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A Masterpiece by Karl Bryullov. New attribution
Mikhailovsky Palace

A Masterpiece by Karl Bryullov. New attribution

9 august—1 october 2018

The exhibition in the Garden Vestibule presents the only portrait Karl Bryullov had ever painted of the members of the imperial family — the portrait...

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St. Isaac's Cathedral: A History
Benois Wing

St. Isaac's Cathedral: A History

22 august—7 october 2018

The exhibition, dedicated to the 200th anniverary of St. Isaac's Cathedral, reveals new facts on the history of its construction and decoration. It presents dra...

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Nikolai Kulbin
St Michael’s Castle

Nikolai Kulbin

23 august—29 october 2018

The first retrospective exhibition of works by Nikolai Kulbin (1868–1917) discovers the artist as a landscape painter with an analytical mind and yet an unspoiled vision, a p...

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Konashevich: Known and Unknown
St Michael’s Castle

Konashevich: Known and Unknown

30 august—1 october 2018

An comprehensive exhibition of works by V. M. Konashevich (1888–1963), a brilliant book illustrator and easel graphic artist.

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Ruth Baumgarte
Marble Palace

Ruth Baumgarte

5 september—22 october 2018

Works by a renowned German artist offer a glimpse into the emotional life of African people, their relationships and everyday life in a situation of constant social and political tur...

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Igor and Ekaterina Pestov
Marble Palace

Igor and Ekaterina Pestov

13 september—29 october 2018

A retrospective exhibition of works by Igor and Ekaterina Pestov focusing on the most burning issues of today’s world: consumption, spiritual void, aggression, and human v...

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Expressionism in Russian Art
Benois Wing

Expressionism in Russian Art

20 september—19 november 2018

An exhibition of painting and graphic works of Russian Expressionism investigates original traits of this international movement in Russia.

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/ / The Art Conservation Department

The Art Conservation Department


ГЛАВНАЯ КАРТИНКА--НАВЕРХУ.jpgSince the museum was founded in 1898, the Russian Museum’s art collection has required continuous monitoring of its conservation state. By 1906, the question had already been raised about the need for the museum to establish a dedicated restoration studio that would be able to solve the pressing need to maintain the constantly expanding collection. During the period between 1906 and 1910, A.Ya. Boravsky put together his celebrated plan to create a conservation studio at the Russian Museum. Due to a lack of funds, however, it was not to be.

After the October Revolution of 1917, thousands of nationalized works of art from private collections and religious objects belonging to cathedrals and monasteries across Russia began to converge on the walls of state museums. The enlargement of collections and the creation of new departments that held pieces of various ages and materials were a reason for major museums of the country to organize conservation departments. In 1922, by a decision of the Council of the Department of Arts, such a studio was created at the Russian Museum. It was run by the experienced art conservator N.A. Okolovich, an enthusiast of activities in the museum sphere. In order to restore various kinds of items for exhibition, he and his colleagues had to creatively rethink the traditional methods of the national school of art conservation, and create new methodology for the preservation of various materials. These years laid the foundation upon which all subsequent generations of conservators have built their work, transferring their knowledge and skills to one another. During the war years of 1941-1945, conservators, along with the rest of museum staff, actively participated in the evacuation of the museum’s works to Perm, where the main part of the collection was stored. Some staff members remained in blockaded Leningrad, where they monitored the building and the works of art that remained.

After the war, a new period began for conservation work and bringing the work into exhibition condition. The focus of art conservation department’s work became preserving works of art and preventing further damage. The staff of the department also participated in the recreation of new exhibitions. During the postwar period, the art conservation department’s work was concentrated on preservation and the conservation of artworks. In a number of cases, the old methods needed to be reexamined, especially regarding the conservation of Old Russian painting.

The museum’s wide-ranging expedition activities in the 1950s drastically increased the size of the collection. The scientific study of the new acquisitions, the accumulation of information and analyses, and the necessity of broadening knowledge about materials and the execution of conservation techniques led to a differentiated approach to the study and preservation of the pieces. A result of this process was the goal of having conservators with narrower specializations. At the beginning of the 1950s, the conservation studio was divided into new subdivisions. Thus, the studio for graphic restoration (1953) and Old Russian painting (1954) were created. At the beginning of the 1960s, the wooden sculpture, decorative carving and furniture department and the textile department were created. In 1969, an independent studio for the restoration of plaster and stone sculpture was created.

In later years, new studios were created, in particular, the division of Conservation of Applied Arts (1970), which works with ceramics, glass, and metal pieces; and the Frame Restoration Division (1981). The studio for paintings in mixed media was made into its own division (1990). This process continues to the present day. Aiming toward a complex study of the works and the reveal of its characteristic peculiarities on the one hand, and the emergence of new technology and methods of scientific research based on the latest scientific achievements on the other led to creation of physics and chemistry laboratories in 1970. These divisions became bases for analysis and scientific experiments in solving problems for preservation and conservation of pieces. The goal of analyzing and understanding processes connected with the development of the theory of conservation and the study of the ethics of restoring works led to the establishment of the Division of the Theory and History of Museum Art Conservation.

A defining characteristic of the contemporary state of art conservation at the Russian Museum is the scientific approach to all stages of work. This applies to the comprehensive technological, historical, and artistic study of the work before conservation work begins, the development of the optimal and safest method of intervention based on the results of said study, the discussion of the information received from conservation councils, and objective and accurate documentation and monitoring while the work is in progress.

Today, the Russian Museum’s Art Conservation Department is a contemporary scientific conservation center consisting of 16 divisions staffed by 96 specialists of the highest professional level. 

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Collection highlights
Collection highlights

The collection of masterpieces, chosen by the Russian Museum will allow you to make a first impression of the collection of the Russian Museum.

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Virtual tours
Virtual tours

Russian Museum - one of the world's largest museums and is perhaps the only country where such a full treasure of national culture are presented.
Virtual tour of the museum complex. 2009 (Rus., Eng., Ger., Fin.)

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Online Shop
Online Shop

In the online shop of the Russian Museum presented a huge range of souvenirs, illustrated editions and multimedia disks.

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