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⤢In the photograph, the museum building: Kuskovo · Asedach Alexander, CC BY 3.0 ·Wikimedia Commons
The count is known as a historian, a publisher and a friend of Alexander III; here is shown the side scholars have hardly reached — Sheremetev the landowner and master of estates. Of them all, Kuskovo is the one he came to throughout his life. Painting, furniture, photographs and documents from the Ostankino and Kuskovo holdings; in the Swiss House.
For the seventy-fifth year of Viktor Neplyuev, chief artist of the Gzhel works from 1984 to 1989. Small genre figures in series: porcelain with underglaze painting, made by a man who knows the limits of the craft from inside.
Allegory as the language of the eighteenth century: what the figures meant that Pyotr Borisovich Sheremetev ordered for the palace and the park. A small show in the Portrait Room, and the key to what stands along the avenues at Kuskovo.
Praskovya Kovalyova-Zhemchugova: daughter of a serf blacksmith, singer of the Sheremetev theatre, later the wife of Nikolai Petrovich Sheremetev. Portraits of different years and things from her rooms; a summer show in the palace.
Danish porcelain from the last quarter of the eighteenth century to the second half of the twentieth — a monographic project the museum has never attempted before. The core was gathered by the Museum of Ceramics from the 1920s, when the things of Maria Fyodorovna, the Danish princess Dagmar, were handed over from the Armoury. In the Great Stone Orangery.
For the seventy-fifth year since the first Novgorod letter, found on 26 July 1951 in the Nerevsky dig. More than 1250 have been found since; among them the school exercises of the boy Onfim, with drawings that have no equal in medieval Europe. What the Vindolanda tablets are to Roman Britain, these are to medieval Rus — the writing of ordinary people, kept by wet ground. In the State Rooms, one month only.
A century of the country’s largest photographic service, which shot the news on the day it happened. Shown in two spaces of the Historical Museum: the Resurrection Gate and the Artillery Yard.
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.
