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 Table of Contents
Editorial Introduction
Legacies and New Missions
Beyond the Borders
The Hermitage and Cultural Exchanges
EditorialA scientific journal rarely indulges in commemorative tributes, except to acknowledge the exceptional nature of the subject in question. This is the case here in this special issue of MUSEUM International, devoted to the State museum of the Hermitage on the occasion of the 300th anniversary celebration of the foundation of the city of Saint Petersburg. Inaugurated in June 1703 and developed over the centuries by the most renowned architects and town planners, the city of Saint Petersburg marks the achievement of Peter the Great’s (1672 –1725) dream of « boarding a ship on the shores of the Moskova and alighting on the banks of the Neva without having set foot on dry land ». A palace which became a museum to house the artistic testimonies of cultures, the Hermitage, just like the city, also epitomizes the universal ideal shared by the most prestigious museum institutions since the 18th century. The Hermitage, like most other museums of similar importance, is the result of several histories. Political History first, that of the Russian Empire, the Soviet Union, and subsequently the Russian Federation, a history that today, provides the collections of the Museum with their national status; next, a History of art and sciences, whose birth and development which flourished during the 19th century, allowed the completion of the transferral of the great imperial and aristocratic collections through a strategy of purchasing works of art throughout Europe and archaeological excavations in numerous regions of Eurasia; finally, a History of the city of Saint Petersburg/Leningrad whose successive inaugurations mark the phases of expansion and the development of the urban space far beyond the historic centre where the Museum is located. Today, these histories combine a new project for the development of the museum and its historic urban setting. This project is being launched at a time when important questions have been raised as to the meaning of the museographic presentation of cultures, the means of funding restoration projects, the fine balance between traditional paths and modern communication technologies for the dissemination of knowledge or, finally, the partnership strategies of museum institutions. Within the context of a reflection on heritage practices, and beyond celebrating the exceptional testimonies of architecture and art which the city of Saint Petersburg and the Hermitage Museum constitute, the authors in this special issue highlight two contemporary trends. The first concerns the museographic policies of fine arts museums at a time when cultural diversity is widely recognised and, the second, the role of the museum in an historic urban centre. Major fine arts museums have, over the last few decades, significantly altered their museographic policies and have been open to questions which go beyond the field of the history of art and archaeology stricto senso. This option is backed, at the same time, by the encyclopaedic nature of the imperial and aristocratic collections, which are at the basis of national museums and which encourage their museographic treatment according to the notion of inter-cultural dialogue, in tune with contemporary multicultural societies. Today, no one doubts that the meaning which emerges from the interpretations of works in a museum is closely linked to the goals of the museum and to the conditions in which they have been successfully achieved. Among these aims, the notion of catering to various sections of the public has been a guiding principle in the design of museographic spaces for leading institutions such as the Louvre Museum. Though sometimes perceived as a comodification of culture, the multiplication of museum service is aimed first and foremost at meeting the expectations of the public. The notion of exchange at different levels -regional and international- is also an element in the renewal of museographic programmes, and in their methods of implementation. The agreement between the Hermitage Museum, the Kunsthistorisches Museum of Vienna and the Guggenheim Museum, marks a turning point in the commitment of institutions to a comparison of their methods of interpretation and to be more open to transcultural and transnational themes. Only inter-institutional collaboration can effectively meet the increasing and exacting demand of the public of major national museums, and allow, at the same time, the multiplication of presentation possibilities on the basis of limited -although representative- collections. In this issue, three museums, of which two are engaged in a partnership with the Hermitage, present a history of their foundation and their future orientations, each with its own specificities and factors in common with the Hermitage Museum. It is also worth recalling here that a number of important fine arts museums in the world (British Museum, Metropolitan Museum, Louvre Museum) were recently the object of significant architectural and museographic modifications. Today, the Hermitage Museum introduces new challenges and possibilities for this sort of institution to explore further. The standard of excellence and the innovative character of the museum’s initiatives were recently confirmed when it was awarded the Web’Art’s bronze medal for the museum Internet site (http://www.hermitagemuseum.org) during the 2002 edition of the International Audiovisual Festival for Museums and Heritage, organized by AVICOM. This distinction will undoubtedly contribute to affirming the central role that the Hermitage Museum has to play, both on a regional and an international level, along with its international academic influence. The second trend concerns the museum located in the centre of an historic urban space. Today, such a museum is an essential actor in town-planning programmes and their many components: architectural, social, economic and cultural. The museum is a source of cultural heritage, but when it is located in an historic centre, the museum itself becomes a cultural heritage. It is most often a museum which was originally a palace. In the case of the Hermitage and Saint Petersburg, an understanding of the interactions between the museum, its immediate environment and other parts of the city, has prompted plans to expand the museum and to restore and revitalize the historic centre. These programmes enjoy the support of international organizations. Since 1997, the historic centre of Saint Petersburg has been the subject of a rehabilitation project with the financial and technical backing of the World Bank. Its aim is to safeguard and restore the historic buildings, currently in a state of disrepair, and also to generate resources, through the development of tourism and trade and by adapting the judicial and financial framework specific to countries in economic transition. As for UNESCO, it pursues long-standing collaboration with the Russian Federation through two programmes, one with the Bolshoi Theatre in Moscow and the other with the Hermitage Museum in Saint Petersburg. UNESCO is leading the expert mission on the assessment of the historic buildings of the Bolshoi theatre prior to the modernization of the institution. UNESCO’s action, as regards the Hermitage Museum, is in keeping with the strategy established by the directors of the museum both to implement a plan for the exchange of expertise and experience between similar institutions on an international level and to transform the museum into a centre of regional resources for the development of museum infrastructure and services in Eastern Europe. To illustrate this second aspect, an initial project will be devoted to strategies for developing cultural markets for museum products and services. In general, UNESCO acts within the framework of the UNESCO/Hermitage project as an advisory resource centre which provides support for training and also co-ordinates international co-operation. The Russian authorities have granted UNESCO a privileged position as regards cultural heritage projects in Saint Petersburg, acknowledging UNESCO’s acquired expertise in this field. At the same time, it also provides UNESCO with an opportunity to accompany the transformation of one of the most prestigious State museums with the knowledge of the issues debated at an international level and to guide the choices made with a view to sustainable cultural development. As far as the author can remember, it is the first time that UNESCO has been closely associated with the restructuring of such a prestigious museum. MUSEUM International wishes to express its gratitude to Professor Piotrovsky, Director of the State museum of the Hermitage in Saint Petersburg, who was involved personally in the preparation of this special issue. We also extend our thanks to Stuart Gibson, Chief Consultant to the UNESCO/Hermitage project, who spared no effort to ensure its success. We hope that this issue, published on the occasion of a worldwide celebration, will serve as a landmark in the appreciation, knowledge and future of the Hermitage Museum of Saint Petersburg. Top The Hermitage through the Centuries Mikhail Piotrovsky, Director, State Hermitage Museum The State Hermitage Museum is one of the most conservative museums, successfully preserving the spirit and symbolism of eighteenth- and nineteenth-century Russia. It is an incredible source of historical information essential for interpreting Russia's past representing a living memorial to that history. The Hermitage is also a symbol of Russia's attitude towards art and culture, of Russia's cultural openness and pride. Under the aegis of the Hermitage UNESCO Project, UNESCO contributed its considerable experience and expertise and assisted the Hermitage in laying the foundation for the museum's future by exploiting new development paths. Over the past decade the Heritage has succeeded in creating something new, and yet something utterly faithful to its traditions. The Hermitage is Russian history projected through universal culture. Top
The Hermitage ‘ … Diverse and Vast …’ George Vilinbakhov The Hermitage is the microcosm of a cultural diversity. It is a unique amalgamation of architecture, palace interiors, masterpieces of the European, Asiatic, Oriental, Arabic, Roman and Greek art, archeology, decorative arts, and Byzantine and Russian icons - and with each of these cultures reflecting off the other. The collections were enhanced or gradually took shape from archeological expeditions, gifts and purchases. The article relates the history of the Hermitage Museum under various aspects with a particular emphasis on how the museum has added to its collection over the years. Top The Hermitage and Institutional Change: A leap into the twenty-first century Stuart Gibson With the final collapse of the Soviet Union in the early 1990s, the museum found itself in uncharted territory. Lavishly supported during the Soviet era, the museum’s state funding was dramatically cut. As a consequence the museum management confronted an unexpected and novel set of problems. Rightly proud of its accomplishments, the Hermitage Museum set out on a cautious path of reorganisation to meet the challenges before it. This article studies the museum’s successes and the difficulties it encountered in its new management policy. Top Technologies and the Hermitage: New Opportunities Aleksei Bogdanov The Hermitage has always viewed technology as an essential tool and is committed to exploiting it. In the early 1990s, when the museum realized that it must upgrade its information systems, the initial temptation was to gradually introduce new equipment and technology department-by-department. However, the museum also realized that it had an exceptional opportunity to introduce a state-of-the-art technology throughout the entire museum. This would require a new way of thinking and resources. With the assistance of partners, the museum has transformed information technology from a mere idea into a challenging new dimension of museum work and its mission. As a result, it has generated new possibilities and genuine benefits for the Russian museological landscape and the Hermitage Museum. Top The Greater Hermitage: a grand future Maria Haltunen The Greater Hermitage Project developed from the museum’s long-term restoration and reconstruction plans for its historical buildings, and the museum’s role in the urban development of St. Petersburg's historic city center. Its primary objectives are to improve access to the museum’s collections, create the necessary conditions for their preservation, and to enhance visitor services enabling visitors to maximize their experience in the museum and the city. Under the aegis of the Greater Hermitage Project, new exhibition spaces have been opened, the permanent exhibitions expanded, studies charting the museum's future undertaken, and some of the most important buildings in St Petersburg restored. More importantly, the Greater Hermitage Project continuously reaffirms the Hermitage as a contemporary, developing institution, capable of adapting to a changing world while forever preserving its commitment to the educational principles and historical legacy that defines it. Top Transforming Historic Architecture into Viable Museums: the conservation perspective Valerii Lukin St. Petersburg is certainly not the first city to address the myriad challenges associated with the renovation of its historic buildings. It is perhaps unique though given the vast number of historic buildings requiring restoration today, the various types of new uses planned or being considered for these buildings, and the broad variety of architectural styles represented in the historic city centre. The political policies implemented immediately following the 1917 Revolution also had a unique and long-term impact on the reuse of many buildings in the city; however issues and public debate relating to renovation and reuse have only seriously arisen in the past decade since the collapse of the Soviet Union. Top From Museum to Museums: the evolution of the Guggenheim Lisa Dennison The NewYork-based Solomon R. Guggenheim Foundation has explored many ways of realising its mission of international cultural co-operation around the world. In June 2000, the Guggenheim joined forces with the State Hermitage Museum in St. Petersburg, Russia, further expanding the notion of the museum without borders. In a long-term collaboration agreement signed by Thomas Krens, Director of the Guggenheim, Mikahil Piotrovsky, Director of the Hermitage, and Mister Shwydkoi, the Minister of Culture from the Russian Federation, the two institutions agreed to work together in achieving the following goals: (a) to expand international cultural relations; (b) to make each museum's collections accessible to broader audiences; (c) to pursue collections sharing strategies that complement the institutions' holdings; and (d) to implement joint exhibition, publishing, educational, and retail activities. An important element of the collaboration is to explore and implement museum expansion and cultural development opportunities in various other locations throughout the world. Top The State Hermitage and the Kunsthistorisches Museum: the cooperation of two great art institutions Franz Pichorner The Kunsthistorisches Museum of Vienna and the State Hermitage in St. Petersburg are two of the world’s major museums and both reflect centuries of sumptuous collection. In 2001, the two museums signed a co-operation agreement with the New York Guggenheim Museum. It encompassed the exchange of works of art, joint exhibits in third countries, educational and research projects, as well as training, restoration, publishing and marketing activities. The diversity and quality of each of the collections are enhanced by such a programme and allows a new discourse to be created across continents and historical boundaries. Top The Louvre: A National Museum in a Royal Palace Geneviève Bresc-Bautier A castle since the end of the twelfth century, and a museum since 1793, the Louvre, since 1989, has undergone a complete museographic renovation. Considerably enlarged by the annexation of the area previously occupied by the ministry of Finance, it has been going through a metamorphosis for the past fifteen years. A huge main hall, topped with a glass pyramid, is surrounded by areas which are indispensable for receiving visitors, and houses an auditorium, restaurants and bookshops. The presentation of works from different thematic departments has been totally renovated. The requirements of tourist facilities and the scale of visitor's attendance (5,700,000 visitors in 2002) have imposed significant reforms and methods of functioning, and a reflection on the search for new audiences, on the assistance provided to handicapped visitors, and on the different ways of assisting the visit. Top The Hermitage and its Links with Regions of Russia Vladimir Matveev Throughout its history, the Hermitage Museum has and still continues to exert an enormous influence on Russia’s cultural development. And to a significant extent, the Hermitage not only contributes to the fabric of Russian culture, but it is also responsible for the direction of national cultural policy. In varying ways, the museum has helped to develop the cultural values of Russia’s major cities and its regions. This article details the reinforcement and development of the Hermitage's multi-faceted links with Russia's regions, and focuses on the museum's involvement in the professional training and development of museum staff and special exhibitions and projects in the regions. Top Hermitage Merchandising and International Marketing Anatoly Soldatenko The public has always taken great interest in merchandise inspired by the Hermitage’s collections. The design and production of saleable items inspired by the Hermitage collections, is an important part of the museum’s marketing strategy and is also a means by which the museum generates funding for its on-going development. Over the years, the Hermitage has entered into various arrangements with several organisations. One of the more successful of these is with the Metropolitan Museum of Art (New York). Under the terms of this agreement, the Metropolitan was licensed to manufacture reproductions of objects and paintings from the Hermitage collections. The strategy adopted by the Hermitage Museum, and described in this article, have already yielded surprising benefits and is a confirmation of the museum’s creative approach to merchandising. Top The Hermitage in the Context of the City Mikhail Piotrovsky As St. Petersburg celebrates the 300th anniversary of its foundation this year, the significance of the Hermitage as not only the cultural heart of the city but also as its physical heart, seems all the more poignant. Today, St. Petersburg’s urban planning has repositioned the historic city at the core of its development. The Hermitage sits at the epicentre of this World Heritage Site and it continues to develop facilities throughout the city. The project for the rehabilitation of the historic city centre greatly contributed to fostering the visible signs of an applied urban planning. As such, the museum’s destiny is forever locked with that of the city of St. Petersburg. Each is defined by the other. Much has been accomplished over the past few years, but many challenges remain and many hard choices lay ahead. Top
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