Russian decorative and applied art of the 18th century. Decorative and applied art of the 18th - first third of the 19th century. Folk wooden architecture

29.06.2020

Wedding chest. Italy. 17th century

Sculptural group "Winter". From the series "Four Seasons". Germany. Meissen

Service items. France. Sever. 1780-1784. Soft porcelain, painting. Freezer

Hall of French art of the 18th-19th centuries

Cabinet. Augsburg. 17th century Wood, carving, white metal, gilding, 196x135x61

Bureau-cylinder. Russia. End of the 18th century.

Vase. Russia. First quarter of the 19th century. Glass, gold painting. Height 35.5

Freezer. Russia. Imperial Porcelain Factory. First quarter of the 19th century. Porcelain, painting. Height 40

Collections of decorative and applied art are also associated with the name of A.P. Bogolyubov, who donated 40 pieces of old porcelain, mostly Saxon, at the opening of the museum. Various utensils and furniture then numbered 92 items. In 1897, after Bogolyubov’s death, another group of things was received in his will, including furniture, glass, bronze, and silverware.

The Bogolyubov collections, in particular porcelain, were significantly replenished in the first post-revolutionary years from the State Museum Fund, which received all nationalized works of art. In 1970, the museum received samples of Russian and Western European porcelain (more than 300 items), bequeathed by O. A. Gordeeva, a famous Saratov ophthalmologist.

The history of this subtle and exquisite art goes back centuries. Porcelain originated at the turn of the 7th-8th centuries in China. In Europe they learned about it in the 13th century. The famous Venetian traveler Marco Polo brought several porcelain vessels from the East. Europe was gripped by a “porcelain fever”; everyone wanted to have products made from this white shiny material, painted with bright, unfading colors. There is information that when things made of porcelain were broken, they continued to be stored anyway; often the shards were set in precious metals and worn as jewelry. Porcelain was valued not only for its beauty, but also for its hitherto unseen properties. The glazed surface of porcelain was not exposed to chemical influences and was impenetrable. Legends arose about porcelain. The secret of its production could not be unraveled until the beginning of the 18th century. But along the way, many new materials were discovered that were similar in appearance to the products of Chinese craftsmen. This is how milk glass appeared in Venice, Spanish-Moorish ceramics, and faience in England and Holland.

The first in Europe to obtain porcelain was I.F. Betger, who found deposits of white clay (kaolin) near Meissen in Saxony. The secret of porcelain production, which Europe had been struggling with for centuries, was discovered. Soon the porcelain of the Meissen manufactory became known throughout Europe. And now the products of this plant are popular among art lovers.

In the collection of our museum, Meissen porcelain is presented very well and completely. This includes items bequeathed by Bogolyubov and porcelain items from the collection of O. A. Gordeeva, as well as other exhibits.

Of greatest interest is Meissen porcelain from the 18th century. This era is considered the classical period in the development of European porcelain. At this time, the master strives to emphasize the whiteness and fineness of the porcelain, serving the material taking into account its natural properties.

Meissen - the first European porcelain production - is especially famous for its small plastic pieces. In the images of ladies, gentlemen, allegorical compositions and pastorals, one of the qualities of the Rococo style was manifested with particular force - the illusion of a continuous smooth flow of line. The names of Johann Joachim Kaendler and Peter Reinicke are associated with the development of Meissen plastic art. Their works combined elements of sculpture and decorative and applied art itself. The whimsicality of contours and the beauty of color are what characterize the sculptures made from their models.

Two allegorical figures from the series “Four Seasons” - “Winter” and “Spring”, made according to models by Johann Joachim Kaendler, reveal the characteristic features of the Rococo style in porcelain. Seasons are represented in images ancient gods sitting on the clouds. Winter is personified by Saturn and Hebe, spring by Mars and Flora. The sculptural groups are decorated with finely crafted molded flowers painted with bright colors, for which the Meissen factory was famous in the 18th century.

High artistic quality distinguishes the small collection of products from the Berlin plant. These are mainly items for table setting and interior decoration. The “carriage cup” is painted based on A. Watteau’s motifs in the most delicate purple, which was the glory of this production. The bodies of teapots, coffee pots, and decorative vases are decorated with pastorals and floral patterns, which were popular in the 18th century.

The group of objects from the Vienna factory is represented by the 18th - early 19th centuries, when European porcelain developed the features of a new style - Empire style. Taking care of increased decorativeness, Viennese masters gave their own version of painting. Copies of paintings by Renaissance masters were most often placed in the mirror of the plates in a rich gold ornamental frame.

Each country followed its own path to porcelain, developing both a special technology and a special character of ornamentation, sometimes within the same style. Throughout Europe, French dishes with colored backgrounds were famous: turquoise, pink, blue, painted in medallions framed with gilded ornaments. Such porcelain was made at the Sevres manufactory, the main porcelain production in France.

This is exactly how the blue ice cream maker, tray and spice utensil that were part of the service that belonged to Prince Yusupov are painted. This service took many years to produce and was decorated by major porcelain painters. The ice cream maker was painted by Vincent Jr., the author of the painting on the famous cameo service, commissioned by Catherine II of Sèvres and now kept in the Hermitage. Yusupov's service was made of "soft porcelain". And the specific properties of this material could not have been more consistent with the Rococo style with its usual soft contours and wavy lines. The peculiarities of the Sevres mass also determined the nature of the painting: no other ceramic material produces such ringing, deep tones with many shades.

In Russia, porcelain was first produced in the mid-18th century by D.I. Vinogradov at the Imperial Porcelain Factory (IFZ) in St. Petersburg. In the museum's collection, Russian porcelain is represented by products from numerous private enterprises. The museum can be proud of the magnificent examples of IPP, Gardner, Popov, Kornilov, Gulin, Safronov factories, which have their own unique charm.

The achievements of Russian masters in the style of classicism of the early 19th century, or Empire style, are well known. Russian porcelain within this style, as well as other branches of applied art, provides excellent examples.

Empire style was inspired by antiquity. The decorative motifs are dominated by laurel wreaths, lions, griffins, military attributes, etc. The forms reveal the solidity of the masses and their static nature. According to the laws of this style, a table decoration vase in the form of two classical figures supporting an oval-shaped bowl was made by IFZ craftsmen. The white color of the figures made from bisque (unglazed porcelain) is contrasted by the blue tone and gilding of the base. The Empire style’s love for brightness and color contrast is evident. Another vase is also a sculptural group: Venus puts a quiver of arrows on Cupid. Such vases were made for large ceremonial or anniversary sets and placed in the center of the ceremonial table.

Features of the same style are clear in the ice cream maker on three lion paws, dark in color, looking like old bronze. Its color blended beautifully with the shine of the gilding.

The products of private factories are more original. You can talk about priestly, Gardner or Safronov porcelain. These factories are represented by objects that are not unique, unlike IFZ, but by so-called ordinary utensils associated with the life of a particular class. It is easy to guess the social affiliation of the so-called “tavern” brightly decorated teapots, decorated with simple floral paintings, created at the Popov factory in the 1830-1850s.

The source from which the craftsmen drew the forms of dishes and painting motifs is traditional Russian folk art. This path will be the most fruitful at the time of the impending interstyle; it will largely protect Russian private factories in this difficult time from the loss of “ceramic”, inevitable in the era of eclecticism. In the coffee pot of the Kornilov factory, painted on a white background with small gold leaves and roses, in bright In the green cups made by the craftsmen of the priest's factory, the main thing was not lost: the balance of form and functional purpose of the object.

The collection of Soviet porcelain is relatively small. It is represented by propaganda porcelain, which in the 20s was one of the means of revolutionary propaganda.

Dish and cups painted according to drawings by S. Chekhonin and N. Altman, sculptures by N. Danko, plates by A. Shchekatikhina-Pototskaya with revolutionary slogans and emblems of the young Soviet state - this first porcelain of the Land of the Soviets spoke the language of its time. It was exhibited in special showcases in Moscow on Kuznetsky Most and in Petrograd on Nevsky. “This porcelain was news from a wonderful future, for which the Soviet country fought in terrible battles with hunger, devastation, and intervention,” wrote E.Ya. Danko, an artist and historiographer at the Lomonosov Factory (formerly the Imperial Porcelain Factory), in her memoirs.

Glassware stored in the A.N. Radishchev Museum came in the same way as porcelain: in 1897, according to the will of A.P. Bogolyubov, through the State Museum Fund, from private collections.

A small but interesting collection of Russian glass from the late 18th - early 19th centuries was bequeathed to the museum by E.P. Razumova in 1973.

Russian glass factories, public and private, appeared at the beginning of the 18th century in Moscow and St. Petersburg, near Smolensk and Kaluga. The demand for glass objects is growing. The number of factories is also growing. The famous Maltsev plant appeared on the Gus River near Vladimir, and the Bakhmetyev plant near Penza in the village of Nikolskoye.

The most early works glass industry of the 18th century in our collection are products from private factories. This is, first of all, a green glass damask with a simple floral ornament and the inscription: “This vessel was made in the Gavril factory in 726...” This is an early example of Russian ordinary tableware, which was made in large quantities; it was not spared or taken care of. Instead of the lost and broken one, they bought a new one. Therefore, few such dishes have survived. Shtof is also interesting because it is a signature item. It indicates the date and place of manufacture. It is known that in 1724 the plant of Gavrilov and Loginov was founded in the Moscow district. There is no further information about this production. Our damask gives an idea of the nature of the products of a little-known company.

Glass in Russia was practically not marked. Only starting from the 20s of the 19th century (from the era of Nicholas I) the Imperial Glass Factory began to put stamps on its products. The presence of a brand, of course, is not the only way to determine the place and time of manufacture of a particular item. Remarkable monuments of glassmaking are the goblets of the 18th century, tall, conical in shape, often with lids, decorated with carved coats of arms of the reigning persons or monograms. Benzels were framed with plant shoots and curls, which were called “rocaille”. Along the top of the cups, near the rim, there is a pattern of engraved and polished “pits” with arms. The leg posts were made in the form of a baluster with “apples”, which were sometimes strung on the post up to five pieces. The engraving in these items was shallow and sweeping. These qualities distinguish Russian cups from the cups of Bohemia and Germany kept in the museum.

Apparently, numerous colored glasses, decanters, and bottles were produced in private factories. Colored glass was very popular in Russia. Unlike Western Europe, here they made dishes from solid colored glass, which large quantities appeared in the middle of the 18th century. This is due to the successful experiments of M. Lomonosov.

At the end of the XVIII - early XIX centuries, tall faceted decanters with stoppers have appeared different shapes, glasses raised on thin legs, elegant glasses with sparkling edges - elegant dishes that were used to decorate festive tables and suppliers. Faceted dishes are made from colorless glass with the addition of lead, which gives it a special shine. It is called crystal and is cut with the so-called “diamond edge”. This technique is still used in glassmaking.

The second half of the 19th century was a time of heightened interest in decorative and applied arts, especially in its history. Collecting antiques is becoming widespread. It is no coincidence that there was an increased interest in antique furniture at the same time. Collectors collect carved gilded furniture from the 18th century, inlaid chests of drawers, cabinets, Italian and German wedding chests, and massive oak and walnut cabinets from Germany from the 17th century. There were similar items in Bogolyubov’s collection.

The craze for antique furniture gives rise to fakes that flood antique stores. One after another, workshops are being created in Paris, Venice, St. Petersburg, producing antique furniture, sometimes indistinguishable from the original - the wood is so smoothly polished, the proportions of its structural parts are so faithfully observed.

The earliest furniture in the museum collection dates back to the 16th-17th centuries. This is furniture from Germany, France, Italy, Holland, collected by A.P. Bogolyubov. Of course, our collection of furniture from that time does not give reason to talk about the existing interior, but it allows us to imagine national characteristics works of furniture art from different countries within a fairly broad chronological framework.

Furniture is not durable; the material for its production is wood, which is easily exposed to a variety of influences. A lot of them died both from natural disasters or as a result of wars, and for reasons related to the influence of fashion. Furniture is a consumer item. This means that over time it wears out and has to be replaced with a new one. Little furniture from the homes of ordinary people has survived. Nevertheless, the main stages in the history of furniture art in some European countries can be traced in the objects of our collection.

In Italy of the 16th century, a chair made of solid wood with a carved back, a wedding chest, a Venetian workmanship, and an altar were made. To make this furniture, brown walnut was used, a material characteristic of Italy, which allows the craftsman to achieve great artistic effect. The carving motifs were drawn from the heritage of ancient art. In the wedding chest, obviously of Florentine work, one is surprised by the rare unity of form and ornament, which distinguished the Italian furniture makers of the 16th - early 17th centuries.

Furniture of this era in its constructive logic is similar architectural structures. The altar is designed in the form of a portal with columns entwined with vines, with a podium in a niche for the figure of the Mother of God - these architectural elements are extremely characteristic of furniture of the 16th-17th centuries. This is especially felt in cabinet furniture made in the south of Germany. The closet turns into something like a two-story building, each floor-tier of which is separated by a cornice. The tiers are decorated with columns or pilasters. The cabinet doors resemble portals or windows topped with platbands or pediments. All these architectural details are strengthened with glue and are, in fact, decoration that hides the structure of the cabinet, made up of two chests. This impression is reinforced by the folding chest handles on its side facades. This is exactly how the cabinet is designed, decorated with burl (a growth on the wood, a defect in the wood that gives a rich, beautiful texture). Wardrobes were necessarily equipped with shelves, and clothes were stored folded in them. They could also serve to store various utensils.

The shape of a folding chair, the so-called curule chair, can also be considered traditional for Germany in the 16th-17th centuries. For the ancients it was a symbol of power. Only sitting on such a chair could justice and reprisals be carried out. Such a chair was usually worn by consuls, senior military leaders, and dictators. Smoothly curved legs-stands, made of several narrow planks, are crossed and connected by crossbars for strength, and a removable board inserted into the upper part of the chair as a spacer makes up the backrest.

Since the 16th century, a unique form of chair appeared in Germany, which became widespread in the furniture art of this country in the 17th century - the so-called peasant chair. A whole series of similar products with various options Our museum also has the same ornament. The prototype of such a chair was at first simply a piece of wood, cleared of branches and strengthened for stability on three legs. And for comfortable urban dwellings, chairs with four legs were made - examples of high craftsmanship. Only the board that serves as the back is decorated. It can be made not only from walnut, but from oak and pine. It depends on where the item was made. In carving, as a rule, grotesque ornamental motifs are used, which, with the imagination of the master, are often transformed into a fairy-tale pattern.

The 17th century brings a lot of new things to the art of furniture. This is primarily due to social transformations in Europe, which led to a change in the position of the third estate. Having come to power, it cultivates modesty, simplicity, and the sanctity of the family hearth. Dutch furniture is in great demand and is exported to all countries. At the other pole is France, in whose art a magnificent, solemn style triumphs.

In our furniture collection there is only one piece that is typical of a palace ceremonial setting of the 17th century. This is the so-called cabinet - a cabinet with many drawers, compartments, and a pull-out board. It was made by craftsmen from the city of Augsburg, decorated on the facade with metal overlays with images of animals and twisted gilded columns. The board is made of valuable wood.

Such offices appeared in the 16th century. Their homeland is Spain. The first cabinets were caskets on a base. IN XVII century- these are already large cabinets that have become part of the decoration of the room, called the office. Medals, letters, and jewelry were stored in cabinets.

Most of the collection of Russian furniture, which includes works of the 18th-19th centuries, was made either in small private workshops or by furniture makers of noble estates. The craftsmen brought into their works a variety of artistic tastes, all the knowledge and skills they had accumulated, techniques of wood processing, finishing and decoration. They were reflected primarily in the forms of household furniture of that time, which were greatly influenced folk art. This was manifested not only in forms and decor, but in the choice and processing of wood. Already at the end of the 18th century, Karelian birch and poplar became the favorite materials. They are used only in Russia.

Each country in the art of furniture was either the ancestor of a certain style, such as Italy during the Renaissance, or the birthplace of a famous furniture maker, such as T. Chippendale in England or J. Jacob in France.

Russian furniture is represented mainly by furnishings of the noble interior of the first third XIX century. This was one of the most brilliant eras in the history of decorative and applied art in Russia, and furniture in particular. The art of the first decades of the 19th century was dominated by the Empire style, which originated in France and became the property of all of Europe. Russia gives its own special, original version of this style, where it has become an exponent of high and progressive ideas. The decorativeness characteristic of the Empire style, the desire for monumentality and generalization of forms determined the choice of material in furniture and the nature of its interaction with form and decor. The main materials used by Russian furniture makers will be mahogany and Karelian birch, which they loved for their beautiful wood texture.

The furniture stored in our museum was mainly made by the hands of serf craftsmen and represents that version of the Empire style, which was widely used in the life of the Russian nobility. It is simpler than palace furniture. This furniture entered the museum after the Great October Revolution socialist revolution from surrounding estates, city houses and has not only artistic, but also historical value.

The seating furniture is especially varied. Two paired armchairs with openwork carved backs decorated with gilded lyres are an example of Russian household furniture of the first quarter of the XIX century. There are forms almost devoid of decoration, veneered with golden-colored Karelian birch with black eyes.

At this time, another room appeared in the interior of the noble estate, the so-called sofa room, and its indispensable accessory was the sofa. Usually these are soft, rectangular sofas, the tops of the backs and elbows are veneered with Karelian birch or mahogany, which became widespread in those years. In the interior, the sofa was combined with armchairs and a sofa table. Such variations are also found in our exhibition and indicate the already established interior in the Empire era. This furniture differs from the front furniture: there is less gilding, instead of bronze, wood is used, gilded on gesso, and one of the traditional methods of wood processing, so beloved by Russian craftsmen, is preserved - carving.

The museum's collecting activities continue. IN last years collections of decorative and applied arts were replenished with interesting exhibits, the best of which found their place in the exhibition.

In the second half of the 18th century, Russian applied arts has achieved a significant rise. This was facilitated by the development of the economy, trade, science and technology and, to a large extent, close ties with architecture and the 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.

The humanistic ideas of the Enlightenment were uniquely reflected in the applied art of the late 18th century. The craftsmen of this time were distinguished by their attention to personal tastes and human needs, and the search for comfort in the environment.

A new style - Russian classicism - at the turn of the 1770-1780s was established in all types of applied art. Architects M. F. Kazakov, I. E. Starov, D. Quarenghi, C. Cameron, A. N. Voronikhin created interiors in the spirit of noble simplicity and restraint with a clear division of parts, with a constructively justified arrangement of both plastic and picturesque architectural decor.

Furniture, candelabra, and chandeliers were designed using the same principles for palace premises. In the ornamentation of furniture, dishes, and fabrics, built in a clear rhythm, antique motifs appeared - acanthus, meander, ionics, vividly interpreted flowers, garlands, images of cupids, sphinxes. Gilding and colors became softer and more restrained than in the middle of the 18th century.

At the end of the 18th century, the passion for antiquity forced people to abandon even the complex and magnificent costume. Light, loose dresses with flowing folds and a high belt in an antique style came into fashion (V.L. Borovikovsky. “Portrait of M.I. Lopukhina.” 1797).

The synthesis of arts in Russian classicism is based on the principle of a harmonious combination of all types of arts.

Furniture. During the period of classicism, its forms are simple, balanced, clearly constructed, and the rhythms are calm. The outlines still retained some softness and roundness, but vertical and horizontal lines were already standing out. Decorations (low carvings, paintings, bronze and brass plates) emphasized the expressiveness of the structures. There was more concern for convenience. Suites were designed for front rooms for various purposes: living room, office, front bedroom, hall. New furniture forms have emerged: tables for card game, handicrafts, lightweight portable bean tables (with a bean-shaped lid), various types of chests of drawers. Sofas have become widespread, and in office furniture, bureau-secretaries, bureaus with a cylindrical roll-up lid.

As in previous periods, Russian furniture, compared to Western furniture, is more massive, more generalized, and simpler in detail. The material for it was local wood species - linden, birch (gilded and painted in light colors), walnut, oak, poplar, ash, pear, bog oak. At the end of the 18th century, Karelian birch and imported colored wood of mahogany, amaranth, rosewood and other species began to be used. The craftsmen knew how to show their beauty, structure, color, shine, skillfully emphasized by polishing.

Russian masters achieved great achievements in the technique of typography (marquetry). Its essence is to compose ornaments and entire Paintings (usually based on engravings) from pieces of colored wood on the surface of wooden objects. This kind of work is known not only from the capital's court furniture makers, but also from former serfs who worked in Moscow and the Moscow region: Nikifor Vasiliev (ill. 78), Matvey Veretennikov and the nameless masters of Tver and Arkhangelsk, who introduced walrus ivory into the set. Examples of the high art of carving furniture in the Ostankino Palace belong to the serfs Ivan Mochalin, Gavrila Nemkov and others. In St. Petersburg, the furniture and carvings of masters from Okhta, who were transferred to the capital from various places under Peter I, were famous. The artistic appearance of the furniture was completed by upholstery with patterned silks, velvet, printed chintz, linen fabrics, which was in harmony with the decoration of the walls.

Fabrics. Of all the industries in the second half of the 18th century, textiles developed most successfully (Moscow, Ivanovo, Yaroslavl, Vladimir province). Its rise was determined not only by large manufactories, but also by small peasant enterprises. The craftsmen achieved particular perfection in new patterned linen fabrics with complex weaves, with a play of natural silver-white shades of linen. The traditions of peasant weaving and a deep understanding of the material were reflected here. Cheap and mass-produced motley and dyed goods were also produced. The decorative qualities of colored cloth and woolen fabrics have significantly improved.

The production of silk fabrics for dresses and decorative fabrics, scarves, and ribbons developed rapidly (ill. 80). By the end of the 18th century, they were not inferior in quality to French ones - the best in Europe. Russian weavers learned to use a variety of threads and complex weaving patterns reminiscent of embroidery. Compositional techniques and a rich palette in decorative fabrics were used to achieve the transfer of space, the subtlety of tonal transitions, and the precision of drawing flowers, birds, and landscapes. Such fabrics were used to decorate palaces and sent abroad as gifts.

In fabrics for dresses, especially in sundress fabrics, until the 1780s - 1790s, patterns of complex, wavy floral garlands, ribbons, and beads were used. But gradually the garlands were replaced by stripes, the patterns became simpler, their rhythms smoother, the colors lighter and softer.

In the 1750-1760s in St. Petersburg and later in Moscow, in the village. Ivanovo (now the city of Ivanovo) developed the production of calico (cotton fabric with a printed pattern using infused, non-fading dyes and subsequent polishing). In calico patterns, craftsmen, especially those from Ivanovo, uniquely processed the motifs of silk fabrics. Based on folk printed material, they combined a rich pictorial spot and graphic cutting (contours of the design, grids, background dots). At first, calicoes were very expensive. By the end of the 18th century, cheap varieties began to be produced.

Porcelain. By the end of the 18th century, Russian porcelain became one of the best in Europe. The State Porcelain Factory in St. Petersburg operated successfully. His products were distinguished by their slightly warm whiteness, shiny glaze, high technical quality. The shapes of dishes, vases, and their painting were not inferior to Western ones.

The most significant of the services is created - Arabesque for court receptions (1784, ill. 77). The table decoration of this service of nine allegorical sculptures glorifies the annexation of Georgia and Crimea, the “virtue” of Catherine II (sculptor J. D. Rashet). It is dominated by calm poses characteristic of classicism of the late 18th century, light gilding, strict proportions of the forms of serving dishes with paintings in the form of arabesques, based on ancient ornaments.

In the 1780s, a series of sculptures “Peoples of Russia” (creative processing of engravings) was created - brightly decorative, with characteristic images - representatives of individual nationalities (Yakut, Samoyed, Tatar). Sculptural figures of street vendors and artisans were produced, depicted in motion and at work. Porcelain sculpture has become a favorite decoration of noble interiors for many decades.

Of the private porcelain factories, the factory of Franz Gardner (1765) (Verbilki village near Moscow) turns out to be the most viable. Already at the end of the 18th century, he made sets for the royal house with the original use of Russian order motifs in the paintings. Fairly cheap Gardner porcelain tableware, distinguished by its simplicity of form, lush floral painting, close to folk traditions, was successful both in the capital and in the provinces (ill. 79).

Glass. Colored glass brought true glory to Russian glass in the last third of the 18th century. M.V. Lomonosov, with his work on the theory of color and the technology of colored glass, opened new paths to Russian glassmaking, enriched the palette of glass, and revived Russian mosaics. He organized a factory for the production of smalt, beads and glass in the village of Ust-Ruditsa, St. Petersburg province. The masters of the State Factory in St. Petersburg, Druzhinin and Kirillov, were trained in the melting of colored glass by Lomonosov. The plant is mastering the production of glass in deep and pure tones - blue, violet, rose-red, emerald green. Now its production is no longer dominated by engraved crystal, but by thin colored and colorless glass. Shot glasses, goblets, and decanters receive smooth shapes in which the body smoothly transitions into the stem, creating soft, graceful contours. The gold and silver paintings of garlands, bows, stars, and monograms are calm in rhythm and emphasize the plastic volumes of the vessels.

So-called milky-white glass is also produced (mugs, decanters, church objects), reminiscent appearance and the nature of the paintings are more expensive porcelain.

By the end of the 18th century, the private glass factories of Bakhmetyev in the Penza province, the Maltsevs in the Vladimir and Oryol provinces, and many others were developing and achieving great success. Their colorless and colored glass and crystal are widely distributed throughout Russia.

Artistic metal processing. The flourishing of jewelry art in Russia began in the middle of the 18th century and continued throughout the century. It has art materials of extraordinary beauty: these are diamonds, emeralds, sapphires and other precious and semi-precious stones, painted enamels, non-ferrous metals (gold, silver, platinum, alloys). The art of cutting stones reaches high degree perfection. To enhance the play of the stone, jewelers find a variety of artistic and technical techniques for mounting and movably securing parts. Jewelry artists create intricately shaped, multi-colored jewelry: earrings, rings, snuff boxes, shoe buckles, buttons for luxurious suits for both men and women.

In the last third of the 18th century, the shapes of jewelry became balanced, and the color scheme of precious stones became stricter.

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. They build the decorative effect of their works on the juxtaposition of smooth light steel and decorations in the form of faceted pieces that sparkle like diamonds. Craftsmen use bluing (heat treatment in a forge at different temperatures) of metal, which gives various shades - green, blue, purple, from thick to lightened. The traditions of folk art are reflected in the love of bright colors and a deep understanding of the material.

Colored stone. In the second half of the 18th century, deposits of marbles, cherry-pink orlets in the Urals, multi-colored jaspers, variegated breccias, Altai porphyries, and blue Baikal lapis lazuli were discovered. In addition to the Peterhof (1722-1723) and Yekaterinburg (early 1730s), the Loktev factory began operating in the very heart of Altai in 1787 (since 1802 it was replaced by the Kolyvan factory). There are wide possibilities for using colored stone in finishing and decorating monumental and decorative works of palace interiors.

The ability to identify the aesthetic qualities of a material has always distinguished Russian craftsmen, but it was especially clearly expressed in the art of stone cutting. Working according to architects' designs, stone cutters artistically reveal the fabulous beauty of the stone, its natural pattern, extraordinary shades of color, shine, enhancing them with excellent polishing. Gilded bronze in the form of handles, the pommel only complements and emphasizes the shape. Projects for stone carvings, obelisks, vases, based on ancient forms, were created by Quarenghi and Voronikhin.

The flourishing of Russian applied art in 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.

Changes in everyday life and their impact on arts and crafts. Features of ornament and decor of the artistic styles of Baroque, Rococo, Classicism.

Silver and gold making: St. Petersburg school, Moscow craftsmen and manufactories, niello silver of Veliky Ustyug. New types of dishes made of precious and non-ferrous metals: teapots, coffee pots, bouillottes, samovars. Household items and church utensils. State regalia. Orders and medals. Enamels. Enamel artists A.G. Ovsov, G.S. Musikiysky.

The emergence of Russian porcelain. D.I.Vinogradov. Imperial and private porcelain factories. Majolica, faience. Art glass. Decorative fabrics and tapestries. New in clothes. Cabinet and type-setting furniture. Marquetry. Wooden carvings in civil and church interiors. Crews. Decorative rock. Cameos.

Artistic folk crafts. Carved and inlaid bottom of Gorodets. Bone carving Kholmogory. Gold embroidery of the Tver province. Lace of Galich and Vologda. Ceramics of Gzhel.

Music and theater in the 18th century

Polyphonic choral singing. Edges. Instrumental music and orchestras. Opera art. Ballet. Music in court, city and peasant life. The emergence of a national composer school. E.I.Fomin. I.E.Khandoshkin. D.S. Bortnyansky. M.S.Berezovsky. A.O. Kozlovsky.

Attempts to create an accessible public theater under Peter the Great. Amateur performances at court. School theaters in religious and secular educational institutions. Professional troupes of foreign actors.

Drama of Russian classicism: tragedies and comedies. The influence of sentimentalism on the theatrical repertoire. The emergence of drama and comic opera on the Russian stage. A.P. Sumarokov is a playwright and theater figure. The creator of the Russian professional theater, actor and director F.G. Volkov. His friend and follower I.A. Dmitrevsky. Mass theatrical performances.

Fortress theater. Troupe of Count P.B. Sheremetev. P.I. Kovaleva-Zhemchugova, T.V. Shlykova-Granatova and other artists. Palace Theater in Ostankino. People's Theatre.

ABBREVIATIONS FOR THE NAMES OF THE MAIN MUSEUM COLLECTIONS MENTIONED IN THE LIST OF CULTURAL MONUMENTS

BAN - Library Russian Academy Sciences (St. Petersburg)

VMDPNI - All-Russian Museum decorative, applied and folk art (Moscow)

State Historical Museum - State Historical Museum(Moscow city)

HMGS - State Museum of Urban Sculpture (St. Petersburg)

GMMK - State Museums of the Moscow Kremlin (Moscow)

GNIMA - State Scientific Research Museum of Architecture (Moscow)

GOP - State Armory Chamber (Moscow)

State Russian Museum - State Russian Museum (St. Petersburg)

Tretyakov Gallery - State Tretyakov Gallery(Moscow city)

State Hermitage - State Hermitage Museum (St. Petersburg)

ZIKHMZ - former Zagorsky (now Sergiev Posad) historical and art museum-reserve (Sergiev Posad, Moscow region)

MIFA - Museum of Historical Treasures of Ukraine (Kiev)

MPIB - Museum of Applied Art and Life of the 17th Century "The Cathedral of the Twelve Apostles and the Patriarchal Chambers in the Moscow Kremlin" (Moscow)

GPS - Novgorod United State Museum-Reserve (Novgorod)

NGP - Novgorod Faceted Chamber (Novgorod)

SHM - Samara Art Museum (Samara)

MONUMENTS OF RUSSIAN CULTURE

SECTION I. HISTORY OF RUSSIAN CULTURE IN ANCIENT AND MIDDLE AGES

(UNTIL THE END OF THE 17TH CENTURY)

FOLK WOODEN ARCHITECTURE

CULT BUILDINGS

1. Kletsky churches: Church of Lazarus from the Murom Monastery (14-16 centuries) - Kizhi Nature Reserve; Church of the Deposition of the Robe from the village of Borodavy (15th century) - Kirillo-Belozersky Museum-Reserve; Church of the Transfiguration from the village of Spas-Vezhi (17th century) - Kostroma Museum-Reserve; St. Nicholas Church from the village of Tukholya (17th century) - Novgorod Museum-Reserve "Vitoslavlitsy"; Chapel of Michael the Archangel from the village of Lelikozero (18th century) - Kizhi Museum-Reserve; Church of St. Nicholas from the village of Glotova (18th century) - Suzdal Museum-Reserve.

2. Tent churches: St. Nicholas Church in the village of Lyavlya (16th century); Church of St. George from the village of Vershina (17th century) - Arkhangelsk Museum-Reserve "Malye Korely"; Resurrection Church from the village of Patakino (18th century) - Suzdal Museum-Reserve; Church of the Assumption (18th century) in the city of Kondopoga.

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 the formation of the class system and the strengthening of 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 directions (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. Pensioning and its role in development individual species arts and crafts. The emergence of guild organizations of artisans in Russia. Work of foreign masters in various fields of decorative and applied arts.

Artistic 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 special kind artistic activity in the work 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”, “painting rooms”) 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 of material culture and decorative and applied 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 traditions XVII V. 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 gem cutting. 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.

Typology of costume. 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 art.

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 finishing techniques. Types of Baroque and Rococo furniture. Fabrics in the interior. Lighting. Ensemble in various types of 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.

Arts and crafts second half of the XVIII V.

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 the 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.

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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 the economy, trade, science and technology and, to a large extent, close ties with architecture and the 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 - old Russian folk craft, which arose in the 17th century in the Volga region (the village of Semino, Nizhny Novgorod province). This is perhaps the most famous type of 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. Here its best features were formed and the highest achievements of folk art were revealed.

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 groups developed new samples. Completely new product forms were created. Painting has become richer, and fulfills the artistic demands of the current 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 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 original and subtle art of lacquer miniatures of Palekh incorporated as its basis the principles of ancient Russian painting and folk art. 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 Russian 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 middle of the 18th century and continued throughout the century.

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.

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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Russian decorative and applied art of the 18th century. Decorative and applied art of the 18th - first third of the 19th century. Folk wooden architecture

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