Pavel TretiakovRussian iconsState Tretiakov Galleryaesthetic reevaluationsixteenth- and seventeenth-century art
Figures from the paper
Abstract (AI)
"Between 1890 and his death in 1898, the Moscow art collector Pavel Tretiakov acquired sixty-two icons of the sixteenth and seventeenth centuries. With this comparatively late entry into the world of icons, Tretiakov laid the foundation for one of the world’s greatest collections of medieval Russian paintings. Why is it, then, that Tretiakov’s icons are today so rarely mentioned and so hard to find? The most practical explanation is that they were simply swallowed up into the vast repositories of the reorganized State Tretiakov Gallery in 1930, along with thousands of icons from churches and private collections nationalized afer 1917. As a result, locating them in the gallery’s catalogue is a painstaking task and finding images of them a challenge. A more complicated reason is that the icons that Tretiakov chose—the very best money could buy in the 1890s— quickly became old-fashioned and aesthetically devalued in the next century. Beginning around 1905, as sixteenth-century icons were discovered and cleaned, icon painting’s Golden Age was moved several centuries back in time, from the court culture of the Muscovite state and the first Romanov tsars to Republican Novgorod. Tretiakov’s icons were caught up in this process of reevaluation, victims of a revolution in aesthetic criteria fought along generational lines."
Key Findings
1
After 1905, discoveries and cleanings shifted the perceived Golden Age of Russian icon painting toward Republican Novgorod, away from Muscovite and early Romanov court culture.
2
Between 1890 and 1898, Pavel Tretiakov acquired 62 sixteenth- and seventeenth-century icons, establishing the foundation for a major medieval Russian painting collection.
3
The icons’ current obscurity also reflects changing aesthetic judgments that rapidly devalued the sixteenth- and seventeenth-century works Tretiakov had selected.
4
Tretiakov’s collection was marginalized by a generational revolution in aesthetic criteria rather than by an initial lack of artistic quality.
5
Tretiakov’s icons became difficult to locate because they were absorbed into the reorganized State Tretiakov Gallery in 1930 alongside thousands of nationalized icons.
Research Object
Pavel Tretiakov's collection of sixty-two sixteenth- and seventeenth-century Russian icons
Research Subject
The posthumous institutional concealment and twentieth-century aesthetic devaluation and reevaluation of Tretiakov's icons
Publication Details
Publication Date
2014-06-01
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