Three centuries: the history of the University in person

On 9 February 2024, as part of the University’s 300th anniversary celebrations, the Twelve Collegia building unveiled a portrait gallery of the rectors who have led the University throughout its three-century history. The gallery features the leaders of St Petersburg Imperial University; Petrograd University; Leningrad State University; and St Petersburg University. 

Dmitry Chernyshenko, Deputy Chairman of the Government of the Russian Federation, Chairman of the Organising Committee for the celebration of St Petersburg University’s 300th anniversary, Member of the St Petersburg University Board of Trustees, noted that the gallery features 66 portraits of all the rectors of St Petersburg University since its foundation. "Under their leadership, the University has achieved pre-eminence, including: nine Nobel Prize laureates; six heads of government; and two presidents of modern Russia. Each of them has made significant, notable, and even globally recognised contributions to our country’s history. I would say, this is truly a remarkable and influential university, and its graduates are sought after in every sector of Russia’s economy and social sphere." 

Nikolay Kropachev, Rector of St Petersburg University, Corresponding Member of the Russian Academy of Sciences, emphasised: "The portrait gallery honours every rector of St Petersburg University since the 18th century. While some of them led the University for many years and others for only a brief period, each dedicated their efforts to strengthening and advancing the University. Their leadership has propelled St Petersburg University to become a top centre of science and education, renowned not just within Russia, but worldwide. I am confident that the University will remain a steadfast pillar of support for the country, with the scientific achievements and discoveries of its academic and research staff driving future successes." 

Special words of gratitude were expressed to Andrey Kostin, Member of the St Petersburg University Board of Trustees, President and Chairman of VTB Bank Management Board, and to VTB Bank, a long-standing partner of St Petersburg University. The Rectors’ Portrait Gallery project was made possible through its support. 

In his address, Rector Nikolay Kropachev extended his gratitude to the team of artists led by Tatiana Laska, Associate Professor in the Department of Fine Arts at St Petersburg University, for their instrumental role in creating the Rector’s Portrait Gallery. 

We spoke with the leader of the artistic team, who oversaw the preparation of the original images; developed the artistic techniques; painted the portraits; and designed the layout for displaying the artwork within the interior space. 

Ms Laska, could you please tell us how the project started? 

The concept of a portrait gallery honouring St Petersburg University’s rectors emerged as part of St Petersburg University’s 300th anniversary celebrations. The primary goal of the project is to showcase Russia’s oldest university as a centre of scholarship with a three-century history, shaped by remarkable individuals who significantly contributed to the strengthening of Russian statehood and the advancement of science, education, and culture. 

Thomas Carlyle, historian and founder of London’s National Portrait Gallery, wrote: "Often have I found a Portrait superior in real instruction to half-a-dozen written 'Biographies', as Biographies are written; or rather, let me say, I have found that the Portrait was a small lighted candle by which the Biographies could for the first time be read, and some human interpretation be made of them." 

The concept of the Rectors’ Portrait Gallery was conceived two years ago, when my colleagues and I together with the University’s leadership were discussing visual arts projects for St Petersburg University’s 300th anniversary. Our initiatives included: medallions honouring Nobel Prize winners affiliated with St Petersburg University; a "Lost Book" monument; a mosaic memorial sign on the Rector’s wing; a jubilee album about the Mineralogical Museum from the series ‘Collections of St Petersburg University’; a commemorative medal; and others. In addition, a project to enhance the territory with a fountain in the courtyard of the University building at 13B Universitetskaya Embankment is being implemented at the moment. 

We all have had the unique privilege of not only witnessing but also participating in a momentous event: the 300th anniversary of St Petersburg University, Russia’s oldest university. Since its inception up to the present day, St Petersburg University has been attracting exceptional individuals, shaping significant events, and fostering groundbreaking discoveries of the time. The projects we are currently engaged in are incredibly important, not merely as historical records, but as a means to carry on and advance the University’s traditions in pursuing new heights in science and art for future generations. 

Why a portrait gallery? 

The choice of a portrait gallery for the exposition is not coincidental; it is a time-honoured format in both Russian and European art. Portrait galleries have historically been part of imperial museums and the palace collections of tsars and grand dukes. These collections typically featured official and ceremonial portraits, traditionally commemorating prominent individuals and significant historical events. 

One example of a state-owned national portrait gallery is the Romanov Gallery in the Winter Palace. It was created under Catherine the Great as a collection of portraits of all the rulers of the Romanov dynasty. 

Another exceptional example of a portrait gallery is the Military Gallery in the Winter Palace, inaugurated on 25 December 1826. This gallery features portraits of the heroes of the Patriotic War of 1812, painted by George Dawe and his assistants using live models or copied from other artists’ works. This gallery is an example of a cohesive visual narrative, representing a specific moment in time and holding immense historical significance. 

Russian art collector Pavel Tretyakov, as part of his museum, established a portrait gallery featuring the "rulers of the minds" from his era — writers, poets, and composers from the 1860s to the 1890s. Similarly, Vasily Dashkov, Director of the Moscow Public and Rumyantsev Museums, created "The Collection of Portraits of Russian Public Figures", comprising over 300 portraits in a uniform style and format. Vasily Dashkov commissioned these portraits of monarchs, military figures, politicians, church leaders, and intellectuals from renowned painters and copyists of the second half of the 19th century. 

Once the idea was approved, how did the work commence? 

We did our best to stay as close as possible to primary sources. In creating the portraits, we consulted existing documentary materials that we had uncovered. At the first stage, we conducted extensive scientific research, gathered and prepared source images. About a year and a half ago, we began scouring archives, libraries, museums, University albums, printed publications, and electronic resources for anything related to the University’s leaders. I must admit, I had not anticipated the sheer volume and depth of information about the University and its leaders that we were able to unearth.

Throughout the University’s long history, its rectors have been distinguished scholars and public figures, each making significant contributions to the strengthening of Russian statehood and the advancement of science, education, and culture. Among them are: Gerhard Friedrich Müller, Head of the academic team of the second Kamchatka expedition; Mikhail Lomonosov, polymath, scholar and founder of Moscow University; Emil Lenz, one of the founders of electrical engineering; Andrey Beketov, initiator of the St Petersburg Higher Women’s Courses (Bestuzhev Courses) and founder of the University Botanical Garden; and other prominent figures of different epochs.

Both artists and viewers experience the world visually. When we first displayed the sourced images of the rectors in our studio, we were struck by their profound impact. Within these images, three centuries of the University’s history are encapsulated, etched into these faces. They evoke the ideals of the Renaissance, celebrating the grandeur and beauty of humanity. The portraits captivate with their gazes, facial expressions, and the turn of the shoulders. Our aim was to convey not just the portrait likeness, but also the spirit and magnitude of these individuals. 

Furthermore, the project yielded genuine artistic discoveries. After all, before this gallery opening, painted portraits of many rectors simply did not exist. For instance, the sole image of Anton Degurov (1825 1835) that we had been able to uncover was a lithograph published in 1830. 

What are the specifics of portrait painting? 

Our task was not merely to find an image of each leader, but to uncover as many unique portraits from various angles as possible. After all, a portrait offers insights into an individual’s character and personal qualities. Moreover, the portrait artist needs to decide at what age to depict the subject and how to capture their characteristic emotional state. 

The ceremonial portrait is a genre that traditionally incorporates elements of Romantic art, often romanticising the subject. Over the past three centuries, the style of portraiture and its perception have evolved significantly. Eighteenth-century official portraits feature embroidered garments, orders of merit, and intricate composition of the outfit. The nineteenth century introduced a more restrained style, while the twentieth and twenty-first centuries brought their own distinctive characteristics. Our challenge was to harmonise these three centuries and paint all the portraits in a consistent style. This was, indeed, a challenge, as we could not depict eighteenth-century individuals in their contemporary style while using a different approach for those from the twentieth century. The key was to create a unified artwork, integrating these diverse elements into a cohesive gallery collection. 

Additionally, we had to consider the historical context and traditions of the development of painting in Russia. Today, we can paint portraits, taking into account the evolution of art and the accomplishments of the Russian portrait school. As a result, the portraits were executed in a consistent style, in a realistic academic manner. This approach aligns with the status of the University and the existing historical architectural and artistic environment. 

There was a preparation phase and a portrait painting phase. What did the artists have at their disposal before starting work — at a minimum and at a maximum? 

If we are talking about the 18th century, source materials were often limited to drawings or engravings, with painted portraits being quite rare. Sometimes several images were available, but often, there was just a single engraving from which to create a painted portrait, potentially requiring a change in perspective. In time periods after the advent of photography, there were much more source materials available. But there were still some challenges. For instance, finding high-quality images of two pre-war rectors, Boris Berezin (1937-1938) and Yury Nikich (1930-1932), proved particularly difficult. 

In place of the portraits of 13 rectors whose authentic images have not survived, decorative canvases were specially painted. This is also a technique traditional in historical portrait galleries. This approach ensures there are no empty spaces, allowing viewers to appreciate the continuity of generations and the course of time, and to see the evolution of the University over three centuries. It underscores the depth and significance of St Petersburg University’s history. 

What is the essential difference between a gallery of portraits and an individual portrait?

Creating a gallery of portraits is a monumental project. A complex work united by a common vision and a cohesive composition within a specific interior. We explored several placement options for the gallery within the Twelve Collegia building: on the first floor, the second floor, and in between. The format of the portraits, their display layout, and the overall gallery arrangement depended on the chosen location. Additionally, we had to consider the historical significance of the building, as it is a protected cultural heritage site. 

The Rectors’ Portrait Gallery is situated on the grand staircase of the Twelve Collegia building, adjacent to the Assembly Hall where the Academic Council of St Petersburg University and other ceremonial events convene. The gallery completes the main staircase and serves as a fitting visual accent within the interior. The artistic exposition comprises 66 portraits of leaders who have guided St Petersburg University over three centuries since its inception. Through these portraits, viewers can trace nearly the entire 300-year history of the University, intrinsically linked with the history of Russia. 

The gallery is arranged across three walls, creating a unified composition. The left wall features rectors from the 18th century, the right wall displays those from the 19th and 20th centuries, and the centre wall is dedicated to rectors from the 1940s to the present day. 

The portraits are arranged on the walls in a traditional tiered, almost trellised pattern, with minimal gaps, and in chronological order from left to right. The size of the canvases, the spacing between them, and the width of the frames were carefully chosen to complement the historical interior and optimise visual perception for the viewer. 

Each portrait frame features a metal nameplate, designed in a style consistent with the portraits themselves. Additionally, summary tables provide information about each figure, including a QR code that directs viewers to a website with detailed information about the University’s leaders. 

The composition of each portrait and the gallery as a whole is crucial. A one-size-fits-all approach simply would not do justice to the subjects. For each portrait, we carefully considered the scale of the image, the pose, the tilt of the head, the gaze direction, and other nuances such as background choice and lighting. Compositional and colour solutions were meticulously planned to bring vibrancy to the portraits, avoid monotony, and imbue the gallery with both historical and artistic value. The portrait gallery invites viewers to take their time and engage with the works. 

I believe that any student, even those who have just entered the University, will gain a new perspective on their alma mater and their own place in history upon discovering the University’s history, learning about the biographies of the rectors, and becoming acquainted with their achievements. 

Overall, this project is invaluable for both the younger generation of students and the University’s administrative and academic staff. It fosters a deeper understanding of the history of this renowned educational and research institution, sheds light on the role of individuals in the development of the city and the Russian state, and helps to assess the scope and stages of the University’s journey. Ultimately, it aids in finding one’s place in life and carrying on the traditions.

Iuliia Smirnova, Information Producer for the St Petersburg TV channel, descendant in the sixth generation of the first Rector of St Petersburg University, Gerhard Friedrich Müller. 

The inauguration of the St Petersburg University Rectors’ Portrait Gallery marks a significant milestone in the University’s history. This succession of portraits unveils the faces of those who established, developed, and advanced Russia’s first institution of higher education. For many of these individuals, St Petersburg University was their life’s work. 

In the Rectors’ Portrait Gallery, displayed in the centre of the top tier, is a striking portrait of Gerhard Friedrich Müller. With a thoughtful, serious gaze and an air of stately restraint and deeply hidden emotions — I think he was like that. The artist has truly captured the essence of this remarkable man who arrived in St Petersburg in 1725 in response to Peter the Great’s decree "On the Invitation of Scholars to the Russian Academy of Sciences". Fate decreed that Gerhard Friedrich Müller would be a pioneer in many fields, notably becoming Russia’s first journalist and the first editor of its first newspaper, "Sankt-Peterburgskie Vedomosti". Müller was a participant in the first research expedition to Siberia from 1733 to 1746. Upon his return, he published his first research work, "Description of Siberian Peoples". He was the first to develop and publish a manual emphasising the importance of historical documents and archaeological artefacts, outlining principles for working with them. By decree of Catherine the Great, Gerhard Friedrich Müller was appointed the first historiographer of Russia. In 1747, he became the first Rector of St Petersburg University, Russia’s first institution of higher education. His life was marked by both fulfilment and challenges; yet, he devoted all his energy and attention to each task, striving for excellence in everything he undertook. 

We extend our gratitude to the historians who unearthed information about the leaders of this 300-year-old university and to the artists who brought these portraits to life! The rectors of St Petersburg University are distinguished scholars and public figures of Russia, esteemed citizens of the nation. Today’s students — tomorrow’s leading professionals, scholars, academicians, and patriots of Russia — should remember and look up to them!