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The whole Zverev holding laid out at once, with no route built through it: the line between store and display has been removed on purpose. The museum’s first project in its rebuilt space and the sum of ten years of Natalia Opaleva’s collecting.
The museum’s own page for this exhibition
A hundred artists, designers and makers from across Russia, chosen by the project’s curator. This year’s theme is the image of the future held by those who work with the inheritance of their forebears. In the exhibition complex on Revolution Square.
Work by the sculptor who carved quebracho and algarrobo: in his hands wood holds shapes impossible in marble.
Tretyakov bought icons in the nineties, a few years before his death. Of this part of his collecting least is known. Sixty-odd panels of the fifteenth to the nineteenth century, many of them shown for the first time: the Novgorod «Predsta Tsaritsa» of the fifteenth century, the Igorevskaya Virgin of Tenderness from the beginning of the sixteenth, work of the tsars’ and the Stroganov masters, got together with the help of dealers and of men who knew old things. Apart from these it is told how the icons came into the rooms of the Gallery and how they travelled Europe in 1929–1932; second floor of the Engineering Building.
Over seven hundred objects: sculpture and painting of Russian Buddhism, almost none of it shown before. More than a hundred sculptures were conserved for the opening.