I.V. Cvetaev - Ju.S. Nečaev-Malʹcov: perepiska 1897-1912 Tom 1 Aprelʹ 1897 - maj 1902
Апрель 1897 - май 1902
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | Russian |
| Veröffentlicht: |
Moskva
Izdatelʹstvo "Krasnaja ploščadʹ"
2008
|
| Schlagworte: | |
| Online-Zugang: | Abstract |
| Beschreibung: | IV, 634 Seiten, 80 ungezählte Seiten Tafeln Illustrationen, Pläne 24 cm |
| ISBN: | 9785915210027 |
Internformat
MARC
| LEADER | 00000nam a2200000 cc4500 | ||
|---|---|---|---|
| 001 | BV023323706 | ||
| 003 | DE-604 | ||
| 005 | 20180111 | ||
| 007 | t | ||
| 008 | 080602s2008 a||| |||| 00||| rus d | ||
| 020 | |a 9785915210027 |9 978-5-91521-002-7 | ||
| 035 | |a (OCoLC)239012000 | ||
| 035 | |a (DE-599)BVBBV023323706 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a rus | |
| 049 | |a DE-12 |a DE-Y2 | ||
| 100 | 1 | |a Cvětaev, Ivan V. |d 1847-1913 |e Verfasser |0 (DE-588)118872389 |4 aut | |
| 242 | 0 | 0 | |a I.V. Cvetaev - Ju.S. Nečaev-Malʹcov : Briefwechsel 1897-1912 |y ger |
| 245 | 1 | 0 | |6 880-01 |a I.V. Cvetaev - Ju.S. Nečaev-Malʹcov |b perepiska 1897-1912 |n Tom 1 |p Aprelʹ 1897 - maj 1902 |c Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina ; publikacija pisem M.B. Aksenenko, A.N. Baranov |
| 264 | 1 | |a Moskva |b Izdatelʹstvo "Krasnaja ploščadʹ" |c 2008 | |
| 300 | |a IV, 634 Seiten, 80 ungezählte Seiten Tafeln |b Illustrationen, Pläne |c 24 cm | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 655 | 7 | |0 (DE-588)4146609-3 |a Briefsammlung |2 gnd-content | |
| 700 | 1 | |a Nečaev-Malʹcov, Jurij S. |d 1834-1913 |e Verfasser |0 (DE-588)135607841 |4 aut | |
| 700 | 1 | |a Aksenenko, Margarita Borisovna |0 (DE-588)156162237 |4 edt | |
| 710 | 2 | |a Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina |0 (DE-588)2000043-1 |4 isb | |
| 751 | |a Moskau |0 (DE-588)4074987-3 |2 gnd | ||
| 773 | 0 | 8 | |w (DE-604)BV023323681 |g 1 |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016507758&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 880 | 1 | 0 | |6 245-01/(N |p Апрель 1897 - май 1902 |
| 940 | 1 | |f sla | |
| 940 | 1 | |n oe | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-016507758 | ||
Datensatz im Suchindex
| _version_ | 1804137663695945728 |
|---|---|
| adam_text | Summary
The year
1912
saw the official opening of the EMPEROR ALEXANDER III
MUSEUM OF FINE ARTS ATTACHED TO MOSCOW UNIVERSITY. Today,
after various transformations, the museum is known as the A.S.Pushkin State Museum
of Fine Arts. The present volume opens the publication of correspondence between
Professor I.V.Tsvetaev, the museum s founder and secretary of the organising com¬
mittee, with the vice-chairman
ofthat
committee and one of the museum s most gen¬
erous benefactors, the industrialist and steward of the royal household Yuri
Stepanovich Nechaev-Maltsov. The correspondence runs from
1897
to
1912.
All
extant letters and telegrams are to be published in full in four volumes without omis¬
sion or abridgement. Volume one covers the period from April
1897
to May
1902.
This
will be followed by volume two
(1902-1903),
volume three
(1904-1905)
and volume
four
(1906-1908; 1911-1912).
The organisation and building of the Moscow Museum of Fine Arts was a most
important event in Russian culture of the late nineteenth to early twentieth century.
It was set up for the specific purpose of educating and enlightening, in other words,
as a museum open to the public and, at the same time, a place for teaching the his¬
tory of art and educating future artists. In view of the fundamental importance of the
classical world for European civilisation, the museum was devoted primarily to the
art of-Ancient Greece and Rome. However, the display was extended by sections on
the art of Ancient Egypt and Mesopotamia, the Middle Ages and the Renaissance. The
formation of a museum of this kind was particularly beneficial for Russia, which pos¬
sesses very few works of art from these countries and epochs. Plans for setting up such
a museum had mooted on several occasions ever since
1829-1831.
In the post-Tsvetacv period the museum developed mainly by receiving artistic
originals, but under Tsvetaev it was mainly a museum of plaster casts of sculptural
works. This was explained not so much by the comparative lack of funds, as the glob¬
al nature of the educational aim, to present students and the public at large with all
the key moments and chief monuments in the art history of the above-mentioned
countries and ages. Museums of plaster casts played an important role in European
culture of the nineteenth and eariy twentieth centuries, but their significance was
unfairly consigned to oblivion by subsequent generations. The Moscow museum was
the first major one of its kind in Russia and the last in Europe, although one of
Europe s largest. Its construction and the formation of its collections aroused not only
keen interest in the various strata of Russian society, but sometimes even heated dif¬
ferences of opinion.
The correspondence of Tsvetaev and Nechaev-Maltsov is, first and foremost, an
unofficial chronicle of the museum s creation. At the same time it is not limited to this
theme alone, and contains reactions to many events and problems of the day in the
areas of politics and industry, science and culture, education and philanthropy, which
63
1
makes it a valuable source for the study of certain aspects of Russian history. It also
reflects the many-sided interests of both correspondents, who were strong, impres¬
sive individuals and also typical
figures
of their day,
Ivan Vladimirovich TSVETAEV
(1847-1913)
was the son of a village priest from
Vladimir province. After attending church educational establishments, he then grad¬
uated from the history and philology faculty of St Petersburg University
(1870),
taught
at Warsaw and Kiev universities (these towns then being part of the Russian Empire),
and held a master s degree and a doctorate. From
1877
up to the end of his life he taught
at Moscow University, where his services eventually won him the status of hereditary
nobleman and the title of professor emeritus. After winning European fame in academic
circles as a classicist philologist and specialist on die ancient dialects of the Apennine
peninsula, Tsvetaev obtained the chair of the theory and history of art in the late
1
880s, and the epic story of the setting up of the museum is linked with the develop¬
ment of his teaching there. He was the author of works on life in Ancient Rome and
the history of education and also delivered papers at learned societies and conferences
at home and abroad. His lectures and seminars at the university and the higher cours¬
es for women helped to train several generations of philologists and art historians, In
1882,
parallel to his work at the university, he was put in charge of the largest state col¬
lection of art in Moscow, the Department of Fine Arts and Antiquities at the Rumyantsev
Museum. In
1901-1910
he was director of this multi-profiled museum, which also
included the country s largest public library, and did a great deal to promote its acqui¬
sitions and development. Tsvetaev s family life is also a subject of considerable inter¬
est, as the celebrated Russian poetess Marina Tsvetaeva was one of his daughters and
readers will find several references to her childhood years in the correspondence.
Yuri Stepanovich NECHAEV-MALTSOV
(1834-1913),
a member of the nobil¬
ity and graduate of Moscow University, studied law and worked in various institu¬
tions of the Ministry of Foreign Affairs, until he inherited the wealth and business of
his mother s brother, which made him one of Russia s largest producers of glass and
crystal. As well as modernising his factories, Nechaev-Maltsov did much for the town
of Gus-Khrustalny, which had grown up round them in Vladimir province and
other population centres connected with his business. He also initiated and funded
che
building of schools, hospitals, churches, orphanages and old people s homes in
other parts of Russia, including both capitals, Petersburg and Moscow, as well as the
Russian embassy church in Denmark. Nechaev-Maltsov sec up one of the finest
technical colleges in Europe (in Vladimir) and was a member of the council of the min¬
ister for public education. He gave large commissions to some of the country s best
lmown painters. A member of the Society for the Promotion of the Arts even before
he met Tsvetaev, Nechaev-Maltsov then became one of the Society s leaders and
financed its richly illustrated journal Khudpzhcstvcnnye solurovishcha Rossii [Art
Treasures of Russia].
In fact what we see of Nechaev-Maltsov in this correspondence is not a direct
picture, but rather a reflection of him in Tsvetaev s letters. The correspondence has
632
a style of its own: whereas Tsvetaev usually wrote lively, detailed letters, comment¬
ing on everything that might be of interest to the recipient, the latter, as a rule» lim¬
ited himself to brief, business-like telegrams.
By the time Nechaev-Maltsov accepted the invitation to take part in setting up the
Moscow Museum of Fine Arts, Tsvetaev had already done a great deal towards its
organisation. When placed in charge of the university Cabinet of Fine Arts and
Antiquities in autumn
1889,
Tsvetaev found a number of donors whose contributions
made it possible to increase the collection of plaster casts several times over. By
1893-1894 Ín
his spoken and written addresses and in official documents Tsvetaev was
already formulating the task of constructing a special building for the new museum
and to this end setting up a committee on the organisation and equipment of the muse¬
um. He also found the first contributors towards the construction of the building and
organised the holding of an architectural competition for the best design.
The committee officially began its work, with Nechaev-Maltsov as a member, in
1898.
Tsvetaev managed to persuade the Russian public and government circles of
the national importance of founding a museum. Members of the royal family took part
in the organisation and the main stages in the work were approved by the Emperor
himself. This helped to attract the necessary financial support.
The chairman of the committee was Grand Duke Sergei Alexandrovich, Governor
Genera] of Moscow and uncle of the tsar, with Nechaev-Maltsov as his deputy, and
Tsvetaev as secretary and virtual organiser of the whole project. The committee
combined leading university administrators, professors from the history and philol¬
ogy faculty and high-ranking representatives of the authorities with private individ¬
uals who had contributed funds towards the museum s organisation, donated exhibits
or rendered other important services to the committee s work.
One of the most generous donors was Nechaev-Maltsov. All in all he contributed
one million eight hundred thousand roubles, with die cost of the museum and col¬
lections at the moment of opening standing at about three million. His contribution
covered the expense of facing the museum building with granite and frost-resistant
Urals marble and decorating the central staircase with coloured marble, as well as the
monolithic columns of pink marble. On the initiative and funds of Nechaev-Maltsov
a deposit of white marble was found in the Urals and the stone transported to
Moscow. His name is also associated with the acquisition of the first original monu¬
ments of art and culture of Ancient Egypt (this was long before
1909
when the state
acquired the large collection of the egyptologist VS.GoIenishchev) for the museum.
Thanks to Nechaev-Maltsov the museum also received a large number of valuable
copies of world-famous works of antique art.
The museum building was erected from a design by the well-known Moscow
architect Roman Ivanovich KLEIN
(1858-1924).
The foundation stone was laid in
1898
and the opening ceremony took place fourteen years later. It was designed and
equipped in accordance with the latest advances in museum practice and building
technology; use was made of
ferro-concrete
constructions and glass skylights were
633
installed to light the rooms on the upper floor. The engineers U.Rerberg and
V.G.Shukhov took part in the construction. The museum acquired an unusual appear¬
ance for Moscow, resembling an antique temple on a high podium with an Ionic colon¬
nade along the
façade.
The single-storey
façade
blends skilfully with and also high¬
lights the building s two-storey structure (the upper storey being treated like an
attic). The interior
décor
combines elements from different historical periods in
keeping with the exhibits
ofthat
particular section. In
1907
Roman Klein was award¬
ed the title of academician of architecture for the design and construction of the
Museum by the Academy of Arts in St Petersburg.
The rich
décor
of the museum building was seen by some people in the artistic
community as out of keeping with the reproductive nature of most of its exhibits. In
fact, however, it highlights beautifully the noble conception of the museum as a ldnd
of «temple of ait», a compendium of world art, as it were.
The museum was based on a careful study of the experience of foreign museums
of plaster casts. It expressed the then prevalent idea of the history of art, taking
account of the latest archaeological discoveries. At the same time the museum grew
with the requirements of teaching: the broader and more detailed the syllabus, the
morę
educational aids it needed. Any material on the history of the building there¬
fore provides valuable documentation on the development of art history in Russia and
the history of how the subject was taught. Together with the annual reports from the
Committee on organisation during the museum s construction, the correspondence
of Tsvetaev and Nechaev-Maltsov provides a very full source on the early history of
this Moscow museum.
Yet these letters are also a kind of encyclopaedia of the cultural life of Russia and
Europe at the end of the century. Many of them were written from Germany, Italy
or France, where Tsvetaev travelled on museum business. In his correspondence on
museum matters, Tsvetaev also developed various subjects of interest to him, such
as questions concerning higher education for women and museums, student unrest,
reform of secondary education, Russian foreign policy, the history of art, his personal
impressions of art works, travel notes and historical excursions, reflections on pop¬
ular belief and the future of Russia.
The publishers regarded it as their aim to open up this important monument of
Russian culture to the public at large and scholars in particular, which explains why
the texts of all the letters are published in full and accompanied by detailed com¬
mentaries. The commentaries contain biographical details about the persons men¬
tioned and the history of Moscow, as well as information about the facts and events,
art works and everyday concerns referred to in the letters. Extracts from Tsvetaev s
diary and his letters to other people are published here for the first time. Rare and
archaic words are explained in the notes and a glossary of ranks, titles and old-fash¬
ioned names for professions and posts is provided.
The appendices to volume one include little known documents, from
1852,
and
some recently discovered articles by Tsvetaev. This material, which precedes his cor-
634
respondence with Nechaev-Maltsov chronologically, introduces the reader to the main
landmarks in the museum s pre-history and to events associated with the early peri¬
od of Tsvetaev s work in organising the museum, and also reflects certain aspects of
his pedagogical activity and work at the Rumyantsev Museum.
The various stages in stocking the university Cabinet and later the Museum of Fine
Arts with plaster casts of works of antique sculpture, which took place from the
1
850s
to the beginning of the construction of the museum s building in
1898,
are reflected
in the illustrative section of volume one using some most striking examples. Plans for
the museum building from
1895
to
1912
are published in. the book for the first time,
making it possible to trace the development of the architectural concept from the first
sketch by Tsvetaev to the final embodiment of Roman Klein s design. Parallels are
drawn between the architectural-spatial treatment used in the museum building
and their historical prototypes.
The volume is equipped with several subject indexes, including one on the his¬
tory of the building.
|
| adam_txt |
Summary
The year
1912
saw the official opening of the EMPEROR ALEXANDER III
MUSEUM OF FINE ARTS ATTACHED TO MOSCOW UNIVERSITY. Today,
after various transformations, the museum is known as the A.S.Pushkin State Museum
of Fine Arts. The present volume opens the publication of correspondence between
Professor I.V.Tsvetaev, the museum's founder and secretary of the organising com¬
mittee, with the vice-chairman
ofthat
committee and one of the museum's most gen¬
erous benefactors, the industrialist and steward of the royal household Yuri
Stepanovich Nechaev-Maltsov. The correspondence runs from
1897
to
1912.
All
extant letters and telegrams are to be published in full in four volumes without omis¬
sion or abridgement. Volume one covers the period from April
1897
to May
1902.
This
will be followed by volume two
(1902-1903),
volume three
(1904-1905)
and volume
four
(1906-1908; 1911-1912).
The organisation and building of the Moscow Museum of Fine Arts was a most
important event in Russian culture of the late nineteenth to early twentieth century.
It was set up for the specific purpose of educating and enlightening, in other words,
as a museum open to the public and, at the same time, a place for teaching the his¬
tory of art and educating future artists. In view of the fundamental importance of the
classical world for European civilisation, the museum was devoted primarily to the
art of-Ancient Greece and Rome. However, the display was extended by sections on
the art of Ancient Egypt and Mesopotamia, the Middle Ages and the Renaissance. The
formation of a museum of this kind was particularly beneficial for Russia, which pos¬
sesses very few works of art from these countries and epochs. Plans for setting up such
a museum had mooted on several occasions ever since
1829-1831.
In the post-Tsvetacv period the museum developed mainly by receiving artistic
originals, but under Tsvetaev it was mainly a museum of plaster casts of sculptural
works. This was explained not so much by the comparative lack of funds, as the glob¬
al nature of the educational aim, to present students and the public at large with all
the key moments and chief monuments in the art history of the above-mentioned
countries and ages. Museums of plaster casts played an important role in European
culture of the nineteenth and eariy twentieth centuries, but their significance was
unfairly consigned to oblivion by subsequent generations. The Moscow museum was
the first major one of its kind in Russia and the last in Europe, although one of
Europe's largest. Its construction and the formation of its collections aroused not only
keen interest in the various strata of Russian society, but sometimes even heated dif¬
ferences of opinion.
The correspondence of Tsvetaev and Nechaev-Maltsov is, first and foremost, an
unofficial chronicle of the museum's creation. At the same time it is not limited to this
theme alone, and contains reactions to many events and problems of the day in the
areas of politics and industry, science and culture, education and philanthropy, which
63
1
makes it a valuable source for the study of certain aspects of Russian history. It also
reflects the many-sided interests of both correspondents, who were strong, impres¬
sive individuals and also typical
figures
of their day,
Ivan Vladimirovich TSVETAEV
(1847-1913)
was the son of a village priest from
Vladimir province. After attending church educational establishments, he then grad¬
uated from the history and philology faculty of St Petersburg University
(1870),
taught
at Warsaw and Kiev universities (these towns then being part of the Russian Empire),
and held a master's degree and a doctorate. From
1877
up to the end of his life he taught
at Moscow University, where his services eventually won him the status of hereditary
nobleman and the title of professor emeritus. After winning European fame in academic
circles as a classicist philologist and specialist on die ancient dialects of the Apennine
peninsula, Tsvetaev obtained the chair of the theory and history of art in the late
1
880s, and the epic story of the setting up of the museum is linked with the develop¬
ment of his teaching there. He was the author of works on life in Ancient Rome and
the history of education and also delivered papers at learned societies and conferences
at home and abroad. His lectures and seminars at the university and the higher cours¬
es for women helped to train several generations of philologists and art historians, In
1882,
parallel to his work at the university, he was put in charge of the largest state col¬
lection of art in Moscow, the Department of Fine Arts and Antiquities at the Rumyantsev
Museum. In
1901-1910
he was director of this multi-profiled museum, which also
included the country's largest public library, and did a great deal to promote its acqui¬
sitions and development. Tsvetaev's family life is also a subject of considerable inter¬
est, as the celebrated Russian poetess Marina Tsvetaeva was one of his daughters and
readers will find several references to her childhood years in the correspondence.
Yuri Stepanovich NECHAEV-MALTSOV
(1834-1913),
a member of the nobil¬
ity and graduate of Moscow University, studied law and worked in various institu¬
tions of the Ministry of Foreign Affairs, until he inherited the wealth and business of
his mother's brother, which made him one of Russia's largest producers of glass and
crystal. As well as modernising his factories, Nechaev-Maltsov did much for the town
of Gus-Khrustalny, which had grown up round them in Vladimir province and
other population centres connected with his business. He also initiated and funded
che
building of schools, hospitals, churches, orphanages and old people's homes in
other parts of Russia, including both capitals, Petersburg and Moscow, as well as the
Russian embassy church in Denmark. Nechaev-Maltsov sec up one of the finest
technical colleges in Europe (in Vladimir) and was a member of the council of the min¬
ister for public education. He gave large commissions to some of the country's best
lmown painters. A member of the Society for the Promotion of the Arts even before
he met Tsvetaev, Nechaev-Maltsov then became one of the Society's leaders and
financed its richly illustrated journal Khudpzhcstvcnnye solurovishcha Rossii [Art
Treasures of Russia].
In fact what we see of Nechaev-Maltsov in this correspondence is not a direct
picture, but rather a reflection of him in Tsvetaev's letters. The correspondence has
632
a style of its own: whereas Tsvetaev usually wrote lively, detailed letters, comment¬
ing on everything that might be of interest to the recipient, the latter, as a rule» lim¬
ited himself to brief, business-like telegrams.
By the time Nechaev-Maltsov accepted the invitation to take part in setting up the
Moscow Museum of Fine Arts, Tsvetaev had already done a great deal towards its
organisation. When placed in charge of the university Cabinet of Fine Arts and
Antiquities in autumn
1889,
Tsvetaev found a number of donors whose contributions
made it possible to increase the collection of plaster casts several times over. By
1893-1894 Ín
his spoken and written addresses and in official documents Tsvetaev was
already formulating the task of constructing a special building for the new museum
and to this end setting up a committee on the organisation and equipment of the muse¬
um. He also found the first contributors towards the construction of the building and
organised the holding of an architectural competition for the best design.
The committee officially began its work, with Nechaev-Maltsov as a member, in
1898.
Tsvetaev managed to persuade the Russian public and government circles of
the national importance of founding a museum. Members of the royal family took part
in the organisation and the main stages in the work were approved by the Emperor
himself. This helped to attract the necessary financial support.
The chairman of the committee was Grand Duke Sergei Alexandrovich, Governor
Genera] of Moscow and uncle of the tsar, with Nechaev-Maltsov as his deputy, and
Tsvetaev as secretary and virtual organiser of the whole project. The committee
combined leading university administrators, professors from the history and philol¬
ogy faculty and high-ranking representatives of the authorities with private individ¬
uals who had contributed funds towards the museum's organisation, donated exhibits
or rendered other important services to the committee's work.
One of the most generous donors was Nechaev-Maltsov. All in all he contributed
one million eight hundred thousand roubles, with die cost of the museum and col¬
lections at the moment of opening standing at about three million. His contribution
covered the expense of facing the museum building with granite and frost-resistant
Urals marble and decorating the central staircase with coloured marble, as well as the
monolithic columns of pink marble. On the initiative and funds of Nechaev-Maltsov
a deposit of white marble was found in the Urals and the stone transported to
Moscow. His name is also associated with the acquisition of the first original monu¬
ments of art and culture of Ancient Egypt (this was long before
1909
when the state
acquired the large collection of the egyptologist VS.GoIenishchev) for the museum.
Thanks to Nechaev-Maltsov the museum also received a large number of valuable
copies of world-famous works of antique art.
The museum building was erected from a design by the well-known Moscow
architect Roman Ivanovich KLEIN
(1858-1924).
The foundation stone was laid in
1898
and the opening ceremony took place fourteen years later. It was designed and
equipped in accordance with the latest advances in museum practice and building
technology; use was made of
ferro-concrete
constructions and glass skylights were
633
installed to light the rooms on the upper floor. The engineers U.Rerberg and
V.G.Shukhov took part in the construction. The museum acquired an unusual appear¬
ance for Moscow, resembling an antique temple on a high podium with an Ionic colon¬
nade along the
façade.
The single-storey
façade
blends skilfully with and also high¬
lights the building's two-storey structure (the upper storey being treated like an
attic). The interior
décor
combines elements from different historical periods in
keeping with the exhibits
ofthat
particular section. In
1907
Roman Klein was award¬
ed the title of academician of architecture for the design and construction of the
Museum by the Academy of Arts in St Petersburg.
The rich
décor
of the museum building was seen by some people in the artistic
community as out of keeping with the reproductive nature of most of its exhibits. In
fact, however, it highlights beautifully the noble conception of the museum as a ldnd
of «temple of ait», a compendium of world art, as it were.
The museum was based on a careful study of the experience of foreign museums
of plaster casts. It expressed the then prevalent idea of the history of art, taking
account of the latest archaeological discoveries. At the same time the museum grew
with the requirements of teaching: the broader and more detailed the syllabus, the
morę
educational aids it needed. Any material on the history of the building there¬
fore provides valuable documentation on the development of art history in Russia and
the history of how the subject was taught. Together with the annual reports from the
Committee on organisation during the museum's construction, the correspondence
of Tsvetaev and Nechaev-Maltsov provides a very full source on the early history of
this Moscow museum.
Yet these letters are also a kind of encyclopaedia of the cultural life of Russia and
Europe at the end of the century. Many of them were written from Germany, Italy
or France, where Tsvetaev travelled on museum business. In his correspondence on
museum matters, Tsvetaev also developed various subjects of interest to him, such
as questions concerning higher education for women and museums, student unrest,
reform of secondary education, Russian foreign policy, the history of art, his personal
impressions of art works, travel notes and historical excursions, reflections on pop¬
ular belief and the future of Russia.
The publishers regarded it as their aim to open up this important monument of
Russian culture to the public at large and scholars in particular, which explains why
the texts of all the letters are published in full and accompanied by detailed com¬
mentaries. The commentaries contain biographical details about the persons men¬
tioned and the history of Moscow, as well as information about the facts and events,
art works and everyday concerns referred to in the letters. Extracts from Tsvetaev's
diary and his letters to other people are published here for the first time. Rare and
archaic words are explained in the notes and a glossary of ranks, titles and old-fash¬
ioned names for professions and posts is provided.
The appendices to volume one include little known documents, from
1852,
and
some recently discovered articles by Tsvetaev. This material, which precedes his cor-
634
respondence with Nechaev-Maltsov chronologically, introduces the reader to the main
landmarks in the museum's pre-history and to events associated with the early peri¬
od of Tsvetaev's work in organising the museum, and also reflects certain aspects of
his pedagogical activity and work at the Rumyantsev Museum.
The various stages in stocking the university Cabinet and later the Museum of Fine
Arts with plaster casts of works of antique sculpture, which took place from the
1
850s
to the beginning of the construction of the museum's building in
1898,
are reflected
in the illustrative section of volume one using some most striking examples. Plans for
the museum building from
1895
to
1912
are published in. the book for the first time,
making it possible to trace the development of the architectural concept from the first
sketch by Tsvetaev to the final embodiment of Roman Klein's design. Parallels are
drawn between the architectural-spatial treatment used in the museum building
and their historical prototypes.
The volume is equipped with several subject indexes, including one on the his¬
tory of the building. |
| any_adam_object | 1 |
| any_adam_object_boolean | 1 |
| author | Cvětaev, Ivan V. 1847-1913 Nečaev-Malʹcov, Jurij S. 1834-1913 |
| author2 | Aksenenko, Margarita Borisovna |
| author2_role | edt |
| author2_variant | m b a mb mba |
| author_GND | (DE-588)118872389 (DE-588)135607841 (DE-588)156162237 |
| author_facet | Cvětaev, Ivan V. 1847-1913 Nečaev-Malʹcov, Jurij S. 1834-1913 Aksenenko, Margarita Borisovna |
| author_role | aut aut |
| author_sort | Cvětaev, Ivan V. 1847-1913 |
| author_variant | i v c iv ivc j s n m jsn jsnm |
| building | Verbundindex |
| bvnumber | BV023323706 |
| ctrlnum | (OCoLC)239012000 (DE-599)BVBBV023323706 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01829nam a2200385 cc4500</leader><controlfield tag="001">BV023323706</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20180111 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">080602s2008 a||| |||| 00||| rus d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9785915210027</subfield><subfield code="9">978-5-91521-002-7</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)239012000</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV023323706</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">rus</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield><subfield code="a">DE-Y2</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Cvětaev, Ivan V.</subfield><subfield code="d">1847-1913</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)118872389</subfield><subfield code="4">aut</subfield></datafield><datafield tag="242" ind1="0" ind2="0"><subfield code="a">I.V. Cvetaev - Ju.S. Nečaev-Malʹcov : Briefwechsel 1897-1912</subfield><subfield code="y">ger</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="6">880-01</subfield><subfield code="a">I.V. Cvetaev - Ju.S. Nečaev-Malʹcov</subfield><subfield code="b">perepiska 1897-1912</subfield><subfield code="n">Tom 1</subfield><subfield code="p">Aprelʹ 1897 - maj 1902</subfield><subfield code="c">Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina ; publikacija pisem M.B. Aksenenko, A.N. Baranov</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Moskva</subfield><subfield code="b">Izdatelʹstvo "Krasnaja ploščadʹ"</subfield><subfield code="c">2008</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">IV, 634 Seiten, 80 ungezählte Seiten Tafeln</subfield><subfield code="b">Illustrationen, Pläne</subfield><subfield code="c">24 cm</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4146609-3</subfield><subfield code="a">Briefsammlung</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Nečaev-Malʹcov, Jurij S.</subfield><subfield code="d">1834-1913</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)135607841</subfield><subfield code="4">aut</subfield></datafield><datafield tag="700" ind1="1" ind2=" "><subfield code="a">Aksenenko, Margarita Borisovna</subfield><subfield code="0">(DE-588)156162237</subfield><subfield code="4">edt</subfield></datafield><datafield tag="710" ind1="2" ind2=" "><subfield code="a">Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina</subfield><subfield code="0">(DE-588)2000043-1</subfield><subfield code="4">isb</subfield></datafield><datafield tag="751" ind1=" " ind2=" "><subfield code="a">Moskau</subfield><subfield code="0">(DE-588)4074987-3</subfield><subfield code="2">gnd</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="w">(DE-604)BV023323681</subfield><subfield code="g">1</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016507758&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="880" ind1="1" ind2="0"><subfield code="6">245-01/(N</subfield><subfield code="p">Апрель 1897 - май 1902</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="f">sla</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-016507758</subfield></datafield></record></collection> |
| genre | (DE-588)4146609-3 Briefsammlung gnd-content |
| genre_facet | Briefsammlung |
| id | DE-604.BV023323706 |
| illustrated | Illustrated |
| index_date | 2024-07-02T20:54:39Z |
| indexdate | 2024-07-09T21:15:53Z |
| institution | BVB |
| institution_GND | (DE-588)2000043-1 |
| isbn | 9785915210027 |
| language | Russian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-016507758 |
| oclc_num | 239012000 |
| open_access_boolean | |
| owner | DE-12 DE-Y2 |
| owner_facet | DE-12 DE-Y2 |
| physical | IV, 634 Seiten, 80 ungezählte Seiten Tafeln Illustrationen, Pläne 24 cm |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Izdatelʹstvo "Krasnaja ploščadʹ" |
| record_format | marc |
| spelling | Cvětaev, Ivan V. 1847-1913 Verfasser (DE-588)118872389 aut I.V. Cvetaev - Ju.S. Nečaev-Malʹcov : Briefwechsel 1897-1912 ger 880-01 I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 Tom 1 Aprelʹ 1897 - maj 1902 Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina ; publikacija pisem M.B. Aksenenko, A.N. Baranov Moskva Izdatelʹstvo "Krasnaja ploščadʹ" 2008 IV, 634 Seiten, 80 ungezählte Seiten Tafeln Illustrationen, Pläne 24 cm txt rdacontent n rdamedia nc rdacarrier (DE-588)4146609-3 Briefsammlung gnd-content Nečaev-Malʹcov, Jurij S. 1834-1913 Verfasser (DE-588)135607841 aut Aksenenko, Margarita Borisovna (DE-588)156162237 edt Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina (DE-588)2000043-1 isb Moskau (DE-588)4074987-3 gnd (DE-604)BV023323681 1 Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016507758&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract 245-01/(N Апрель 1897 - май 1902 |
| spellingShingle | Cvětaev, Ivan V. 1847-1913 Nečaev-Malʹcov, Jurij S. 1834-1913 I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 |
| subject_GND | (DE-588)4146609-3 |
| title | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 |
| title_auth | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 |
| title_exact_search | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 |
| title_exact_search_txtP | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 |
| title_full | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 Tom 1 Aprelʹ 1897 - maj 1902 Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina ; publikacija pisem M.B. Aksenenko, A.N. Baranov |
| title_fullStr | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 Tom 1 Aprelʹ 1897 - maj 1902 Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina ; publikacija pisem M.B. Aksenenko, A.N. Baranov |
| title_full_unstemmed | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov perepiska 1897-1912 Tom 1 Aprelʹ 1897 - maj 1902 Gosudarstvennyj muzej izobrazitelʹnych iskusstv imeni A.S. Puškina ; publikacija pisem M.B. Aksenenko, A.N. Baranov |
| title_short | I.V. Cvetaev - Ju.S. Nečaev-Malʹcov |
| title_sort | i v cvetaev ju s necaev malʹcov perepiska 1897 1912 aprelʹ 1897 maj 1902 |
| title_sub | perepiska 1897-1912 |
| topic_facet | Briefsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016507758&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV023323681 |
| work_keys_str_mv | AT cvetaevivanv ivcvetaevjusnecaevmalʹcovperepiska18971912tom1 AT necaevmalʹcovjurijs ivcvetaevjusnecaevmalʹcovperepiska18971912tom1 AT aksenenkomargaritaborisovna ivcvetaevjusnecaevmalʹcovperepiska18971912tom1 AT gosudarstvennyjmuzejizobrazitelʹnychiskusstvimeniaspuskina ivcvetaevjusnecaevmalʹcovperepiska18971912tom1 |