St. Petersburg State Academy of Art and Industry named after A.L. Stieglitz trains artists, restorers, masters of arts and crafts, and designers.

St. Petersburg State Academy of Art and Industry named after A.L. Stieglitz - former LVHPU them. IN AND. Mukhina is one of the most famous universities in Russia.

"""The Central School of Technical Drawing""" was founded in 1876 on the initiative of Baron Alexander Ludwigovich Stieglitz. A passionate art lover, financier and industrialist, he not only donated a significant amount to the creation of an educational institution, but opened a whole milestone in Russian art education.

Baron Stieglitz's CUTR was one of the first Russian Schools which trained artists for industry. In addition to traditional creative training, students studied specialized disciplines that made it possible to graduate specialists of a wide profile.

Today the Stieglitz Academy is one of the most authoritative Russian universities in the field of art and design. About 1500 students and graduate students study at the Academy, there are 2 faculties and 14 graduating departments of various profiles - from artistic metal processing to industrial design.

The Stieglitz Academy is the most popular university in Russia, attracting applicants and tourists from all over the world. The Mukhinskoye school, as it was called at the Soviets, surprisingly unites creative talents with their practical application - this is a real "forge" contemporary artists and restorers, architects and designers, sculptors and fashion designers, designers of all directions. The Academy of Baron Stieglitz attracts creative youth not only with specialties, but also with excellent teaching staff, the possibility of self-realization already in the learning process and a rich history.

The history of the emergence of the Stieglitz Academy in St. Petersburg

There is an opinion that when a person achieves everything - wealth, fame and power, he plunges into the depths of the search for the meaning of his own life. Baron Stieglitz, the richest businessman and banker, a brilliant industrialist and international figure, also faced this phenomenon. Admiring the talents of architects and artists, he was extremely sad about the poverty of most of them. Careful calculations of the financier showed that if creative thought is channeled into the mainstream of industry, then the income of craftsmen will increase by 7 times.

Guided by such good intentions, in 1876 he allocates a million rubles for the construction of the main building of the “technical drawing school”, another 5 million to attract the best teachers in the world and the same amount to purchase exhibits for the museum at the academy, clearly demonstrating to students the prospects for revealing their talents.

The design of the building, which later housed the Art and Industry Academy of A.L. Stieglitz, was entrusted to the German architect Maximilian Messmacher, who later became the first rector of the educational institution. The unique concept of combining all the stylistic directions of architecture still distinguishes the Stieglitz mansion, the main building and the museum building. A glass dome, white marble stairs and an abundance of stucco - the grandeur of the building makes it stand out against the backdrop of the Elizabethan baroque of St. Petersburg.

was in the museum and Medici hall dedicated to the masters of arts and crafts who made Florence famous, and their patrons. The plafond of the hall is decorated with four medallions with portraits of representatives of the Medici dynasty and other figures. Under Messmacher, the hall contained showcases with Italian and German plaquettes of the 15th-17th centuries, mainly depicting ancient mythological and Christian subjects. Medici Hall in 1896 (photo source:):

The second floor, which, except through the Great Hall, could be reached along a wide Roman stairs, was assigned to the halls of English, Italian, Flemish and French art of the XVI-XVIII centuries. Thus, the exposition of Italian art occupied five halls, including a spacious tiepolo hall, dedicated to the art of the Venetian Republic of the 18th century and sometimes called Venetian hall(photo source:).

The design of this hall with a picturesque ceiling and stucco resembled the decoration of the library in the Venetian Doge's Palace. Unique Venetian vessels were exhibited here art glass, Delft faience, French baroque chests of drawers, fabrics, lace, fans and, most importantly, five magnificent paintings by the brush Tiepolo(c. 1725), acquired by Messmacher specifically for his museum (now they are in the Hermitage). Venetian Hall in 1896 (photo source:):

The decoration of the Venetian Hall has not survived to this day.

M.E. Messmacher. Design project for the decoration of the ceiling of the Venetian Hall (Tiepolo Hall) (source:):

exposition Italian Renaissance also housed in Hall Farnese, whose design was inspired by the luxurious decoration of the palace of Cardinal Farnese in Piacenza, built in the middle of the 16th century. Contemporaries considered the ceiling of this hall, decorated with deep gilded oak caissons, to be a true masterpiece of Messmacher. The hall exhibited Renaissance marble reliefs by the Venetian sculptor Lombardi, rock crystal vessels, caskets, miniature portraits, etc. View of the Farnese Hall in 1896 and in our time (now the hall does not belong to the museum, but belongs to the School) (photo sources: and ):

The display of the history of the development of Italian arts and crafts was completed by copies Loggia of Raphael (Pontifical Galleries). These galleries, decorated with grotesque ornaments, exhibited Italian furniture and fabrics of the 16th-17th centuries, as well as Flemish and French tapestries (now in the Hermitage). Fragment of the wall painting of the Papal Galleries, photo, 1896 (source:):

M.E. Messmacher. Design project for the Papal Gallery (source:):

The museum's French suite was conceived by Mesmacher to show the development of the residential interior of Renaissance France. For this, the halls of Henry II, Louis XIII, Louis XIV and others. In each elegantly decorated hall there were first-class works of art, specially selected by the architect.

So, Heinrich HallII was decorated with carved panels, dark blue velvet with royal coats of arms and tapestries, and works of art of the French Renaissance were shown there, including faience of the first half of the XVI century. Samples of Italian majolica were also collected here. A notable decoration of the hall was an Italian fireplace of the 16th century (photo source:).

All this later ended up in the Hermitage. And of the entire decor of the hall, only the rich decoration of the ceiling with deep oak caissons, decorated with the royal coat of arms of France, has survived to our time (photo source:).

General view of the hall of Henry II in our time (photo source:):

Chamber, but very elegant louis hallXIII was decorated with painted beams, and the walls were paneled with wood and painted with arabesque ornaments. In the hall, an overview of the decorative and applied art of France in the first half of the 17th century was given.

The current view of the hall of Louis XIII (photo source:):

French art of the second half of the 17th century was dedicated to louis hallXIV, decorated with a series of tapestries "Months, or Royal Residences" based on sketches by Charles Le Brun (now tapestries in the Hermitage). The showcases were filled with Sèvres and Meissen porcelain. Also on display was a collection of antique French clocks plus artistic furniture by the royal master André Boulle (now, again, in the Hermitage). The Hall of Louis XIV looked like this at that time (photo source:):

M.E. Messmacher. Design for the Louis XIV Room (

Academy today

Today the university has 1500 students and 220 teachers.

Faculties

Faculty of Arts and Crafts
- faculty of monumental art
- faculty of design

Story

• It was founded in 1876 by the rescript of Alexander II with donations from the banker and industrialist Baron Alexander Ludwigovich Stieglitz (-) as Central School of Technical Drawing.
• In 1918 the school was reorganized into Petrograd State Art and Industrial Workshops.
• In 1922 the workshops were transformed into School of Architectural Finishing of Buildings under the City Executive Committee.
• In 1945, by decision of the government, the school was recreated as a multidisciplinary educational institution that trained artists of monumental, decorative, applied and industrial art, in 1948 it became a university - Leningrad Higher School of Art and Industry.
• Since 1953 LVHPU bears the name folk artist USSR Vera Ignatievna Mukhina.
• In 1994, LVHPU them. V. I. Mukhina transformed into St. Petersburg State Academy of Art and Industry.
• In December 2006, the Academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Academy of Art and Industry named after A. L. Stieglitz(SPGHPA named after A. L. Stieglitz).

Famous graduates

• Bosco, Yuri Ivanovich - Soviet muralist, Honored Artist of Russia, People's Artist of Russia.
• Zarinsh, Richard Germanovich - Russian and Latvian artist, graphic artist, popularizer of the Latvian folk art, author of the first revolutionary stamps of Soviet Russia. Author of the coat of arms and banknotes of Latvia.
• Ostroumova-Lebedeva, Anna Petrovna - People's Artist of the RSFSR, Russian engraver and painter, watercolorist, master of landscape.
• Petrov-Vodkin, Kuzma Sergeevich - Honored Artist of the RSFSR, symbolist painter, graphic artist, art theorist, writer and teacher.
• Pisakhov, Stepan Grigorievich - Russian artist, writer, ethnographer, storyteller.
• Protopopov, Vladislav Vasilievich - Russian artist.
• Salnikov, Anatoly Alexandrovich - Honored Architect of the Autonomous Republic of Crimea, Laureate of the Prize of the Autonomous Republic of Crimea, chief architect of Kerch.

Links

• http://designcomdesign.ru/ - Department of Communication Design, SPGHPA im. A.L. Stieglitz.
• http://artisk.ru/ - Department of Art History and Cultural Studies, SPGHPA im. A.L. Stieglitz.

Sources

Wikimedia Foundation. 2010 .

See what the "Art School named after Mukhina" is in other dictionaries:

In the USSR, the system of training masters of fine, decorative applied and industrial art, architects, artists, art critics, artist teachers. In Russia, it originally existed in the form of individual training ... ... Big soviet encyclopedia

- (named after the philanthropist Baron A. L. Stieglitz), founded in Saint Petersburg in 1876, opened in 1879, in 1922 it merged into the Petrograd Vkhutein. In 1945, it was recreated as the Leningrad (now St. Petersburg) Higher Artistic and Industrial ... ... encyclopedic Dictionary

- (CUTR) (Solyanoy lane, 13 and 15), state art educational institution. Founded in 1876 (opened in 1879) together with elementary school drawing, drawing and modeling on the initiative and at the expense of the patron of the arts, Baron A. L. Stieglitz (first ... ... St. Petersburg (encyclopedia)

Wikipedia has articles about other people with that surname, see Pavlov. Wikipedia has articles about other people named Pavlov Alexander Borisovich. Alexander Borisovich Pavlov (b. 1963, Donetsk) is a Russian artist. Born into a family of workers. Since 1971 ... ... Wikipedia

Oleg Georgievich Atroshenko (1940-1989) Soviet artist. Graduated from Higher art school named after Mukhina with a degree in interior design. He is the author of numerous interior design projects for public institutions and ... ... Wikipedia

Wikipedia has articles about other people with this last name, see Wax. Joseph Alexandrovich Vaks Professor I. A. Vaks ... Wikipedia

Alexey Rybnikov.

I continue my story about visiting St. Petersburg, the previous part was devoted to

Today there will be a story about visiting the building of the former Stieglitz School, now it is the St. Petersburg State Academy of Art and Industry named after A. L. Stieglitz.
I beg your pardon for the quality photo in the museum it’s dark, you can only take pictures without a flash, and my weak soap dish hardly pulls out in such situations.

The building was designed by the first director of this educational institution - the architect M. E. Messmacher.

In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz (1814-1884).

In front of the entrance to the museum there are two bronze floor lamps, they are decorated with figures of the way, busy with creativity.

The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as teachers of drawing and drawing for secondary art and industrial schools.

A prominent role in the development of this educational institution was played by a prominent statesman, son-in-law of Baron Stieglitz, Alexander Alexandrovich Polovtsov (1832 - 1909).

In 1885, according to the project of M.E. Messmacher, the construction of a special museum building begins. At international auctions, with well-known foreign and Russian antique dealers and collectors, with the active participation of A.A. Polovtsov acquired collections of objects of applied art. A unique museum collection is gradually taking shape, distinguished by the diversity and high artistic level of the monuments of Antiquity, the Middle Ages, the Renaissance, and including works of Western European, Eastern and Russian applied art. art XVII and XVIII centuries.

Since its opening, the museum has been at the center cultural life Petersburg. In its Great Hall, brilliant exhibitions of the World of Art association (1898), historical exhibition Art Objects" (1904), "Exhibition of Church Antiquities" (1915) and many others. The museum becomes one of the most important elements of the aesthetic education of future artists. In 1892, 200 people studied at the school; there were departments: general art, majolica, decorative painting and carving, embossing, woodcuts and etching, porcelain painting, weaving and printing.

Pupils of the Stieglitz School fruitfully worked in various areas of the art industry: at the Imperial porcelain and glass factories, in the jewelry firm of Carl Faberge, and at the workshops of the Imperial Theaters. Their skill and inspired work created genuine masterpieces that made the glory of the Russian applied art of the Silver Age.

Anteroom.

Calm creative activity The school and its museum was interrupted in 1915: World War made tough adjustments to the life of Russia and its capital, completely subordinating it to the laws of wartime. In August 1915, the School Council decides on the temporary provision of museum premises Russian society Red Cross to set up workshops for the production of gas masks for the army and dressings for 900 workers, as well as storage facilities.

Events at the fronts were not going well, and it was decided to prepare the museum's collection for evacuation to Vyatka. 257 boxes with the museum collection and 55 boxes with the School library (the rarest editions, manuscripts, engravings) were prepared for transportation. They were temporarily placed on the first floor of the building, in the Gothic and Russian halls, where they stood until the early 1920s.

The political and economic instability that hit Russian society, a premonition by representatives of the propertied sections of the population of revolutionary events, forced them to part with their family values, family heirlooms and art collections. In Petrograd at that time, both official and illegal antique markets flourished, so a huge number of various works of art found new owners during this period. But not only great offer The antiques market is explained by the purchasing activity of the Museum of the School, but also by the obvious senselessness of saving the school's money in a situation of catastrophic inflation. All this undoubtedly contributed to the fact that it was in the Museum of the School that a significant number of art treasures were accumulated.

Until 1919, the leadership of the School acquired for the museum both individual exhibits and entire rather expensive collections. So, for example, at the end of 1915, a collection of bronze items with cloisonne enamel created in the Caucasus in the 13th century was purchased from Count A.A. Bobrinsky for 18,000 rubles, in 1916 a number of art objects from the collection of the famous Russian historical painter K.E. Makovsky, in October 1918, a collection of products with enamel of the 18th century was purchased from the head of the library of the School, a well-known collector of Russian antiquities in the capital, architect I.A. Galnbek for 18,890 rubles, from a certain Bork for 20,000 rubles bought a collection of Russian glass, consisting of 160 items.

In addition, the first post-revolutionary years were marked by replenishment of the museum's collection and through donations: in July 1918, the famous researcher of Russian architecture V.V. Polovtsov Jr. donated a collection of Persian miniatures to the museum.

After the revolution, the Stieglitz School, like other educational institutions of that time, is going through a period of reforms. Not only its name is changing (the educational institution becomes the Higher School decorative arts) and the main directions of its activity are being adjusted, but, finally, in 1918, together with the Academy of Arts, it is reorganized into the State Labor Educational Workshops of Decorative Arts.

Despite the political and economic difficulties of the first post-war years, to the uncertainty of the legal status of the Museum of the School, he remained one of the main in Petrograd museum centers. It was in this museum that the largest private collections of the city were transferred for storage, which undoubtedly saved them from destruction and plunder. So, in August 1917, Princess E.G. of Saxe-Altenburg, apparently, before leaving for emigration, transferred to the museum her personal collection of art values, consisting of 1791 items (porcelain, crystal, bronze, enamels, furniture, tapestries) for storage.

In December of the same 1917, a collection of applied arts - porcelain, crystal, carved bone and stone, which included 2801 items. In 1918, A.A. Polovtsov transferred to the museum part of his personal art collection and property from his dacha on Kamenny Island, in 1919 and somewhat later, the museum received the collections of princes Gorchakov, Shakhovsky, Musin-Pushkin and others.

Hall "Teremok".

As a result, by the beginning of the 1920s, up to forty thousand unique works of applied art were collected in the School Museum, which needed to be stored in appropriate conditions. The building of the museum during the years of post-war devastation was in a catastrophic condition and required urgent overhaul. In March 1923, the Council for Museum Affairs of the Petrograd Department of Scientific and Artistic Institutions (PUNU) resolved the issue of transferring the Museum of the School from the jurisdiction of the Academy of Arts to the subordination of PUNU.

In the autumn of 1923, an act was signed to transfer the museum "with all the collections listed in the inventory books" to the State Hermitage. This forced action was a salvation for the museum, since only the Hermitage at that difficult time could guarantee the preservation of the collections for national culture. So in Petrograd appeared new museum- I branch State Hermitage (former museum Stieglitz School), which existed as an independent institution until the early 1930s.

New trials fell to the lot of the museum during the Great Patriotic War. At the very beginning of the war, the glass dome of the Bolshoi exhibition hall, significant damage was caused to the building from direct hits of two shells and an air bomb. The employees of the Hermitage, in the spring of 1942, began to transport and transfer by hand thousands of objects of applied art to the main building of the Hermitage on Palace embankment to save them from death.

Immediately after the blockade was broken, in the winter of 1943, the city authorities decided to open a school for architectural decoration of buildings on the basis of the former Stieglitz School to train master restorers: marblers, sculptors, mosaicists, cabinetmakers, painters.

A new stage in the life of the museum began on February 5, 1945, when the Council of People's Commissars of the USSR adopted a resolution on the re-establishment of an art-industrial school in Leningrad. In 1949 it becomes the highest educational institution, and in 1953 he was named after the People's Artist of the USSR, sculptor V.I. Mukhina.

The museum, recreated at the same time as the school, was returned part of its collection from the Hermitage, the Russian Museum, where the exhibits got in the 1930s, and objects of applied art were transferred from other museum organizations: the Museum of the History of Religion and Atheism, the State Research Museum architecture them. A.V. Shchusev, Museum of the Moscow Institute of Applied and Decorative Arts.

In 1994, LVHPU them. V. I. Mukhina was transformed into the St. Petersburg State Academy of Art and Industry. December 27, 2006 the Academy was named after A. L. Stieglitz.

Today, the museum exposition is located on the first floor of the building. The museum's collection contains samples of Russian and Western European arts and crafts of the 16th and early 20th centuries, Soviet applied art, and industrial design. In the museum you can see rare collections of Russian tiled stoves of the 18th century, Soviet fabrics of the 1920s-1940s, artistic furniture, porcelain, metal, ceramics, fabrics, glass, costumes of the 16th and early 20th centuries.

M.E. Messmacher. Decorations of the southern wall of the Roman stairs with the image of St. Peter's Cathedral in Rome. end of 1885

Raphael (Papal Gallery).

If you climb the stairs, you can get to the sculpture workshop.

View from the stairs.

The huge main hall is an "atrium" covered with a double iron-glass dome. It is executed in the form of a majestic two-tiered arcade, similar to the courtyards of Italian Renaissance palazzos. A striking contrast to this traditional theme is the floating structure of the ceiling, made according to the type of lattice construction trusses of the French engineer C. Polonso. This is one of the most daring perfect samples new architecture of "iron and glass" in St. Petersburg construction at the end of the 19th century.

The factories of F.C. San Galli made the metal base of the double glass ceiling of the Great Hall of the Museum. The painted glass to cover this dome was produced by the well-known Munich firm Zettler.

View of the Great Exhibition Hall of the School and the Italian stairs from the gallery.

The Large Exhibition Hall, two floors high, dominates the volumetric and spatial solution of the building and is compositional center the entire building. In the architectural design of the hall, Messmacher used the traditional layout of the courtyard of an Italian palazzo with a two-tiered arcade, made in the forms characteristic of Italian Renaissance architecture. The space of the hall is covered with a huge glass dome.

We climb the luxurious marble staircase, on the upper platform of which there is a sculpture of A.L. Stieglitz by M.M. Antokolsky,

Even on the approaches to the school from the Fontanka, a huge glass dome is visible from afar, blocking the space of the Great Exhibition Hall. This is not visible from the outside, but in fact there are two domes - external and internal.

In the very first “Mesmakher edition”, the inner dome was entirely stained glass, and a greenhouse was located in the space between the domes. The climate is perfect for this! But during the war, a bomb hit the hall and the dome was destroyed. Restored at the end of the forties of the twentieth century, for more than half a century it again fell into a deplorable state. But on the occasion of the 125th anniversary of the School of Construction and the glazing of the dome was restored again.

It turned out as always chaotically and probably a bit too much information.

I really regret that I wandered around the school building myself and there was no one to show and tell me everything, it’s a pity that I didn’t see most of the beauties of this wonderful building.
But on the other hand, I have something to come to St. Petersburg again.

Previous parts of the report.