![]() Hillwood opened as a museum in 1977 and has new exhibitions every year, with a current show on modern interpretation of Post’s hosting habits. Post could theoretically set a table for up to 616 guests with her 18,000 Russian and French pieces./ Post could theoretically set a table for up to 616 guests with her 18,000 Russian and French pieces, according to the museum. The sprawling home features a French-style living room, an English-style library and a collection of Russian tableware, most of which were used in Post’s daily life and at her lavish parties. Hillwood’s museum-style rooms and furnishings doubled as the luxurious setting for her life as a top Washington hostess. “She also lived with her objects, which is shown in the current exhibit - that you can use your collection, not only display it.” ![]() The collection at Hillwood shows “what someone like Marjorie Post did with her money - building a collection to be enjoyed by the public,” said Chief Curator Wilfried Zeisler. (Post also had a winter home built in Florida in the 1920s today Mar-a-Lago is better known as a resort and golf club owned by President Trump.) ![]() Post purchased the Hillwood estate in 1955 after divorcing Davies, and curated the home as a spring and fall residence and future museum for her vast collection. About 20 percent of her collection was obtained in that country - finding pieces both in exquisite condition, and neglected, tarnished items hidden in back rooms - while the rest was collected across her lifetime. auctions and third-party sources and collectors. Please note: a limited selection of works from the Riabov Collection are currently on view as the gallery undergoes renovations.The nuptial crown of Empress Alexandra, worn at her wedding to Nicholas II in 1894.Īppreciating how the Russian style was heavily influenced by Europe in the 18th century, Post soon began purchasing in the Soviet Union, as well as U.S. Large archival holdings support scholarship in the collection. A generous gift by Claude and Nina Gruen extended the Zimmerli’s Russian art holdings to the post-Soviet era, with later works by nonconformist artists as well as by new generations active in the 1990s and 2000s. ![]() Over 20,000 works by more than 1,000 artists reveal a culture that defied the strict, state-imposed conventions of Socialist Realism. This encyclopedic array of nonconformist art extends from about 1956 to 1991, from the beginning of Khrushchev’s cultural “thaw” to the dissolution of the Soviet Union. In addition to art made in Russia, the collection includes nonconformist art produced in the ethnically-diverse Soviet republics of Armenia, Azerbaijan, Belarus, Estonia, Georgia, Kazakhstan, Kyrgyzstan, Latvia, Lithuania, Turkmenistan, Ukraine, and Uzbekistan. The Zimmerli holds the largest collection in the world of Soviet nonconformist art, thanks to a remarkable 1991 donation from Norton and Nancy Dodge. The museum’s George Riabov Collection of Russian Art showcases Russia’s diverse artistic heritage, and includes examples of art from icons to paintings by the Peredvizhniki (Wanderers), Ballet Russes set and costume design, and works by the Avant-Garde. The Zimmerli’s holdings of Russian and Soviet art are unmatched in the United States, providing a unique overview from the fourteenth century to the present day.
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