Italian Futurism. From the Collection of Mattioli. Russian Cubo-Futurism. From the Russian Museum and Private Collections in Moscow

Giacomo Balla. Mercury Passing Before the Sun. 1914. Tempera on canvas. Gianni Mattioli Collection, Milan.
16 july—4 october 2021
Please note: the part of the exhibition dedicated to Russian Cubo-Futurism will be closed earlier, the last day of work is September 27. The part of the exhibition dedicated to Italian Futurism will continue its work.

The futurism desire of search for figurative means, consonant with the age of technological progress and high speeds, acquired a truly international character after the famous manifesto by Filippo Tommaso Marinetti was issued in 1909. The creative program of Italian futurism in the 1910s stroke a chord in different countries, including Russia. In their manifestos and speeches at disputes, Russian artists strove to defend the originality of the Russian version of this trend, which clearly manifested itself both in visual arts and in literature.

The exhibition at the Russian Museum brings together the works of Italian and Russian futurists, which allow a viewer to witness the originality of each of the two national versions of this large-scale creative movement. The fundamental works of Italian futurism are shown in dialogue with the iconic works of Russian masters. This will provide an opportunity to see their similarities and differences and deeper perceive the era of avant-garde experiments that swept across Europe.

The major masterpieces of Italian futurism from the collection of Gianni Mattioli (Milan) are shown for the first time in Russia: 26 unique works by G. Balla, U. Boccioni, C. Carrà, L. Russolo, G. Severini, M. Sironi and many more other, truly significant for the historical and cultural context in which Italian futurism was born. Paintings and graphic works from the Russian Museum and private collections appear next to them in the exhibition space. The authors of these works are D. Burliuk, N. Goncharova, A. Lentulov, K. Malevich, L. Popova, I. Puni, O. Rozanova, N. Udaltsova, A. Exter and other famous representatives of the Russian avant-garde.

teaser of the exhibition

General partner


With the support:

Cultural and Charity Foundation U-Art


CMS.Cultura agency

Pirelli Company


Under the patronage and support:

The Embassy of the Republic of Italy in Moscow


Consulate General of Italy in St. Petersburg


Italian Cultural Institute of Saint Petersburg

The Ministry of Culture of Italy


Mario Sironi. The White Horse. 1919. Oil on canvas. Vladimir Baranov-Rossiné. Norwegian Phapsody. A Winter Motif from Trondheim. Before 1917. Oil on canvas. Natalia Goncharova. A Cyclist. 1913. Oil on canvas. Kazimir Malevich. Perfected Portrait of Ivan Kliun. 1913. Oil on canvas. Alexandra Exter. City at Night. 1913. Oil on canvas. Luigi Russolo. Solidity of fog. 1912. Oil on canvas.  Gianni Mattioli Collection, Milan. Gino Severini. Blue Dancer. Oil on canvas with application of sequins. Gianni Mattioli Collection, Milan.

Anna Leporskaya. Painting, Graphic Art, Porcelain

Anna Leporskaya. Painting, Graphic Art, Porcelain

15 december 2021—14 march 2022

In the summer of 2017, the collection of the Russian Museum received a donation of an extensive collection of works by various artists, which was called the Leporskaya Archive in historiography. The archive included over 600 works by Anna Alexandrovna Leporskaya herself: 512 drawings, watercolors, gouaches, 10 canvases and more than 100 porcelain items.

I Am Dostoevsky. To the 200th Anniversary of the Writer’s Birth

I Am Dostoevsky. To the 200th Anniversary of the Writer’s Birth

13 november 2021—14 february 2022

The F.M.Dostoevsky Literary-Memorial Museum presents an exhibition to the 200th anniversary of the writer.

The exhibition is based on paintings from the imaginary "ideal museum of the writer", which were especially significant for Dostoevsky throughout his life. He did not miss a single exhibition in St. Petersburg, in Europe he got acquainted with the main museums and galleries, he knew the Dresden Gallery, the Pitti Palace, the Uffizi almost by heart. He considered Raphael's Sistine Madonna one of the greatest masterpieces, admired the landscapes of Claude Lorrain, the gates of the Florentine Baptistery, Saint Agatha by Sebastiano del Piombo, Penitent Magdalene by Batoni, this list is pretty extensive.

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Virtual tour of the museum complex. 2009 (Rus., Eng., Ger., Fin.)


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