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now look, a special reportage of the collected works is celebrating the 110th anniversary of the pushkin museum of fine arts in moscow. what exhibition will it mark the honorable date with? what are the goals and plans of the creative team will tell alisa romanov

about 70 works from the collection of mikhail morozov's bathtub gauguin returned to the pushkin museum after the exhibition in paris this tour began in 2019, a collection of frosts from three museums was first shown in the hermitage in june , on the occasion of the 110th anniversary of the pushkin museum, a collection of brothers in

moscow, we hear sounds with you, by the way. it 's knocking on the museum on the second floor. this is preparations for the exhibition of morozov, there is a huge construction site. we are building the entire second floor. and just like the shchukin exhibition, she will take place on the second floor of the museum and the museum will be completely transformed. those who remember the shchukin exhibition, they walked through the halls, did not quite recognize them either will be an exhibition of morozov, it will be a completely different image and therefore the sounds of a saw and various construction tools. they are now heard in our building. and they make me happy rather than sad. for 70 years now, the collections of schukin morozov have been living apart, part in the pushkin state museum, the other in the hermitage, for the first time in such a composition, the work will be exhibited in moscow, the native city of the collectors. we are dealing with a great

collection of a great russian collector. and shchukin and morozov - how is it? it seems to me that exemplary collectors of all times and peoples in the xx century it's hard to find collectors, uh, who manage to collect. uh, so revealing so bright so flawless, uh, collections of the latest art, of course, these and other paintings will appear in the museum much later than 912. well, how its creator ivan sanctified and how this century coexist more, academic approach and novelty about

the opening of the museum of fine arts i alexander iii , as it was then called according to the old style on may 31, 912 , all the newspapers of the empire wrote the idea of ​​​​creating an educational museum slepkov soared, for a long time , but only ivan tsvetaev managed to bring it to the end . the collection has been going on for more than 20 years. and the building was under construction for 14 years and the first casts at the university appeared in the middle of the 19th century. tsvetaev - he just continued to develop it, but he took it in a slightly different way. he was able to raise money. it was his talent as a professor at moscow university. tsvetaeva is a philologist. the classic who studied antiquity in this note of 1898 scientifically substantiated. how important it would be to teach students the history of art through sculpture, architecture and painting, urged patrons to donate for construction, but tretyakov morozov, the prince of shcherbatov and the largest

donation, donated. uh, made by alexieva. rather, according to her will, a well-known representative of a well-known merchant family. she bequeathed 150,000 rubles. on the basis of the museum, with the only condition that the main sponsor of the project, industrialist and philanthropist yuri nechaev maltsov, should be named after emperor alexander iii , his handwritten letter to grand duke sergei alexandrovich was preserved in it. he coordinated the details of the interior decoration of the building luxury staircase. the main hall has 24 columns, standing on the sides of the stairs and the vestibule put in a marble monolithic column - these are solid pieces of marble, not tiled. this is a huge one. here are the marble monoliths and is, in addition, a significant obstacle, requiring about 8 months of time to write down the official list about the service of professor tsvetaev. how often he went on business trips to buy and order casts and

became the first director of the museum, and towards the end of his track record, he was repeatedly indicated. as times here listed repeatedly business trips abroad for acquisition. monuments of fine arts in brussels, achin, cologne bonny, mainz and berlin, this is one of his last trips in view of the upcoming opening in moscow in the spring of 1912 of the museum of fine arts named after emperor alexander iii for the first time they would agree on one thing, that the museum, consisting of stucco not must have educational. uh, the educational values ​​of the casts spoils into space. here the student should learn. so this is for students teachers, respectively, do not need such a scale. i need such a building before the opening of the museum to replenish the collection of the dictologist. golenishchev , he will gradually enrich himself with other originals, and

the broken ivan tsvetaeva will only be confirmed. he created a museum for everyone with a democratic attitude towards the visitor, to whom anyone. well, any level. uh, the museum was calculated. it could be designed for a scientist or other student, but also for anyone who just wants to get into it and find out. issued by a member of our family to visit the museum we are inscribed, as museum staff so that at any time you can come to visit a new exhibition. family and descendants of ivan tsvetaeva, a frequent visitor to museums, his mother, great-granddaughter of the founder, his great-grandmother anastasia ivanovna, a writer and younger sister. marina tsvetaeva depicts our great-grandmother anastasia ivanovna tsvetaeva daughter. she

vladimirovich is her son andrey borisovich trukhachev. uh, mom olga andreevna trukhacheva, and my brother and i lost andrey and grisha this is a picture of the eighty- ninth year in the museum, then they arrived at on the occasion of anastasia ivanovna's 95th birthday, andrei is still a teenager, as now his son denis has already been five generations. for whom pushkin's part of growing up and family memory, my mother climbed the stairs and upstairs with my grandmother, and on the last step. grandmother stumbles and on her knees drives right up to the bas-relief of her father, and she says she gets up and tells olya to her mother. i never intended to kneel before my father, but apparently the lord decided so. this was the most famous such story. in our family. marina tsvetaeva called the museum their anastasia is a giant younger brother. the father was so engrossed in his creation that he infected everyone,

including the victim. this passion for him to buy himself a new suit. it was a disaster to spend money on a new suit. that is, they saw how he can count every penny, therefore, probably because of this, they trusted him. as a teenager , andrei adored the egyptian hall. my brother and i went together to launch. and this childish impression, when you go alone into the hall of egypt, there are these ancient mummies, there are, which are like this sarcophagus, and there is an open sarcophagus, there are mummies, of course, goosebumps were much more scary than walking. that's when it made a huge impression. yes, complete silence of people, no one and mummies lie. the bandages here open the mask, you can see the ear, the real body is the present moment, yes, that is the text of the

movie the mummy of the dead, when they revived the mummies, remember? what make up the glory of the museum is the result of many years of research together with the kurchatov institute, never before in russia have they researched and investigated the life and death of the ancient egyptians. here on the basis of such a video was created, where we see the virtual unfolding of the mummy. yes, like what's inside, that is, what has always interested scientists in general, but we do not damage. this is the most important thing, yes, that is, it is not an invasive method of research. the contents of the sarcophagi were studied by physicists, genetic chemists, forensic doctors and anthropologists, and museum staff told the story. here the sarcophagi are in a frightening order. well, this design move is very interesting and it reminds us. about the meaning of

egyptian immortality. it's a rebellion it's such a vertical position, when a person gets up, as they imagined themselves and begins to move , it is very important for pushkinsky that this is all his native at the heart of the egyptologist's collection. vladimir galinishchev, his collection would have been bought by the state for the museum. tsvetaeva back in 911 on the choir under the roof from where a rare view of the main hall opens, his cabinets have been preserved, in general, we now have an egyptian collection of eight thousand. here, but the core is a collection of vladimir semyonovich burning. this is a russian egyptologist. generally the first russian. and he in st. petersburg and he collected his egyptian museum , he went to egypt, he was engaged in excavations and was engaged in reading texts. and so he collected egyptian antiquities for 30 years and even bought

a special house, and on mokhovaya street at number 15 and there his antiquities were exhibited. many world museums could envy, and tactile exhibits are part of the important ideology of pushkin as a museum accessible to everyone today, such an amazing thing that was made especially for the exhibition of ancient egypt - this you eat blind. and this is such a figure, uh, which was, which participated. actually , she was present in the design of the burial, and instead of praying in a tactile room in the depths of the italian courtyard and exhibits, according to which lectures on the history of art are given to visually impaired visitors , exhibits made for some exhibitions go to the tactile room. yes, for example, this uh work of a part of

a polyptych from the exhibition, and the sienese school of siena at the dawn of the renaissance, which took place about a year ago pushkin museum is so unusual. which is carved from an oak board here is a version of the sculpture of canvases understandable to the touch. it's really paper. she is, therefore, completely different. yes, that is, we understand the feeling that you get from the composition. here on such a deep relief. yes, it is absolutely not the same, when you touch the paper and here the image is raised. yes, that is, this is a foamy technique and in this way you can feel it. here is this light drawing of matisse, it is interesting for both blind people and visually impaired, because, for example, this drawing is as close as possible to the original charcoal drawing, and a visually impaired person can also relate his impressions of how he, a, can see the picture at the

exposition with residual vision. and how does he complete this impression with the help of touch, right? for 4 years, the pushkin museum has been looking for a new language in order to tell different people about art, they regularly hold classes for children from boarding schools. yes , of course, why is he such an expression on his face, she is not their humility, look at the face of this madonna all perfectly beautiful. the seventies, and programs for the deaf began, it was just that there were no

employees who would know sign language in the museum, so the deaf were simply given the loudest guide, an art historian, who had the most stentorian voice, that's what she is the whole building, which means very loud something then he said that they are now several tour guides who are completely deaf and they develop texts in the victims language looks so expressive and figurative that even well-hearing visitors join them. she says, uh. they will heat the fans and serve at the same time. and she is like you look at this fans. then after that she tells the cream. pushkinsky

has been moving towards a living museum in recent years, where there is a place for the most relevant art of 2020 boris, with the boredom of lockdown, people are sitting at home, enlivening world canvases. thus arose, a popular network project due to isolation along with its authors. the museum chose the winners and adorned its facade with a modern version of david, where is the line, where is the balance between the academicism of such a museum, which we are used to. you know that he didn’t show around the museum and no matter what stories he told, and we are a museum of world culture and a universal museum and the art of the old masters and antiquity ancient greece, including egypt we see now many and many other things. a great story of our great love, but we see it and look at it with our eyes. today living people. and this is a very

important understanding, so this is just a modern view of a living person today. actually. it's not what we call modern that drives us art. it seems to me that you are the art that we show, but always modern, and here we are now in the hall of french art. where the 18th -18th century is nearby and it seems to me that it is absolutely relevant, it is very important how we look at it, how we install it, what we say to our viewer. what language do we speak with him? how about this information? we convey to him this is all part of our current existence, so it seems to me that this is the dialectic of our development. the museum cannot exist like this existed 100 years ago. it's just possible

and so the canvas in the hall of italian art sounded to walk around the museum in headphones, but not with an audio guide to the music, the schoolboy sebastian composed each of the 13 pictures on a separate track. from the fact that this is a portrait, it seems to be static and very monotonous, that is, there are no plots and nothing interesting, i took this sample and different tracks with different instruments. i would like to describe this picture. despite the fact that it's all playing the same melody, but on different synthesizers e on various instruments, sebastian is 15 and a graduate of the club of young art historians.

today all youth programs. here they call pushkin's yuz to an old manor in kulmazhny lane, teenagers and students come to communicate and join the museum. maybe for many guys who come to us as a safe space. ah, this is, well, such a first meeting with the museum in some kind of free capacity, your parents have never taken you. or did you come from class on a field trip? and when you came of your own accord, perhaps you came here to do homework or meet friends, but next time you come to the museum, the museum will already be the friend you came to. this is

a fresh graduation club. he will return to the museum already as a specialist, and some manage to develop projects during their studies, such t-shirts and other merchandise will be sold in a souvenir shop. i decided to get together for the anniversary year, 10 reasons for loving pushkin to the museum. and how would i reveal the secret will cause, as it was for some 30 pieces , it was very difficult for me to choose exactly 10 youth club art critics. invented by young employees in 1959. among them was the irina antonova museum. she will lead in the sixty-first year and all the next 52 years will support youth programs. then already in the honorary position of the president and we met in 2019. then. shchukin morozov was just preparing a cross-exhibition, she recalled how in the late forties it was decided to divide the collection between moscow and leningrad, and then a fair amount

of courage was needed to exhibit what they had wanted to disperse yesterday in the provinces, or even destroy. little by little, individual things began to leak out, and everyone realized that a renoir nude or claude monet's breakfast could not be anyone. so to speak, decompose spoil the fifty-sixth year. we made a very big exhibition. and picasso, what picasso, but just all the glory, god was unacceptable from the point of view. yes, but what a pikas, so you gave a great idea from your hand to the hermitage of your thing, and in addition, we received from france it was a collection of the pikas itself. today her office is the director's memorial office on the table ivan tsvetaeva photographs of rina antonova on the windows of the

projections of plowed exhibitions 74th year gioconda's visit 81st banned malevich filonov kandinsky at the exhibition moscow paris law on tutankhamov on the treasure of tutankhamun's tomb e queue at the exhibition from american museums. uh, the louvre klyuev was a wonderful exhibition from paris. but it certainly brought the museum to such an international level. and it greatly expanded the functions of the museum, because the work with children, which was just beginning. well, it started with another, so to say the museum is old, still pre-war, but thanks to her efforts of the museum, she received huge territories and buildings, another question is that they require large investments, both material and intellectual, so to speak, but, in general, she, of course, fought to ensure that the museum received space ,

because like any other museum it is always crowded and you need to show the collections, you need to expand. around the main building, the main construction of the pushkin museum continues to expand it to the whole gorodok. centenary of the museum, but the deadlines were constantly shifting, what we see is the only new construction in our quarter, because the rest of the estates that we are restoring are being built anew. in front of us is the exhibition block, this block will be open. when the main building is closed and the pushkin museum will be presented in this building, on the right we see the restoration block. basically , three floors have been built underground for the employees of the e-e custodians and restorers,

the depository of the depository, which will move all the storerooms of the museum in total for visitors opened nine buildings on the top floor of the new exhibition center observation deck with an unforgettable view. and the center of moscow olga drozdova has been working as a caretaker in various halls for 16 years, she tells the way and patiently answers questions from visitors. whose palace was this? do you understand? even just like this, how you cook a saint what should a museum be educational? so we need to briefly answer this one clearly and to make it interesting, so that they come to us again and ask such questions. and where is pushkin here well, we went around the whole museum have seen where his inkwell is, where his peru she is sure, the educational functions of the museum, as

bequeathed by its founder, are more relevant than ever today. they even ask stupid questions. here in the fifth grade we were told to come to see the hall of ancient greece. why is this necessary, when we have russian history? you see, this is amazing, because somehow. well, he reads fiction. yes , even now mummies attract everyone. and marina morozova has been going to the museum for 11 years through her shop . grateful visitors she herself i've read through the entire range of books. thank you so much. come more people love our museum. he gives education what tsvetaev wanted, he built for students who cannot go abroad, which the poor, who can see in the casts, feel the art. in other countries, in principle, it seems to me that nothing is

changing now. all the same, we carry warm education. and people also come from different countries and republics to this day. from the tour background i do viuton in paris , the collection of morozov returned in triumph in the beginning of the 20th century. ivan morozov has compiled a grandiose collection of 230 western sculptures with towels, by 11 gauguins, 11 matistes, five monets. but there are only three picas, but also extra-class gears. and, of course, his favorite pulseson, 18 paintings. and morozovskaya repeated the exhibition, you know , she multiplied it. i thought that it was impossible to multiply it, because 1,250,000 people sat at the shchukin exhibition, and it was a record of all times and peoples, and the morozov exhibition, despite the

pandemic, because after all it passed almost entirely against the backdrop of a pandemic, a million three hundred thousand people visited the impressionists, the old masters of the collection of the ancient world for more than a century, pushkin's collection has increased dozens of times, but thoughtful exhibition policy and oksana's novelty is what the museum has distinguished at all times.