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⤢In the photograph, the museum building: Kuskovo · Asedach Alexander, CC BY 3.0 ·Wikimedia Commons
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 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.
The plant world of the estate in the second half of the eighteenth and the early nineteenth century: what the Kuskovo orangeries and parks were proud of under Pyotr Borisovich and Nikolai Petrovich Sheremetev. Beside it, drawings and applied art of a time when artists took botanical atlases for their model. In the loggia of the Italian House.
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.
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.
