Abstract

The analysis of acquisition policy of Pavel Mikhailovich Tretyakov (1832–1898), one of the leading Moscow collectors of the 19th century, who considerably influenced collecting in Russia, breaks his stereotype image in the art history literature and memoirs. Tretyakov has been regarded more as law-abiding and conservative in his views rather than independent. In addition, most Soviet art historians believed that the Moscow merchant and collector had outstanding advisers, artists of democratic views, without whom he purchased no work. The cases of acquisition of several works, the main masterpieces of the Tretyakov Gallery, are indicative in some ways. They reveal the difficult artistic atmosphere, in which the collector found himself, his difficult thoughts and, finally, the independence of his decision; sometimes new interpretations of the art works are required. Tretyakov faced difficult choices, being always conscious of the ambiguity of some works and troubles which could be brought by their acquisition for him and later for the gallery. Pavel Mikhailovich’s choice of paintings by his contemporaries highlights several aspects of his image as a collector: whether the works in question were purchased before, during or after the exhibition; whether the opinions of critics, connoisseurs and correspondents were voiced at the time of or after purchase; whether it was a unilateral choice, without regard for the opinion of the majority; how his purchase was regarded by his close friends and associates; how Tretyakov dealt with accusations of incorrect selection for his gallery of Russian paintings; and other aspects. While examining acquisitions of Russian art works by Tretyakov, who often ignored advice of his correspondents and associates and opinions of critics, the author accentuates Tretyakov’s profile as a collector.