Decorative and applied art of the 18th century. Decorative and applied art of the 18th century. Music and theater in the 18th century

04.03.2020

Already in the art of the 17th century, especially its second half, trends were observed that prepared the ground for the rapid development of secular realistic art of the 18th century. Iconographic convention gives way to life-like reproduction of people, landscapes and historical events. The traditional floral ornament, interpreted rather conventionally, is replaced by the reproduction of realistically rendered flowers, fruits, leaves, garlands and shells. On works of applied art, painting on religious subjects takes on an almost secular character, sometimes emphatically decorative and theatrical. The shapes of objects become magnificent, solemn, with a wide variety of decorations. Many ancient types of household items are disappearing, such as cups with flat shelves and handles, and silver coins. Traditional ancient ladles are turning into purely decorative reward items that have lost their practical meaning. New types of utensils appeared: cups decorated with baroque ornaments, everyday scenes and secular inscriptions, cups in the shape of an eagle, cups made of horn on stands and many others. Church utensils and the household items of the clergy were now no different in style from purely secular things, and sometimes even surpassed them in greater pomp and material value.

After the secularization of the lands in 1764, the Trinity-Sergius Lavra lost its possessions, but its wealth by this time was so great that this reform did not affect the scope of construction work in the monastery, nor the rich decoration of church interiors, personal chambers of the governor and metropolitan who lived in the monastery, as well as from the wealth of its sacristy and treasury. The monastery continued to receive contributions from empresses and high court dignitaries, the Moscow Metropolitan and other clergy. As a rule, these were works made by the best masters of Moscow, St. Petersburg, Veliky Ustyug, Rostov-Yaroslavl and other centers of applied art. Therefore, the Lavra collection of applied art of the 18th century. represents the most diverse types of jewelry techniques of this time.

The art of silver coinage acquired a unique look, especially from the mid-18th century. These are mostly large baroque scrolls masterfully executed in rather high relief in combination with images of fruits, baskets of flowers, cupids, garlands of flowers and leaves. The embossing was often made openwork and in this case had an additional background that illuminated the pattern.

A classic example of such coinage is the massive setting of the Gospel made in Moscow in 1754, contributed by Empress Elizabeth1. Silver plates with painted enamel images of the Trinity, the Evangelists, and scenes from the life of Christ are placed in tall chased bezels and squares. They are distinguished by their secular character.

The Moscow master P. Vorobey made a silver bowl in 1768 (used in the monastery as a holy bowl). It is decorated with an excellent chased ornament of peculiar curled cartouches and wide leaves on a gilded background. The legs of the bowl are lion paws, holding smooth balls in their claws. A salt shaker made in 1787 by a Moscow master, decorated with chasing and niello, is a gift from Catherine II to Metropolitan Plato3.

New center jewelry making - St. Petersburg - is represented in the museum's collection by a chased silver hand-wash with a spout in the shape of an eagle's head, made in 1768 by master Claes Johann Ehlers4. The same master made a chased silver dish with a baroque ornament on the field and a depiction of a biblical scene: a whale washes up Jonah5. At the same time, the master depicted here the shore of St. Petersburg with the Peter and Paul Fortress and the spire of the cathedral. The hand and the dish are the contribution of Metropolitan Plato.

Objects for ritual purposes also acquired a secular, decorative character, and their solemnity was emphasized by their unprecedentedly large sizes. Typical for the 18th century. a set of liturgical vessels (chalice, paten, star and two plates) contributed in 1789 by A. V. Sheremetyev6. The tall communion bowl here has a large hammered bell-shaped base, an openwork silver casing on the body of the bowl and a bell with painted enamel. Large-diameter paten and plates, specially made for this chalice, are decorated with engravings depicting traditional iconographic scenes.

Filigree art takes on a completely different character. Instead of a flat curl with branches curling on the smooth surface of the metal in ancient works, the filigree drawing of the 18th century. it is further complicated by additional decorations placed on top, sometimes in combination with enamel and precious stones. In some cases, the filigree is made openwork and superimposed on an additional background. Sometimes the item was made from filigree threads.

An outstanding piece of filigree work is the tabernacle of 1789, contributed by Metropolitan Plato7. Here are openwork filigree, filigree combined with enamel, and filigree superimposed on a smooth silver background. The tabernacle has the appearance of a secular box, as evidenced by its completely non-ecclesiastical shape, elegant decoration and flowers planted in the corners made of thin metal parts with enamel.

An example of skillful relief filigree can be the cover of the book “Officer of the Bishop's Service”, also the contribution of Metropolitan Platon in 17898.

Great development received in the 18th century. Solvychegodsk and Veliky Ustyug enamels with their single-color (blue or white) background, on which human figures, flowers and other images, sometimes additionally colored with enamels, are superimposed in the form of separate metal plates. The museum has a large collection of household items from Solvychegodsk and Ustyug.

In the 18th century For the interior of the Lavra temples, monumental structures were made from silver according to drawings famous artists Moscow and St. Petersburg. For the altar of the Trinity Cathedral, by order of Metropolitan Plato, a large silver seven-candlestick in the shape of a laurel tree was made9; the tiblas of the iconostasis of the Trinity Cathedral were also decorated with silver. The Moscow master David Prif made a silver canopy over the shrine of Sergius of Radonezh from a Caravacca design (commissioned by Emperor Anna Ivanovna10). Thus, the applied art of the 18th century. represented in the museum's collection by the most characteristic works.

The works of artistic craft in the museum's collection make it possible to trace its development from the early monuments of the Grand Ducal Moscow to the end of the 18th century. Over the course of this long period, technical skills changed and improved, old forms disappeared and new forms of objects appeared, the nature of decoration changed, which always depended on aesthetic views, determined by the socio-economic and political conditions of their time, the development of internal and foreign market, scale and method of production.

On works of the XIV-XV centuries. the picture of the gradual revival of artistic crafts after the Tatar-Mongol devastation of the Russian land in the 13th century is revealed. Masters of Moscow and other art centers Ancient Rus' master various artistic techniques and improve their skills.

In the 16th century Moscow finally conquers leading place in the cultural life of the country. The applied arts of this period are distinguished by a variety of forms and artistic decorations, as well as great technical skill. The complex art of enamel, which has taken on a mainly ornamental character, is being improved, and the art of gold niello, embossing and engraving is achieving greater mastery.

Works made of silver for household and church purposes follow the traditions of folk art and are associated with the living conditions of the people, their rituals and way of life.

The colorfulness and decorativeness of 17th-century products, the complexity of ornaments, the appearance of painted enamels, and the use of large quantities of precious stones, pearls and colored glass give a more secular character to applied art.

In the 18th century new forms of objects, a realistic character of ornament and enamel painting were adopted. In the collection of the Zagorsk Museum, this period is represented by the best workshops of Moscow and St. Petersburg. Their works allow one to judge the new changes taking place in the applied arts.

The high artistic mastery of works of applied art, presented over more than five centuries, places the collection of the Zagorsk Museum in a prominent place in the history of Russian artistic culture

As part of the celebration of its 35th anniversary, the All-Russian Museum of Decorative, Applied and Folk Art is opening an updated permanent exhibition “Decorative and Applied Art of Russia in the 18th – First Third of the 19th Century.”

“Peter the Great challenged Russia, and she answered him with Pushkin,” - catchphrase A. N. Herzen most accurately defines the meaning and boundaries of the era to which the exhibition of these halls is dedicated. The objects presented here are living milestones that marked the formation and flourishing of national culture in the bosom of European cultural tradition New time. They capture changes in the way of life and artistic guidelines, the transformation of old and the emergence of new subject forms, techniques and even types of decorative and applied art.

The design of the new exhibition is based on the principle of demonstrating exhibits as unique artistic objects, which are combined into thematic, stylistic and typological blocks. This solution makes it possible to evaluate the significance of each item from the point of view of time, style, the development of a particular type of decorative and applied art, and focuses attention on its artistic intrinsic value.

The inspection scenario is built on the basis of the spatial solution of the exhibition, not only meaningfully (in terms of typology, theme, style and chronology), but also visually - from Peter’s time to Biedermeier.

Terrina (tureen) with lid 1795

The central themes of the new exhibition: “The Age of Change: the turn of the 17th – 18th centuries”, which is adjacent to the so-called “primitives of the 18th century”, which translated the realities of modern times in forms traditional art; "Classic Russian XVIII century", representing the era from Peter to Paul in high examples of court art, as well as "Russian Empire" and "In the Rooms", demonstrating two facets of Russian culture of the first third of the 19th century - the brilliant imperial style and the formation of a culture of private life, correlated with the phenomenon of German Biedermeier At the same time, the exhibition allows you to view the works in the usual row - by type of art, highlighting furniture, artistic metal, glass, porcelain, ceramics, stone-cutting art, bone and beads.

Unique church items such as the Reliquary Cross and Panagia, which date back to the 17th century, deserve special attention. They were made using a technique that was expensive at that time – filigree enamel. Among the earliest exhibits are chests with metal frames and decorative trim, inkwells, and Ural brass utensils from the 17th – early 18th centuries. A striking example of ceremonial representative metal tableware for table setting are the brass mugs from the Demidov plant in the Urals.

Table serving items and tray items were then made using different techniques. For example, two dark blue glass goblets with the monograms “EML” and “WGS”, produced by the Imperial Glass Factory, are a rare example of painted items from the late 18th – early 19th centuries. The Latin monograms on the cups belong to the Swedish envoy to Russia in 1793, Werner Gottlob von Schwenir - “WGS” - and his mother Ebbe Maria Lagerbring - “EML”. The cups were kept for more than two centuries in Skarhult Castle, Skåne (Sweden), being a family treasure.

The exhibition will feature unique examples of Russian palace furniture from the 18th-19th centuries, among which the chess and card tables made using the marquetry technique are of particular interest. Among the exhibits of furniture typical of the first half of the 19th century, noteworthy are two cabinets of rare quality in the Jacobean style. Two chairs designed by Osip Ivanovich Bove also belong to the same time. Of interest are also the mantel clock “Minin and Pozharsky” made by the Parisian bronzer Pierre-Philippe Thomire and, reproducing in an interior format, the famous monument to Ivan Martos standing on Red Square.

Bove I.O. Chair First quarter XIX V

A special place in the exhibition is occupied by the tapestry “The Rescue of Fishermen”, which was made in Flanders in an unknown workshop in the second half of the 17th – early 18th centuries. She entered the VMDPNI in 1999 with the collection of the Museum of Folk Art named after. S. T. Morozova. The theme of the tapestry is borrowed from the Bible: in the center of the composition one of the miracles is depicted - “Walking on the Waters”. The trellis was restored in several stages - it was partially restored by specialists from the Museum of Folk Art. S. T. Morozov, and already in 2014 the complete restoration was completed by specialist restorers All-Russian Museum decorative, applied and folk art. Thus, the trellis has found new life and will be presented at the exhibition for the first time.

The corresponding thematic sections present lighting fixtures made of glass and crystal, interior items made of porcelain and bronze from the late 18th-19th centuries. Each exhibit is a reference example of a particular style, capturing the spirit of its time and representing the possibilities of artistic and technical skill.

Such a spatial solution for the exhibition will allow the museum to organize excursions and special programs in the most effective and interesting way. The most interesting and significant exhibits will be presented with extended annotations, as well as support with QR codes, thanks to which visitors will be able to get more detailed information. The exposition is equipped modern system lighting equipment. Thanks to its high interactivity, the new exhibition promises to be more lively and interesting, as well as to promote creative dialogue with visitors, especially with children and youth.

Reflection of the turning point of the Peter the Great era in decorative and applied arts. Western European artistic influences (Holland, England, France, Italy). The processes of formation of the class system and strengthening secular culture and their influence on the development of decorative and applied arts. The multi-layered nature of decorative and applied art, the uneven development of its individual spheres. Preservation and development of traditional trends (provincial and folk culture, church art).

Improving the technology of handicraft and manufacturing production. The emergence of the artistic industry (production of tapestries, art glass, faience, stone cutting, silk and cloth production). Manufacture of fashionable items and luxury goods. Discovery and development of deposits of copper, tin, silver, colored stone, high-quality clays.

The role of the Academy of Sciences in the “prosperity of free arts and manufactories”, a reflection of new natural science and technical interests in the decorative and applied arts. New forms of education and training of craftsmen at art factories. Closing of the Armory Chamber workshops. Pensioners and its role in the development of certain types of decorative and applied arts. The emergence of guild organizations of artisans in Russia. Work of foreign masters in various fields of decorative and applied arts.

Art style in decorative and applied arts. Fashion, its impact on changing tastes, changing the subject environment. The emergence of new types of objects, renewal of aesthetic ideas in decorative and applied arts. Trends in the synthesis of arts. The role of architecture, monumental art, graphics and illustrated publications in the development of decorative and applied arts. Decorative trends of Baroque culture in the design of festivals, triumphal gate complexes, and landscape art.

The art of interior design as a special type artistic activity in the works of architects of the first quarter of the 18th century. The first interior works and the main stylistic trends (Baroque, Rococo, Classicism). New types of premises (offices, state bedrooms, living rooms, “turning rooms”, “picture halls”) and their subject content (Summer Palace, A.D. Menshikov Palace, Great Peterhof Palace, Monplaisir). Works by French masters. "Chinoiserie" in the interiors of the Peter the Great era.

Ensemble solution of the subject environment. The emergence of project activities in the field material culture and decorative arts.

Development of furniture business. New types and forms of furniture, materials and methods of decoration. Influence of English and Dutch furniture. Baroque and Rococo in furniture.

Wood carving, its role in the interior. Carved reliefs. Iconostasis of the Peter and Paul Cathedral. Ship carving and carriage making.

Silversmithing. Preservation of traditions of the 17th century. Creation of workshops for gold and silversmiths. Jewelry Art. Portrait miniature on enamel. Order badges and “granted” persons. The first masters of miniature painting were Grigory Musikiysky and Andrey Ovsov.

Ceramics and faience from the Peter the Great era. Dutch tiles in the interior. Expanding the import of earthenware from England and Holland. The first private manufactory of A. Grebenshchikov in Moscow, the emergence of domestic fine earthenware.

Increasing glass consumption, establishing glass factories in Yamburg and Zhabino near St. Petersburg. Mirrors and lighting fixtures. Formation of the style of ceremonial palace dishes with matte engraving. The first private glass and crystal factory of Maltsov in Mozhaisk district.

Stone carving and cutting gemstone. Founding of the first cutting factories in Peterhof and Yekaterinburg. Bone carving. Basic carving techniques, stylistic devices. Traditions of Kholmogory. The appearance of lathes, changes in product shapes. Petrovskaya Turning and A. Nartov. The influence of engraving and illustrated books on bone carving. Founding of the Tula Arms Factory, development of the art of artistic processing of steel in decorative products.

Costume typology. Changing a medieval dress to a European-style suit. Peter's establishment of rules for wearing and types of noble dress. Introduction of statutory clothing and uniforms for the army and navy, for officials. The emergence of new manufactories in connection with changes in costume. Replacing oriental fabrics with Western European ones. Samples of men's suits from the wardrobe of Peter I.

Foundation of the St. Petersburg Trellis Manufactory. Training of Russian masters.

Decorative and applied art of the era of Anna Ioannovna. Artistic silver. Foundation of a state-owned glass factory on Fontanka in St. Petersburg. Activities of the trellis manufactory. Style of trellises and use in the interior. L. Caravaque and his projects in the field of decorative arts.

Revival in artistic culture during the reign of Elizabeth Petrovna. Predominance of French influences. Baroque and Rococo in Russian art. Rococo in interior design, costume, jewelry, landscape art. Synthesis of architecture and decorative arts in Baroque and Rococo interiors. Works by V.V. Rastrelli and A. Rinaldi in the field of interior design. Decorative materials and interior decoration techniques. Types of Baroque and Rococo furniture. Fabrics in the interior. Lighting. Ensemble in various types decorative and applied art of the middle and second half of the century.

Silversmithing. Approval of Baroque style. Monumental and decorative works. Large ceremonial services. Changing the shapes of objects, new types of dishes for new products. Jewelry Art. Activities of court craftsmen. Rococo style in jewelry. Types of women's jewelry. Colored stone in jewelry.

The suit, its image, type of cut, materials, accessories, character of decoration. French fashion influence. Baroque and Rococo in women's and men's costume.

Invention of domestic porcelain. Foundation of a porcelain manufactory in St. Petersburg. The activities of D.I. Vinogradov and the “Vinogradov” period of development of Russian porcelain. The first palace services, vases, small plastic items. Creation of a state-owned faience factory in St. Petersburg.

Engraved Elizabethan glass. Activities of the St. Petersburg State Glass Factory and the plant on the river. Nazier. Baroque and Rococo in art glass. Glass in the decoration of palace interiors by V.V. Rastrelli. Private factories of the Nemchinovs and Maltsovs. M.V. Lomonosov's experiments in the field of colored glass, the beginning of its production at the Ust-Ruditsk factory.

Bone carving. Rococo style, the work of carver Osip Dudin.

Decorative and applied art of the second half of the 18th century.

Classicism in decorative and applied arts 1760–1790. A combination of Rococo style with antique motifs. The role of architects in the decorative and applied arts of the era of classicism. Training of masters of decorative and applied arts at the Academy of Arts.

Interior of early classicism. Materials and forms, color, sculptural decoration, reduction in cost of decorative finishing. Interior works by Charles Cameron. A range of decorative techniques, new materials, image of premises and ensemble. Interiors by V. Brenna.

Classicism furniture, character, forms, influences. Antique prototypes. New types of furniture. Participation of architects in the development of furniture art in Russia (Brenna, Lvov, Cameron, Voronikhin). Furniture by D. Roentgen in Russia. Workshop of G. Gambs and I. Ott. Jacob style in Russian furniture. Change of materials in furniture art (mahogany, gilded wood, poplar, Karelian birch). Fabric and embroidery in furniture.

Spol's workshop in Moscow. Carved decor in the interiors of M. Kazakov. Carved furniture of the Ostankino Palace. The flourishing of typesetting techniques in Russian furniture of the second half of the century, methods of execution and materials. Furniture production at Okhta in St. Petersburg. Papier-mâché as a material for furniture and decorative art.

Russian and French artistic bronze. Main types of products and decorative techniques. Bronze and glass in lighting fixtures. Bronze in the decoration of stone and porcelain vases and furniture. Activities of the Foundry House. Foreign bronzesmiths in St. Petersburg (P. Azhi, I. Tsekh, etc.).

Costume. Changing types and silhouettes of clothing in the 1770-1780s. Introduction of uniform noble dress. Ceremonial court dress, the use of stylized national forms. "Greek style" of the 1790s in costume and hairstyles. A radical change in the design of the suit. Fashion for shawls, scarves, capes, mantillas, shawls.

Jewelry Art. Activities of I. Pozier, Dubulon, J. Adora, I.G. Sharf, I.V. Bukh, Duval brothers. Large imperial crown. Court diamond workshop. Artistic silver. Influence of French Louis XVI style silver. The art of niello on silver. The increasing role of northern jewelry centers - Vologda, Veliky Ustyug. Factory of black and enamel products of the Popov brothers in Veliky Ustyug. Enamel with silver overlays.

Porcelain, manufacturing and decoration techniques. Imperial Porcelain Factory. Early classicism in the forms and decoration of products. Influence of European porcelain and earthenware. Activities of J.-D. Rashetta. Contacts of the IPE with the Academy of Arts. Decorative vases and palace services in the interior of the Classical era. Large ceremonial services, their composition, the nature of their design. Search for appropriate forms of objects and methods of decorating products. Porcelain sculpture (series of figures “Peoples of Russia”, “Traders and peddlers”). Genre drawing and engraving in porcelain sculpture and porcelain painting. Biscuit products. "Pavlovsk" porcelain from the late 1790s.

F. Gardner's factory in Verbilki. Order services.

Art glass. G. Potemkin's plant in Ozerki. Colored glass and crystal. Glass in the interiors of Charles Cameron. The Imperial Glass Factory in the 1790s. Connection between the products of the imperial porcelain and glass factories. Bakhmetev plant in Penza province. The heyday of glass painting in the 1780-90s. Gothic motifs in art glass.

Activities of the trellis manufactory. Connection of trellises with general direction in Russian painting ( historical theme, allegory, portrait in a tapestry). The transition from Rococo to Classicism. Trellis in interior design.

Stone carving. The role of Charles Cameron in the development of the culture of colored stone and its use in the interior. New techniques for using stone, “Russian mosaic”. Activities of the Peterhof Lapidary Factory. Discovery of new deposits of colored stone in the Urals and Altai. Yekaterinburg factory and Kolyvan plant. Invention of machines for processing stone. Vases based on drawings by A. Voronikhin and D. Quarenghi.

The heyday of Tula steel (furniture and decorative items). Noble and merchant factories. Factory lacquer miniatures P.I. Korobova. The emergence of crafts in artistic manufactories. Development of artistic crafts in the second half of the 18th century: Khokhloma painting, lace weaving, patterned weaving, carpet weaving, artistic metal, etc.

Development of decorative and applied arts contributed to the improvement of handicraft and manufacturing techniques, the emergence of the artistic industry (the production of tapestries, art glass, faience, stone cutting, the production of silk and cloth), the manufacturing of fashionable items, luxury goods, the discovery and development of deposits of copper, tin, silver, colored stone, high quality clays.

The role of the Academy of Sciences in the “prosperity of free arts and manufactories”, reflecting new natural science and technical interests in the decorative and applied arts, is significant. In the first half of the 18th century, new forms of education and training of craftsmen appeared in artistic manufactories; guild organizations of artisans are emerging in Russia, which does not negate the widespread use of foreign craftsmen in various fields of decorative and applied arts.

In decorative and applied arts (interior items, furniture, decor), fashion actively dictates the style. As a result, new types of objects appear and aesthetic ideas in decorative and applied arts are updated. In the decorative and applied arts of the mid-18th century, there was a tendency to synthesize the arts, where architecture, sculpture, painting, and applied crafts were fused together in a decorative ensemble.

As a result, the art of interior design becomes a special type of artistic activity in the work of architects of the 18th century. This type of artistic activity determines the emergence of new types of premises (offices, front rooms, bedrooms, living rooms, “picture halls”) and their subject content (Summer Palace, A.D. Menshikov Palace, Great Peterhof Palace, Monplaisir).

All this contributes to the development of furniture making; new types and forms of furniture, materials and methods of decorating them appear. The influence of English and Dutch furniture is very strong here. Under the influence of Europe, even the Baroque and Rococo styles in furniture were developing in Russia.

Classicism furniture has characteristic character and shapes. To a large extent, antique motifs can be traced in the shapes and decoration of furniture. In the middle of the 18th century, architects took part in the development of new types of furniture, furniture art and designer furniture appeared in Russia (Brenna, Lvov, Cameron, Voronikhin). In the second half of the 18th century, the first furniture workshops appeared (the workshop of G. Gambs and I. Ott). This period in furniture art is characterized by the Jacob style. By the second half of the 18th century, materials in furniture art changed: mahogany, gilded wood, poplar, Karelian birch appeared here; Fabric and embroidery are increasingly being used in furniture making.

Ceramics and faience occupy a special place in the decorative and applied arts. This occurs initially due to the expansion of imports of earthenware from England and Holland. However, soon the first private manufactory of A. Grebenshchikov appeared in Moscow, producing Russian fine faience. Later, the style of ceremonial palace dishes with matte engraving was formed and the fashion for crystal as an interior item spread. This entails the opening of Maltsov’s first private glass and crystal factory in Mozhaisk district.

In the 18th century, due to the growing popularity of decorative and applied arts and room decoration, the consumption of glass increased significantly, which was used to create a variety of mirrors and lighting fixtures.

Sculpture and painting of the second half of the 18th century.

Played a major role in the development of painting in the 18th century creation Vladimir Lukich Borovikovsky. Despite the fact that the artist was not officially listed as a student of the Academy, he, without a doubt, used the advice of its teachers and, above all, Levitsky. Natural talent and iron tenacity young artist soon led to Borovikovsky becoming one of the first masters of the late 18th century. He created a series of excellent portraits of his contemporaries, including G. Derzhavin, V. Arsenyeva, M. Lopukhina, O. Filippova and many others. A constant interest in the emotional experiences of a person, emphasized lyricism and contemplation, fanned with a haze of sentimentality, so characteristic of the era, are characteristic of most of Borovikovsky’s works. The artist never followed the path of external, superficial characterization of the image, constantly striving to convey the subtlest spiritual movements of the persons portrayed.

Chamber portraits predominate in his work. Borovikovsky strives to affirm the self-worth and moral purity of a person (portrait of “Lizynka and Dashinka”, portrait of E.N. Arsenyeva, etc.). At the turn of the 18th-19th centuries, Borovikovsky was attracted by strong, energetic personalities; he focused on citizenship, nobility, and dignity of those portrayed. The appearance of his models becomes more restrained, the landscape background is replaced by images of the interior (portraits of A.A. Dolgorukov, M.I. Dolgoruka, etc.).

Borovikovsky is also a recognized master of portrait miniatures. The collection of the Russian Museum contains works belonging to his brush - portraits of A.A. Menelas, V.V. Kapnist, N.I. Lvova and others. The artist often used tin as a basis for his miniatures.

Russian portrait painting at its true peak XVIII century achieves in creativity D.G.Levitsky . Already in one of his early works - a portrait of the architect A. Kokorinov - Levitsky showed outstanding abilities as a painter. The portrait of the great French materialist philosopher D. Diderot, painted by Levitsky in St. Petersburg in 1773, and the series of portraits of female students of the Smolny Institute created by the artist are distinguished by high artistic merit. The images of these girls are marked with sincerity and warmth; the uniqueness of each of them is masterfully conveyed.

Portraits of subsequent years - Lvova, the artist's father, the Bakunins, Anna Davia and many other masterpieces by Levitsky - are clear evidence of his brilliant talent.

Levitsky created an extensive gallery of portraits of his contemporaries, capturing broadly and completely, like no one else, living images of people of the era. Levitsky's art completes the history of the development of Russian portrait painting in the 18th century. It should, however, be noted that some historically determined limitations of his work: like other remarkable artists of his time, Levitsky could not reflect social contradictions reality. The people depicted by the artist, in accordance with the prevailing aesthetic ideas, always pose somewhat; they seem to be trying to show themselves to the viewer in the “most pleasant” light. However, in a number of his works the artist achieves amazing simplicity and vitality.

Levitsky's legacy is enormous and still evokes a feeling of immediate aesthetic pleasure in viewers. The professional perfection of his works and their realistic orientation place the artist in one of the most honorable places in the entire history of Russian art.

Among the most famous works of D. G. Levitsky are the following: “Portrait of E. A. Vorontsova”, “Portrait of the architect A. F. Kokorinov”, “Portrait of N. A. Lvov”, “Portrait of M. A. Dyakova”, “Portrait Ursula Mniszech”, “Portrait of Agasha’s daughter in Russian costume”, etc.

In area portrait painting Russian artists of the second half of the 18th century also said their new word. Acuity psychological characteristics, which marks many portraits of this time, is striking - the brush of the best Russian masters is increasingly gravitating toward a truthful rendering of the image of a person. It is significant that at this time portraits were created not only of the nobility and the “powers of this world,” but also of a number of progressive public figures. These portraits completely lack elements of pomp and external gloss; Artists pay their attention to conveying the inner content of a person, to revealing the strength of his mind, the nobility of his thoughts and aspirations.

The development of Russian portraiture found its expression in works of F. Rokotov.

Fyodor Stepanovich Rokotov- one of the best Russian portrait painters. Having received art education under the leadership of L.-J. Le Lorrain and Count Pietro Rotari, worked in the manner of the latter, but delved into nature more than him and was diligent in execution. In 1762 he was admitted as an adjunct to the newly founded St. Petersburg. Academy of Arts for the painting “Venus” presented to her and for the portrait of Emperor Peter III.

Subtle pictorial skill distinguishes the portraits of this artist. Rokotov brings the intimate spirituality of the image, especially in female portraits, to great expressiveness and strength. The highly technical perfection of the artist’s works - in terms of the nature of the drawing and pictorial skill, only Levitsky can be compared with him. The portraits created by Rokotov are distinguished by their sophistication of design and elegance of color.

To the most famous works Rokotov include: “Portrait of an unknown woman in pink dress"", "Portrait of A.I. Vorontsov", "Portrait of G.G. Orlov in armor", "Coronation portrait of Catherine II", "Portrait of A.P. Struyskaya", "Portrait of the poet V.I. Maykov", "Portrait Surovtseva”, etc.

In the second half of the 18th century. began to develop in Russian painting everyday genre. However genre painting was considered by the leadership of the Academy of Arts and privileged layers of society as something base, unworthy of the artist’s brush. Despite this, after the peasant war under the leadership of E. Pugachev, both in literature, theater and music, and in painting of the 1770-1780s. interest began to appear in the peasantry, their way of life, and way of life. Often these were sentimental images of idyllic shepherds and shepherdesses, which had nothing in common with real peasant life. However, there were exceptions.

One of the first in Russian painting to develop the peasant theme was the serf of Prince G. A. Potemkin Mikhail Shibanov . He painted the paintings “Peasant Lunch”, “Wedding Agreement Celebration”, etc. In Shibanov’s paintings there is no denunciation of serfdom, however, in these paintings there is no idealization of peasant life. The artist is distinguished by his knowledge and understanding of the life and character of the Russian peasant.

The peasant theme was reflected in the work of the artist I. M. Tankov (1739 - 1799), the author of the painting “Holiday in the Village” and I. A. Ermenev (1746 - after 1792), who painted the watercolors “Peasant Lunch”, “Beggar Singers” and etc.). For the first time in the history of Russian art, the artist conveyed the dark side folk life, the squalor of poverty.

In the second half of the 18th century. the real flowering of Russian sculpture begins. It developed slowly, but Russian educational thought and Russian classicism were the greatest incentives for the development of the art of great civic ideas and large-scale problems, which determined the interest in sculpture during this period. Shubin, Gordeev, Kozlovsky, Shchedrin, Prokofiev, Martos - each was a bright individual in his own right and left his mark on art. But they were all united by common creative principles, which they learned from Professor Nicolas Gillet, who from 1758 to 1777 headed the sculpture class at the Academy, general ideas of citizenship and patriotism, and the high ideals of antiquity.

The search for the generally beautiful does not exclude the full depth of comprehension of human character, the desire to convey its versatility. This desire is palpable in monumental decorative sculpture and easel sculpture of the second half of the century, but especially in the genre of portraiture.

His highest achievements are associated primarily with creativity Fedot Ivanovich Shubin (1740-1805), a fellow countryman of Lomonosov, who arrived in St. Petersburg already as an artist who had mastered the intricacies of bone carving. Shubin's first work in his homeland is a bust of A.M. Golitsyn already testifies to the full maturity of the master. All the versatility of the model’s characteristics is revealed upon a circular inspection of it, although undoubtedly there is also the main point of view of the sculpture.

Shubin worked not only as a portrait painter, but also as a decorator. He executed 58 oval marble historical portraits for the Chesme Palace (located in the Armory Chamber), sculptures for the Marble Palace and for Peterhof, a statue of Catherine II - the legislator (1789-1790). There is no doubt that Shubin is the largest phenomenon in Russian artistic culture of the 18th century. Together with domestic masters in Russia, the French sculptor Etienne-Maurice Falconet worked, who in the monument to Peter I on Senate Square in St. Petersburg expressed his understanding of Peter’s personality, her historical role in the destinies of Russia.

Fedor Fedorovich Shchedrin(1751-1825). He went through the same stages of training at the Academy and retirement in Italy and France as Shubin. “Marsyas,” performed by him in 1776, is full of violent movement and a tragic attitude. Like all sculptors of the era of classicism, Shchedrin is fascinated by ancient images (“Sleeping Endymion”; “Venus”), showing a particularly poetic insight into their world.

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"Decorative and applied art of the 18th century."

Introduction

In the second half of the 18th century, Russian applied art achieved a significant rise. This was facilitated by the development of economics, trade, science and technology and, to a large extent, close ties with architecture and fine arts. The number of large and small factories, factories, workshops producing fabrics, glass, porcelain, and furniture grew. Landowners set up various workshops based on serf labor on their estates.

One of the brightest phenomena of Russian culture is Russian folk art, the history of which goes back as many centuries as people live on earth.

Russian decorative and applied arts and folk crafts are original phenomena that have no analogues in world culture. From time immemorial, the Russian land has been famous for its craftsmen, people capable of creating and creating real beauty with their own hands. Through the art of folk crafts, the connection between the past and the present is traced.

Folk crafts are exactly what makes our culture rich and unique. Painted objects, toys and fabric products are taken with you Foreign tourists in memory of our country. Almost every corner of Russia has its own type of handicraft.

Main types of handicrafts

DYMKOVO TOY

Dymkovo toy (Vyatka, Kirov toy), Russian folk art craft; has long existed in the settlement of Dymkovo (now on the territory of the city of Kirov). A Dymkovo toy is sculpted from clay, fired and painted over the ground with tempera, and gold leaf is included. Depicts animals, horsemen, ladies in crinolines, fairy-tale and everyday scenes. Artistic originality Dymkovo toys are characterized by massive, laconic plasticity, emphasized by harmonious decorative painting in the form of a large geometric pattern (circles, cages of different colors, etc.).

The Dymkovo toy is the most famous clay craft in Russia. It is distinguished by its extremely simple and clear plastic form, generalized silhouette, and bright ornamental painting on a white background.

Traditionally, the Dymkovo toy industry does not have mass production.

Khokhloma is an ancient Russian folk craft that arose in the 17th century in the Volga region (the village of Semino, Nizhny Novgorod province). This is perhaps the most known species Russian folk painting. It is a decorative painting on wooden utensils and furniture, done in red and black (less often green) tones and gold on a golden background. What is surprising is that when painting is done, it is not gold, but silver tin powder that is applied to the wood. Then the product is coated with a special compound and processed three or four times in an oven. Then this delightful honey-golden color appears, thanks to which light wooden utensils seem massive.

BOGORODSKAYA TOY

Variegated wooden chickens on a stand, figurines of blacksmiths, a man and a bear - pull the bar and they will knock with hammers on a small anvil... Funny toys, known in Rus' since time immemorial, have become the main folk craft for residents of the village of Bogorodskoye near Moscow.

The “Bogorodskaya toy” owes its birth to the village of Bogorodskoye, now located in the Sergiev Posad district of the Moscow region. In the 15th century, the village was owned by the famous Moscow boyar M.B. Pleshcheev, after whose death, the village along with the peasants was inherited by his eldest son Andrei, and then by his grandson Fedor.

Since 1595, the village of Bogorodskoye became the property of the Trinity-Sergius Monastery, and the peasants became monastic serfs. It was the peasants who laid the foundations of wood carving in the 16th-17th centuries, which glorified Bogorodskoye, the current “capital of the toy kingdom,” throughout the world.

MATRYOSHKA

Matryoshka is the most famous and beloved Russian souvenir, a global phenomenon. The first Russian nesting doll appeared at the end of the 19th century, however, it gained unprecedented recognition as one of the comprehensive images of Russia, a symbol of Russian folk art. The predecessor and prototype of the Russian nesting doll was the figurine of a good-natured bald old man, the Buddhist sage Fukuruma, which contained several more figures nested one inside the other. This figurine was brought from the island of Honshu. The Japanese, by the way, claim that an unknown Russian monk was the first to carve such a toy on the island of Honshu.

The Russian wooden detachable doll was called a matryoshka. In the pre-revolutionary province, the name Matryona, Matresha was considered one of the most common Russian names, based on the Latin word “mater”, meaning mother. This name was associated with the mother of a large family, possessing good health and a portly figure. Subsequently, it became a household word and began to mean a turning, detachable, colorfully painted wooden product. But to this day, the nesting doll remains a symbol of motherhood, fertility, since a doll with a large doll family perfectly expresses the figurative basis of this ancient symbol human culture.

The first Russian nesting doll, carved by Vasily Zvezdochkin and painted by Sergei Malyutin, had eight seats: a girl with a black rooster was followed by a boy, then a girl again, and so on. All the figures were different from each other, and the last, eighth, depicted a swaddled baby.

ORENBURG DOWN SCARF

The foundations of applied art, thanks to which Orenburg became known throughout the world, were laid by Cossack women at the end of the 17th century, when Russian pioneers, having established themselves in the Urals, entered into trade relations with the local population.

The harsh climate of these places required warm but light clothing. Cossack women easily adopted goat down handicrafts from the Kazakhs and Kalmyks. Only the knitting style of the steppe people was continuous, and the Yaik women began to use Russian lace ornaments.

PAVLOPOSAD SCARF

Bright and light, feminine Pavloposad shawls are always fashionable and relevant. And today, original designs are complemented by various elements such as fringe, created in different colors and remain an excellent accessory to almost any look.

Pavlovsky Posad printed, woolen and half-woolen scarves, decorated with traditional colorful printed patterns, originated in the town of Pavlovsky Posad near Moscow in the 1860s-80s. The area of Pavlovsky Posad (the territory of the former Bogorodsky district) is one of the oldest Russian textile centers. In the 18th - first half of the 19th centuries. Bogorodsk shawls and sarafan fabrics were distinguished by the special beauty of the ornament woven with gold thread. Later, silk weaving became widespread here, and from the 1860s. The production of woolen and half-woolen scarves, decorated with colorful printed patterns, began. Gradually, production expanded and acquired a pronounced national character.

ROSTOV FINISH

Rostov enamel is a unique traditional folk art craft that arose in the second half of the 18th century. as an icon painting craft. In this series, it is related to Palekh, Mstera, Kholui, only the material is quite rare - enamel painting. “Enamel” comes from the Greek noun tsEggpt (phengos), meaning “shimmer.” Special paints (invented in 1632 by the French jeweler Jean Toutin) based on glass with the addition of metal oxides are applied to a metal base (steel, copper, silver, gold sheet) and fixed by firing in an oven. Rostov enamel is one of the ten best folk crafts in Russia.

Gzhel is the name of a picturesque region near Moscow, which is 60 kilometers from Moscow. The word "Gzhel" is incredibly popular today. Harmony, fairy tales and true stories are associated with beauty. Porcelain with elegant blue painting and multi-colored majolica are now known not only in Russia, but also abroad. Gzhel products attract everyone who loves beauty, rich in imagination and harmony, and the high professionalism of their creators. Gzhel is the cradle and main center of Russian ceramics. It was formed here best features and the highest achievements of folk art appeared.

How old is this Russian folk craft? Archaeological research on the territory of Gzhel confirms the existence of pottery here since the beginning of the 14th century. And it is not surprising, the Gzhel land has long been rich in forests, rivers, high-quality clays,... “which I have never seen with more beautiful whiteness.” Since then, over its more than six-century history, Gzhel has experienced different periods.

The end of the 19th and beginning of the 20th centuries became a period of deep crisis. It seemed that Gzhel art had perished forever.

The post-war period is associated with the beginning of the revival of the craft and the search for its own figurative language. This required years of painstaking and tireless work, training of new masters. As a result, this led to success. Dymkovsky matryoshka toy Gzhel applied

In 1972, the Gzhel association was created on the basis of six small production facilities located in several villages. Creative teams developed new designs. Completely new product forms were created. Painting has become richer and fulfills artistic requirements existing day.

TAGIL TRAY

Ural lacquer painting on metal arose in the 18th century. at Nizhny Tagil factories. The Tagil tray is older than the Zhostovo one. It is Nizhny Tagil that is considered the birthplace of Russian metal painting. The Ural factory Demidovs, being the main customers of painted products, supported the lacquer industry in every possible way. Tagil metal painting cannot be confused with any other: it is characterized by a richness of colors, purity and grace in the processing of colors, completeness of the composition, and a refined pattern of ornaments.

Zhostovo painting is a folk craft of artistic painting of metal trays that exists in the village of Zhostovo, Mytishchi district, Moscow region. The craft of painted metal trays arose in the mid-18th century. in the Urals, where the Demidov metallurgical plants were located. Only in the first half of the 19th century. Trays began to be made in the villages of the Moscow province - Zhostovo, Troitsky, Novoseltsev. The Moscow region fishery soon became the leading one.

Zhostovo trays are paintings, mainly of floral patterns, the creators of which were simple Russian peasants. They brought bright cheerfulness of colors, simplicity and clarity of images, accuracy of characteristics, and clarity of drawing to lacquer painting.

Painting is performed using free brush stroke techniques, without preliminary drawing. Most often a black background is used. The volumes of flowers and leaves seem to grow from the depths of the background. This is done by gradually moving from dark tones to lighter ones. Flowers seem to come to life in the painting.

Modern technology for making trays differs little from that previously used by craftsmen from the village of Zhostovo. A thin sheet of iron is pressed into the desired shape, the edges of the tray are rolled to give rigidity, and the surface is leveled. The front surface of the tray is primed and puttied, and then sanded and coated with black (less often a different color) varnish. The trays are dried in ovens at temperatures up to 90 degrees C. The coating is done three times, after which the colored surface of the tray becomes shiny.

FEDOSKINO

Fedoskino miniature, a type of traditional Russian lacquer miniature painting with oil paints on papier-mâché, which developed at the end of the 18th century. in the village of Fedoskino near Moscow.

The production of papier-mâché products arose in 1798, when the merchant P.I. Korobov organized visor production in the village of Danilkov, which he bought (currently part of Fedoskino). A few years later, Korobov visited Johann Stobwasser’s factory in Brauschweig, adopted the technology of papier-mâché products there and began producing in his factory the then popular snuff boxes, decorated with engravings glued to the lid, sometimes painted and varnished. In the second quarter of the 19th century. Snuff boxes, bead boxes, boxes and other products began to be decorated with picturesque miniatures made with oil paints in a classical pictorial manner.

The craftsmen worked at the factory for hire, many of them came from the icon-painting workshops of Sergiev Posad and Moscow, some had an art education received at the Stroganov School. The names of some of them are known - S. I. Borodkin, A. A. Shavrin, A. V. Tikhomirov, D. A. Krylov and others.

The favorite motifs for painting by the Fedoskino miniaturists became subjects that were popular at that time: “troikas”, “tea parties”, scenes from Russian and Little Russian peasant life. The most valued were caskets decorated with complex multi-figure compositions - copies of paintings by Russian and Western European artists.

The Fedoskino miniature is painted with oil paints in three or four layers - shading (general sketch of the composition), copy-painting or re-painting (more detailed work), glazing (modeling the image with transparent paints) and highlighting (finishing the work with light paints that convey highlights on objects) are performed in succession.

The Palekh miniature has no analogues in the whole world. It is done on papier-mâché and only then transferred to the surface of boxes of various shapes and sizes.

The unique and subtle art of lacquer miniatures in Palekh incorporates the principles of ancient Russian painting and folk art as its basis. Currently, Palekh miniatures are an integral part of Russian decorative and applied art as a whole. Along with the development of ancient traditions, it carries within itself a poetic vision of the world characteristic of Russians. folk tales and songs.

The birth of this art in Palekh is not accidental. It was a natural result of the development of centuries-old traditions in new historical conditions, inheriting the skill of many generations of icon painters. The old Palekh experience is rich and diverse. The traditions of ancient Russian art have long been studied and preserved in Palekh.

The independent Palekh style of icon painting was formed only in the middle of the 18th century. He absorbed and developed the basic principles and elements of the Novgorod and Stroganov schools and painting of the Volga region of the second half of the 17th century. IN XVII-XIX centuries Palekh masters repeatedly fulfilled orders for icons in the Novgorod style or in the character of the Moscow mud.

Conclusion

The ability to identify the aesthetic qualities of a material has always distinguished Russian craftsmen, which manifested itself in all spheres of life from everyday life to architecture, where skill was expressed in the art of stone cutting.

The flourishing of jewelry art in Russia began in the mid-18th century and continued throughout the century.

During this period, silversmiths achieved great success. In accordance with new tastes, the shapes of silver services are simple and clear. They are decorated with flutes and antique ornaments. On silver glasses and snuff boxes, the craftsmen of Veliky Ustyug reproduce images of ancient scenes and victories of Russian troops from engravings.

An outstanding phenomenon in the applied art of the 18th century is the steel artistic products of Tula craftsmen: furniture, boxes, candlesticks, buttons, buckles, snuff boxes.

The flourishing of Russian applied art of the 18th century was associated with the work of architects Kazakov, Starov, Quarenghi, Cameron, Voronikhin and a number of trained folk artists. But its true glory was created mostly by serf craftsmen who remained unknown - furniture makers, carvers, weavers, stone cutters, jewelers, glass makers, ceramists...

Literature

History of Russian art. Responsible editors I.A. Bartenev, R.I. Vlasova - M., 1987

History of Russian art. Ed. I.E. Grabar. T. 1-12 (sections of decorative and applied arts). M.: 1953-1961

Russian decorative and applied arts. Ed. A.I. Leonova. T. 1-3. M.: 1962-1965

Rybakov B.A. Russian applied art of the X-XIII centuries. L.: 1971

Vasilenko V.M. Russian applied art. Origins and formation. I century BC. - XIII century AD M.: 1977

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Decorative and applied art of the 18th century. Decorative and applied art of the 18th century. Music and theater in the 18th century

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