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 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 stone. 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 school of composition. 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 spiritual and secular educational institutions. Professional troupes of foreign actors.
Dramaturgy 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. Creator of 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 of the Russian Academy of Sciences (St. Petersburg)
VMDPNI - All-Russian Museum of Decorative, Applied and Folk Art (Moscow)
State Historical Museum - State Historical Museum(Moscow)
HMGS - State Museum of Urban Sculpture (St. Petersburg)
GMMK - State museums 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)
GE - State Hermitage Museum(St. Petersburg)
ZIKHMZ - former Zagorsk (now Sergiev-Posad) historical- 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 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.
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 as a special type of 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”, “picture 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 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 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 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 finishing techniques. Types of Baroque and Rococo furniture. Fabrics in the interior. Lighting fixtures. 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.
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» 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. The connection between tapestries and the general direction in Russian painting (historical theme, allegory, portrait in a tapestries). 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. Ekaterinburg 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.
Important place in culture XVIII V. occupied by decorative and applied arts. Interior design in the Rococo style made the space light, the walls seemed thin, hidden behind decorative panels and mirrors reflecting each other, and screens played an important role. Furniture becomes elegant, seems fragile, and takes on bizarre shapes. The color scheme of wallpaper and furniture is dominated by pastel colors.
The room was supposed to give the impression of a boudoir (a room intended for communication only with close people).
Rococo interiors were often complemented with either genuine Chinese products: screens, porcelain, lacquer painting, or decorative compositions, stylized as Chinese painting.
From the middle of the 18th century. With the development of neoclassicism, interior design became simple and quite strict. If French interiors were an example of Rococo, then English ones were an example of Neoclassicism. The interiors of the English architect became especially famous Robert Adam(1728-1792). When creating manor houses, the artist decorated them with columns, pilasters, and sculptures. This style was called the “Adam style”. It is distinguished by its grace and decorativeness, which at times organically includes genuine antique objects.
In clothes and hairstyles of the 18th century. a change in styles is also revealed. In the era of Louis XV, a person’s appearance became a work of art: the toilets of the nobility were elaborate and sophisticated, fantastic hairstyles (wigs came into fashion), black spots on a powdered face became a special language in a love dialogue. “A woman, dressed up and combed like a toy, and wearing narrow high-heeled shoes, had to step very carefully in order to maintain balance and not fall apart - this developed the habit of a floating gait and smooth movements of the minuet. They wanted to see a woman as a precious doll, a bird of paradise, or an exquisite flower. The fantastic and capricious airy surroundings of rocaille interiors befitted such creatures” (2, 45).
A suit, especially a woman's one, becomes a work of art. This costume was uncomfortable and impractical, but extremely attractive.
The men's suit was just as elegant as the women's, and delicate shades of pastel colors were chosen.
The love for everything elegant contributed to the flourishing of jewelry and porcelain.
The heyday of European porcelain art also occurred in the mid-18th century. and is associated with the Rococo style. The most famous are French porcelain from the city of Sevres and German porcelain from Meissen (Saxony). In their compositions, Meissen masters depicted “gallant festivities” - the sophisticated entertainment of aristocrats.
Rococo was not a style like Gothic and Baroque, it did not become large and holistic artistic direction. The spread of the tastes of the Regency era was prepared by the very fate of the French nobility, which prospered in the 18th century. in only one thing - in creating a prosperous and happy life. It was an idle life, surrounded by elegant luxury. Art was an adornment to the idle life of the French nobility.
Decorative arts play a special role (even gastronomy is elevated to the level of art).
The main task of art is to please; art itself is identified with luxury, playfulness and mockery.
Mirrors become a favorite wall decoration; they are placed opposite each other, giving an endless number of reflections.
The need for luxury goods created entire branches of artistic production in France thanks to the work of furniture makers, weavers, modelers, jewelers and embroiderers.
Favorite decorative motifs of Rococo are shell, stems and flowers.
In the field of decoration, neoclassicism turned to the interior of the halls, furnished in an antique manner. The exploits of Napoleonic army brought new decorative motifs: swords, banners. During the Napoleonic era, changes occurred in clothing and hairstyles. Fashion is spreading to everything antique: from the silhouette and cut of dresses reminiscent of chitons and tunics, to freely falling loose curls. Not only crinolines and hoops disappeared, but also diamonds; carved stones set into frames (gems) came into fashion.
Unlike other forms of art, music XVIII V. Baroque as a style movement was still widely represented. The greatest masters The Baroque era in music became Bach and Handel.
Johann Sebastian Bach(1685-1750) was the greatest musician of the 18th century, and the power of his music is ever increasing. His compositional creativity was surprisingly versatile despite his outwardly modest life (he was a cantor - leader and conductor church choir). Since childhood, Bach was deeply religious, and adhered to the Protestant religion. It was the Reformation in Germany that brought forward the fervor of Protestant chorale (choral chant). By making church ritual simpler and stricter, Protestantism increased the importance of music in it. The church became the center of musical art, and the church organist was its representative. Organ art was extremely widespread in Germany and therefore it is not surprising that the organ accompanied Bach’s entire life. His organ heritage includes several genres, among which chorale preludes and two-part polyphonic cycles stand out. l fugue. Bach's music expresses religious humility, pathos, lyricism, and impulse. Along with naturalness and simplicity, his works are characterized by sublimity and significance. Among musical creations Bach has a huge number of true masterpieces that have received worldwide recognition.
Next to Bach stands another major figure of the musical Baroque - George Frideric Handel(1685-1759). His life took place in large European cities, he received an excellent musical education. The first opera Rinaldo staged in London brought Handel fame. Handel wrote music in many genres, but the pinnacle of his legacy is formed by oratorios (large vocal-symphonic works with a developed plot). The literary source of the composer's most famous oratorios was the first part of the Bible - the Old Testament. Handel lived in England and the events of its political history, as well as the epic scope of biblical stories, could not help but arouse his interest.
The composer was primarily characterized by civil themes. By choosing biblical subjects, Handel admires the power of human passions. It was passion, dynamism, and the image of confrontation that were characteristic of the Baroque.
If the first half of the 18th century. In music, Baroque was defined as a musical style, then its second half became the heyday of the work of composers of the Viennese classical school:
Gluck, Haydn, Mozart and Beethoven. The highest achievements of classicism were associated with Vienna, the capital of the vast Austrian Empire, a city thoroughly saturated with music.
The Viennese classical school responded to the sentiments and ideas of the Enlightenment. Musical art reflected the spiritual quest and controversial artistic processes of its time. For example, Lessing influenced the work of Mozart.
The principles of classicism found their implementation in the music of the Enlightenment.
Christoph Willibald Gluck(1714-1787) entered the history of music as a reformer of the art of opera, who laid the foundation for a new operatic style. The operas that Gluck wrote were unusual both in content and in the manner of expressing the feelings of the characters. Gluck's activities took place in Vienna and Paris and were also associated with polemics in philosophy and aesthetics, in which educators were involved. They criticized the court opera and believed that the ancient theater ideally combined music, plastic and declamation.
Gluck tried to dramatize the opera, to give it truthfulness and naturalness. All best operas Gluck's works, starting with Orpheus, were written specifically on ancient subjects; in them the composer found powerful characters and strong passions. During Gluck's lifetime, his operas caused fierce controversy, but time has shown the viability of the principles, and it is no coincidence that other outstanding composers also implemented them.
Joseph Haydn(1732-1809) remained a conductor (leader of the choral and orchestral chapel) for almost three decades, and devoted only his free time to composing music. If Gluck reformed opera, Haydn created perfect symphonies. His creative path ran through different artistic eras, but the composer’s work was associated specifically with the Age of Enlightenment. The Enlightenment believed in the progress of society and man, and Haydn's music expresses optimism and the desire for happiness. Haydn's creations are quite rationalistic: they are characterized by thoughtfulness and harmony, which is also in tune with the rationalistic principles of the Enlightenment.
In his oratorios, Haydn turns to the theme of nature, the cult of which was characteristic of such an enlightener as Rousseau. It was Haydn who became the brightest composer of the Enlightenment.
Wolfgang Amadeus Mozart(1756-1791) began composing back in early childhood, he traveled a lot and gained fame early. Like Gluck, Mozart became a great reformer of opera, not only symphonizing it, but also updating it. By choosing a play like “Crazy Day or The Marriage of Figaro,” Mozart showed his commitment to educational ideas. In The Magic Flute, the composer presents a kind of utopia, close to the Enlightenment’s belief in the moral progress of mankind. Mozart's music amazingly combines naturalness and harmony, sincerity and perfection, impeccable clarity and quivering excitement. The highest achievement of Mozart's music was the famous "Requiem" - his last composition.
German composer Ludwig van Beethoven(1770-1827) spent most of his life in Vienna. His writings also bear the imprint of the Enlightenment. The composer distinguished himself precisely in the genres of sonata and symphony, which finally took shape in this era. His works reveal the thoughtfulness of the entire plan and individual details, and the clarity of forms.
In his most famous works, the heroic theme, the theme of struggle, is embodied, which is associated both with the personality of the composer himself and with the peculiarities of his biography: the events of the Great french revolution he survived as a nineteen-year-old youth. Although the ideas of the Enlightenment were characteristic of Beethoven's music, he already represents new era, anticipating romanticism. Musical style The composer's work differs from the art of other Viennese classics in its scope, drama, and emotional strength. These are the “Pathétique Sonata”, the Third Symphony (“Eroic”), the Fifth and Ninth Symphonies, especially the “Ode to Joy”, which concludes the last. Beethoven's entire legacy had a tremendous impact on the development of music, especially on the formation of romanticism.
Updated exhibition
"Decorative and applied arts Russia XVIII- first third of the 19th century"
As part of the celebration of its 35th anniversary, the All-Russian Museum of Decorative, Applied and Folk Arts opened 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 the European cultural tradition of the New Age. They show change way of life and artistic reference points, 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 allows us 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 the time of Peter the Great to Biedermeier.
The central themes of the new exhibition are: “The Age of Change: the turn of the 17th - 18th centuries,” which includes the so-called “primitives of the 18th century,” which translated the realities of modern times in the forms of 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.
Such unique church objects 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 in different techniques. For example, two glass, dark blue goblets with the monograms “EML” and “WGS”, produced by the Imperial Glass Factory, are a rare example of painted products 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.
In the exhibition you can see unique examples of Russian palace furniture of 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, famous monument Ivan Martos standing on Red Square.
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, a complete restoration was completed by specialist restorers of the All-Russian Museum of Decorative, Applied and Folk Arts. Thus, the trellis has found a 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 allows 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 obtain more detailed information. The exposition is equipped with a modern lighting equipment system. 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.
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.
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.
The same principles were used to design furniture, candelabra, and chandeliers 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. 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 emerged: tables for card games, handicrafts, lightweight portable bean tables (with a bean-shaped lid), various types 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. Samples high art The carvings of the furniture of the Ostankino Palace belong to the serfs Ivan Mochalin, Gavrila Nemkov and others. St. Petersburg was famous for the furniture and carvings of craftsmen from Okhta, who were transferred to the capital from different places during the reign of Peter I. Artistic appearance The furniture was completed with upholstery in patterned silks, velvets, printed chintz, and linen fabrics, 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, the richness of the palette in decorative fabrics achieved the transfer of space, the subtlety of tone transitions, and the accuracy of the design of flowers, birds, and landscapes. Such fabrics were used in decoration of 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 (pattern contours, 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, and 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 certain 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, 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, private companies were developing and achieving great success. glass factories Bakhmetyev in the Penza province, the Maltsevs in the Vladimir and Oryol provinces and many others. 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 mid-18th century and continued throughout the century. It has artistic materials of extraordinary beauty: 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 a high degree of 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 arts of the 18th century - steel art products Tula masters: 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 for bright color, in 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 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.
