Park Muzeon granite sculpture on a biblical subject. Dashing sculptures in Museon Park. Open air sculpture exhibition

In this museum under open air contains more than 700 sculptures from the Soviet period, some of them are masterpieces of monumental sculpture.
In pavilions along the Moscow River you can buy paintings by contemporary Moscow artists, as well as souvenirs.
The park is distinguished by its exquisite landscape design - alpine slides, large flower beds, fountains, numerous benches, gazebos, and podiums.
The park offers tours, exhibitions, lectures on architecture, art and music, concerts, yoga classes and bicycle rentals.
Nearby there are interesting sights: the Moscow House of Artists, M. Gorky Park, the Tretyakov Gallery on Krymsky Val.

Muzeon Art Park is one of the most flexible and dynamically developing places in the city. This is ground zero cultural life capitals are a place where the most interesting exhibitions, installations and creative people intersect. This is also a beautiful well-kept park and one of the most big museums in the open air, where Soviet-era monuments and modern sculptural compositions coexist in complete harmony. On an area of 24 hectares there are more than 700 works by the most famous masters - E. Vuchetich, V. Mukhina, S. Merkurov and others. The sculptures in the park do not interfere with each other, are harmoniously integrated into the landscape and do not impose the direction and pace of the walk.

PARK AREA AND HISTORY OF CREATION

Muzeon is connected by a common embankment with, and is the only park within the Garden Ring. It is a vast, carefully planned green area stretching along the Moscow River. You can enter the park through one of five entrances located in the area of Krymsky Val, Maronovsky and Third Golutvinsky lanes. Nearby are the most interesting architectural and tourist spots in Moscow: the M. Gorky Park of Culture and Leisure (its impressive colonnade central entrance clearly visible opposite the main entrance to Muzeon); Moscow House of Artists (presents a retrospective of Russian and Soviet art of the 20th century); monuments architecture XVIII‒ XIX centuries - churches of St. Maron and St. Nicholas in Golutvin; houses of industrialists and bankers Ryabushinsky and Tretyakov.

The idea of creating an “art park” belonged to the Soviet Minister of Culture Ekaterina Furtseva. The project began in 1970 with the construction of the House of Artists and the building of the new Tretyakov Gallery (architects N. Sukoyan, Y. Sheverdyaev). The modern layout of the Muzeon Arts Park was formed in the early 1990s. After the collapse of the USSR, monuments of the Soviet era were dismantled, and it became quite logical to equip a special open-air museum of Soviet sculpture. The vast territory of the park near the House of Artists on Krymsky Val was perfectly suited for this purpose.

Muzeon collected various monuments to Soviet leaders: Vladimir Lenin, Joseph Stalin, Yakov Sverdlov, Mikhail Kalinin, Leonid Brezhnev and others. The collection of sculptures was constantly replenished, and today Muzeon Park has no analogues in Russia. Here you can see real masterpieces from the most famous masters: E. Vuchetich, V. Mukhina, S. Merkurov, O. Komov, Z. Vilensky, A. Rukavishnikov and many hy others. In total, more than 700 sculptures are collected here. The museum's exhibition includes works created for the 50th anniversary of Victory in the Great Patriotic War, the 200th anniversary of the birth of Alexander Pushkin,.

The Museum and its neighboring Moscow House of Artists are considered a “mecca” for creative people: here you can always find an interesting exhibition, watch a film, buy books, paints or canvases for creativity, or just lie on the grass or sit on a bench overlooking the river. Recently, the Muzeon included a walking area on the Crimean embankment and a vernissage where you can purchase paintings by contemporary Moscow artists: comfortable pavilions have been installed along the Moskva River embankment for displaying paintings and selling souvenirs.

OPEN AIR SCULPTURE EXHIBITION

Closer to the embankment there is another Soviet artifact - the panel “USSR - a stronghold of peace.” The panel is a giant coat of arms of the Soviet Union, made of stainless steel. Until 1991, it was located in the area of Leninsky Prospekt and served as a mark of the old border of the city, welcoming guests arriving in Moscow from the Vnukovo government airport.

On the opposite side of the Vodootvodny Canal embankment, visitors to the Muzeon can examine in detail the controversial monument from the 1990s. 20th century: monument to the first Russian Emperor Peter I by Zurab Tsereteli. It is widely believed that this gigantic sculpture was originally created in honor of the 500th anniversary of the discovery of America by Columbus. United States, Spain, countries Latin America refused to accept it, and the redesigned statue eventually turned into a monument to the Russian Tsar and took its place at the point of separation of the Moscow River and the Vodootvodny Canal. Although it must be admitted that they are trying to refute this version of the creation of the monument.

Among the most notable sculptures are “Niels Bohr and Albert Einstein” by Vladimir Lemport, as well as “But time, time, Alexander Sergeevich!” (1999) Vladimir Buinashev, representing before the duel. The height of the bronze monument to Pushkin – 166 cm – corresponds to the height of the famous poet. The visitor is given the opportunity to take a photo against his background and determine how much taller or shorter he is than the poet. Among the sculptures there are also mascot works, for example, “Shoes” and “Sphinx” by sculptor Dmitry Tugarinov (1995). It is believed that if you put change in a shoe, good luck and happiness in the future are guaranteed.

LEISURE

During reconstruction at the beginning of the 21st century. the landscape in Muzeon has been significantly improved. Alpine slides, gazebos, fountains, paved pedestrian paths with wooden decking, numerous benches and podiums appeared. Various ornamental plants and trees are planted on the territory, large flower beds are laid out, made in the traditions of Chinese, Japanese, and European gardens (“Oriental Garden”).

There is a wonderful place in Moscow - the Muzeon art park. A park where sculptures live. It is located on the banks of the Moscow River along the Crimean embankment near the Central House of Artists. To get to the park, you need to drive to Oktyabrskaya metro station and walk a little towards the Moskva River.

Previously, the park area was fenced and access to part of the park was by tickets. Now the tickets have been canceled and the fence between the park and the Crimean embankment has been removed. And in general, the park was landscaped and made an even more pleasant place for a walk than it was before.

The founding date of the park is considered to be 1992, when the corresponding order of the Moscow government was issued.

However, the first Sculpture Exhibitions were held at this site earlier, in 1983 and 1991.

In 1991, after the August coup, the dismantled monuments to Soviet leaders were brought here to the park. These monuments and sculpture exhibitions gave impetus to the creation of the sculpture park.

After the park was improved, many sculptures changed their location. Some new ones have appeared.

And some were collected into single groups. For example, this monk used to stand apart from everyone else, but now he is in a group of stylistically similar...

There he is, nestled on the left....

Now Soviet sculptures make up the historical part of the park, and sculptures by modern authors are located around them.

Almost opposite the entrance to the modern art department of the Tretyakov Gallery there is the strangest series of sculptures.

Made from huge metal pieces welded together, these works by sculptor Grigoriev look very unusual.

It seems to me that they would perfectly complement the landscapes of the planets from the film Kin-Dza-Dza...

Another oddity of this part of the park is a huge Mobius strip.

The sculpture depicting the Motherland is also quite original - with a machine gun and a hammer and sickle in his hands.

A sculptural group about the friendship of peoples, which previously stood as a separate work...

They combined it into the composition “We Demand Peace” and moved it closer to the Central House of Artists building.

In 2009 there was also a “sports” corner, but in 2015 it was no longer in its original place. The sculptures were probably moved too.

And the goalkeeper most likely simply did not stand the test of time.

But still, it is the historical part that leaves the greatest impression.

It is here that the monument to Felix Dzerzhinsky, sculptor Vuchetich, stands.

Previously, this monument stood on Lubyanka.

The demolition of this monument became a symbol of the events of 1991.

On the pedestal there are traces of those events and later statements about this controversial figure.

The stern monument to Y.M. rises. Sverdlov by sculptor Ambartsumyan.

Kalinin in metal is not as harsh as metal Sverdlov and is somewhat reminiscent of Chekhov.

Around the monument to Stalin, the work of sculptor S.D. Merkurov, a composition dedicated to the victims of repression was created.

The composition dedicated to Stalin’s repressions was donated to the park by sculptor E.I. Chubarov in 1998.

But the path of tiles in front of the monument has disappeared. Now there is a lawn in front of the leader.

Previously, there were still figures made of wood next to the composition.

But years of being on the street destroy wooden sculptures.

Now they are not in their original place.

Most of all in the historical part of the Lenin sculpture park.

Now a wooden droshky has been laid between them, but previously the monuments could only be approached along the lawn. True, no one forbade this.

Brezhnev also ended up in this meeting.

In front of the huge fir trees there is a monument to the “singer of the revolution”, Maxim Gorky, which previously stood at the Belorussky railway station.

A park. There are monuments to the leaders. Children play around, people walk around, sometimes beautiful music plays. Isn't this what they dreamed about when they tried to build new country? It really didn't work out that way...

It’s a funny combination of the Soviet part of the art park and the monument to Peter I by Tseretelli, standing on the river outside the Muzeon territory.

The rest of the park is occupied by works of contemporary art. Some are made in a classic style.

Some are very original.

There are also beautiful girls walking naked in the park.

And better dressed girls doing the arts

And symbols of girls.

There are also women who have already walked away.

Of course, there are sculptures dedicated to the memory of the Great Patriotic War.

The park also has its own Pushkin - what would it be like without him?

As I already wrote above, there were so many sculptures in the park that a special area was made, where some of the works of art were placed very compactly.

The happier sculptures got comfortable places in the shade of trees.

Children really like this grandfather Mazai with a scene from Titanic.

For local residents The park also serves as an outlet - where in the city center they can at least somehow communicate with nature.

In a corner of the park there is the territory of the Church of St. Nicholas the Wonderworker.

The bell tower of the church seems very low compared to the nearby giant President Hotel.

You cannot ignore the monument to Peter I. Although it is not part of the art park, it stands quite close to it.

Previously, it was separated from the park by a river, a roadway and a fence. Now the fence has been removed and the embankment has been made pedestrian. So Peter became closer.

And therefore Tseretelevsky Peter looks like another exhibit of an open-air museum.

Now the Crimean embankment, boring and concrete, has become green and conducive to walking.

Yes, now it’s more convenient to come closer to Peter’s pedestal and see the fountains gushing down there. And it's just a stone's throw away.

The truth is even closer; you still can’t get to the very foot of the monument.

Near the monument to Peter the historical building of the Yacht Club and then the embankment leads towards the Patriarchal Bridge along which you can walk to the Kropotkinskaya metro station.

You can also get from Muzeon to Oktyabrskaya or Park Kultury metro stations. The Park Kultury station can be reached via the Crimean Bridge.

From the Crimean Mota you can look at the chaos of Moscow's buildings (buildings from various eras are visible here) and admire the expanses of the Moscow River.

The project site continues the cycle of walks around Moscow. Today we will go to the Muzeon Art Park.

Our walk starts from the station. It is best to exit from the radial branch (you can, of course, also exit from the circular branch, but then we will have to cross Garden Ring road). Coming out of the metro, we find ourselves on.

And on the opposite side of the street, a little to the right, we see.

We are turning in the other direction. After walking just a few steps, another church will open to our eyes,

The temple has stood here since 1694. However, during the years of Soviet power it was first closed (1927) and then demolished (1972). Restored in 2000. The new church building was consecrated in honor of the memory of fallen law enforcement defenders.

Directly next to the church we see an underground passage. Let's head there.

Once on the other side of the street, we walk straight to the nearest intersection. On the opposite side of Kaluga Square we see its dominant feature - the monumental one.

Unfortunately, the view is hampered by numerous wires and road signs. However, Kaluga Square is not included in our today's route. We turn right and follow Krymsky Val Street.

Soon, a four-story building made in red and white colors will appear on our right hand. This is the Moscow Academic Art Lyceum. It is installed at the entrance.

Soon, on the other side of the street, we will see the main gate of Gorky Park.

And right in front of us is a tall stele with the inscription "MUSEON", marking the entrance to.

From the main entrance there is a magnificent view of the city.

To the right and left of the entrance to the park are installed, making up a single ensemble. It has no name, but on the shield of one of the men in the first composition there is the inscription “Peace on Earth.” This name may well suit the entire ensemble, as here a woman with a loaf of bread in her hands and a man with a machine gun, called upon to protect this world, are successfully combined.

On the first sculpture (to the right of the entrance) we see three women in peasant clothes and the already mentioned man with a shield and a machine gun.

On the other (to the left of the entrance) there are three men and two women dressed as workers, above whom the coat of arms of the RSFSR rises.

We go to the park. The central alley begins in front of us. To the left of it is a monumental building. Before proceeding along the main alley, we first turn left along a small path leading to the Central House of Artists.

The first sculpture that greets us in the park is A.S. Pushkin. A very small, one might even say miniature sculpture, significantly shorter than human height, and no identifying marks. The poet is revealed only by the obvious portrait resemblance.

Nearby, on the other side of the path, there is a fountain, also made in Pushkin’s style. It is decorated with a stone cylinder and cloak.

The second shows two people wearing top hats.

At the left wing of the Central House of Artists there is a sculpture: a man and a woman raising a banner and flowers.

Despite the fact that the sculpture is very monumental (unlike, for example, the previous two), neither the name nor the author is indicated on it. Looking ahead, let's say that this is not uncommon for the Park of Arts. In some sculptures we will see a portrait resemblance to those to whom they are dedicated, in some we will catch the plot. And some, frankly speaking, will leave you with only bewilderment after viewing them.

However, let's continue our walk. From the left wing of the Central House of Artists building there is a magnificent view of the monument, also known as the monument to Peter I, located on the spit of Bolotny Island.

This monumental work by Zurab Tsereteli, 98 meters high, is the second tallest monument in the capital. The first place is confidently held by the Victory Monument (141.8m).

Let's return to the main entrance and walk along the alley going to the left.

Another anonymous sculpture. A figurine of a baby, an old man bending over it and three standing figures. Think of the plot yourself.

But this sculpture depicting a man in a fur hat has both a name and an author. It was made by Fakhraddin Rzayev in 2000 and is called “Caucasus”.

Of course, this is not a school, in the direct sense of the word, however, there is a certain connection. This is a pavilion for lectures and open discussions on various topics: art, education, coexistence in a single space, etc. Anyone can become a participant in events held at the School. The entrance is free. Why "School"? Yes, because here they teach to love art, sometimes so different, contradictory, but nevertheless eternal.

There are several attractions around the pavilion. Let's go around it.

When seeing this object, the first feeling that most people walking in the park will experience is bewilderment. Shower outside? Without any fences?

However, the information board located nearby will quickly dispel this confusion. This is a "light shower". Rays of light should pour out of the sprayer instead of water. This work (author Maria Zaikina) is the winner of the competition “Art is moving to the city” - 2013.

An unnamed horseman is located nearby.

If we go a little further away from the clearing, we will see a figure depicting the Motherland. In one hand there is a machine gun, in the other there is a hammer and sickle. The wave is typical of the Soviet idea of the Motherland.

To the left are several allegorical sculptures, of which only the wooden sculpture of a football goalkeeper can be distinguished.

Let's turn left and go out onto the central alley, right next to the divine façade of the House of Artists. The inscription on the wall tells us that a significant part of the Central House of Artists is occupied by, namely, the exhibition “Art of the 20th Century”.

At the entrance to the building there is a small copy of the famous sculpture of E.V. Vuchetich "Let's beat swords into ploughshares." The original monument is located in New York near the UN headquarters building. A man bending a sword with a blacksmith's hammer symbolizes a call for peace. (“Oralo” is the old Russian name for a plow).

On the other side of the alley there is a sculpture “Guardman”, made in 1933. Its author, Leonid Sherwood, became one of the first sculptors who began to implement Lenin’s plan for monumental propaganda.

Let's walk to the left of the House of Artists building.

Here we see another small copy of a monument known throughout the country. The sculpture entitled "Stand to the end" is included in memorial Complex Mamayev Kurgan in Volgograd.

A Soviet soldier with orders on his tunic and with a hawk on his hand is not a symbolic monument. This is Stepan Pavlovich Suprun - an outstanding Soviet test pilot, twice Hero of the Soviet Union (the second time he was awarded posthumously).

Although here and at the previous monument, unfortunately, there are no explanatory inscriptions.

A small monument to Alexander Tvardovsky, the author of the poem "Vasily Terkin" and many other works. Author Tatyana Kamenkova, 1987. In the background is the composition “Song of Peace” by Lyudmila Kremneva, completed in the same year, and a bust of an unnamed Soviet soldier.

The authorship of this work belongs to the creative team led by the famous sculptor Vera Mukhina. The monument was cast in 1950, the impetus for its creation was the outbreak of the Korean War. The theme of the sculpture is intended to draw attention to the need for peace on a planet that recently experienced World War II.

Another small sculpture on the theme of the Great Patriotic War: soldiers (or maybe partisans) while away the time in a dugout.

We go out onto the central alley. Behind the Central House of Artists building there is a whole gallery of white figures lined up in rows. At first glance, it’s even difficult to say approximately how many there are (in fact, a little more than 80).

This is the Hall of White Stone Sculpture, which appeared here after a large-scale exhibition held at Muzeon in 2012. Here are collected sculptures created between 2000 and 2011 and exhibited at a variety of exhibitions and symposiums. Among them there are works by famous sculptors, as well as students, and even amateurs who do not even have a basic professional education.

Description of all the sculptures will take too much time (and will tire the reader); if you wish, you can see them yourself during a walk. We list only some of them, the most interesting.

Patriarch Tikhon. One of the most revered clergy in our country.

Basil the Blessed. The same one after which the Church of the Intercession on Red Square is often called. The same one whom, according to legend, Ivan the Terrible himself feared.

There are two sculptures of A.S. Pushkin here. On one he rides in a carriage.

On the other he simply stands in his characteristic clothes, a cloak and a top hat.

Composition based on the fable "Wolf in Sheep's Clothing".

Now let's turn our attention to the left side of the alley. Sculptures on a variety of themes are arranged here in a chaotic manner.

Three sailors, one of whom sits on the shoulders of the other, and for some reason one person is depicted in a horizontal form. One can only guess what the author wanted to say.

A peculiar vision of Don Quixote.

But here is a completely understandable and life-like picture: a father leads a small child by the hand. And the name of the sculpture is appropriate - “Sun”. Author Aldona Nenasheva, 1987.

Next we come to the intersection of two alleys. This is where monumental sculpture begins. Most of the monuments located here are of disgraced “leaders of the people.” Soviet revolutionary and party figures, whose monuments, located during the years of Soviet power in different parts of Moscow, were dismantled after the change of political course and brought to Muzeon. We will see the statue of “Iron Felix” from Lubyanka from afar as one of the first, as well as several other, albeit smaller, but also impressive monuments. However, let’s not rush from side to side so as not to miss anything. Let's go in order. First, let's examine the objects located on our right hand.

The first sculpture that appeared along the path of our movement was a man sitting on a bench, throwing his head high, looking at the sky. This is a monument to A.D. Sakharov, scientist, creator of the first hydrogen bomb, and later, public figure, human rights activist and dissident. This sculpture is one of the few that has nothing to do with the “gallery of disgraced leaders.”

Turning our backs to Sakharov’s sculpture, we will find ourselves in front of a monument to one of the most controversial figures not only in Russian, but, probably, in world history. Before us is Joseph Vissarionovich Stalin, in person.

This sculpture, made in 1938 by Sergei Merkurov, was located in Izmailovsky Park until 1993. It is a small copy of a multi-meter statue that once towered over the Moscow Canal in the city of Dubna.

Behind Stalin is an iron cage chock full of “human” heads. This work is called "Victims of totalitarianism." Author E.I. Chubarov. The proximity of these two monuments is obvious and does not require comment.

To the right of Stalin is a sculpture of Ya.M. Sverdlov. Author R.E. Ambartsumyan. From 1978 to 1990, the monument to Sverdlov was located in the park next to Teatralnaya Square, which bore his name during the Soviet years.

And finally, we come to the monument to F.E. Dzerzhinsky.

Since 1958, the monument to Dzerzhinsky, the founder and head of the Cheka, the first special service Soviet Russia, which served as the basis for the creation of the KGB, was located in the center of Lubyanka Square, opposite the building occupied by state security agencies. After the August events of 1991, by decision of the Moscow City Council, the monument was dismantled. For several years it lay in the courtyard of the Tretyakov Gallery, and in 1994 it was transported and installed in the Park of Arts.

It is worth paying attention to the inscriptions made on the pedestal. They resemble acts of vandalism, but there is nothing similar on other sculptures (even on Stalin). The sculptures in the park are well protected, and the inscriptions made in 1991, during the dismantling, which took place spontaneously and anyone could take part in it, are preserved intentionally, since they, along with the monument itself, are part of history.

Next to the "Iron Felix" there is a monument to Maxim Gorky.

His fate is completely different, more prosaic. This monument, work on which began with the sculptor I.D. Shadr, and ended (due to the death of Shadr) V.I. Mukhina, since 1951 he has been decorating that. However, construction work has been going on there for more than ten years (since 2002). During their holding, the monument was temporarily moved to Muzeon.

Now let's return to the intersection and study the sculptures located on its left side.

Monument-bust of V.I. Lenin.

Monument-bust to Karl Marx.

The busts form a single composition, created in 1939 by Sergei Merkurov. Until 2000, they were located at the Belorussky railway station.

Next to each other and very similar to each other, two monuments to L.I. Brezhnev.

From a distance it may seem that these busts, like the works of Merkurov that we examined earlier, form a single composition. However, as you get closer, the difference in size becomes significantly noticeable. There really is only one author of these works, Zalman Vilensky, hence the similarity of style. But the bust of Stalin was cast in 1947 (while the “leader” was still alive), and the bust of Lenin was cast more than 35 years later, in 1982.

Behind the busts there is an aluminum structure: two coats of arms of the USSR and the inscription under them: “The USSR is a stronghold of peace.” Until 1991, the stele was located on Leninsky Prospekt (at the intersection with Kravchenko Street). By the way, there were several dozen such monuments in Moscow; only a few have survived. Aluminum is a metal in demand at all times, and most of the structures were dismantled and melted down.

Next to the "Stronghold of the USSR" - stone structure, to which the author, V.M. Kuraev, assigned the simple name “Cube” in the 1970s (why “cube” if the composition consists of two cubes remains a mystery).

The sides of two cubes standing on top of each other are decorated with bas-reliefs on the theme of life in the Soviet Union: peasant women harvesting crops, builders at work, smoking chimneys of a factory, the inscription “Glory to Labor!” and, of course, Lenin's profile.

We examined the sculptures located to our left. Now let's turn to the right side. There is a whole gallery of monuments to Lenin, brought from all over Moscow. Let's list just a few of them.

The monument by Vladimir Chazov (1960s), brought from the sculpture plant in 1998.

To the right, under the shade of a spreading tree, there is a monument to the “All-Union Elder” M.I. Kalinin. Author Boris Dyuzhev, 1978. Until the early 1990s, the monument was located on Kalinin Avenue, which included Novy Arbat and Vozdvizhenka streets.

Collecting stones.

Descent into hell.

Let's move on. A man looking at a shapeless piece of stone is a monument to the sculptor S.D. Nefedov, a gift to Moscow from the Republic of Mordovia, Nefedov’s homeland. His beloved dog was also honored to be cast in bronze along with the author.

From the monument to Nefedov we move to the left. Two men enthusiastically smoking pipes are “Albert Einstein and Niels Bohr.” Author Vladimir Lemport, 1970s.

Nearby is a sculpture called “Resurrection”. Quite a strange vision of the biblical story. The only thing that can be assumed is that the white limestone is the clouds through which Christ rises into the sky.

The smallest sculpture in the park, its height without a pedestal is only 80 cm. This is “Suvorov in the Alps.”

We came to another intersection, from which two alleys diverged to the right and left. Like the previous time, in order not to miss anything interesting, we will first go through one of them, and then, returning back, through the other.

Let's turn right first. Here, among the abundant greenery, there are several sculptures on military themes from different years.

The statue of a warrior from the Great Patriotic War, standing with his head exposed, is called laconically: “Soldier”. Author T.Yu. Subkhankulov, 1996

Nearby is a sculpture of a man breaking a nuclear missile. It is not difficult to guess that it is dedicated to ending the arms race. The sign nearby confirms our guesses. The name of the sculpture is "Disarmament". Cast in 1987. Sculptor O.S. Kiryukhin.

Unnamed sculpture depicting a tank attack.

The next sculpture also does not have a name, but from the inscription carved on the stone: “13,823 of us died,” it is easy to guess that it is dedicated to the internationalist soldiers who fell in Afghanistan.

We reach the next intersection. There is no point in going forward; from a distance you can see that the park ends here. The church dome is visible in the distance. This is located very close to Muzeon, actually right behind the fence. But we won’t be able to get there directly. Therefore, we turn left.

From here we have a rather unusual perspective on the monument to Peter I. It is located clearly in profile towards us.

Following this alley, we pass another row of sculptures. Of these, it is worth paying attention to the man with glasses. This is Mahatma Gandhi, the famous Indian figure.

At the next fork the question arises: continue moving straight towards the monument to Peter; this road, obviously, will lead us to. But we should remember that we still haven’t explored one more part of the park, so it’s too early for us to go to the embankment. We turn left. On the way we meet a small wooden cafe. If you want to refresh yourself, you can take advantage of this opportunity, since there are quite a few cafes and other places to eat in the park.

A shady path leads away from the cafe.

Along it we will come out to exactly the intersection from which we just recently left. Only now we find ourselves on the opposite side. In the distance we see the monument to Suvorov and the sculpture "Resurrection".

Now let’s examine for a friend the part of the intersection, the one that remains unexplored.

Nearby, there is a monument to another Russian poet, Sergei Yesenin. Author Anataly Bichukov, 1987

And between the two Russian poets is a writer from exotic country Ecuador Joge Icaza Coronel. This bust was presented to Moscow by the Latin American republic in 2010.

Not far from this “literary corner” there was a very ordinary girl in a headscarf. The sculpture is called simply: "Builder". Author Christopher Gevorkyan, 1970.

Now we are boldly moving towards the embankment. On our left is another gallery of allegories.

And on the right is a small sculpture depicting an elderly man in glasses and a cap. One might assume that this is the figure of an abstract person (like the earlier “Builder”), but this is not so. This is S.N. Sotnikov, artist and sculptor, cast in bronze by Salavat Shcherbakov in the 2000s.

And next to it is Mikhailo Lomonosov, work by Leonid Baranov (1993). One can only be surprised at how chaotically the sculptures are arranged in the Park of Arts. However, perhaps this is precisely where its appeal lies.

In the immediate vicinity of the embankment lies a corner of Japan - the Oriental Garden. It includes:

Fountain grotto.

A pond with wooden bridges and a figure of a dragon from Japanese legends. Children love to play here.

Another pond with a samurai statue on the island.

So, we are entering the final bend of our walk. Crimean embankment.

From here you can see the monument to the 300th anniversary of the Russian fleet from the closest point. One gets the feeling that you can touch the sculpture with your hand.

Cathedral of Christ the Savior on the opposite bank.

In the warm season, flowers always bloom in the flowerbeds of the embankment.

We follow the direction to the Crimean Bridge.

At the rear facade of the House of Artists there is unusual fountain. It does not have a bowl; the jets come out of small holes in the asphalt. Therefore, in the heat, you can swim in such a fountain without breaking any rules of conduct. The fountain is equipped with a backlight that turns on after dark.

Diplomatic Academy.

In addition to bas-reliefs, the façade of the building is decorated with a memorial plaque in memory of A.M. Gorchakov, one of Russia's outstanding diplomats.

Following him, we see the lobby.

This concludes our walk. Until next time.

The sculpture symposium is held annually. The Muzeon Art Park in Moscow is directly related to this. Some works of sculptural art created during the symposium remain on public display in a special area in the Muzeon. You can look at these sculptures, you can touch them, you can admire or be surprised by them...

(Photos when clicked enlarge and open in an additional window.)

The tradition of sculpture symposia and the tradition of a permanent exhibition of works by participating sculptors began at Muzeon almost 20 years ago in 1995. Then works of wooden sculpture were presented.

In 1997, the First Moscow Symposium on Stone Sculpture was held in the Muzeon Art Park. Since 1998, not only well-known sculptors, but also talented student sculptors began to be involved in participation. The material of the works is mainly soft limestone. After all, a work of art must be created during the symposium.

Since then, every summer during the sculpture symposium, the small area is transformed into a creative workshop. Venerable and not so venerable sculptures show viewers the results of their creative inspiration. Various master classes are also held here and experiences are exchanged.

The conditions for the implementation of an individual sculptural project are quite strict: the sculpture must be created in a limited time (the period of the symposium), in the open air (the use of “high” technologies is difficult), in front of numerous spectators (who sometimes confuse the sculptor’s timid muse) and must withstand for a long time outdoor exposure in the local climate.

The conditions and forms of holding sculpture symposia often change. There was an idea to hold a symposium under the working title “Territory of Love”. According to the organizers, newlyweds and simply loving couples will be photographed near the sculptures, and this will contribute to the popularization of sculptural art in Russia.

Sculptors are people with creative imagination. When representatives of such sculpture symposiums gather different directions in art, and of very different ages (they say that the youngest was not even 20, and the oldest was over 75), then the result is often extraordinary. Sometimes the result is shocking.

Probably every sculptor at a sculpture symposium is trying to stand out and establish himself as an original creative person. In addition, the “dashing 90s” left their mark on the formation of sculptors - this is the first thing that comes to mind when contemplating the exhibition. That’s why our report is called “Dashing sculptures in Muzeon Park.”

Most of the sculptures do not have any plaques with the title and name of the author. True, sometimes you can detect the year of creation. Perhaps during the next symposium on sculpture, no one in the Muzeon art park was particularly bothered by formal things. Is it a creative position - the sculpture must contain a mystery, and then the viewer becomes a full-fledged participant in the creative process, trying to guess or fantasize what is depicted in the work, and what idea the author was trying to convey. Or maybe the author didn’t have any thoughts, but simply floated on the waves of inspiration and created as best he could...

The site of sculptures created during the annual sculpture symposia in the Muzeon art park in Moscow may well be an attractive place for an easy walk in good weather. Even if this art is not close to you, then at least you will have a good walk and have fun. The photographs will be memorable.

Whenever possible, we help people visit interesting places described in our magazine. First of all, this applies to places we ourselves have visited. Open the section, read and choose! Why and how we do this is written in our article.

Electronic media « Interesting world" 09/15/2013

The Muzeon park on Krymsky Val is undergoing a global reconstruction: the architectural design of the new look is already ready, it was developed by Evgeniy Ass. The museum's exposition will be thoroughly redesigned: some of the sculptures will be removed from the park altogether, the remaining ones will be arranged in a new way, and the landscape design of the park will also be seriously changed. This means that Muzeon in the form that has developed over the past 20 years will cease to exist. But for now, this is a place where exiled monuments to Soviet leaders coexist with lyrical muses, where dissident academician Andrei Sakharov dreamily looks into the sky, and Lenin’s head lies in a string bag made of wire. The Village walked through Muzeon with guide Dmitry Evseev and found out how and when these different monuments got into the park and what will happen to them in the future.

Muzeon's plan

Dmitry Evseev

guide
has been working at Muzeon for 4 years

Leaders and victims

“Museon” began in 1992 with monuments to the overthrown leaders: the founder of the NKVD Felix Dzerzhinsky, Joseph Stalin, Vladimir Lenin - they were brought from all over Moscow and piled here right on the grass, with their noses and legs broken off, painted with paint.

Felix Dzerzhinsky. Evgeniy Vuchetich, 1958

“Iron Felix” was one of the first to come to us. Look, it is smeared with paint - from those very times when Moscow residents began to dismantle it almost with their bare hands. With any restoration of this monument, the question arises: is it worth getting rid of these evidence of the era, or is it necessary to cleanse Felix. I believe that you should not wash off the paint. By the way, he lay here for a long time in the grass, among the mud and water. And when Dzerzhinsky was raised, tears seemed to flow from his eyes.

Maksim Gorky. Vera Mukhina, 1951

This “Bronze Guest” Maxim Gorky found himself in this row of tyrants. It arrived to us much later; of course, it was not dismantled by disgruntled citizens. He stood in the square in front Belorussky railway station, but in 2005 this incomprehensible reconstruction began there. Moreover, it was dismantled very carelessly and the legs were torn off. These are builders, they need everything quickly in order to report to their superiors. The restoration was very difficult. By the way, this monument has many authors. Vera Mukhina only completed the work; she climbed up and down the scaffolding, an elderly, unhealthy woman. Initially, Gorky was supposed to stand in Gorky Park, Mukhina showed it to Voroshilov and Kaganovich, one liked it, the other didn’t. The monument was defended, but a different place was invented for it. I hope that after the reconstruction of the square it will return to the Belorussky Station.

Stalin. Sergey Merkurov, 1939

The most interesting thing is that there are not many Stalin monuments left, because they were mostly not dismantled, but blown up. This sculpture came to us from Izmailovsky Park, which formerly bore the name of Stalin. He stood on a pedestal about four meters away, they pulled him straight with ropes - he fell and his nose broke off. The sculptor Merkulov at one time established mass production of “Stalins” - he had a whole plant at his dacha. He had them of all sizes and all in the same pose: the same open overcoat, the same hand behind the side of his jacket, and the hand behind him with a scroll of some papers.

“Victims of Stalin’s repressions”, Evgeny Chubarov, 1990s

The section is called “Leaders and Victims,” but victims began to appear here later. Chubarov gave us this work in the late 90s. Barbed wire, a muzzle, bars, and behind them heads, concrete with formwork. This is such a symbol of locks, canals, construction sites of the Soviet regime, where prisoners were used.

pedestal, 2007

Academician Sakharov appeared here much later, in 2007. He sits directly opposite his leader, whose victim he became during his lifetime. For a monument, the most important thing is always to choose a place. Pototsky's sculpture depicts Sakharov - a scientist and human rights activist and person. Here he sits, chained to the ground, but looks up. Very delicate work.

Lyrical part

Next to the exposition of leaders and heroes there is a part that can be called lyrical. There are very different works collected here; those who don’t like to look at the leaders come here to the sculptures, which fit better into the surrounding environment of the park by the water.

“Biblical motives”, Oleg Garkushenko, 1990s

These are very original works: “The Return of the Prodigal Son”, “Those Who Descended to Hell”, “The Blind Man”, “Another Creation of the World”. Everything is important for the sculptor: every year he comes to remove the rust and make sure that the location of the monuments does not change.

“Shoes”, Dmitry Tugarinov, 1995

These are “Shoes”, which all our visitors love very much. They always try to put coins in their shoes, although I haven't heard of any sign.

Sotnikov, Salavat Shcherbakov, 1990s

This is a portrait of Alexei Grigorievich Sotnikov. It’s a pity that no one remembers or knows him now. He worked at the Dulevo factory and was a wonderful porcelain sculptor. He is wearing a lot of clothes, if you look closely - more than one shirt. He worked near the stove and was afraid of drafts, so he wore vests, undershirts, and shirts.

Pushkinsky courtyard

The history of the creation of the courtyard is as follows: every year symposiums of sculptors were held at Muzeon, their participants sculpted from white limestone, so white sculptures are scattered throughout the park. Most often, the symposiums were united by some theme. Actually, the Pushkin courtyard collected sculptures made in 1999, when the 200th anniversary of the poet’s birth was celebrated. Although there is also a bronze monument here that matches the theme.

“The Time of Alexander Sergeevich”, Vladimir Buinachev, 1999

The beauty of this monument is that it is 1 meter 66 centimeters in height - like Pushkin himself. That is, you can approach him and find out how much higher or lower you are than Alexander Sergeevich.

“Forty thousand miles”, Alexander Smirnov-Panfilov, 1999

Unusual work. Caravan with Pushkin and a milepost nearby.

“Winged Angel of Inspiration”, Igor Korneev, 1999

Exhibition by Vladimir Buinachev

The exhibition of this artist occupies several alleys, there is a huge number of his sculptures. It’s pointless to ask how they got here and why, says Dmitry Evseev, all these twenty years the park’s management and the sculptors were one “friendly community”: “What we liked, we took, what we didn’t like, we took, just in case.” Now the museum is trying to return some works, but not everyone agrees to take them back.

“Lenin in a string bag”, Vladimir Buinachev, 1990s

Buinachev allows himself bold things. For example, this Lenin in a string bag made of wire. It probably symbolizes the baggage of history. We can’t throw it away, so we carry it with us. Although it’s not clear what to do with it (I’m not talking about sculpture now).

Untitled, Vladimir Buinachev, 1990s

I don't know what these sculptures mean. Don't ask.

Alley of Love and Motherhood

Here are collected sculptures that relate to the theme of love. The exhibition is relatively new, all the park workers were in some kind of high spirits when it was put together, says Evseev. But for some reason it is not popular and visitors rarely come here. Although a stage was recently installed here, and the sculptures now stand right between the benches. It's worth a visit just for the sculpture alone.

Don Quixote, Nikolai Silis, 1990

During the times of socialism, a sculptor dared to say that form, not content, should come first. Look at his amazing plastic solution for Don Quixote. But here he somehow doesn’t have any spectators. Well, if it were on the main alley, you agree, it would be very advantageous. I hope that the new leaders of Muzeon will resolve this issue.

Vera Trakhtenberg

Chief curator of "Museon"

In the very near future, we will remove all symposium sculptures made of white limestone from the park - they will all be collected on one site. The historical exhibition “Leaders and Victims” will not change, at least in the near future. Dzerzhinsky will be in its place as the museum’s supporting point. Large-scale landscaping will be carried out, and there will be much fewer monuments in the park. That is, there will be no more clearings filled with 15–20 sculptures, but there will be one point for each territory. We will also organize one large site where monuments from all over the park will be collected, and some of them will be given to the owners. A lot, of course, depends on the landscape solutions that Evgeniy Ass developed. We will build on them and think through the exhibition.

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