PAVEL AND SERGEY TRETYAKOV -
BENEFICIARIES, PATRONS,
COLLECTORS, PUBLIC FIGURES

Among the well-known philanthropists and collector-entrepreneurs of the XIX 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, having presented Moscow with an excellent art collection, creating a public art gallery and opening a new stage in the development of art collecting traditions in Russia. The theme 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 Russian historians and art historians. However, a full-scale study on this topic has not yet been created, and new archival and reference materials allow, to a certain extent, to expand the boundaries of the research plot.

The Tretyakov family, ranked among the flower of the Moscow merchants, 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 socio-cultural practice - participation in many social and cultural undertakings and projects, charity, patronage, cultural initiatives, various public events and other activities.

Five generations of the family, starting with the great-grandfather, Yelisey Martynovich Tretyakov, who belonged to the old merchant family 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 in 1866 the Big Kostroma Linen Manufactory. 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. The income received from trading activities and industrial enterprises allowed the brothers Pavel and Sergei Tretyakov to carry out extensive charitable and patronage activities throughout their lives, to take part in the implementation of a number of socio-cultural projects of their time. A significant part of the fortune of the Tretyakov family was invested in the development of national culture - the formation of art collections, the foundation of a gallery, the opening of educational and charitable institutions.

The Tretyakov brothers left a noticeable mark in the social life of their native city. Sergei Mikhailovich was the thirty-ninth mayor of Moscow. “The five years that I spent in the position of mayor from his approval on January 21, 1877 to leaving this position on November 24, 1881, are closely connected with the history of Moscow’s internal growth and are marked by outstanding personal merits ... in relation to the city, which he headed stood." He was also a member of the Moscow City Duma (1866-1892), an elected member of the Moscow merchant class. The public service of Sergei Tretyakov began in 1866, when he was appointed district trustee for the Yakiman part of Moscow. Then he became a member of the city council.

Much has been done for Moscow during his tenure as mayor. The amount of spending on education increased from 230 thousand rubles. (4.9% of the cost 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 thought was donated by the thought acquired from the Ministry of Finance, through the personal efforts of Sergei Mikhailovich Tretyakov, city land of 2,000 square meters. soot under the former Kolymazhny yard and allocated an annual expense of 28,000 rubles. for the maintenance of a real school. Sergei Mikhailovich was especially concerned about the improvement of the city. During his presidency in the Duma, a third of the driveways were paved, drainage and stone drains were laid in many areas of the city, "the arrangement of gardens and boulevards received even more extensive development." In five years, several miles of new boulevards were built: on the Maiden's Field, on the sides of the road to Sokolniki and at the Alexander barracks, Catherine's Park and vast squares - Samotechny, Apple and the square of the Cathedral of Christ the Savior were built. In 1877–1882 surveys were carried out, which served as material for the preparation of 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 have become exemplary for similar institutions of the Red Cross. This was the merit of Sergei Mikhailovich, who showed excellent organizational skills. “Along with these public donations for the war, another patriotic donation from private individuals should be mentioned, the initiative of which was undertaken with a generous hand by the then mayor.” To raise funds for military needs, a Slavic Committee was created, headed by a well-known public figure. The Tretyakov brothers personally contributed significant funds to the committee.

At 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 project of Kaminsky's son-in-law, the husband of their other sister, Sofya Mikhailovna. In 1880 he was the organizer of the celebrations on the occasion of the opening of the monument, where he delivered a speech and handed over the monument from the Duma to the city. Being an enterprising and professional entrepreneur, Sergei Mikhailovich developed a clear program for the reorganization of city affairs with the help of loans and the construction of his own enterprises and proposed it to the city duma. However, the program did not receive the support of the Duma's vowels.

Having retired, Sergei Tretyakov did not leave active social activity 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), 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 Manufactories. 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 almshouse of the Solodovnikov brothers (1876–1877), Moscow petty-bourgeois schools (1862–1877), the Tagansky city primary school for women, a member of the Sushchevsky district guardianship of the poor of the 2nd district, an honorary member of the council Moscow Commercial School, a member of the board of the Alexander III Hospital, a member of the commission of the widow's fund for persons belonging to the Moscow merchants, the chairman of the commission on revising the rules for distributing benefits to the poor and dowries for poor brides and benefactor of the Arnold-Tretyakov School of the Deaf and Dumb. 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 rubles. to the Moscow City Council "five percent, one of the Eastern loans, tickets", so that "the interest on them was used from 25,000 rubles. on scholarships 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 rubles. for one scholarship in my name at Moscow University; from 10,000 rubles. to help needy students of 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, pencil corrections were made by his hand in the direction of adding the amounts allocated for scholarships. Tretyakov, the vowel of the Moscow City Duma (1893-1896) Nikolai Sergeevich Tretyakov, wanting to fulfill exactly the will of his father, asked to increase the amount "according to the notes" and submitted a corresponding application to the Duma. The amounts increased as follows: “1) instead of 15,000 rubles. The Council of the Arnold School for the Deaf and Dumb is twenty thousand; 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 petty-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 acquisition of new works of art, one hundred and twenty-five thousand. In addition, new appointments have been added: 1) ten thousand rubles to the Committee of the Society of Art Lovers for the auxiliary fund of the Society and 2) two churches: one, where he will be buried, and another parish - ten thousand rubles. In July 1893, at the request of the Moscow City Duma, it was approved by the Moscow City Administration at the Moscow School of Painting, Sculpture and architecture scholarship in his name. The amount of the scholarship was 1 thousand rubles. and allocated to one student in each biennium. 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, a gallery building, the purchase of paintings for the gallery, and scholarships and student benefits. In 1891, he allocated 10 thousand rubles. to the emirates' cash desk of employees of the city government. In 1889, together with their brother Pavel Mikhailovich, they donated 3,000 rubles. for the charity of the mentally ill at the initiative of the mayor.

Sergei Mikhailovich was known in public circles and as a collector, he was engaged in collecting Western European paintings. According to his will, he gave the capital a collection of paintings, funds for the purchase of paintings and his part of the house in Lavrushinsky Lane for the gallery. In 1892, also under the will, 125 thousand rubles were transferred to them. to purchase artwork for the gallery.

The public activity of Pavel Mikhailovich was also associated with the Moscow City Duma, where he was a public speaker. 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 Society of Mutual Credit, was elected 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, was a member of the Committee for Assistance to the Families of the 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 board.

From 1893, Pavel Mikhailovich was a full member of the Imperial Academy of Arts, where from 1868 he was a free member. 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 and Dumb since its inception. Later, his wife, Vera Nikolaevna, also joined the council. Here she dealt with the organization of training in crafts in the women's department, already having some experience in patronage activities 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 a 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 with canteens and apartments. In general, lifetime investments and funds allocated by him under the will for the development of the school amounted to 340 thousand rubles.

Pavel Mikhailovich, like his elder 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 in petty-bourgeois schools. The scholarships were in the name of the son-in-law and co-owner of the company, the Tretyakov brothers, and were established in 1893. Five scholarships were established in petty-bourgeois schools in 1900 from funds allocated by will in 1898.

According to his will, he contributed funds to the councils of educational institutions, the interest from which was used for scholarships for students and students: Moscow University, Moscow Conservatory, Moscow Commercial School, Alexander 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 construction of men's and women's almshouses in the amount for which there will be sufficient capital for the arrangement and maintenance of the detainees." In 1900, according to a spiritual will, 600 thousand rubles were sent to the Moscow merchant society for the arrangement of women's and men's almshouses, in 1901, according to a spiritual will, the remainder in the amount of 288,004 rubles. and in 1903 an inheritance debt in the amount of 103,356 rubles. from the partnership of the Novokostroma linen manufactory and 2,398 rubles. from the sale of shares for the maintenance of women's and men's almshouses. The construction of the almshouse began in the summer of 1904 and was completed by the end of 1906.
An institution for one hundred places was opened in November 1907. “By the decision of the meeting of the elected 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 for the militia and other purposes. June 12, 1858 The House of the Moscow City Society sends a certificate stating that Pavel Mikhailovich Tretyakov was awarded a bronze medal in memory of the past war of 1853-1856. for participating in donations for military needs, granted to be worn in the buttonhole on the Anninsky ribbon. In 1856, in memory of the military events of 1853-1856. Sergei Mikhailovich was awarded a bronze medal on the Anninsky ribbon.

Donations for charitable purposes came from Pavel Tretyakov and to the Moscow City Public Administration. In 1889, together with his brother Sergei Mikhailovich, they allocated 3 thousand rubles. for the charity 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 arrangement of work for the poor in the city workhouse - 2 thousand rubles. (contribution together with his wife in favor of the workhouse detainees). In 1898, according to a spiritual will, he allocated 150 thousand rubles. taking into account interest for the device and maintenance of the house in Lavrushinsky Lane of the "former Krylov" free apartments for widows and orphans of Russian artists. In 1909, the Commission allocated 95 thousand rubles for the device. for construction and equipment and 130 thousand rubles. for the upkeep 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 life use of his son, Mikhail. The Moscow City Duma decided to use the capital to set up and maintain a shelter for the feeble-minded. The construction of a two-story building was carried out in 1914–1915. But in 1916, work was suspended due to wartime difficulties. The shelter was determined by the name of the donor -.

In 1886, the Tretyakovs donated 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 5,000 rubles to the Auxiliary Society of the Moscow merchant class for the compilation of inviolable capital. In 1894, 10,000 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 activity was not limited only to the space of the capital center, it also extended to the provinces. An orphanage, a hospital, a kindergarten, and a school were built at the Big Kostroma Linen Manufactory.

Pavel Mikhailovich invested in various socio-cultural 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 to the almshouse with funds bequeathed. The orphanage was built with bequeathed funds. One of the buildings of the shelter bore the name, as 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 on the adjacent territory for the construction of clergy premises.

The basis of the charitable activities of Pavel Mikhailovich was collecting works of Russian art and formation of an art gallery. In his collecting and charitable activities, he relied on the philanthropic idea "... to make money so that what is acquired from society would also return to society in some useful institutions." Buying works by Russian artists or ordering them to perform various works, Pavel Tretyakov supported the national art school and culture. The cost of acquiring works of art by years 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.

Pavel Tretyakov's art collection was formed in various ways, which largely determined its unusual socio-cultural geography. The main and best part of her collection - portraits of contemporaries, artists, landscape, historical and genre painting - was purchased from artists in St. Petersburg and Moscow.

In 1892, he donated to Moscow his entire art collection (1,287 paintings, 518 graphics, 9 sculptures) together 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 in the amount of 1,949,446 rubles, 125 thousand rubles. was allocated for the purchase of interest on this amount of artistic, pictorial and sculptural works, 100 thousand rubles. – for the repair of the gallery with the consumption of interest.

The era and those large-scale transformations that were due to time could not but have an impact on the direction of the Tretyakovs' sociocultural activities, could not but make their own adjustments in determining the direction of collecting interests, as well as in determining the priority areas of collecting. Middle and second half of the 19th century. became the time for the formation of collecting interests and collecting activities among representatives of domestic merchant and entrepreneurial dynasties (, , etc.), along with the activation of all other areas of their socio-cultural activities. The merchants at that time unambiguously stepped up their positions 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 socio-cultural undertakings 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 collecting 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. The 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, as it were, returned to society in a new quality “in some useful institutions”, according to: in the form of museums, art collections and galleries, various collections, libraries.

Investing in the formation of art collections and collections at the same time can be viewed as a realization of the desire to help representatives of the national art school. In this case, the collector acted as a guarantor of some financial stability for the artists, many of whom needed material support and livelihoods. For highly artistic works on the art market, sometimes even a struggle unfolded between collectors of art treasures. The possession of such works was prestigious, they became an adornment of any collection and gallery, testified to the artistic tastes and predilections 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 era, trying to fully realize their potential in the field of the country's cultural development, the formation of educational and cultural institutions and institutions, in the development of Russian 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 our 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 most fully reflects the development of the Russian art school in 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, orphanages, 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 brought the art gallery and the real estate in which it is located as a gift to the named city, and continues to contribute to the further enrichment of this gallery with his donations."

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 the 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).
Given the contribution of all members and relatives of the family, the investment was certainly even more significant.

The traditions of active socio-cultural 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, took part in the performances of the Society of Art and Literature. The closest relatives of the Tretyakov brothers - representatives of the Botkin, Mamontov, Kaminsky, Alekseev, Yakunchikov, 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 study of the problem posed is required.

RGIA. F. 468. Op. 42. D. 1740. L. 8.

Charity of Moscow Entrepreneurs, 1860-1914. M., 1999. S. 472.

RGIA. F. 468. Op. 42. D. 1740.

There. L. 8 about.

Address-calendar of the city of Moscow for 1889. Art. 176. M., 1889.

Decree. op. S. 471.

RGIA. F. 468. Op. 42. D. 1740. L. 4 rev.

There. L. 5 about.

There. L. 13, 13v.

Decree. op. pp. 470–471.

There. S. 469.

RGIA. F. 789. Op. 12. D. 674.

Decree. op. S. 470.

RGIA. F. 613. Op. 1. D. 103. L. 141v.

Decree. op. pp. 468–469.

There. S. 469.

RGIA. F. 1152. T.D. 413.

Pavel Mikhailovich Tretyakov in life and art. M., 1993. S. 270.

. Pavel Mikhailovich Tretyakov: Dokl. Secretary of the Moscow islands of art lovers, December 11, 1908, p. 5.

RGIA. F. 1284. Op. 241. D. 162. L. 28.

There. F. 468. Op. 42. D. 1740. L. 6.

Address-calendar of the city of Moscow for 1889. M., 1889. Art. 550.

Portrait of P. Tretyakov. I. Repin. 1883.

We are all familiar with this name since childhood. But somehow little is said about Pavel Tretyakov as an ordinary person, and not only as the founder of the Tretyakov Gallery.
Before telling what kind of person he was, it is still necessary to say about the most important thing that he did for Russia.

Pavel Mikhailovich Tretyakov - a merchant-entrepreneur, philanthropist, collector of works of domestic fine art, was born in Moscow on December 15, 1832 in a hereditary merchant family.

When the family got rich (the brothers Pavel and Sergey were engaged in linen manufactory), they began to buy up paintings. And already in 1854, Tretyakov bought 10 paintings by old Dutch masters, painted in pure oil. From that time on, Pavel Mikhailovich firmly decided not to pay attention to fashion anymore and buy only what "the soul will lie on." Since that time, Pavel Tretyakov began to buy almost exclusively the creations of Russian artists. The younger brother Sergei was mainly engaged in the affairs of the company, and the older one went headlong into his gallery.

Contemporaries considered Pavel Mikhailovich "quiet and mysterious": a merchant - but he does not like pickles, from year to year cabbage soup and porridge for lunch. He is rich - but he does not recognize trips, no balls, masquerades, comradely feasts, cards at the table. The only "luxury" he delivered to himself was a cigar a day. He spent his whole life in a frock coat of the same cut. Time painted, like a pedant, by the minute. From youth until the last hour - got up at six in the morning, went to bed at half past one at night. And in the portraits the face is beautiful, but too strict.

Here is Sergey, the younger brother, completely different. Cheerful, mischievous, dandy - his father gave him a scolding for high heels! Pavel Mikhailovich was quiet, but no one had ever managed to lead him astray from what he considered right.
The collection grew, and even the wife of Pavel Mikhailovich, Vera Nikolaevna, nee 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 all the household "in a black body."

In his letter to his daughter Alexandra, he explained his stinginess as follows:
“Money is not a good thing, causing abnormal relationships. It is obligatory for parents to give their children upbringing and education, and it is not at all necessary to provide for them ... My idea was to make money from a very young age so that what was acquired from society would also return 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, a cousin of the famous philanthropist Savva Ivanovich Mamontov. It was the beginning of a long happy family life.

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, his father's hope, died of scarlet fever complicated by meningitis. There was no limit to the grief of Pavel Mikhailovich.
Tretyakov's daughter Alexandra recalled: “Since that time, the character of my father has changed a lot. He became sullen and silent. And only the grandchildren made the former affection appear in his eyes.

Everyone in the family loved each other. Many years later, recalling those days, Vera Pavlovna, the eldest of her daughters, will write in her memoirs: “If childhood can really be happy, then my childhood was like that. That trust, that harmony between beloved people 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 with all my heart that I happened to make you happy, however, children have a big fault here: without them there would be no complete happiness!”

Tretyakov adhered to traditional views on the upbringing of 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. Already at the end of his life, admiring the beauties of nature in the Pyrenees, he wrote to his wife: "Again I felt that it is worth living to see and enjoy this supreme pleasure."

Both Pavel Mikhailovich and Vera Nikolaevna were people who subtly felt 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. Lyubov Pavlovna, during the life of her father, with his blessing, married the artist N.N. Gritsenko.

Two other daughters married the Botkin brothers, sons of the famous clinician Sergei Petrovich Botkin (1832–1889). Alexandra - for the doctor and collector Sergei Sergeyevich Botkin, Maria - for the sailor, doctor, inventor, traveler Alexander Sergeyevich Botkin.

In August 1892, Pavel Mikhailovich donated his art gallery to Moscow. By that time, the collection included 1287 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 the city dear to me, to promote the flourishing of the arts in Russia and at the same time to preserve the collection I have collected for eternity,” Tretyakov wrote to the Moscow City Duma, “now I bring as a gift ... my entire art gallery with all works of art.
Having transferred the gallery to his native city, making it the property of all of Russia, Pavel Mikhailovich continued to replenish its collection as before. Every year he donated dozens of paintings, drawings, sketches to the gallery.

For example, in the first year he replenished the collection with thirty paintings, twelve drawings and a marble statue of M. M. Antokolsky "Christian Martyr". Tretyakov gave 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 appeared, he approached one or the other picture, peered intently, lovingly at them, taking out a scarf from his frock coat, folded it into a “ball”, carefully wiped off the dust seen in the picture, walked on, said something to two attendants 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 parents and other relatives of the Tretyakovs at the Danilovsky cemetery were restored, thanks to the P.M. Tretyakov.
In his obituary on the death of the great ascetic of Russian art, a major manufacturer and outstanding patron of the arts, V. V. Stasov wrote: “Tretyakov died famous not only throughout Russia, but throughout Europe. Whether a person arrives in Moscow from Arkhangelsk or from Astrakhan, from the Crimea, from the Caucasus or from the Amur - he immediately appoints himself a day and an hour when he needs, by all means, to 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 did not get a completely complete story about this wonderful person. But I wanted to understand him as a person. After all, most of our actions are laid down in our family, in our environment.

We leave our footprints on the earth.
Words, thoughts, deeds, poems...
When completely unbearable and a step away from trouble,
Our angels save us with wings-arms.

Traces, believe me, do not disappear into nowhere.
They are the deeds and the meaning of the life lived.
They are written down, stored in the eternal book of life.
There it is taken into account from birth to feast.

For the essence of the traces, we are waiting for retribution or a reward.
It all depends on how you lived your life.
The traces of some descendants will be delighted to madness.
And they will say about others: "I only inherited in vain. (T. Nenchina)

http://maxpark.com/community/6782/content/1432308

• Antonovich Irina Vladimirovna, Candidate of Sciences, Associate Professor, Associate Professor
• Bocharova Anna Sergeevna, student
• Altai State University

• MAECENAS
• PRIVATE CHARITY
• DOMESTIC CULTURE
• dynasties
• CHARITY

This article presents an analysis of the history of the formation of private charitable activities in Russia. The motives and forms of manifestation of patronage activities are considered, as well as the significance of the charitable activities of outstanding patrons of Russia is assessed.

• Civil Society: Cartography of Russian Regions Based on the Results of FOM Polls 2007-2008
• Influence of volunteer activity of students of social work on the formation of a tolerant attitude towards people with special needs
• Child abuse in the family (on the example of the Altai Territory)

Our country has a great cultural heritage, both spiritual and material culture. A significant role in the formation of the national cultural fund, the replenishment of national art collections, the construction of theaters, museums, the creation of literary monuments, the development of science and education belongs to Russian patrons and public figures. Savva Ivanovich Mamontov, Savva Timofeevich Morozov, Kozma Terentyevich Soldatenkov, Nikolai Aleksandrovich Alekseev, Pavel Mikhailovich Tretyakov - these names of patrons and educators are inextricably linked with the history and development of our country. All of them were united by a passionate commitment to the cause of public education and cultural creation.

Today Russia is going through one of the difficult stages of its development. Now in our country there is a loss of moral and moral guidelines. Modern Russia needs a revival of spiritual traditions and there is a need to form new attitudes that would help the country embark on the path of progressive development. Based on this, it is relevant to study our historical heritage, to get acquainted with the biographies of those people who over the years have been examples of true patriotism, selflessness, the desire to help the motherland, and love for people.

Charity is a special form of social support, which consists in the gratuitous provision of material assistance to those in need. Needy does not mean only people living in need , but also people and public organizations that lack the means to solve various cultural, individual, civic and professional tasks.

Patronage is a type of charity in the field of culture. The word "philanthropist" comes from the name of the Roman statesman and patron of art and science Maecenas Gaius Cilnius (VIII century BC). Patronage in Russia has been widespread since the end of the 18th century.

This article discusses the activities of the most famous and major philanthropists and patrons of the XVIII-XIX centuries.

Dmitry Mikhailovich Golitsyn (1721-1793)

Prince Dmitry Mikhailovich Golitsyn, a Russian officer and diplomat, was one of the most famous benefactors. He was among the first Russians who became interested in collecting paintings. During his travels in Europe, he managed to collect an amazing collection of 300 paintings, many of which were painted by famous masters such as P.P. Rubens, Raphael, Caravaggio and many other artists.

In memory of his wife (after her death in 1761), Dmitry Mikhailovich took up the organization of hospitals in Europe and Russia, donated money to support young doctors and medical students, as well as research in the field of medicine.

Golitsyn bequeathed 850 thousand rubles and his art gallery for the arrangement and maintenance of the Golitsyn hospital, which was opened in Moscow in 1802 as a "hospital for the poor." Now it is the Golitsyn building of the First City Clinical Hospital.

Morozov dynasty

Timofey Savvich (1823-1889) and his wife Maria Fedorovna (1830-1911) Morozovs

Timofey Savvich Morozov - manufactory-adviser, merchant.

It is from these people that the charitable activities of the Morozov family originate. Initially, it was associated with the improvement of the workers of their manufactories. Schools, colleges, hospitals, hostels for workers were built at each manufactory.

Accumulating their capital, these benefactors willingly shared it with the poor and beggars, donated large sums of money to many societies and institutions. With their help, for example, the largest and most famous psychiatric hospital in Moscow, Alekseevskaya, was built.

Maria Feodorovna was known for her charitable deeds both in secular society and in the religious world. After the death of her husband, she built an almshouse named after him in the city of Orekhovo-Zuyevo, putting 500 thousand rubles on her account, on the percentage of which the almshouse could exist. The philanthropist donated money to Moscow University, the Moscow Technical School, allocated money for scholarships, laboratories. Hospitals, buildings, labor exchanges in Moscow, several houses for the poor were built with her funds.

Savva Timofeevich Morozov (1862-1905)

S.T. Morozov - Russian philanthropist and philanthropist, son of Timofey Savvich Morozov.

He played a great role in the development of national culture. His greatest merit lies in helping the Moscow Art Theater. The establishment of the theater required significant funds. Having received no help from the government, Stanislavsky and Nemirovich-Danchenko began to turn to patrons. Morozov took all the expenses of the theater on himself.

Mikhail Abramovich (1870-1903) and Ivan Abramovich (1871-1921) Morozov made a significant contribution to the cause of charity, helping the development of medicine, culture, and science.

Bakhrushin dynasty

Alexey Fedorovich Bakhrushin (1800-1848) - founder of the partnership of manufactories, manufacturer.

He actively invested, first of all, in medicine, culture and social construction of Moscow. At the end of each financial year, most of the profits were donated to charity.

Bakhrushins first built the first building of the hospital for the chronically ill (1887), which was well equipped with equipment and technology. Then a second building was built for the terminally ill. A surgical building, an obstetric department and an outpatient clinic were built. About 1 million rubles were spent on all this.

The next thing that was built by the Bakhrushins was the Orphanage. There were 5 houses where 20-25 children lived. Moreover, not peers lived in the houses, but children of different ages, so that the elders could help and take care of the younger ones. In this orphanage, all the boys received a vocational education. For this purpose, an educational building with craft and locksmith workshops was built on the territory of the shelter. Later, a church was built on the territory of the shelter.

Aleksey Fedorovich had three sons, whom he ordered “not to refuse help to anyone and not to wait for someone to turn to them, but to be the first to offer it to those in need. You knew the need with me together, know how to respect it in others.

In 1895 eldest son Peter died. In memory of his soul, the House of Free Apartments was erected for young ladies who came to Moscow to receive higher education, and for poor widows with many children. More than 400 people lived there. For children, everything was free there: punching, food, all levels of education, treatment, etc.

In 1900 Bakhrushin brothers Alexander and Vasily were given the title of Honorary Hereditary Citizen of Moscow. 6 schools, 8 churches, 3 theaters, in total more than 100 buildings were built by the Bakhrushins. In addition, they constantly donated money to the People's Houses. Another example of the charitable activities of the Bakhrushins is in 1914. Vasily Fedorovich transferred absolutely all his capital to the needs of the front.

In the third generation, the Bakhrushins were glorified by Alexei Petrovich and Alexei Alexandrovich, who were both passionate collectors and left unsurpassed collections to their descendants.

Elder brother Alexei Petrovich (1853-1904) collected very valuable antiques, such as snuff boxes, miniatures, engravings, porcelain dishes, jewelry, books, jewelry and much more. He bequeathed everything to the last thing to the museums of Moscow.

Aleksey Aleksandrovich (1865-1929), influenced by his cousin, also became a collector. But he chose a rather original direction of collecting. Posters, programs of performances, photo portraits of actors, sketches of costumes, personal belongings of artists, their costumes - all this became the area of ​​​​Bakhrushin's interests. He became the founder of the Moscow Literary and Theater Museum. This entire collection was donated to the Academy of Sciences.

Savva Ivanovich Mamontov (1841-1918)

S.I. Mamontov - sculptor, singer, writer, successful industrialist who continued his father's work and built railways, also Savva Ivanovich is the progenitor of Russian opera and painting.

He organized an informal association of artists in Moscow, gathering around him the best representatives of Russian art, such as V.M. Vasnetsov, V.A. Serov, Polenov, Nesterov, Repin, M.A. Vrubel and many others. Savva Ivanovich helped people of art, saving them from solving everyday issues, allowing them to devote themselves entirely to creativity.

Savva Ivanovich created the first private opera in Russia in 1885. The idea was to promote on the stage the works of Russian opera composers, who at that time were not at all quoted not only abroad but also in Russia. Thus, the goal was to increase the popularity of Russian composers and singers.

But, unfortunately, in the 1890s, Savva Mamontov was ruined and arrested. The property of Savva Ivanovich was almost completely sold out.

Pavel Mikhailovich Tretyakov (1832-1898)

In the first half of the 1850s, he inherited his father's business, developed operations for the purchase of flax, its processing and the sale of textiles. In 1860, together with his brother S.M. Tretyakov and son-in-law V.D. Konshin founded the trading house "P. and S. br. Tretyakovs and V.D. Konshin", in 1866 - the Partnership of the New Kostroma Linen Manufactory.

Being engaged in charity, the Tretyakov brothers allocate funds to Moscow for the construction of almshouses and hospitals. They give money for the construction of the Children's Psychiatric Hospital. Hundreds of young people and girls receive education at the expense of the Tretyakovs. Among other charitable deeds of Pavel Sergeevich was that he provided financial support for the research expedition of N.N.Miklukho-Maclay.

In the 1880s, the Tretyakov Brothers took part in raising money for the construction of an Orthodox church in Japan. Their range of charitable deeds was extremely wide and varied.

In the 1860s, the first specialized school for deaf and dumb children appeared in Moscow. Pavel Mikhailovich heads his board of trustees and sponsors the activities of this institution. Since 1863 and until his death, Tretyakov annually financed not only the activities of this school, but also the construction of new buildings. In addition, he participated in the life of this institution, often visited it, took exams from students, and communicated with children. Children in the school were provided with free shelter, clothes, food, they were taught basic communication skills, they were taught to speak, they were taught to read and write.

The main work of the life of Pavel Mikhailovich Tretyakov was the creation of the National Art Gallery. The patron began to collect his collection in 1854. He began to collect mainly Russian paintings. Tretyakov dreamed of creating a gallery in which the works of Russian masters would be presented. Since 1881 his gallery became public. The Tretyakov Gallery has become one of the attractions of the capital.

In August 1892, Tretyakov donated his collection and mansion to Moscow. By that time, his collection included many paintings and drawings of the Western European school, paintings and graphic works of the Russian school, several sculptures and collections of icons.

Kozma Terentyevich Soldatenkov (1818-1901)

K. T. Soldatenkov is a Moscow businessman, Old Believer, philanthropist and philanthropist.

While traveling in Europe, he studied European culture and art. Since the 1940s, he sent to collect his personal library, looking for the best books on science, literature and art in general. A few years later, Kozma Terentyevich organized his own publishing house. Thanks to this, many scientific and philosophical works are published for the first time, and a lot of foreign translated literature is published. Soldatenkov keeps only 5% of the annual profit for himself, and the main income goes to publishing new books.

From 1856-1901 The publishing house has published more than 200 books. Many books were published for the first time and once. Thus, already with this Soldatenkov made an invaluable contribution to Russian culture.

All this publishing was charity, since the publishing house had a non-profit store where people could buy published literature at very low prices.

Kozma Terentyevich was the first to start collecting Russian paintings. His collection was the second largest after the Tretyakov Gallery.

In addition, Soldatenkov helped many educational institutions and museums. With his money, Europe's largest charitable hospital for the poor was built.

He left almost all of his eight millionth fortune for the needs of charity. For example, he bequeathed several million for the construction of a hospital for the poor, which became the largest at that time in Moscow. Kozma Terentyevich also founded an almshouse, which he kept until the end of his life, and bequeathed a large amount of money to this institution. He left a lot of money for the creation of the Trade School, where young men were trained to work precisely in Moscow factories and plants. The entire collection of books, newspapers, magazines, icons and curtains of Soldatenkov also went to museums and libraries and the cathedral, where he was subsequently buried.

Demidov dynasty

The Demidovs are Russian entrepreneurs and philanthropists.

The Demidovs spent very large sums of money on charity.

Nikita Akinfievich Demidov (1724-1789) gave great support to the Moscow State University. This was assistance in construction, the payment of allowances to young professors, scholarships for poor students, as well as the transfer of part of the collection of Nikita Akinfievich to the ownership of the university.

At the end of the XVIII century. The first Orphanage appears in Moscow. Prokofy Akinfievich Demidov (1710-1786), who donated more than 1 million silver rubles, stood at the origins of its creation.

Stroganov dynasty

The Stroganovs are a family of Russian merchants and industrialists, large landowners and statesmen.

More specifically, the charitable assistance of the Stroganov family can be traced back to the 19th century. For the period from 1816 to 1830, there is archival information on Pavel Alexandrovich (1774-1817) and Sofya Vladimirovna (1775-1845) Stroganov. Their contributions to charity and charitable assistance ranged from 1.8 to 6.4% of all their expenses.

Pavel Alexandrovich donated to the poor in retirement, the maintenance of pupils in educational institutions, various charitable donations, lump sums, and more.

Sofya Vladimirovna made donations to the Patriotic Women's Society, distributed alms to the poor, donated pensions to various people, for the maintenance of the mining school and hospital, and much more.

In the archival documents of the Stroganovs for the 1st quarter of 1866 there is an entry: "for helping the poor" of the St. Petersburg part of the city of St. Petersburg: income - 745 rubles, expenditure - 738 rubles. Of these: apartment distributions - 360 rubles, one-time cash assistance - 68 rubles, "for Christmas" - 59 rubles, "for bread given to one old woman" - 1 ruble, to the "patriotic girls' school" - 2 rubles.

The report for the 2nd quarter contains an entry that the Stroganovs had 78 poor families in their care, of which 15 families paid an apartment for 26 rubles 50 kopecks per month, which amounted to 318 rubles. In addition, six families were fully paid for their apartments.

By the beginning of the First World War, a dressing station was organized by Count A.S. Stroganov. From the explanatory note to the expenses of Count A.S. Stroganov for 1905 - 1914, one can see that the total amount of payments to the state amounted to 8.1 million rubles. Of these, 210,178 rubles were spent on pensions and benefits, and 1,677,115 rubles were spent on the "purchase of the Rus" cruiser. Of the total amount of its expenses, this amounted to 23.1%.

The charitable traditions of the representatives of the Stroganov dynasty were brought up and passed down from generation to generation. They made a great patriotic contribution to the support of the state, moral development and social assistance to needy compatriots.

In conclusion, I would like to say, whatever the motives of Russian benefactors and patrons, it was thanks to them that in Russia in the 18th-19th centuries. there have been significant positive changes in many areas of society, such as education, medicine, culture, the social sphere, etc. Today, many cultural and scientific institutions are not able to fully perform their functions due to insufficient funding. Hence the need for the revival of philanthropy and charity as social phenomena in Russia is brewing.

From the position of today, the activities of patrons of the XIX century. has wide historical significance. They were and are the personification of the best, bright sides of the human personality, since they saw more and felt more acutely than many of their contemporaries the needs of social development, to which they gave their strength, knowledge, mind and heart. And it is important not only to adequately evaluate the activities of such ascetics, but also to comprehend it in the context of the entire historical development.

Bibliography

1. Azernikova, N. The origins of charity in Russia // Questions of history. - 2010. - No. 6. - P. 159-165.
2. Bokhanov, A.N. Collectors and patrons in Russia / A.N. Bokhanov. - M: Nauka, 1989. - 192 p.
3. Historian - socio-political journal [Electronic Library]. – Access mode: http://www.historicus.ru/mecenatstvo_i_blagorvoritelnost/. - Patronage and charity in Russia in the late XIX - early XX century.
4. Kostina E. Yu. History of social work. Vladivostok: TIDOT FEGU, 2003. P.110
5. Sverdlova A.L. Patronage in Russia as a social phenomenon // Sociological research. 1999. No. 7. pp.134-137.

Russian merchants acquired and preserved priceless treasures of Russian and world culture for Russia, but time erased many names from the memory of their descendants. Alas, 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, orphanages, and institutes are all gifts from Moscow merchants to their native city. The historian M. Pogodin used 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, the name of Pavel Mikhailovich Tretyakov is in a special place: it is to him that we owe a unique collection of paintings stored in the famous Tretyakov Gallery. The merchant family of the Tretyakovs could not boast of special wealth, but Pavel Mikhailovich did not spare money for the purchase of paintings. For 42 years, he spent on them an impressive amount for those times - 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 canvases he acquired passed, according to his will, at the disposal 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 1362 paintings, 593 drawings and 15 sculptures. Art critic V. Stasov wrote about her: "The 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

Bakhrushins originated from the city of Zaraysk, they were engaged in leather and cloth business. Both in Zaraysk and in Moscow, the family donated large sums to those in need. In the capital, the Bakhrushins were called "professional philanthropists" whose "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, offered nobility, but proud merchants refused titles. Alexey Petrovich Bakhrushin was an avid collector, collecting Russian medals, porcelain, paintings, icons and old books. He bequeathed his collection to the Historical Museum, several museum halls were named after him. Alexei Petrovich's uncle, Alexei Alexandrovich Bakhrushin, collected everything related to the theater: old posters, programs, photographs of famous actors, stage costumes. On the basis of his collection in Moscow, in 1894, the world's only Theater Museum named after. Bakhrushin. It still operates today.

The Khludov family, who came from Yegorievsk, owned cotton factories and built railways. Alexey Ivanovich Khludov has 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 in translation 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 Edinoverie Monastery 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 at their own expense.

This dynasty gave Russia many talented people: industrialists, doctors, diplomats. Let us recall at least Pyotr Kononovich, the pioneer of tea business in Russia, or Sergei Petrovich, the famous Russian doctor. Many Botkins were collectors. For almost 50 years, Privy Councilor and artist Mikhail Petrovich has been collecting Western European paintings, terracotta figurines, Italian majolica of the 15th-17th centuries, as well as Russian enamel. 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.

Mammoth

The rich and populous merchant family of the Mamontovs "rose" in the wine farming industry. Fyodor Ivanovich at the end of the 18th century was known as a generous benefactor, for which he was awarded a posthumous monument from the grateful residents of Zvenigorod. However, the most prominent figure among the Mamontovs was Savva Ivanovich. Nature generously endowed him with talents: a singer (he studied in Italy), a sculptor, a theater director, a 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 to achieve recognition for Vrubel: he built a pavilion for the artist at his own expense and exhibited his paintings in it. The estate of Savva Ivanovich, Abramtsevo, has become a "shelter of tranquility, work and inspiration" for many talented artists and artists.

Morozov

The range of cultural activities of the Morozov dynasty is enormous: they were extremely talented people. Savva Timofeevich Morozov did a lot for the Moscow Art Theater. He was fascinated by the revolutionary movement, idolized Maxim Gorky. Savva's brother, Sergei Timofeevich, Moscow owes the creation of the Handicraft Museum. 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 its merits, was renamed the Museum of Folk Art. S.T. Morozov. Mikhail Abramovich Morozov collected Russian and French paintings from a young age, but, alas, he died at the age of 33. His collection was transferred to the Tretyakov Gallery. Ivan Abramovich Morozov was also a well-known 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 themselves by the Museum of Fine Arts. Pushkin and the Hermitage.

Representatives of the Shchukin family have preserved truly unique treasures for us. Peter Ivanovich was the largest collector of Russian antiquities. What was not 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 the Dutch painters Dmitry Ivanovich Shchukin are the pearl of the Pushkin Museum to this day. And in the paintings of the French impressionists, acquired by Sergei Ivanovich Shchukin, a whole generation of Russian avant-garde artists grew up. He had an amazing eye for talent. When Shchukin met Picasso in Paris, he was an unknown impoverished artist. But even then the astute Russian merchant said: "This is the future." For six years, Sergei Ivanovich sponsored Picasso, buying his paintings. Thanks to Shchukin, paintings by Monet, Matisse, Gauguin appeared in Russia - artists who were 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. In the late 1920s there was a rumor among Russian emigrants that Shchukin was demanding the return of his nationalized collection from the Bolsheviks. But Sergei Ivanovich refuted the speculation: “I collected not only and not so much for myself, but for my country and my people. Whatever may be on our land, my collections must remain there.”

Dmitry Kazyonnov