Translation. Region: Russian Federation –
Source: Mosfilm Film Concern – An important disclaimer is at the bottom of this article.
February 12, 2026
Press service
27
A quarter of a century later, a plaster cast of the marble statue of Empress Catherine II, created by renowned muralist Alexander Opekushin, has been given a new lease on life. Sergei Nikolaev, a sculptor at the Mosfilm House of Costume and Props, transformed the damaged fragment, which had been gathering dust in warehouses for decades, into a fully functional exhibition bust. The restoration not only revived the cast but also sparked interest in the forgotten craftsmanship of Russian classicists—a style that is now enjoying renewed appreciation in the world of great art.
Mosfilm's workshops house many legendary objects, whose stories are sometimes more captivating than the script of a historical blockbuster. One such story is the bust of Catherine the Great, which until recently was in a deplorable state, but is now ready for filming and exhibition.
HISTORY OF THE EXHIBIT
The exhibit's journey to the film studio was long and winding. For a long time, the original three-meter marble statue of Catherine the Great, commissioned by the Moscow City Duma in the late 19th century, was kept in the vaults of one of the capital's museums. The artist behind the "Catherine the Great" composition was Alexander Mikhailovich Opekushin, an academician, a "star" of his time, and the creator of the Pushkin monument on Tverskoy Boulevard. For his work, he chose superb Carrara marble—a noble, grayish hue, with the finest sparkles that make the stone seem alive even centuries later.
A.M. Opekushin's sculpture "Catherine the Great" at the Tsaritsyno Museum-Reserve
After the October Revolution of 1917, the sculpture was removed to the State Museum of Fine Arts. It was repeatedly threatened with destruction. It was saved by the director of the Pushkin State Museum of Fine Arts, sculptor S. D. Merkurov, who "hid" it with his friends in Armenia. At the turn of the 2000s, artisans from the Vuchetich All-Union Art and Production Combine removed the mold from the sculpture and cast a copy. But this cast's life was difficult from the very beginning: it lacked a coherent composition and was stored for many years as an unaccounted element. When the Vuchetich Combine ceased operations due to the impossibility of maintaining its vast space, a series of arduous relocations began. The collection was transported from place to place, and this plaster "shard" migrated along with other exhibits, gradually falling into disrepair. Several years ago the exhibit was transferred to Mosfilm.
RESTORATION
"The bust was just like a splinter, cut off at an angle," recalls sculptor Sergei Nikolaev, showing photographs from his archive. "It was completely filthy… There were chips, scuffs, and dirt. Imagine, plaster—it's fragile!"
Bust before restoration
Bust before restoration
The work began with a diagnostic. To determine how to complete the fragment, sculptor Sergei Nikolaev traveled to the Tsaritsyno Museum-Reserve, where Opekushin's original statue now resides. He specifically wanted to photograph the details—the "fur," the texture, the logic of the clothing's cut. The sculptor notes that the quality of the original is astounding: despite the matte, unpolished surface typical of gray marble, the detailing on the figure is executed at the highest academic level.
Returning to the workshop, the restorer began to precisely recreate the missing parts of the bust. He constructed special frames and anchors for the missing fragments, onto which he glued the logically completed elements of the bust. Particular attention was paid to the finishing coat. The surface was treated with an alcohol-based varnish based on the natural resin of Indian trees. This technology, derived from old restoration techniques, not only protects the plaster but also creates an ideal primer for subsequent tinting. On top, Nikolaev applied oil paints to create the subtlest depressions and highlights, allowing the relief to "emerge" and create a sense of volume.
"Of course, this is a very pleasing piece," says Sergey. "It's clearly visible: from just fragments and shards, the sculpture has become a true exhibition piece! Moreover, it's a work of high craftsmanship."
The sculptor laments the long-undervalued legacy of Opekushin, Volnukhin, and other Russian classicists. The Soviet period, with its expressiveness and grotesqueness, relegated psychologism and detailed elaboration of form to the background. But today, the situation is changing. A new generation of artists and viewers is once again learning to appreciate the "quiet" perfection of classicism. And, as Sergei Nikolaev admits, replicating this level is extremely difficult today. Even professional academic sculptors cannot always achieve the subtlety that 19th-century masters imbued in their works.
Currently, a plaster copy of a fragment of Opekushin's work adorns the hall of Mosfilm's main building. Also on display on the ground floor is the composition "Wrestlers"—a plaster cast of a marble sculpture (2nd century BC)—and "Aphrodite (Venus) de Milo," also a plaster cast of an original sculpture by Agesander (2nd century BC).
Sculptor Sergei Nikolaev and his works
CURRENT WORK AND PLANS
Restoring the sculpture of Catherine II is only part of a larger plan to restore props. In the last year alone, Sergey Nikolaev has restored 24 pieces: busts, vases, and decorative elements. Furthermore, a significant portion of his work involves providing prompt, first-aid care for props returning from filming. Colleagues acknowledge that not all renters handle plaster with care: despite instructions, there are always random people on set who, through carelessness, could damage fragile compositions. Therefore, the sculptor often personally handles particularly sensitive pieces.
Plans for this year include an equally exciting project. A bust of Nicholas I was discovered in the DKR collection. The piece was thought to be painted plaster, but upon closer inspection, it turned out to be old bronze, heavily painted over multiple times. This summer, Sergey plans to remove centuries-old layers of paint from the original, make a mold, and cast it. One example—a plaster, marbled version—will be retained for filming. Attempts will be made to restore the original to its original appearance: patination may be commissioned to restore the bronze's noble appearance. Concurrently, curators will attempt to establish its authorship: perhaps the cleaning process will reveal traces of a workshop or the detailing typical of famous 19th-century sculptors.
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