About the Museum

THE HISTORY OF THE MUSEUM

The Museum of Russian Impressionism opened on 28 May on Leningradskiy prospect, in former Bolshevik chocolate factory, presenting its permanent exposition, the first exhibition – retrospective of Arnold Lakhovsky and multimedia installation by contemporary American artist Jean Christophe. 

The permanent exposition is based on the masterpieces of notable Russian artists from the personal collection of its founder Boris Mints. It consists of more than 70 artworks of prominent Russian artists such as: Konstantin Korovin, Igor Grabar, Konstantin Yuon, Petr Konchalovsky, Yuri Pimenov, as well as selected works by Boris Kustodiev and Valentin Serov.

The work done by the team of the museum in the past two years has been recognized by the international art community and it was included as a member of the prestigious International Councils of Museums (ICOM).

THE MUSEUM'S COLLECTION

The permanent exposition of the Museum covers a considerable chronological range. The earliest painting is the one by Konstantin Korovin ‘In The Park’ (1880s). It was the time when Russian art made its first steps towards formal painting. The most recent works are those by Valery Koshlyakov – the series ‘Postcards’ dating from 2012. Many works presented in the Museum’s collection have been brought back to their homeland thanks to the efforts of the Museum’s founder. Among them are Nikolai Bogdanov-Belsky’s ‘Summer’ and Boris Kustodiev’s ‘Venice’. Both Pyotr Konchalovsky works in the Museum collection once belonged to Western collectors, as did Nikolai Dubovskoy’s ‘Mountain Village’. Konstantin Korovin’s ‘Gurzuf’ was also purchased at one of the European auctions. The pictures produced by the brushes of Igor Grabar, Konstantin Yuon, Yury Pimenov have too rarely been exhibited to date and now are displayed in the Museum of Russian Impressionism.

Welcome to the ground floor of the Museum! 

BEFORE RESTORATION

The Museum of Russian Impressionism moved to the former warehouse, where sugar and flour were once stored, housed in a Bolshevik Cultural and Business Centre. The author of the architectural project was the russified Frenchman Oscar Didio.

The factory complex appeared in the 1880s, when the sons of the French confectioner Adolf Sioux decided to build a new model factory, obtaining land on the Petersburg Highway from a Moscow merchant woman.

Construction was complete by 1884. The production process included the use of powerful steam engines, gas and oil-powered motors. The Sioux family were the first confectioners in Moscow to introduce electrical lighting in their workplace. The whole city gathered to witness the blaze from the factory windows. Products produced here included sweets, marmalade, marshmallows, pies, liqueur chocolates, ice-cream, biscuits and jams.

After the Revolution, in 1918, production was nationalised, and Factory No. 3 was rechristened “Bolshevik” in the 1920s. It was considered one of the biggest such enterprises in Europe in the 1960s, but went into decline during Perestroika.

In the early 2000-s the confectionery factory was relocated outside of Moscow. The building of flour storage and sugar lost its basic function.

In 2012 British architectural bureau John McAslan + Partners began the project of restoration of the former flour warehouse of unusual shape - a cylinder with a rectangular parallelepiped on the roof – and its conversion into a modern museum.

AFTER RESTORATION

Today the “Bolshevik” complex conserves not only its revolutionary name, but also his historical appearance. The project of transformation of the former industrial territory into a modern, cozy, lit and comfortable cultural and business cluster became an organic part of general architectural concept of Moscow.  The main adornment of “Bolshevik” is the Museum of Russian impressionism.

Famous architects from London, experts of conservation, restoration and renovation of historical buildings, the authors of the project of renewal of the famous London railway station King's Cross, decided to keep the cylindrical shape of flour store, but transform the building of the future museum into a contemporary art object. The restoration project was headed by the director of the Bureau John McAslan + Partners architect Aidan Potter. He "chained" a brick building in the shiny perforated metal, made the inner ceiling, dividing the building into five floors. As a result, flour warehouse turned into a real museum complex. It easily accommodated three exhibition halls with a total area of ​​1000 m2. At the basement floor are located a spacious exhibition area, a cinema hall, a multimedia studio, the bookstore with art souvenirs. On the third floor there is the summer terrace, located directly on the roof of the museum, and a cozy cafe.

The main color in the interior of the Museum is a light gray. This pure atmosphere allows the viewers to enjoy the vivid pictures of Russian impressionists without any distractions. A circular arrangement of the exhibition halls smoothly transitioning from one floor to another, strengthens the emotional effect. At the entrance on the 1st floor a giant video installation by American artist Jean Christophe welcomes the visitors.

The building of the Museum is equipped for a comfortable stay in it of physically challenged visitors.