Malaya Nikitskaya ulitsa 6/2
Tel. (495) 690 0535
Subway:
Pushkinskaya
Open: 11am- 5:30pm Wed- Sun
The Gorky House Museum, also known as the Ryabushinsky Mansion, is an architectural and historical landmark in Moscow, celebrated for its exquisite Art Nouveau (or Style Moderne, as it’s called in Russia) design and its association with the renowned Russian writer Maxim Gorky. Located at 6/2 Malaya Nikitskaya Street in the historic Presnensky District, near the Boulevard Ring, this mansion is one of the finest examples of early 20th-century Russian architecture.
Location: 6/2 Malaya Nikitskaya Street, Moscow,
Russia, 121069 (closest metro stations: Pushkinskaya, Tverskaya,
Chekhovskaya, Arbatskaya, Barrikadnaya/Krasnopresnenskaya).
Historical Names: Ryabushinsky Mansion, Gorky House Museum.
Architect: Fyodor Shekhtel, a leading Russian architect often compared
to Antoni Gaudí for his imaginative designs.
Construction: Built
between 1900 and 1902 (some sources cite 1900–1903) for Stepan
Ryabushinsky, a wealthy banker, industrialist, and art collector.
Maxim Gorky’s Residence: Occupied by the writer Maxim Gorky (real name:
Alexei Maksimovich Peshkov) from 1931 until his death in 1936, gifted to
him by Joseph Stalin.
Current Status: A state-run museum dedicated to
Gorky’s life and work, also showcasing the mansion’s Art Nouveau
architecture. Admission is free, though donations are encouraged, and a
photography pass costs 100 RUB (approx. $1 USD).
Significance: The
mansion is a masterpiece of Russian Art Nouveau, featuring a famous
wave-like marble staircase, stained-glass windows, and intricate décor.
It is also a cultural monument reflecting Russia’s pre-revolutionary and
Soviet history, as well as Gorky’s complex relationship with the Soviet
regime.
The Gorky House Museum’s history spans its origins as a private
residence, its nationalization after the Russian Revolution, and its
transformation into a literary museum.
Construction and
Ryabushinsky Era (1900–1917):
The mansion was commissioned by Stepan
Pavlovich Ryabushinsky, a 26-year-old banker, industrialist, and
newspaper publisher from a prominent Old Believer family. The
Ryabushinskys were known for their wealth, philanthropy, and patronage
of the arts, with Stepan being a notable art collector.
Fyodor
Shekhtel, a close friend of Ryabushinsky, designed the mansion as a
total work of art, integrating architecture, interior design, and
decorative elements in the Art Nouveau style. Construction began in 1900
and was completed by 1902 (or 1903, per some sources), costing a
significant sum for the time.
The Ryabushinsky family lived in the
mansion until the 1917 Russian Revolution, when their properties were
nationalized, and they were forced to emigrate to France. Some of their
art collection was transferred to the Tretyakov Gallery, but much of the
original furniture and fittings were lost or destroyed.
Post-Revolution Use (1917–1931):
After nationalization, the mansion
served various Soviet institutions, including the State Publishing House
(1919–1925), the All-Union Society for Cultural Relations with Foreign
Countries, a Psychoanalytic Institute, and a kindergarten. These uses
led to significant wear, with the ventilation system destroyed, a unique
Carrara marble fireplace dismantled, and many of Shekhtel’s
custom-designed furnishings lost.
The mansion’s chapel, used by the
Ryabushinskys as Old Believers (a sect persecuted by the official
Russian Orthodox Church), was repurposed or neglected during this
period.
Gorky’s Residence (1931–1936):
In 1931, Joseph Stalin,
seeking to bolster the Soviet regime’s cultural prestige, invited Maxim
Gorky, a celebrated writer and founder of Socialist Realism, to return
from Sorrento, Italy, where he had lived for health reasons. Stalin
gifted Gorky the Ryabushinsky Mansion, along with dachas in Gorki and
Crimea, as a residence.
Gorky, his son Maxim Alekseevich,
daughter-in-law Nadezhda Alekseevna (Timosh) Peshkova, and
granddaughters Martha and Darya moved into the mansion. Gorky occupied
the ground floor due to his poor health, which made climbing the
12-meter staircase difficult, while his family lived on the upper
floors.
Gorky lived here until his death in 1936, under increasing
Soviet surveillance. After 1934, he was not permitted to travel abroad,
and his time in the mansion was marked by both privilege and constraint.
He wrote one play, Yegor Bulychev and Others (1932), and part of his
unfinished novel The Life of Klim Samgin here, but his literary output
was limited compared to earlier years.
The mansion became a literary
hub, hosting writers, artists, and Communist officials. Gorky, as
President of the Soviet Writers’ Union, entertained guests like Leo
Tolstoy and Fyodor Chaliapin, discussing Socialist Realism and mentoring
young writers. Stalin and other Bolshevik leaders also visited.
Gorky’s diaries reveal his discomfort with the mansion’s opulent décor,
which he described as “bizarre and barbarian,” clashing with his
proletarian identity. Despite this, he maintained an extensive library
and collected Eastern art, particularly Japanese netsuke (carved bone
figurines).
Museum Establishment (1965–Present):
After Gorky’s
death in 1936, Nadezhda Peshkova, his son’s widow and a painter,
continued living in the mansion until her death in 1965. She was
instrumental in preserving Gorky’s belongings and advocating for the
mansion’s conversion into a museum.
The Gorky House Museum officially
opened in 1965, dedicated to Gorky’s life, work, and legacy. Nadezhda’s
efforts ensured the preservation of Gorky’s library, personal items
(e.g., hat, coat, walking stick), and some original interiors, despite
earlier losses.
The museum has since balanced its dual identity as a
tribute to Gorky and a showcase of Shekhtel’s architectural genius, with
the latter often drawing more visitor interest.
Controversies:
Gorky’s death in 1936 sparked rumors of assassination on Stalin’s
orders, with some alleging poisoning. Genrikh Yagoda, former NKVD head,
was charged with Gorky’s murder in a 1938 show trial, though the
accusation was likely fabricated. These rumors persist but remain
unproven.
The mansion’s history includes myths of hidden treasures,
possibly linked to the Ryabushinskys’ wealth, but searches have yielded
nothing.
The Ryabushinsky Mansion is a pinnacle of Russian Art Nouveau,
designed by Fyodor Shekhtel as a cohesive artistic statement where
structure and ornament are inseparable. Its marine and natural motifs
symbolize movement, life, and the tensions of early 20th-century Russia.
Exterior:
Façade: The ecru brick and stone façade is painted in
soft pink and mauve tones over gray foundations, with a mosaic frieze of
iris flowers against a cloudy sky as its most colorful element. The
frieze symbolizes natural beauty and transience, a hallmark of Art
Nouveau.
Marine Theme: Wrought ironwork resembles fish scales, and
the mahogany front door features brass lotus ornaments, evoking water
and growth. Glazed hollow bricks and large windows with wooden mullions
enhance the façade’s fluidity.
Traditional Elements: The massive
concrete front porch mimics a cave or grotto, resembling the kryltso
(ceremonial porch) of 17th-century Russian churches. Small, narrow
windows on the upper right recall the terem (medieval Russian
residence), blending Art Nouveau with Russian Revival.
Condition: The
exterior is well-preserved, though some visitors note dirty windows and
a need for minor maintenance. The current entrance is through a back
door, as the original front entrance is not used for public access.
Interior:
Wave Staircase: The mansion’s centerpiece is a 12-meter
Estonian marble staircase, designed to resemble a sea wave, symbolizing
life’s eternal movement and the societal unrest of pre-revolutionary
Russia. A red marble column rises to a skylight, with a capital sculpted
with snakes and reptiles. A jellyfish-shaped chandelier, lit by natural
and stained-glass light, creates an underwater effect, inspired by
Rimsky-Korsakov’s opera Sadko. From above, the staircase’s balustrade
resembles a turtle, adding a whimsical touch.
Stained Glass: Large
stained-glass windows in the dining room, study, and staircase feature
floral and marine motifs, casting colorful light that enhances the
underwater ambiance. Shekhtel designed these windows, crafted by skilled
artisans.
Rooms:
Dining Room: Features original hand-painted
wallpaper, stained-glass windows, and a chandelier. It served as Gorky’s
gathering space for guests, with his place at the table marked by a tea
set.
Study/Library: Decorated with Gorky’s preferences, it includes
cabinets for his netsuke collection (18th–20th-century Japanese
carvings), a desk where he wrote, and bookshelves with first editions
and manuscripts. The room’s ceiling and walls retain Shekhtel’s
decorative elements, though the furniture is from the 1930s.
Bedroom:
Simple, reflecting Gorky’s modest tastes, with a corner bookshelf for
daily reading, a photo of his granddaughter Martha, and personal items
like clothes in a dresser.
Upper Floors: Gorky’s family lived here,
with rooms now displaying photos, letters, and exhibits on his play At
the Lower Depths. The second floor is less ornate, focusing on Gorky’s
legacy rather than Shekhtel’s décor.
Old Believer Chapel: Hidden in
the attic, this discreet chapel reflects the Ryabushinskys’ Old Believer
faith, which was persecuted. It features a cupola, north-facing windows,
and hand-painted Art Nouveau frescoes with Russian Revival motifs,
blending lilies and salamanders (symbols of good and evil). The chapel’s
secrecy was necessary due to the sect’s outlawed status.
Other
Features: Sculpted doorways, flowery stucco, parquet floors of precious
wood, and ceiling murals create a unified aesthetic. Some original
elements, like a Carrara marble fireplace, are missing, and the
ventilation system is non-functional.
Architectural Symbolism:
Shekhtel’s design uses water as a metaphor for life’s flow, with lilies
and salamanders symbolizing the struggle between good and evil. The
staircase’s wave form is often interpreted as a commentary on Russia’s
social upheaval, making the mansion a work of architectural symbolism.
Maxim Gorky:
Gorky (1868–1936) was a leading Russian writer,
playwright, and political activist, known for works like The Lower
Depths, Mother, and My Childhood. As a founder of Socialist Realism, he
shaped Soviet literature by promoting narratives of proletarian
struggle.
His return to the USSR in 1931 was a propaganda coup for
Stalin, who used Gorky’s fame to legitimize the regime. However, Gorky’s
discomfort in the mansion and restricted freedoms highlight the tensions
between his ideals and Soviet control.
The museum preserves Gorky’s
library, manuscripts, and personal items, offering insight into his
later years, his role as a literary mentor, and his complex relationship
with the Bolsheviks.
Ryabushinsky Legacy:
Stepan Ryabushinsky
was a visionary industrialist who founded Russia’s first automobile
factory (later ZIL) and supported the arts. His Old Believer faith,
reflected in the chapel, underscores the family’s cultural
distinctiveness.
The mansion’s nationalization and the family’s exile
reflect the broader upheaval of the 1917 Revolution, which dismantled
Russia’s merchant class.
Fyodor Shekhtel:
Shekhtel (1859–1926)
was Russia’s foremost Art Nouveau architect, known for works like the
Yaroslavsky Railway Station and the Metropol Hotel. The Ryabushinsky
Mansion is his masterpiece, showcasing his ability to blend
functionality, symbolism, and beauty.
Unlike many of Shekhtel’s
buildings, now embassies or private properties, the mansion is publicly
accessible, making it a rare opportunity to experience his work.
Art Nouveau in Russia:
The mansion exemplifies Style Moderne, which
flourished in Russia at the turn of the 20th century as wealthy
merchants sought distinctive, non-traditional residences. Its survival,
despite Soviet neglect, highlights the resilience of pre-revolutionary
architecture.
The mansion’s design parallels European Art Nouveau
(e.g., Victor Horta’s houses in Brussels) but incorporates Russian
elements, like the kryltso and terem, making it a unique hybrid.
Soviet and Post-Soviet Context:
The mansion’s use by Soviet
institutions and its gifting to Gorky reflect the state’s appropriation
of bourgeois properties for ideological purposes.
Its preservation as
a museum, driven by Nadezhda Peshkova, underscores Russia’s post-Soviet
efforts to reclaim cultural heritage, though restoration quality has
been criticized for lacking fine detail compared to Western standards.
Operational Status: The Gorky House Museum is open Wednesday to
Sunday, 11:00 AM to 5:30 PM, with the ticket office closing at 5:00 PM.
It is closed on Mondays, Tuesdays, and the last Thursday of each month.
Admission is free, but a photography pass costs 100 RUB, and donations
are encouraged due to limited funding.
Condition: The mansion is
well-preserved but shows signs of wear, such as dirty windows and
unrestored elements (e.g., the dismantled fireplace). Visitors note it
could benefit from more maintenance, as it relies on donations rather
than significant government support.
Exhibits:
Gorky’s Belongings:
Includes his hat, coat, walking stick, letters, first editions, and
netsuke collection. The library, with thousands of books, is a
highlight, reflecting Gorky’s intellectual life.
Literary Displays:
The ground floor features materials on The Lower Depths, while upper
floors display photos, manuscripts, and a guest book with signatures
from notable visitors.
Architectural Features: The staircase, stained
glass, and chapel are the main draws, with information sheets in
English, French, German, and Spanish available in each room. These focus
more on Gorky than the architecture, to some visitors’ disappointment.
Staff: Elderly attendants are enthusiastic, often sharing details about
the architecture despite limited English. Some speak basic English, and
audio guides or guided tours (2000 RUB for groups under 11, plus
entrance fees) are available, though booking is recommended.
Accessibility: The ground floor is accessible, but the staircase and
upper floors pose challenges for those with mobility issues. The back
entrance requires navigating a courtyard.
What to Expect:
The mansion’s compact size (smaller than typical
“mansions”) makes it an intimate experience, taking 1–1.5 hours to
explore. The wave staircase is the undisputed highlight, often described
as “unbelievable” and “unlike anything else” by visitors. The jellyfish
lamp and stained-glass windows create a theatrical, underwater ambiance.
The chapel, reached via back stairs, is a hidden gem, with its Art
Nouveau frescoes and serene atmosphere. Visitors are advised to ask
attendants to point it out, as it’s not always included in self-guided
tours.
Gorky’s rooms, particularly the study and dining room, evoke
his presence, with personal items like his tea set and netsuke
collection adding a human touch. Fans of Gorky find the literary
exhibits moving, while architecture enthusiasts marvel at Shekhtel’s
details.
The museum is calm and uncrowded, offering a respite from
Moscow’s busier attractions. Its location in a “genuine artistic region”
near Tverskaya Street and Novy Arbat enhances its appeal.
Practical Tips:
Getting There: Take the Moscow Metro to Pushkinskaya,
Tverskaya, or Chekhovskaya (10–15 minute walk) or
Arbatskaya/Barrikadnaya (slightly farther). The entrance is off Malaya
Nikitskaya via a courtyard, not Tverskoy Boulevard. Look for signs, as
it’s easy to miss.
Tickets: No advance booking is required for
individual visits, but groups should call +7-495-697-3241 to arrange
tours. Admission is free, but bring 100 RUB for a photo pass and
consider donating to support maintenance.
Language: Information
sheets in multiple languages are available, but guided tours in English
are recommended for deeper insights. Audio guides cover the second floor
and cost 350 RUB.
Dress Code: No strict requirements, but comfortable
shoes are advised for climbing stairs. Coats must be checked, and shoe
covers are provided (small fee).
Currency: Payments are in Russian
Rubles (RUB). Western credit cards (Visa/Mastercard) may not work due to
sanctions; carry cash or use UnionPay cards.
Best Time: Visit on
weekdays to avoid small crowds. Spring or autumn offer pleasant walks in
the nearby Patriarch’s Ponds area.
Nearby Attractions:
Patriarch’s Ponds: A scenic park and literary landmark (0.5 km away).
Morozov Mansion: Another Art Nouveau gem by Shekhtel (1 km away).
Pushkin Museum: For fine arts (2 km away).
Arbat Street: Historic
pedestrian street with cafes and shops (1.5 km away).
Visitor
Feedback:
Positives: Reviewers on Tripadvisor praise the “divine”
architecture, comparing it to Gaudí and Horta, and call the staircase a
“must-see.” The free entry and uncrowded atmosphere are appreciated, as
is the historical connection to Gorky, Tolstoy, and Chaliapin.
Critiques: Some note the museum’s focus on Gorky over architecture, with
limited English information on Shekhtel’s design. Maintenance issues
(dirty windows, unrestored areas) and the lack of government funding are
mentioned, though the mansion’s charm outweighs these flaws.
Maintenance: The mansion’s reliance on donations limits restoration
efforts. Losses from the Soviet era (e.g., fireplace, ventilation,
furniture) and imperfect restoration quality (compared to Western
standards) are ongoing issues.
Balancing Identities: The museum
struggles to highlight both Gorky’s legacy and Shekhtel’s architecture,
with some visitors feeling the architectural narrative is
underrepresented.
Geopolitical Context: Sanctions in 2025 may reduce
Western visitors, but the museum remains accessible to domestic tourists
and those from “friendly” countries (e.g., China, India). Visa
requirements for Russia are stringent, so plan ahead.
Cultural
Preservation: Nadezhda Peshkova’s role in establishing the museum
underscores the importance of individual efforts in preserving Russia’s
heritage, especially for pre-revolutionary sites that lack the
prominence of imperial palaces.