In the early 40-ies of the XIX century in Kiev at the corner of the Alekseevskaya Street (now Tereshchenkovskaya) and Bibikovsky Boulevard (now Shevchenko Boulevard), the general from the cavalry Alferov built a two-story house resembling the letter "G". Nearby (down the boulevard) widow Stepanov's physician in 1862-1863 also built a two-story house. In 1871, Pavel Demidov, Prince of San Donato, was elected head of Kiev city head, who bought both houses, one of which occupied the city council's services.
After a slight adjustment, the houses were joined only by completion of the second floor. In 1875 the house was bought by the sugar-industrialist and philanthropist Nikolai Artemyevich Tereshchenko (1819-1903), who had six children: Varvara, Ivan, Alexander, Maria, Olga, Euphrosyne.
According to the project of architect Peter Fedorov and with the participation of the architect Ronald M. Tustanovsky. Tereshchenko rebuilt the building. The house has turned into a magnificent palace, designed in the style of the Italian Renaissance. Instead of going to the courtyard, there was a grand entrance hall with luxurious three-march stairs of white granite and four columns of dark green granite, supporting the ceiling between the first and second flights. The lobby is decorated with white and gray marble, mirrors, bronze floor lamps and a chandelier, and a plafond over the staircase is painted with picturesque panels based on ancient Russian epic stories. The author of them was the famous artist Wilhelm Kotarbinsky, who took part in the paintings of the Vladimir Cathedral in Kiev.
The house became a beautiful palace, in which there were 47 rooms with 40 fireplaces and stoves. The second floor became the suite of ceremonial rooms, the walls of which were painted with alfraic ornaments or covered with the same cloth, which is covered with furniture. The stoves and fireplaces were decorated with appropriate murals, and the ceilings - rich stucco molding or paintings. Parquet floor with skillfully laid out precious woods completed the refinement of the palace.
In the spacious halls of the estate Nikolay Tereshchenko placed an art collection, which included paintings by I. Aivazovsky, I. Shishkin, I. Repin, V. Vereshchagin. After the revolution of 1917 the Tereshchenko family emigrated abroad, the building was expropriated and in 1924 it was transferred to the All-Ukrainian Photo-Cinema Administration (VUFKU). Since 1930, there was a film institute here.
After the war, when the question arose about the location of the museum T. Shevchenko, this particular architectural monument was chosen. Not the least role was played by the location of the house near the monument of T. Shevchenko and Kiev University, which even then bore the name of the great Kobzar. With the assistance of the Deputy Chairman of the then Government of Ukraine, the poet Nikolai Bazhana, as well as Pavel Tychyna and other figures of Ukrainian culture, in 1947 the building was transferred to the State Literary and Art Museum of T. Shevchenko. It was here, in the building where Taras Shevchenko could visit, April 24, 1949 the State Museum of Taras Shevchenko was opened.
After the scientific restoration of 1985-1989. The buildings are returned to their original appearance with all the inherent architectural features.
After a slight adjustment, the houses were joined only by completion of the second floor. In 1875 the house was bought by the sugar-industrialist and philanthropist Nikolai Artemyevich Tereshchenko (1819-1903), who had six children: Varvara, Ivan, Alexander, Maria, Olga, Euphrosyne.
According to the project of architect Peter Fedorov and with the participation of the architect Ronald M. Tustanovsky. Tereshchenko rebuilt the building. The house has turned into a magnificent palace, designed in the style of the Italian Renaissance. Instead of going to the courtyard, there was a grand entrance hall with luxurious three-march stairs of white granite and four columns of dark green granite, supporting the ceiling between the first and second flights. The lobby is decorated with white and gray marble, mirrors, bronze floor lamps and a chandelier, and a plafond over the staircase is painted with picturesque panels based on ancient Russian epic stories. The author of them was the famous artist Wilhelm Kotarbinsky, who took part in the paintings of the Vladimir Cathedral in Kiev.
The house became a beautiful palace, in which there were 47 rooms with 40 fireplaces and stoves. The second floor became the suite of ceremonial rooms, the walls of which were painted with alfraic ornaments or covered with the same cloth, which is covered with furniture. The stoves and fireplaces were decorated with appropriate murals, and the ceilings - rich stucco molding or paintings. Parquet floor with skillfully laid out precious woods completed the refinement of the palace.
In the spacious halls of the estate Nikolay Tereshchenko placed an art collection, which included paintings by I. Aivazovsky, I. Shishkin, I. Repin, V. Vereshchagin. After the revolution of 1917 the Tereshchenko family emigrated abroad, the building was expropriated and in 1924 it was transferred to the All-Ukrainian Photo-Cinema Administration (VUFKU). Since 1930, there was a film institute here.
After the war, when the question arose about the location of the museum T. Shevchenko, this particular architectural monument was chosen. Not the least role was played by the location of the house near the monument of T. Shevchenko and Kiev University, which even then bore the name of the great Kobzar. With the assistance of the Deputy Chairman of the then Government of Ukraine, the poet Nikolai Bazhana, as well as Pavel Tychyna and other figures of Ukrainian culture, in 1947 the building was transferred to the State Literary and Art Museum of T. Shevchenko. It was here, in the building where Taras Shevchenko could visit, April 24, 1949 the State Museum of Taras Shevchenko was opened.
After the scientific restoration of 1985-1989. The buildings are returned to their original appearance with all the inherent architectural features.
fonte: @edisonmariotti #edisonmariotti
Cultura não é o que entra pelos olhos e ouvidos,
mas o que modifica o jeito de olhar e ouvir.
A cultura e o amor devem estar juntos.
Vamos compartilhar.
Culture is not what enters the eyes and ears,
but what modifies the way of looking and hearing.
--ua
Дворец Терещенко.
В начале 40-х годов XIX века в Киеве на углу улицы Алексеевской (ныне Терещенковская) и Бибиковского бульвара (теперь бульвар Т. Шевченко) генерал от кавалерии Алферов построил двухэтажный дом, напоминавший букву «Г». Рядом (внизу по бульвару) вдова врача Степанова в 1862-1863 годах тоже построила двухэтажный дом. В 1871 году киевским городским головой был избран Павел Демидов князь Сан-Донато, который приобрел оба дома, один из которых заняли службы городской управы.
После незначительной перестройки дома соединили только достройкой второго этажа. В 1875 году дом купил сахаропромышленник и меценат Николай Артемьевич Терещенко (1819-1903), у которого было шестеро детей: Варвара, Иван, Александр, Мария, Ольга, Ефросиния.
По проекту архитектора Петра Федорова и при участии архитектора Рональда Тустановского М.А. Терещенко перестроил здание. Дом превратился в великолепный дворец, выдержанный в стиле итальянского Ренессанса. Вместо проезда во двор появился парадный вестибюль с роскошными трехмаршевыми лестницами из белого гранита и четырьмя колоннами из темно-зеленого гранита, поддерживающими потолок между первым и вторым маршами. Вестибюль украшен белым и серым мрамором, зеркалами, бронзовыми торшерами и люстрой, а плафон над лестничной частью расписано живописными панно по мотивам древнерусских былин. Автором их был известный художник Вильгельм Котарбинський, который принимал участие в росписях Владимирского собора в Киеве.
Дом стал прекрасным дворцом, в котором было 47 комнат с 40 каминами и печами. Второй этаж стал анфиладой парадных залов, стены которых были расписаны альфрейными орнаментами или обиты такой же тканью, которой обтянута мебель. Печи и камины были украшены соответствующими росписями, а потолки - богатой лепниной или росписями. Паркетный пол с искусно выложенных ценных пород дерева завершал изысканность дворца.
В просторных залах имения Николай Терещенко разместил художественную коллекцию, которая включала картины И. Айвазовского, И. Шишкина, И. Репина, В. Верещагина. После революции 1917 г. семья Терещенко эмигрировала за границу, здание было экспроприировано и в 1924 году передано Всеукраинскому фотокиноуправлению (ВУФКУ). С 1930 года здесь находился киноинститут.
После войны, когда встал вопрос о размещении музея Т. Шевченко, был выбран именно этот архитектурный памятник. Не последнюю роль сыграло и расположение дома возле памятника Т. Шевченко и Киевского университета, который уже тогда носил имя великого Кобзаря. При содействии заместителя Председателя тогдашнего правительства Украины поэта Николая Бажана, а также Павла Тычины и других деятелей украинской культуры в 1947 году здание было передано Государственному литературно-художественному музею Т. Г. Шевченко. Именно здесь, в здании, где мог бывать Тарас Шевченко, 24 апреля 1949 открыт Государственный музей Тараса Шевченко.
После научной реставрации 1985-1989 гг. здания возвращены первоначальный вид со всеми присущими ей архитектурными особенностями.
--br via tradutor do google
Palácio de Tereshchenko. Kiev
No início dos 40 anos do século XIX, em Kiev, na esquina da rua Alekseevskaya (agora Tereshchenkovskaya) e Bibikovsky Boulevard (agora Shevchenko Boulevard), o general da cavalaria Alferov construiu uma casa de dois andares parecida com a letra "G" . Próximo (abaixo do boulevard) o médico da viúva Stepanov em 1862-1863 também construiu uma casa de dois andares. Em 1871, Pavel Demidov, Príncipe de San Donato, foi eleito chefe do chefe da cidade de Kiev, que comprou as duas casas, uma das quais ocupou os serviços do conselho da cidade.
Após um ligeiro ajuste, as casas foram juntas apenas pela conclusão do segundo andar. Em 1875, a casa foi comprada pelo industrial-açucarista e filantropo Nikolai Artemyevich Tereshchenko (1819-1903), que tinha seis filhos: Varvara, Ivan, Alexander, Maria, Olga, Euphrosyne.
De acordo com o projeto do arquiteto Peter Fedorov e com a participação do arquiteto Ronald M. Tustanovsky. Tereshchenko reconstruiu o edifício. A casa se transformou em um magnífico palácio, projetado no estilo do Renascimento italiano. Em vez de ir ao pátio, havia um grande hall de entrada com luxuosas escadarias de mármore branco de três marchas e quatro colunas de granito verde escuro, apoiando o teto entre os vôos primeiro e segundo. O lobby é decorado com mármore branco e cinza, espelhos, lâmpadas de chão de bronze e um candelabro, e uma plafond sobre a escada é pintada com painéis pitorescos com base em antigas histórias épicas russas. O autor deles foi o famoso artista Wilhelm Kotarbinsky, que participou das pinturas da Catedral de Vladimir em Kiev.
A casa tornou-se um belo palácio, onde havia 47 quartos com 40 lareiras e fogões. O segundo andar tornou-se o conjunto de salas cerimoniais, cujas paredes foram pintadas com ornamentos alfáricos ou cobertas com o mesmo tecido, coberto de móveis. Os fogões e lareiras foram decorados com murais apropriados, e os tectos - molduras de estuque ou pinturas ricas. Parquet com madeiras preciosas habilmente dispostas completou o refinamento do palácio.
Nos salões espaçosos da propriedade, Nikolay Tereshchenko colocou uma coleção de arte, que incluiu pinturas de I. Aivazovsky, I. Shishkin, I. Repin, V. Vereshchagin. Após a revolução de 1917, a família Tereshchenko emigrou para o exterior, o prédio foi expropriado e, em 1924, foi transferido para a Administração do Photo-Cinema (VUFKU). Desde 1930, havia um instituto de cinema aqui.
Após a guerra, quando surgiu a questão da localização do museu T. Shevchenko, este monumento arquitetônico particular foi escolhido. Não foi o menor papel desempenhado pela localização da casa perto do monumento de T. Shevchenko e da Universidade de Kiev, que até trazia o nome do grande Kobzar. Com a assistência do Vice-Presidente do então Governo da Ucrânia, o poeta Nikolai Bazhana, bem como Pavel Tychyna e outras figuras da cultura ucraniana, em 1947, o edifício foi transferido para o Museu Estatal de Literatura e Arte de T. Shevchenko. Foi aqui, no prédio onde poderia visitar Taras Shevchenko, 24 de abril de 1949, o Museu do Estado de Taras Shevchenko foi aberto.
Após a restauração científica de 1985-1989. Os edifícios são devolvidos à sua aparência original com todas as características arquitetônicas inerentes.
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