Class hour presentation of Russian philanthropists. Rating of the most generous patrons of the arts according to “Snob”
History of the issue "There is no more dangerous person than a person who is alien to humanity, who is indifferent to the fate of his native country, to the fate of his neighbor." Mikhail Efgrafovich Saltykov-Shchedrin The concept of “philanthropist” came to us from Ancient Rome. In the 1st century BC e. Emperor Augustus had a close associate who carried out his diplomatic and private assignments. He patronized the poets Virgil and Horace and supported them financially; his name was Maecenas. Over time, this name became a household name. The concept of “philanthropist” came to us from Ancient Rome. In the 1st century BC e. Emperor Augustus had a close associate who carried out his diplomatic and private assignments. He patronized the poets Virgil and Horace and supported them financially; his name was Maecenas. Over time, this name became a household name. It should be noted that the concept of “philanthropist” is often adjacent to the concept of “charity”. Charity is the provision of material assistance to those in need, both individuals and organizations; it can be aimed at encouraging and developing any socially significant forms of activity. Patronage, a narrower concept, is the patronage of sciences, art, and culture. Many patrons of the arts were also involved in charitable activities. It should be noted that the concept of “philanthropist” is often adjacent to the concept of “charity”. Charity is the provision of material assistance to those in need, both individuals and organizations; it can be aimed at encouraging and developing any socially significant forms of activity. Patronage, a narrower concept, is the patronage of sciences, art, and culture. Many patrons of the arts were also involved in charitable activities.
The history of patronage in Russia has a long tradition, going back centuries. Russian tsars, noble princes and nobles patronized the builders of temples and palaces, icon painters and compilers of annals and chronicles, book printers, scientists, and poets. A great incentive for philanthropic activity appeared among the nobility after the reforms of Peter I, which brought the spirit of the European Enlightenment to the country. The king's associates tried to outdo each other in encouraging artistic endeavors. The history of patronage in Russia has a long tradition, going back centuries. Russian tsars, noble princes and nobles patronized the builders of temples and palaces, icon painters and compilers of annals and chronicles, book printers, scientists, and poets. A great incentive for philanthropic activity appeared among the nobility after the reforms of Peter I, which brought the spirit of the European Enlightenment to the country. The king's associates tried to outdo each other in encouraging artistic endeavors. The tradition of patronage of the arts reached its true flowering in Russia in the second half of the 19th - early 20th centuries. This time can truly be called the “golden age of Russian philanthropy.” The nobility began to gradually lose its leading role in this activity, large fortunes became smaller, fragmented, and the nobility became impoverished. During these years, a new class, the merchant class, the class of entrepreneurs, entered the stage of history with ever more confident gait, loudly declaring itself in philanthropy. These were for the most part people from the peasantry and urban lower classes, as well as provincial merchants. Most of them began to support the national tradition in art and culture; subsequently, a number of representatives were not inferior in education to people from the nobility and showed a lot of taste and erudition in assessing the latest trends in modern Western art. By their nature, these were tragic figures: the transfer of huge sums from the commercial sector to the non-profit sector challenged the world of capital, and this inevitably entailed misunderstanding, persecution from partners, and sometimes ruin. Even the world of culture and art did not always correctly accept these sacrifices. The tradition of patronage of the arts reached its true flowering in Russia in the second half of the 19th - early 20th centuries. This time can truly be called the “golden age of Russian philanthropy.” The nobility began to gradually lose its leading role in this activity, large fortunes became smaller, fragmented, and the nobility became impoverished. During these years, a new class, the merchant class, the class of entrepreneurs, entered the stage of history with ever more confident gait, loudly declaring itself in philanthropy. These were for the most part people from the peasantry and urban lower classes, as well as provincial merchants. Most of them began to support the national tradition in art and culture; subsequently, a number of representatives were not inferior in education to people from the nobility and showed a lot of taste and erudition in assessing the latest trends in modern Western art. By their nature, these were tragic figures: the transfer of huge sums from the commercial sector to the non-profit sector challenged the world of capital, and this inevitably entailed misunderstanding, persecution from partners, and sometimes ruin. Even the world of culture and art did not always correctly accept these sacrifices.
Glorious names of Russia During the time under review, a huge number of individual philanthropists and entire dynasties appeared in Russia. The scale, stages and trends of philanthropic activity can be clearly seen in the history of the city of Moscow. The largest treasury of Russian painting is the Tretyakov Gallery of the brothers Pavel and Sergei Tretyakov; Museum fine arts named after A.S. Pushkin, the money for the construction of which was allocated by Yu.S. Nechaev-Maltsov and which included the collections of I.A. and M.A. Morozov, S.M. Tretyakova, D.I. and S.I. Shchukins; The theater museum, which was founded by A.A. Bakhrushin, now bears his name; Moscow Art Theater named after A.P. Chekhov, money for the construction of the building was allocated by S.T. Morozov, in addition, he himself took part in the construction. And these are only the largest acts that have survived to our time. Unfortunately, many buildings built for museums, theaters, and libraries either have not survived or now perform functions that are not intended during their construction, but I would like the memory of people who selflessly served the public good to be preserved. At the time in question, a huge number of individual philanthropists and entire dynasties appeared in Russia. The scale, stages and trends of philanthropic activity can be clearly seen in the history of the city of Moscow. The largest treasury of Russian painting is the Tretyakov Gallery of the brothers Pavel and Sergei Tretyakov; Museum of Fine Arts named after A.S. Pushkin, the money for the construction of which was allocated by Yu.S. Nechaev-Maltsov and which included the collections of I.A. and M.A. Morozov, S.M. Tretyakova, D.I. and S.I. Shchukins; The theater museum, which was founded by A.A. Bakhrushin, now bears his name; Moscow Art Theater named after A.P. Chekhov, money for the construction of the building was allocated by S.T. Morozov, in addition, he himself took part in the construction. And these are only the largest acts that have come down to our time. Unfortunately, many buildings built for museums, theaters, and libraries either have not survived or now perform functions that are not intended during their construction, but I would like the memory of people who selflessly served the public good to be preserved.
Nikita Akinfievich Demidov (1724 - 1789) For two centuries, the Demidov family, entrepreneurs, mining manufacturers and philanthropists, had a huge influence on the cultural and economic life of Russia, as well as Italy, France, and England. Many achievements of the domestic industry are associated with it. The Demidovs' contribution to the development of culture and education is significant. The Demidovs were one of the first entrepreneurs who introduced the tradition of social institutions: their factories housed a whole network of schools, hospitals, shelters, and nursing homes, and their workers received pensions. For two centuries, the Demidov family, mining entrepreneurs and philanthropists, had a huge influence on the cultural and economic life of Russia, as well as Italy, France, and England. Many achievements of the domestic industry are associated with it. The Demidovs' contribution to the development of culture and education is significant. The Demidovs were one of the first entrepreneurs who introduced the tradition of social institutions: their factories housed a whole network of schools, hospitals, shelters, and nursing homes, and their workers received pensions. The main successor to the Demidovs’ work in the third generation was Nikita Akinfievich Demidov. He built the Nizhnesaldinsky (1760), Visimo-Utkinsky (1771) and Verkhnesaldinsky (1775) factories, owned 9 factories (together with those inherited from his father), which late XVIII V. 734 thousand pounds of pig iron were smelted. He collected a library, the books were stored in Suksun, Moscow, St. Petersburg; According to the 1806 catalog, there were 686 books and manuscripts in various branches of knowledge, incl. Latin Bible of the 13th century. (now in the rare book collection of M.V. Lomonosov Moscow University). He patronized scientists and artists, donated to Moscow University and the Academy of Arts. In 1779 he established a medal “For success in mechanics” at the Academy of Arts. Author of the magazine “Travel to Foreign Lands” (1786). The main successor to the Demidovs’ work in the third generation was Nikita Akinfievich Demidov. He built the Nizhnesaldinsky (1760), Visimo-Utkinsky (1771) and Verkhnesaldinsky (1775) factories, owned 9 factories (together with those inherited from his father), which at the end of the 18th century. 734 thousand pounds of pig iron were smelted. He collected a library, the books were stored in Suksun, Moscow, St. Petersburg; According to the 1806 catalog, there were 686 books and manuscripts in various branches of knowledge, incl. Latin Bible of the 13th century. (now in the rare book collection of M.V. Lomonosov Moscow University). He patronized scientists and artists, donated to Moscow University and the Academy of Arts. In 1779 he established a medal “For success in mechanics” at the Academy of Arts. Author of the magazine “Travel to Foreign Lands” (1786).
Alexander Sergeevich Stroganov () He earned the gratitude of his contemporaries and descendants as a famous philanthropist, patron and generous benefactor of art and science. He traveled extensively throughout Western Europe and was fluent in several languages. The Austrian Empress Maria Theresa in 1761 granted him the title of Count of the Roman Empire. He was an absolutely secular man, but at the same time well-educated, witty and kind-hearted. As the famous Russian poet K.P. wrote about him. Batyushkov, Alexander Sergeevich Stroganov was “a wit, a miracle,” but all this was seasoned with a rare thing: a kind heart.” With all my luck in social life and excellent spiritual qualities, Alexander Sergeevich Stroganov was unhappy in his personal life. In 1800, Stroganov became president of the Academy of Arts, and a truly golden time had come for it. Stroganov generously helped young talents, financing their education abroad largely from his own capital. He earned the gratitude of his contemporaries and descendants as a famous philanthropist, patron and generous benefactor of art and science. He traveled extensively throughout Western Europe and was fluent in several languages. The Austrian Empress Maria Theresa in 1761 granted him the title of Count of the Roman Empire. He was an absolutely secular man, but at the same time well-educated, witty and kind-hearted. As the famous Russian poet K.P. wrote about him. Batyushkov, Alexander Sergeevich Stroganov was “a wit, a miracle,” but all this was seasoned with a rare thing: a kind heart.” For all his luck in social life and excellent spiritual qualities, Alexander Sergeevich Stroganov was unhappy in his personal life. In 1800, Stroganov became president of the Academy of Arts, and a truly golden time had come for it. Stroganov generously helped young talents, financing their education abroad largely from his own capital. Alexander Sergeevich Stroganov was one of those rare people who managed, being in the thick of court life, not to participate in any political intrigues. Thanks to his benevolent character, he managed to maintain his position at court during the next change of government, when Emperor Paul ascended the throne. In 1798, Stroganov received from Paul 1 the title of Count of the Russian Empire. And during the reign of Alexander 1, Stroganov enjoyed the favor of the emperor. The last ten years of the life of Alexander Sergeevich Stroganov were devoted to the construction of the Kazan Cathedral in St. Petersburg, into which a lot of his own money was invested. Such extensive charitable activities, which required huge financial expenditures, upset Stroganov’s capital, and his son inherited significant debts. Alexander Sergeevich Stroganov was one of those rare people who managed, being in the thick of court life, not to participate in any political intrigues. Thanks to his benevolent character, he managed to maintain his position at court during the next change of government, when Emperor Paul ascended the throne. In 1798, Stroganov received from Paul 1 the title of Count of the Russian Empire. And during the reign of Alexander 1, Stroganov enjoyed the favor of the emperor. The last ten years of the life of Alexander Sergeevich Stroganov were devoted to the construction of the Kazan Cathedral in St. Petersburg, into which a lot of his own money was invested. Such extensive charitable activities, which required huge financial expenditures, upset Stroganov’s capital, and his son inherited significant debts.
Nikolai Petrovich Rumyantsev () Count, statesman, diplomat, collector and philanthropist. Minister of Foreign Affairs, Chairman of the State Council. He financed the activities of the Rumyantsev circle, which united prominent historians and archaeographers, and was its head. He collected ancient Russian manuscripts and published them. But he gained particular fame for the construction of a huge library, which was accessible to everyone. According to his will, he donated it, as well as many collections and various rarities, for the establishment of a museum, valued together with the building at a million rubles, which bears his name. Later the museum was moved from St. Petersburg to Moscow. The holdings of the Rumyantsev Museum served as the basis of the Russian State Library. Count, statesman, diplomat, collector and philanthropist. Minister of Foreign Affairs, Chairman of the State Council. He financed the activities of the Rumyantsev circle, which united prominent historians and archaeographers, and was its head. He collected ancient Russian manuscripts and published them. But he gained particular fame for the construction of a huge library, which was accessible to everyone. According to his will, he donated it, as well as many collections and various rarities, for the establishment of a museum, valued together with the building at a million rubles, which bears his name. Later the museum was moved from St. Petersburg to Moscow. The holdings of the Rumyantsev Museum served as the basis of the Russian State Library.
Pavel Mikhailovich Tretyakov (1832–1898) The most famous Tretyakovs came from serf peasants in the Kaluga province. Brothers Pavel Mikhailovich and Sergei Mikhailovich (1834–1892) Tretyakov, heirs of flax and flax spinning factories, without stopping commercial and industrial activities, were engaged in collecting Russian art, investing income in works of painting and sculpture. The most famous Tretyakovs come from serf peasantry in the Kaluga province. Brothers Pavel Mikhailovich and Sergei Mikhailovich (1834–1892) Tretyakov, heirs of flax and flax spinning factories, without stopping commercial and industrial activities, were engaged in collecting Russian art, investing income in works of painting and sculpture. Pavel Mikhailovich gave preference works of art realistic in nature. In selecting paintings, he was guided by the advice of famous artists and critics, visited private collections in Russia and Western Europe to replenish the collection, ordered paintings from artists himself, and acquired their painting collections. He considered his philanthropic activities as part of a national cause, the duty of a Russian patriot. Together with his brother Sergei, who collected Western paintings, he also invested significant funds in material support for beginning Russian artists and sculptors. In 1874, Pavel Tretyakov, using his own funds, built a special building in Moscow for an art gallery, opening halls for visitors in it in 1881 and laying the foundations of the Tretyakov Gallery as a publicly accessible public museum. After the death of his brother in 1892, who bequeathed to him his own art collection (1276 paintings and 471 drawings with a total value of 1 million 300 thousand rubles), Pavel Mikhailovich donated it to Moscow. After which he continued collecting and expanding the collection at his own expense and remained its lifelong trustee. In 1893 he was elected a full member of the Academy of Arts. Pavel Mikhailovich gave preference to works of art of a realistic nature. In selecting paintings, he was guided by the advice of famous artists and critics, visited private collections in Russia and Western Europe to replenish the collection, ordered paintings from artists himself, and acquired their painting collections. He considered his philanthropic activities as part of a national cause, the duty of a Russian patriot. Together with his brother Sergei, who collected Western paintings, he also invested significant funds in material support for beginning Russian artists and sculptors. In 1874, Pavel Tretyakov, using his own funds, built a special building in Moscow for an art gallery, opening halls for visitors in it in 1881 and laying the foundations of the Tretyakov Gallery as a publicly accessible public museum. After the death of his brother in 1892, who bequeathed to him his own art collection (1276 paintings and 471 drawings with a total value of 1 million 300 thousand rubles), Pavel Mikhailovich donated it to Moscow. After which he continued collecting and expanding the collection at his own expense and remained its lifelong trustee. In 1893 he was elected a full member of the Academy of Arts.
List of sources Moleva N.M. Moscow is the capital. – M.: Olma-Press, p. Moleva N.M. Moscow is the capital. – M.: Olma-Press, p. Sukhareva O.V. Who was who in Russia from Peter I to Paul I. - M.: Astrel, p. Sukhareva O.V. Who was who in Russia from Peter I to Paul I. - M.: Astrel, p.
Every year on April 13, Russia celebrates Patron and Philanthropist Day. The date of the holiday is associated with the birthday of Gaius Cilnius Maecenas (April 13, 70 BC - 8 BC) - a famous Roman aristocrat, patron of artists, performers, and musicians. From his name, as you might guess, the common noun “philanthropist” came from.
Russia has always been famous for the fact that charity and patronage of the arts have formed an integral part of its long-standing traditions, notes Olga Solodovnikova, head of the department of the A.S. Pushkin Central Library.
In the history of Russian charity, three periods can be distinguished:
The first period is associated with the emergence of Christianity in Rus'. During this period, charity was associated with the activities of the church, monasteries, and the first Russian princes - Vladimir Monomakh, Yaroslav the Wise, Alexander Nevsky. Charity was manifested in the distribution of alms and donations to the church, as well as in the folk tradition of mutual aid.
The second period is associated with the activities of the imperial family. The foundations of charity were laid here Ivan IV. A special role in the development of charity was played by Empress Maria Feodorovna, who headed the educational homes and commercial school she created, established several women's institutes in the capital and provinces, and laid the foundation for widespread free education for women in Russia.
The third period of charity is associated with the activities of entrepreneurs and merchants, primarily Sheremetyev, Tretyakov and Bakhrushin.
Along with charity, the patronage.
· Charity is helping those in need out of compassion. A very broad concept, where patronage is its specific type.
· Patronage is disinterested and free assistance to art, education, and culture without any benefit for the patron.
Leading role in the XIX industrial dynasties have played for centuries: the Shchukins, Morozovs, Ryabushinskys, Mamontovs and other Russian merchants, manufacturers, bankers and entrepreneurs.
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| A.F. Stroganov |
Descendants of industrialist Nikita Demidov donated huge amounts of money to Russian universities and the Academy, and used their money to build new educational institutions in Russia. So, for example, the Yaroslavl Demidov School of Higher Sciences arose, the successor of which was the Yaroslavl State University.
XVIII - early XIX centuries were marked by the charitable deeds of major representatives of enlightened noble philanthropy. Vivid examples of charitable institutions of this time are the Golitsyn hospital, the first city hospital, the Sheremetevsky house, the Mariinsky hospital, etc.
Once again I will emphasize one of the characteristic features Russian entrepreneurship, its specific historical tradition: barely born, it naturally and for a long time connected itself with charity. Huge funds were allocated by donors primarily for education. And especially professional ones.
Another reason of a religious nature, dictated by the long traditions of mercy and charity in Rus', was the awareness of the need to help others.
Against the rich background of patronage in Russia, the end XIX -the beginning of the twentieth century can rightly be called its “golden age”, sometimes its true heyday. And this time was associated mainly with the activities of eminent merchant dynasties, which provided “hereditary benefactors.” Only in Moscow did they carry out such major undertakings in the field of culture, education, medicine, and various fields of science that one can rightfully say: it was a qualitative new stage charity.
It can be said quite definitely that if all the achievements of Mamontov’s Private Opera were limited only to the fact that it formed Chaliapin, the genius of the opera stage, then this would be quite enough for the highest assessment of the activities of Mamontov and his theater.
Maria Klavdievna Tenisheva (1867-1928) was an extraordinary person, the owner of encyclopedic knowledge in art, an honorary member of the first union of artists in Russia.Her origin is shrouded in mystery: one of the legends calls her the father of Emperor Alexander II himself.
She created the School of Craft Students (near Bryansk), opened several primary public schools, organized drawing schools together with Repin, and opened courses for training teachers.
V.V. Stasov, an outstanding Russian critic, in his obituary on Tretyakov’s death, wrote: “Tretyakov died famous not only throughout Russia, but also throughout Europe. Whether a person comes to Moscow from Arkhangelsk or from Astrakhan, from Crimea, from the Caucasus or from Amur, he immediately sets himself a day and hour when he needs to go to Lavrushinsky Lane and look with delight, tenderness and gratitude at that entire row of treasures, which were accumulated by this amazing man throughout his life.”
Emperor Nicholas I called her le savant de famille"the mind of our family." It was she who gave funds to the artist Ivanov to transport the painting “ The Appearance of Christ to the People" in Russia
Patronized K. P. Bryullov, I. K. Aivazovsky, Anton Rubinstein. She financed the project of creating the Russian Musical Society and Conservatory, making large donations, including proceeds from the sale of diamonds that personally belonged to her. Elena Pavlovna contributed to the posthumous publication of the collected works of N.V. Gogol. She was interested in the activities of the university, the Academy of Sciences, the Free Economic Society, in fact, she was one of the founders of the Russian Red Cross Society.
During the Crimean War (1853-1856), he made two large donations (5,000 rubles each) for the needs of the Russian army: in 1853 - in favor of the Chesme military almshouse and in 1855 - in favor of naval officials who had lost their property in the Sevastopol . Stieglitz’s most important donation, the most valuable for Russia, which alone could have immortalized his name, was the establishment at his expense in St. Petersburg of a central school of technical drawing for persons of both sexes, along with a rich art and industrial museum and a well-equipped library. It is interesting to note that, being a completely independent person, whose capital was readily accepted in all countries, Stieglitz placed his enormous fortune almost exclusively in Russian funds and, in response to the skeptical remark of one financier about the imprudence of such trust in Russian finance, he once remarked: “My father and I made our entire fortune in Russia; if she turns out to be insolvent, then I am ready to lose all my fortune along with her.”
He openly sympathized with the revolutionaries: he was friends with Maxim Gorky, hid Nikolai Bauman in his palace on Spiridonovka, helped deliver illegal literature to the factory where (with his knowledge) the future People's Commissar Leonid Krasin served as an engineer.
There have always been few true patrons of the arts. Even if our country is revived, there will never be many patrons of the arts. All famous collectors and patrons of art were people of deep faith and the goal of each of them was to serve people.
Modern philanthropists and patrons of the arts in Russia
Charity and patronage of the arts in Russia continues in our time.
It is impossible not to mention prominent artists Vladimir Spivakov, Yuri Bashmet, Valery Gergiev, one of the most important areas of their foundations is the preservation and development of cultural values and providing comprehensive charitable support.
Today, rich people have appeared in Russia again. I don’t know whether they are rich enough to create art galleries, but still, in my opinion, there is a material basis for the revival of widespread charity.
A person who gives money is not yet a philanthropist. But the best of modern entrepreneurs understand that charity is an indispensable companion to a solid business.
I would like to mention the activities of well-known entrepreneurs in Russia who have created private charitable foundations supporting culture, education and science.
Cultural support projects constitute another, no less important area of the foundation’s activities. His efforts are aimed at stimulating the professional and creative growth of the Russian museum community. The foundation awards more than 400 grants and 2,300 scholarships annually.
Once upon a time, many excellent books about the discoveries of modern science, addressed to a wide readership, were published in Russian. The names of their authors were known to everyone - from Perelman to Likhachev and from Bronstein to Panchenko. Then scientific enlightenment found itself in the publishing pen. Thanks to recent efforts, including the book publishing program "Dynasty Foundation Library" , on Russian market translated books by the best Western authors devoted to the scientific picture of the world in the 20th century arrived. The Foundation decided to take the next step and support domestic educators who are able and willing to popularize the ideas generated by the scientific community. Zimin D.B. established the “Enlightener” literary prize with the aim of expanding the market for educational literature.
The purpose of the award is to attract readers’ attention to the educational genre, as well as to create the preconditions for expanding the market for popular science literature. The award is held by Dmitry Zimin's Dynasty Foundation with the support of the Book Institute. Books by prize winners are published by Slovo Publishing House
Chelyabinsk patrons and philanthropists
Chelyabinsk entrepreneurs, government and public figures, philanthropists Vladimir Kornilievich(1843–1913) and Ivan Kornilievich (1844–?) Pokrovsky.
V.K.Pokrovsky
I.K.Pokrovsky
The collection of books and magazines they created formed the basis of the collection of the Chelyabinsk Regional Universal Scientific Library. The owners of the library were extraordinary, well-known people in Chelyabinsk. The collection includes 263 items in Russian andFrench: 159 copies (146 titles) books and 104 copies. (8 titles) periodicals. Existence of the library of the Partnership “Br. Pokrovsky" is an essential part of the history of librarianship in the Southern Urals.
Already in our time, the Charitable Foundation for Cultural Initiatives, well known far beyond the borders of the Chelyabinsk region, operates Oleg Mityaev, which actively supports projects: Ilmensky Festival of Author's Song,People's Prize "Bright Past"»,
Festival “Summer is a little life” in Sochi,
Youth program "Discoveries"».
Mark Leyvikov –Chairman of the Board of Directors of CJSC Management Company Industrial Investments, Vice-President of the Union of Industrialists and Entrepreneurs of the Chelyabinsk Region
(born and studied in Chelyabinsk) is a long-term patron of the “Bright Past” award.
Entrepreneur Alexander Deineko created a personal Charitable Foundation, the motto of which is “I am personally responsible for everything that my charitable foundation does”.
I. Kramskoy "Portrait of P. M. Tretyakov"
Domestic philanthropy is a unique phenomenon. And if we consider that Russia is now going through difficult times, then the issue of patronage can be considered relevant.
Nowadays, culture is in a difficult situation; not only provincial libraries and theaters need support, but even famous, world-famous museums and other cultural institutions.
Patrons founded factories, built railways, opened schools, hospitals, orphanages... To talk in detail about everyone, you need the format of not an article, but a whole book, and more than one. We will focus only on some names.
But first, about the term “philanthropy” itself. The Russian synonym is the concept of “charity”. But where did borrowing come to us?
History of the term "philanthropy"
Maecenas- a person who, free of charge, helps the development of science and art, provides them financial assistance from personal funds. The common name “patron” comes from the name of the Roman Gaius Cilnius Maecenas (Mecenates), who was a patron of the arts under Emperor Octavian Augustus.
Bust of Maecenas in one of the parks in Ireland
Guy Tsilny Maecenas(c. 70 BC - 8 BC) - ancient Roman statesman and patron of the arts. A personal friend of Octavian Augustus and a kind of minister of culture under him. Patron's name as a fan fine arts and the patron saint of poets became a household name.
During the civil war in the Roman Empire, he arranged the reconciliation of the warring parties, and after the end of the war, during Octavian’s absence, he conducted state affairs, was free from sycophancy and ingratiation, boldly expressed his views and even sometimes restrained Octavian from imposing death sentences. The poets of that time found a patron in him: he helped Virgil return the estate that had been taken from him, and gave his estate to Horace. He died, mourned by the whole people, and not just by his friends.
F. Bronnikov "Horace reads his poems to Maecenas"
However, charity in Russia is not such a rare thing. This system of donation began to take shape with the adoption of Christianity in Rus': after all, the first almshouses and hospitals began to be built at monasteries, and the majority of patrons of the 19th century came from the merchant Old Believer environment. P. A. Buryshkin, a researcher of the Moscow merchants, believed that merchants used their labor and income “they looked at it not only as a source of profit, but as the fulfillment of a task, a kind of mission assigned by God or fate. They said about wealth that God gave it for use and would demand an account for it, which was partly expressed in the fact that it was in the merchant environment that both charity and collecting were unusually developed, which were looked upon as the fulfillment of some divinely appointed task ». Period XVIII-XIX centuries. gave Russia so many benefactors that it is called the “golden” age of philanthropy. There are especially many such monuments to human mercy in Moscow. For example, Golitsyn Hospital.
Golitsyn hospital
City Clinical Hospital No. 1 named after. N.I. Pirogov
Golitsyn hospital was opened in Moscow in 1802 as a “hospital for the poor.” Currently this is the Golitsyn building of the First City Clinical Hospital.
The Golitsyn hospital was built according to the design of the architect Matvey Fedorovich Kazakov using funds bequeathed by Prince Dmitry Mikhailovich Golitsyn “for the establishment in the capital city of Moscow of an institution pleasing to God and useful to people.” When developing the project, Kazakov used the principle of an urban estate. The prince's cousin, the actual privy councilor, chief chamberlain Alexander Mikhailovich Golitsyn, was directly in charge of the construction.
Opened in 1802, it became the third hospital in Moscow of the civil department. Representatives of all segments of the population, except for serfs, were admitted to the Golitsyn hospital for free treatment - “...both Russians and foreigners, of every gender, rank, religion and nationality.”
In 1802, the hospital had 50 beds, and in 1805 - already 100. Additionally, in 1803, an almshouse for incurable patients with 30 beds was opened at the hospital. Christian Ivanovich Tsinger served as the hospital manager for many years. During the Patriotic War of 1812, when Moscow was occupied by Napoleon's troops, he was left alone in the hospital and managed to prevent its looting, and also saved the hospital money left for his safekeeping. For conscientious service, Christian Ivanovich Tsinger received the title of hereditary nobleman.
And now a little about whose funds this hospital was built.
Dmitry Mikhailovich Golitsyn (1721-1793)
A. Brown "Portrait of Prince Dmitry Mikhailovich Golitsyn"
Prince Dmitry Mikhailovich Golitsyn- Russian officer and diplomat from the Golitsyn family. In 1760-1761 Acted as ambassador in Paris, and then was sent as ambassador to Vienna, where he played a major role in improving relations between the Russian court and Emperor Joseph II. He was one of the first among Russians to become interested in collecting paintings by old masters (artists of Western Europe who worked before the beginning of the 18th century).
D. M. Golitsyn was a famous philanthropist. He bequeathed 850 thousand rubles, income from two estates worth 2 thousand people and his art gallery to the construction and maintenance of a hospital in Moscow. His will was carried out by his cousin, Prince A.M. Golitsyn. Until 1917, the hospital was maintained at the expense of the Golitsyn princes, and then by the will of D.M. Golitsyn was violated by subsequent heirs - the sale of his gallery.
He died in Vienna, but his body, at the request of his relatives and with the highest permission, was transported to Moscow in 1802, where he was buried in a crypt under the church of the Golitsyn Hospital.
True patrons of the arts never sought to advertise their activities; rather, on the contrary. Often, when carrying out a major charity event, they hid their names. It is known that Savva Morozov, for example, provided great assistance in the founding of the Art Theater, but at the same time set the condition that his name should not be mentioned anywhere. Our next story is about Savva Timofeevich Morozov.
Savva Timofeevich Morozov (1862-1905)
Savva Timofeevich Morozov
He came from an Old Believer merchant family. He graduated from high school, and then from the Faculty of Physics and Mathematics of Moscow University and received a diploma in chemistry. I talked with D. Mendeleev and wrote it myself research work about dyes. He also studied at the University of Cambridge, where he studied chemistry, and then in Manchester - textiles. He was the director of the Partnership of the Nikolskaya Manufactory “Savva Morozov’s Son and Co.” He owned cotton fields in Turkestan and several other partnerships, where he was a shareholder or director. He was constantly involved in charity: in his factories he introduced maternity pay for working women, and awarded scholarships to young people studying in the country and abroad. It is known that at his enterprises the workers were more literate and educated. He also helped needy students at Moscow University.
In 1898, he became a member of the Partnership for the establishment of a theater in Moscow and regularly made large donations for the construction and development of the Moscow Art Theater, and initiated the construction of a new theater building. The most modern equipment for the stage was ordered abroad with his money (lighting equipment in the domestic theater first appeared here). Savva Morozov spent about half a million rubles on the Moscow Art Theater building with a bronze bas-relief on the facade in the form of a drowning swimmer.
Unfortunately, connections with the revolutionary movement, as well as personal circumstances, led S.T. Morozov to premature death.
The Bakhrushin family in Moscow was called “professional philanthropists.” In 1882, the Bakhrushins donated 450,000 rubles to the city for the construction of a hospital. This action marked the beginning of a whole series of similar charities. And the family’s total donations (large ones only) amounted to more than 3.5 million rubles.
The Bakhrushin family had a tradition at the end of the year, if it was financially prosperous, to allocate a certain amount to help the poor, sick, and students. They carried out charitable activities both in Zaraysk, where their parents were from, and in Moscow. According to the memoirs of contemporaries, the Bakhrushin family never gravitated towards luxury. A free hospital with two hundred beds for the terminally ill, a city orphanage and a shelter for village children from poor families, a free house where needy widows with children and female students lived, kindergartens, schools, free canteens and dormitories for female students - this is far from complete a list of their benefactors. Vasily Alekseevich wrote a will, according to which five universities (Moscow University, Moscow Theological Academy and Seminary, Academy of Commercial Sciences and a men's gymnasium) received money for scholarships for students. Four theaters, including the Korsh Theater, were built partly with the money of the Bakhrushins.
Alexey Alexandrovich Bakhrushin (1865-1929)
Alexey Alexandrovich Bakhrushin
Merchant, philanthropist, famous collector, founder of the famous theater museum, which he donated to the Academy of Sciences in 1913.
A. Bakhrushin graduated from a private gymnasium and took up the family business - “Partnership of leather and cloth manufactory Alexey Bakhrushin and Sons.” But gradually he became interested in collecting and retired. Under the influence of his cousin, Alexei Petrovich Bakhrushin, he became a collector, and his interest in theatrical antiquities did not immediately awaken. Posters, programs for performances, photographic portraits of actors, sketches of costumes, personal belongings of artists - all this was collected in Bakhrushin’s house and became his passion. His son recalled that they laughed at Bakhrushin: “People around him looked at this as a whim of a rich tyrant, mocked him, offered to buy a button from Mochalov’s trousers or Shchepkin’s boots.” But this passion gradually took shape into a serious hobby, and on October 29, 1894, Bakhrushin presented an entire exhibition to the public. It was this day that Bakhrushin considered the founding day of the Moscow Literary and Theater Museum. He tried to most fully present the history of Russian theater from its very origins. He organized “Bakhrushin Saturdays,” which were very popular among actors and theatergoers. A. Yuzhin, A. Lensky, M. Ermolova, G. Fedotova, F. Shalyapin, L. Sobinov, K. Stanislavsky, V. Nemirovich-Danchenko visited him. Soon a tradition arose of not coming empty-handed. For example, the star of the Maly Theater Glikeria Nikolaevna Fedotova presented Bakhrushin with all the gifts that she had accumulated over the years of her stage life. His collection, which gradually became extensive and diverse, had three sections - literary, dramatic and musical.
Over time, A.A. Bakhrushin began to think about the fate of his wealth. He really wanted all of Moscow to have access to them. But when he proposed to transfer his museum to the ownership of the Moscow city government, the city leaders, as soon as they heard about it, began to brush it off in every possible way: “What are you talking about?! The Tretyakov and Soldenko meetings and I have suffered enough grief. And here you are with yours! Excuse me, for Christ’s sake!..”
His son, Yu.A. Bakhrushin recalled: “My father was in despair - the huge collection, which even then cost hundreds of thousands, offered free to government institutions, turned out to be of no use to anyone. It turned out to be impossible to break the bureaucratic inertia.” Only the Academy of Sciences became interested in the unique collection. It took four years to settle the formalities, and only in November 1913 did the transfer of the museum to the Academy of Sciences take place.
Theater Museum named after A.A. Bakhrushin
Russian patrons of the arts were educated people, so they tried to develop priority branches of domestic science, open galleries and museums to educate the country's population, help in the construction of theaters...
In this regard, one can recall the Tretyakov Gallery, the Shchukin and Morozov collections of modern French painting, the Moscow Private Opera of S.I. Mamontov, Moscow private opera S.I. Zimin, the already mentioned Moscow Art Theater, the Museum of Fine Arts, for the construction of which the factory owner, large landowner Yu.S. Nechaev-Maltsov spent more than 2 million rubles, Philosophical and Archaeological Institutes, Morozov clinics, Commercial Institute, Alekseev, Morozov trade schools, etc. Let's look at at least one example.
Moscow Private Russian Opera (Mamontov Opera)
Savva Mamontov supported this endeavor financially and morally. At first, the private opera troupe consisted of Italian and Russian singers, among whom were F. Chaliapin and N. Zabela, and the scenery and costumes were created by M. Vrubel. The years of Chaliapin's performances at the Mamontov Opera (he remained a soloist for four seasons - from 1896 to 1899) saw the rise of his artistic career. Chaliapin himself noted the importance of this time: “From Mamontov I received the repertoire that gave me the opportunity to develop all the main features of my artistic nature, my temperament”. Mamontov's patronage made it possible for Chaliapin's talent to fully reveal itself. The singer himself said: “S.I. Mamontov told me: “Fedenka, you can do whatever you want in this theater! If you need costumes, tell me and there will be costumes. If we need to stage a new opera, we’ll stage an opera! All this dressed my soul in festive clothes, and for the first time in my life I felt free, strong, able to overcome all obstacles.”
Savva Ivanovich Mamontov (1841-1918)
I. Repin "Portrait of S.I. Mamontov"
S.I. Mamontov was born into a wealthy merchant family. He graduated from high school, and then entered St. Petersburg University, later transferred to Moscow University, where he studied at the Faculty of Law. Mamontov’s father was engaged in the construction of railways, but his son was not attracted to this occupation, he was more interested in theater, although at the insistence of his father he had to delve into the family business, the construction of railways, and after the death of his father, take the post of director of the Moscow-Yaroslavl Railway Society. At the same time, he actively supported different kinds creative activity, made new acquaintances with artists, helped cultural organizations, and organized home performances. In 1870, Mamontov and his wife bought the estate of the writer S.T. Aksakov in Abramtsevo, it later becomes the center artistic life Russia.
Abramtsevo Estate
Russian artists I.E. lived and worked here for a long time. Repin, M.M. Antokolsky, V.M. Vasnetsov, V. A. Serov, M. A. Vrubel, M. V. Nesterov, V. D. Polenov and E. D. Polenova, K. A. Korovin, as well as musicians (F. I. Chaliapin and others) . Mamontov provided significant support to many artists, including financial support, but was not involved in collecting activities.
However, in the 1890s, Savva Mamontov became bankrupt. Of course, not without the “help” of the state and the intrigues of interested parties (Director of the International Bank A. Yu. Rotshtein and Minister of Justice N. V. Muravyov). Mamontov was arrested and put in Taganskaya prison, his property was described. Despite all the efforts of Mamontov's friends and the positive opinion of the workers, he spent several months in prison. The release of Savva Mamontov was deliberately prevented by N.V. Muravyov, who purposefully searched for information about Mamontov’s abuses, but could not find anything.
In prison, Mamontov sculpted sculptures of guards from memory. The famous lawyer F.N. Plevako defended Savva Mamontov in court, witnesses said only good things about him, the investigation established that he did not embezzle money. The jury acquitted him, after which the courtroom erupted in applause.
Yaroslavl. Opening of the monument to Savva Mamontov
S. Mamontov's property was sold out almost completely, many valuable works went into private hands. The railway became state property at a cost significantly lower than the market value; part of the shares went to other entrepreneurs, including Witte’s relatives.
All debts were paid off. But Mamontov lost money and reputation and was no longer able to engage in entrepreneurial activity. Until the end of his life, he retained his love for art and the love of his old friends - artists and musicians.
Savva Ivanovich Mamontov died in April 1918 and was buried in Abramtsevo.
Varvara Alekseevna Morozova (Khludova) (1848-1918)
Varvara Alekseevna Morozova
In memory of her husband Abram Abramovich Morozov, she built a psychiatric clinic on Devichye Pole, which, together with the purchased plot of land, was transferred to Moscow University, marking the beginning of the creation of the Clinical Campus on Devichye Pole. The cost of construction and equipment of the clinic amounted to more than 500,000 rubles, a huge amount of money at that time. The construction of the clinic was one of its first charitable activities. Somewhat earlier, during the life of her first husband, Varvara Alekseevna established an elementary school and craft classes at them. Initially, the school was located in the house of A. A. Morozov on Bolshaya Alekseevskaya Street, but later moved to a new, special building built for it, on a site specially acquired for it in 1899, donated to the city in 1901. This school was one of the first vocational schools in Moscow. The buildings of the Rogozhsky female and male primary schools were also built at the expense of V. A. Morozova.
V. A. Morozova made a great contribution to the creation educational institutions: Prechistensky working courses and city people's university named after. A. L. Shanyavsky. He received 50 thousand rubles from V. A. Morozova. Thanks to her participation and active assistance, a dormitory was built for students of the Imperial Technical School. In 1885, V. A. Morozova founded the first free public reading room in Moscow named after. I. S. Turgenev, designed for 100 readers and had a rich book fund. She donated significant funds to the needs of Moscow University. At her factory there was a hospital, a maternity hospital, and a trade school for child workers.
Mikhail Abramovich Morozov (1870-1903)
V. Serov "Portrait of M.A. Morozov"
The largest philanthropist of his time. With his funds, the Institute of Malignant Tumors was established (currently the building houses the Moscow Scientific Research Institute of Oncology named after P. A. Herzen), the hall of Greek sculpture in the Museum of Fine Arts. Various amounts were allocated to the conservatory and the Stroganov School to support young artists, performers and musicians. In the collection of M.A. Morozov read 60 icons, 10 sculptures and about 100 paintings, including works by contemporary French and Russian artists.
M.A. Morozov is the successor of the Morozov dynasty of philanthropists, merchant, entrepreneur, collector of Western European and Russian paintings and sculptures. He is the eldest son of the famous Moscow merchant Abram Abramovich Morozov and Varvara Alekseevna Morozova (Khludova), the elder brother of the collector and philanthropist Ivan Abramovich Morozov, the husband of the famous philanthropist and hostess of the Moscow literary and musical salon Margarita Kirillovna Morozova, the father of Mikhail Mikhailovich Morozov (Mika Morozov), a scientist -Shakespeare scholar and pianist Maria Mikhailovna Morozova (Fiedler). Hereditary honorary citizen. Director of the Tver Manufactory Partnership, member of the Moscow City Duma, honorary justice of the peace, chairman of the merchant meeting, collegiate assessor. Director of the Russian Musical Society.
Ivan Abramovich Morozov (1871-1921)
V. Serov "Portrait of I.A. Morozov"
Replenished M.A., who passed on after his brother. Morozov collection of a large number of paintings by impressionists and post-impressionists. After the revolution, the collection was nationalized and on its basis the II Museum of New Western Art was organized (the I Museum was the Shchukin collection). In 1940, the collection was disbanded partly into the Museum of Fine Arts, partly into the Hermitage. For example, his collection included the famous painting by P. Picasso “Girl on a Ball” ».
P. Picasso "Girl on a Ball"
Pyotr Ivanovich Shchukin (1857-1912)
Petr Ivanovich Shchukin
He collected and donated to the state a collection that formed the basis of the collection of the Historical Museum. Until the end of his life he remained the curator of the museum and continued to bear all expenses, pay salaries to employees and replenish the museum’s funds.
Sergei Ivanovich Shchukin (1854-1936)
D. Melnikov "Portrait of S.I. Shchukin"
Moscow merchant and art collector, whose collection marked the beginning of the collections of French modernist painting in the Hermitage and the State Museum of Fine Arts. A.S. Pushkin.
He collected a rich collection of paintings of modern Western painting, recognized years later as masterpieces of world art. According to his will, he donated his collection to the state.
E. Degas "Blue Dancers"
Shchukin bought paintings according to his taste, preferring the impressionists, and then the post-impressionists. Shchukin managed to collect the best examples of contemporary French art. He confessed to his daughter: “If you experience a psychological shock after seeing a painting, buy it”. In the collection of S.I. Shchukin had, for example, the painting “Blue Dancers” by E. Degas, as well as paintings by Monet, Picasso, Gauguin, Cezanne.
Fyodor Pavlovich Ryabushinsky (1886–1910)
F. Chumakov "Portrait of F.P. Ryabushinsky"
From a family of Russian industrialists and bankers. He was a passionate traveler and became interested in geography, an interest in which led him to the idea of organizing a scientific expedition to Kamchatka. With his plan, F. P. Ryabushinsky turned to several scientific institutions in Moscow and St. Petersburg, but did not find support from them. Only Russian geographical society agreed to participate in it.
At his expense, the expedition was carried out in 1908–1910. and named after him.
Organizational issues of the expedition were resolved by F. P. Ryabushinsky with scientists: oceanographer Yu. M. Shokalsky and cartographer P. P. Semenov-Tyan-Shansky. F. P. Ryabushinsky took over the financing of the expedition. He himself wanted to participate in it, but his illness did not allow him to do so. In 1910, he died of tuberculosis, but bequeathed to his relatives to see the expedition through to the end.
Yuri Stepanovich Nechaev-Maltsov (1834–1913)
I. Kramskoy "Portrait of Yu.S. Nechaev-Maltsov"
At the age of 46, Nechaev-Maltsov unexpectedly became the owner of an empire of glass factories, having received it in his will. His uncle, diplomat Ivan Maltsov, was the only one in Tehran who survived the events at the Russian embassy in Tehran, when the poet-diplomat Alexander Sergeevich Griboyedov died. Maltsov left diplomacy and continued the family business: glass production in the town of Gus. He brought the secret of colored glass from Europe and began producing profitable window glass. This entire crystal and glass empire, along with two mansions in the capital, painted by Vasnetsov and Aivazovsky, was given to the middle-aged bachelor official Nechaev, and with them a double surname.
Professor Ivan Tsvetaev (father of Marina Tsvetaeva), who was organizing the Museum of Fine Arts in Moscow, met him and convinced him to give 3 million for the completion of the Museum.
Yu.S. Nechaev-Maltsov not only did not want fame, but throughout the 10 years while the Museum was being created, he maintained anonymity. 300 workers hired by Nechaev-Maltsov mined white marble of special frost resistance in the Urals, and when it turned out that 10-meter columns for the portico could not be made in Russia, they chartered a steamship in Norway. From Italy he ordered skilled stonemasons.
With his money, a Technical School in Vladimir, an almshouse on Shabolovka and a church in memory of those killed on the Kulikovo Field were founded.
Entrance to St. George's Cathedral, donated by Yu. S. Nechaev-Maltsov to the city of Gus-Khrustalny
In the mid-19th - early 20th centuries, patrons of the arts opened museums and theaters and revived ancient crafts and folk crafts. Their estates turned into cultural centers, which attracted famous artists, actors, directors, and writers. Here, with the support of benefactors, they created their famous paintings, wrote novels, and developed building projects. We remember the most generous patrons of the arts who influenced the development of Russian culture.
Pavel Tretyakov (1832–1898)
Ilya Repin. Portrait of Pavel Tretyakov. 1883. State Tretyakov Gallery
Nikolai Schilder. Temptation. Year unknown. State Tretyakov Gallery
Vasily Khudyakov. Skirmish with Finnish smugglers. 1853. State Tretyakov Gallery
The merchant Pavel Tretyakov began collecting his first collection as a child: he bought engravings and lithographs in small shops on the market. The benefactor organized a shelter for widows and orphans of poor artists and supported many painters by buying and commissioning paintings from them. The philanthropist began thinking seriously about his own art gallery at the age of 20, after visiting the St. Petersburg Hermitage. The paintings “Temptation” by Nikolai Schilder and “Skirmish with Finnish Smugglers” by Vasily Khudyakov marked the beginning of Pavel Tretyakov’s collection of Russian paintings.
Already 11 years after the acquisition of the first paintings, the merchant’s gallery had more than a thousand paintings, almost five hundred drawings and ten sculptures. By the age of 40, his collection had become so extensive, also thanks to the collection of his brother, Sergei Tretyakov, that the collector decided to build a separate building for it. Then he donated it to his hometown - Moscow. Today the Tretyakov Gallery houses one of the world's largest collections of Russian fine art.
Savva Mamontov (1841–1918)
Ilya Repin. Portrait of Savva Mamontov. 1880. State Theater Museum named after Bakhrushin
State Historical, Artistic and Literary Museum-Reserve "Abramtsevo". Photo: aquauna.ru
State Museum of Fine Arts named after A.S. Pushkin. Photo: mkrf.ru
The large railway industrialist Savva Mamontov was seriously interested in art: he himself was a good sculptor, wrote plays and staged them on his estate near Moscow, sang professionally as a bass and even made his debut at the Milan Opera. His Abramtsevo estate became the center cultural life Russia in the 1870–90s. The so-called Mamontov circle gathered here, which included famous Russian artists, theater directors, musicians, sculptors and architects.
With the support of Savva Mamontov, workshops were created where artists revived the forgotten traditions of folk crafts and crafts. At his own expense, the philanthropist founded the first private opera in Russia and helped create the Museum of Fine Arts (today the Pushkin State Museum of Fine Arts).
Savva Morozov (1862–1905)
Savva Morozov. Photo: epochtimes.ru
Savva Morozov near the building of the Moscow Chekhov Art Theater. Photo: moiarussia.ru
The building of the Moscow Chekhov Art Theater. Photo: northern-line.rf
Maria Tenisheva collected objects folk art and works of famous masters. Her collection included National costumes, decorated by Smolensk embroiderers, dishes painted in traditional techniques, Russian musical instruments, decorated by famous artists. Later, this collection became the basis of the Russian Antiquity Museum in Smolensk. Now it is kept in the Smolensk Museum of Fine and applied arts named after Konenkov.
Slide 2
Alekseev Nikolay Alexandrovich1852 - 1893
Entrepreneur, outstanding public figure and builder of Moscow. Co-owner and director of the Vladimir Alekseev Partnership and the gold-plating plant in Moscow. In 1885-93. Moscow mayor. During Alekseev’s “golden age,” Moscow laid the foundations of its urban economy, cultural, trade, medical, and transport structures at the world level. Under his leadership, the following were built: the Alekseevskaya psychiatric hospital and the Devichye Pole clinics, city slaughterhouses (now the Mikoyan meat processing plant), a new water supply system, the construction of a sewer system began, 30 city schools were created, and much more. As a philanthropist and philanthropist, he invested hundreds of thousands of rubles in city medicine, culture, and public utilities. The first practical leader of this scale in Russia nominated by society.
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Gubonin Petr Ionovich1825 - 1894
One of the largest entrepreneurs in Russia in the 19th century. Serf peasant from near Kolomna. He built about 5 thousand miles of railways in European Russia and the Urals and the first horse-drawn railways in St. Petersburg and Moscow. He participated in the creation and development of the country's leading machine-building plants - Kolomensky, Bryansk, Nevsky, Istinsky, and metallurgical plants - Aleksandrovsky and Kolyubakinsky. He founded the Neft partnership and an oil refinery in Kuskovo near Moscow. Co-founder of Volzhsko-Kama and other banks, insurance companies, industrial and commercial enterprises. He invested heavily in science and education. Founded and supported the Komissarovsky Technical School in Moscow, a school in Borisoglebsk. He was a member of many charitable societies. He built churches, created an exemplary tuberculosis sanatorium and the Gurzuf resort in Crimea.
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Knop Lev Gerasimovich1821 - 1894
1st guild merchant, founder of the Knopov trading house, founder and managing director of the Krenholm manufactory, co-owner of the Izmailovo cotton spinning and weaving factory. He started his own business in Russia, selling English steam engines and machine tools. Knop had significant shares in many Russian enterprises. In 1852, he opened his own trading company in Moscow. For his enormous contribution to the Russian textile industry in 1877, L.G. Knop was granted the title of baron.
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Mamontov Savva Ivanovich1841 - 1918
The largest entrepreneur, builder of the new economy and culture of Russia. Together with his father I.F. Mamontov and F.V. Chizhov built the Northern (Moscow-Arkhangelsk) and Donetsk railways. He led a group of machine-building, metallurgical and mining plants in Moscow, St. Petersburg and Siberia, which produced rolling stock and equipment for railways. Initiator of the development of the European North of Russia. Patron of the arts, musician, director, sculptor, artist. The creator of the so-called “Mammoth period” in history Russian culture 1870-90s Organizer and artistic director of the Private Russian Opera, on the stage of which F.I. sang. Chaliapin. Friend, teacher, inspirer of businessmen, artists, artists, composers.
Slide 6
Morozov Savva Timofeevich1862 - 1905
Entrepreneur, co-owner and director of the largest textile Nikolskaya manufactory in Orekhovo-Zuevo, founder of the chemical joint-stock company “S.T. Morozov, Krell and Ottman,” director of the Trekhgorny brewery in Moscow. Active Russian political and public figure of a democratic direction. Philanthropist and philanthropist. Builder of the building and director of the Moscow Art Theater, financed the theater in 1899-1904.
Slide 7
Naydenov Nikolay Alexandrovich1834 - 1905
Entrepreneur, active public figure. Founder of the Trading House "A. Naydenov's Sons". Founder and chairman of the board of the Moscow Trade Bank, head of oil, textile and trading companies. In 1877-1905. Chairman of the Moscow Exchange Committee. Member of many government and public commissions, institutions, councils, trustee of institutes, schools, etc. Historian and organizer of historical research: prepared and published 14 photo albums, over 80 volumes of documents, research on the history of Moscow and the Moscow region, materials on the history of the Moscow Merchant Society. Author of the book “Memories of Things Seen, Heard and Experienced.”
