can learn about the most interesting conversation work
the Art Conservation Department of the Russian Museum in 2014 here...>>>
More than four and half thousands masterpieces were
conserved and restored in the Russian Museum in 2014. We would like
to show you the most interesting restoration objects.
of the Art Conservation Department...>>>
A book has just been published
about a wonderful man, Sergei Golubev (1947-2008), a conservator of
Old Russian painting, who dedicated 40 years of his life to the
Conservation Department of the Russian Museum.
Golubev developed and implemented in his every day work a new method for
icon conservation, one that largely guaranteed the preservation of the
original paint layers while also revealing the icon, layer by layer.
Several generations of conservators went through his school. Questions
about the medium and art of icon painting, the history of existence, and
the iconography of works of Byzantine and Old Russian painting,
including new aspects of the theory and history of medieval art, are
reflected in his legacy.
Golubeva, M.G. Malkin, N.V. Pivovarova
A thorough preservation process has began for
the round wooden 1533 Ambon from the St. Sophia Cathedral in
Novgorod, a unique monument of Old Russian art.
The work is being carried out as a part of preparations
for the exhibition Emperor Nicholas II and the Department of Christian
Antiquities of Emperor Alexander III: The 100th Anniversary of the
Archive of Monuments of Iconography and Church Antiquities. The first
part of restoration was exhibit at the exhibition Autumn 2014 at the
removing and labeling parts, and working on the preservation of carved
figures, and panels, and numerous decorative details of the Ambon’s
interior design was finished.
Russian Museum from 21-26 April 2014, there was a research seminar
on the topic of “Preservation and Restoration of Textiles in Museum
As a part of the seminar,
researchers, conservators, and restorers from museums in the Russian
Federation met and discussed pressing problems of the contemporary state
of art conservation, and the study of textiles with their colleagues
from the art conservation departments of the Russian Museum, the State
Hermitage, the Russian Ethnographic Museum, and the Museum of the
History of Religion.
On 9 April 2014, the restorers of the Old
Russian Painting Studio presented seven icons from the mid-14th
century from the Assumption Cathedral of the Large Tikhvin Monastery
in the process of being restored at a session of the Art
Conservation Council of the Russian Museum
restorers talked about the next stage of uncovering the icon from the many
layers of later additions and varnishes. This painstaking work has been
ongoing since 2008, when, as a part of preparations for the exhibition The
Art of Old Tikhvin, several icons from the mid-14th century arrived at the
studio from the divine iconostasis series.
they are working on uncovering icons, among which is one large-sized icon
from the cathedral’s series of iconostasis.
conservation of Grigory Ugryumov’s (1764-1823) painting Test of Yan
Usmar’s Strength is finished. The restoration was conducted as a
part of preparation for an exhibition at the Russian Museum in honor
of Urgyumov’s 150th birthday that took place Autumn 2014.
In accordance with the task set forth by the Conversation Committee of the
Russian Museum, after a thorough technological analysis and a photographic
survey of the painting’s condition, the painted layer and primed layer were
strengthened, all dirt was removed from the front surface of the painting,
and the varnish was restored. After these steps, the painstaking work of
thinning the severely yellowed varnish in stages until it is the thinnest
transparent film possible. During the process of this work, numerous old
additions that distort the artist’s painting will be removed. The final
stage will be adding color to areas that have been lost and covering the
painting with a protective layer of new varnish.
Test of Yan Usmar’s Strength,
a painting by Grigory Ugryumov, during the conservation process: the old
brown varnish is gradually thinned, revealing numerous additions that were
done in the place of original paint layers that had been lost...
can learn about the most interesting conversation work performed by
the Art Conservation Department of the Russian Museum in 2013
Report of the Art Conservation Department...>>>
December 2013, the governor of St. Petersburg, Georgy Poltavchenko,
awarded Evgenia Shchukina, the head of the
Mixed Media Painting Conservation laboratory,
with the honorary title of Honored Cultural Worker of the Russian
The Mixed Media Painting Conservation
lab was created in 1990. Currently, four art
conservators work in the lab, two of whom are
certified in the Highest Conservation Category.
Among the most interesting recent works they have
worked on is the conservation of Konstantin Korovin’s mural series.
prize in the Museum Olympics competition was awarded to Russian
Museum conservators Ivan Bezsolnitsin, Andrei
Bogomolov, Nina Rusakova, and Evgenia
The ceremony of announcing the results of
the prestigious competition occurred in the Throne Room of the Catherine
Palace in Tsarskoye Selo on 3 November 2011.
Museum Olympics if the first yearly
professional museum award in Russia. It was
established in 2009 by the Committee on Culture and the
Inter-Institutional Museum Council of St. Petersburg. The jury is
comprised of leading representation of the museum community and the
heads of the city’s major museums.
to right: host, Nina Rusakova, Andrei
Bogomolov, Ivan Bezsolnitsin, Evgenia
Extensive conservation work on Dmitry Levitsky’s Smolny Pupils
series of paintings has completed.
Levitsky’s Smolny Pupils portraits came
to the Russian Museum on 17 August 1917 from the Peterhof Grand Palace
in poor condition. The head conservator of the Russian Museum, P.I.
Neradovsky, remembered, “When the paintings were taken off the walls, we
saw that the canvases were wet, and the reverse sides of the canvases
were densely covered with mold... On the facing sides, it was observed
that the paint layers were peeling.” In short order, the necessary
conservation measures were carried out so that the paintings would be in
exhibition condition. Subsequently, the question of the condition of the
portraits’ preservation was raised several times. A full conservation,
however, was not done, according to archival documents from the Russian
Museum from 1933, 1939, 1946, and 1985. The Conservation Council of the
museum returned to the question of a full conservation of Smolny Pupils
only in 2008. After a thorough study of the paintings, the historical
decision was made to have the portraits undergo a complete conservation
process, which was completed only in 2010.
Irina Kornyakova at work on the portrait of G. Alymova by artist