Ulitsa Volkonka 14
Tel. (495) 697 1546
Open: 10am- 7pm Tue- Sun
The Gallery of 19th and 20th Century European and American Art, a distinguished department of the Pushkin State Museum of Fine Arts in Moscow, is renowned for its exceptional collection of Western art, particularly its French Impressionist and Post-Impressionist masterpieces. Housed in a historic building at 14 Volkhonka Street, the gallery showcases works by some of the most celebrated artists of the 19th and 20th centuries, assembled from the collections of prominent Moscow patrons like Sergei Shchukin, Ivan Morozov, and Sergei Tretyakov.
Location: 14 Volkhonka Street, Moscow, Russia, 119019, near the
Kropotkinskaya metro station, opposite the Cathedral of Christ the
Saviour and adjacent to the main Pushkin Museum building.
Parent
Institution: The Pushkin State Museum of Fine Arts, one of Russia’s
premier art museums, known for its diverse collections spanning ancient
to modern art.
Establishment: Opened as a dedicated department in
August 2006, though its collection has roots in earlier Moscow museums,
including the State Museum of Modern Western Art (1923–1948).
Building: Originally the left wing of the Princes Golitsyn estate
(17th–19th centuries), redesigned in the Early Classicism style and
later renovated for museum use.
Collection: Comprises approximately
400 paintings and sculptures displayed across 26 galleries, with an
additional 600 works in storage, focusing on European and American art
from 1810 to the late 20th century.
Significance: The gallery is
celebrated for its Impressionist and Post-Impressionist holdings,
rivaling those of major Western museums, and reflects Moscow’s
historical role as a hub for art collecting. It is part of the Kremlin’s
UNESCO World Heritage Site cultural orbit.
Admission: Tickets cost
around 150–400 RUB ($1.50–4 USD), depending on visitor category, with
free entry on select days. Photography without flash is included in the
ticket price.
The gallery’s history is deeply tied to Moscow’s tradition of art
patronage, the Russian Revolution, and the Soviet Union’s cultural
policies.
Origins in Private Collections (Mid-19th to Early 20th
Century):
The collection began with Moscow’s merchant class, who, in
the 19th century, embraced art collecting as a means of public education
and cultural prestige. Key figures include:
Sergei Tretyakov: Brother
of Pavel Tretyakov (founder of the Tretyakov Gallery), he amassed a
significant collection of European art, later donated to Moscow.
Sergei Shchukin: A textile magnate who collected avant-garde French art,
including works by Monet, Matisse, and Picasso, transforming his home
into a private museum.
Ivan Morozov: A rival collector to Shchukin,
Morozov focused on Impressionists and Post-Impressionists, acquiring
masterpieces by Cézanne, Gauguin, and Van Gogh.
These collections,
started in the 1850s, were displayed in collectors’ homes, which became
cultural hubs, fostering public appreciation of contemporary Western
art.
Nationalization and the State Museum of Modern Western Art
(1917–1948):
After the 1917 Russian Revolution, the Bolshevik
government nationalized private collections, including those of Shchukin
and Morozov. Their artworks formed the core of the State Museum of
Modern Western Art, established in 1923 in Moscow.
The museum
showcased Impressionist, Post-Impressionist, and early 20th-century
avant-garde works, but its existence was contentious due to Soviet
ideological opposition to “bourgeois” art.
In 1948, Stalin’s regime
closed the museum, deeming its modernist art decadent. The collection
was split between the Pushkin Museum in Moscow and the State Hermitage
in Leningrad (now St. Petersburg), with many works relegated to storage.
Pushkin Museum Era (1948–2006):
The Pushkin Museum became the
primary steward of the Moscow portion of the collection, continuing to
develop it despite Soviet restrictions on Western art.
Notable
additions came through international contacts, including donations from
Nadya Léger (Fernand Léger’s widow) and Lydia Delectorskaya (Henri
Matisse’s secretary). Exhibitions in the Soviet era also facilitated
acquisitions.
In the late 1990s, the collection grew with donations
of works by Vasily Kandinsky and Marc Chagall from their relatives,
reflecting the return of Russian émigré artists’ legacies.
Gallery Establishment (2006–Present):
In 2006, the Pushkin Museum
opened the Gallery of 19th and 20th Century European and American Art in
a renovated building at 14 Volkhonka Street, previously part of the
Princes Golitsyn estate.
The gallery was designed to showcase the
museum’s Western art collection in a dedicated space, organized
thematically and by artist or movement. It marked a post-Soviet
commitment to celebrating these works, previously suppressed under
Stalin.
Since its opening, the gallery has hosted exhibitions,
published catalogues, and conducted research, solidifying its status as
a global destination for Impressionist and modernist art.
Controversies:
The nationalization of Shchukin’s and Morozov’s
collections remains a sensitive topic, with debates over restitution to
heirs, though Russian law considers these works state property.
The
1948 closure of the State Museum of Modern Western Art and the dispersal
of its collection reflect the Soviet Union’s complex relationship with
modernist art, which was often criticized as ideologically suspect.
The gallery is housed in a historic building that blends
17th–19th-century architecture with modern museum adaptations.
Building History:
The structure at 14 Volkhonka Street was originally
the left wing of the Princes Golitsyn estate, a noble family’s residence
from the 17th to 19th centuries. It was designed by architects S.I.
Chevakinsky (St. Petersburg) and I.P. Zherebtsov (Moscow), with later
modifications by Matvey Kazakov in the Early Classicism style.
In
1890–1892, architect V.P. Zagorsky redesigned the wing as furnished
rental apartments, known as the “Princes Court.” Notable residents
included Russian artists Vasily Surikov, Ilya Repin, and Leonid
Pasternak, as well as composer Alexander Scriabin, adding cultural
significance to the site.
The Pushkin Museum acquired the building in
the 20th century, and it was renovated between 1988 and 1993 to house
the Museum of Private Collections. In 2006, further renovations adapted
it for the Gallery of 19th and 20th Century European and American Art.
Exterior:
The building retains its Early Classical façade,
characterized by symmetry, restrained ornamentation, and a pale color
palette, typical of late 18th-century Russian architecture.
Its
location opposite the grandiose Cathedral of Christ the Saviour and next
to the Pushkin Museum’s main building (a neoclassical structure) creates
a harmonious architectural ensemble in Moscow’s historic center.
Interior:
The gallery spans three compact floors with 26 rooms,
designed to create an intimate viewing experience. The layout is
thematic, with galleries dedicated to specific movements (e.g.,
Impressionism, German Romanticism) or artists (e.g., Gauguin, Matisse).
Renovations in 1988–1993 and 2006 preserved historical elements like
vaulted ceilings and decorative moldings while introducing modern museum
infrastructure, including climate control and lighting optimized for art
preservation.
Cozy sofas in some rooms encourage contemplation, and
the interiors are noted for complementing the artworks, particularly the
French landscapes and Barbizon School paintings, which “seem almost
predestined” for the space.
The main staircase, a focal point of the
interior, is both functional and elegant, leading visitors through the
gallery’s floors.
Accessibility: The building is accessible via ramps
and elevators, though some older sections may pose challenges for
visitors with mobility issues. The cloakroom and buffet are convenient,
with the latter offering affordable dining options.
The gallery’s collection is a treasure trove of 19th and 20th-century
Western art, with a particular emphasis on French Impressionism and
Post-Impressionism, alongside other European and American works.
Scope:
The permanent exhibition features about 400 paintings and
sculptures across 26 galleries, with another 600 works in storage. The
collection spans from 1810 to the late 20th century, covering
Romanticism, Realism, Impressionism, Post-Impressionism, and early
modernist movements.
The artworks are primarily from the nationalized
collections of Shchukin, Morozov, and Tretyakov, supplemented by
Soviet-era acquisitions and post-1990s donations.
Key Highlights
by Movement and Artist:
Early 19th Century:
German Romanticism:
Works by Caspar David Friedrich and the Nazarene painters, displayed in
a dedicated gallery, showcase the mystical and spiritual qualities of
the German school.
French Romanticism and Realism: Paintings by
Eugène Delacroix and Jean-Auguste-Dominique Ingres are presented in
small galleries, offering fresh perspectives on their dramatic and
precise styles.
Spanish Art: Francisco de Goya’s works represent the
Spanish school, blending Romanticism with social commentary.
Paris
Salon: A gallery features academic painters like Jean-Léon Gérôme, Paul
Delaroche, and Eugène Louis Isabey, known for their polished,
narrative-driven works.
Barbizon School: French landscape painters
like Camille Corot, Théodore Rousseau, Jules Dupré, Charles-François
Daubigny, and Diaz de la Peña are well-represented, their naturalistic
scenes harmonizing with the gallery’s interiors.
Impressionism
and Post-Impressionism:
The gallery’s crown jewel is its French
Impressionist and Post-Impressionist collection, considered one of the
world’s finest. Key artists include:
Claude Monet: Multiple works,
including landscapes and water lily studies, showcasing his mastery of
light and color.
Auguste Renoir: Vibrant portraits and scenes of
Parisian life, emphasizing warmth and movement.
Camille Pissarro:
Urban and rural landscapes, with a focus on atmospheric effects.
Alfred Sisley: Delicate landscapes capturing the French countryside.
Edgar Degas: Ballet scenes and intimate portraits, notable for their
dynamic compositions (e.g., Young Acrobat on a Ball, 1905).
Paul
Cézanne: Still lifes and landscapes, including works that influenced
Cubism, with a dedicated room for his oeuvre.
Paul Gauguin: An entire
gallery devoted to his vivid Tahitian paintings, reflecting his prime
period.
Vincent van Gogh: Iconic works like Red Vineyards and Prison
Courtyard, painted in his final year, showcasing his emotional
intensity.
Henri de Toulouse-Lautrec: Scenes of Parisian nightlife,
marked by bold lines and vivid colors.
Nabis Group: Works by Pierre
Bonnard and Édouard Vuillard, blending decorative and intimate styles.
Henri Matisse: Major paintings, including Goldfish, reflecting his
Fauvist and modernist innovations.
Henri Rousseau: Primitive,
dreamlike paintings that captivate with their naive charm.
Early
20th Century and Modernism:
Pablo Picasso: Works from his Blue, Rose,
and Cubist periods, including lesser-known pieces that highlight his
versatility.
André Derain: Fauvist paintings with bold, expressive
colors.
Vasily Kandinsky: Abstract works donated by relatives in the
1990s, marking his transition from figurative to non-objective art.
Marc Chagall: Whimsical, narrative-driven paintings, also donated by
family, reflecting his Russian-Jewish heritage.
Other European
Artists: Giorgio de Chirico (metaphysical art), Achille Funi, Karl
Hofer, Felice Casorati, Hans Grundig, and Fritz Beringer, representing
Italian, German, and other schools.
American Art: Paintings by
Rockwell Kent and others, though less prominent than the European
collection.
Sculpture: Works by Antoine-Louis Barye, Auguste Rodin,
Aristide Maillol, Antoine Bourdelle, Ossip Zadkine, and Hans Arp, adding
a three-dimensional perspective to the collection.
Notable Works:
Monet’s Water Lilies series (select pieces).
Gauguin’s Tahitian
scenes, such as Arearea or The Ford.
Van Gogh’s Red Vineyards, one of
his few paintings sold during his lifetime.
Matisse’s Goldfish, a
Fauvist masterpiece.
Picasso’s Young Acrobat on a Ball (1905), a
delicate Rose Period work.
Cézanne’s still lifes, pivotal to modern
art’s development.
Curatorial Approach:
The collection is
organized thematically, with rooms dedicated to specific movements
(e.g., Impressionism, Symbolism) or artists (e.g., Gauguin, Cézanne).
This allows visitors to trace the evolution of Western art while
appreciating individual masterpieces.
The gallery emphasizes the
historical context of its collection, highlighting the role of Moscow
collectors and the artworks’ journey through nationalization and Soviet
stewardship.
Challenges:
Not all works are on display due to
space constraints. For example, some Kandinsky and Chagall paintings are
in storage, disappointing visitors expecting to see the full collection.
English-language descriptions are limited to painting titles and artist
names, necessitating audio guides or guided tours for deeper context.
Moscow’s Art Collecting Tradition:
The gallery embodies Moscow’s
emergence in the 19th century as a cultural capital, where merchants
like Shchukin and Morozov rivaled European collectors. Their purchases
in Paris galleries introduced cutting-edge art to Russia, shaping public
taste and fostering a dialogue between East and West.
The
nationalization of these collections after 1917 reflects the Bolsheviks’
ambition to democratize art, making private treasures public, though
often at the cost of the collectors’ legacies.
Impressionism and
Post-Impressionism:
The gallery’s French collection is among the
world’s finest, rivaling the Musée d’Orsay or the Metropolitan Museum of
Art. Its concentration of works by Monet, Cézanne, Gauguin, and Van Gogh
makes it a pilgrimage site for art lovers, offering a comprehensive view
of these movements.
The presence of entire rooms dedicated to Gauguin
or Cézanne underscores the depth of Shchukin’s and Morozov’s
collections, which were ahead of their time in recognizing these
artists’ genius.
Soviet and Post-Soviet Context:
The
collection’s survival through Stalin’s purges, when modernist art was
denounced, is a testament to the Pushkin Museum’s curatorial efforts.
Donations from artists’ families in the 1990s highlight the post-Soviet
reclamation of Russian émigré contributions.
The gallery’s opening in
2006 reflects Russia’s renewed embrace of Western art, distancing itself
from Soviet-era ideological constraints and affirming Moscow’s place in
the global art world.
Cultural Bridge:
The gallery serves as a
bridge between Russian and Western art, showcasing how Moscow collectors
integrated European innovations into their cultural milieu. It
complements the Tretyakov Gallery’s focus on Russian art, offering a
broader perspective on 19th- and 20th-century creativity.
Operational Status: The gallery is open Tuesday to Sunday, 11:00 AM
to 8:00 PM (last entry at 7:00 PM), with extended hours on Thursdays and
Fridays until 9:00 PM. It is closed on Mondays.
Condition: The
building is in excellent condition, with renovations ensuring modern
museum standards. However, some visitors note minor maintenance issues,
such as dusty frames or limited signage, reflecting budget constraints
compared to Western museums.
Exhibitions and Events:
The
permanent collection is supplemented by temporary exhibitions, often
featuring loans from international museums or highlighting lesser-known
works from storage.
The Pushkin Museum hosts “December Nights”
concerts in December, combining classical music with art viewings,
though these are primarily in the main building.
The museum is part
of a planned expansion, with a new museum complex expected to unify its
scattered exhibitions by the 2020s, though delays have pushed this
timeline forward.
Security: As with all Moscow public venues,
security is tight, with bag checks and metal detectors. Photography
without flash is permitted with a ticket.
What to Expect:
The gallery’s compact size (three floors, 26
rooms) allows for an in-depth visit in 1–2 hours, making it ideal for
focused art appreciation. The Impressionist and Post-Impressionist
galleries, particularly those for Monet, Gauguin, and Cézanne, are the
highlights, often described as “breathtaking” and “a revelation.”
The
wave-like staircase, stained-glass windows, and cozy seating create an
intimate, almost home-like atmosphere, evoking the private collections
from which the artworks originated.
The gallery is less crowded than
the Kremlin or Red Square, allowing leisurely viewing. The Degas ballet
paintings, Van Gogh’s Red Vineyards, and Matisse’s Goldfish are visitor
favorites.
Audio guides (available for a small fee, ~350 RUB) are
recommended due to limited English signage. Guided tours in English
(2000 RUB for groups under 11, plus entry fees) provide detailed
context, especially on the collectors’ histories.
Practical Tips:
Getting There: Take the Moscow Metro to Kropotkinskaya (Sokolnicheskaya
Line), a 3-minute walk from the gallery. The museum is opposite the
Cathedral of Christ the Saviour, making it easy to find. Alternatively,
walk from Alexander Garden (10 minutes) or combine with a visit to the
main Pushkin Museum.
Tickets: Purchase tickets at the gallery or
online via the Pushkin Museum website (arts-museum.ru). Prices range
from 150 RUB (students) to 400 RUB (adults), with free entry for
under-16s and on select days. The Moscow Pass may not be accepted, so
confirm in advance.
Language: English audio guides and information
sheets are available, but staff may have limited English proficiency.
Guided tours in English should be booked ahead (+7-495-697-9578).
Dress Code: No strict requirements, but comfortable shoes are advised
for navigating the three floors. Coats must be checked at the cloakroom.
Currency: Payments are in Russian Rubles (RUB). Western credit cards
(Visa/Mastercard) may not work due to sanctions; carry cash or use
UnionPay cards.
Photography: Allowed without flash, included in the
ticket price. A separate photography pass is not required.
Best Time:
Visit on weekday mornings for fewer crowds. Spring and autumn offer
pleasant walks in the nearby Volkhonka area. Avoid peak tourist seasons
(summer, December) for a quieter experience.
Amenities: The buffet
offers affordable snacks and drinks, and the cloakroom is efficient. The
bookshop is small, with limited English-language materials,
disappointing some visitors.
Nearby Attractions:
Pushkin State
Museum of Fine Arts (Main Building): Features ancient and medieval art,
including Assyrian and Egyptian artifacts (1-minute walk).
Cathedral
of Christ the Saviour: A grand Orthodox cathedral, rebuilt in 1997
(2-minute walk).
Alexander Garden: Home to the Italian Grotto and
Tomb of the Unknown Soldier (10-minute walk).
Red Square and Kremlin:
Iconic landmarks, a 15-minute walk or short metro ride.
Morozov
Mansion: Another Art Nouveau gem by Fyodor Shekhtel, showcasing private
collections (20-minute walk).
Visitor Feedback:
Positives:
Reviewers on Tripadvisor and Foursquare rave about the “world-class”
Impressionist collection, comparing it to Paris or New York museums. The
gallery’s manageable size, free entry on select days, and uncrowded
atmosphere are praised, as is the historical context of the
Shchukin-Morozov collections.
Critiques: Some visitors are
disappointed by the absence of certain Kandinsky or Chagall works,
limited English signage, and the small bookshop. Minor maintenance
issues (e.g., dusty frames) are noted, but the collection’s quality
overshadows these flaws.
Maintenance: The gallery’s reliance on state funding limits
maintenance, with some visitors noting wear on frames or walls. Compared
to Western museums, restoration quality is slightly lower, but the
artworks remain well-preserved.
Signage: The lack of detailed English
descriptions frustrates non-Russian speakers, though audio guides
mitigate this. Expanding multilingual signage could enhance
accessibility.
Space Constraints: With only 400 of 1000 works
displayed, key pieces (e.g., some Kandinsky or Chagall paintings) are in
storage, prompting calls for a larger venue. The planned museum complex
may address this.
Geopolitical Context: Sanctions in 2025 may reduce
Western visitors, but the gallery remains popular with domestic tourists
and those from “friendly” countries (e.g., China, India). Visa
requirements for Russia are stringent, requiring advance planning.
Ethical Questions: The nationalization of private collections raises
ongoing debates about restitution, though the artworks’ public
accessibility aligns with the collectors’ original philanthropic goals.