It was a great treat to visit the Morozov Collection at the Louis Vuitton Foundation in Paris. The show, presented for the first time outside Russia, includes some 300 impressionist, post-impressionist and expressionist masterpieces amassed at the turn of the 20th century by the vastly wealthy Russian brothers Mikhail and Ivan Morozov, before being swept away by the Russian Revolution.
The brothers, born in 1870 and 1871 respectively, were the great-grandsons of a serf. With five rubles from his wife’s dowry, their ancestor set up a ribbon workshop, which he developed into a factory, and bought his family’s freedom. In a few generations, the family became wealthy, philanthropic industrialists.
Besides being fabulously wealthy, the brothers had very avant garde tastes, and built up the stunning collection which includes works by Russian as well as French artists. At the turn of the last century, the upper social echelon in Russia spoke French and the Morozov brothers created their collection on the advice of Parisian dealers such as Paul Durand-Ruel and Ambroise Vollard. Mikhail, who died prematurely from a heart attack at the age of 33, discovered Bonnard’s work in Paris and acquired the first paintings by Gauguin to enter Russia.
His brother Ivan took over the family business, abandoning his dreams of becoming a painter, and kept adding more French impressionists, post-impressionists and Fauvists to the collection, his favourite artist being Cézanne. In 1912, he commissioned Bonnard to decorate the staircase of his opulent Moscow residence, resulting in wonderfully luminous panels.
At the same time, he became close to Russian artists of his generation who advised him on his acquisitions and contributed their own works to the collection. I discovered with great pleasure and admiration the lovely portraits by Valentin Sérov, a painter I did not know.
In a twist worthy of fiction, it all ended with the Communist revolution of 1917 in Russia. Ivan was reduced to being ‘assistant curator’ of his own collection and his home became a state museum.
In 1918, the Morozov manufacturing company, whose real estate value was estimated at 26 million rubles, was taken over by the state and later that year the collection of artworks was nationalised by official decree.
In the summer of 1919, Ivan and his family secretly crossed the border to Finland and then emigrated to Switzerland. He died in Germany at the age of 49.
When the Nazis invaded Russia in 1941, the paintings were sent to be hidden in the Ural Mountains, where they stayed fairly well-preserved by temperatures that often fell to -40 degrees.
It wasn’t until 1950s that the Soviet government decided to redistribute them among the Hermitage, Tretyakov and Pushkin museums.
One of the most unexpected paintings in the exhibition is Vincent Van Gogh’s The Prison Courtyard (1890), which he made while in the Saint-Rémy-de-Provence psychiatric hospital. The artist’s brother Theo had sent him a photograph of Gustave Doré’s drawing of a London prison’s courtyard which Van Gogh reinterpreted into a primarily greenish blue-hued painting, the conditions of the prisoners echoing his own
And finally, two more portraits, a self portrait by Alexander Golovine,
and a portrait of Ivan Morozov by Valentin Serov, which features one of his paintings by Matisse in the background.
Photos from Google
Letters from Athens 
