Born into a merchant family
Pavel Mikhailovich Tretyakov was born in 1832 into a family belonging to an old merchant clan from Malyy Yaroslavets. The future collector’s grandfather, merchant of the 3rd guild Zakhar Eliseevich, acquired an estate in Zamoskvorechye on the right bank of the Moskva River at the end of the 18th century. Several generations of the Tretyakovs lived in the family home — the house is a rare architectural monument illustrating the history and life of Moscow merchants. Tretyakov’s father owned a small Zamoskvorechye bathhouse, five shops selling textiles and food products, and sold firewood. The Tretyakov brothers received home education and from an early age took part in the family business: they washed floors, traded, and ran errands. In adolescence the sons began keeping the accounts for their father’s enterprises.
The Tretyakov family house in Golutvinsky Lane. Photo: Wikimedia Commons
The Pavel and Sergey Tretyakov Museum. Photo: tretyakovgallery.ru
Drew up his first will before turning 30
Tretyakov drew up his first will before his trip abroad. In the event of his death, he bequeathed 150,000 rubles for the creation of a public art gallery. At 27 the collector was already quite wealthy: after his father’s death he and his brother inherited six shops in central Moscow and a public bath. The Tretyakov brothers managed to multiply their capital many times over by engaging in industrial textile production. In 1866 they founded the Kostroma Linen Manufactory and established spinning and weaving operations that rivaled British products in quality.
Sergey and Pavel Tretyakov
Was a withdrawn and religious man
Despite his high status and position, Tretyakov sought solitude, avoided society, and regularly attended services at the Church of St. Nicholas the Wonderworker in the Tolmachi, for which his relatives nicknamed him “the archimandrite.” Evidence of Tretyakov’s exceptional modesty is the place he chose during services — he stood closer to the church vestibule behind a small wall projection. Today that spot is marked with a memorial plaque, and the church has the status of a house church at the Tretyakov Gallery and is the permanent location of the Vladimir Icon of the Mother of God.
The Church of St. Nicholas in Tolmachi. The house church at the Tretyakov Gallery. Photo: selcdn.ru
Memorial plaque in the Church of St. Nicholas in Tolmachi
Started by collecting Western painting
Pavel Tretyakov began collecting in his twenties after an impressive trip to St. Petersburg, where he visited the Hermitage, theaters, and exhibitions. Interestingly, Tretyakov did not immediately start assembling a collection of Russian painting. Initially he followed the 19th-century fashion: he bought Western paintings to decorate the walls of his home. However, he soon realized that the Russian art market contained many forgeries — quality works had to be sought abroad. Finding originals would have taken a long time and required substantial financial investment. The collector switched to Russian art and conceived the idea of creating a public picture gallery.
Bought paintings banned by the censors
The first such painting Tretyakov acquired was Vasily Perov’s canvas 'The Village Procession on Easter,' in which the young artist exposed the vices of society. The painting was banned from public display and was received ambiguously even within artistic circles. Contrary to public opinion, the canvas did not carry an anti-church subtext; it urged adherence to Christian commandments and the eradication of immorality. Later Tretyakov purchased several dozen works by Perov — the collector and the artist became close friends and allies.
Vasily Perov. The Village Procession on Easter. 1861
Organized a portrait gallery of Russia's outstanding figures
In the late 1860s Tretyakov conceived the idea of creating a portrait gallery of outstanding figures of Russian culture — composers, writers, and artists. He purchased existing works and commissioned portraits from artists. Among the well-known portraits created specifically for the gallery are portraits of F. M. Dostoevsky, V. I. Dal, I. S. Turgenev, portraits of L. N. Tolstoy, M. E. Saltykov-Shchedrin, S. T. Aksakov and N. A. Nekrasov, painted by Vasily Perov, Ivan Kramskoi and Ilya Repin.
Vasily Perov. Portrait of F. M. Dostoevsky. 1872
Ivan Kramskoi. Portrait of L. N. Tolstoy. 1873
Highly valued the work of the Peredvizhniki (the Itinerants)
The first exhibition of the Society for Traveling Art Exhibitions (the Peredvizhniki) was held in 1871. The farsighted Pavel Tretyakov spotted masterpieces already at the stage of their creation by visiting artists’ studios, and acquired some works even before the exhibition opened. Thus Tretyakov’s collection was enriched with Perov’s 'Hunters at Rest' and Alexei Savrasov’s 'The Rooks Have Returned.' In total, 47 works were shown at the traveling exhibition, 21 of which entered Tretyakov’s collection.
Considered Kramskoi's painting 'Christ in the Desert' the jewel of his collection
'Christ in the Desert' is one of the principal works in Ivan Kramskoi’s oeuvre. The artist worked on the painting for more than ten years and presented it in 1872 at the 2nd exhibition of the Society for Traveling Art Exhibitions in St. Petersburg. Pavel Tretyakov purchased the painting before the exhibition opened, but did not receive the canvas immediately — Kramskoi worked on it for a long time, paying special attention to Christ’s folded hands. Tretyakov paid an enormous sum for the painting by the standards of the time — 6,000 rubles — and even years later considered it the best in his collection.
Ivan Kramskoi. Christ in the Desert. 1872
Married to the cousin of the philanthropist Savva Mamontov
Tretyakov had been a confirmed bachelor, but at 33 he fell in love and married Vera Nikolaevna Mamontova, the cousin of industrialist Savva Mamontov. The marriage proved strong and happy, producing six children. The family life was clouded only by the fact that the collector kept strict household accounts, avoided unnecessary purchases, and donated all spare funds to the gallery and to charity.
The family of Pavel Mikhailovich Tretyakov
Bequeathed the Tretyakov Gallery to Moscow
The last years of Pavel Tretyakov’s life were marked by severe trials. In 1887 he lost an heir when his youngest son died of scarlet fever, and in 1892 his younger brother Sergey died. In that same year the collector donated the Tretyakov Gallery to the city. Until his last days Pavel Mikhailovich remained the gallery’s trustee, continued to add to the collection, and published catalogues. The collector died in 1898. On his deathbed he asked that the gallery be safeguarded and wished everyone good health.
