Pavel and Sergei are the eldest sons in the family of the merchant of the second guild, Mikhail Zakharovich and Alexandra Danilovna, where there were seven more children. The Tretyakov family came from merchants of the city of Maloyaroslavets, known since 1646, who moved to Moscow in the 18th century. Mikhail Zakharovich Tretyakov had five shops in the Old Trading Rows on Ilyinka, traded at the Nizhny Novgorod Fair, and had a flax spinning and weaving factory in Kostroma. The children studied at home with hired teachers.
In 1850, Mikhail Zakharovich Tretyakov died when Pavel was seventeen years old and Sergei was fifteen. The brothers immediately continued their father's business - their mother helped run the business.
In 1851, the Tretyakov brothers independently participated in the Nizhny Novgorod Fair for the first time and at the end of summer they bought a house on Lavrushinsky Lane, which became the basis of the Tretyakov Gallery building.
In 1853 - 1855, the Tretyakov family donated significant funds for hospital needs and military needs during the Crimean War.
In 1854, Pavel Tretyakov bought ten paintings by old Dutch artists at a flea market near the Sukharevskaya Tower, which became the basis of his collection of Western European paintings.
On August 26, 1856, Sergei Tretyakov received a bronze medal to wear in his buttonhole on the Anninsky ribbon in memory of the war of 1853–1856. On October 24 of the same year, he married Elizaveta Sergeevna Mazurina.
In 1856, Pavel Tretyakov acquired the painting “Clash with Finnish Smugglers” by artists V.G. Khudyakova and “Temptation” by N.G. Schilder. This year is the year of the founding of the Tretyakov Gallery.
On April 11, 1859, according to the father's will, all trading affairs were transferred from the mother to the eldest sons.
On January 1, 1860, the trading house “P. and S. br. Tretyakov and V.D. Konshin" for trade in linen, cotton and wool products. On January 2, Sergei Tretyakov was elected city mayor by the Moscow Merchant Society. In the same year, his wife Elizaveta Sergeevna died during childbirth.
In 1860, the Tretyakov brothers financed the construction and maintenance of the Arnold-Tretyakov School for the Deaf and Mutes on Donskaya Street.
In 1861, Sergei Tretyakov traveled to Switzerland and France and became an amateur member of the Moscow Society of Art Lovers. On March 20, Sergei Tretyakov was elected to the Moscow City Duma.
In 1864 - 1866, Sergei Tretyakov was a foreman of the Moscow merchant class.
In 1865, Pavel Tretyakov married Vera Nikolaevna Mamontova, they had two sons and three daughters.
In 1866, Sergei and Pavel Tretyakov, together with V.D. Konshin and K.Ya. Kashin became the founders and directors of the New Kostroma Manufactory, which united spinning, weaving and bleaching factories.
In 1866, Pavel Tretyakov became one of the founders and directors of the Moscow Merchant Bank.
In 1869 - 1870, the Tretyakov brothers were listed as members and donors of the Slavic Charitable Committee in Moscow.
In 1871, they bought a mansion on Prechistensky Boulevard (now Gogolevsky Boulevard, No. 6), where Sergei Tretyakov settled.
In 1872, Sergei Tretyakov was awarded the Order of St. Stanislav, 3rd degree.
In 1873, Sergei Tretyakov was elected an honorary member of the Trustee Society of the Moscow Commercial School.
In 1874, architect A.S. Kaminsky built a two-story building for the gallery, adjacent to the southern wall of the house and connected to the residential building, but with a separate entrance for visitors. Initially, it was possible to enter the gallery only with the personal permission of Pavel Tretyakov.
In 1877, Sergei Tretyakov was elected mayor of Moscow - with his own funds he built Tretyakovsky Proezd between Nikolskaya Street and Teatralny Proezd. In the same year he was awarded the Order of St. Stanislav, 2nd degree, for his activities on the Council of the Moscow Commercial School.
In 1881 - 1887, Sergei Tretyakov subsidized the publication of the Art Journal.
In 1881, entry to the Tretyakov Brothers Gallery became free and free for everyone.
In 1882, Sergei Tretyakov traveled around Europe and took an active part in the All-Russian Industrial and Art Exhibition in Moscow.
In 1883, he was awarded the rank of full state councilor and the Order of St. Vladimir, 3rd degree, for his participation in the construction of the Cathedral of Christ the Savior.
In 1889, Sergei Tretyakov was elected chairman of the Moscow Society of Art Lovers, awarded the Order of St. Stanislav, 1st degree, and later moved to St. Petersburg.
July 25, 1892 Sergei Tretyakov dies in Peterhof. He is buried at the Danilovsky cemetery in Moscow. In his will, he wrote: “Since my brother Pavel Mikhailovich expressed to me his intention to donate his art collection to the city of Moscow and, in view of this, to present his part of the house, which belongs to us in common, to the ownership of the Moscow City Duma, then I am part of this house, belonging to me, I present it as property to the Moscow City Duma."
In 1892, Pavel Tretyakov transferred his collection and brother to the city.
On August 31, 1892, Pavel Mikhailovich addressed the Moscow Duma: “Concerned, on the one hand, with the speedy implementation of the will of my dear brother, and on the other, wanting to contribute to the establishment of useful institutions in my dear city, to promote the prosperity of art in Russia and at the same time To preserve the collection I have collected forever, I now present my entire art gallery as a gift to the Moscow City Duma and transfer the part of the house that belonged to me to the ownership of the city.”
The collection included 1276 paintings, 471 drawings and 9 sculptures from almost all schools and movements of Russian fine art of the 18th-19th centuries. Pavel Tretyakov's expenses for creating the gallery amounted to about four million rubles.
On August 15, 1893, the museum “City Art Gallery of Pavel and Sergei Tretyakov” was opened. Pavel Tretyakov was a lifelong trustee of the gallery and a full member of the St. Petersburg Academy of Arts.
In 1894, Pavel Tretyakov donated 30 paintings and 12 drawings to the gallery.
In 1898, a painting by V.M. was purchased for the gallery. Vasnetsov "Bogatyrs".
On December 4, 1898, Pavel Mikhailovich Tretyakov died and was buried at the Danilovsky cemetery. In 1948, the ashes of the Tretyakov brothers were reburied at the Novodevichy cemetery.
Portrait of P. Tretyakov. I. Repin. 1883.
We have all been familiar with this name since childhood. But somehow little is said about Pavel Tretyakov as an ordinary person, and not just as the founder of the Tretyakov Gallery.
Before telling what kind of person he was, it is still necessary to talk about the most important thing that he did for Russia.
Pavel Mikhailovich Tretyakov - merchant-entrepreneur, philanthropist, collector of works of domestic fine art was born in Moscow on December 15, 1832 into a hereditary merchant family.
When the family became rich (brothers Pavel and Sergei were engaged in linen manufacturing), they began to buy paintings. And already in 1854 Tretyakov bought 10 canvases by old Dutch masters, painted in pure oil. From then on, Pavel Mikhailovich firmly decided not to pay attention to fashion anymore and buy only what your heart desires. From that time on, Pavel Tretyakov began to buy almost exclusively works by Russian artists. The younger brother Sergei was mainly involved in the affairs of the company, and the eldest immersed himself in his gallery.
Contemporaries considered Pavel Mikhailovich “quiet and mysterious”: a merchant - but he doesn’t like pickles, from year to year cabbage soup and porridge for lunch. He’s rich, but he doesn’t accept trips, no balls, masquerades, friendly parties, or playing cards at the table. The only “luxury” he gave himself was a cigar a day. He spent his entire life wearing a frock coat of the same cut. He described time like a pedant, minute by minute. From my youth until the last hour, I got up at six in the morning and went to bed at half past midnight. And in the portraits the face is beautiful, but too stern.
Here Sergei, the younger brother, is completely different. Cheerful, mischievous, dandy - his dad gave him a beating for his high heels! Pavel Mikhailovich was quiet, but no one ever managed to lead him astray from what he considered right.
The collection grew, and even Pavel Mikhailovich’s wife, Vera Nikolaevna, née Mamontova, could not prevent this in any way. Extremely unpretentious in everyday life, Pavel spent incredible sums on paintings. At the same time, he kept everyone at home “in a black body.”
In his letter to his daughter Alexandra, he explained his stinginess as follows:
“Money is a bad thing, causing abnormal relationships. For parents, it is obligatory to give their children upbringing and education, and not necessarily support... My idea was from a very young age to make money so that what was acquired from society would also be returned to society (the people) in some useful institutions; This thought has not left me all my life...”
The eldest of the brothers, Pavel, did not marry for a long time. Only in August 1865 did his wedding take place with Vera Nikolaevna Mamontova, cousin of the famous philanthropist Savva Ivanovich Mamontov. The beginning of a long, happy family life was laid.
In 1866, the eldest daughter Vera (1866–1940) was born, then Alexandra (1867–1959), Lyubov (1870–1928), Mikhail (1871–1912), Maria (1875–1952), Ivan (1878–1887). In 1887, Ivan, everyone’s favorite and his father’s hope, died of scarlet fever complicated by meningitis. Pavel Mikhailovich's grief knew no bounds.
Tretyakov’s daughter Alexandra recalled: “From that time on, my father’s character changed a lot. He became gloomy and silent. And only his grandchildren made the former affection appear in his eyes.”
Everyone in the family loved each other. Many years later, remembering these days, the eldest of the daughters, Vera Pavlovna, would write in her memoirs: “If childhood can really be happy, then my childhood was like that. That trust, that harmony between loved ones who loved us and cared for us, was, it seems to me, the most valuable and joyful.”
Pavel Mikhailovich Tretyakov wrote to his wife: “I sincerely thank God and you from the bottom of my heart that I had the opportunity to make you happy, however, the children have a lot of blame here: without them there would be no complete happiness!”
Tretyakov adhered to traditional views on raising children: he gave his daughters an excellent home education. Music, literature, foreign languages, concerts, theaters, art exhibitions, travel - these are the components of home education in the Tretyakov family.
The Tretyakovs loved to travel, with and without children, in their native country and abroad. Pavel Mikhailovich himself made long, long trips every year. At the end of his life, admiring the beauty of nature in the Pyrenees, he wrote to his wife: “Again I felt that it was worth living to see and enjoy this highest pleasure.”
Both Pavel Mikhailovich and Vera Nikolaevna were people with a keen sense of nature, art, and music. Their children grew up the same way. The eldest daughter married a musician and was happy with him all her life. During her father's lifetime, Lyubov Pavlovna, with his blessing, married the artist N.N. Gritsenko.
The other two daughters married the Botkin brothers, sons of the famous clinician Sergei Petrovich Botkin (1832–1889). Alexandra - for the doctor and collector Sergei Sergeevich Botkin, Maria - for the military sailor, doctor, inventor, traveler Alexander Sergeevich Botkin.
In August 1892, Pavel Mikhailovich donated his art gallery to Moscow. By this time, the collection included 1,287 paintings and 518 graphic works of the Russian school, 75 paintings and 8 drawings of the European school, 15 sculptures and a collection of icons.
“Wishing to contribute to the establishment of useful institutions in my dear city, to promote the prosperity of the arts in Russia and at the same time preserve the collection I have collected for eternity,” Tretyakov wrote to the Moscow City Duma, “now I am donating... my entire art gallery with all works of art."
Having transferred the gallery to his hometown, making it the property of all of Russia, Pavel Mikhailovich continued to expand its collection. Every year he donated dozens of paintings, drawings, and sketches to the gallery.
For example, in the first year he added thirty paintings, twelve drawings and a marble statue of M.M. Antokolsky “Christian Martyr” to the collection. Tretyakov devoted a lot of time and effort to studying the collection of the gallery he created. The result of this work were catalogs published since 1893.
“Sometimes in the gallery,” recalled the artist M.V. Nesterov, “a tall, lean man would appear, he would go up to one painting or another, peer at them intently, lovingly, taking a handkerchief from his coat, rolling it up into a “ball,” He carefully wiped away the dust he noticed on the painting, walked on, said something to the two servants who were at the gallery, and quietly left. We knew that it was Pavel Mikhailovich Tretyakov himself.”
P.M. Tretyakov died in Moscow on December 4, 1898; buried at the Danilovsky cemetery. In 1948, his ashes were transferred to the Novodevichy cemetery.
In 2010, the graves of the Tretyakovs’ parents and other relatives at the Danilovskoye Cemetery were restored, thanks to the P.M. Foundation. Tretyakov.
In his obituary for the death of the great devotee of Russian art, a major manufacturer and outstanding philanthropist, V.V. Stasov wrote: “Tretyakov died famous not only throughout Russia, but also throughout Europe. Whether a person comes to Moscow from Arkhangelsk or from Astrakhan, from Crimea, from the Caucasus or from the Amur - he immediately appoints himself a day and hour when he must, absolutely must, go to Zamoskvorechye, to Lavrushinsky Lane, and look with delight, tenderness and gratitude to the whole series of treasures that were accumulated by this amazing man throughout his life.”
Perhaps I didn’t get a completely complete story about this wonderful man. But I wanted to understand him as a person. After all, most of our actions are rooted in our family, in our environment.
We leave our footprints on the earth.
Words, thoughts, actions, poems...
When it’s completely unbearable and one step away from trouble,
Our angels save us with their wings and arms.
Traces, believe me, do not disappear into nowhere.
They are the actions and meaning of a life lived.
They are written down and stored in the eternal book of existence.
It takes into account from birth to funeral feast.
For the essence of the traces, retribution or reward awaits us.
It all depends on how you lived your life.
Descendants will be madly happy about the traces of some.
And they will say about others: “It was a waste of time to inherit it.” (T. Nenchina)
Http://maxpark.com/community/6782/content/1432308
PAVEL AND SERGEY TRETYAKOV –
CHARITERS, PASTERS,
COLLECTORS, PUBLIC FIGURES
Among the famous philanthropists and collectors-entrepreneurs of the 19th century. The names of the Tretyakov brothers occupy a special place. Pavel Mikhailovich and Sergei Mikhailovich forever entered the history of not only Russian but also world culture, giving Moscow an excellent art collection, creating a public art gallery and opening a new stage in the development of the traditions of art collecting in Russia. The topic of the charitable activities of the Tretyakov brothers and their relatives and the history of the creation of the famous art collection has repeatedly become the subject of research by domestic historians and art critics. However, to date, no full-scale research has been created on this topic, and new archival and reference materials make it possible to expand the boundaries of the research topic to a certain extent.
The Tretyakov family, considered one of the flower of the Moscow merchant class, made a significant contribution to the preservation of the cultural heritage of the Fatherland and left a noticeable mark on the development of the country's economy. Its representatives were characterized by multifaceted activities in various spheres of society, as well as large-scale sociocultural practices - participation in many social and cultural endeavors and projects, charity, philanthropy, cultural initiatives, various public events and other activities.
Five generations of the family, starting with their great-grandfather, Elisey Martynovich Tretyakov, who belonged to an old merchant family in the town of Maloyaroslavets, Kaluga province, who moved to Moscow in 1774, took an active part in the development of domestic trade and entrepreneurship, and later in the development of industrial production. In addition to the development of a trading enterprise, the Tretyakovs founded the Great Kostroma Linen Manufactory in 1866. The linen production of the Tretyakovs and their son-in-law Vladimir Dmitrievich Konshin, the husband of their sister Elizaveta Mikhailovna, was the largest for its time and was created with domestic capital. Income received from trading activities and an industrial enterprise allowed the brothers Pavel and Sergei Tretyakov to carry out extensive charitable and philanthropic activities throughout their lives, and to take part in the implementation of a number of sociocultural projects of their time. A significant part of the Tretyakov family’s fortune was invested in the development of national culture - the formation of art collections, the founding of a gallery, the opening of educational and charitable institutions.
The Tretyakov brothers left a noticeable mark on the public life of their native city. Sergei Mikhailovich was the thirty-ninth Moscow mayor. “The five years he spent as mayor from his confirmation on January 21, 1877 until leaving this position on November 24, 1881, is closely connected with the history of the internal growth of Moscow and is marked by outstanding personal merits ... in relation to the city, at the head of which he stood." He was also a member of the Moscow City Duma (1866–1892), an elected member of the Moscow merchant class. Sergei Tretyakov's public service began in 1866, when he was appointed district trustee for the Yakimansk part of Moscow. Then he became a member of the city duma.
A lot was done for Moscow during his tenure as mayor. The amount of expenses on education increased from 230 thousand rubles. (4.9% of the expenditure estimate) up to 375 thousand rubles. (6.15% of total consumption). The number of schools in the city increased from 34 to 55. In 1880, the City Duma adopted a resolution “on the establishment of a real school in Moscow, for which the Duma donated 2,000 square meters of city land acquired from the Ministry of Finance, through the personal efforts of Sergei Mikhailovich Tretyakov. soot under the former Kolymazhny yard and an annual expenditure of 28,000 rubles was allocated. for the maintenance of a real school." Sergei Mikhailovich was especially concerned about the improvement of the city. During his chairmanship in the Duma, a third of the passages were paved, drainage and stone gutters were laid in many areas of the city, “the arrangement of gardens and boulevards received even more extensive development.” Over the course of five years, several miles of new boulevards were built: on Devichye Pole, on the sides of the road to Sokolniki and at the Alexander Barracks, Catherine Park and extensive public gardens were built - Samotechny, Yablochny and the square of the Cathedral of Christ the Savior. In 1877–1882 surveys were carried out, which served as material for drawing up projects for the development of water supply and sewerage, and the projects themselves were drawn up. All this subsequently made it possible to carry out “enterprises of the greatest importance for the city” and expand the scope of the urban economy.
In April 1877, the Duma donated 1 million rubles for military needs and “used 200,000 rubles.” for the maintenance of hospitals for the wounded." These hospitals became exemplary for similar Red Cross institutions. This was the merit of Sergei Mikhailovich, who showed excellent organizational skills. “Along with these public donations for the war, mention should be made of another patriotic donation from private individuals, the initiative of which the then mayor of the time took upon himself with a generous hand.” To raise funds for military needs, a Slavic Committee was created, headed by a famous public figure. The Tretyakov brothers personally contributed significant funds to the committee.
On the initiative of the head of the city duma and with his financial participation, the city acquired Sokolnicheskaya Grove from the treasury to promote the development of the city economy and preserve the forests adjacent to the city. In 1877, with the participation of Sergei Mikhailovich, the central part of the Polytechnic Museum was opened, the main staircase of which was built according to the design of Kaminsky’s son-in-law, the husband of their other sister, Sofia Mikhailovna. In 1880, he organized the celebrations on the occasion of the opening of the monument, where he gave a speech and handed over the monument from the Duma to the city. Being an initiative and professional entrepreneur, Sergei Mikhailovich developed a clear program for reorganizing city affairs with the help of loans and building his own enterprises and proposed it to the City Duma. However, the program did not receive support from the Duma.
After retiring, Sergei Tretyakov did not give up active social activities and participation in public life. He served as director of the Moscow branch of the Russian Musical Society in 1869–1889, was chairman of the Moscow Art Society of Art Lovers (since 1889), and a member of the council of the Moscow School of Painting, Sculpture and Architecture. He was a member of the Moscow branch of the Council of Trade and Manufactures. He was a member of other artistic and charitable societies. At his own expense, Sergei Mikhailovich published the “Art Journal” (1881–1887). He also participated in the activities of a number of charitable organizations: he was a trustee of the Solodovnikov brothers' almshouse (1876–1877), Moscow petty bourgeois schools (1862–1877), Tagansky Women's City Primary School, a member of the Sushchevsky district guardianship for the poor of the 2nd district, an honorary member of the council Moscow Commercial School, a member of the board of the hospital named after Alexander III, a member of the commission of the widow's fund for persons belonging to the Moscow merchants, chairman of the commission on the revision of the rules for the distribution of benefits to the poor and for dowries to poor brides, and a benefactor of the Arnold-Tretyakov School for the Deaf and Mutes. Elena Andreevna, the wife of Sergei Mikhailovich, was the trustee of the Sushchevsky women's city primary school.
Sergei Mikhailovich allocated funds for scholarships to a number of educational institutions in the capital. According to the will, he contributed 120 thousand rubles. to the Moscow City Government “five percent, one of the Eastern loans, tickets,” so that “the interest on them was used from 25,000 rubles. for a scholarship in his (my) name at the Moscow petty-bourgeois schools of the Merchant Society for boys or girls, from 15,000 rubles. for the same purpose at the Alexander Commercial School; from 15,000 rub. for the same purpose at Moscow University; from 10,000 rub. for one scholarship named after me at Moscow University; from 10,000 rub. to help needy students at Moscow University and from 10,000 rubles. to help needy students of the Moscow School of Painting, Sculpture and Architecture." Later, on Sergei Mikhailovich’s spiritual will, drawn up back in 1888, he made pencil amendments in the direction of adding the amounts allocated for scholarships. Tretyakov, member of the Moscow City Duma (1893–1896) Nikolai Sergeevich Tretyakov, wanting to fulfill exactly the will of his father, asked to increase the amounts “according to the notes” and submitted a corresponding application to the Duma. The amounts increased as follows: “1) instead of 15,000 rubles. Twenty thousand to the Arnoldovsky School for the Deaf and Dumb; 2) instead of 120,000 to the City Council, one hundred and fifty thousand, and this amount is distributed as follows: a) instead of 25,000 rubles. forty thousand to bourgeois schools; b) instead of 15,000 rubles. twenty thousand to the Alexander Commercial School; c) instead of 50,000 rubles. to the Conservatory sixty thousand, and d) the rest of this amount unchanged, and 3) instead of 100,000 rubles. to the City Council for the purchase of new works of art one hundred twenty-five thousand. In addition, new assignments have been added: 1) to the Committee of the Society of Art Lovers ten thousand rubles for the auxiliary fund of the Society and 2) to two churches: one where he will be buried, and the other parish - ten thousand rubles.” In July 1893, at the request of the Moscow City Duma, it was the highest approved in honor of perpetuating the memory of “the merits in local city government and significant donations to the city of the former mayor of Sergei Mikhailovich Tretyakov from 1877 - 1881” by the Moscow City Council at the Moscow School of Painting and Sculpture and architecture scholarship named after him. The amount of the scholarship was 1 thousand rubles. and was allocated to one student every two years. The Moscow merchant society received funds for scholarships in petty-bourgeois schools. The scholarships were named after the donor - .
Sergei Mikhailovich's donations to the Moscow City Public Administration included funds for charity, the building of a gallery, for the purchase of paintings for the gallery and scholarships and benefits for students. In 1891, he allocated 10 thousand rubles. to the emirital cash desk of city government employees. In 1889, together with their brother Pavel Mikhailovich, they donated 3 thousand rubles. for the care of the mentally ill at the initiative of the mayor.
Sergei Mikhailovich was known in public circles and as a collector, collecting Western European paintings. According to his will, he transferred to the capital a collection of paintings, funds for the purchase of works of art and his part of the house in Lavrushinsky Lane for the gallery. In 1892, also according to the will, 125 thousand rubles were transferred to them. to purchase works of art for the gallery.
Pavel Mikhailovich's social activities were also connected with the Moscow City Duma, where he was a member. Together with his brother, he did a lot for the improvement of Moscow. He was a member of the Commission on the benefits and needs of the public. On duty, he was a member of various committees and societies - the Moscow merchant Mutual Credit Society, was an elected member and foreman of the Moscow Exchange Society, was on the boards of educational institutions, the Slavic Committee, where he was one of the six most active members. In 1869–1898 he was a trustee of the Arnold School for the Deaf and Dumb, and was a member of the Committee to provide assistance to the families of soldiers killed, died of wounds and mutilated on the battlefield in 1876–1886. Since 1883, he was a member of the board of trustees of the Alexander Commercial School, and at the Moscow Commercial School he was an honorary member of the council.
Since 1893, Pavel Mikhailovich was a full member of the Imperial Academy of Arts, where from 1868 he was a free associate. He was also a member of the committee of the Moscow Society of Art Lovers.
Pavel Tretyakov has been a member of the board of trustees of the Arnold School for the Deaf-Mute since its establishment. Later, his wife, Vera Nikolaevna, also joined the council. Here she was involved in organizing training in crafts in the women's department, already having some experience as a trustee in other schools. In 1875, Pavel Mikhailovich built a new building for the school on Donskaya Street with a house church, an almshouse and workshops. According to his will, he allocated capital of 200 thousand rubles to the school, as well as to all employees in the school for the deaf and dumb in the amount of their annual salary including canteens and apartments. In general, his lifetime investments and funds allocated by him in his will for the development of the school amounted to 340 thousand rubles.
Pavel Mikhailovich, like his older brother, invested heavily in the development of public education in the capital's center. In 1892, he donated 16,900 rubles to the Moscow Merchant Society. together with his brother Sergei Mikhailovich for four scholarships at petty-bourgeois schools. The scholarships were named after the son-in-law and co-owner of the company of the Tretyakov brothers, and were established in 1893. Five scholarships were established in petty-bourgeois schools since 1900 from funds allocated by will in 1898.
According to his will, he contributed funds to the boards of educational institutions, the interest from which was used for scholarships for students: Moscow University, Moscow Conservatory, Moscow Commercial School, Alexandrovsky Commercial School - 15 thousand rubles each, Moscow petty bourgeois schools - 30 thousand rubles . He left part of the capital to the Moscow merchant society “for the establishment of men’s and women’s almshouses in the amounts for which there will be sufficient capital for the establishment and maintenance of those in need.” In 1900, according to the spiritual will, 600 thousand rubles were sent to the Moscow merchant society for the establishment of women's and men's almshouses, in 1901 - according to the spiritual will, the balance in the amount of 288,004 rubles. and in 1903, inheritance debt in the amount of 103,356 rubles. from the Novokostroma Linen Manufactory Partnership and 2,398 rubles. from the sale of shares for the maintenance of women's and men's almshouses. Construction of the almshouse began in the summer of 1904 and was completed by the end of 1906.
The institution with one hundred places was opened in November 1907. “By the decision of the meeting of elected representatives of the Moscow Merchant Society, the almshouse was named after the donor Pavel Mikhailovich Tretyakov.” Thus, in addition to contributions to educational institutions and scholarships, Pavel Mikhailovich financed the creation of charitable institutions in Moscow.
In 1853, together with his mother, they contributed 500 rubles. silver (17,500 rubles) for “hospital needs”. Over the next two years, he donated 1,700 rubles to the militia and other causes. June 12, 1858 The House of the Moscow City Society sends a certificate that Pavel Mikhailovich Tretyakov was awarded a bronze medal in memory of the past war of 1853–1856. for participation in donations for military needs, granted to be worn in a buttonhole on St. Anna's ribbon. In 1856, in memory of the military events of 1853–1856. Sergei Mikhailovich was awarded a bronze medal on the Annin ribbon.
Donations for charitable purposes came from Pavel Tretyakov and to the Moscow City Public Administration. In 1889, they, together with their brother Sergei Mikhailovich, allocated 3 thousand rubles. for the care of the mentally ill at the initiative of the mayor. In 1895, the Fifth Department of the Moscow City Council accepted a donation for the organization of work for the poor in the city workhouse - 2 thousand rubles. (contribution together with his wife for the benefit of the workhouse's beneficiaries). In 1898, according to his spiritual will, he allocated 150 thousand rubles. taking into account interest for the arrangement and maintenance of a house in Lavrushinsky Lane of the “former Krylov” free apartments for widows and orphans of Russian artists. In 1909, the Construction Commission allocated 95 thousand rubles. for construction and equipment and 130 thousand rubles. for the maintenance of the shelter. The house of free apartments for widows and orphans of Russian artists was opened in 1912.
In 1913, the Moscow city public self-government received 200 thousand rubles, which were in the lifelong use of his son, Mikhail. The Moscow City Duma decided to use the capital to establish and maintain a shelter for the weak-minded. The construction of the two-story building was carried out in 1914–1915. But in 1916, work was suspended due to wartime difficulties. The name of the donor was determined for the shelter - .
In 1886, the Tretyakovs transferred 500 rubles to the Council of the Orthodox Missionary Society. for the construction of the Temple “In the Name of the Resurrection of Christ” in Tokyo. In 1892, Pavel Mikhailovich transferred 5 thousand rubles to the Auxiliary Society of the Moscow Merchant Class to create an untouchable capital. In 1894, 10 thousand rubles were transferred to the Moscow Merchant Council and the Exchange Committee. In 1895, 5 thousand rubles were donated to the Moscow postal director. for the construction of a charity home for honored elderly officials of the postal and telegraph department.
Charitable activities were not limited only to the metropolitan center; they also extended to the provinces. A shelter, a hospital, a kindergarten, and a school were built at the Great Kostroma Linen Manufactory.
Pavel Mikhailovich invested financial resources in various sociocultural projects. In particular, he allocated funds for Maclay's expeditions. Provided financial assistance to artists, Trutnev, N. N. Ge. Among the donors to the Museum of Fine Arts was also Pavel Tretyakov.
Another almshouse was added to the Solodovnikovskaya almshouse and the almshouse using funds bequeathed. A shelter was built with bequeathed funds. One of the buildings of the shelter bore the name because it was built with his funds.
During the construction of the Cathedral of Christ the Savior, honorary citizens Pavel and Sergei Tretyakov gave part of the estate land in the adjacent territory for the construction of clergy premises.
The basis of Pavel Mikhailovich’s charitable activities was collecting works of Russian art And formation of an art gallery. In his collecting and charitable activities, he relied on the philanthropic idea of “... making money so that what was acquired from society would also be returned to society in some useful institutions.” By buying works of Russian artists or ordering them to perform various works, Pavel Tretyakov supported the domestic art school and culture. The costs of purchasing works of art by year were:
1871–1872 – 19 thousand rubles; 1872–1873 – 15,303 rubles; 1873–1874 – 19,572 rubles; 1874–1875 – 68,620 rubles; 1875–1876 – 17,584 rubles; 1876–1877 – 7,021 rubles; 1877–1878 – 24 thousand rubles; 1878–1879 – 17,250 rubles; 1879–1880 – 10 thousand rubles; 1880–1881 – 23 thousand rubles; 1881–1882 – 41 thousand rubles; 1882–1883 – 104 thousand rubles; 1883–1884 – 41 thousand rubles; 1884–1885 – 43,540 rubles; 1885–1886 – 23,893 rubles; 1886–1887 – 33,622 rubles; 1887–1888 – 32,775 rubles, 1888–1889 – 32,270 rubles, Antokolsky – 10 thousand rubles; 1889–1890 – 45,130 rubles, Antokolsky – 2 thousand rubles; 1890–1891 – 35,085 rubles; 1891–1892 – 85,510 rubles; 1892–1893 – 10,682 rubles; 1893–1894 – 26,695 rubles; 1894–1895 – 909 rubles; 1895–1896 – 39,011 rubles; 1896–1897 – 22,173 rubles; 1897–1898 – 20,135 rubles; Vereshchagin collection – 188,245 rubles.
The ways in which Pavel Tretyakov’s art collection was formed were varied, which largely determined its unusual sociocultural geography. The main and best part of her collection - portraits of contemporaries, creative figures, landscape, historical and genre paintings - was purchased from artists in St. Petersburg and Moscow.
In 1892, he donated to Moscow his entire art collection (1,287 works of painting, 518 graphics, 9 sculptures) along with the collection of Sergei Mikhailovich, as well as significant funds for the purchase of new paintings. The entire Tretyakov collection was then valued at 1,428,929 rubles, and the foreign department at 520,520 rubles. In total, the Tretyakov brothers donated paintings worth 1,949,446 rubles, 125 thousand rubles. 100 thousand rubles were allocated for the purchase, using interest from this amount, of artistic, painting and sculpture works. – for repairs of the gallery with interest consumption.
The era and those large-scale transformations that were due to time could not but influence the direction of the Tretyakovs’ socio-cultural activities, and could not but make adjustments to the matter of determining the direction of collecting interests, as well as to the matter of determining the priority areas of collecting. Middle and second half of the 19th century. became the time of formalization of collecting interests and collecting activities among representatives of domestic merchant and business dynasties (, , etc.), along with the intensification of all other areas of their sociocultural activities. The merchant class at this time clearly intensified its position in the public, social and cultural life of society, tried to keep up with the times and invested significant material resources in the development of cultural institutions, in various sociocultural endeavors and innovations, often becoming the initiator and developer of many social and cultural projects .
Being representatives of the merchant class and having the appropriate education and significant financial resources, the Tretyakovs, of course, could not remain aloof from such manifestations of sociocultural activity, and they chose gathering and collecting as one of the priority areas of their activity in the social and cultural sphere. Of no small importance in this case was the fact that at that time in Russia, and in particular in Moscow, there was no publicly accessible national art gallery or museum. Funds received in the process of commercial, industrial and entrepreneurial activities were invested in artistic values, which then became available to the general public and, in a new capacity, were returned to society “in some useful institutions,” in the words: in the form of museums, art collections and galleries, various collections, libraries.
Investing in the formation of painting collections and collections can at the same time be considered as the realization of a desire to provide assistance to representatives of the domestic art school. In this case, the collector acted as a guarantor of some financial stability for artists, many of whom were in need of material support and livelihood. Sometimes there was even a struggle between collectors of artistic values for highly artistic works on the art market. It was prestigious to own such works; they became an adornment to any collection and gallery, testifying to the artistic tastes and passions of their owners.
Representatives of the Russian business world were characterized by similar multifunctionality in the socio-economic and socio-cultural spheres. Here, too, the Tretyakov brothers kept pace with the times, trying to realize as fully as possible their capabilities in the field of cultural development of the country, the formation of educational and cultural institutions and institutions, in the development of domestic art and the preservation of historical and cultural heritage, in the education of the Russian public. Acquaintance and close communication with many Russian artists and cultural figures made it possible to have works by the best masters in my collection, and also made it possible to form the most complete portrait gallery of contemporaries and preserve it unchanged for posterity. The collection of the Tretyakov Gallery also reflected the most complete reflection of the development of the national art school of the second half of the 19th century. The collection donated to the city by the Tretyakov brothers formed the basis for the development of one of the largest art museums in Russia.
According to the spiritual will of September 6, 1896 and other documents, the Tretkovs donated to the city many houses, almshouses, shelters, schools, mansions that could form a separate Moscow street - such as, for example, Ilyinka or Nikolskaya. The Tretyakov brothers were the only Russian merchant dynasties to leave an entire street to the capital - Tretyakovsky Proezd with a house on Nikolskaya. In 1897, Pavel Mikhailovich Tretyakov “as a token of gratitude” was awarded the title of honorary citizen of the city of Moscow - as “who donated an art gallery and the real estate in which it is located to the named city, and continues to contribute with his donations to the further enrichment of this gallery.”
Only according to the sources identified so far, the contribution of the Tretyakov brothers and their parents to the development of Russian culture and charity amounted to more than 4.2 million rubles. According to estimates of the Moscow City Duma, the contribution of the Tretyakov brothers to charitable and cultural projects amounted to more than 2 million rubles. silver (7 million rubles).
Taking into account the contributions of all family members and relatives, the investment was, of course, even more significant.
The traditions of active sociocultural activity laid down by the Tretyakov brothers were continued by their relatives and descendants. In particular, the son of Sergei Mikhailovich Tretyakov Nikolai was the secretary of the Moscow Society of Art Lovers and took part in performances of the Society of Art and Literature. The closest relatives of the Tretyakov brothers - representatives of the Botkin, Mamontov, Kaminsky, Alekseev, Yakunchikov, and Gritsenko families - also left their mark on the cultural life of the country. In order to create a larger picture of the socio-economic and socio-cultural activities of the brothers and the entire Tretyakov family and to more fully assess their contribution to the development of national culture, further detailed research into the problem posed is required.
RGIA. F. 468. Op. 42. D. 1740. L. 8.
Charity of Moscow entrepreneurs, 1860–1914. M., 1999. P. 472.
RGIA. F. 468. Op. 42. D. 1740.
Right there. L. 8 rev.
Address-calendar of the city of Moscow for 1889 Art. 176. M., 1889.
Decree. op. P. 471.
RGIA. F. 468. Op. 42. D. 1740. L. 4 vol.
Right there. L. 5 vol.
Right there. L. 13, 13 vol.
Decree. op. pp. 470–471.
Right there. P. 469.
RGIA. F. 789. Op. 12. D. 674.
Decree. op. P. 470.
RGIA. F. 613. Op. 1. D. 103. L. 141 vol.
Decree. op. pp. 468–469.
Right there. P. 469.
RGIA. F. 1152. T.D. 413.
Pavel Mikhailovich Tretyakov in life and art. M., 1993. P. 270.
. Pavel Mikhailovich Tretyakov: Dokl. Secretary of Moscow Island of Art Lovers, December 11, 1908, p. 5.
RGIA. F. 1284. Op. 241. D. 162. L. 28.
Right there. F. 468. Op. 42. D. 1740. L. 6.
Address-calendar of the city of Moscow for 1889. M., 1889. Art. 550.
Russian merchants acquired and preserved priceless treasures of domestic and world culture for Russia, but time erased many names from the memory of posterity. Unfortunately, people have short memories. But art has eternal life.
The Tretyakov Gallery, the Bakhrushin Theater Museum, the Shchukin collection of French impressionists, the Morozov Handicraft Museum, gymnasiums, hospitals, shelters, institutes - all these are gifts from the Moscow merchants to their native city. The historian M. Pogodin set Moscow merchants-philanthropists as an example to tight-fisted European entrepreneurs: “If we count all their donations for the current century alone, they would amount to a figure that Europe should bow to.”
Tretyakovs
Among Moscow patrons of the arts, the name of Pavel Mikhailovich Tretyakov has a special place: it is to him that we owe the unique collection of paintings stored in the famous Tretyakov Gallery. The Tretyakov merchant family could not boast of special wealth, but Pavel Mikhailovich did not spare money to purchase paintings. Over the course of 42 years, he spent an impressive amount of money on them at that time - over a million rubles. Unfortunately, Pavel’s brother, Sergei Mikhailovich, is much less known to our contemporaries. He collected Western European paintings, and after his death in 1892, all the paintings he acquired passed, according to his will, into the possession of Pavel Mikhailovich. They were also donated to the city. On August 15, 1893, a new museum appeared in Moscow - the City Art Gallery of Pavel and Sergei Tretyakov. At that time, the collection consisted of 1,362 paintings, 593 drawings and 15 sculptures. Art critic V. Stasov wrote about it: “An art gallery... is not a random collection of paintings, it is the result of knowledge, considerations, strict weighing and, most of all, deep love for one’s dear business.”
Bakhrushins
The Bakhrushins came from the city of Zaraysk and were engaged in leather and cloth making. Both in Zaraysk and Moscow, the family donated large sums to those in need. In the mother throne, the Bakhrushins were called “professional philanthropists” from whom “donations pour in like from a cornucopia.” Judge for yourself, they built and maintained: a city hospital, a house of free apartments for the poor, a shelter for orphans, a vocational school for boys, a home for elderly artists... For this, the city authorities made the Bakhrushins honorary citizens of Moscow, they offered nobility, but proud merchants abandoned their titles. Alexey Petrovich Bakhrushin was a passionate collector, collecting Russian medals, porcelain, paintings, icons and ancient books. He bequeathed his collection to the Historical Museum, and several museum halls were named after him. Alexey Petrovich's uncle, Alexey Aleksandrovich Bakhrushin, collected everything related to the theater: old posters, programs, photographs of famous actors, stage costumes. Based on his collection in Moscow, in 1894, the world's only Theater Museum named after. Bakhrushin. It is still in effect today.
The Khludov family, who came from Yegoryevsk, owned cotton factories and built railways. Alexey Ivanovich Khludov collected a unique collection of ancient Russian manuscripts and early printed books. Among them are the works of Maxim the Greek, “The Source of Knowledge” by John of Damascus, translated and with comments by Prince Kurbsky (the author of angry letters to Ivan the Terrible). In total, the collection consisted of more than a thousand books. In 1882, after the death of Khludov, the precious collection, according to his will, was transferred to the St. Nicholas Monastery of Edinoverie in Moscow. Alexei's brother, Gerasim Ivanovich, was also an avid collector: he collected paintings by Russian artists. The Khludovs, like the Bakhrushins, did not spare money for charity: they built an almshouse, free apartments for the poor, wards for terminally ill women and a children's hospital with their own funds.
This dynasty gave Russia many talented people: industrialists, doctors, diplomats. Let us at least remember Pyotr Kononovich, the pioneer of the tea business in Russia, or Sergei Petrovich, the famous Russian aesculapian. Many Botkins were collectors. Privy Councilor and artist Mikhail Petrovich collected Western European paintings, terracotta figurines, Italian majolica of the 15th-17th centuries, as well as Russian enamel for almost 50 years. He was keenly interested in the work of the artist Ivanov: he bought sketches and even published his biography. Vasily Petrovich and Dmitry Petrovich Botkin collected paintings by European masters and were friends of Pavel Tretyakov.
Mamontovs
The rich and populous merchant family of the Mamontovs “rose up” in the wine farming industry. At the end of the 18th century, Fyodor Ivanovich was known as a generous philanthropist, for which he was awarded a posthumous monument from the grateful residents of Zvenigorod. However, the most outstanding figure among the Mamontovs was Savva Ivanovich. Nature generously endowed him with talents: singer (studied in Italy), sculptor, theater director, playwright. It was Savva who discovered the talent of Chaliapin, Mussorgsky and Rimsky-Korsakov to the world. In his own theater he staged operas, the scenery for which was written by Polenov, Vasnetsov, Serov, Korovin. Savva Ivanovich helped achieve recognition for Vrubel: at his own expense he built a pavilion for the artist and exhibited his paintings in it. The estate of Savva Ivanovich, Abramtsevo, became “a haven of peace, work and inspiration” for many talented artists and performers.
Morozovs
The range of cultural activities of the Morozov dynasty is enormous: they were extremely talented people. Savva Timofeevich Morozov did a lot for the Art Theater (MAT). He was passionate about the revolutionary movement and idolized Maxim Gorky. Moscow owes the creation of the Handicraft Museum to Savva’s brother, Sergei Timofeevich. He collected works of Russian decorative and applied art of the 17th-19th centuries, trying to preserve their national flavor and traditions. After the revolution, the museum, as a sign of respect for his services, was renamed the Museum of Folk Art. S.T. Morozova. Mikhail Abramovich Morozov collected Russian and French paintings from a young age, but, alas, died at the age of 33. His collection was transferred to the Tretyakov Gallery. Ivan Abramovich Morozov was also a famous philanthropist; it was he who became the first patron of the unknown Vitebsk artist Marc Chagall. In 1918, Ivan Abramovich left Russia. His rich collection of paintings was distributed among the Museum of Fine Arts. Pushkin and the Hermitage.
Representatives of the Shchukin family have preserved truly unique treasures for us. Pyotr Ivanovich was the largest collector of Russian antiquities. There was everything in his collection: rare books, ancient Russian icons and coins, silver jewelry. In 1905, Pyotr Ivanovich donated his collection to Moscow; the catalog of valuables included 23,911 items! The canvases of Dutch painters Dmitry Ivanovich Shchukin are to this day the pearl of the Pushkin Museum. And a whole generation of Russian avant-garde artists grew up on the paintings of French impressionists acquired by Sergei Ivanovich Shchukin. He had an amazing sense of talent. When Shchukin met Picasso in Paris, he was an unknown poor artist. But even then the insightful Russian merchant said: “This is the future.” For six years, Sergei Ivanovich sponsored Picasso, buying his paintings. Thanks to Shchukin, paintings by Monet, Matisse, and Gauguin appeared in Russia - artists considered “outcast” in France. But after the revolution in Russia, Shchukin turned out to be an “outcast”, and he had to emigrate to France. Bitter irony of fate. At the end of the 1920s. There was a rumor among Russian emigrants that Shchukin was demanding the return of his nationalized collection from the Bolsheviks. But Sergei Ivanovich denied the speculation: “I collected not only and not so much for myself, but for my country and my people. Whatever is on our land, my collections must remain there.”
Dmitry Kazennov
Home > Lectures129 L. N. Velikhovsky, T. N. Kandaurova. Patrons Tretyakovs
L. N. Velikhovsky, T. N. Kandaurova
PAVEL AND SERGEY TRETYAKOV –
CHARITERS, PASTERS,
COLLECTORS, PUBLIC FIGURES
Among the famous philanthropists and collectors-entrepreneurs of the 19th century. The names of the Tretyakov brothers occupy a special place. Pavel Mikhailovich and Sergei Mikhailovich forever entered the history of not only Russian but also world culture, giving Moscow an excellent art collection, creating a public art gallery and opening a new stage in the development of the traditions of art collecting in Russia. The topic of the charitable activities of the Tretyakov brothers and their relatives and the history of the creation of the famous art collection has repeatedly become the subject of research by domestic historians and art critics. However, to date, no full-scale research has been created on this topic, and new archival and reference materials make it possible to expand the boundaries of the research subject to a certain extent. The Tretyakov family, considered one of the flower of the Moscow merchant class, made a significant contribution to the preservation of the cultural heritage of the Fatherland and left a noticeable mark on development of the country's economy. Its representatives were characterized by multifaceted activities in various spheres of society, as well as large-scale sociocultural practice - participation in many social and cultural endeavors and projects, charity, philanthropy, cultural initiatives, various public events and other activities.© L. N. Velikhovsky, T. N. Kandaurova, 2005 Five generations of the family, starting with their great-grandfather, Elisey Martynovich Tretyakov, who belonged to the old merchant family of the town of Maloyaros-Lavets, Kaluga province, who moved to Moscow in 1774, took an active part in the development of domestic trade and entrepreneurship, and later in the development of industrial production. In addition to the development of a trading enterprise, the Tretyakovs founded the Great Kostroma Linen Manufactory in 1866. The linen production of the Tretyakovs and their son-in-law Vladimir Dmitrievich Konshin, the husband of their sister Elizaveta Mikhailovna, was the largest for its time and was created with domestic capital. Income received from trading activities and an industrial enterprise allowed the brothers Pavel and Sergei Tretyakov to carry out extensive charitable and philanthropic activities throughout their lives, and to take part in the implementation of a number of sociocultural projects of their time. A significant part of the Tretyakov family’s fortune was invested in the development of national culture - the formation of art collections, the founding of a gallery, the opening of educational and charitable institutions. The Tretyakov brothers left a noticeable mark on the public life of their native city. Sergei Mikhailovich was the thirty-ninth Moscow mayor. “The fifth anniversary that S.M. Tretyakov, held the post of mayor from his confirmation on January 21, 1877 until leaving this position on November 24, 1881, is closely connected with the history of the internal growth of Moscow and is marked by outstanding personal merits ... in relation to the city, of which he stood” 1 . He was also a member of the Moscow City Duma (1866–1892), an elected member of the Moscow merchant class 2 . Sergei Tretyakov's public service began in 1866, when he was appointed district trustee for the Yakimansk part of Moscow. At the same time, he became a member of the city duma. A lot was done for Moscow during his tenure as mayor. The amount of expenses on education increased from 230 thousand rubles. (4.9% of the expenditure estimate) up to 375 thousand rubles. (6.15% of total consumption). The number of schools in the city increased from 34 to 55. In 1880, the City Duma adopted a resolution “on the establishment of a real school in Moscow, for which the Duma donated 2,000 square meters of city land acquired from the Ministry of Finance, through the personal efforts of Sergei Mikhailovich Tretyakov. soot under the former Kolymazhny yard and an annual expenditure of 28,000 rubles was allocated. for the maintenance of a real school" 3. Sergei Mikhailovich was especially concerned about the improvement of the city. During his chairmanship in the Duma, a third of the passages were paved, drainage and stone gutters were laid in many areas of the city, “the arrangement of gardens and boulevards received even more extensive development.” Over the course of five years, several miles of new boulevards were built: on Devichye Pole, on the sides of the road to Sokolniki and at the Alexander Barracks, Catherine Park and extensive public gardens were built - Samotechny, Yablochny and the square of the Cathedral of Christ the Savior. In 1877–1882 surveys were carried out, which served as material for drawing up projects for the development of water supply and sewerage, and the projects themselves were drawn up. All this subsequently made it possible to carry out “enterprises of the greatest importance for the city” and expand the scope of the city economy. In April 1877, the Duma donated 1 million rubles for military needs and “used 200,000 rubles.” for the maintenance of hospitals for the wounded." These hospitals became exemplary for similar Red Cross institutions. This was the merit of Sergei Mikhailovich, who showed excellent organizational skills. “Along with these public donations for the war, mention should be made of another patriotic donation from private individuals, the initiative of which the then mayor of the time took upon himself with a generous hand” 4 . To raise funds for military needs, the Slavic Committee was created, headed by the famous public figure I.S. Aksakov. The Tretyakov brothers personally contributed significant funds to the committee. On the initiative of the head of the city duma and with his financial participation, the city acquired Sokolnicheskaya Grove from the treasury to promote the development of the city economy and preserve the forests adjacent to the city. In 1877, with the participation of Sergei Mikhailovich, the central part of the Polytechnic Museum was opened, the main staircase of which was built according to the design of the Tretyakovs’ son-in-law A.S. Kaminsky - the husband of their other sister, Sofia Mikhailovna. In 1880 S.M. Tretyakov was the organizer of the celebrations on the occasion of the opening of the monument to A.S. Pushkin, where he gave a speech and handed over the monument from the Duma to the city. Being an initiative and professional entrepreneur, Sergei Mikhailovich developed a clear program for reorganizing city affairs with the help of loans and building his own enterprises and proposed it to the City Duma. However, the program did not receive support from the Duma. After retiring, Sergei Tretyakov did not give up active social activities and participation in public life. He served as director of the Moscow branch of the Russian Musical Society in 1869–1889, was chairman of the Moscow Art Society of Art Lovers (since 1889), and a member of the council of the Moscow School of Painting, Sculpture and Architecture. He was a member of the Moscow branch of the Council of Trade and Manufactures 5. He was a member of other artistic and charitable societies. At his own expense, Sergei Mikhailovich published the “Art Journal” (1881–1887). He also participated in the activities of a number of charitable organizations: he was a trustee of the Solodovnikov brothers' almshouse (1876–1877), Moscow petty bourgeois schools (1862–1877), Tagansky Women's City Primary School, a member of the Sushchevsky district guardianship for the poor of the 2nd district, an honorary member of the council Moscow Commercial School, a member of the board of the hospital named after Alexander III, a member of the commission of the widow's fund for persons belonging to the Moscow merchants, chairman of the commission on the revision of the rules for the distribution of benefits to the poor and for dowries to poor brides, and a benefactor of the Arnold-Tretyakov School for the Deaf and Mutes 6. Elena Andreevna, the wife of Sergei Mikhailovich, was the trustee of the Sushchevsky Women's City Primary School. Sergei Mikhailovich allocated funds for scholarships to a number of educational institutions in the capital. According to his will, he contributed 120 thousand. rub. to the Moscow City Government “five percent, one of the Eastern loans, tickets,” so that “the interest on them was used from 25,000 rubles. for a scholarship in his (my) name at the Moscow petty-bourgeois schools of the Merchant Society for boys or girls, from 15,000 rubles. for the same purpose at the Alexander Commercial School; from 15,000 rub. for the same purpose at Moscow University; from 10,000 rub. for one scholarship named after me at Moscow University; from 10,000 rub. to help needy students at Moscow University and from 10,000 rubles. to help needy students of the Moscow School of Painting, Sculpture and Architecture" 7 . Later, on Sergei Mikhailovich’s spiritual will, drawn up back in 1888, he made pencil amendments in the direction of adding the amounts allocated for scholarships. Son S.M. Tretyakov, member of the Moscow City Duma (1893–1896) Nikolai Sergeevich Tretyakov, wanting to fulfill exactly the will of his father, asked to increase the amounts “according to the notes” and submitted a corresponding application to the Duma. The amounts increased as follows: “1) instead of 15,000 rubles. Twenty thousand to the Arnoldovsky School for the Deaf and Dumb; 2) instead of 120,000 to the City Council, one hundred and fifty thousand, and this amount is distributed as follows: a) instead of 25,000 rubles. forty thousand to bourgeois schools; b) instead of 15,000 rubles. twenty thousand to the Alexander Commercial School; c) instead of 50,000 rubles. to the Conservatory sixty thousand, and d) the rest of this amount unchanged, and 3) instead of 100,000 rubles. to the City Council for the purchase of new works of art one hundred twenty-five thousand. In addition, new assignments were added: 1) to the Committee of the Society of Art Lovers, ten thousand rubles for the Society’s auxiliary fund, and 2) to two churches: one where he will be buried, and the other parish – ten thousand rubles” 8. In July 1893, at the request of the Moscow City Duma, it was the highest approved in honor of perpetuating the memory of “the merits in local city government and significant donations to the city of the former mayor of Sergei Mikhailovich Tretyakov from 1877 - 1881” by the Moscow City Council at the Moscow School of Painting and Sculpture and architecture scholarship named after him. The amount of the scholarship was 1 thousand rubles. and was allocated to one student in each biennium 9. The Moscow merchant society received funds for scholarships in petty-bourgeois schools. The scholarships were named after the donor – S.M. Tretyakov. Sergei Mikhailovich's donations to the Moscow City Public Administration included funds for charity, the building of a gallery, for the purchase of paintings for the gallery and scholarships and benefits for students. In 1891, he allocated 10 thousand rubles. to the emirital cash desk of city government employees. In 1889, together with their brother Pavel Mikhailovich, they donated 3 thousand rubles. for the care of the mentally ill at the initiative of the mayor N.A. Alekseeva. Sergei Mikhailovich was known in public circles and as a collector, collecting Western European paintings. According to his will, he transferred to the capital a collection of paintings, funds for the purchase of works of art and his part of the house in Lavrushinsky Lane for the gallery. In 1892, also according to the will, 125 thousand rubles were transferred to them. to purchase works of art for the gallery 10. Pavel Mikhailovich’s social activities were also associated with the Moscow City Duma, where he was a member. Together with his brother, he did a lot for the improvement of Moscow. He was a member of the Commission on the benefits and needs of the public. On duty, he was a member of various committees and societies - the Moscow merchant Mutual Credit Society, was an elected member and foreman of the Moscow Exchange Society, was on the boards of educational institutions, the Slavic Committee, where he was one of the six most active members. In 1869–1898 he was a trustee of the Arnold School for the Deaf and Dumb, and was a member of the Committee to provide assistance to the families of soldiers killed, died of wounds and mutilated on the battlefield in 1876–1886. Since 1883, he was a member of the board of trustees of the Alexander Commercial School, at the Moscow Commercial School he was an honorary member of the council 11. Since 1893, Pavel Mikhailovich was a full member of the Imperial Academy of Arts, where since 1868 he was a free associate 12. He was also a member of the committee of the Moscow Society of Art Lovers. Pavel Tretyakov was a member of the board of trustees of the Arnold School for the Deaf and Dumb from the moment of its establishment. Later, P.M.’s wife also joined the council. Tretyakova - Vera Nikolaevna. Here she was involved in organizing training in crafts in the women's department, already having some experience as a trustee in other schools. In 1875, Pavel Mikhailovich built a new building for the school on Donskaya Street with a house church, an almshouse and workshops. According to his will, he allocated capital of 200 thousand rubles to the school, as well as to all employees in the school for the deaf and dumb in the amount of their annual salary including canteens and apartments. In general, his lifetime investments and the funds allocated by him in his will for the development of the school amounted to 340 thousand rubles. 13 Pavel Mikhailovich, like his older brother, invested significant funds in the development of public education in the capital’s center. In 1892, he donated 16,900 rubles to the Moscow Merchant Society. together with his brother Sergei Mikhailovich for four scholarships at petty-bourgeois schools. The scholarships were named after V.D. Konshin, son-in-law and co-owner of the company of the Tretyakov brothers, and were established in 1893. Five scholarships were established in petty-bourgeois schools since 1900 from the funds of P.M. Tretyakov, allocated by will in 1898. According to the will, he contributed
funds to the boards of educational institutions, the interest from which was used for scholarships for students and students:
Moscow University,
Moscow Conservatory,
Moscow Commercial School,
Alexandrovsky Commercial School - 15 thousand rubles each,
Moscow petty-bourgeois schools - 30 thousand rubles. He left part of the capital to the Moscow merchant society “for the establishment of men's and women's almshouses in the amounts for which there will be sufficient capital for the establishment and maintenance of those in need” 14. In 1900, according to the spiritual will, 600 thousand rubles were sent to the Moscow merchant society for the establishment of women's and men's almshouses, in 1901 - according to the spiritual will, the balance in the amount of 288,004 rubles. and in 1903, inheritance debt in the amount of 103,356 rubles. from the Novokostroma Linen Manufactory Partnership and 2,398 rubles. from the sale of shares for the maintenance of women's and men's almshouses. Construction of the almshouse began in the summer of 1904 and was completed by the end of 1906.
The institution with one hundred places was opened in November 1907. “By the decision of the meeting of elected representatives of the Moscow Merchant Society, the almshouse was named after the donor Pavel Mikhailovich Tretyakov” 15. Thus, in addition to contributions to educational institutions and scholarships, Pavel Mikhailovich financed the creation of charitable institutions in Moscow. In 1853, S.M. Tretyakov with his mother, A.D. Tretyakova, contributed 500 rubles. silver (RUB 17,500)
for "hospital needs". Over the next two years, he donated 1,700 rubles to the militia and other causes. June 12, 1858 The House of the Moscow City Society sends a certificate that Pavel Mikhailovich Tretyakov was awarded a bronze medal in memory of the past war of 1853–1856. for participation in donations for military needs, granted to be worn in a buttonhole on St. Anna's ribbon. In 1856, in memory of the military events of 1853–1856. Sergei Mikhailovich was awarded a bronze medal on the Annin ribbon. Donations for charitable purposes came from Pavel Tretyakov and to the Moscow City Public Administration. In 1889, they, together with their brother Sergei Mikhailovich, allocated 3 thousand rubles. for the care of the mentally ill at the initiative of the mayor N.A. Alekseeva. In 1895, the Fifth Department of the Moscow City Council accepted a donation for the organization of work for the poor in the city workhouse - 2 thousand rubles. (contribution together with his wife for the benefit of the workhouse's beneficiaries). In 1898, according to the spiritual will of P.M. Tretyakov allocated 150 thousand rubles. taking into account interest for the arrangement and maintenance of a house in Lavrushinsky Lane of the “former Krylov” free apartments for widows and orphans of Russian artists. In 1909, the Construction Commission allocated 95 thousand rubles. for construction and equipment and 130 thousand rubles. for the maintenance of the shelter. The house of free apartments for widows and orphan artists was opened in 1912. In 1913, the Moscow city public government received 200 thousand rubles, which were in the lifetime use of the son P.M. Tretyakov - Mikhail. The Moscow City Duma decided to use the capital to establish and maintain a shelter for the weak-minded. The construction of the two-story building was carried out in 1914–1915. But in 1916, work was suspended due to wartime difficulties. The name of the donor was determined for the shelter - P.M. Tretyakov 16. In 1886, the Tretyakovs transferred 500 rubles to the Council of the Orthodox Missionary Society. for the construction of the Temple “In the Name of the Resurrection of Christ” in Tokyo. In 1892, Pavel Mikhailovich transferred 5 thousand rubles to the Auxiliary Society of the Moscow Merchant Class to create an untouchable capital. In 1894, 10 thousand rubles were transferred to the Moscow Merchant Council and the Exchange Committee. In 1895, 5 thousand rubles were donated to the Moscow postal director. for the construction of a charity home for honored elderly officials of the postal and telegraph department. Charitable activities of P.M. Tretyakov’s work was not limited only to the space of the capital’s center; it also extended to the provinces. An orphanage, a hospital, a kindergarten, and a school were built at the Great Kostroma Linen Manufactory. Pavel Mikhailovich invested financial resources in various sociocultural projects. In particular, he allocated funds for N.N.’s expeditions. Miklouho-Maclay. Provided financial assistance to artists N.N. Losenko, A.G. Goravsky, Trutnev, A.A. Rizzoni, I.N. Kramskoy, A.G. Khudyakov, M.K. Klodt, M.M. Antokolsky, N.N. Ge. Among the donors to the Museum of Fine Arts was also Pavel Tretyakov. To the Solodovnikovskaya almshouse and to the almshouse of T.G. Guryeva built another almshouse with funds bequeathed to P.M. Tretyakov. Using bequeathed funds from A.K. Medvednikova built a shelter. One of the buildings of the shelter was named after P.M. Tretyakov, since it was built at his expense. During the construction of the Cathedral of Christ the Savior, honorary citizens Pavel and Sergei Tretyakov gave part of the estate land in the adjacent territory for the construction of clergy premises 17. The basis of Pavel Mikhailovich’s charitable activities was collecting works of Russian art And formation of an art gallery . In his collecting and charitable activities, he relied on the philanthropic idea of “... making money so that what was acquired from society would also be returned to society in some useful institutions.” By buying works of Russian artists or ordering them to perform various works, Pavel Tretyakov supported the domestic art school and culture. Costs of P.M. Tretyakov for the purchase of works of art by year amounted to: 1871–1872 - 19 thousand rubles; 1872–1873 – 15,303 rubles; 1873–1874 – 19,572 rubles; 1874–1875 – 68,620 rubles; 1875–1876 – 17,584 rubles; 1876–1877 – 7,021 rubles; 1877–1878 – 24 thousand rubles; 1878–1879 – 17,250 rubles; 1879–1880 – 10 thousand rubles; 1880–1881 – 23 thousand rubles; 1881–1882 – 41 thousand rubles; 1882–1883 – 104 thousand rubles; 1883–1884 – 41 thousand rubles; 1884–1885 – 43,540 rubles; 1885–1886 – 23,893 rubles; 1886–1887 – 33,622 rubles; 1887–1888 – 32,775 rubles, 1888–1889 – 32,270 rubles, Antokolsky – 10 thousand rubles; 1889–1890 – 45,130 rubles, Antokolsky – 2 thousand rubles; 1890–1891 – 35,085 rubles; 1891–1892 – 85,510 rubles; 1892–1893 – 10,682 rubles; 1893–1894 – 26,695 rubles; 1894–1895 – 909 rubles; 1895–1896 – 39,011 rubles; 1896–1897 – 22,173 rubles; 1897–1898 – 20,135 rubles; Vereshchagin collection – 188,245 rubles. 18The ways in which Pavel Tretyakov’s art collection was formed were varied, which largely determined its unusual sociocultural geography. The main and best part of her collection - portraits of contemporaries, creative figures, landscape, historical and genre paintings - was acquired by P.M. Tretyakov from the artists of St. Petersburg and Moscow. In 1892, he donated his entire art collection to Moscow (1,287 paintings, 518 graphics, 9 sculptures) along with the collection of Sergei Mikhailovich, as well as significant funds for the purchase of new paintings. The entire Tretyakov collection was then valued at 1,428,929 rubles, and the foreign department at 520,520 rubles. In total, the Tretyakov brothers donated paintings worth 1,949,446 rubles. 19, 125 thousand rubles. 100 thousand rubles were allocated for the purchase, using interest from this amount, of artistic, painting and sculpture works. - for the renovation of the gallery with the consumption of interest. The era and those large-scale transformations that were due to time could not but influence the direction of the Tretyakovs’ socio-cultural activities, could not but make adjustments to the matter of determining the direction of collector’s interests, as well as to the matter of determining priority areas collecting. Middle and second half of the 19th century. became the time of formalization of collecting interests and collecting activities among representatives of domestic merchant and business dynasties (A.A. Bakhrushin, A.P. Bakhrushin, D.P. Botkin, M.P. Botkin, D.G. Burylin, V.A. Kokorev, I.P. Sveshnikov, K.T. Soldatenkov, F.I. Pryanishnikov, I.E. Tsvetkov, G.I. Khludov, P.I. Shchukin, etc.) along with the activation of all other areas of their sociocultural activities. The merchant class at this time clearly intensified its position in the public, social and cultural life of society, tried to keep up with the times and invested significant material resources in the development of cultural institutions, in various sociocultural endeavors and innovations, often becoming the initiator and developer of many social and cultural projects .Being representatives of the merchant class and having the appropriate education and significant financial resources, the Tretyakovs, of course, could not stay away from such manifestations of sociocultural activity, and they chose gathering and collecting as one of the priority areas of their activity in the social and cultural sphere. Of no small importance in this case was the fact that at that time in Russia, and in particular in Moscow, there was no publicly accessible national art gallery or museum. Funds received in the process of commercial, industrial and entrepreneurial activities were invested in artistic values, which then became available to the general public and, in a new capacity, were returned to society “in some useful institutions,” according to P.M. Tretyakov: in the form of museums, art collections and galleries, various collections, libraries. Investing in the formation of painting collections and collections can simultaneously be considered as the realization of the desire to provide assistance to representatives of the domestic art school. In this case, the collector acted as a guarantor of some financial stability for artists, many of whom were in need of material support and livelihood. Sometimes there was even a struggle between collectors of artistic values for highly artistic works on the art market. It was prestigious to own such works; they became an adornment to any collection and gallery, testifying to the artistic tastes and passions of their owners. Representatives of the Russian business world were characterized by such multifunctionality in the socio-economic and socio-cultural spheres. Here, too, the Tretyakov brothers kept pace with the times, trying to realize as fully as possible their capabilities in the field of cultural development of the country, the formation of educational and cultural institutions and institutions, in the development of domestic art and the preservation of historical and cultural heritage, in the education of the Russian public. Acquaintance and close communication with many Russian artists and cultural figures allowed P.M. Tretyakov to have works by the best masters in his collection, and also made it possible to form the most complete portrait gallery of his contemporaries and preserve it unchanged for posterity. The collection of the Tretyakov Gallery also reflected the most complete reflection of the development of the national art school of the second half of the 19th century. The collection donated to the city by the Tretyakov brothers formed the basis for the development of one of the largest art museums in Russia. According to the spiritual will of September 6, 1896 and other documents, the Tretyakovs donated to the city many houses, almshouses, shelters, schools, mansions, which could form a separate Moscow street - such as, for example, Ilyinka or Nikolskaya. The Tretyakov brothers were the only Russian merchant dynasties to leave an entire street to the capital - Tretyakovsky Proezd with a house on Nikolskaya. In 1897, Pavel Mikhailovich Tretyakov, “as a token of gratitude,” was awarded the title of honorary citizen of the city of Moscow, as “who donated an art gallery and the real estate in which it is located to the named city, and continues to contribute with his donations to the further enrichment of this gallery” 20. Only according to the sources identified so far, the contribution of the Tretyakov brothers and their parents to the development of Russian culture and charity amounted to more than 4.2 million rubles.
According to estimates of the Moscow City Duma, the contribution of the Tretyakov brothers to charitable and cultural projects amounted to more than 2 million rubles. silver (7 million rubles) 21.
Taking into account the contribution of all members and relatives of the family, the investments were, of course, even more significant. The traditions of active socio-cultural activities laid down by the Tretyakov brothers were continued by their relatives and descendants. In particular, the son of Sergei Mikhailovich Tretyakov Nikolai was the secretary of the Moscow Society of Art Lovers 22 and took part in performances of the Society of Art and Literature. The closest relatives of the Tretyakov brothers - representatives of the Botkin, Mamontov, Kaminsky, Alekseev, Yakunchikov, and Gritsenko families - also left their mark on the cultural life of the country. In order to create a larger picture of the socio-economic and socio-cultural activities of the brothers and the entire Tretyakov family and to more fully assess their contribution to the development of national culture, further detailed research into the problem posed is required. 1 RGIA. F. 468. Op. 42. D. 1740. L. 8. 2 Ulyanova G.N. Charity of Moscow entrepreneurs, 1860–1914. M., 1999. P. 472. 3 RGIA. F. 468. Op. 42. D. 1740. 4 Ibid. L. 8 rev. 5 Address-calendar of the city of Moscow for 1889 Art. 176. M., 1889. 6 Ulyanova G.N. Decree. op. P. 471. 7 RGIA. F. 468. Op. 42. D. 1740. L. 4 vol. 8 Ibid. L. 5 vol. 9 Ibid. L. 13, 13 vol. 10 Ulyanova G.N. Decree. op. pp. 470–471. 11 Ibid. P. 469. 12 RGIA. F. 789. Op. 12. D. 674. 13 Ulyanova G.N. Decree. op. P. 470. 14 RGIA. F. 613. Op. 1. D. 103. L. 141 vol. 15 Ulyanova G.N. Decree. op. pp. 468–469. 16 Ibid. P. 469. 17 RGIA. F. 1152. T. 9. 1879. D. 413. 18 Botkina A.P. Pavel Mikhailovich Tretyakov in life and art. M., 1993. P. 270. 19 Ezhov N.M.. Pavel Mikhailovich Tretyakov: Dokl. Secretary of Moscow Island of Art Lovers, December 11, 1908, p. 5. 20 RGIA. F. 1284. Op. 241. D. 162. L. 28. 21 Ibid. F. 468. Op. 42. D. 1740. L. 6. 22 Address-calendar of the city of Moscow for 1889. M., 1889. Art. 550.