The State Hermitage Museum in St. Petersburg have announced plans to open a fashion museum in 2018. The new museum will present costumes of the Russian Imperial family dating from the 18th to early 20th centuries, which include dresses and gowns, uniforms, children’s clothes, and accessories from the vast collections of the Hermitage, as well as from private collections.
The creation of a fashion museum to be created in St. Petersburg is based on the success of two splendid exhibitions held at the State Hermitage Museum in the spring of 2014. At the Russian Imperial Court featuredmore than 250 costumes of members of the Russian Imperial family displayed in five halls. This exquisite exhibit was further enhanced by Servants of the Imperial Court, which showcased for the first time some 250 pieces of attire and accessories from the unique Hermitage collection of the livery wear of the Russian Court in the late 19th to early 20th centuries.
The permanent exhibition at the new fashion museum will be further supplemented with temporary exhibits showcasing the work of contemporary Russian designers, such as Tatiana Parfenov Lilies Kisselenko, Stas Lopatkin, among many others.
The creation of the Fashion Museum is Nina Tarasova, Head of the Sector of Applied Arts Department of the Russian Culture of the State Hermitage Museum. The location of the new museum has yet to be announced.
The former Imperial palace-museums at Tsarskoye Selo, Peterhof and Pavlovsk each retain magnificent examples of gowns, uniforms and other personal items of the Romanov emperors and empresses, beautifully preserved in their respective collections. Pavlovsk opened a Costume Museum several years back. It is located in the north wing of the palace, and features a rich collection of gowns, fans and purses belonging to the Dowager Empress Maria Feodorovna.
For more information on the costume exhibits held in 2014 at the State Hermitage Museum, please refer to the following links:
On This Day [17 February]: New Hermitage, Russia's First Public Art Museum Opens Topic: State Hermitage Museum
View of the New Hermitage from Millionnaya Ulitsa (Street), 1861. Watercolour by Luigi Premazzi
Note: this article has been edited from its original by Paul Gilbert @ Royal Russia
On 17 February ( O.S. 5 February), 1852 the grand opening of the New Hermitage took place in St. Petersburg. It was the first public art museum in Russia. For the first time in the nation's history a special building had been constructed for preservation and display of works of art.
The origin of the Hermitage collections started in 1764 when the Empress Catherine II acquired 255 pictures mostly of the Dutch and Flemish schools. Up to the middle of the 19th century these collections could be accessed only by a limited circle.
Following the example of European states, Emperor Nicholas I decided to create a new museum, accessible to the general public. The building was constructed from 1840 to 1851 according to the design of a Bavarian architect Leo von Klenze, and named the New Hermitage. It adjoined the buildings of Grand and Small Hermitage.
The New Hermitage was the first museum in Russia professionally designed with special exhibit facilities for certain collections which had been systemized according to scientific principles. For the masterpieces of ancient art, and for each national school of art: Italian, French, Dutch, Spanish, Flemish and Russian, separate halls were assigned.
Klenze, master of museum ensemble, scientist, archaeologist, painter, developed a project of the museum based on the experience of European museum building of 19th century. According to the project, the first floor was designed to accommodate antique collections, ancient and modern sculptures, the exhibition of drawings and engravings, as well as libraries. Designing the first floor halls Klenze used the techniques of ancient architecture: granite and marble colonnades, ornamental painting. Second-floor halls were assigned for display of paintings and decorative arts.
In 1851 were developed the "Guidelines on management of the museum”, which dealt with all aspects of the Hermitage activity: it defined staff list, methods of exposure, procedure for admission of visitors. In 1863, new staff members were approved, a director was appointed to head the museum. The first director of the Hermitage was S. L. Gedeonov; one of his decisions was the abolition of entrance tickets in 1866. Since then, the popularity of the museum had grown, so that by 1880 its attendance reached 50,000 people per year.
Experts Meet in St. Petersburg to Discuss New Museum of Heraldry Topic: State Hermitage Museum
The former Stock Exchange Building in St. Petersburg will house the new Museum of Heraldry
On 15 December 2015, as part of the 4th St Petersburg International Cultural Forum, a round table discussion was held in the State Hermitage on Heraldry as a Means of Communication. The Concept of a State Hermitage Museum of Heraldry in the Building of the Exchange. The moderators were Georgy Vadimovich Vilinbakhov, Deputy General Director of the State Hermitage for Research Work and State Herald Master, and Michel Popoff, President of the International Academy of Heraldry.
“Heraldry is a traditional field for the Hermitage. People studied heraldry here in the 19th century and in the 20th. The museum’s exhibition activities also have connections with heraldry,” Georgy Vilinbakhov said, opening the discussion. He stressed that the State Hermitage is “a centre of heraldic science”. Over the course of two centuries, the Hermitage has been a major centre of heraldic studies. In the mid-19th century, Bernhard Karl von Köhne, the author of Russia's heraldic reform of 1857, worked here. Sergei Nikolayevich Troinitsky (Director of the Hermitage 1918–27) was the publisher of the periodical Gerboved (Scholar of Arms) and on the commission for the state coat-of-arms and flag under the Provisional Government.
For over 30 years, the State Hermitage has hosted sessions of the heraldic seminar, an annual scholarly conference “Heraldry in Russia" and many other events. In recent years the Hermitage has held a whole number of exhibitions devoted to heraldry.
Georgy Vilinbakhov stressed that the actual idea of creating a unique museum complex – a Museum of Heraldry and Decorations – in the Exchange building is well founded: the Hermitage can present the history of the evolution of heraldic symbols across a very broad historical and geographical range. The display will include paintings, works of graphic art, porcelain, silver, numismatic items, books, banners, flags and uniforms – all the things that can illustrate heraldry in operation.
Ilya Yermolayev, a researcher with the State Hermitage’s “Arsenal” Department, acquainted the participants in the round table with the draft concept for the Museum of Heraldry and Decorations in the Exchange building in greater detail.
It is proposed to devote the first floor of the building to Russian heraldry. The southern suite of rooms on the second floor will be entirely devoted to the museum of decorations – the history of the development of the Russian system of state awards. The northern suite on the second floor will take the form of an excursus into the history of the development of heraldry worldwide. The northern suite on the third floor will be set aside for temporary exhibitions. The third floor will also contain a conference hall and library. The main space of the central hall will not be occupied by the display and this will provide one further unique possibility – to make use of it as a setting for ceremonies marking the Day of the Guards, the Day of the State Flag and Russia Day, for the formal presentation of state awards, and also for conferences, symposia, concerts and showings of films.
Participants in the discussion that arose in the course of the meeting were leading Russian specialists on heraldry as well as their colleagues from France (Pasturo Michel, Corresponding Member of the Academy of Inscriptions and Letters (2006), Member of the International Academy of Heraldry, Vice President of the French Society of Heraldry), Denmark (Niels Bartholdy, Member of the Bureau of the International Academy of Heraldry), Sweden (Stephen Rosen, Vice-Chancellor of the Chapter of the Royal Orders of Chivalry, Member of the Royal Academy), Canada (Robert Watt, Royal Society of Canada Heraldry, Bureau Member of the International Academy of Heraldry) and Belgium (Yuri Ostashkov, International Academy of Genealogy). They stressed the particular significance and importance of creating a museum of heraldry.
For more information on the Museum of Heraldry, please refer to the following articles:
State Hermitage Museum Confirms Plans for Museum of Heraldry in St. Petersburg Topic: State Hermitage Museum
The Museum of Heraldry will be housed in the former Stock Exchange Building on Vasilievsky Island in St. Petersburg by 2019
Specialists of the State Hermitage Museum have developed the concept of a new Museum of Heraldry, which is to be located in the former Stock Exchange Building on Vasilievsky Island in St. Petersburg. Preparations for the restoration and repair of the former Stock Exchange Building is expected to begin in December. George V. Vilinbakhov, Chairman of the Heraldic Council of the President of the Russian Federation announced at a press conference this week that the museum is scheduled to open in late 2018 or early 2019.
In December 2013 a decision was taken to make the Stock Exchange Building designed by Thomas de Thomon in 1805-1810 a part of the State Hermitage Museum. On April 18, 2014 this outstanding architectural monument of St. Petersburg was officially handed over to the Hermitage. To mark it a special ceremony was held which signalled the start of the new project for the creation of the new museum complex of the State Hermitage, the Museum of Heraldry.
The Stock Exchange Building, a part of the architectural ensemble of the Spit of Vasilievsky Island, housed the Central Naval Museum from 1939 until 2010. When the museum had moved into the Kryukov Naval Barracks, the question of the possibility for the historical building to preserve its function as a museum came up.
The idea to create the Museum of Heraldry in the Stock Exchange Building is easy to justify, since the Hermitage can present the history of blazonry from an all-embracing historical and geographical perspective. The new museum will feature objects from the vast collections of the State Hermitage Museum, many previously unseen due to a lack of exhibition space. The museum will be further complimented with objects from the permanent exhibition of the Hermitage.
Rooms located in the two side enfilades of the museum will house both permanent and temporary exhibits. Highlights of the Museum of Heraldry will feature Far Eastern, Japanese, Chinese, Islamic, Turkish, European and Russian heraldry. The museum display will include all kinds of exhibits that can illustrate the history of heraldry: paintings, graphic art, porcelain, silver, numismatics, books, banners, flags and uniforms.
Furthermore, the Stock Exchange Building will provide a unique opportunity to host official city and state ceremonies. The Main Hall of the Stock Exchange will be used for conferences, as well as the venue for holding official ceremonies to celebrate the Day of the National Guard, National Flag Day, Russia Day, state awards ceremonies and oath-taking ceremonies.
Exhibition: Gifts from East and West to the Imperial Court Over 300 Years Topic: State Hermitage Museum
The State Hermitage Museum in St. Petersburg is currently hosting the exhibition Gifts from East and West to the Imperial Court over 300 Years. The exhibit is currently on display East Wing of the General Staff Building, situated on Palace Square.
The exhibit represents more than 400 works of fine and decorative arts, weapons, books and numismatic valuables presented to the Russian rulers starting from Peter I and ending with Nicholas II.
The gifts were presented during diplomatic visits and meetings; they commemorated military victories and conclusions of peace; they were given at coronations which were carried out especially solemnly. There was a custom of giving silver or porcelain sets for weddings. Sometimes the offerings were private, they were transferred during travelling. The imperial courts often exchanged gifts for family and calendar holidays, such as Christmas or Easter. Some things embodied additional semantic implication.
Donation snuff boxes can serve as an interesting example of the diplomacy language of the XVIII century; they were particularly valued, often not less than an Order. Those decorated with a monogram or a portrait of the emperor were especially valued. The popularity of snuff boxes at the Russian court is largely due to the commitment of Peter I to the European style of behaviour.
Much attention was paid to recording and storage of gifts. This was part of the duties of the Cameral Department of the Ministry of the Imperial Court, that was in charge of the room of the imperial regalia and crown diamonds in the Winter Palace, of the storage room of precious things, stones and wardrobe of the highest noblemen, as well as of the storage room of stone products supplied by Ekaterinburg and Kolyvan factories.
Among the gifts to the Russian imperial court kept in the State Hermitage Museum, four tapestries of the “Seasons” series became the last; they were presented by Raymond Poincaré, the French President, to the Empress Alexandra Feodorovna during his visit to St. Petersburg on 20-23 July 1914. Female characters personifying seasons were inspired by graphic figures of Jules Cheret based on the sketches from which they were created.
Unfortunately, not all the gifts have lasted. Thus, a golden goblet decorated with diamonds that was presented to Nicholas I by the Serbian Prince Milos Obrenovic was withdrawn from the Hermitage collection in 1922 for sale. Then a golden snuffbox with 60 diamonds from 4 to 1.2 carats given by Mahmoud II to Nicholas I in honor of the conclusion of Adrianople peace and a golden star decorated with tafelstein (flat-face gemstone) and 8 diamonds also disappeared.
Artefacts that are most typical for the art of the giving countries, the artistic merits of which are not inferior to their historical value, are displayed at the exhibition. With their gifts the foreign countries showed, on the one hand, a deep respect for Russia, on the other hand – an interest in the development of relations with it. They all retain traces of historical events and are reified evidence of Russian history.
The Hermitage collection includes gifts of Western and Eastern nations relating to the period when the state capital was moved to St. Petersburg. Many of these works have been exhibited several times at various exhibitions in the museum and abroad. Presented for the first time together, they serve as valuable evidence of the development of relations between Russia, the West and the East from the XVIII to the early XX centuries.
The ancient custom of gifts in our time is also perceived as the norm of good neighbourly relations between the countries. These silent witnesses of “fragile diplomacy” quite clearly characterize the importance of this kind of communication.
The exhibition exhibition Gifts from East and West to the Imperial Court over 300 Years runs until 10th January, 2016 in the East Wing of the General Staff Building, St. Petersburg.
Exhibition: The History of the Hermitage Reflected in its Showcases Topic: State Hermitage Museum
The State Hermitage Museum in St. Petersburg is currently hosting the exhibition The Hermitage Reflected in its Showcases. The exhibit is on display in the halls of the former Imperial Manege, introducing showcases as exhibits for the first time in the museum's history.
More than fifty showcases, as well as photos and drawings from the collection of one of the oldest museums in Europe, the State Hermitage Museum, demonstrate the evolution from Catherine the Great’s time to the beginning of the XXI century.
The idea to arrange an exhibition on the basis of the museum showcases was suggested by Rem Koolhaas, a famous Dutch architect who founded OMA. The exhibition was developed by the Hermitage Museum in collaboration with AMO, the think tank of OMA. The exceptional Hermitage collection allowed the curators of the exhibition to turn it into reality in the form of a large-scale panorama of the museum’s life throughout its long history.
One of the main themes of the exhibition is the museum space as a special artistic and historical phenomenon reflecting important social and cultural ideas. The key trends in European culture and the whims of Russian political life are reflected in the forms, materials, design and decoration of the showcases. The showcases have always been an important component of the museum’s space concept.
The exhibition emphasizes the artistic value of a showcase: it demonstrates the showcase as an important landmark in the world of art not limited to functional purpose. In contrast to the modern exhibition equipment, the first cabinets manufactured by furniture makers and cabinetmakers were the works of applied art themselves.
The earliest and the rarest showcases presented at the exhibition date from the time of Catherine II and Alexander I. They were created by Christian Meyer and Heinrich Gambs, the best furniture makers of St. Petersburg and the main executors of the Imperial Court orders. The works of C. Meyer were as impressive as the collections of the enlightened Empress. His “table-like cabinets” made in the tradition of the museum furniture of the cabinets of curiosities of the XVII century were especially highlighted. In 1811, an unusual type of showcases in the form of a triangular pyramid appeared in the workshop of H. Gambs; it was later repeated several times during the creation of the Hermitage showcases.
Leo von Klenze, as an architect, included in the architectural project of the New Hermitage executed under the order of Nicholas I an unprecedented number of museum equipment, through which was emphasised the idea of harmony between the exhibits and the surrounding space. Klenze implemented his plan most completely in the interiors of the ground floor which housed a collection of sculptures and monuments of antiquity. A set of showcases reminiscent of ancient Greek furniture in shapes and decor was included in the project “Hall of Graeco-Etruscan vases” (now the Hall of Twenty Columns). Nowadays, the interior of this room has acquired a special value: it is a rare and exceptional example of museum space of the mid- XIX century, where the whole interior ensemble has been completely preserved.
The modest appearance of the museum of the late XIX - early XX centuries witnessed to the increased role of the exhibition in comparison with the museum space and means of exposure. In the search for rational forms, museum showcases became more adapted to perform the main function, that is, to serve as the most convenient overview of the collection. This trend continued during the Soviet period, when the museum equipment used stylistic features of constructivism, decorative minimalism and accentuated functionality allowing the attention of visitors to be directed to the perception of the exhibits.
In addition to specialised museum showcases, the exhibition demonstrates showcases from private collections that were brought to the Hermitage basically after the nationalisation of the 1920’s-1930’s. They were used to store personal collections, minerals, jewellery and ornaments; they were distinguished by more lavish décor and were made using a variety of techniques and expensive materials. The showcases manufactured by Christian Meyer are of much interest, for instance, a travel showcase that belonged to Paul I and “mineral boxes” for small mineral collections that belonged to the daughters of Paul I.
This exhibition, the focal point of which is the history of the Hermitage museum space where the only authentic exhibits are the historical showcases, for the first time draws the audience’s attention to one of the most important aspects of the life of museums – to the preservation of their unique artistic environment.
Curator of the exhibition: Tatiana B. Semenova, Ph.D. in Art History, researcher in the Department of Western European Applied Art at the State Hermitage Museum. A special illustrated scientific catalogue preceded by an introduction by Mikhail B. Piotrovsky, Director of the State Hermitage Museum, was prepared for the exhibition by the State Hermitage Publishing House in 2014.
The exhibition The Hermitage Reflected in its Showcases runs until 24th May, 2015 in the Manege of the Small Hermitage, (State Hermitage Museum), St. Petersburg.
Hermitage Exhibition Opens in Vladivostock Topic: State Hermitage Museum
The exhibition Unknown Hermitage. To the 250th anniversary of the State Hermitage Museum has opened at the Primorye State Picture Gallery in Vladivostok.
The exhibition presents works from the collections of Far Eastern Art Museum (Khabarovsk) and the Maritime State Art Gallery (Vladivostok), derived from the Hermitage collection of Western art of the XIII – XX centuries. More than 60 paintings and 20 works of graphic art, first shown to the public, were transferred in 1930s from the Hermitage museum in the Far Eastern Museums.
Visitors can see the works of Italian, Dutch, French, German craftsmen of the XVI-XX centuries. Among them – "Apollo and Marsyas" by Peter Paul Rubens, "The Holy Family" by Annibale Carracci, landscape ruins by Giovanni Paolo Pannini, famous schedule by Jacques Callot.
The exhibition runs from December 24, 2014 to March 1, 2015.
Russia’s largest museum, the State Hermitage in St. Petersburg, plans to open another branch in Vladivostok, on Russia’s Pacific coast. The new affiliate is to be housed in a historic department store building and will feature pieces from the St. Petersburg museum alongside work by local artists.
Architects promise to have a design ready by next summer to rebuild the former Kunst & Albers department store building in Vladivostok, which is to be turned into a branch of the illustrious museum, according to the Primorsky Territory administration press service.
Governor of the Primorsky Territory Vladimir Miklushevsky secured the approval of Hermitage Director Mikhail Piotrovsky to open a branch in Vladivostok during a meeting in June 2013. “We are interested in opening a branch of the museum in Primorye. After all, it is the Russian gateway to Asia,” Piotrovsky said at the time.
The new exhibition center will feature expositions both from Russia’s most famous museum and from local artists.
A contract on the design estimates for reconstruction should be signed on Jan. 26.
“We’ll work out the details for modern facilities and the building’s interior, utilities, fire safety, and ventilation in the design,” head of the regional urban development department Yevgeny Dobrynin said. “The premises will be completely ready for construction after that. We need to restore the original appearance of this architectural monument.”
Tatyana Zabolotnaya, deputy governor of the Primorsky Territory said the museum was “an important factor in developing the territory’s cultural life,” explaining that for this reason “we’re all interested in commissioning the facility in a timely manner.”
The Hermitage opened its first Russian branch in Kazan (600 miles east of Moscow) in 2005, and it opened another in Vyborg (on the Finnish border, west of St. Petersburg) in 2010. The museum also has foreign branches, with an exhibition center in Amsterdam and a new branch slated to open in Barcelona in 2015.
Hermitage to Celebrate 250 Years with Light Show in St. Petersburg Topic: State Hermitage Museum
Palace Square event to feature 3D projections, classical music and poetry
Copyright Notice: The following article was originally published in the November 18, 2014 edition of Russia Beyond the Headlines / TASS. The author Yekaterina Kalinina, owns the copyright of the work presented below.
St. Petersburg’s Palace Square will serve as the venue for the biggest public event in celebration of the Hermitage Museum’s 250th anniversary on Dec. 6, with a musical light show called “The Ball of History” on the eve of the important date.
According to the event’s organizers, the 3D film will be projected onto the façade of the General Staff Building. The video sequence will be accompanied by excerpts of musical compositions in a variety of styles and from different eras, including works by Tchaikovsky, Prokofiev, Glinka, Shostakovich, Rameau, Jenkins, Schubert, and Piazzolla.
“Viewers will be taken back to the most significant and most dramatic episodes of Russian history, in which the Hermitage was a direct participant – the reign of Catherine II, the fire during Nicholas I, the construction of the Hermitage buildings and the opening of the first public art museum in Russia, the night of the Provisional Government’s arrest [the 1917 Revolution], and the Siege [of Leningrad],” a member of the project’s press service explained.
The show will feature quotes from the memoirs of famous personalities, as well as from poetry by Akhmatova, Tsvetaeva, and Blok. The organizers have chosen a quote by the museum’s former director Boris Piotrovsky as the epigraph of the evening: “If we don’t save beauty, how can it save the world?”
The creative team for the DANCE OPEN festival, headed by production director Yekaterina Galanova, is developing the concept and staging for “The Ball of History,” creating the audio content, and producing all the aspects of the project.
The 3D show’s graphics are being created and its broadcast prepared by the creative team of French agency Cosmo AV, which helped organize the closing ceremony for the Sochi Olympics and Paralympics.
The musical light show on Palace Square will be free to the public, and sessions will be broadcast every half hour from 7:00 p.m. to 10:00 p.m. on Dec. 6. Entrance is free, and extra security measures will be in place.
State Hermitage Museum to Open Branch in Ekaterinburg Topic: State Hermitage Museum
Photo (from left to right): On September 13th, Sverdlovsk Region Governor Yevgeny Kuyvashev, head of the Union of Russian Museums and General Director of the State Hermitage Museum, Mikhail Piotrovsky and the head of the administration of Ekaterinburg, Alexander Jacob sign the agreement on the establishment of the Hermitage-Ural in Ekaterinburg in 2016.
A branch of Russia’s State Hermitage Museum is set to open in the Ural city of Ekaterinburg in 2016, following an agreement signed by Hermitage director Mikhail Piotrovsky, Sverdlovsk regional governor Yevgeny Kuyvashev and the head of Ekaterinburg’s administration Alexander Yakob earlier this month. The new museum will be the third regional branch of the Hermitage to open in Russia, after those in Kazan and Vyborg.
Details over the future of the Hermitage-Ural centre were discussed at the International Conference of Museums, which was held in St Petersburg and then Ekaterinburg in September.
The plan to create a branch of St Petersburg’s largest museum in Ekaterinburg was inspired by the city’s role in the history of the Hermitage. More than a million artefacts from the Hermitage's museum collection was sent to the Ural capital in 1941, where they remained in safe keeping at the city’s Sverdlovsk Picture Gallery until the end of the Second World War in 1945.
The idea of opening a fourth branch of the Hermitage in the Siberian city of Omsk was also discussed at the conference.
Military Research Helps Hermitage Protect Museum Treasures Topic: State Hermitage Museum
Honour Guards Squadron with banners in the 1812 War Gallery, State Hermitage Museum, St. Petersburg
Pieces of art are being marked for identification by a new pen and spray-mist proving themselves under tests at the State Hermitage Museum in Russia's northern capital, St. Petersburg.
Russian-made technology is being used to mark pieces of art leaving the famous museum's walls for temporary loan to other exhibitions, and to confirm authenticity of the treasures on their return.
The processes will be put to work later on the three million exhibits in the Hermitage collection, Vladimir Kuzmin, associate at a Russian Defense Ministry research institute, told ITAR-TASS.
Military specialists and a private Russian manufacturer have developed the marking process, working its magic via a trace visible under ultraviolet light. Museum staff will use this new technology for "friend-or-foe" recognition and for a new cutting-edge catalogue.
The system could spread to other Russian museums and has applications for the military, police and customs service, said Kuzmin.
For precious items that cannot be touched, the scientists have produced a unique chemical mist impossible to replicate and applied in a spray. Traces have a lifespan of no less than 50 years. The concentration is harmless for paintings, porcelain, glass and ceramics, the expert says. Technology is also being developed for metal objects such as coins, difficult to mark.
Marking detectors require no laboratory conditions or special skills, reading the coded information according to the "friend-or-foe" principle. When the device recognizes the object, it makes a sound signal and a green light comes on. A red light means the object is unmarked, or has an alien mark.
Marking can be read without disturbing an item and removing it from its location. The device will identify even burnt objects as the mark persists at a temperature of 2,000°C.
Protection comes relatively cheap from the developers. One mark costs 30 rubles ($0.86). Detecting devices cost between 50,000 rubles and 150,000 rubles (about $1,400-$4,300) depending on size.