserved terracotta figurine of<br />
a standing woman. For the first time, a seriously damaged<br />
gold bead was found in the ash pit. This area of the<br />
ash pit was bounded by stone and adobe walls separating<br />
it from the residential structures. A major part of the ash<br />
pit was disturbed by wartime groundwork. Excavations of<br />
the shelter and driveway yielded a considerable amount<br />
of wartime material including fourteen cannon shells.<br />
<strong>The</strong> shelter preserved the frame of a car damaged by<br />
an explosion as well as scattered human bones, possibly<br />
coming from the same body.<br />
nymphaeum expediTion<br />
Head of expedition: Olga Sokolova<br />
Exploratory works continued on the Bosporan town of<br />
Nymphaeum (Kerch, Crimean AR, Ukraine), on the south<br />
slope of the Nymphaeum Plateau, where field research has<br />
been conducted on the sacred ground complex for many<br />
years.<br />
On the West Excavation Pit, removal of the overlying level<br />
continued to the south of the propylaea explored in 1996–<br />
2000 in order to identify the building system in the area.<br />
No building remains were found. <strong>The</strong> layer comprised material<br />
mostly dating from the 4th – 3rd century B.C., with<br />
inclusions from an earlier (6th – 5th century B.C.) and<br />
later (2nd century B.C.) periods.<br />
In the past season it was decided to extend the exploratory<br />
site further west after a step-like structure was uncovered<br />
in 2009 partly located outside the excavation pit.<br />
A 200 sq. m extension (8 squares sized 5.0 × 5.0 m) was<br />
made along the west edge of the excavation pit. A 0.5 and<br />
2.1 m thick layer was removed, saturated with Roman and<br />
Hellenistic material. Eleven different-size household pits<br />
were unearthed in this area.<br />
On the South-West Pit, excavations continued to the west<br />
of the defence tower. On two 50 sq. m squares a fragment<br />
of the wall and four household pits were discovered.<br />
<strong>The</strong> finds from the layer and the buildings can be dated<br />
by the 5th B.C. to the 1st – 2nd century A.D.<br />
A topographic survey was conducted on the territory of the<br />
Nymphaeum necropolis on the area with a mound over<br />
what looks like stone funeral vault, judging by the visual inspection<br />
of the illegal survey pit. Excavations on this structure<br />
are planned in the coming season.<br />
Rim of a pithos with an inscription<br />
104 105
archaeoloGIcal expeDItIons archaeoloGIcal expeDItIons<br />
penJiKenT expediTion<br />
Head of expedition: Pavel Lourie<br />
Works started jointly with the History, Archaeology and<br />
Ethnography Institute of the Tajikistan Academy of Sciences<br />
continued on the Ancient Penjikent Reserve as well<br />
as on the early mediaeval town of Khisorak in the upper<br />
part of the Zeravshan Valley.<br />
An instrumental topographic plan of Khisorak and its<br />
environs was compiled and some ceramic material retrieved.<br />
On the initiative of Professor Yu. Yakubov, parts<br />
of the decor of the citadel shrine unearthed in 1997–1998<br />
were unconserved, retrieved and restored. <strong>The</strong>se include<br />
two carved wooden blocks and three bricks from the altar<br />
niche covered in carved stucco.<br />
On the Ancient Penjikent site, works continued in the<br />
south part of Unit XXVI, where buildings of a later period<br />
adjacent to the east wall of the city, the brick pad on the<br />
square between the east street and the wall and the buildings<br />
located beneath the pad (one of them bore traces<br />
of painting) were unearthed.<br />
On Site XXVI-C, exploratory activities started in 2009 continued<br />
on the household in the south-west segment of the<br />
unearthed area. A vestibule, a corridor and a ramp frame<br />
were unearthed as well as the section of the street adjacent<br />
to the entrance; earlier floors were examined in two rooms<br />
unearthed in 2009.<br />
Works on the sixth-century Lower Palace situated by the<br />
Kaynar Spring near the ancient city site had been frozen<br />
in 1992, and the area immediately turned into a dumping<br />
Wall painting with tulips and poppies from Layer 2 in Room 13:<br />
Lower Palace, Kaynar Spring<br />
Carved wooden blocks from the Khisorak Citadel<br />
place; however, last winter the site was cleared for a vegetable<br />
garden. As the water in the irrigation canals and the<br />
roots of the trees planted there have a negative impact on<br />
the subsurface site, urgent excavations were started. Three<br />
layers of paintings were inspected in Room 13 (two with<br />
tulips, one with a female dancer (?)) in the north sector<br />
of the east wall; a large-size Room 16 was outlined.<br />
<strong>The</strong> 2010 excavations have provided new data on the<br />
monumental decor of Sogdian buildings and the life in<br />
Penjikent in the 8th century; foundations were laid for systematic<br />
archaeological research in ancient Khisorak.<br />
norTh-weST expediTion<br />
Head of expedition: Andrei Mazurkevich<br />
Excavations on the banks of the Serteyka River, Smolensk<br />
Region, as well as subaquatic excavations in the Pskov<br />
Region on Sennitsa Lake and in the Serteyka River bed<br />
were conducted. Joint exploratory works were performed<br />
in collaboration with the Bavarian Heritage Preservation<br />
Department, Bavarian Ludwig Maximilian University and<br />
Nanter Х-Paris University. As a result, early Neolithic sites<br />
of the late 7th – 6th millennium B.C. were unearthed and<br />
explored; subaquatic excavations were performed on lacustrine<br />
settlements of the 3rd millennium B.C. Remains<br />
of a wooden platform, fragments of a wicker basket with<br />
multiple remains of fish bones and shellfish, and a stone<br />
battle axe were found and conserved. First-ever subaquatic<br />
explorations were carried out on Serteya I, which represents<br />
an entirely different type of campsite compared with<br />
Serteya II; in all probability, the area on the bank of the<br />
paleolake used to have fish stakes and/or places for shortterm<br />
stay during fishing.<br />
STaBian expediTion<br />
Head of expedition: Alexander Butiagin<br />
Excavations were conducted in collaboration with the Pompeii<br />
Archaeological Superintendence through the support<br />
of the Stabiae Restoration Fund (RAS) on the Araidne<br />
Villa destroyed by the Vesuvius eruption in 79 B.C. <strong>The</strong> villa<br />
is located on the Varano Plateau near Castellammare<br />
di Stabia. This is the first-ever excavation project conducted<br />
by a Russian research expedition in the area of<br />
Vesuvius.<br />
<strong>The</strong> works focused on the thermae buildings and partly<br />
the peristyle with the surrounding corridors. Most of the<br />
surviving walls were 2.5–3 m high; some carried frescoes.<br />
About 2 sq. m of graffiti representing military ships, human<br />
faces and phalluses as well as numerous Greek inscriptions<br />
were found on the walls of the corridor. <strong>The</strong>y had probably<br />
been left by servants who used this corridor to access the<br />
bathhouse and the kitchen. <strong>The</strong> most interesting findings<br />
were made as a result of the excavations in the patio, where<br />
the thermae visitors took rest. A mosaic with an ornament<br />
of black and white stones was found on the floor. <strong>The</strong> walls<br />
were decorated with columns and paintings in the 3rd<br />
Pompeian style. A small room was found nearby which<br />
may have accommodated an alcove. Its walls were lavishly<br />
decorated with patterns against the yellow, white and<br />
red background. One particularly important finding was<br />
the in situ frescoes of the Cupid Released type, i.e. a small<br />
Slavic-SarmaTian expediTion<br />
Head of expedition: S. Voronyatov<br />
Survey work and the search for a Roman site suitable for<br />
further excavations continued. Two areas of the Bryansk<br />
Region (Starodubsky and Pogarsky) along the left and<br />
right banks of the Rassukha River were explored.<br />
A 1 sq. m survey pit was started on the Shershevichi II Site<br />
discovered in the previous field season, from which fragments<br />
of moulded pottery and a prongless iron buckle<br />
were retrieved. <strong>The</strong> unclear stratigraphy of the survey<br />
pit walls confirmed the suggestion that the occupation<br />
layer may have been damaged by ploughing during forest<br />
planting.<br />
<strong>The</strong> Sinin VIII Site on the right bank of the Rassukha River,<br />
discovered in 2002 by our colleagues from Bryansk, yielded<br />
some pottery material; the brink of the river was cleared<br />
up; a topographic plan was compiled. A 12 sq. m survey<br />
excavation was started next to the river brink. <strong>The</strong> occupation<br />
layer comprised pieces of moulded ceramic vessels,<br />
fragments of iron knives, clay spindle whorls, plummets<br />
and coating with traces of branches. No significant buildings<br />
were identified.<br />
Wall with the painting Cupid Released.<br />
Ariadne Villa<br />
106 107
archaeoloGIcal expeDItIons archaeoloGIcal expeDItIons<br />
image of Cupid and two images of winged women, one of<br />
them also in an excellent state of preservation. Next to<br />
it, a scratched Greek inscription was discovered. A niche<br />
unearthed in the corner of the patio preserved traces of<br />
a wooden bench and lavish decorative paintings with images<br />
of branches, painting tools and musical instruments.<br />
<strong>The</strong> uncovered frescoes were stabilized on the walls by the<br />
expedition restoration staff.<br />
Multiple fresco fragments from the walls and the ceiling<br />
were found in the occupation layer and among the debris,<br />
also carrying numerous images (head of the Gorgon,<br />
shields, sphinxes and plant ornaments). Not many objects<br />
were found as the property from the villas had been partly<br />
evacuated during the earthquake. Still, apart from pottery<br />
fragments, metal parts of the doors and a bronze coin of<br />
the Republican period were retrieved. <strong>The</strong> most unexpected<br />
objects were the first two fragments of branded roof<br />
tiles ever found as a result of excavation on the villa.<br />
cenTral aSian expediTion<br />
Head of expedition: Nikolai Nikolayev<br />
Works continued on the Xiongnu gravesite of Orgoyton,<br />
Buryatia Republic, most of them on the north area<br />
of the site. <strong>The</strong> exploration focused on the “princely”<br />
mound, the largest on the gravesite, comparable in size<br />
with Mound 24 on the Xiongnu gravesite of Noin-Ula,<br />
Mongolia. <strong>The</strong> stone surface structure is 14.5 m wide; the<br />
length, including the dromos, was 28.6 m. A layer of turf<br />
was removed from the whole of the mound in the past<br />
season; the south side of the fence was cleared up and<br />
a stone stela was found on the east end. <strong>The</strong> pottery fragments<br />
found in and outside the fence around the mound<br />
suggest that the mound, like most Xiongnu princely burials,<br />
may have been robbed.<br />
<strong>The</strong> Khakassian unit of the Central Asian Expedition<br />
worked on the Itkol 2 Gravesite on the south bank of the<br />
same-name lake in the Shirinsky District, Khakassia Republic;<br />
two mounds were explored.<br />
Mound 24 included a round fence, 7 m in diameter, made<br />
up of vertically arranged sandstone slabs, with a grave in<br />
the centre. <strong>The</strong> grave contained an intact burial of a forty-<br />
to fifty-year-old woman, with two clay vessels laid at her<br />
feet. <strong>The</strong> burial also contained two massive bronze cladding<br />
of a wooden vessel decorated with punctures and<br />
incisions along the edge. <strong>The</strong> mound originated during<br />
the Afanasyev Culture and may date from the first third<br />
of the 3rd millennium B.C.<br />
Mound 14 initially consisted of a stone ring, 9 m in diameter,<br />
made up of slabs laid flat on the ground. Later, during<br />
the Okunev Period, the mound was reconstructed,<br />
with a square fence (10 × 10 m) composed of vertically<br />
Fragment of stucco with a fantastic statue.<br />
Ariadne Villa<br />
arranged slabs built around the ring. Ten burials dating<br />
back to this period were found, five of them had been<br />
robbed. <strong>The</strong> burials comprised pottery samples, small<br />
copper plaques and eight carved bone objects, four of<br />
which were stylized images of animal and bird heads, the<br />
other four were miniature images of the Okunev stelae.<br />
<strong>The</strong> reconstruction of the mound may have occurred<br />
during the early period of the Okunev Culture (last quarter<br />
of the 3rd millennium B.C.).<br />
cenTral caucaSian expediTion<br />
Head of expedition: Yevgenia Vasiliyeva<br />
Works continued on the Kichmalka-2 Gravesite in the area<br />
of Kichmalka Village, Kabardino-Balkaria. A total of six<br />
burials were explored, including two Koban Culture graves<br />
dating from the 7th century B.C., two Sarmatian burials<br />
of the 2nd to 3rd century and two Alan catacombs of the<br />
late 5th – early 6th century.<br />
<strong>The</strong> Koban burials include rectangular stone chests made<br />
up of vertically arranged stone slabs with similar stone<br />
slabs on top. <strong>The</strong> graves were individual and were found to<br />
comprise iron knives, astragals, two pendants (one bone,<br />
one bronze), small paste beads, larger glass and stone<br />
beads and clay spindle whorls. <strong>The</strong> Sarmatian burials<br />
were of two types, some in ground pits partly closed with<br />
stone slabs, others in catacombs. <strong>The</strong> two Alan catacombs<br />
were studied; the more interesting catacomb contained<br />
a couple and featured rich funerary inventory, including<br />
a large number of glass, amber and stone beads, bronze<br />
fibulae, inlaid plaques, a pin, a spoon, a mirror, a buckle,<br />
a ring and tweezers. <strong>The</strong> niche in the catacomb chamber<br />
wall contained an iron sword with an amber bead with colour<br />
inlays serving as a belt retainer; an iron dagger with<br />
a leather sheath decorated with a gilded silver plate bearing<br />
a scale-shaped decorative pattern; a bronze locket with<br />
eagle heads and colour inlays. Next to them, a horse bridle<br />
was found including an iron bit with psalia (probably<br />
wooden) covered in tin foil as well as bronze harness strap<br />
unions with eagle heads, bronze fittings, medallions and<br />
buckles. Most of the objects were decorated with colour<br />
inlays. At the feet of the skeleton was a riveted bronze cauldron<br />
with an iron handle; under the cauldron, remains<br />
of a leather saddle with a wooden saddlebow, decorated<br />
with gilded silver plates were found. <strong>The</strong> catacomb also<br />
contained some pottery and two tin mugs.<br />
SouTh crimean expediTion<br />
Head of expedition: Svetlana Adaskina<br />
<strong>The</strong> South Crimean Archaeological Expedition of the<br />
State Hermitage and the Crimean Office of the Archaeology<br />
Institute (Ukrainian Academy of Sciences) continued<br />
exploratory works on the Cembalo Fortress in Balaclava<br />
(14th – 15th century). <strong>The</strong> 2010 field season followed up<br />
the activities performed in 2008–2009; works were pursued<br />
along the fortress’s east defence line, between the Barnabo<br />
Grillo Tower and the Portal Tower.<br />
<strong>The</strong> newly uncovered site (measuring about 150 sq. m)<br />
is located inside the east curtain, beneath the road leading<br />
towards the Barnabo Grillo Tower. <strong>The</strong> buildings on this<br />
slope were arranged in terraces.<br />
In the new field season, the built-up residential area was<br />
further extended to the west and north. Multiple burials<br />
without inventory were discovered to the south and north<br />
of the temple unearthed in the previous field season.<br />
One of the most remarkable finds was a leaf of a twelfth- or<br />
thirteenth-century Kievan-type bronze cross (encolpion).<br />
On the whole, some interesting stratified material was obtained<br />
which provides valuable information on housing<br />
construction principles and the infrastructural development<br />
of the mediaeval Cembalo Fortress.<br />
SouTh-eaST crimean expediTion<br />
Head of expedition: Vasily Gukin<br />
Archaeological excavations were first performed in the<br />
port of the mediaeval city of Sugdeya.<br />
Pit VIII was started of Terrace 4 (counting from the sea<br />
level), 35 m north-west of the so-called Marine Fortification,<br />
explored by M. Frondzhulo in 1965–1970. Archaeological<br />
works conducted during the reporting field season<br />
have enabled to unearth four stone surface structures,<br />
two sufas, seven tandyrs, a stone hearth and a fireplace.<br />
<strong>The</strong> uncovered strictures dated from different periods and<br />
showed traces of numerous reconstructions.<br />
Stratigraphic survey suggests the presence of two houses<br />
with sufas, or heating devices. <strong>The</strong> sufas included interacting<br />
heating systems, i.e. tandyrs and kanas. <strong>The</strong> houses are<br />
built over earlier permanent structures.<br />
<strong>The</strong> ceramic material included glazed and unglazed pottery<br />
dating back to different periods, from Hellenic to late<br />
mediaeval. A variety of metal, ceramic, bone, glass and<br />
stone articles was also retrieved.<br />
<strong>The</strong> numismatic material consists of 54 coins of different<br />
periods and cultures from the layers and buildings<br />
found on the site. <strong>The</strong> coins show that the excavated layers<br />
probably dated back to the 10th – late 15th century at the<br />
earliest.<br />
SouTh SiBerian expediTion<br />
Head of expedition: Konstantin Chugunov<br />
Exploratory works continued on two elite burials.<br />
Excavations were performed on Mound 1 forming part<br />
of the Bugry Gravesite (Rubtsovsky District, Altai Region).<br />
<strong>The</strong> works focused on the surface structures, namely, the<br />
4 m tall mound (75 m in diameter) and the moat around<br />
the mound, measuring 115 m in diameter. Excavations<br />
were conducted by means of a bulldozer, due to which<br />
three more sections were stabilized and graves in the central<br />
and peripheral areas of the site were unearthed and<br />
cleared up.<br />
In the Piy-Khemsky District, Tyva Republic, explorations<br />
continued on the Chinge-Tey I funerary complex. <strong>The</strong><br />
mound was 75 m in diameter and 2 m high; the surrounding<br />
moat measured 110 m in diameter. Works were performed<br />
on the north-west sectors of the surface structure<br />
and part of the moat. <strong>The</strong> sludge layer in the moat was<br />
found to contain isolated bones of horses, bears and small<br />
ruminants as well as some human bones. Another interesting<br />
retrieval was three horn plates with a circular ornament<br />
and a fragment of a clay object. An opus quadratum<br />
wall surrounding the mound, located 5 m away from the<br />
cromlech, was found under the layers of sludgy ground.<br />
One of the blocks in the wall was a fragment of a stela<br />
with carved images of deer. Two intact graves of warriors<br />
were uncovered in the corridor between the wall and the<br />
cromlech; the burials contained rich inventories including<br />
bronze and iron weapons, belt fittings, a gold earring<br />
and a gold headdress decoration as well as glass, turquoise,<br />
amber and gold beads. Given the burial explored in 2009,<br />
it can be suggested that these additional graves were arranged<br />
at regular intervals at the foot of the wall surrounding<br />
the mound. Upon completion of the works, the stabilized<br />
facade masonry was conserved with bags containing<br />
ground and turf to preserve the architecture of the site for<br />
subsequent museumification.<br />
108 109
maJor conSTrucTion and reSToraTion<br />
reSulTS of <strong>The</strong> firST STage reSToraTion<br />
of <strong>The</strong> eaSTern wing of <strong>The</strong> general STaff<br />
Building<br />
Since 2009 the eastern wing of the General Staff building,<br />
which was handed over to the Hermitage Museum in 1988,<br />
has been under restoration and restructuring designed<br />
to adapt the building to museum designation in accordance<br />
with the blueprints of Architectural Studio 44. <strong>The</strong> scale<br />
of the work is commensurate with the considerable dimensions<br />
of the building, which comprises over 800 rooms on<br />
its four floors, dozens of staircases and a system of five connected<br />
courtyards inside. <strong>The</strong> area of the first stage restoration<br />
zone totals 35,500 sq. m, covering predominantly two<br />
of the five courtyards located farthest from Palace Square<br />
and Pevchesky (Singers’) Bridge.<br />
In the course of the first stage of restoration work practically<br />
all the brick walls of the building were reinforced by<br />
means of injection technique or with metal ties. In rooms<br />
with valuable finish the preservable old brick and wooden<br />
ceilings were strengthened. One wall that could no longer<br />
perform its supporting function was duplicated with<br />
a monolith slab, the old brickwork remaining intact.<br />
As part of the first stage all the essential external connection<br />
work was performed for running water taps outside,<br />
natural gas and water supply and sewerage. A new propane<br />
heating system boiler was put into operation, as well as all<br />
the vital utility systems required for the normal functioning<br />
of the museum (such as lifts, air-conditioning, ventilation<br />
and security systems). All the rooms were connected<br />
to the systems of air-conditioning and climate control necessary<br />
for proper preservation of artworks.<br />
Out of the 45 halls covered by the first stage, 30 were in<br />
need of multipronged restoration, during which great attention<br />
was paid to the surviving elements of the interior<br />
décor. In the first three halls the specialists carried out the<br />
restoration of plafonds. Where possible, they conserved<br />
what remained of the old painted decoration. In the<br />
rooms with most of the painting lost, the restoration artists<br />
reproduced the pictures with maximum accuracy on the<br />
basis of analogy with their surviving parts. In the course of<br />
restoration the outer walls in the courtyards were returned<br />
their historical light gray colour of 1837.<br />
As part of the first stage of the project specialists restored<br />
26 stoves; in doing so, they carefully took down the tiles,<br />
restored them and fitted them back after strengthening<br />
the original brickwork. At present the stoves and fireplaces<br />
perform a purely decorative role, for their smoke flues<br />
were first cleaned and then filled with bricks.<br />
<strong>The</strong> original doors and details of metal decorations were<br />
restored in the Hermitage workshops; 150 windows were<br />
reproduced according to their individual dimensions;<br />
glued-laminated parquetry, window-panes and -sills were<br />
restored. <strong>The</strong> stone plates on the steps of the stairways inside<br />
the building were refurbished. In a number of rooms<br />
the original ceilings, walls and door openings were covered<br />
with metal casings.<br />
<strong>The</strong> key element of the architectural project – the New<br />
Large Enfilade – was built inside the inner courtyards<br />
4 and 5, which alone gives an idea of the project scale.<br />
<strong>The</strong> steps of the state amphitheatre-like stairway, faced<br />
with Italian breccia Sarda limestone, lead to the fourteenmetre-wide<br />
door opening on the enfilade of new exhibition<br />
space. <strong>The</strong> gate-like door is veneered with oak wood;<br />
the special coupling device enabling the door to open was<br />
manufactured at the Kirov Works.<br />
<strong>The</strong> illumination of the exhibition space of the New Large<br />
Enfilade is provided by skylights. <strong>The</strong>y are made of special<br />
light-weight concrete, which minimized the load on the<br />
major constructIon anD restoratIon<br />
old walls. <strong>The</strong> roof of glass and metal is flat, which hides<br />
it from outside.<br />
<strong>The</strong> design of the New Large Enfilade is based on the alternation<br />
of large exhibition halls and “hanging gardens” on<br />
platforms that do not reach the original walls of the building.<br />
<strong>The</strong> platforms are connected with the building floors<br />
by small glass-capped bridges, which secure connection<br />
between the buildings in Bolshaya Morskaya Street and<br />
on the Moika Embankment. <strong>The</strong> conversion of the former<br />
utility yards of the ministries into exhibition space made<br />
it possible to increase the museum’s area from 21,000<br />
to 32.5,000 sq. m. <strong>The</strong> yards were deepened; in the basements<br />
and on the ground floor of building 4, cloakrooms<br />
and technical service rooms were set up.<br />
On 10 December 2010, during the Hermitage Days, a solemn<br />
ceremony was held to mark the completion of the first<br />
stage of the restoration of the eastern wing of the General<br />
Staff building. In the presence of Valentina Matviyenko,<br />
the Governor of St. Petersburg, a token key to the restored<br />
sections of the General Staff building was handed over<br />
to Dr. M. Piotrovsky, Hermitage Director, by Mr. V. Smirnov,<br />
President of Intarsia group of companies that implemented<br />
the project.<br />
110 111
major constructIon anD restoratIon major constructIon anD restoratIon<br />
reSToraTion of <strong>The</strong> Jordan STaircaSe<br />
In 2010 the Hermitage conducted comprehensive complex<br />
restoration work on the Jordan Staircase. <strong>The</strong> specialists<br />
restored the grisaille glue paintings on the concave surfaces<br />
on the ceiling where it meets the walls; they took care of<br />
the sculptures, moulded decor, marble flights of stairs and<br />
railings; lost gilding was reproduced. <strong>The</strong>y removed dirt<br />
from the painted plafond Gods on Olympus by eighteenthcentury<br />
Italian artist Gaspar Diziani; the pigment layer was<br />
strengthened, later-date retouches were removed, the varnish<br />
layer was regenerated and lost paint reproduced.<br />
Owing to the restorers’ sparing approach, they succeeded<br />
in retaining the original stucco of the walls and their<br />
moulded decor, as well as the windows and doors with their<br />
original fittings and mountings dating from the 1830s, as<br />
well as mirrors with silver amalgam and the old gilt of decorative<br />
details, which was strengthened, with lost parts reproduced<br />
with gold leaf, in full conformity with the original.<br />
<strong>The</strong> old lighting fixtures, such as chandeliers and sconces,<br />
were restored and refitted with bulbs. All the utility and<br />
electricity lines were replaced and burglar and fire alarm<br />
systems were refurbished. <strong>The</strong> work was performed by the<br />
LLC PCF Design-Optimum Prof under supervision by the<br />
Hermitage Restoration and Repairs Department, Department<br />
of the History and Restoration of Architectural Monuments,<br />
KGIOP (Committee for State Protection of Monuments<br />
of History and Culture) and Rosokhrankultura<br />
(Federal Service for the Protection of Cultural Heritage).<br />
reSToraTion of parQueTry<br />
In 2010 parquet floor restoration was carried out in the<br />
Rembrandt Room, in rooms 168–173 (Russian Culture<br />
in the Second Half of the 18th Century), in the Gallery<br />
of Numismatics, in the Oriental Gallery, in rooms 314 and<br />
323–332 (French Art in the Early 19th and in the 20th<br />
Centuries) and in the Knights Room. <strong>The</strong> area of restored<br />
parquetry totals 2,831 sq. m.<br />
In the Rembrandt Room, 80% of the area of its art parquetry<br />
floor (composed of such valuable woods as beech,<br />
ash and amaranth) was damaged in consequence of the<br />
wear and tear of the protective layer of varnish.<br />
In rooms 168–173 (Russian Culture in the Second Half of<br />
the 18th Century), the depth of worn-out parquet reached<br />
0.5 mm – while the floor was of a complex geometric design<br />
and consisted of parts of valuable woods (such as ebony,<br />
oak, mahogany, boxwood, amaranth, walnut, lemon,<br />
rosewood, ash and birch).<br />
<strong>The</strong> mosaic parquet floor of the Knights Room made<br />
of valuable woods (such as beech, ash, sycamore, mahogany,<br />
satinwood, ebony and merbau) developed cracks and<br />
reconSTrucTion of <strong>The</strong> air heaTing SySTem of <strong>The</strong> winTer palace<br />
In the course of implementing the programme entitled<br />
“Reconstruction of Air Heating System Centres in the<br />
State Hermitage” an appropriate plan was worked out in<br />
2008; in 2009–2010 heat generation centre No 13, which<br />
is designed for St. George’s Hall and the Room of Egypt,<br />
both located in the eastern part of the Winter Palace, was<br />
reconstructed.<br />
When operating the said centre, it was very difficult to meet<br />
the climatic requirements in the rooms because every time<br />
air of right temperatures was delivered to St. George’s Hall<br />
on the first floor, the ground-floor Room of Egypt experienced<br />
temperatures considerably higher than admissible.<br />
Conversely, when the Hall of Egypt on the ground floor<br />
had normal temperatures, St. George’s Hall suffered from<br />
dropping temperatures.<br />
In view of the circumstances, it was decided to divide the<br />
zone covered by the heating unit into two parts and simultaneously<br />
reconstruct the old heating centre and install an<br />
additional heating centre, No 13A, which should prepare<br />
air and deliver it to the Room of Egypt alone.<br />
To accommodate the extra heating unit, repair was done<br />
to an appropriate room in the basement and an additional<br />
intake of outdoor air was arranged through a window<br />
opening on to Black Drive (Church Pit).<br />
<strong>The</strong> functions of the existing ventilation ducts were revised<br />
so that now some of them served the purpose of recirculation;<br />
a new duct was made and an air distribution grid was<br />
dents caused by moisture and dirt and loss of adhesion<br />
to the foundation. In the course of restoration the specialists<br />
strengthened the foundation of the floor (including<br />
the sleepers, subfloor boards; additional supports were<br />
made and installed as well). Seams and cracks in the patterned<br />
parquets were filled with thin strips of wood; geometric<br />
elements of the designs laid in and attached with<br />
glue. <strong>The</strong> reproduction of those details of the pattern<br />
that were no longer fit for use was carried out with blanks<br />
strictly corresponding to the dimensions and the wood<br />
type of the original in strict conformity with the restoration<br />
rules. After that the parquet was covered with protective<br />
layers of wear-resistant varnish in accordance with the<br />
method approved by the Committee for State Control, Use<br />
and Protection of Monuments of History and Culture.<br />
On the part of the Hermitage, supervision over the restoration<br />
was carried out by the museum’s Department of Chief<br />
Mechanic. <strong>The</strong> following companies participated in the<br />
parquetry restoration work: LLC Parquet-Hall, LLC Intarsia,<br />
LLC Yantarnaya Priad and LLC Parketny Mir.<br />
installed to send part of the appropriately heated air into<br />
the Hall of Apollo. In St. George’s Hall, the sizes of openings<br />
in the walls were increased so as to let in more air<br />
from the ventilation ducts at the normal rate of its inflow.<br />
In the Egyptian Room some of the ducts were blocked to<br />
provide a transit air flow to the first floor, into St. George’s<br />
Hall. In both halls decorative brass grids modelled on their<br />
originals were installed (together with regulation grids).<br />
All the intra-wall ducts in this zone of the museum were<br />
cleaned from dust and appropriately processed.<br />
<strong>The</strong> work performed makes it possible to maintain the required<br />
temperature levels every season of the year.<br />
During the reconstruction of the old heating centre and<br />
the installation of the new one, the Hermitage used up-todate<br />
energy equipment manufactured by these companies:<br />
Rosenberg (ventilation), Grundfoss, Danfoss and Brouen<br />
(plumbing), ABB (power plant), Siemens (automation)<br />
and Munters (cell pack humidifiers).<br />
<strong>The</strong> system of automatic control over the heating centres<br />
is connected to the central server of the Visonic network,<br />
which enables the operator to manage the work of the<br />
heating centres and regulate the characteristics of the air<br />
right from the central energy control panel.<br />
<strong>The</strong> work was carried out under supervision of the Restoration<br />
and Repairs Department and the Department of the<br />
Chief Power Engineer.<br />
112 113
major constructIon anD restoratIon major constructIon anD restoratIon<br />
repairS To accumulaTor BaTTery (raSTrelli gallery)<br />
<strong>The</strong> accumulator battery to provide current for lamps and<br />
lights outside opening hours and in emergencies was set<br />
up in the early 1980s. Its power was 300 a/h. It consisted of<br />
112 separate open lead cells filled with a solution of sulfuric<br />
acid. During their charging, acid vapours were released<br />
with the formation of hydrogen. <strong>The</strong> battery maintenance<br />
required particular caution and thoroughness and ranked<br />
among dangerous and hazardous jobs.<br />
In 2010 the operation of replacing the battery cells, installing<br />
lighting fixtures and doors conforming to fire safety<br />
regulations in the battery room was put out to tender. CJSC<br />
ERViS’s bid was accepted and the company installed newgeneration<br />
60З2S 300ВАЕ batteries with over 20 years’<br />
serviceability. <strong>The</strong>ir design features caps that fit the cells<br />
hermetically precluding any leakages of gas or electrolyte.<br />
<strong>The</strong> batteries are provided with special filter plugs that prevent<br />
acid aerosols in operation. A lighting system that conforms<br />
to the current fire safety standards for rooms of this<br />
type was installed in the battery room; its protection code<br />
corresponds to IP65. An appropriate door was installed in<br />
the battery room, of E160 fire-safety class. <strong>The</strong> work was<br />
overseen by the staff of the Chief Power Engineer.<br />
From September to December 2010, a team of chasers<br />
from LLC Rest-Art were busy restoring thirty repousse copper<br />
sculptures on the parapet of the northern and eastern<br />
facades of the Winter Palace; the work proceeded under<br />
technical supervision by the Hermitage Restoration and<br />
Repairs Department, the museum’s Department of the History<br />
and Restoration of Architectural Monuments, as well<br />
as by representatives of Rosokhrankultura (Federal Service<br />
for the Protection of Cultural Heritage). <strong>The</strong> concrete filling<br />
was removed from the hollow insides of the figures,<br />
the details of the iron armatures and copper casings were<br />
cleaned. <strong>The</strong> rusted lower parts of the armatures were dismantled.<br />
<strong>The</strong> brick foundations were inspected by experts<br />
and their conservation was performed; openings were<br />
drilled for additional pipes to reinforce the armatures. For<br />
some armatures new elements were made, with both old<br />
and new parts of the armatures coated with an anticorrosive<br />
agent. All lost details were reproduced and the shabby<br />
sheets of copper on hatches were replaced. All deformities<br />
were smoothened and the seams riveted and soldered.<br />
All the surfaces were cleaned of dirt deposits, crumbly layers<br />
of patina and copper oxides. To provide extra protection to<br />
the copper casings and avoid spottiness in the overall colour<br />
scheme, the restorers used a three-coat painting system.<br />
<strong>The</strong> statuary on the parapets of the Winter Palace was installed<br />
in the spring of 1762. <strong>The</strong> figures had been hewn of<br />
Pudost limestone by Russian stone sculptors after sketches<br />
by the Italian architect Rastrelli. <strong>The</strong> frailty of Pudost limestone<br />
and the northern climate caused quick dilapidation<br />
of the statuary, whereas attempts at restoration proved unsuccessful.<br />
When one more stone vase fell down from the<br />
roof of the Winter Palace, a decision was made that the<br />
stone figures be replaced by chased copper sculptures.<br />
During the installation of the repousse copper statues, the<br />
lower parts of the figures were filled, up to their chests,<br />
with crushed limestone and sand, and lime was poured<br />
over the filling. <strong>The</strong> porous limestone and lime inside the<br />
copper casings absorbed moisture from the condensate,<br />
creating constant humidity round the armatures and causing<br />
accelerated corrosion of their iron. No openings had<br />
been provided in the lower parts of the figures for the outflow<br />
of excessive condensate. <strong>The</strong> accumulating moisture<br />
led to progressively increasing corrosion in the armatures,<br />
affecting their strength. Consequently, hardly thirty years<br />
had passed when the copper statuary began to dilapidate.<br />
After the causes of the poor condition of the statues<br />
were established, new restoration work was carried out.<br />
<strong>The</strong> rocks and sand were removed and concrete mortar<br />
was poured in their stead, to a depth of 0.5 to 1 m. In the<br />
1940s, the surfaces of the statues were painted black with<br />
a mixture of linseed oil and soot. In 1976 the Hermitage<br />
started a systematic planned restoration of all the parapet<br />
sculptures of the Winter Palace, one by one, by the State<br />
Hermitage Museum’s own workforce of skilled restorers.<br />
<strong>The</strong> process of restoration normally began with the cleaning<br />
away of the black paint and the replacement or strengthening<br />
of the rusted parts of the armatures. <strong>The</strong>n the entire<br />
surfaces of the armatures were coated with an anticorrosive<br />
agent, whereas burst seams, holes and places of rupture<br />
were soldered, with occasional patches. <strong>The</strong> cleaned<br />
surface of copper was kept for a while outdoors, for a layer<br />
of so-called “noble” patina to form, which, in the opinion<br />
of those days’ specialists, was a good means of protecting<br />
copper from atmospheric effects.<br />
Present-day experts are of the opinion that a coat of patina<br />
on figures made of thin sheets of copper in the hostile atmosphere<br />
of a big industrial city is insufficient protection<br />
and therefore additional protective measures are called for.<br />
For a better wind resistance, the lower parts of the armatures<br />
should be reinforced; the design of the attachments<br />
should be changed and further strengthened. <strong>The</strong> hollow<br />
insides of the figures should not be filled with anything so<br />
as to stay properly ventilated and be accessible for control<br />
over their state of preservation not only where the armatures<br />
and attachments are concerned, but also the inside<br />
surfaces of copper sheets.<br />
reSToraTion of <strong>The</strong> repouSSe copper SculpTureS on <strong>The</strong> winTer palace parapeTS 55Th anniverSary of <strong>The</strong> deparTmenT of elecTronic eQuipmenT,<br />
alarm and communicaTion SySTemS<br />
<strong>The</strong> Department of Electronic Equipment, Alarm and<br />
Communication Systems was exactly 55 years old on December<br />
1, 2010. It was formed by order of Mikhail Artamonov,<br />
the then Director of the State Hermitage Museum,<br />
in 1955 in connection with the opening of a new automatic<br />
telephone station and the first burglar alarm system in the<br />
museum. At that time the Department comprised seven<br />
staff members, who operated the telephone exchange and<br />
the museum’s first burglar alarm control panel. <strong>The</strong> panel<br />
was assembled by the staff, who used for the purpose some<br />
components of the old exchange; about 300 points were<br />
protected – chiefly the door and windows of the ground<br />
floor. At present the original control panel is kept as a historical<br />
exhibit in the office of the Deputy Director for<br />
Maintenance.<br />
As electronics developed, the Hermitage Museum kept<br />
expanding its systems for burglar alarm and communication;<br />
other new systems were introduced, such as fire alarm<br />
systems, fire extinguishing video surveillance, computer<br />
networks and wireless communication. <strong>The</strong> Department<br />
grew numerically as new sections and new positions were<br />
created.<br />
At present the Department consists of 32 members employed<br />
in its three sections: alarm systems, communication<br />
and video-surveillance. <strong>The</strong> Department is responsible for<br />
the introduction and operation of means of electronic security,<br />
communication systems, computer hardware, fire<br />
safety, as well as other electronic equipment and systems<br />
required for the normal functioning of the museum.<br />
In the elapsed year 2010 the Department completed all its<br />
projects on repairs to the telephone exchange and the replacement<br />
of the museum’s automatic telephone station;<br />
it carried out an updating of the server room, in the course<br />
of which some sophisticated equipment was installed,<br />
as well as highly productive servers and a data storage facility.<br />
Extensive work was performed to install and put into<br />
operation one of the latest alarm systems that protects<br />
about a thousand paintings in the museum.<br />
<strong>The</strong> Department mounted a digital HD surveillance system<br />
to safeguard the Alexander Column. Its high-resolution<br />
enables the guards to identify people within the zone<br />
covered and record whatever acts they perform.<br />
Work is under way to equip the Big (Old) and Small Hermitage<br />
buildings with fire safety systems; updating and expanding<br />
the integrated burglar alarm and access control<br />
system is being currently carried out and additional video<br />
surveillance cameras are being installed.<br />
114 115
STrucTure of viSiTS To <strong>The</strong> <strong>hermiTage</strong> in 2010<br />
Total number of visitors 2,490,387<br />
Including:<br />
Free admissions * 859,377<br />
Russian nationals 742,619<br />
Foreign visitors 785,885<br />
Internet ticket holders 14,322<br />
Over 1,500,000 people visited the Hermitage<br />
exhibitions outside the museum.<br />
<strong>The</strong>re were over 3,550,000 hits of the Hermitage<br />
website.<br />
* <strong>The</strong> State Hermitage offers free admission rights to children, school<br />
pupils and students (regardless of citizenship), senior citizens of Russia<br />
and a number of other categories of Russian nationals entitled to special<br />
benefits.<br />
educaTional evenTS<br />
<strong>The</strong> number of guided tours to the Hermitage<br />
organized in 2010 was 32,018<br />
116 117<br />
Including:<br />
General tours round the museum 14,040<br />
Tours to the Treasure Gallery-1 5,937<br />
Tours to the Treasure Gallery-2 3,785<br />
Tours to the Winter Palace of Peter I 425<br />
School thematic tours 4,339<br />
<strong>The</strong>matic tours and series of tours<br />
for adults 3,330<br />
Tours to the Imperial Porcelain Factory<br />
Museum 145<br />
Special series of tours 17<br />
Classes for school children 795 hours<br />
Classes at student clubs 652 hours<br />
Number of lectures delivered 357<br />
Including:<br />
at the Hermitage 300<br />
in Vyborg and Kazan 57
eDucatIonal eVents eDucatIonal eVents<br />
<strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> weBSiTe in 2010<br />
http://hermitagemuseum.org<br />
For over ten years the website of the Hermitage Museum<br />
has been providing its multi-million audience with a wealth<br />
of information on the museum, its collections, exhibitions<br />
and other events of its life. <strong>The</strong> news “footage” for 2010<br />
covered 132 events and carried 32 articles devoted to the<br />
year’s temporary exhibitions in the Hermitage.<br />
Today’s Hermitage pages on the Internet are not merely<br />
a source of information, but also a means of opinion exchange<br />
on the topical issues of cultural life and museum<br />
policies. <strong>The</strong> section headed “Inviting to Discussion” includes<br />
a column “Your Opinion of the Hermitage Museum’s<br />
Social Programme”, where the user finds materials on<br />
the current system of discounts and benefits for some categories<br />
of visitors, as well as users’ opinion of the museum’s<br />
social policy. (This Section exists only in Russian so far.)<br />
Emails received by the Guestbook unit on the Hermitage<br />
site make it possible to understand the interests of our audience.<br />
In 2010, after the end of the summer season, our<br />
Visitors’ Letters section (in Russian) published emails containing<br />
remarks and suggestions regarding the terms of ad-<br />
Special programmeS<br />
arT and muSic – aSSociaTionS<br />
• shadows of Versailles. “theatre” of Court Portraiture<br />
• “to Vivaldi’s Music…”. Faces of Venice (Canaletto,<br />
Guardi and Longi)<br />
• “Romantic Classicists”. the Earthly Paradise of Hans<br />
von Mare<br />
• Goethe: “stop the Moment!” the Light and Colour<br />
of Impressionism<br />
• “Quo vadis?” the Image of Christ in Early Christian art<br />
• year of Italy in Russia. Marking the Day of st. Cecily,<br />
Patron saint of Music<br />
• year of Italy in Russia. alexander Pushkin: “Of sterling<br />
Beauty she’s the Purest of samples”. Raphael’s Madonnas<br />
<strong>hermiTage</strong> collecTionS<br />
<strong>The</strong>me meetings with the Hermitage staff resemble sessions<br />
arranged by Catherine II in her day.<br />
• Book Kunstkammer in the Hermitage. an Evening<br />
in the Hermitage Library<br />
• “at the Origins of the Oriental Department”.<br />
yakov Ivanovich smirnov (1869–1918)<br />
• Fyodor Glinka: “For the Russians your Image is<br />
both Charming and Holy…” From the Music Library<br />
of Empress Elizabeth<br />
• Raphael in the Hermitage. alexander Pushkin: “Of sterling<br />
Beauty she’s the Purest of samples”. Briefly about<br />
the Conestabile Madonna<br />
mission to the museum, accompanied by the Hermitage’s<br />
comments on all the questions raised in the emails.<br />
<strong>The</strong> website acquaints its visitors with the museum’s plans<br />
for overall development, including its target of creating<br />
new museum facilities in the eastern wing of the General<br />
Staff building by the year 2014, the 250th anniversary of the<br />
Hermitage State Museum. <strong>The</strong> first stage of the restoration<br />
work in the eastern wing of the building, which ended<br />
in 2010, was given detailed coverage on the website pages.<br />
<strong>The</strong> life of the Hermitage is reflected in video picks (in Russian),<br />
which is a new developing trend of the Hermitage<br />
website. Thus, for example, a number of video films were<br />
produced in 2010 – such as “A Glass Spectacle: Antique<br />
Glass in the Hermitage”, “Factory Owner Likhachyova’s<br />
Hoard”, “Oriental Scholar A. Ivanov’s Story of the Art of<br />
Kubachi Village in Dagestan”, “For the Centenary of the<br />
Dance and Music Panels by Henri Matisse” and “Knights Returning”<br />
video sketch.<br />
New materials about the collection of European and Russian<br />
weapons have been added to the division “Collection<br />
Highlights”. Some interesting pages from the history of the<br />
Hermitage and the history of technology are reflected<br />
in the respective articles found in the History section.<br />
• For the 250th anniversary of the Hermitage in 2014.<br />
From the History of the Imperial Residence.<br />
a Court Ball<br />
“the 18th Century – from Peter I to Catherine II”<br />
“Dazzling Balls in the Reign of Nicholas I”<br />
“Fancy Dress Ball in 1903”<br />
pariSian SalonS<br />
• “Parisian Photo album”. artistic Milieu and Fashion<br />
of the Early 20th Century<br />
• Church of Notre-Dame de toute Grâce du Plateau<br />
d’assy (1937–1950)<br />
• Renaissance of Great Christian art in twentieth-Century<br />
France<br />
“round <strong>The</strong> coSTume”<br />
• New years in the Last Century. yu. Plotnikova and<br />
st. Petersburg art Collectors<br />
• Venetian Carnival. Display of Costumes Produced<br />
by ye. Rusanova’s studio of Historical Costume<br />
duTch drawing roomS<br />
• Van Gogh. Potato Eaters – archetype aspect<br />
• New Information about Certain Dutch Paintings<br />
from the Hermitage Collection<br />
• Leonart Bramer, Photography Master from Delft<br />
• “Living on the shore”. the sea in the Life and art<br />
of Holland<br />
118 119<br />
lecTureS<br />
amsterdam, netherlands<br />
Lecture Hall in the Hermitage • Amsterdam Centre<br />
Lectures accompanying From Matisse to Malevich.<br />
Pioneers of Modern Art from the Hermitage exhibition<br />
vyborg<br />
Lecture Hall in the Hermitage • Vyborg Centre<br />
Lecture series: “Pages from the History of Renaissance<br />
Art”<br />
Lecture series: “Pages from the History of the Art of Classical<br />
Antiquity”<br />
Kazan<br />
Lecture Hall in the Hermitage • Kazan Centre<br />
“Great Monuments of World Art”<br />
“Visiting the World’s Cities and Museums”<br />
• Frans Hals – Viewed from the 21st Century<br />
• Leonart Bramer, Photography Master from Delft<br />
• anna Pavlovna Romanova, a Russian Princess<br />
on the Dutch throne<br />
<strong>hermiTage</strong> Through <strong>The</strong> employee enTrance<br />
Special programme for the staff of the museums of St. Petersburg<br />
and the Leningrad Region<br />
• Issues Involved in the Keeping and attributing<br />
of artistic Weapons<br />
• Visit to the Laboratory for sientific Restoration<br />
of Precious Metals<br />
• Photographic Materials. Peculiarities of Work with<br />
the Collection<br />
• “Museum within the Museum”. Menshikov Palace<br />
• Laboratory for Biological and Climate Control<br />
• Collection of Japanese art. topical Issues of Exhibit<br />
Mounting<br />
• archive of the state Hermitage Museum<br />
from <strong>The</strong> <strong>hermiTage</strong> To <strong>The</strong> veTeranS<br />
of <strong>The</strong> greaT paTrioTic war<br />
• “the Hermitage during the War”. Celebrating<br />
the 65th Victory anniversary. Meeting<br />
with the War Veterans in the Hermitage theatre<br />
<strong>The</strong> Hermitage Assemblies. A Court Ball. “A Live Illustration”<br />
to “Live Pictures” of Imperial Balls. Characters from the Hermitage paintings –<br />
work by the Production Department of the Academy of <strong>The</strong>atrical Art<br />
vladimir<br />
Vladimir-Suzdal Museum Reserve<br />
Public lecture for the residents of Vladimir: “<strong>The</strong> Hermitage,<br />
Its History, Buildings and Collections” – to preface<br />
the opening of the exhibition entitled Images of Italy. Western<br />
European Painting of the 17th to 19th Centuries from the<br />
Hermitage.<br />
volsk<br />
Art Museum<br />
Lecture: “From ‘A Hermit’s Nook’ to the Great Museum”<br />
Saratov<br />
A. Radishchev Museum of Fine Arts<br />
Lecture to preface the opening of Spanish Art in the Hermitage<br />
exhibition (to mark the 125th anniversary of the saratov<br />
Museum)
eDucatIonal eVents eDucatIonal eVents<br />
chronology of evenTS<br />
aT <strong>The</strong> youTh educaTion cenTre<br />
“fi(ni)sh is coming”<br />
23 January<br />
Student Nikolai Urentsev from the “Creative Photography”<br />
interest group put on display an assortment of his blackand-white<br />
pictures taken with a fisheye lens film camera.<br />
alexander dashevsky. “a rear view mirror”<br />
11 to 14 February<br />
A master class in the “Actual Art” series was taught at the<br />
Youth Centre by the artist Alexander Dashevsky from<br />
St. Petersburg.<br />
“winter Symphony”<br />
16 February<br />
<strong>The</strong> beginning of the second semester in the Hermitage<br />
Youth Centre was highlighted by a festive treat for the most<br />
active members of the Hermitage Student Club as after<br />
the closing of the museum that evening Mikhail Guryev,<br />
Head of the Laboratory for Scientific Restoration of Time<br />
Pieces and Musical Mechanisms, gave a talk in the Pavilion<br />
Hall about the Peacock clock, followed by a demonstration<br />
of the clock in action and a concert of classical music given<br />
by soloists from the State Hermitage Orchestra<br />
“<strong>The</strong> mediaeval world”<br />
5 March<br />
An unusual class of two interest groups of the Hermitage<br />
Student Club was held in the Knights Room; the groups<br />
were “<strong>The</strong> Italian Club” and “<strong>The</strong> French Club of the<br />
15th – 18th Centuries” (headed by M. Vlasova); the class<br />
dealt with the music and dancing culture of the Middle<br />
Ages. <strong>The</strong> students were able not only to listen to mediaeval<br />
music, but even to learn by heart several songs and not<br />
only to see some dances of mediaeval Italy and France, but<br />
to learn how to dance some of them. <strong>The</strong>y were helped to<br />
hear the sounds of the Middle Ages by the musicians from<br />
the Lorem ipsum ensemble of old music and the dancers<br />
of the studio Danza of old dance.<br />
meeting with the curator of the spazialismo:<br />
Riccardo licata and the venetian painting of the late<br />
20th century exhibition<br />
10 March<br />
<strong>The</strong> Centre organized for the students of St. Petersburg<br />
a meeting with Alexei Mitin, the curator of the exhibition<br />
and a staff member of the Hermitage Museum.<br />
“day of the march cat – 2010”<br />
27 March<br />
“Day of the March Cat” is a special project devoted to the<br />
cats living in the museum.<br />
western european plein air: Аmsterdam,<br />
the hague and antwerp<br />
27 April<br />
In July 2009 architecture students from the State University<br />
of Construction and Architecture had their drawing<br />
practice in some of the most beautiful countries of Western<br />
Europe. their drawings and photographs, “travellers’<br />
sketches”, were exhibited in the youth Centre.<br />
“hermitage lomography”<br />
15 May<br />
On the Museum Night the Hermitage Conservation and<br />
Storage Centre arranged a LOMO wall covered with photographs<br />
taken with very small and simple LOMO film<br />
cameras. Participants were members of the Lomographic<br />
Society and of the “Creative Photography” interest group.<br />
Students’ Summing-up conference<br />
16 May<br />
Members of the 19 interest groups run by the Hermitage<br />
Student Club delivered various presentations.<br />
“interpretation. portraiture in the museum”<br />
2 to 8 June<br />
Joint project by the “Creative Photography” interest group<br />
(led by Igor Lebedev) of the Hermitage Student Club<br />
and students (led by Thomas Werner) of the Parsons New<br />
School of Design, New York<br />
3 June<br />
<strong>The</strong> Student Club conducted an international round table,<br />
in which St. Petersburg photographers took part, as well as<br />
photography students from the Parsons New School of Design<br />
and members of the “Creative Photography” interest group.<br />
5 June<br />
Thomas Werner’s Master Class<br />
“art Semester in the hermitage”<br />
This is an <strong>annual</strong> educational summer programme for students<br />
from the USA: “Russian Art in Retrospective”.<br />
June and July<br />
As part of its educational programme for students from<br />
Canada, the Hermitage Youth Centre offered a course<br />
“<strong>The</strong> Hermitage and St. Petersburg – the Classical and the<br />
Contemporary”. <strong>The</strong> six-week course worked out by the<br />
Youth Centre combined excursions to the Hermitage and<br />
other museums in St. Petersburg, lectures and trips to the<br />
suburbs with practical art work in the studio, in the Hermitage<br />
rooms, as well as en plein air.<br />
9 to 22 August<br />
<strong>The</strong> programme expressly designed for students of art institutions<br />
of higher education in Canada included excursions<br />
to the Hermitage and other museums in St. Petersburg,<br />
as well as drawing and painting practice in the rooms and<br />
halls of the museum and en plein air, plus master classes<br />
in graphic art, painting on wood, photography and video<br />
art, as well as visiting studios of some present-day artists.<br />
meeting with maggi hambling, artist from Britain<br />
29 September<br />
Provided for by the “VIP Guests” programme of the Youth<br />
Centre<br />
Students day in the hermitage museum<br />
3 October<br />
In 2010 the traditional Students Day was devoted to the art<br />
of the 20th and 21st centuries. Dmitry Ozerkov, Head of<br />
the Section of Modern Art, talked about the programme of<br />
the festival entitled “<strong>The</strong> Pompidou Centre in the Hermitage<br />
Museum” and its participants. <strong>The</strong> Chief Researcher<br />
of the Department of Western European Fine Arts Albert<br />
Kostenevich focused his speech on the memorable 2009<br />
exhibition in the Hermitage of Pablo Picasso’s works from<br />
the Picasso Museum in Paris and presented the one-picture<br />
show Nude Woman in a Red Armchair, the opening of which<br />
was timed expressly for the Students Day in the Centre.<br />
“cyberfest–2010”<br />
In accordance with the “Actual Art” programme, the Youth<br />
Centre again became the venue for staging the events<br />
of this international festival of cyber art.<br />
21 November<br />
Jan-Peter E.R. Sonntag. Video Lecture: “Boundaries and<br />
Infinity”<br />
23 November<br />
Lidia Kavina. Lecture and Master Class: “Termenvox –<br />
Method of Playing and Applying the Instrument to Twenty-First-Century<br />
Music”<br />
24 November<br />
PinkPinksorbet. Lecture: “second Life Odditorium. Kunstkammer<br />
in the second Life”<br />
26 November<br />
Daniil Franz. Master Class for Children: “Humanizing<br />
Robots”<br />
“modern french art and…”<br />
Part of the educational programme accompanying the exhibition<br />
<strong>The</strong> Pompidou Centre in the Hermitage<br />
17 December<br />
“French Art and the Cinema”. Recent French animated<br />
cartoon<br />
18 December<br />
“French Art and Fashions”. Meeting Yu. Demidenko, fashion<br />
historian<br />
new year action by the “art workshop” interest group<br />
26 December<br />
Carried out in the Great Courtyard of the Winter Palace.<br />
programme: “inTerpreTaTion. porTraiTure<br />
in <strong>The</strong> <strong>muSeum</strong>”<br />
On 2 to 5 June 2010, the Youth Centre presented a photographic<br />
project, which was the second result of joint<br />
work by the “Creative Photography” interest group of the<br />
Hermitage Student Club and the Parsons New School of<br />
Design. “Interpretation” presented today’s young people’s<br />
view of the treasures preserved within museum spaces and<br />
at the same time it was one more attempt to answer the<br />
question as to how, in what way the interaction between<br />
the museum and the visitor works. Thirty students from<br />
the “Creative Photography” interest group and from the<br />
Department of Photography of the Parsons School of Design<br />
studied pictures in the museums of their cities: the<br />
Russian students scrutinized portraits from the Hermitage<br />
collections, while the American students examined<br />
portraits in the Metropolitan, MoMA, Whitney and Guggenheim<br />
museums in New York. Historically portraiture<br />
played an important role in the creation, definition and<br />
strengthening of morality, conventions and recognition<br />
of certain social groups and performed the role of the<br />
heritage of all these. <strong>The</strong> principles of representing the<br />
authority, socio-economic status, the moral values, public<br />
righteousness and beauty which are determined by the<br />
clothes, gestures, signs of power and sexuality are to be<br />
found in the aesthetic genre of each period. <strong>The</strong> task set<br />
for the Hermitage students and their counterparts from<br />
the Parsons School was to study such changes in the idiom<br />
of the picture and produce their own interpretation of this<br />
in photographic form.<br />
2 June<br />
All those wishing to see the students’ works had an opportunity<br />
to do so in the Hermitage Student Centre in the<br />
Winter Palace.<br />
3 June<br />
A lively discussion, with St. Petersburg photography artists<br />
participating, took place in the Student Centre; the<br />
themes discussed were the difference in concepts and interpretations<br />
seen in the work of the Russian and American<br />
students, the participants’ explanation of their choice<br />
of prototypes for their photographic versions and the educational<br />
aspect of the project.<br />
5 June<br />
Professor Thomas Werner from the Parsons School of Design<br />
taught a master class devoted to different types and<br />
varieties of portraits in photography.<br />
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eDucatIonal eVents<br />
educaTional children programme<br />
connecTed wiTh <strong>The</strong> exhiBiTion “<strong>The</strong> wind<br />
in <strong>The</strong> pines…” 5,000 YeaRs of KoRean aRT<br />
In the summer of 2010 the methodological unit of the School<br />
Centre offered visitors a new educational programme for<br />
junior school children and their parents. It was connected<br />
with the exhibition that opened in the Hermitage on 1 June,<br />
2010: “<strong>The</strong> Wind in the Pines…” 5,000 Years of Korean Art.<br />
<strong>The</strong> young visitors were shown gold ornaments found<br />
in the tombs of the rulers of the ancient Silla State, various<br />
monuments of Buddhist culture, ceramics and porcelain,<br />
objects made of bronze and stone, screens with painted<br />
decorations, silk scrolls with Buddhist subjects, genre and<br />
“dayS of claSSical anTiQuiTy 2010”<br />
programme for School children<br />
On 21–25 April 2010, the <strong>annual</strong> festival “Days of Classical<br />
Antiquity” was held in the rooms of the Department<br />
of Classical Antiquity. It was the fourth time that this festival,<br />
which had become very popular with children of<br />
junior and middle school age, was held in the Hermitage<br />
Museum. <strong>The</strong> main objective of the festival is to attract the<br />
attention of school children and other young people to<br />
monuments of Classical Antiquity and to demonstrate that<br />
the study of ancient traditions, which is an integral part<br />
of today’s life, can be an exciting event of the education<br />
process.<br />
As before, the rooms of the Department of Classical Antiquity<br />
were the main site for the festival. Within the framework<br />
of the festival a drawing contest for children was arranged:<br />
portrait paintings and other works of that country’s art.<br />
<strong>The</strong> children learned about the archaeological excavations<br />
of the royal mounds going on in Korea and the traditional<br />
writing system. <strong>The</strong>y also listened to some Korean legends<br />
and fairy tales.<br />
Exhibition tours were conducted by staff members of the<br />
National Museum of Korea and by the Head of the School<br />
Centre I. Dubanova. <strong>The</strong>n the children assembled with their<br />
own hands models of the ancient Korean rulers’ crown and<br />
of a pagoda, the celebrated Temple of Hopes Fulfilled, and<br />
took them all home as keepsakes to remember their visit<br />
to the Hermitage. <strong>The</strong> kits for those workshops were provided<br />
by the Korean side. <strong>The</strong> programme was a great success<br />
and was enjoyed both by the children and the adults.<br />
“<strong>The</strong> World of Classical Antiquity in Colour”. <strong>The</strong> young<br />
students of art schools were given an assignment: to draw<br />
a picture within their two-hour stay in the Hermitage rooms<br />
inspired by the works of Classical art there or by famous<br />
ancient myths and traditions. a display was arranged in<br />
the sivkov Passage, where the most interesting drawings<br />
by school children and photographs by students from the<br />
Hermitage youth Centre were hung to create an interesting<br />
series of “antiquity and the Present”. the festival also<br />
included a quest game and a lecture on the restoration<br />
of ancient statues.<br />
For children with special needs the sculptor A. Fumelli<br />
gave a class of modelling, in which the children were given<br />
a chance to work with plastic materials and create their<br />
own works based on ancient originals.<br />
<strong>The</strong> festival was supported by the LLC “Likeon – Museum<br />
Concepts and Projects Ltd”.<br />
Special developmenT programmeS<br />
cooperaTion agreemenT for 2010 Signed<br />
BeTween <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> and philipS<br />
in ruSSia<br />
On 11 February 2010, the State Hermitage and Philips in<br />
Russia signed a Cooperation Agreement, which will involve<br />
the installation of a new lighting system for the Alexander<br />
Column, the Jordan Gallery, and the St. George Hall in<br />
the Winter Palace. <strong>The</strong> Agreement was signed by Mikhail<br />
Piotrovsky, Director of the Hermitage, and Joost Leeflang,<br />
CEO of Philips in Russia.<br />
In the Jordan Gallery, Philips will modernize the lighting<br />
system by replacing the existing lighting units with LED<br />
projection lamps. <strong>The</strong> St. George Hall (Great Throne<br />
Room) will be lit by state-of-the-art Novallure LED lamps<br />
made by Phillips.<br />
High-power LED projector lamps will be used to illuminate<br />
the Alexander Column.<br />
preSenTaTion of <strong>The</strong> holland alliance<br />
proJecT<br />
On 15 April 2010, the museum saw the presentation of the<br />
joint projects by the State Hermitage and KLM Royal Dutch<br />
Airlines. <strong>The</strong> evening was timed to coincide with the launch<br />
of daily flights between St. Petersburg and Amsterdam.<br />
To mark the event, KLM took a key part in a special project,<br />
the transportation of Dance, the masterpiece by the great<br />
early twentieth-century artist Henri Matisse, to the Hermitage<br />
• Amsterdam Exhibition Centre for the exhibition<br />
From Matisse to Malevich. Pioneers of Modern Art from<br />
the Hermitage.<br />
On 29 March, KLM sent to Russia the largest aircraft of<br />
the Dutch fleet, the Boeing-747 Combi. <strong>The</strong> Matisse masterpiece<br />
was on loan to the Amsterdam exhibition to mark<br />
the centenary of the work, which was painted in 1910. It returned<br />
to Russia on 9 May.<br />
memorandum of culTural cooperaTion Signed BeTween <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong>,<br />
<strong>The</strong> vleric leuven genT managemenT School campuS, ST. peTerSgurg,<br />
and <strong>The</strong> inTernaTional early muSic feSTival<br />
On 19 October 2010, a Memorandum on Agreement to<br />
Cooperate was signed by the State Hermitage, the Vleric<br />
Leuven Gent Management School, St. Petersburg, and the<br />
International Early Music Festival.<br />
In view of the mutual desire of the parties to promote<br />
the cultural heritage of St. Petersburg and Flanders in<br />
order to improve the bilateral economic and cultural relations,<br />
and in view of the wish to stage several events in<br />
St. Petersburg and Flanders and thus to prepare a platform<br />
for further cooperation between St. Petersburg and<br />
Flanders in the cultural, political, and economic spheres,<br />
the State Hermitage is willing to cooperate with its Flem-<br />
ish colleagues in preparing joint exhibitions of works<br />
of art from the Netherlands, Belgium, and Luxembourg<br />
(“<strong>The</strong> Collection”) at the State Hermitage and Flemish<br />
museums.<br />
<strong>The</strong> Memorandum on Agreement was signed by representatives<br />
of the Parties in the State Hermitage in the presence<br />
of Mr. Kris Peeters, Minister-President of the Government<br />
of Flanders. Mr. Mikhail Piotrovsky signed on behalf of the<br />
State Hermitage Museum, Mr. Louis Verbeke signed on<br />
behalf of the Vlerick Leuven Gent Management School,<br />
and Mr. Andrei Reshetin signed on behalf of the International<br />
Early Music Festival.<br />
<strong>The</strong> ceremony of signing the Memorandum<br />
of Cultural Cooperation between the State Hermitage,<br />
the Vleric Leuven Gent Management School<br />
(St. Petersburg Campus), and the International Early<br />
Music Festival. Mikhail Piotrovsky, Louis Verbeke<br />
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<strong>The</strong> 65th anniversary of the victory<br />
in the Second world war<br />
preSenTaTion of <strong>The</strong> proJecT By<br />
<strong>The</strong> archiTecT alexander niKolSKy creaTed<br />
in <strong>The</strong> BeSieged leningrad in 1942<br />
On 5 May 2010, the Project for a Temporary Triumphal Arch<br />
to Greet the Troops was presented in the Armorial Hall of the<br />
Winter Palace. Designed by Alexander Nikolsky in 1942,<br />
during the siege of Leningrad, it is a part of a series of drawings<br />
he made between October 1941 and February 1942.<br />
<strong>The</strong> drawing shows the view of Prospekt Stachek in the Avtovo<br />
District with the residential buildings built in 1937–<br />
1941. Nikolsky’s professional activity in the pre-war decade<br />
was focused on this district, which was also hotly contested<br />
during the fierce defence of the city in the autumn and<br />
winter of 1941. A column of KV-85 tanks is shown parading<br />
along the avenue: they were the first Soviet-made<br />
heavy tanks which defended the frontline in the autumn<br />
and winter of 1941. Ten years after the outbreak of the<br />
war, a monument to a KV-85 tank was erected in Morskoi<br />
Pekhoty Street to honour the defenders of Leningrad.<br />
On 22 January 1942, Alexander Nikolsky wrote in his diary:<br />
“I firmly believe the siege will be lifted soon, and I have<br />
started contemplating the triumphal arches to greet the<br />
heroic troops who liberate Leningrad”.<br />
Triumphal arches were constructed in Leningrad for the<br />
ceremonial greeting of the victorious troops on 8 July<br />
1945.<br />
<strong>The</strong> drawings and watercolours by the artists and architects<br />
who refused to be evacuated from Leningrad and<br />
continued working during the siege are precious witnesses<br />
to the life of the city during that time. Many of the artists<br />
were involved in civic defence, camouflaging the airfields<br />
and other sites, evacuating museum collections, keeping<br />
anti-aircraft watch on the roofs. By December 1941, most<br />
of them had to live a barracks-style life to survive and were<br />
lodging in the Union of Artists building, in the cellars of<br />
the Hermitage, the Russian Museum, the Academy of Arts,<br />
which were used as makeshift air-raid shelters.<br />
Alexander Nikolsky’s drawings became the chronicle<br />
of life in Leningrad in 1941–1942. He was an accomplished<br />
draughtsman, and his clear, well-structured drawings<br />
reveal the artist’s thought and expose the heart of the<br />
composition he had in mind.<br />
Nikolsky’s wartime drawings capture the horrible marks<br />
of war with documentary precision: the ruined buildings,<br />
the camouflaged monuments, the air balloons and barricades<br />
in the city streets and squares in his views of Leningrad<br />
under siege and its everyday life. Of special note are<br />
the illustrations to the architect’s siege diary of 1941–1942.<br />
<strong>The</strong>se pencil drawings recreate the atmosphere of the besieged<br />
city with its everyday heroism.<br />
Alexander Nikolsky. Project for a Temporary Triumphal Arch<br />
to Greet the Troops<br />
preSenTaTion of ediTionS dedicaTed<br />
To <strong>The</strong> Second world war<br />
On 24 May 2010, an evening event marking the 65th anniversary<br />
of the victory in the Second World War organized<br />
by the State Hermitage and the Worldwide Club of St. Petersburgers<br />
was held in Menshikov Palace.<br />
Two editions were presented to the audience: Lev Pumpiansky.<br />
<strong>The</strong> Hermitage: Poems. Letters to the Family (Yekaterinburg:<br />
the Novoye Vremya Mid-Urals Publishing House, 2009) and<br />
Voice of Your Heart (St. Petersburg: Petrocentr, 2010).<br />
<strong>The</strong> collection of works by Lev Pumpiansky (1889–1943),<br />
a prominent Leningrad art historian, Dean of the Faculty<br />
of the History of Art of the Russian Academy of Arts, includes<br />
a poetic cycle dedicated to the Hermitage written<br />
during the years of the siege, and the works published<br />
during his lifetime and letters to his family written between<br />
1906 and 1943.<br />
a warTime vegeTaBle paTch<br />
in <strong>The</strong> hanging gardenS<br />
A special event marking the 65th anniversary of the victory<br />
in the Second World War and the 69th anniversary of the<br />
start of the siege of Leningrad was held in the Hermitage<br />
on 10 September 2010.<br />
A corner of a “vegetable patch of the siege days” was recreated<br />
in the Hanging Gardens of the Small Hermitage<br />
with the help of LLC Neolik and the Prinevskoye horticultural<br />
enterprise. It forms part of the project “Hermitage–2014”.<br />
<strong>The</strong> vegetable garden was reconstructed on<br />
the basis of documents from the Academic Archives of the<br />
State Hermitage, which include drawings by A. Kaplun,<br />
V. Miliutina (1942), and V. Kuchumov (1945). <strong>The</strong> project<br />
was supervised by the Deputy Director for Construction<br />
M. Novikov.<br />
According to the archives, potatoes, cabbages, carrots,<br />
swedes, beetroot, turnips, spring onions, spinach, and dill<br />
were all planted in the Hanging Gardens and the Great<br />
Courtyard of the Winter Palace in 1943. Ash was used<br />
as a fertilizer.<br />
<strong>The</strong> gathering of the harvest in the Hanging Gardens was<br />
timed to coincide with the anniversary of the start of the<br />
siege. <strong>The</strong> vegetables harvested from the “wartime patch”<br />
were used to make pies which were presented to the museum’s<br />
oldest members of staff. L. Voronikhina, Leading<br />
Methodologist of the Education Department, told the<br />
guests about the life of the museum and its staff during<br />
the siege years.<br />
<strong>The</strong> event was organized with the help of Fazer Food<br />
Services.<br />
During the grim years of the siege, Lev Pumpiansky turned<br />
to the “eternal values”, poetic contemplations on the masterpieces<br />
of world art. <strong>The</strong> original plan for the cycle included:<br />
an Introduction, the Antiquity Section, the Middle<br />
Ages, Flanders and Holland, France. A public reading of<br />
some of the poems from the cycle finished by the summer<br />
of 1942 was held on 15 August of the same year. <strong>The</strong> Hermitage<br />
Cycle remained unfinished.<br />
<strong>The</strong> album Voice of Your Heart is a collection of creative<br />
works by the students of the Nikolai Roerich Art College.<br />
It includes pictorial and sculptural studies, posters, literary<br />
sketches and essays.<br />
<strong>The</strong> history of the wartime class of 1943/44 – archive documents,<br />
photographs, memories of the war years which<br />
open the book, – echo the thoughts of the students of the<br />
turn of the 21st century, which focus on the war, the lives<br />
of the people, the “proud and tragic” pages of the life in<br />
the besieged Leningrad.<br />
Harvest from the Hermitage Hanging Gardens<br />
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day of maecenaS aT <strong>The</strong> <strong>hermiTage</strong><br />
On 13 April, the Hermitage <strong>The</strong>atre saw the fifth celebration<br />
of the Day of Maecenas and Benefactor, which makes<br />
it a well-established St. Petersburg tradition. Since last year,<br />
it has had the support of the St. Petersburg Government<br />
Committee for Culture. <strong>The</strong> birth date of Gaius Cilnius<br />
Maecenas, the famous Roman aristocrat and friend of poets,<br />
artists, and musicians, was calculated on the basis of an<br />
ode by Horace. <strong>The</strong> meeting place is the Hermitage, which<br />
keeps the famous Tiepolo painting, Maecenas Presenting the<br />
Liberal Arts to Emperor Augustus, which has become a symbol<br />
of the celebration.<br />
<strong>The</strong> visitors were introduced to very different charitable<br />
projects. While the economic crisis continues, many companies<br />
have cut their charity spending. This makes it even<br />
more important to have stable, continuous programmes<br />
providing help to museums and other cultural, educational,<br />
and healthcare institutions. Such programmes, funded<br />
by companies like Gazprom Transgaz St. Petersburg,<br />
Khleb ny Dom, Philips in Russia, the North-West Branch of<br />
the Russian Federation Sberbank, were presented by their<br />
leaders. <strong>The</strong> same category includes the “<strong>The</strong>atrical Emergency”<br />
project, launched by the Committee for Culture<br />
and supported by the Unilever Concern, which has already<br />
taken off in other Russian and CIS cities.<br />
<strong>The</strong> changing environment calls for new, sought-after<br />
forms of social activity. Thus, the programme “Keep the<br />
Best at the Universities!” involves major IT companies<br />
providing assistance to the best academic staff at Russian<br />
universities, helping them to continue with their research<br />
and teaching within the universities themselves. <strong>The</strong> bene-<br />
factor companies, which are instrumental for meeting the<br />
challenge of modernizing the economy, were introduced<br />
by Vladimir Vasiliev, Head of the Council of Rectors of<br />
St. Petersburg Universities.<br />
St. Petersburg was the birthplace of the idea, later adopted<br />
by other Russian regions as well, to rebuild the art gallery<br />
in the city of Tskhinvali. This project was presented by Julietta<br />
Tskhovrebova, a visitor from South Ossetia where she<br />
is Director of the Arveron Gallery. St. Petersburg artists donated<br />
their works to the revived collection.<br />
As usual, a number of vulnerable children were invited to<br />
take part in the celebration. Some of them came from the<br />
SOS Children’s Village (town of Pushkin). <strong>The</strong> children’s<br />
clothing designer Lali Managadze presented her works<br />
with the help of young disabled models as part of the “Special<br />
Fashion” project.<br />
This year’s ceremony was dedicated to the 65th anniversary<br />
of the victory in the Second World War. In the war<br />
years, self-sacrifice was a mass phenomenon. <strong>The</strong> guests<br />
learnt about the donors in the besieged Leningrad and<br />
saw a unique colour film about the June 1945 Victory Parade<br />
in the Red Square in Moscow. <strong>The</strong> only surviving participant<br />
of this parade who lives in St. Petersburg, the retired<br />
colonel Mikhail Pavlov, was an honorary guest of the<br />
celebration.<br />
To mark the Day of Maecenas, an exhibition of rare books<br />
(15th – 20th centuries) on the history of the Italian Renaissance<br />
donated to the museum from M. Gukovsky’s Library<br />
was opened in the Foyer of the Hermitage <strong>The</strong>atre. A. Odinokov,<br />
a collector from Veliky Novgorod, donated to the<br />
Hermitage graphic works of the 16th – 20th centuries, as<br />
well as books and albums of the early 19th – 21st centuries;<br />
A. Zhukov, a St. Petersburger, donated a presentation edition<br />
of the book on the Feodorovsky Gosudarev (St. <strong>The</strong>odore<br />
Icon of the Virgin) Cathedral in Tsarskoye Selo, with<br />
a facsimile reproduction of the inscription “Happy Christ’s<br />
Holiday Nikolai Alexandra 25th December 1916”.<br />
“if we are Toge<strong>The</strong>r, we are all STrong!”<br />
a chariTy evenT aT <strong>The</strong> <strong>hermiTage</strong><br />
On 18 April 2010, the Hermitage held the traditional<br />
charity event for the Anima Development Centre. Every<br />
year, from 2004 onwards, the museum has thrown open its<br />
doors for 300 children, teenagers and young people with<br />
developmental problems, as well as their parents. Regular<br />
classes at the Hermitage School Centre and monthly excursions<br />
have been organized for them.<br />
This year, the parents and children taking part in the charity<br />
event were joined by children from the No 8 Vyborgsky<br />
and No 27 Kirovsky Children’s Homes and the Boarding<br />
School No 18 of the Nevsky District in St. Petersburg, and<br />
the Social Shelter from the city of Tver.<br />
<strong>The</strong> participants were offered a choice between the tours<br />
“Western European Silver of the 16th – 20th Centuries”,<br />
“<strong>The</strong> Impressionists”, “State Rooms of the Hermitage”.<br />
<strong>The</strong> concert of creative companies from the St. Petersburg<br />
Arts Lyceum was held at the Hermitage <strong>The</strong>atre.<br />
<strong>The</strong> <strong>hermiTage</strong> ga<strong>The</strong>rS iTS friendS.<br />
a feSTival for diSaBled children<br />
On 20 May 2010, the State Hermitage and the Umka Charitable<br />
Social Organization which provides help to disabled<br />
children staged a charity event called “<strong>The</strong> Hermitage<br />
Gathers Its Friends” for children of different ages as well<br />
as young people with health problems and disabilities.<br />
<strong>The</strong> programme was drawn up jointly with the museum’s<br />
School Centre. This event is always attended by children<br />
and adults from such institutions as the Hospice, the<br />
Ozerki Special School, the Solnechnoye Recuperation Resort,<br />
and the Krasnye Zori Boarding School. This time, the<br />
members of the Education Department have organized<br />
tours for them to introduce them to the new exhibitions<br />
on the art of the Ancient World and the Renaissance.<br />
General excursions were organized for groups from the<br />
League of Disabled People and the Child Psychiatry<br />
Healthcare Centre, who were participating in the event for<br />
the first time. It is important to note the interest and attention<br />
with which the children listened to and absorbed<br />
the excursions, their responsive and grateful attitude to the<br />
tour guides. <strong>The</strong> second part of the event was a concert in<br />
the Hermitage <strong>The</strong>atre. Ballet dancers of the Mariinsky<br />
<strong>The</strong>atre and graduates of the Vaganova Ballet Academy appeared<br />
in a remarkable performance combining classical<br />
and modern dances.<br />
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day of <strong>The</strong> march caT aT <strong>The</strong> <strong>hermiTage</strong><br />
On 27 March, the Hermitage held the traditional Day<br />
of the March Cat, a special project developed by the museum<br />
as a tribute to the cats that live there. <strong>The</strong> visitors could<br />
meet the feline heroes of the day in the Great Courtyard of<br />
the Winter Palace.<br />
<strong>The</strong> artists Dmitry Shagin and Sergei Bugayev-Africa staged<br />
a campaign “<strong>The</strong> Cat on the Ground, on Water and in Air”,<br />
inviting volunteers to draw a fantastic animal – a flying cat,<br />
a prancing cat or an aquatic cat. Visitors could play “cat<br />
and mouse” in the museum rooms: their task was to help<br />
a Hermitage cat to find its main prey, mice, in the works of<br />
art from the Hermitage collection.<br />
In the Hermitage attic, the exhibition “What can be Better<br />
than a Tomcat? Only… a She-Cat” included works by artists<br />
inspired by these graceful animals, including professional<br />
paintings, photographs by the students of the Creative<br />
Photography Studio run by the Hermitage Youth Centre,<br />
and works by the school pupils who took part in the competition<br />
“Cats in Myth and Legend”.<br />
On 2 August 2010, projects within the World Heritage &<br />
Youth Programme (WHY 2010) were presented at the<br />
Hermitage.<br />
<strong>The</strong> participants of the Hermitage Volunteer Service Programme,<br />
who included students from a dozen Russian cities,<br />
presented their projects focusing on the role of preserving<br />
the cultural heritage for the young people.<br />
<strong>The</strong> programme’s implementation became possible due<br />
to the cooperation of the State Hermitage with the Rosatom<br />
State Corporation. It was the second consecutive year that<br />
Ahead of the Day of the March Cat, the State Hermitage<br />
organized an art competition for the young pupils of arts<br />
schools and studios from St. Petersburg and Leningrad Region.<br />
In 2010, the children were invited to portray a cat as<br />
a mythological and legendary animal. <strong>The</strong> winners were<br />
announced on the Day of the March Cat at the Hermitage.<br />
<strong>The</strong> world heriTage and youTh culTural and educaTional programme<br />
“preServing our culTural heriTage Toge<strong>The</strong>r”:<br />
a compeTiTion for young reSTorerS aT <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong><br />
On 28 September 2010, the State Hermitage and Coca-Cola<br />
Export Corporation announced the launch of a new collaboration<br />
programme – a competition for young restorers<br />
at the State Hermitage entitled “Preserving Our Cultural<br />
Heritage Together”. <strong>The</strong> grant competition for professional<br />
placements at museums and restoration centres<br />
abroad is an educational programme, a way of obtaining<br />
additional professional experience abroad and sharing<br />
it with colleagues in the Russian regions. Each of the competition<br />
winners will be required to hold a master class<br />
in one of the cities of the North-West and to supervise restoration<br />
projects in the field of his/her master class.<br />
<strong>The</strong> panel judging the competition includes Mikhail<br />
Piotrovsky, Director of the State Hermitage (Chairman),<br />
his deputies Svetlana Adaksina, Georgy Vilinbakhov, and<br />
the best students from Rosatom’s closed administrativeterritorial<br />
formations, having passed through special competitive<br />
selection, visited the Hermitage and participated<br />
in the programmes of the museum’s Volunteer Service.<br />
For two weeks, young people were getting familiar<br />
with the museum, working in its various departments, taking<br />
part in archaeological excavations, meeting specialists<br />
in the field of the preservation of cultural heritage, and participating<br />
in discussions along with students of art and architectural<br />
higher educational institutions of St. Petersburg.<br />
Vladimir Matveyev; Tatiana Baranova, Head of the museum’s<br />
Department of Scientific Restoration and Conservation;<br />
Lubo Gruich, Director General for Russia’s Coca-Cola<br />
Export Corporation; Anna Kozlovskaya, Public Relations<br />
Director at Coca-Cola; Konstantin Chukchukov, Regional<br />
General Manager for Russia’s North-West Region at Coca-<br />
Cola HBC Eurasia.<br />
<strong>The</strong> winners of the competition were announced on 8 December<br />
2010, during the Hermitage Days. <strong>The</strong>y were the<br />
restorers T. Sabianina (Laboratory for Scientific Restoration<br />
of Graphic Works), T. Shlykova and O. Shuvalova<br />
(Laboratory for Scientific Restoration of Applied Art Objects,<br />
Ceramics Sector), and I. Malkiel (Laboratory for Scientific<br />
Restoration of Precious Metals). <strong>The</strong> second stage<br />
of application selection is planned for February 2011.<br />
dialogue of culTureS-2010:<br />
fifTh inTernaTional forum for young<br />
JournaliSTS from euraSia<br />
Between 15 and 17 November 2010, the Fifth International<br />
Forum for Young Journalists from Eurasia was held<br />
at the State Hermitage. Over 150 participants from Azerbaijan,<br />
Armenia, Belarus, Kazakhstan, Kyrgyzstan, Lithuania,<br />
Moldova, Russia, Tajikistan, as well as students of St. Petersburg<br />
and Moscow Universities, gathered in the Hermitage<br />
<strong>The</strong>atre to discuss the current issues of journalism<br />
and the future of mass media.<br />
<strong>The</strong> forum, organized by the State Hermitage and the Eurasia<br />
Media Centre, was opened by the museum’s Director<br />
Mikhail Piotrovsky and the Secretary General of the International<br />
Confederation of Journalist Unions Ashot<br />
Dzhazoyan.<br />
17 November was a day of TV shooting. Representatives<br />
of television channels had an opportunity to see the Restoration,<br />
Conservation and Storage Centre in Staraya Derevnya,<br />
as well as the permanent and temporary exhibitions<br />
of the museum, and shoot films covering the topics they<br />
selected.<br />
At the closing of the Forum, commemorative tokens “For<br />
Real Contribution to the Dialogue of Cultures” were pre-<br />
Seventh International Festival “Musical Hermitage”. Andrei Kondakov at the grand piano<br />
sented to the Advisor to the Director General of UNESCO<br />
Henrikas Juskevicus and the President of the Civilization<br />
Television Company Lev Nikolayev.<br />
SevenTh inTernaTional feSTival<br />
“muSical <strong>hermiTage</strong>”<br />
On 20–28 February 2010, the Seventh International Festival<br />
“Musical Hermitage”, organized by the State Hermitage<br />
and the Hermitage Academy of Music with support from<br />
the St. Petersburg Government Committee for Culture,<br />
was held at the Hermitage <strong>The</strong>atre, the Academic Capella,<br />
and the Small Hall of the Philharmonic Society.<br />
<strong>The</strong> concerts, different in genre, featured musicians from<br />
eight countries. <strong>The</strong> Festival was opened by the Finnish orchestra<br />
“Tapiola Sinfonietta” directed by the German conductor<br />
Oleg Snetkov. <strong>The</strong> “Jazz Ring” saw performances by<br />
the Moscow Art Trio (M. Alperin, S. Starostin, A. Shilkoper)<br />
and the St. Petersburg Modern Trio (A. Kondakov,<br />
V. Volkov, V. Gaivoronsky). <strong>The</strong> well-known French<br />
violinist Pierre Amoyal played to the accompaniment<br />
of the Camerata de Lausanne Orchestra. award winners<br />
of the famous Canal Festival, the Cordevento Trio from<br />
Amsterdam (Izhar Elias, Alessandro Pianu, Erik Bosgraaf),<br />
128 129
specIal DeVelopment proGrammes specIal DeVelopment proGrammes<br />
and the outstanding countertenor Michael Chance in cooperation<br />
with soloists of the Musica Petropolitana group<br />
(Dmitry Sokolov and Irina Shneyerova) performed in the<br />
early music concert programme.<br />
<strong>The</strong> Festival was concluded with a performance by Musica<br />
Nuda from Italy, one of the most popular jazz duets in<br />
Europe (Petra Magoni and Feruccho Spinetti), and a gala<br />
concert by the winners of the Spoleto Competition of Opera<br />
Singers accompanied by the State Hermitage Orchestra<br />
(conducted by Mats Liljefors).<br />
<strong>The</strong> concerts of the Festival were supported by the General<br />
Consulate of Norway in St. Petersburg, the General<br />
Consulate of the Netherlands in St. Petersburg, the Finnish<br />
Institute in St. Petersburg, the Italian Institute of Culture<br />
in St. Petersburg, the Swiss Centre in St. Petersburg<br />
and the Helvetia Hotel<br />
fourTh inTernaTional feSTival<br />
“dedicaTion To maeSTro”<br />
Between 12 and 20 March 2010, the State Hermitage and<br />
the Domus Producer Centre presented the Fourth International<br />
Festival “Dedication to Maestro” in the Hermitage<br />
<strong>The</strong>atre and the museum rooms. Six exclusive concerts<br />
featuring stars of classical music and jazz were held<br />
Fourth International Festival “Dedication to Maestro”<br />
in the museum exhibition rooms and on the stage of the<br />
Hermitage <strong>The</strong>atre.<br />
Traditionally, the Festival included concerts timed to coincide<br />
with memorial dates. <strong>The</strong> State Hermitage Orchestra<br />
(conducted by Vladimir Ziva, Honored Arts Worker<br />
of the Russian Federation) marked the 170th anniversary<br />
of Pyotr Tchaikovsky with its concert, while the recital<br />
by the Honoured Artist of Russia Vladimir Mischuk was<br />
dedicated to the 200th anniversary of Frederick Chopin.<br />
Classical music arranged for jazz and jazz improvisations<br />
inspired by the music of G.F. Handel were performed by<br />
the world-famous jazz pianist and composer Rolf Zielke<br />
(Germany), who played in St. Petersburg for the first time<br />
with his Handel Jazz band. <strong>The</strong> programme “Dedication<br />
to Jazz” featured famous jazz musicians Bugge Wesseltoft<br />
(Norway) and Lars Danielsson (Sweden). <strong>The</strong> “Dedication<br />
to the Hermitage” concert included music by Chopin, Sibelius,<br />
Schumann (State Hermitage Orchestra, conducted<br />
by Arkady Steinlucht, solo performance by Oleg Weinstein).<br />
<strong>The</strong> closing gala concert included a performance<br />
by Nikolai Petrov, USSR People’s Artist, and the Dagilelis<br />
Boys Choir (Lithuania) accompanied by the State Hermitage<br />
Orchestra conducted by Saulius Sondeckis, USSR People’s<br />
Artist and winner of state awards.<br />
For the seventh time, the Festival was organized with support<br />
from Promsvyazbank.<br />
TenTh inTernaTional feSTival<br />
“muSic of <strong>The</strong> greaT <strong>hermiTage</strong>”<br />
<strong>The</strong> International Festival “Music of the Great Hermitage”<br />
has celebrated its tenth anniversary this year. In June 2010,<br />
the monumental work Seven Gates of Jerusalem by the living<br />
classic, outstanding Polish composer Krzysztof Penderecki<br />
was performed in the Great Courtyard of the Winter<br />
Palace.<br />
Each year, the Festival invites the best musicians from all<br />
over the world to take part. Over the years, its concerts<br />
in the museum’s halls and courtyards have been graced<br />
by the performances by Krzysztof Penderecki and Valery<br />
Gergiev, Katia Ricciarelli, Lubov Kazarnovskaya, Yury Shevchuk,<br />
Dina Korzun, Sergei Bezrukov, Sergei Makovetsky.<br />
For five years, the jazz programmes of the Festival have<br />
been coordinated by the prominent pianist and composer<br />
Andrei Kondakov. <strong>The</strong> stars of world jazz who have performed<br />
here include Tim Garland, Bill Bruford, David<br />
Sanchez, and Igor Butman.<br />
<strong>The</strong> 10th anniversary Festival covered all the genres which<br />
have already become traditional – early music, classical<br />
music, jazz and world music. <strong>The</strong> distinctive feature of the<br />
10th Festival was that it started a whole series of cultural<br />
events leading up to the 250th anniversary of the Hermitage,<br />
which will be celebrated in 2014. It also marks 2010, the<br />
France – Russia Year, with a unique concert on the French<br />
Republic’s national holiday, Bastille Day.<br />
<strong>The</strong> Festival opened with a concert dedicated to the great<br />
Italian Renaissance painter Michelangelo Caravaggio,<br />
whose masterpiece <strong>The</strong> Lute Player resides in the Hermitage.<br />
In the Large Italian Skylight Hall, the Laus Consentus<br />
Trio from Italy (two lutenists and soprano) performed<br />
the music of Caravaggio’s day. Each part of the concert corresponded<br />
to a particular painting by the master. <strong>The</strong> concert<br />
is held with support of the Italian Institute of Culture<br />
in St. Petersburg.<br />
<strong>The</strong> classic guitar quartet Meridion from Sweden played<br />
Spanish music with an excursus into German baroque and<br />
modernity in the Small Spanish Skylight Hall, which houses<br />
the collection of Spanish paintings.<br />
<strong>The</strong> Courtyard of the New Hermitage, small and cosy, with<br />
its great natural acoustics, hosted the traditional Jazz Fusion<br />
Concert featuring Andrei Kondakov along with one<br />
of the brightest stars of world jazz, winner of five Grammy<br />
Awards, the brilliant trumpet player Randy Brecker (USA).<br />
<strong>The</strong> Festival’s closing ceremony was held on Bastille Day.<br />
<strong>The</strong> chosen venue was the Great Courtyard of the Winter<br />
Palace. Performances by the Licedei <strong>The</strong>atre Company<br />
and different dance groups, competitions, entertainments,<br />
and a fashion show set the stage for the performance by<br />
the most unusual French group Lo’Jo, who combine the<br />
French Chanson, African, Arab, Italian music, funk, jazz<br />
and dub with elements of street theatre and circus performances.<br />
<strong>The</strong> project was part of the 2010 France – Russia<br />
Year, brought to life under the patronage of the Russian<br />
Federation Ministry for Culture and the French Institute<br />
in St. Petersburg.<br />
<strong>The</strong> Tenth International Festival “Music of the Great Hermitage”<br />
was organized by the State Hermitage and the<br />
Hermitage Academy of Music with support from the St. Petersburg<br />
Government Committee for Culture.<br />
ninTh inTernaTional feSTival<br />
“grand walTZ”<br />
In July 2010, the State Hermitage, the Union of Museum<br />
Workers of St. Petersburg and Leningrad Region, and the<br />
Domus Producer Centre held the traditional Grand Waltz<br />
Festival.<br />
Eleven concerts (equal to the number of seasons Johann<br />
Strauss had spent in St. Petersburg) were organized in the<br />
Hermitage <strong>The</strong>atre, the St. George Hall in the Winter Palace,<br />
in Peterhof’s Grand Palace, the Catherine Palace in Tsarskoye<br />
Selo and, of course, in the Rose Pavilion in Pavlovsk.<br />
Prominent musicians took part in the Festival: soloists of<br />
the Viennese opera Herwig Pecoraro and Marcella Cerno,<br />
the Austrian conductor Peter Gut and the Russian conductors<br />
Vladimir Ziva, Alexander Kantorov, Alexei Karabanov<br />
and Dmitry Khokhlov; the pianists Peter Laul and Vladimir<br />
Mischuk; Russian People’s Artist, violinist and conductor<br />
Sergei Stadler, as well as the Klassika St. Petersburg State<br />
Symphonic Orchestra, the Admiralty Orchestra of the<br />
Leningrad Naval Base, and the Andreyev State Academic<br />
Russian Folk Orchestra.<br />
<strong>The</strong> Festival was opened with the concert entitled “Kings<br />
of the Waltzes”, which featured music by Strauss, Shostakovich,<br />
von Suppé, and Glinka.<br />
Waltzes by Strauss, Sibelius, Waldteufel, Glazunov, Tchaikovsky,<br />
Sviridov, Khachaturian, and Petrov were performed<br />
during the “Splendid Waltzes” soiree concert.<br />
“<strong>The</strong> Viennese Waltz” and “<strong>The</strong> Viennese Ball” events were<br />
dedicated to the music of Strauss, Lehar, Kalman. <strong>The</strong> piano<br />
soiree “Pictures at an Exhibition” included works by<br />
Mussorgsky, Prokofiev, and Ravel.<br />
An unusual “Evening of Russian Romances” featured songs<br />
by Glinka, Rubinstein, Tchaikovsky, Glazunov, Prokofiev,<br />
and the “Six Divertimenti Inspired by Russian Songs and<br />
Romances” by Henri Vieuxtemps were performed on the<br />
piano and violin.<br />
<strong>The</strong> concerts “Our Favourite Waltzes” and “Cinema and<br />
Waltzes” paid tribute to the music of theatre and cinema.<br />
<strong>The</strong> piano soiree “…Just Waltz” featured the music of Frederic<br />
Chopin.<br />
<strong>The</strong> Festival was closed with the “Grand Waltz” concert<br />
which included waltzes by Glinka, Tchaikovsky, Petrov, Gavrilin,<br />
Slonimsky, Sviridov, and the “Encore” by the Admiralty<br />
Orchestra of the Leningrad Naval Base.<br />
<strong>The</strong> Ninth International Grand Waltz Festival was organized<br />
with the help of JSC Bank of Moscow.<br />
130 131
Board of TruSTeeS of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
On 19 June 2010, the meeting of a new<br />
Board of Trustees was held at the<br />
State Hermitage Museum.<br />
Vladimir Potanin, President of the Interos<br />
Company, was re-elected Chairman<br />
of the Board of Trustees.<br />
<strong>The</strong> budget of the Hermitage was<br />
adopted at the meeting. Measures<br />
for preserving the museum’s autonomous<br />
status were discussed. One of<br />
the key topics of the meeting, the creation<br />
of the endowment, will become<br />
the main objective of the Board of<br />
Trustees. <strong>The</strong> plan of key events leading<br />
to the celebration of the 250th<br />
anniversary of the Hermitage was approved.<br />
<strong>The</strong> key tasks include:<br />
• completion of the restoration of<br />
the eastern wing of the General<br />
Staff building and the establishment<br />
of the Museum of the Nineteenth-<br />
and Twentieth-Century<br />
Art;<br />
• completion of the second stage<br />
and start of the third stage of construction<br />
at the Staraya Derevnya<br />
Restoration, Conservation and<br />
Storage Centre;<br />
• restoration of the Zapasnoi (Reserve)<br />
House and the Antiquity<br />
Rooms in the New Hermitage;<br />
• preparation for the establishment<br />
of the Museum of the Guard in<br />
Palace Square and the Museum<br />
of Russian State Symbols in the<br />
Stock Exchange building on the<br />
Spit of Vasilievsky Island;<br />
• completion of the electronic collection<br />
management system; and<br />
• creation of the printed and electronic<br />
Encyclopaedia of the State<br />
Hermitage.<br />
<strong>The</strong> following people are on <strong>The</strong> Board of TruSTeeS<br />
of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong>:<br />
Vladimir Potanin Chairman of the Board of Trustees<br />
Alexander Avdeyev Culture Minister of the Russian Federation<br />
Alexei Kudrin Finance Minister of the Russian Federation<br />
Mikhail Piotrovsky Director of the State Hermitage<br />
Leonid Blavatnik President of Access Industries<br />
Oleg Deripaska General Director of OJSC Basic Element<br />
German Gref President and Chairman of the Board<br />
of OJSC Sberbank of Russia<br />
Leonid Fridland President of Mercury<br />
Mikhail Shvydkoi Special Representative of the President<br />
of the Russian Federation for International Cultural<br />
Cooperation<br />
David Yakobashvili Chairman of the Board of Directors<br />
of Wimm Bill Dann<br />
Meeting of the Board of Trustees. Vladimir Potanin<br />
133
inTernaTional adviSory Board of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
SixTeenTh <strong>annual</strong> meeTing<br />
<strong>The</strong> Sixteenth Meeting of the State<br />
Hermitage Museum International<br />
Advisory Board was held in St. Petersburg<br />
on 27–28 August, 2010.<br />
Traditionally, the discussions deal with<br />
most pressing issues of the museum’s<br />
development. As always, themes for<br />
discussion were developed by the Director<br />
of the State Hermitage Museum<br />
Prof. Mikhail Piotrovsky. This year, the<br />
Board members were invited to take<br />
part in the round table “Contemporary<br />
Art in the Hermitage: Approach<br />
and Strategy” discussing the “Hermitage<br />
20/21” Project. <strong>The</strong> questions<br />
introduced for consideration by the<br />
International Advisory Board included<br />
exhibitions of contemporary art<br />
scheduled for 2011–2014, results of<br />
the latest contemporary art shows in<br />
the Hermitage, approach and ideas<br />
of the Advisory Committee on Contemporary<br />
Art, strategies of acquiring<br />
objects of “new art” for the museum,<br />
and work with private collectors.<br />
<strong>The</strong> Board members had a tour of<br />
the reconstruction site in the eastern<br />
wing of the General Staff building,<br />
and visited two museums of contemporary<br />
art that recently opened in<br />
St. Petersburg: the New Museum and<br />
the Erarta on Vasilievsky Island.<br />
Members of the Hermitage Advisory<br />
Committee on Contemporary Art, Sir<br />
Norman Rosenthal, former Director<br />
of the Exhibition Department of the<br />
Royal Academy of Arts, London; Tim<br />
Marlow, Director for Exhibitions,<br />
White Cube Gallery, London, and<br />
Geraldine Norman, Advisor for the<br />
“Hermitage 20/21” Project, London,<br />
were invited to take part in the working<br />
sessions of the Advisory Board.<br />
On 28 August the Members of the International<br />
Advisory Board visited the<br />
Gatchina State Museum Reserve.<br />
134<br />
currenT memBerS<br />
of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> inTernaTional adviSory Board:<br />
Irène Bizot Ancien Administrateur général, Réunion des Musées<br />
Nationaux, Paris<br />
Mounir Bouchenaki Director-General, ICCROM, Rome<br />
Michael Brand Director, J. Paul Getty Museum<br />
Gabriele Finaldi Director Adjunto de Conservación e Investigación<br />
Museo Nacional del Prado, Madrid<br />
Stuart Gibson Secretary to the International Advisory Board<br />
Former Director, Hermitage UNESCO Project<br />
Henri Loyrette Président directeur général, Louvre, Paris<br />
Neil MacGregor, Chairman Director, <strong>The</strong> British Museum, London<br />
Henk van Os Former Director, Rijksmuseum, Amsterdam<br />
Alfred Pacquement Directeur du musée national d’art moderne<br />
Centre Georges Pompidou, Paris<br />
Annamaria Petrioli Tofani Former Director, Uffizi, Florence<br />
Svetlana Philippova Secretary to the International Advisory Board<br />
Head, Hermitage Friends’ Office<br />
Mikhail Piotrovsky Director, <strong>The</strong> State Hermitage Museum,<br />
St. Petersburg<br />
REtiREd mEmbERs<br />
Reinhold Baumstark Director, Bayerische Staatsgemäldesammlungen,<br />
Munich<br />
J. Carter Brown Director Emeritus, <strong>The</strong> National Gallery of Art,<br />
Washington, DC<br />
Wim Crouwel Former Director, Museum Boymans van Beuningen,<br />
Amsterdam<br />
Wolf-Dieter Dube Former Director, Staatliche Museen zu Berlin<br />
Preussischer Kulturbesitz, Berlin<br />
Horst Gödicke Representative of the Director-General of UNESCO,<br />
Paris<br />
Alan Hancock Director, PROCEED, UNESCO, Paris<br />
Anne d’Harnoncourt Director, <strong>The</strong> Philadelphia Museum of Art,<br />
Philadelphia<br />
Michel Laclotte Directeur honoré du Musée du Louvre, Paris<br />
Ronald de Leeuw Director, Rijksmuseum, Amsterdam<br />
Edmund Pillsbury Former Director, Kimbell Museum, Fort Worth<br />
Françoise Rivière Assistant Director-General for Culture, UNESCO,<br />
Paris<br />
Paolo Viti Direttore Activita Culturale, Palazzo Grassi, Venice<br />
InternatIonal aDVIsory boarD of the state hermItaGe museum<br />
135
gueSTS of <strong>The</strong> <strong>hermiTage</strong><br />
Visit by Xi Jinping, Vice President of the People’s Republic of China.<br />
21 March 2009<br />
Visit by Alvaro Colom, President of Guatemala.<br />
23 March 2010<br />
Visit by Gjorge Ivanov, President of Macedonia.<br />
17 June 2010<br />
Visit to the Hermitage by Valentina Matviyenko and Sergei Shoigu.<br />
Valentina Matviyenko, Sergei Shoigu, Mikhail Piotrovsky. 27 February 2010<br />
Visit by Mary Patricia McAleese, President of the Republic of Ireland.<br />
10 September 2010<br />
Visit by Rosa Otunbayeva, President of Kyrgyzstan.<br />
18 November 2010<br />
Visit by Danilo Türk, President of Slovenia.<br />
18 November 2010<br />
Guests of the hermItaGe<br />
136 137
Guests of the hermItaGe Guests of the hermItaGe<br />
fifTh inTernaTional chariTaBle gala recepTion aT <strong>The</strong> winTer palace.<br />
“old maSTerS – picaSSo – TwenTy-firST-cenTury arT.<br />
<strong>The</strong> garden of conTemporary arT – feaST of <strong>The</strong> flowerS”<br />
On 25 June 2010, the State Hermitage held the Fifth International<br />
Charitable Gala Reception. <strong>The</strong> funds raised by<br />
the reception will be used for the restoration of the eastern<br />
wing of the General Staff building and the creation of the<br />
Museum of Nineteenth, Twentieth-, and Twenty-First-Century<br />
Art. <strong>The</strong> project will be completed to mark the 250th<br />
anniversary of the Hermitage in 2014.<br />
<strong>The</strong> co-chairs of the Honorary Committee of the International<br />
Charitable Gala Reception are: Valentina Matviyenko,<br />
Governor of St. Petersburg, Alexander Avdeyev,<br />
Russian Federation Minister for Culture, Alexei Kudrin,<br />
Russian Federation Finance Minister, Prince Dmitry Romanov,<br />
Vladimir Potanin, head of Interros Company, and<br />
Mikhail Piotrovsky, Director of the State Hermitage.<br />
During the reception, the guests of the museum visited<br />
the Garden of Contemporary Art in the Courtyard of the<br />
Old Hermitage and saw the works of modern artists: Silence<br />
by Petr Bely, winner of the 2009 Sergei Kurekhin Award,<br />
Valkyrie by Darya Fursei, Return by the prominent St. Petersburg<br />
sculptor Dmitry Kaminker, Head of Sobchak by Zurab<br />
Tsereteli, President of the Russian Academy of Arts, and<br />
works from the Birth Certificate series by Filipp Dontsov.<br />
<strong>The</strong> guests of the Hermitage then visited the specially<br />
opened exhibitions Picasso. From the Collection of the Picasso<br />
Museum – Paris, and “<strong>The</strong> Wind in the Pines…” 5,000 Years<br />
of Korean Art. Twenty-four works by Ilya and Emilia Kabakov<br />
were displayed in the Hermitage <strong>The</strong>atre foyer. <strong>The</strong>se<br />
serigraphy masterpieces form part of the collection gifted<br />
by the artists to the State Hermitage.<br />
CLASP by the widely acclaimed British monumental sculptor<br />
Antony Gormley, made just a month before the reception,<br />
was on display in the rooms of ancient art. <strong>The</strong> exhibition<br />
was sponsored by JT International together with the<br />
British Council and became an advance advert for a major<br />
exhibition of Gormley’s works due to open in 2011.<br />
<strong>The</strong> exhibition of one of the most prominent contemporary<br />
artists Anish Kapoor was planned to coincide with<br />
the gala reception. His work Stainless Steel can be seen<br />
in the Great Courtyard of the Winter Palace until the end<br />
of the summer. JT International and the British Council<br />
were instrumental in organizing the exhibition.<br />
<strong>The</strong> musical programme for the evening was highly original.<br />
It included the staging of the play Accents; a performance<br />
by Russia’s best break dance band Top-9, winner of many<br />
international awards; a specially prepared choreographic<br />
routine to the music of Mikhail Ivanov staged by Daniel Salimbayev,<br />
winner of international competitions; jazz recitals<br />
by Anton Rumiantsev (sax) and the brothers Andrei (double<br />
bass) and Mikhail (piano) Ivanov, Distinguished Artists<br />
of Russia, winners of European competitions and festivals.<br />
<strong>The</strong> pavilion chosen for the formal dinner “Feast of the<br />
Flowers” was decorated with watercolours by Alla Beliakova,<br />
one of Arthur Fonvisin and Robert Falk’s favourite<br />
students, and with floral compositions.<br />
138 139
Guests of the hermItaGe Guests of the hermItaGe<br />
140 141
<strong>hermiTage</strong> friendS organiZaTionS<br />
friendS’ evenTS. 2010<br />
11 February<br />
Joint programme of the State Hermitage<br />
Museum and the Philips Company following<br />
the signing of the Agreement of Cooperation<br />
for the year 2010. <strong>The</strong> Agreement outlines<br />
a project for the architectural illumination<br />
of the Alexander Column as well as renovations<br />
of the lighting system in the Jordan Gallery<br />
and one of the halls of the Winter Palace.<br />
<strong>The</strong> Agreement was signed by Prof. Mikhail<br />
Piotrovsky and Joost Leeflang, CEO of Philips<br />
in Russia.<br />
18 March<br />
<strong>The</strong> State Hermitage Museum and the Creative<br />
Association of Museum Employees of<br />
St. Petersburg and the Leningrad Region held<br />
a round table entitled Friends of the Museums<br />
Today – Aspects of Cooperation and Opportunities<br />
for Further Development. <strong>The</strong> meeting was attended<br />
by 24 representatives from 16 museums<br />
of St. Petersburg and the Leningrad Region.<br />
Following the discussion, the Hermitage<br />
Friends’ Club shared experience with museum<br />
colleagues and invited all participants of the<br />
round table to take part in the evening programme<br />
for the Hermitage Friends, Hermitage<br />
Mosaics.<br />
18 March<br />
Meeting entitled <strong>The</strong> Hermitage Mosaics offered<br />
the Friends thematic tours of the museum<br />
expositions guided by the curators of the Hermitage.<br />
All tours were unique programmes<br />
prepared specially for this event.<br />
31 May<br />
Final event of the season 2009/2010. <strong>The</strong> Hermitage<br />
Friends were the first visitors of the<br />
unique exhibition “<strong>The</strong> Wind in the Pines…”<br />
5,000 Years of Korean Art. Dr. Tatiana Arapova,<br />
curator of the exhibition, told guests about the<br />
unique objects from the collection of the National<br />
Museum of Korea which were displayed<br />
at the exhibition.<br />
25–29 June<br />
This year the traditional Gala Banquet in the<br />
Winter Palace was attended by 25 representatives<br />
of the Hermitage Museum Foundation<br />
(USA). A special programme, Monday at the<br />
Hermitage, was organized for them during<br />
their stay in St. Petersburg. <strong>The</strong> programme<br />
included a tour of the museum, visit to the<br />
storage of Russian porcelain and the Staraya<br />
Devervnya Restoration, Conservation and Storage<br />
Centre.<br />
Joint event of the State Hermitage and the Philips Company<br />
following the signing of the Agreement of Cooperation for the year 2010<br />
5 and 19 August<br />
Joint events of the State Hermitage Museum,<br />
the Consulate General of the Republic of<br />
Korea in St. Petersburg and the World Club<br />
of Petersburgers were held in the spirit of<br />
celebrating the 20th anniversary of the establishment<br />
of diplomatic relations between the<br />
Russian Federation and the Republic of Korea.<br />
On August 5 guests visited the exhibition<br />
“<strong>The</strong> Wind in the Pines…” 5,000 Years of Korean<br />
Art and attended a charity performance by an<br />
Opening of the new season in the Hermitage Friends’ Club.<br />
<strong>The</strong> dance performance True Style by the “Ed physical theatre”<br />
ensemble of musicians from the charity organization<br />
Krasota Dushi which benefits hospice<br />
children and orphans. On August 19 a visit to<br />
the exhibition and a reception in the Winter<br />
Palace of Peter the Great were held for the<br />
Russian and Korean business community.<br />
6 September<br />
Joint event of the State Hermitage Museum<br />
and the Hennessy Cognac House, a Corporate<br />
Member of the Hermitage Friends’ Club,<br />
Round table Friends of the Museum Today – Aspects of Cooperation<br />
and Opportunities for Further Development<br />
was devoted to the closing of the exhibition<br />
Picasso. From the Collection of the Picasso National<br />
Museum – Paris. It was organized for the Hermitage<br />
Friends and guests of the Hennessy<br />
Cognac House. <strong>The</strong> event included a reception<br />
in the Jordan Gallery and a visit to the<br />
exhibition.<br />
28 September<br />
Press-briefing dedicated to the launching<br />
of a joint grant internship programme with<br />
the Coca-Cola Company for conservators of<br />
the State Hermitage Museum. At the end<br />
of the press conference journalists visited the<br />
Laboratories for Scientific Restoration of Tempera,<br />
Easel Painting and Precious Metals in the<br />
Staraya Derevnya Restoration, Conservation<br />
and Storage Centre.<br />
6 October<br />
Opening of the new 2010/2011 season in<br />
the Hermitage Friends’ Club. <strong>The</strong> evening<br />
programme included the official opening<br />
of contemporary art festival <strong>The</strong> Hermitage<br />
Week of the Pompidou Centre in the Hermitage<br />
<strong>The</strong>atre. At the opening of the festival,<br />
the Friends were shown video installations<br />
by Pierrick Sorin, Vero Goyo and Jerome<br />
Lefdup, followed by the dance performance<br />
True Style by the “Ed physical theatre” in the<br />
Hermitage <strong>The</strong>atre.<br />
11 November<br />
Presentation of the results of the joint project<br />
Restoration of the “Adoration of the Magi” Triptych<br />
by the prominent fifteenth-century Dutch art-<br />
ist Hugo van der Goes was held by the State<br />
Hermitage Museum in cooperation with the<br />
National Reserve Bank. <strong>The</strong> Hermitage specialists<br />
made a presentation on the complicated<br />
conservation treatment of the painting.<br />
<strong>The</strong> evening programme also included a performance<br />
by soloists of the Mariinsky <strong>The</strong>atre<br />
accompanied by the State Hermitage Orchestra<br />
in the Hermitage <strong>The</strong>atre, followed by<br />
a reception in the Winter Palace of Peter the<br />
Great.<br />
hermItaGe frIenDs orGanIzatIons<br />
23 November<br />
Presentation of the results of conservation<br />
projects implemented in cooperation with<br />
Japan Tobacco International, a Corporate<br />
Member of the Hermitage Friends’ Club.<br />
<strong>The</strong> evening programme included a talk<br />
by the museum conservators about interesting<br />
and complicated conservation of the unique<br />
museum objects, as well as tours of the exhibition<br />
on the history of Russian culture of the<br />
first quarter of the 19th century. It was followed<br />
by a reception in the Winter Palace of<br />
Peter the Great.<br />
8 December<br />
International Hermitage Friends’ Day. Hermitage<br />
Friends from around the world are <strong>annual</strong>ly<br />
invited to the museum for this celebration.<br />
This year the evening began with a presentation<br />
of the new lighting system for the angel<br />
on the Alexander Column in Palace Square,<br />
which was developed by Philips Company. During<br />
the traditional evening walk through the<br />
museum Hermitage Friends were shown new<br />
exhibitions opened specially for the Hermitage<br />
Days. <strong>The</strong> collection shown at the exhibition<br />
Urartu Artifacts: New Acquisitions was given<br />
to the Hermitage by the collector Torkom<br />
Demirjian with support from the Hermitage<br />
Museum Foundation (USA).<br />
<strong>The</strong> traditional welcome of Prof. Mikhail Piotrovsky,<br />
ceremony of Honorary Diplomas bestowed<br />
on the Sponsors of the State Hermitage<br />
Museum, and a concert of the State Hermitage<br />
Orchestra took place at the Hermitage <strong>The</strong>atre.<br />
<strong>The</strong> evening programme ended with cocktails<br />
in the beautifully lit Jordan Gallery.<br />
Joint event of the Hermitage and the National Reserve Bank presenting the project<br />
<strong>The</strong> Restoration of the “Adoration of the Magi” by Hugo van der Goes<br />
142 143
hermItaGe frIenDs orGanIzatIons<br />
foundaTion <strong>hermiTage</strong> friendS in <strong>The</strong> ne<strong>The</strong>rlandS<br />
For the Dutch Friends, the year 2010 was again a very successful<br />
year. <strong>The</strong> number of members was again growing<br />
to a record of 5,500 at the end of the year. Also, the Catherine<br />
Circle and the Peter Circle proved to be successful and<br />
growing.<br />
All the Friends received three newsletters during the year.<br />
<strong>The</strong> Friends’ Newsletter contains information on the Hermitage<br />
• Amsterdam Centre, the current exhibition and<br />
of course the information about the State Hermitage Museum<br />
and the update on various projects sponsored by the<br />
Friends. Apart from that, there are special Friends-only offers<br />
for trips, theatre and ballet performances, and special<br />
lectures.<br />
A special day was organized for the Friends for the opening<br />
of the two exhibitions in the Hermitage • Amsterdam:<br />
on 5 March for the Matisse to Malevich exhibition, and on<br />
15 September for the Alexander the Great exhibition. Both<br />
days were visited by c. 1,500 guests. <strong>The</strong>y enjoyed the exhibition<br />
and listened to introductions given by the Hermitage<br />
• Amsterdam exhibition department.<br />
In 2010 the Dutch Friends supported various projects,<br />
both in Amsterdam and in St. Petersburg. For the Matisse<br />
to Malevich exhibition in Amsterdam, the Dutch Friends<br />
addreSS:<br />
Foundation Hermitage Friends<br />
in the Netherlands<br />
P.O. Box 11675,<br />
1001 GR amsterdam<br />
the Netherlands<br />
tel.: (31) 20 530 87 55<br />
Fax: (31) 20 530 87 58<br />
Email: vrienden@hermitage.nl<br />
www.hermitage.nl<br />
sponsored the production of the multimedia presentation<br />
on the collections and lives of Shchukin and Morozov.<br />
For the Alexander the Great exhibition, the Dutch Friends<br />
supported the project Morphing Alexander which included<br />
making a series of photos and a film by the Dutch photographer<br />
Erwin Olaf.<br />
In St. Petersburg, the restoration of the paintings of the<br />
Dutch masters from the Hermitage Museum collection<br />
continued and entered its final phase. <strong>The</strong> Dutch Friends<br />
also decided to sponsor the conservation of nineteen<br />
gilded frames for the Dutch paintings mentioned above,<br />
as well as the production of fifteen new authentic frames,<br />
also intended for the Dutch masterpieces.<br />
<strong>The</strong> Board meetings were held on 25 January, 31 March,<br />
15 June, 17 September, and 8 November. Several Board<br />
members: Michael Veltman, Kees ter Horst, Rina Rijkenberg<br />
and J. Meerdink took their leave from the Foundation’s<br />
Board of Directors after many years of service and<br />
countless hours of work for the Friends of the Hermitage.<br />
<strong>The</strong>y were praised for their work at a special dinner. Maya<br />
Mutlu who works in the department of communication<br />
of Hermitage • Amsterdam and coordinates the Friends<br />
activities was replaces by Martijn van der Velden.<br />
HERMITAGE MUSEUM FOUNDATION (USA), INc.<br />
<strong>The</strong> Hermitage Museum Foundation (USA), Inc. contributes<br />
to the preservation and promotion of the State<br />
Hermitage Museum, raises funds for restoration and conservation<br />
projects as well as for securing the donation of<br />
art and artifacts, and participates in various charity activities.<br />
<strong>The</strong> Foundation also hosts educational outreach programmes<br />
and supports exhibitions throughout the US,<br />
and organizes an <strong>annual</strong> White Nights Tour to the museum.<br />
In February, the HMF launched a series of lectures with<br />
a lecture by Prof. Cynthia Whittaker, Catherine the Great and<br />
the Art of Collecting – A Network of Spies.<br />
April produced two events in New York City: a reception<br />
and private viewing of a rare icon collection from the Museum<br />
of Russian Icons in Clinton, Massachusetts, and a private<br />
reception and screening of the documentary film,<br />
<strong>The</strong> Hermitage Dwellers by Aliona Van der Horst at Tuxedo<br />
Park, New York. <strong>The</strong> film was enthusiastically received by<br />
all and generated interest in the <strong>annual</strong> HMF-sponsored<br />
White Nights Tour to the Hermitage.<br />
In May, the HMF President and Faberge expert, Peter L.<br />
Schaffer made a presentation with a slide show entitled<br />
Will the Real Faberge Please Stand Up at Doubles, a private<br />
club in New York.<br />
In mid-June, the HMF hosted another reception and<br />
screening of <strong>The</strong> Hermitage Dwellers at the Russian Cultural<br />
Center in Washington, D.C.<br />
In late June, the HMF brought twenty guests from the US,<br />
Ireland and Sweden to the <strong>annual</strong> Hermitage Banquet Gala<br />
and White Nights Tour to St. Petersburg.<br />
In October, Dr. Rock Brynner made a presentation based<br />
on his book Empire & Odyssey: <strong>The</strong> Brynners in Far East Russia<br />
and Beyond about the four generations of the Brynner<br />
family in the Far East of Russia, ending with his father, actor<br />
Yul Brynner.<br />
In November, the HMF hosted several days of intense activities<br />
with a schedule that included over twenty-five exclusive<br />
receptions, gatherings, private meetings and viewings<br />
coinciding with Prof. Piotrovsky’s visit to New York. On November<br />
4, the “standing room only” concert featuring the<br />
Grammy-nominated violinist Anastasia Khitruk and a reception<br />
took place at the Consulate General of the Russian<br />
Federation. On November 6, the sellout HMF Awards<br />
Dinner at Christie’s, honoring the artists James Rosenquist<br />
and Vitaly Komar, was organized, in the presence of collectors,<br />
artists, dealers and friends. <strong>The</strong> HMF also recognized<br />
Torkom Demirjian’s gift of Urartu artifacts to the Hermitage<br />
Museum through the HMF in honor of Academician<br />
Boris Piotrovsky, whose book had inspired Mr. Demirjian’s<br />
career. <strong>The</strong> next day, Prof. and Mrs. Piotrovsky together<br />
with a group of the HMF Board members and friends travelled<br />
to the Storm King Art Center, an outdoor museum<br />
in Mountainville, NY. In addition to the many one-on-one<br />
meetings with museum directors, collectors and galleries,<br />
hermItaGe frIenDs orGanIzatIons<br />
visits included: the Three Faiths exhibition at the New York<br />
Public Library followed by a viewing of the Bakhmeteff<br />
Archive at Columbia University, the Treasures into Tractors<br />
symposium on the next day, as well as signing an agreement<br />
with the Houston Museum of Natural Science for<br />
a first-ever all-Hermitage exhibition of Treasures which will<br />
open in mid-May 2011.<br />
In December, the HMF held a holiday reception and viewing<br />
of Skazki and two private collections at the Ana Tzarev<br />
Gallery: Kim Balashak’s collection of Soviet era ornaments<br />
and Paul Rodzianko’s collection of Russian pre-revolutionary<br />
Christmas and New Year postcards.<br />
<strong>The</strong> HMF held its semi-<strong>annual</strong> Board meetings on May 3<br />
and on November 5 in New York City.<br />
<strong>The</strong> Friends of the HMF have been working on the two issues<br />
of the HMF Newsletter (released in January and<br />
September).<br />
<strong>The</strong> HMF finally completed the transfer to the Hermitage<br />
Museum of the collection of 105 metal and clay pottery<br />
Urartu artifacts, given to the State Hermitage Museum<br />
by Mr. Torkom Demirjian in honor of Academician Boris<br />
Piotrovsky. This collection was exhibited for the first time<br />
in December at the Hermitage.<br />
In 2010, the HMF also supported the following restoration<br />
projects: conservation of the statue of Resting Satyr,<br />
a Roman work of the 2nd century A.D. and Musician Monkeys,<br />
a rare nineteenth-century Swiss music box. Ongoing<br />
restoration projects funded by the HMF donors include<br />
the tapestry <strong>The</strong> Healing of the Paralytic from the Acts of the<br />
Apostles series based on Raphael’s cartoons; Titian’s Flight<br />
into Egypt; antique bronzes from the collection of the Marquis<br />
Campana; and Engraved Geographical Maps of the Petrine<br />
Era.<br />
144 145<br />
addreSS:<br />
Hermitage museum Foundation (UsA)<br />
505 Park avenue, 20th Floor<br />
New york, Ny 10022<br />
Usa<br />
tel.: (1 212) 826 3074<br />
Fax: (1 212) 888 4018<br />
www.hermitagemuseumfoundation.org
hermItaGe frIenDs orGanIzatIons hermItaGe frIenDs orGanIzatIons<br />
<strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> foundaTion of canada inc.<br />
and <strong>The</strong> canadian friendS of <strong>The</strong> <strong>hermiTage</strong><br />
<strong>The</strong> highlight of 2010 has certainly been the success of<br />
the Canada–Hermitage Young Artists programme organized<br />
by Dr. Sophia Kudriavtseva, Head of the Youth Education<br />
Centre of the State Hermitage Museum, and Robert<br />
Kaszanits, President of the Foundation. Judging from the<br />
letters of appreciation and the photographs, it was an unqualified<br />
success. Ten third- and fourth-year art students<br />
were selected through competitions held among three of<br />
Canada’s leading university art schools. <strong>The</strong> competitions<br />
were under the supervision of the deans of their schools.<br />
<strong>The</strong> participating schools in 2010 were: York University<br />
(Toronto), Concordia University (Montreal) and the Ontario<br />
College of Art and Design (Toronto). <strong>The</strong> students attended<br />
“Art Semester at the Hermitage” organized by the<br />
Hermitage Youth Education Centre. <strong>The</strong> itinerary concentrated<br />
on skills development. Classes were held in St. Petersburg<br />
on August 9 to 22, 2010. Most popular were visits<br />
to artists’ studios. <strong>The</strong> Canadian Friends enjoyed sponsoring<br />
one of the students and following her experience.<br />
<strong>The</strong> State Hermitage Museum Foundation of Canada participated<br />
in the publication of the English edition of Masterpieces<br />
of European Jewellery from the 16th to 19th Centuries<br />
in the Hermitage Collection album. In the future, the Founda-<br />
addreSS:<br />
the state Hermitage museum Foundation<br />
of Canada inc.<br />
900 Greenbank Road, suite 616<br />
Ottawa, ON K2J 4P6<br />
Canada<br />
tel.: 1 (613) 489 0794<br />
Fax: 1 (613) 489 0835<br />
www.hermitagemuseum.ca<br />
tion plans to participate in the production of more collection-based<br />
publications that help bring the Hermitage’s<br />
academic excellence to the world.<br />
In October 2010 Robert Kaszanits brought the Canadian<br />
Friends of the Hermitage from the Volunteer Association<br />
of the Montreal Museum of Fine Arts to St. Petersburg<br />
to participate in the “Monday in the Hermitage” programme.<br />
<strong>The</strong> tour was led by Dr. Hilliard Goldfarb, Associate<br />
Chief Curator of the Montreal Museum, and Yvonne<br />
Zacios, Head of the Volunteer Association. Robin Young,<br />
Executive Director of the Canadian Friends, worked during<br />
the summer months arranging details of the October<br />
tour.<br />
Toronto Chapter’s Fall 2010 lecture programme was rich<br />
in history. <strong>The</strong>y first organized a lecture with Dr. Corey<br />
Keeble on the Palaces of St. Petersburg – War and Peace on October<br />
6. On October 27, Rick Phillips presented An Evening<br />
with Rachmaninoff and Dr. Keeble joined the chapter again<br />
to cover the Russo-Japanese War of 1904–1905 on November<br />
17. Ottawa Chapter’s Fall 2010 lecture programme included<br />
screening of <strong>The</strong> Hermitage Dwellers, a film featuring<br />
some people who work for the museum, directed by Aliona<br />
Van der Horst.<br />
addreSS:<br />
Canadian Friends of the Hermitage<br />
1500 Bank street, suite 302<br />
Ottawa, ON K1H 1B8<br />
Canada<br />
tel.: 1 (613) 236 1116<br />
toll Free: 1 (866) 380 6945<br />
Fax: 1 (613) 236 6570<br />
Email: friends@hermitagemuseum.ca<br />
www.hermitagemuseum.ca<br />
<strong>hermiTage</strong> foundaTion (uK)<br />
With the help of the London Friends, the two British<br />
sculptors, Anish Kapoor and Antony Gormley, were shown<br />
at the Hermitage from June to September 2010. Anish Kapoor’s<br />
Sky Mirror was a sensational presence in the Great<br />
Courtyard of the Winter Palace, reflecting the building as<br />
well as the sky. Antony Gormley’s Clasp, a single figure built<br />
from plates of rusted iron, stood in the Dionysus Hall surrounded<br />
by Classical marbles to arresting affect.<br />
<strong>The</strong> London Friends started the year with a banquet<br />
at Sotheby’s raising money for the “Hermitage 20/21”<br />
Project. Ilya and Emilia Kabakov were invited to participate<br />
as the guests of honour. A series of plates were auctioned<br />
at the dinner – very generously decorated by the<br />
Kabakovs, Jake and Dinos Chapman, Antony Gormley,<br />
Zaha Hadid, Bruce McLean and Keith Tyson. <strong>The</strong> guests<br />
of the evening enjoyed wonderful music performed<br />
by Vladimir Spivakov.<br />
In April the London Friends had a book launch for Gem<br />
Engraving in Britain from Antiquity to the Present by Julia Kagan<br />
in the Hermitage Rooms. Unfortunately, Mrs. Kagan<br />
herself could not be there, but she was watching the video<br />
from the occasion within hours after the event.<br />
Thierry Morel joined the organization as Managing Director<br />
in June 2010 when the London Friends had a stand<br />
at Art & Antiques London, an art fair in Kensington Gardens.<br />
<strong>The</strong> Friends showed a group of twentieth-century<br />
Russian photographs on display stands, kindly lent by Zel-<br />
da Cheatle and the Tosca Fund, and sold catalogues of the<br />
Hermitage collections with great success. Several new London<br />
Friends were recruited.<br />
<strong>The</strong> summer banquet in St. Petersburg included some<br />
100 guests from all over the world invited by the London<br />
Friends. <strong>The</strong> British Consul, William Elliott, gave a special<br />
party for them the day before in the lovely garden of the<br />
Consulate overlooked by the Smolny Cathedral.<br />
A very diverse range of specialists from different departments<br />
of the Hermitage came to London under the Visiting<br />
Curators scheme. <strong>The</strong> program of the year 2010<br />
started with Sergei Plotnikov, keeper of military drawings,<br />
for whom visits to Windsor Castle and the Imperial War<br />
Museum were arranged; then Yelena Krylova came to study<br />
stained glass and asked especially to see the sixteenth-century<br />
window in the village of Hingham in Norfolk. Marina<br />
Guruleva was in search of experience with the restoration<br />
of encaustic painting and was particularly helped by the<br />
Hamilton Kerr Institute in Cambridge, and finally Alexander<br />
Butyagin and Nadezhda Novoselova, studying Greek<br />
settlements on the Black Sea, were introduced to the Institute<br />
of Classical Studies and the Ashmolean Museum<br />
in Oxford.<br />
In December the London Friends of the Hermitage<br />
changed its name to the Hermitage Foundation UK<br />
to give a wider range of possible services to the Hermitage<br />
Museum.<br />
146 147<br />
addreSS:<br />
Hermitage Foundation (UK)<br />
the Hermitage Rooms, somerset House<br />
strand<br />
London WC2R 0RN<br />
UK<br />
tel.: 020 7845 4635<br />
Fax: 020 7845 4637<br />
Email: info@hermitagefriends.org<br />
www.hermitagefriends.org
financial <strong>STaTe</strong>menTS of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
<strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> expendiTureS By SourceS of income<br />
(in thousands of roubles)<br />
Payroll 221,230,5 425,161,0 421,899,1 3,261,9 646,391,5<br />
Payroll social security 52,704,6 82,393,8 81,536,6 857,2 135,098,4<br />
total payroll 273,935,1 507,554,8 503,435,7 4,119,1 781,489,9<br />
Purchase of materials 46,349,8 2,471,1 1,732,9 738,2 48,820,9<br />
Building services 59,000,0 4,722,2 472,2 4,250,0 63,722,2<br />
transportation and communications 9,970,2 4,895,4 3,390,9 1,504,5 14,865,6<br />
Repair of equipmant 42,286,9 317,2 317,2 0,0 42,604,1<br />
Repair of buildings 53,585,7 0,0 0,0 0,0 53,585,7<br />
Police brigades* 17,342,7 53,7 0,0 53,7 17,396,4<br />
acquisition of art works 75,467,1 28,0 0,0 28,0 75,495,1<br />
Other current expenses 98,899,2 62,264,4 52,175,7 10,088,7 161,163,6<br />
total current expenses 402,901,6 74,752,0 58,088,9 16,663,1 477,653,6<br />
(excluding payroll)<br />
total current expenDItures 676,836,7 582,306,8 561,524,6 20,782,2 1,259,143,5<br />
Capital building activities 680,000,0 0,0 0,0 0,0 680,000,0<br />
Capital repair 341,802,8 0,0 0,0 0,0 341,802,8<br />
Equipment purchases 169,589,9 2,812,2 136,2 2,676,0 172,402,1<br />
total capItal expenDItures 1,191,392,7 2,812,2 136,2 2,676,0 1,194,204,9<br />
total expenDItures<br />
of the hermItaGe 1,868,229,4 585,119,0 561,660,8 23,458,2 2,453,348,4<br />
which amounts to UsD thousand<br />
(at 30.37 roubles per dollar exchange rate)<br />
61,515,6 19,266,3 18,493,9 772,4 80,782,0<br />
* From 2007 expenses for fire brigade<br />
are totally payed by the RF Ministry<br />
of Emergency situations.<br />
Revenue<br />
from the Federal<br />
Budget<br />
total<br />
Other Revenue<br />
Business<br />
undertakings<br />
Including<br />
Donations and<br />
other revenue<br />
total<br />
expenditure<br />
income in 2010<br />
(in thousands of roubles)<br />
1. receipts from the federal budget<br />
(including proceeds from renting out property and<br />
equipment belonging to the Hermitage – 12,284,4 )<br />
1,873,261,2 75.28%<br />
other receipts<br />
including:<br />
615,090,4 24.72%<br />
2. Proceeds from exhibitions 524,116,0 21.06%<br />
3. Recompense for participation in exhibitions 27,561,0 1.11%<br />
4. Donations and other revenue 27,784,0 1.12%<br />
5. Grants<br />
6. Earnings from cultural, educational<br />
780,0 0.03%<br />
and theatrical programmes<br />
7. Fees for reproducing pictures<br />
20,173,2 0.81%<br />
from the Hermitage collection<br />
8. Earnings from selling catalogues<br />
6,750,4 0.27%<br />
and souvenirs 6,915,3 0.28%<br />
9. Other income 1,010,5 0.04%<br />
total receipts<br />
which amounts to UsD thousand<br />
2,488,351,6 100%<br />
(at 30.37 roubles per dollar exchange rate) 81,934,5<br />
expendiTureS in 2010<br />
(in thousands of roubles)<br />
1. payroll 781,489,9 32%<br />
2. Purchase of equipment and materials<br />
3. Building services, transportation<br />
221,223,0 9%<br />
and communication 78,587,8 3%<br />
4. Building and equipment repairs 96,189,8 4%<br />
5. Expenses for police brigades 17,396,4 1%<br />
6. acquisition of art works 75,495,1 3%<br />
7. Other current expenses 161,163,6 6%<br />
8. Capital repair and construction<br />
total expenditures:<br />
1,021,802,8 42%<br />
current and capital expenses<br />
which amounts to UsD thousand<br />
2,453,348,4 100%<br />
(at 30.37 roubles per dollar exchange rate) 80,782,0<br />
fInancIal statements of the state hermItaGe museum<br />
2 3 4 5 6 7 8<br />
8 2 3 4 5 6 7<br />
148 149<br />
9<br />
1<br />
1
principal paTronS and SponSorS of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> in 2010<br />
Ms. Jayne Wrightsman (USA)<br />
Mr. Vladimir Potanin (Russia)<br />
Mr. George Sosnovsky (USA)<br />
Mr. Leonard Blavatnik (UK)<br />
Mr. Yevgeni Satanovsky (Russia)<br />
Vladimir V. Potanin Charitable Foundation (Moscow)<br />
Smolensk Diamonds Group<br />
Coca-Cola Export Corporation (Moscow)<br />
Korean Air Lines Co., Ltd.<br />
Delzell Foundation (USA)<br />
INTARSIA GROUP (St. Petersburg)<br />
CJSC “JTI Marketing & Sales” (Moscow)<br />
Nobel Biocare Russia (Moscow)<br />
Philips Company in Russia (Moscow)<br />
Aksel Motors Co. (St. Petersburg)<br />
BMW (Germany)<br />
Social-Cultural Foundation “Hennessy” (Moscow)<br />
“Heineken Breweries” LLC (St. Petersburg)<br />
<strong>The</strong> Bank of Moscow<br />
Art-Color Ltd. (St. Petersburg)<br />
Beta-Kom (St. Petersburg)<br />
“Ilim Group” (St. Petersburg)<br />
“Atomenergomash” OJSC (Moscow)<br />
Open Joint Stock Company Promsvyazbank (St. Petersburg)<br />
Novotel St. Petersburg Centre Hotel<br />
CafeMax St. Petersburg CSJC (St. Petersburg)<br />
Bronze Horseman Ltd. (St. Petersburg)<br />
<strong>The</strong> International Festival “Diaghilev. P.S.” (St. Petersburg)<br />
E-shop OZON.ru (Moscow)<br />
National Reserve Bank (Moscow)<br />
LLC “Samsung Electronics Rus Company” (Moscow)<br />
Renaissance Construction Ltd. (St. Petersburg)<br />
Vitrinen-und Glasbau REIER (Germany)<br />
“Museum Technologies” Ltd.<br />
<strong>The</strong> PRO ARTE Foundation (St. Petersburg)<br />
Parquet-Hall Ltd. (Moscow)<br />
<strong>The</strong> Imperial Porcelain Factory (St. Petersburg)<br />
Grand Hotel Europe in St. Petersburg<br />
Slavia Publishing House (St. Petersburg)<br />
“Pro Animale für Tiere in Not e.V.” (Germany)<br />
Prettycat Group Ltd. (St. Petersburg)<br />
“SOLVO” Ltd. Co. (St. Petersburg)<br />
“NISSA CENTRE” (St. Petersburg)<br />
ARDOS Co. (Moscow)<br />
Hlebny Dom/Fazer, Russia (St. Petersburg)<br />
“Petroflora” (St. Petersburg)<br />
DELIA, Ltd. (St. Petersburg)<br />
GLENDO-RUS Co. (St. Petersburg)<br />
<strong>The</strong> Company “Ivanko” (St. Petersburg)<br />
<strong>The</strong> Veterinary Clinics Network “ELVET” (St. Petersburg)<br />
“Argus-Spectrum” Joint Stock Company (St. Petersburg)<br />
<strong>The</strong> KHEPRI, Ltd. (St. Petersburg)<br />
St. Petersburg Mint<br />
<strong>The</strong> Likeon – Museum Concepts and Projects Ltd.<br />
(St. Petersburg)<br />
Arctur Travel Ltd. (St. Petersburg)<br />
Travel Company MIR (St. Petersburg)<br />
“Rusinco” Ltd. (St. Petersburg)<br />
“VODOHOD” (Moscow)<br />
“Astra Marine” Ltd. (St. Petersburg)<br />
<strong>The</strong> Netherlands Institute in St. Petersburg<br />
Consulate General of India (St. Petersburg)<br />
iNFoRmAtioN spoNsoRs oF tHE stAtE HERmitAgE<br />
mUsEUm<br />
News Outdoor Russia (St. Petersburg)<br />
Joint Stock Company “Pulkovo Airport” (St. Petersburg)<br />
Joint Stock Company “Aero-Advertising” (St. Petersburg)<br />
PLADIS (St. Petersburg)<br />
APIRK (St. Petersburg)<br />
Sign City (St. Petersburg)<br />
“GK Sfera” Co.Ltd. (St. Petersburg)<br />
“Ministry of Design” (St. Petersburg)<br />
“Russian Jeweller” Ltd. (St. Petersburg)<br />
Metropress Ltd. (St. Petersburg)<br />
SeveroWest Media Ltd. (St. Petersburg)<br />
Radio Hermitage (St. Petersburg)<br />
“Yellow Pages” Ltd. (St. Petersburg)<br />
Paulig Ltd. (Moscow)<br />
oFFiCiAl sUppliER oF iNFoRmAtioN sERviCEs<br />
to tHE stAtE HERmitAgE mUsEUm<br />
NIKOLAEV e: Consulting (St. Petersburg)<br />
oFFiCiAl CoURiER oF tHE stAtE HERmitAgE mUsEUm<br />
“Westpost” Ltd. (St. Petersburg)<br />
oFFiCiAl lEgAl AdvisoR oF tHE stAtE HERmitAgE<br />
mUsEUm<br />
Baker & McKenzie – CIS, Limited (St. Petersburg)<br />
oFFiCiAl AdvisoR oF tHE stAtE HERmitAgE mUsEUm<br />
BDO Unicon Management (Moscow)<br />
oFFiCiAl pARtNER oF tHE stAtE HERmitAgE mUsEUm<br />
Renaissance St. Petersburg Baltic Hotel (St. Petersburg)<br />
oFFiCiAl pARtNER oF tHE stAtE HERmitAgE mUsEUm<br />
Courtyard Marriott Vasilievsky Hotel (St. Petersburg)<br />
oFFiCiAl CAtERER oF tHE stAtE HERmitAgE mUsEUm<br />
Potel & Chabot Company (St. Petersburg)<br />
prIncIpal patrons anD sponsors of the state hermItaGe museum In 2010<br />
HERmitAgE FRiENds oRgANizAtioNs AbRoAd<br />
Foundation Hermitage Friends in the Netherlands<br />
Hermitage museum Foundation (UsA)<br />
Acquavella Galleries<br />
A La Vieille Russie<br />
150 151<br />
Christie’s<br />
Eli Broad Foundation<br />
Ian Hague<br />
Michelle Kelner<br />
Leon Levy Foundation<br />
Marble Hill Cellars<br />
Mr. & Mrs. Paul Rodzianko<br />
Roederer Estate<br />
Peter L. Schaffer<br />
the state Hermitage museum Foundation of Canada, inc.<br />
Canadian Friends of the Hermitage<br />
Robert & Elizabeth Kaszanits<br />
<strong>The</strong> Joseph Frieberg Family Foundation<br />
Friends of the Hermitage (UK)<br />
Lauren Bon<br />
Maxim Artsinovich<br />
Alexander Machkevitch<br />
Phillips de Pury<br />
Paula Cussi<br />
Mariam Eisler<br />
British Council
<strong>hermiTage</strong> friendS’ cluB<br />
<strong>The</strong> State Hermitage Museum is inviting<br />
you to participate in its special international<br />
programme – <strong>The</strong> Hermitage Friends’ Club.<br />
<strong>The</strong> State Hermitage Museum was the first<br />
museum in Russia to organize a Friends’ society<br />
back in November 1996. Since that time,<br />
to be a Friend of the Hermitage has become<br />
a good tradition. Many international and Russian<br />
companies, charitable organizations, foundations<br />
and individuals have already become<br />
Members of the Hermitage Friends’ Club.<br />
We invite you and/or your company to join<br />
the international Hermitage Friends’ Club and thus<br />
contribute to the preservation of the priceless<br />
treasures which form the Hermitage’s legacy,<br />
guaranteeing that they are available to future<br />
generations.<br />
<strong>The</strong> main developmenT programmeS<br />
of <strong>The</strong> <strong>hermiTage</strong> are:<br />
Restoration and renovation of the museum buildings,<br />
halls and premises;<br />
Restoration of exhibits;<br />
Improvement of visitor services;<br />
Academic research and education programmes;<br />
Purchase of new exhibits.<br />
<strong>The</strong> donation may be made in the form of money or<br />
goods, services, materials, or special discounts for “in-kind”<br />
donations.<br />
Different levels of Individual and Corporate Membership<br />
are offered depending on the sum of your donation for<br />
one of the development programmes.<br />
<strong>The</strong> State Hermitage Museum gratefully receives donations<br />
from its supporters, and grants special privileges to<br />
the Hermitage Friends.<br />
All Hermitage Friends receive Personal Membership Cards<br />
of the Hermitage Friends’ Club.<br />
Personal Membership Card entitles its holder (according<br />
to the Membership Level chosen) to participate in the special<br />
programme of visiting temporary exhibitions of the<br />
State Hermitage Museum as well as the permanent displays<br />
and the Hermitage branches and centres in Russia<br />
and abroad (St. Petersburg, Vyborg, Kazan, Amsterdam).<br />
<strong>The</strong> holders of the Personal Membership Cards receive<br />
invitations to participate in special events arranged exclusively<br />
for the Hermitage Friends’ Club Members.<br />
<strong>The</strong> Internet café offers a 30% discount to the Hermitage<br />
Friends;<br />
Shops and kiosks offer a 20% discount to the Hermitage<br />
Friends;<br />
<strong>The</strong> museum Internet shop (www.shop.<br />
hermitagemuseum.org) offers a 10% discount to the<br />
Hermitage Friends;<br />
Members of the Hermitage Friends’ Club are welcome<br />
to enter the Hermitage Museum from the Komendantsky<br />
Entrance of the Winter Palace, where they can use<br />
the cloakroom and have a rest in the Friends Room.<br />
Some of the privileges granted by the Hermitage to<br />
Corporate Members of the international Hermitage<br />
Friends’ Club in proportion to the level of their charitable<br />
contribution:<br />
<strong>The</strong> Corporate Members are added to the “List of<br />
Sponsors and Patrons of the State Hermitage Museum”,<br />
which is published in the Hermitage’s Annual Report<br />
and on the official website of the State Hermitage<br />
Museum (www.hermitagemuseum.org).<br />
An Honorary Diploma is awarded to the Corporate<br />
Member to certify its support in the development<br />
of the Hermitage.<br />
For organizations making especially significant contributions,<br />
the Director of the Hermitage grants additional benefits.<br />
all memBerShipS are renewaBle <strong>annual</strong>ly.<br />
for fur<strong>The</strong>r informaTion<br />
on <strong>The</strong> <strong>hermiTage</strong> friendS’ cluB,<br />
pleaSe, conTacT:<br />
friendS’ office<br />
Komendantsky Entrance to the Winter Palace<br />
(from Palace Square)<br />
Tel.: (007 812) 710 90 05<br />
Fax: (007 812) 571 95 28<br />
Email: friendsclub@hermitage.ru<br />
poSTal addreSS:<br />
<strong>The</strong> State Hermitage Museum<br />
34 Dvortsovaya Emb.<br />
190000 St. Petersburg<br />
Russia<br />
hermItaGe frIenDs’ club<br />
152 153
staff members of the state hermItaGe museum staff members of the state hermItaGe museum<br />
STaff memBerS of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
direcToraTe of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
M. Piotrovsky Director, Corresponding Member<br />
of the Russian Academy of Sciences,<br />
Full Member of the Russian Academy of Arts,<br />
Professor of St. Petersburg State University,<br />
Doctor of Sciences (History)<br />
G. Vilinbakhov Deputy Director for Research,<br />
Chairman of the Heraldic Council<br />
at the President of the Russian Federation,<br />
Professor of the Stieglitz St. Petersburg<br />
State Academy of Art and Industry,<br />
Doctor of Sciences (History)<br />
S. Adaksina Deputy Director, Chief Curator<br />
M. Antipova Deputy Director for Finance and Planning<br />
A. Bogdanov Deputy Director for Maintenance,<br />
Senior Lecturer of St. Petersburg<br />
University of State Fire Service,<br />
Kandidat of Technical Sciences<br />
V. Matveyev Deputy Director for Exhibitions and Development,<br />
Kandidat of Sciences (History of Arts)<br />
M. Novikov Deputy Director for Construction<br />
office of <strong>The</strong> direcToraTe<br />
M. Dandamayeva Academic Secretary,<br />
Kandidat of Sciences (History)<br />
M. Khaltunen Secretary to the Director,<br />
Kandidat of Sciences (Culturology)<br />
V. Kovalenko Secretary to the Deputy Director<br />
for Research<br />
Ye. Gandzha Secretary to the Deputy Director<br />
and Chief Curator<br />
M. Matiyash Secretary to the Deputy Director<br />
for Finance and Planning<br />
O. Korolkova Secretary to the Deputy Director<br />
for Maintenance<br />
Yu. Marchenko Secretary to the Deputy Director<br />
for Exhibitions and Development<br />
D. Oreshnikova Secretary to the Deputy Director<br />
for Construction<br />
V. Bredikhin Manager of the Entrance Zone<br />
direcTor’S adviSerS<br />
Yu. Kantor Adviser for Special Projects and PR,<br />
Doctor of Sciences (History)<br />
A. Galkin Adviser for Security<br />
Ye. Sirakanian Adviser for Special Programmes, Charity Projects<br />
and Sponsorship<br />
claSSical anTiQuiTy<br />
deparTmenT<br />
A. Trofimova<br />
Head of the Department, Kandidat<br />
of Sciences (History of Arts)<br />
Ye. Arsentyeva<br />
Deputy Head of the Department<br />
L. Nekrasova,<br />
Chief Curator<br />
M. Akhmadeyeva<br />
Academic Secretary<br />
A. Butiagin<br />
Head of the Northern<br />
Black Sea Area Sector<br />
Ye. Khodza<br />
Head of the Ancient Greece<br />
and Ancient Rome Sector, Kandidat<br />
of Sciences (History of Arts)<br />
archaeology of eaSTern<br />
europe and SiBeria<br />
deparTmenT<br />
A. Alexeyev<br />
Head of the Department,<br />
Doctor of Sciences (History)<br />
Yu. Piotrovsky<br />
Deputy Head of the Department<br />
A. Mazurkevich<br />
Chief Curator<br />
A. Furasyev<br />
Academic Secretary,<br />
Kandidat of Sciences (History)<br />
Ye. Korolkova<br />
Head of the Sector of the South<br />
of Eurasia, Kandidat of Sciences<br />
(History of Arts)<br />
R. Minasian<br />
Head of the Sector of the Forest<br />
and Forest-Steppe Zone<br />
of Eastern Europe, Kandidat<br />
of Sciences (History)<br />
orienTal deparTmenT<br />
N. Kozlova<br />
Head of the Department<br />
M. Gavrilova<br />
Chief Curator<br />
D. Vasilyeva<br />
Academic Secretary<br />
A. Pritula<br />
Head of the Near East and Byzantium<br />
Sector, Kandidat of Sciences<br />
(Philology)<br />
A. Bolshakov<br />
Head of the Ancient East Sector,<br />
Doctor of Sciences (History)<br />
O. Deshpande<br />
Head of the Far East Sector,<br />
Kandidat of Sciences (History)<br />
weSTern european<br />
fine arTS deparTmenT<br />
S. Androsov<br />
Head of the Department,<br />
Doctor of Sciences (History of Arts),<br />
Foreign Member of Ateneo Veneto<br />
(Venetian Academy of Sciences),<br />
Full Member of the Academy<br />
of Arts in Carrara<br />
M. Dedinkin<br />
Deputy Head of the Department<br />
M. Garlova<br />
Chief Curator<br />
A. Vilenskaya<br />
Academic Secretary<br />
R. Grigoryev<br />
Head of the Engraving Sector,<br />
Kandidat of Sciences<br />
(History of Arts)<br />
I. Grigoryeva<br />
Head of the Drawing Sector<br />
B. Asvarishch<br />
Head of the Sector<br />
of the 19th – 20th Century Painting<br />
and Sculpture, Kandidat of Sciences<br />
(History of Arts)<br />
N. Gritsay<br />
Head of the Sector<br />
of the 13th – 18th Century Painting,<br />
Kandidat of Sciences<br />
(History of Arts)<br />
weSTern european<br />
applied arTS deparTmenT<br />
T. Rappe<br />
Head of the Department, Kandidat<br />
of Sciences (History of Arts)<br />
O. Kostyuk<br />
Deputy Head of the Department,<br />
Kandidat of Sciences<br />
(History of Arts)<br />
Ye. Abramova<br />
Chief Curator<br />
S. Kokareva<br />
Academic Secretary<br />
T. Kosourova<br />
Head of the Applied Arts Sector,<br />
Kandidat of Sciences<br />
(History of Arts)<br />
M. Lopato<br />
Head of the Sector of Precious<br />
Metals and Stones, Doctor<br />
of Sciences (History of Arts)<br />
hiSTory of ruSSian<br />
culTure deparTmenT<br />
V. Fedorov<br />
Head of the Department<br />
N. Guseva<br />
Deputy Head of the Department,<br />
Kandidat of Sciences<br />
(History of Arts)<br />
I. Zakharova<br />
Chief Curator, Kandidat of Sciences<br />
(History)<br />
Yu. Sharovskaya<br />
Academic Secretary<br />
I. Ukhanova<br />
Head of the Sector of Decorative<br />
and Applied Arts, Leading<br />
Researcher, Doctor of Sciences<br />
(History), Corresponding Member<br />
of the Russian Academy<br />
of Natural Sciences<br />
G. Miroliubova<br />
Head of the Sector of Visual Arts,<br />
Kandidat of Sciences (History of Arts)<br />
S. Nilov<br />
Head of the Winter Palace<br />
of Peter I Sector<br />
numiSmaTic deparTmenT<br />
V. Kalinin<br />
Head of the Department<br />
Ye. Lepiokhina<br />
Deputy Head of the Department<br />
O. Stepanova<br />
Chief Curator<br />
K. Kravtsov<br />
Academic Secretary, Head of the<br />
Sector of Ancient Coins and Coins<br />
from Asia and Africa<br />
L. Dobrovolskaya<br />
Head of the Sector<br />
of Numismatic Monuments<br />
from Europe and America,<br />
Kandidat of Sciences (History)<br />
arSenal<br />
D. Liubin<br />
Head of the Department, Kandidat<br />
of Sciences (History of Arts)<br />
Yu. Yefimov<br />
Head of the Arms and Armoury<br />
Sector<br />
S. Plotnikov<br />
Head of the Military Heraldry Sector<br />
menShiKov palace<br />
V. Meshcheriakov<br />
Head of the Department<br />
A. Dutov<br />
Deputy Head of the Department<br />
Ye. Ignatyeva<br />
Chief Curator<br />
I. Saverkina<br />
Head of the Exhibition Sector,<br />
Academic Secretary,<br />
Kandidat of Sciences (History)<br />
G. Rodionova<br />
Head of the Education Sector<br />
general STaff<br />
A. Dydykin<br />
Head of the Department<br />
imperial porcelain<br />
facTory <strong>muSeum</strong><br />
A. Ivanova<br />
Head of the Department<br />
T. Kumzerova<br />
Chief Curator<br />
T. Petrova<br />
Academic Secretary<br />
hiSTory and reSToraTion<br />
of archiTecTural<br />
monumenTS deparTmenT<br />
V. Lukin<br />
Head of the Department,<br />
Chief Architect of the Hermitage,<br />
Kandidat of Architecture<br />
V. Yefimov<br />
Head of the Sector of Scientific<br />
Restoration<br />
S. Stepanov<br />
Head of the Sector of Scientific<br />
Restoration and Conservation<br />
archiTecTure<br />
and archaeology SecTor<br />
O. Ioannisian<br />
Head of the Sector<br />
D. Yolshin<br />
Academic Secretary<br />
modern arT SecTor<br />
D. Ozerkov<br />
Head of the Sector<br />
reSearch liBrary<br />
Ye. Makarova<br />
Head of the Library<br />
O. Zimina<br />
Deputy Head of the Library<br />
N. Martynenko<br />
Deputy Head of the Library<br />
I. Gogulina<br />
Head of the Funds Sector<br />
R. Klimchenkova<br />
Head of the Catalogue Sector<br />
A. Markushina<br />
Head of the International Exchange<br />
Sector<br />
A. Samsonova<br />
Head of the Service Sector<br />
T. Tarayeva<br />
Head of the Completion<br />
and Inventory Sector<br />
R. Shavrina<br />
Head of the Bibliography Sector<br />
G. Yastrebinskaya<br />
Head of the Library Branches Sector<br />
manuScripTS and<br />
documenTS deparTmenT<br />
Ye. Yakovleva<br />
Head of the Department<br />
Ye. Solomakha<br />
Deputy Head of the Department<br />
educaTion deparTmenT<br />
L. Yershova<br />
Head of the Department<br />
N. Vasilevskaya<br />
Head of the Hospitality Sector<br />
M. Kozlovskaya<br />
Head of the Methodic Sector<br />
S. Kudriavtseva<br />
Head of the Youth Centre<br />
and Student Club,<br />
Kandidat of Sciences<br />
(History of Arts)<br />
O. Kuznetsova<br />
Head of the Service Sector<br />
L. Torshina<br />
Head of the Sector<br />
for Special Programmes<br />
School cenTre<br />
I. Dubanova<br />
Head of the Centre<br />
B. Kravchunas<br />
Head of the Art Studio, Kandidat<br />
of Sciences (History of Arts)<br />
N. Krollau<br />
Head of the Methodic Sector<br />
exhiBiTion deSign<br />
deparTmenT<br />
B. Kuzyakin<br />
Head of the Department<br />
V. Koroliov<br />
Head of the Sector of Temporary<br />
Exhibitions<br />
puBliShing deparTmenT<br />
Ye. Zviagintseva<br />
Head of the Department<br />
N. Petrova<br />
Deputy Head of the Department<br />
I. Dalekaya<br />
Head of the Pre-printing Preparation<br />
Sector<br />
Ye. Nasyrova<br />
Head of the Sale Sector<br />
V. Pankov<br />
Head of the Printing Sector<br />
A. Rodina<br />
Head of the Editors Sector<br />
V. Terebenin<br />
Head of the Photography Sector<br />
elecTronic ediTionS<br />
preparaTion SecTor<br />
I. Melnikova<br />
Head of the Sector<br />
regiSTrar deparTmenT<br />
N. Grishanova<br />
Head of the Department<br />
A. Aponasenko<br />
Deputy Head of the Department<br />
O. Shcherbakova<br />
Head of the Sector of Control for<br />
the Preservation of Museum Items<br />
Ya. Ivanova<br />
Head of the Sector<br />
of the Registration of Temporary<br />
Accepting and Leasing<br />
of Museum Exhibits<br />
Yu. Yefimova<br />
Head of the Sector<br />
of the Registration of Museum<br />
Exhibits of Precious Metals<br />
and Stones<br />
N. Ternovaya<br />
Head of the Sector of the Forming<br />
of Data Base on the Hermitage<br />
Collections<br />
deparTmenT<br />
of <strong>The</strong> organiZaTion<br />
of regiSTer and STorage<br />
of <strong>The</strong> STaraya derevnya<br />
cenTre<br />
T. Zagrebina<br />
Head of the Department<br />
Yu. Gromova<br />
Deputy Head of the Department<br />
154 155
staff members of the state hermItaGe museum staff members of the state hermItaGe museum<br />
SecTor of new acQuiSiTionS<br />
V. Faibisovich<br />
Head of the Sector,<br />
Kandidat of Sciences (Culturology)<br />
SecTor of exhiBiTion<br />
documenTaTion<br />
O. Ilmenkova<br />
Head of the Sector<br />
TreaSure gallery<br />
Ye. Kashina<br />
Head of the Department<br />
ScienTific reSToraTion<br />
and conServaTion<br />
deparTmenT<br />
T. Baranova<br />
Head of the Department<br />
Ye. Chekhova<br />
Deputy Head of the Department<br />
laboRaToRY foR scienTific<br />
ResToRaTion of easel<br />
painTing<br />
V. Korobov<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of TempeRa<br />
painTing<br />
I. Permiakov<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of muRal<br />
painTing<br />
A. Bliakher<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of oRienTal<br />
painTing<br />
Ye. Shishkova<br />
Head of the Laboratory,<br />
Kandidat of Sciences<br />
(History of Arts)<br />
laboRaToRY foR scienTific<br />
ResToRaTion of gRaphic<br />
woRKs<br />
T. Sabianina<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of sculpTuRe<br />
and colouRed sTones<br />
S. Petrova<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of applied<br />
aRT objecTs<br />
A. Bantikov<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of objecTs<br />
made of oRganic maTeRials<br />
Ye. Mankova<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of TeXTiles<br />
M. Denisova<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of pRecious<br />
meTals<br />
I. Malkiel<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of Timepieces<br />
and musical mechanisms<br />
M. Guryev<br />
Head of the Laboratory<br />
laboRaToRY foR scienTific<br />
ResToRaTion of fuRniTuRe<br />
V. Gradov<br />
Head of the Laboratory<br />
laboRaToRY foR<br />
scienTific ResToRaTion<br />
of chandelieRs<br />
P. Khrebtukov<br />
Head of the Laboratory<br />
experT examinaTion<br />
deparTmenT<br />
A. Kosolapov<br />
Head of the Department,<br />
Kandidat of Technical Sciences<br />
laboRaToRY foR scienTific<br />
and Technical eXaminaTion<br />
A. Kosolapov<br />
Head of the Laboratory,<br />
Kandidat of Technical Sciences<br />
laboRaToRY foR phisical<br />
and chemical meThods<br />
of eXaminaTion<br />
of maTeRials<br />
L. Gavrilenko<br />
Head of the Laboratory<br />
laBoraTory<br />
for Biological conTrol<br />
L. Slavoshevskaya<br />
Head of the Laboratory,<br />
Kandidat of Sciences (Biology)<br />
laBoraTory<br />
for climaTe conTrol<br />
T. Bolshakova<br />
Head of the Laboratory<br />
perSonnel deparTmenT<br />
V. Khrushch<br />
Head of the Department<br />
Ye. Odintsova<br />
Head of the Personnel and Social<br />
Payments Sector<br />
O. Chertova<br />
Head of the Sector of Employment<br />
Relationship<br />
office worK deparTmenT<br />
O. Yushina<br />
Head of the Department<br />
N. Diumina<br />
Head of the Typing Sector<br />
Ye. Solovyova<br />
Head of the Office Work Sector<br />
legal deparTmenT<br />
M. Tsyguleva<br />
Head of the Department<br />
<strong>The</strong>aTre and educaTion<br />
deparTmenT<br />
N. Orlova<br />
Head of the Department<br />
S. Mitskevich<br />
Deputy Head of the Department<br />
ouTer communicaTionS<br />
deparTmenT<br />
N. Kolomiyets<br />
Head of the Department<br />
hoSpiTaliTy Service<br />
N. Silantyeva<br />
Head of the Department<br />
O. Ratnitsyna<br />
Head of the Sector<br />
of the Administrators<br />
of Entrance and Recreation Zones<br />
N. Trofimova<br />
Head of the Dataware Sector<br />
SecTor of TouriSm<br />
and Special programmeS<br />
O. Arkhipova<br />
Head of the Sector, Kandidat<br />
of Sciences (History of Arts)<br />
preSS Service<br />
L. Korabelnikova<br />
Head of the Service<br />
Special evenTS SecTor<br />
A. Soldatenko<br />
Head of the Sector<br />
marKeTing and adverTiSing<br />
SecTor<br />
A. Lisitsyna<br />
Head of the Sector<br />
SecTor of proJecT finance<br />
Ye. Fedorov<br />
Head of the Sector<br />
friendS<br />
of <strong>The</strong> <strong>hermiTage</strong> SecTor<br />
S. Philippova<br />
Head of the Sector<br />
SecTor of Sociological<br />
reSearch<br />
V. Selivanov<br />
Head of the Sector,<br />
Doctor of Sciences (Philosophy)<br />
righTS and reproducTion<br />
SecTor<br />
A. Mikliayeva<br />
Head of the Sector<br />
STaraya derevnya<br />
cenTre for reSToraTion,<br />
conServaTion and STorage<br />
V. Dobrovolsky<br />
Head of the Centre<br />
A. Terentyeva<br />
Deputy Head of the Centre<br />
planning and BudgeT<br />
deparTmenT<br />
V. Chudinova<br />
Head of the Department<br />
N. Grigoryeva<br />
Deputy Head of the Department<br />
O. Zhukova<br />
Head of the Sector of Summing<br />
Planning and Economic<br />
Analysis<br />
A. Makarova<br />
Head of the Sector<br />
of Payment for Services<br />
N. Krestina<br />
Head of the Sector<br />
of Financial Operations<br />
BooK-Keeping<br />
Ye. Mironova<br />
Chief Book-Keeper<br />
I. Belova<br />
Deputy Chief Book-Keeper<br />
V. Polskaya<br />
Head of the Ticket Offices Sector<br />
<strong>STaTe</strong> purchaSeS<br />
deparTmenT<br />
N. Dubinina<br />
Head of the Department<br />
Social developmenT<br />
deparTmenT<br />
T. Voronova<br />
Head of the Department<br />
Technical deparTmenT<br />
A. Plotnikova<br />
Head of the Department<br />
mainTenance of <strong>The</strong> general<br />
STaff Building<br />
N. Yakubenko<br />
Head of the Department<br />
T. Romanovskaya<br />
Deputy Head of the Department<br />
mainTenance<br />
of menShiKov palace<br />
I. Prokofyeva<br />
Head of the Department<br />
chief mechanic deparTmenT<br />
R. Baburin<br />
Chief Mechanic<br />
chief power engineer<br />
deparTmenT<br />
V. Smirnov<br />
Chief Power Engineer<br />
O. Targonsky<br />
Deputy Chief Power Engineer<br />
Ye. Vizner<br />
Deputy Chief Power Engineer<br />
capiTal conSTrucTion<br />
deparTmenT<br />
V. Shin<br />
Head of the Department<br />
reSToraTion and repairS<br />
deparTmenT<br />
M. Brezinsky<br />
Head of the Department<br />
A. Moskaleva<br />
Deputy Head of the Department<br />
elecTronic TechniQue,<br />
alarm SySTemS and<br />
communicaTion deparTmenT<br />
P. German<br />
Head of the Department<br />
N. Khobotov<br />
Deputy Head of the Department<br />
N. Velli<br />
Head of the Sector of Communication<br />
and Computers<br />
N. Koniukhova<br />
Head of the Sector of Alarm<br />
Systems<br />
M. Vlasenko<br />
Head of the Sector of Video Control<br />
mainTenance deparTmenT<br />
of <strong>The</strong> STaraya derevnya<br />
cenTre<br />
S. Gusev<br />
Head of the Department<br />
B. Pozhemetsky<br />
Deputy Head of the Department<br />
compuTer SecTor<br />
A. Grigoryev<br />
Head of the Sector<br />
deparTmenT of<br />
<strong>The</strong> Supplying of Technical<br />
eQuipmenT for BuildingS<br />
and exhiBiTionS<br />
O. Bogdanova<br />
Head of the Department<br />
Ye. Riabova<br />
Deputy Head of the Department<br />
<strong>muSeum</strong> SecuriTy Service<br />
A. Khozhainov<br />
Head of the Department<br />
O. Boyev<br />
Deputy Head of the Department<br />
T. Danilova<br />
Deputy Head of the Department<br />
operaTion deparTmenT<br />
of <strong>The</strong> SecuriTy Service<br />
S. Taranov<br />
Head of the Department<br />
K. Mikliayev<br />
Head of the First Response Sector<br />
M. Melnik<br />
Head of the Sector of Supervisors<br />
L. Anisimova<br />
Head of the Mandate Sector<br />
secuRiTY seRvice<br />
(impeRial poRcelain<br />
facToRY museum)<br />
A. Gavrilets<br />
Head of the Sector<br />
secuRiTY seRvice<br />
(sTaRaYa deRevnYa cenTRe)<br />
N. Zakharov<br />
Head of the Department<br />
secuRiTY seRvice<br />
(geneRal sTaff building)<br />
N. Kisilyov<br />
Head of the Department<br />
secuRiTY seRvice<br />
(menshiKov palace)<br />
V. Kozlov<br />
Head of the Department<br />
fiRsT depaRTmenT foR<br />
secuRiTY of <strong>The</strong> museum<br />
compleX (fiRsT museum<br />
secuRiTY depaRTmenT)<br />
V. Zababurin<br />
Head of the Department<br />
A. Inozemtsev<br />
Deputy Head of the Department<br />
second depaRTmenT foR<br />
secuRiTY of <strong>The</strong> museum<br />
compleX (second museum<br />
secuRiTY depaRTmenT)<br />
V. Arkhipov<br />
Head of the Department<br />
S. Trofimov<br />
Deputy Head of the Department<br />
ThiRd depaRTmenT foR<br />
secuRiTY of <strong>The</strong> museum<br />
compleX (ThiRd museum<br />
secuRiTY depaRTmenT)<br />
O. Chebotar<br />
Head of the Department<br />
N. Burmak<br />
Deputy Head of the Department<br />
fouRTh depaRTmenT foR<br />
secuRiTY of <strong>The</strong> museum<br />
compleX (fouRTh museum<br />
secuRiTY depaRTmenT)<br />
V. Katkov<br />
Head of the Department<br />
I. Garin<br />
Deputy Head of the Department<br />
gallery moniTorS<br />
deparTmenT<br />
I. Belousikova<br />
Head of the Department<br />
Ya. Kostochkin<br />
Deputy Head of the Department<br />
TranSporT deparTmenT<br />
G. Salnikov<br />
Head of the Department<br />
A. Zavadsky<br />
Head of the Garage<br />
A. Laptev<br />
Head of the Sector<br />
civil defence<br />
and emergency SecTor<br />
A. Maksimychev<br />
Head of the Civil Defence Staff<br />
156 157
email addreSSeS of <strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong><br />
direcToraTe<br />
secretary to the Director<br />
haltunen@hermitage.ru<br />
secretary to the Deputy Director<br />
for research<br />
vilinbahov@hermitage.ru<br />
secretary to the Deputy Director,<br />
chief curator<br />
kat@hermitage.ru<br />
alexei bogdanov,<br />
Deputy Director for maintenance,<br />
chief engineer<br />
bogdanov@hermitage.ru<br />
mariam Dandamayeva,<br />
academic secretary<br />
scientia@hermitage.ru<br />
<strong>muSeum</strong> deparTmenTS<br />
hospitality sector<br />
visitorservices@hermitage.ru<br />
press service<br />
press@hermitage.ru<br />
rights and reproduction sector<br />
A. Mikliayeva, Head of the Sector<br />
mikliaeva@hermitage.ru<br />
Development Department<br />
development@hermitage.ru<br />
education Department<br />
L. Yershova, Head of the Department<br />
ershova@hermitage.ru<br />
school centre<br />
school_c@hermitage.ru<br />
system administrator<br />
lanadmin@hermitage.ru<br />
Web-master of the state hermitage museum<br />
webmaster@hermitage.ru<br />
electronic editions preparation sector<br />
I. Melnikova, Head of the Sector<br />
melnikova@hermitage.ru<br />
computer sector<br />
A. Grigoryev, Head of the Sector<br />
grigo@hermitage.ru<br />
159
REFERENCE EDITION<br />
<strong>The</strong> <strong>STaTe</strong> <strong>hermiTage</strong> <strong>muSeum</strong> <strong>annual</strong> <strong>reporT</strong>. 2010<br />
Photographs by:<br />
N. Antonova, P. Demidov, L. Heifetz, A. Koksharov,<br />
Yu. Molodkovetz, S. Pokrovsky, I. Regentova, K. Sinyavsky, K. Shapovalov,<br />
S. Suyetova, S. Taranov, A. Terebenin, V. Terebenin, L. Volkov, L. Volkova<br />
translated from the Russian by:<br />
M. Artamonova, A. Davydova, T. Dodonova, D. Hicks,<br />
Yu. Kleiner, N. Magnes, R. Smirnov<br />
English text edited by Yu. Redkina<br />
Designed by I. Dalekaya<br />
Computer layout by N. Sokolova<br />
Подписано в печать 01.08.2011<br />
Усл. печ. л. 18,5. Тираж 800 экз. Заказ 39<br />
Издательство Государственного Эрмитажа.<br />
190000, Санкт-Петербург, Дворцовая наб., 34<br />
Отпечатано в типографии ГК «Афина».<br />
153000, г. Иваново, ул. Смирнова, 10