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All-Russian Art Research and Restoration Center named after Academician I. E. Grabar- the state restoration organization of Russia.

Corner of Radio and Baumanskaya streets. The former building of the Federal State Unitary Enterprise TsAGI. Now the building of the restoration center

Story

The Federal State Cultural Institution "All-Russian Art Research and Restoration Center named after Academician I. E. Grabar" (VKhNRTS) - the oldest state restoration organization in Russia - was founded on June 10, 1918 at the initiative of the artist and art researcher Igor Emmanuilovich Grabar, under the Department of Museum Affairs and the protection of monuments of art and antiquity of the People's Commissariat of Education (32nd department of the People's Commissariat of Education) of the RSFSR in the form of the All-Russian Commission for the Preservation and Disclosure of Old Russian Painting. IE Grabar was appointed chairman of this commission. In 1924, the commission was transformed into the Central State Restoration Workshops (TsGRM). Through the efforts of I. E. Grabar, the TsGRM collected the color of domestic scientific restoration of that time: both outstanding art scientists and experienced restorers-practitioners.

In 1934 the Center was liquidated. Some of the leading employees of the Center were subjected to repression, up to the "highest measure of social protection." The accusations, of course, are false, but in the situation of that time they were almost “deserved”: “propaganda of religion” under the guise of preserving culture. Fortunately, I. E. Grabar was a figure of such magnitude that he was not touched. The return of the restorers from disgrace is the "merit" of the war. As the occupied part of the USSR was liberated, the scale of the damage caused by the war not only to the economy, but also to culture - historical monuments, artistic values ​​became clearer. On September 1, 1944, the Council of People's Commissars issues Order No. 17765-r signed by the deputy. Chairman V. M. Molotov on permission to the Committee for Arts under the Council of People's Commissars of the USSR to organize the Central Art and Restoration Workshop. Naturally, the most experienced I. E. Grabar was involved in the organization, who, having become the artistic director of the “new” workshop, actually recreated the old ones, attracting the surviving restorers for this, even recalling them from the fronts. Thanks to I. E. Grabar, the current Center is rightly considered the successor of those workshops that began in 1918. [ ]

Over the almost century-long history of the center, thousands of monuments of fine and decorative arts have been preserved by the efforts of its employees for domestic and world culture. Among these monuments are frescoes of the Novgorod and Vladimir churches, the cathedrals of the Moscow Kremlin, ancient Russian icons, including such shrines as Our Lady of Vladimir, Trinity by Andrei Rublev; paintings from the collection of the Dresden Gallery, the State Tretyakov Gallery and the Pushkin Museum im. A. S. Pushkin; panorama "Battle of Borodino" F. Rubo; medieval manuscripts and antique pottery.

From 1986 to 2010, the Center was headed by artist and art historian Alexei Petrovich Vladimirov. In the difficult conditions for all cultural institutions of the last decades, the VKhNRTS managed to preserve the best traditions of the restoration school, laid down by I. E. Grabar and his associates.

VKhNRTS specializes in the conservation, restoration, examination of monuments of oil painting, icon painting, graphics (including those on a parchment base), books (including "incunabula"), monuments of wooden, stone, plaster and oriental lacquer sculpture, objects of applied art (metal , bone, sewing and fabrics, ceramics).

Center today

To date, the Center is one of the few restoration organizations that has a time-tested system for training new employees. Back in 1947, the GTsKhRM adopted the “Regulations on Art Restorers”, which obligated each master to “permanent improvement: a) in the history and theory of art; b) according to the methodology of restoration processes; c) according to the general artistic level (performing creative works in accordance with one's specialty - drawing, painting, modeling, copying, etc.).

Since 1955, the Center has been among the founders and permanent members of the State Attestation Commission of the Ministry of Culture of the RSFSR, which determined the level of skill of restorers. The Center stood at the origins of the creation of the state system for training new restoration personnel, and at present it is one of the few cultural institutions that carefully preserves the order of successive advanced training of young specialists that has developed over decades. As a rule, new employees who come to the departments of the VKhNRTS have a higher or secondary specialized art education. They learn the basics of the profession under the guidance of restorers of the highest and first categories. Gradually, as they acquire new knowledge and experience, they are allowed to work with more and more complex exhibits.

VKhNRTS closely cooperates with the domestic and international museum community, its specialists have been actively involved in the work of the Russian branch of UNESCO ICOM since its foundation. Now the Center's partners include more than 200 museums, restoration workshops and research organizations in Russia and countries near and far abroad.

Employees of the All-Russian Scientific and Research Center carry out inspection and restoration of museum expositions and funds on the ground during business trips, accept museum restorers and curators for internships, exchange scientific information with Russian and foreign colleagues during numerous conferences and exhibitions.

Training of restoration personnel at the VKhNRTS

VKhNRTS today is not only a restoration and research organization, but also a scientific and methodological base of the Ministry of Culture of the Russian Federation, including the training of qualified personnel for restoration centers, workshops, restoration departments of Russian museums.

Before the Great Patriotic War and immediately after it ended, the USSR had not yet practiced the training of restorers in special educational institutions, although the need for them was enormous, especially in the postwar years. First of all, it was not so much high-class restorers who were needed to restore the lost, as restorers-conservators for "first aid" to damaged monuments - able to monitor the safety of museum funds, prevent the final loss of historical and artistic values, carry out urgent conservation and, already as opportunities, simple restoration work.

To solve this important task, the Central State Restoration Workshops, as the Grabar Center was then called, in 1955 organized a two-year training course for restorers of easel painting, graphics, sculpture and applied arts. The course participants underwent the necessary training, not only practical, but also general cultural theoretical, and, having received qualification certificates indicating the list of works that they were allowed to perform, they became a real salvation for thousands of exhibits in many museums of the Soviet Union. The best graduates were hired by the TsGRM, many of them are the pride of the Center to this day.

At present, the training of restoration personnel in Russia usually consists of two stages: restoration faculties and departments have been opened in a number of art educational institutions in the country, after which graduates are trained by experienced practitioners.

It is this kind of mentoring that is traditional for the VKhNRTS - for several years a qualified and experienced art restorer has been supervising, teaching in practice, the work of students, bringing them to a high professional level.

In order to train and retrain restorers for the country's museums, the VKhNRTS has developed a system of internships in various departments with the obligatory reading of theoretical courses on technology, restoration methods and various types of pre-restoration and restoration studies of monuments (physical, chemical, radiological, biological, etc.). Internships are carried out on the basis of agreements of VKhNRTS with interested organizations and individuals.

Scientific and Restoration Center. I. Grabar is the largest institution in Russia engaged in the restoration of movable objects of art - statues, icons, paintings, graphics, manuscripts, books, furniture, fabrics, ceramics, metal products, leather and bone.

The specialists of the Center created and patented many unique methods of scientific restoration, which made it possible to preserve priceless works of art. All major museums in Russia and many world museums use the services of the Grabar Center restorers.

The Center for Scientific Restoration was founded in 1918 by the artist and historian I. E. Grabar. The task of the institution included not only the restoration of ancient monuments, but also the coordination of the activities of all restoration workshops and schools in the country.

The first major work of the Center was the examination and restoration of the Kremlin frescoes, ancient Russian icons and paintings from the Cathedral of the Annunciation. In 1921, the First All-Russian Restoration Conference was held in Moscow, at which Academician I. Grabar presented the results of the Center's activities, reported on new methods and principles for the scientific restoration of art objects.

By the standards of the 20s. Grabar's workshops were extraordinarily well-equipped, with the most experienced craftsmen and art critics working in them. By 1930, many icons of the 12th-13th centuries had been restored, including the masterpieces of A. Rublev, F. Grek, the icons “Our Lady of Vladimir” and “Savior Golden Hair”.

Under the scientific guidance of I. Grabar, the basic principles of scientific restoration were developed. The academician proposed a unique method of returning a work of art to its original appearance by purifying it from later layers. The main task of the work of the restorer Grabar called the strictest adherence to the author's concept of a work of art.

In addition to its main activities, the center organized exhibitions of ancient Russian painting, icons, and sculptures. Expositions were shown both in the USSR and abroad.

In the 1930s, a huge layer of the cultural and historical heritage of Russia was called by the authorities "Romanov's rubbish." This became the starting point for the destruction of many "ideologically harmful" artistic and church values. Active defenders of national culture were subject to repression, many died in the camps.

In 1934 Grabar's workshops were closed. The restoration of monuments of power was entrusted to several large Moscow and Leningrad museums, and the employees of the Workshops were enrolled in the staff of these museums. After 10 years, the Council of People's Commissars of the USSR resumed the work of the Grabar Center. The academician was given leadership functions, and the director of the Workshops, V.N. Krylova, took over all organizational activities. This woman did the impossible by returning almost all of its restorers to the Center.

After the Second World War, Grabar's workshops became a key element in the restoration of damaged art monuments. Over the course of several years, restorers restored their former appearance to priceless canvases from domestic museums, as well as from many museums in Dresden, Berlin, Warsaw, Sofia, Budapest and Vienna.

In 1966, the city of Florence was subjected to a terrible flood, and the Italians turned to the artists-restorers from the Grabar Workshops with a request to help restore the greatest paintings of the Renaissance.

In our time, the Scientific and Restoration Center. I. Grabarya is engaged in the restoration of all types of art objects, using modern and time-tested methods for this.

The center conducts extensive publishing activities, publishes magazines, manuals, catalogues. Within the walls of the institution, restorers from around the world are trained.

Private collectors and government organizations can order scientific and technical expertise of cultural property at the Grabar Center - one of the most authoritative in the world. Specialists are engaged in confirming the authenticity of antiques, identify fakes.

A separate area of ​​the Center's activity is expeditions. Specialists travel to the most remote corners of Russia to search for works of art. Thus, hundreds of icons, frescoes, paintings were discovered.

The structure of the Center, in addition to the restoration departments and the department of scientific expertise, includes a library, an archive and a music library. Branches of the institution operate in Arkhangelsk, Vologda and Kostroma.

The Center regularly hosts Open Days, scientific conferences, temporary exhibitions, and excursions.

Kommersant reports that the Ministry of Culture may soon ban the Grabar All-Russian Artistic Research and Restoration Center (VKhNRTS) from conducting a commercial examination ...

At the moment, VKhNRTS remained the last state institution engaged in the commercial examination of works of art for private and natural persons. Russian museums lost the right to issue expert opinions back in 2006 due to scandalous errors in the attribution of paintings by Russian artists. According to Svetlana Vigasina, deputy director for science of the VKhNRTS, the center’s employees are really waiting for a letter from the Ministry of Culture, but “most likely there will be no talk of a ban,” they will simply ask to deal with the documents.

If the Grabar Center ceases to issue expert opinions on the form of the Ministry of Culture, this will mean that the state has finally withdrawn from the art market, leaving its participants to figure it out for themselves. Such a scheme operates in Europe, where state museums are engaged in science and exhibitions, and private experts (who can be both scientists and art dealers) are engaged in commercial expertise. On the one hand, this is a blessing - a private expert who issued an incorrect opinion can be sued, demanded compensation for damages (and try to sue the state).

On the other hand, there may be problems. Other experts, except for the well-known employees of the largest museums and the VKhNRTS, are nowhere to be found yet. It would be quite logical if, after the prohibition to conduct an examination at the place of work, the experts of the VKhNRTS will create an independent institute that will make such necessary expert opinions for private collectors and art dealers.

The examination will be carried out by the same people on the same equipment and using the same museum comparative databases - as is happening now, for example, in the P. M. Tretyakov Scientific Research Independent Expertise (NINE), created by the Tretyakov Gallery staff after in the museum they were forbidden to do examinations. No one has yet tried to sue NINE.

Specialists of the Russian Museum, after the ban on making examinations, provide private individuals with "consulting services of a research nature." Dissatisfied with these services, the St. Petersburg collector Konstantin Azadovsky, for example, discovered that the contract contains a clause stating that the written result of the study, whatever it turns out, is not subject to transfer to the judicial authorities.

Story

The Federal State Cultural Institution "All-Russian Art Research and Restoration Center named after Academician I. E. Grabar" (VKhNRTS) - the oldest state restoration organization in Russia - was founded on June 10, 1918 at the initiative of the artist and art researcher Igor Emmanuilovich Grabar, under the Department of Museum Affairs and the protection of monuments of art and antiquity of the People's Commissariat of Education (32nd department of the People's Commissariat of Education) of the RSFSR in the form of the All-Russian Commission for the Preservation and Disclosure of Old Russian Painting. I.E. Grabar. In 1924, the commission was transformed into the Central State Restoration Workshops (TsGRM). Through the efforts of I.E. Grabar, the color of domestic scientific restoration of that time was collected at the TsGRM: both outstanding art scientists and experienced restorers-practitioners.

In 1934 the Center was liquidated. Some of the leading employees of the Center were subjected to repression, up to the "highest measure of social protection." The accusations, of course, are false, but in the situation of that time they were almost “deserved”: “propaganda of religion” under the guise of preserving culture. Fortunately, I. E. Grabar was a figure of such magnitude that he was not touched. The return of the restorers from disgrace is the "merit" of the war. As the occupied part of the USSR was liberated, the scale of the damage caused by the war not only to the economy, but also to culture - historical monuments, artistic values ​​became clearer. On September 1, 1944, the Council of People's Commissars issues Order No. 17765-r signed by the deputy. Chairman V. M. Molotov on permission to the Committee for Arts under the Council of People's Commissars of the USSR to organize the Central Art and Restoration Workshop. Naturally, the most experienced I. E. Grabar was involved in the organization, who, having become the artistic director of the “new” workshop, actually recreated the old ones, attracting the surviving restorers for this, even recalling them from the fronts. It is thanks to I. E. Grabar that the current Center is rightly considered the successor of those workshops that began in 1918.

Over the almost century-long history of the center, thousands of monuments of fine and decorative arts have been preserved by the efforts of its employees for domestic and world culture. Among these monuments are frescoes of the Novgorod and Vladimir churches, the cathedrals of the Moscow Kremlin, ancient Russian icons, including such shrines as Our Lady of Vladimir, Trinity by Andrei Rublev; paintings from the collection of the Dresden Gallery, the State Tretyakov Gallery and the Pushkin Museum im. A. S. Pushkin; panorama "Battle of Borodino" F. Rubo; medieval manuscripts and antique pottery.

From 1986 to 2010, the Center was headed by artist and art historian Alexei Petrovich Vladimirov. In the difficult conditions for all cultural institutions of the last decades, the VKhNRTS managed to preserve the best traditions of the restoration school, laid down by I. E. Grabar and his associates.

VKhNRTS specializes in the conservation, restoration, examination of monuments of oil painting, icon painting, graphics (including those on a parchment base), books (including "incunabula"), monuments of wooden, stone, plaster and oriental lacquer sculpture, objects of applied art (metal , bone, sewing and fabrics, ceramics).

Center today

Corridor. Along the walls lie 18th-century icons laid out to dry from one of the northern churches, sent to Moscow for restoration. Room before the fire

To date, the Center is one of the few restoration organizations that has a time-tested system for training new employees. Back in 1947, the GTsKhRM adopted the “Regulations on Artists-Restorers”, which obligated each master to “permanent improvement: a) in the history and theory of art; b) according to the methodology of restoration processes; c) according to the general artistic level (performing creative works in accordance with one's specialty - drawing, painting, modeling, copying, etc.).

Since 1955, the Center has been among the founders and permanent members of the State Attestation Commission of the Ministry of Culture of the RSFSR, which determined the level of skill of restorers. The Center stood at the origins of the creation of the state system for training new restoration personnel, and at present it is one of the few cultural institutions that carefully preserves the order of successive advanced training of young specialists that has developed over decades. As a rule, new employees who come to the departments of the VKhNRTS have a higher or secondary specialized art education. They learn the basics of the profession under the guidance of restorers of the highest and first categories. Gradually, as they acquire new knowledge and experience, they are allowed to work with more and more complex exhibits.

VKhNRTS closely cooperates with the domestic and international museum community, its specialists have been actively involved in the work of the Russian branch of UNESCO ICOM since its foundation. Now the Center's partners include more than 200 museums, restoration workshops and research organizations in Russia and countries near and far abroad.

Employees of the All-Russian Scientific and Research Center carry out inspection and restoration of museum expositions and funds on the ground during business trips, accept museum restorers and curators for internships, exchange scientific information with Russian and foreign colleagues during numerous conferences and exhibitions.

Training of restoration personnel at the VKhNRTS

VKhNRTS today is not only a restoration and research organization, but also a scientific and methodological base of the Ministry of Culture of the Russian Federation, including the training of qualified personnel for restoration centers, workshops, restoration departments of Russian museums.

Before the Great Patriotic War and immediately after it ended, the USSR had not yet practiced the training of restorers in special educational institutions, although the need for them was enormous, especially in the postwar years. First of all, it was not so much high-class restorers who were needed to restore the lost, as restorers-conservators for "first aid" to damaged monuments - able to monitor the safety of museum funds, prevent the final loss of historical and artistic values, carry out urgent conservation and, already as opportunities, simple restoration work.

To solve this important task, the Central State Restoration Workshops, as the Grabar Center was then called, in 1955 organized a two-year training course for restorers of easel painting, graphics, sculpture and applied arts. The course participants underwent the necessary training, not only practical, but also general cultural theoretical, and, having received qualification certificates indicating the list of works that they were allowed to perform, they became a real salvation for thousands of exhibits in many museums of the Soviet Union. The best graduates were hired by the TsGRM, many of them are the pride of the Center to this day.

At present, the training of restoration personnel in Russia usually consists of two stages: restoration faculties and departments have been opened in a number of art educational institutions in the country, after which graduates are trained by experienced practitioners.

It is this kind of mentoring that is traditional for the VKhNRTS - for several years a qualified and experienced art restorer has been supervising, teaching in practice, the work of students, bringing them to a high professional level.

In order to train and retrain restorers for the country's museums, the VKhNRTS has developed a system of internships in various departments with the obligatory reading of theoretical courses on technology, restoration methods and various types of pre-restoration and restoration studies of monuments (physical, chemical, radiological, biological, etc.). Internships are carried out on the basis of agreements of VKhNRTS with interested organizations and individuals.

2010 fire

At the beginning of 2011 Evgenia Osipova, an employee of the Department of Manuscript Restoration, for saving ancient manuscripts from a fire, incl. Spassky Gospel of the XIII century, was awarded the V.S. Vysotsky Prize "Own track" for 2010.

Notes

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