was supposed to amaze with beauty and luxury, these are state rooms intended to be admired, but was it possible to work and relax in them? No wonder the kings loved their country residences more.
The nobles also sometimes had stately mansions in St. Petersburg and something simple in the provinces. And often only the simplest manor houses in the province. In the paintings you can see both the most luxurious ones, which the painters of the Winter Palace captured for posterity, and modest drawings of perhaps serfs, in which family comfort and noble life are depicted.
Podklyuchnikov N. Living room in the Nashchokins’ house in Moscow
What we see is that the walls are mostly monochromatic, hung with paintings, the furniture is of the same type, the upholstery becomes more varied over time, but the ceilings are varied, although the height of the rooms is often low
Podklyuchnikov N. Cabinet P.N. Zubova. 1840
Sredin A.V. Room in the Belkino estate 1907.
Living room in the Znamenskoye-Rayok estate
Tyranov A.V. Interior in a noble house.
Rebu Sh. Avchurino. 1846
Interior in Soimonov's house on Malaya Dmitrovka in Moscow. Unknown artist.
Sverchkov V.D. Internal view rooms. 1859
Zelentsov K.A. In the rooms
Zelentsov K.A. Living room with columns
Unknown artist. Living room interior
Peach L. Porechye Estate. Library.
Peach L. Porechye Estate. Museum. 1855
Rakovich A.N. Interior. 1845
Tikhobrazov N.I. Interior of the Lopukhins' estate. 1844
Tikhobrazov N.I. St. Petersburg interior
Premazzi L. Mansion of Baron A. L. Stieglitz. White living room.
This is just about the luxurious noble mansions, which were painted by the same artists who painted the Winter Palace. The main financier of the empire, chairman of the state bank, a person close royal family, had a magnificent palace in St. Petersburg, later acquired for Grand Duke Pavel Alexandrovich.
Premazzi L. Mansion of Baron A. L. Stieglitz. Golden living room
Premazzi L. Mansion of Baron A. L. Stieglitz. Living room 
Premazzi L. Mansion of Baron A. L. Stieglitz. Front office.
Premazzi L. Mansion of Baron A. L. Stieglitz. Baroness's office.
Premazzi L. Mansion of Baron A. L. Stieglitz. Library
Architecture of a wooden manor house of the 19th century
Russian people have always had a love for wood, for a wooden house. It’s somewhere in the subconscious, in the seventh sense. And at all times wooden house in Rus' it was considered the best, the most convenient for living, the best for human health. And in terms of price, a wooden house compared favorably with brick building. Therefore, the desire of first a boyar, then a nobleman, and later a merchant and industrialist, to build a house from wooden structures is understandable. And when analyzing the manor houses that have survived to this day, we see a lot of houses built from wooden structures.
If we very schematically draw a table of the change in architectural styles in Russia throughout the 19th century, we will get the following picture. The beginning of the century is classicism, gradually turning, especially after 1812, into the victorious Empire style. And somewhere from the 1840s, an active search for new forms began, the time of eclecticism began, which rebelled against the academic dogmas of ancient architecture. And only at the very end of the 19th century does it really begin to gain strength a new style- modern
But parallel to this change in styles, small urban and country estate houses were built in traditional forms of the Empire style. They continued to be built even in the second half of the century, when eclecticism reigned around, creating a fabulous symbiosis of the most bizarre combinations of architectural styles and details of past years. The traditional “manor’s house” with columns on the lawn attracted the attention of all segments of the then society. Both the wealthy merchant and the newly minted industrialist also built for themselves an empire-style house with columns. Obviously, to feel like an equal with the nobles.
Using the example of several wooden manor houses, today we have the opportunity to analyze the basic techniques and methods of their creation.
1. Manor house in Novospasskoye - the family nest of the composer M.I. Glinka
The estate is located in the southeastern part of the Smolensk region on the Desna River. Based on the name of the Spaso-Preobrazhenskaya church, the estate was named Novospasskoye. The manor house in Novospasskoye was built by the composer’s father I.N. Glinka in 1807-1810 on the site of the previous one. During the Patriotic War of 1812, the estate was plundered. In 1813, after his return, Ivan Nikolaevich rebuilt the manor house.
In the second half of the 19th century, the estate was sold, the wooden house was dismantled, and after that the estate fell into complete disrepair.
The manor house was restored after the revolution, in the 1970s. Archival documents, memoirs and paintings by M.I.’s contemporaries were used. Glinka.
Nowadays, the memorial museum of M. I. Glinka operates in the estate.
Probably the most interesting and most important thing is that the house was restored in wooden structures. This gives it historical truthfulness and naturalness. But here the first contradiction begins between the structure of the building and the elements of its decoration.
In Novospasskoye, the house was restored in wooden structures and with wood paneling walls outside. And this is very good. But the details include plastering and stucco work. These are columns, capitals, balustrades and some other details. The result was a kind of symbiosis of a completely wooden mansion and details brought in from stone architecture.
But today we have to consider not a historical building - but a kind of fantasy of restoration architects on the theme of a wooden manor house.
2. Boldino Estate - Museum Reserve of A.S. Pushkin
Pushkin's office with classic wall decoration. There is no hint in this room
that the building is basically wooden
Among the buildings in Boldino there is the house of the Patrimonial Office, where Pushkin lived during his last
visiting the estate.The interior is interesting for its simple decoration, without any wall cladding
The attention shown to such estates is quite understandable - they were recreated as museum buildings, as witnesses to the life and work of our favorite writers, composers, and artists. Today they are visited by thousands of tourists and are included in numerous excursion routes. But a certain touch of “new construction” is certainly present in them. And there is some theatricality, which is probably quite acceptable when creating a museum.
It is much more interesting to see not recreated, but preserved buildings of wooden manor houses. As a visual aid for studying wooden house One can give an example of the restoration of a manor house in Vasino.3. Vasino Estate
The ancient Vasino estate is located in the Chekhov district of the Moscow region. on the high bank of the Lyutorka River, in a shady park. At the beginning of the 19th century, the Decembrists visited here, and at the end of the century, the zemstvo doctor A.P. Chekhov, who came from neighboring Melikhovo, visited Vasino. The manor house is wooden, covered with boards. This house is one of the few surviving examples of wooden estate buildings in the Empire style in the Moscow region. After the revolution, it housed a school, then a rest home. After the collapse of the USSR, the building stood abandoned for many years. Restoration began in 2014.
In a photograph from 1991, the manor house is still in good condition,
it housed a school for many years
Another photo from 1991 - it is clear that the building is in good condition
The house was in good condition until the 1990s, then stood abandoned for more than 20 years.
and restoration is now underway with the complete restoration of the original wooden structures
This is all a very sad story, but thanks to this situation, today it is possible to look at the details of the wooden structure of a “standard” manor residential building of the early 19th century, and to see how such houses were created.
Vasino estate. House plan - restoration project
Vasino estate. Cross section of a house - restoration project
The approach to interior decoration is also interesting. The inside walls of the house were also not plastered, but simply covered with wallpaper on the boards. The remains of this wallpaper can be seen on the walls, at least today, during the restoration process, they can be studied and their design recreated.
In general, acquaintance with the Vasino estate provides a huge layer of information about the methods of building poor country estates in the 19th century.
Vasino estate. surviving fragment of wallpaper
Today it is difficult to say to what extent restorers will be able to recreate the entire structure of this unique wooden building, but the restoration that has begun is being carried out successfully.4. Volkov’s house in Vologda
Many wooden manor buildings have been preserved in Vologda. And one of the first I would like to name is a one-story wooden building, built for the mayor N.A. Volkov in 1814. For many years the building was one of the cultural centers of Vologda. And since 1973, the house has housed the city music school.
with a front porch facing the courtyard with patterned brackets
Facade - restoration project
Plan - restoration project
carved wooden parts The decoration of the facades seems to repeat the favorite Empire motifs that we are used to seeing in plaster work on the facades of stone houses.
Particularly impressive is the execution of columns and capitals in wood.
The interiors of the building are made in traditional plaster finish,
and in them ovens become very important
5. Sokovikov’s house in Vologda
Sokovikov's house looks completely different in Vologda. Unlike most wooden manor houses, this building has two floors. Since 1830, the house of Archpriest P.V. Vasilievsky, Since 1867 - the merchant I.M. Sokovikov. Its last owner was the son of Ivan Mikhailovich Sokovikov, Ivan Ivanovich. In 1918 the house was nationalized. In the spring, the building housed the Austrian embassy. After the revolution, the purpose of the house constantly changed; in the eighties there was a museum of the history of the youth movement, exhibitions were held.
Sokovikov's house is unique for Vologda in its architectural solution. Noteworthy are the layout features characteristic of the houses of the first half of the 19th century century: the presence of a mezzanine floor, the location of the main entrance from the courtyard. The architecture is in the Empire style: the house gives the impression of simplicity and at the same time solemnity. The design of the portico on the northern facade is expressive: two pairs of widely spaced columns placed on the ledge of the lower floor and supporting an entablature with triangular pediment, form a balcony with a balustrade. Balcony door interpreted as a large triple window with a complex casing. The house is completed with a large cornice with large projections - denticles. Above the small windows of the first floor there are semi-arched decorated carved frames. On the second floor, the tall windows of both street facades are framed by framed frames with light and simple frames.
Interior in Russian graphics of the 19th - early 20th centuries
When photography was invented in the 19th century, it became possible to record reality with documentary precision. People happily began to take photographs, and soon the watercolor portrait ceased to be in demand, and its place was firmly taken by the photographic portrait. However, progress did not affect the interior genre in any way: interiors continued to be painted in the same volume as before, and the demand for watercolor albums with views of palaces and estates was still as high. However, hand-made sketches of interiors are still valued to this day, even in the era of digital photography and limitless image processing possibilities. Although, of course, rather as an excellent exception to the general rule.
V.P. Trofimov. White living room in the house of the Moscow Governor-General. Early 1900s. Fragment
A.P. Baryshnikov. The red living room in the house of the Moscow Governor-General. 1902. Fragment
And then everyone who could afford it wanted to capture their home, their family nest, in paint. The photograph was black and white, and the owners wanted to preserve in memory not only the space and shape, but also the color. The photograph allowed for geometric distortions, deterioration in sharpness as it moved away from the center, and the owners wanted not a single detail, not a single fragment to be left uncovered. There was another very important point, because of which the interior genre in graphics continued to live and thrive despite technical innovations. We will definitely tell you about it, but a little later. In the meantime, let’s finally begin to look at these very watercolor “portraits” of interiors, against which advanced technology turned out to be powerless.
Drawings from the album of Countess E.A. Uvarova. 1889—1890
E.A. Uvarov. Study-living room in the estate of the counts Uvarov (Porechye, Moscow province). 1890
E.A. Uvarov. Study-living room in the estate of the counts Uvarov (Porechye, Moscow province). 1890. Fragment
Since the end of August 2016, the State Historical Museum in Moscow has opened an exhibition representing an entire gallery graphic works XIX - early XX centuries, united by the theme of the interior. You don't often see designers and architects at such exhibitions; they usually prefer printed catalogs or pictures that have been leaked to the Internet. However, anyone who has seen the originals at least once understands how “in real life” the impression is richer and more informative.
At the exhibition you will find a fascinating immersion into the world of interiors famous people of that time: the empress, the Moscow governor-general, an outstanding historian, the son of Admiral Krusenstern, the daughter of the chief architect of Odessa, the minister of education, a socialite and even a future saint.
What is unique is that these images are historical documents showing interior decoration houses of the period under review with factual accuracy. For example, this cannot be said about the paintings of the 17th century Dutch, the founders of the interior genre: the artists of that time preferred symbolic objects and allegory, as well as clarity of composition to the detriment of historical truth. In the 20th century, the author’s view and emotional background, which the artist seeks to convey, and not the recreation of real space. Therefore, drawings by Russian masters of the 19th century, in addition to their artistic value, are also a reliable source of information on the history of Russian interior design.
Unknown artist. A suite of rooms in an unknown mansion. 1830s
We will tell you about some of the works that the exhibition presents. The rest can be seen at the exhibition at the State Historical Museum until November 28, 2016, as well as in the catalog album Interior in Russian graphics of the 19th - early 20th centuries. From the collection of the State Historical Museum / Comp. E.A. Lukyanov. - M., 2016.
Living room in the estate of the Shakhovsky princes (Moscow province)- a wonderful example of the comfort and simplicity of a classic noble house. A soft set, covered with light textiles with a floral pattern, successfully organizes the space, but does not deprive it of spontaneity.
Unknown artist. Living room in the estate of the Shakhovsky princes (White Kolp, Moscow province). 1850s
In the study-living room of the estate of the princes Shakhovsky simple forms of furniture are freely combined with a complex ceiling, and Karelian birch is amber in color — with white placemat seats and a sofa upholstery that looks just like modern.
Unknown artist. Study-living room in the estate of the Shakhovsky princes (White Kolp, Moscow province). 1850s
But here is a place where we would hardly be able to get to in reality — Count Uvarov's office in the building of the Ministry of Public Education in St. Petersburg. S.S. Uvarov not only headed this very Ministry and was outstanding politician of his time, but also became famous as a brilliant scientist, expert on classical antiquity and art collector. In the count's office there were, for example, Etruscan vases, a sculpture of cupid by E.M. Falcone, picturesque views of Venice, as well as many other valuable objects and paintings. The shape of the chandelier under the ceiling with a glass “umbrella” over a metal base is interesting.
A.N. Rakovich. Office of Count S.S. Uvarov in the building of the Ministry of Public Education in St. Petersburg. 1847
Office in the house of Professor Granovsky in Moscow captivates with its scholarly atmosphere: books in the cabinets, books on the armchair, books on the chair and on the flower stand. On the tables — mountains of manuscripts. By the way, there are two tables — one written, the other — desk — for working standing or sitting on a high stool. Outstanding Russian historian T.N. Granovsky is famous for his scientific works and active social activities. So by spiral staircase, the balustrade of which so gracefully decorates the office, many outstanding personalities of that time rose.
Unknown artist. Office in the house of T.N. Granovsky in Moscow. 1855
However, let's perhaps move a little away from science and politics and visit salon of the house of Victoria Frantsevna Marini, daughter of the leading architect of Odessa. It is light and calm here: pleasant colors, carpet, groups of chairs in snow-white covers. The hall is zoned using textiles on the cornice. The front wall is decorated with draperies and narrow columns that serve as the basis for paintings.
Unknown artist. Salon in the house of V.F. Marini in Odessa. 1840s
Study-living room in the house of Maria Trofimovna Pashkova in St. Petersburg — purely feminine territory: pink and gold decoration, complex lambrequins with tassels on the windows, on the closet — tea-set. However, the central place in the room is occupied by a large desk with cabinets for papers and a comfortable trough chair. Along the perimeter of the table you can see a functional openwork fence. On the left there is a sofa-canapé with an asymmetrical back and wheels, on the right there is large mirror — a whole "oasis" in flower pots, magnified twice by the specular reflection.
Unknown artist. Study-living room in the house of M.T. Pashkova in St. Petersburg. 1830s
The exhibition presents two large series of watercolors illustrating the interiors of entire houses: the palace of Moscow Governor-General Sergei Aleksandrovich Romanov and the villa (dacha) of Princess Zinaida Yusupova. Both houses have survived to this day, but the historical interiors, unfortunately, have not. Therefore, it is especially interesting to see them in drawings that convey not only the life and atmosphere of that time, but also the personality traits of the famous owners.
State rooms house of the Moscow Governor General, of course, impress with their artistic integrity and luxurious design, but for practical designers, perhaps, it would be more interesting to look into the private chambers of the Romanov house. Let's say in dressing room of Grand Duke Sergei Alexandrovich, brother of Alexander III and uncle of Nicholas II. Equipped with running water with a tap and sinks, it nevertheless looks like an art gallery: on the walls there is a dense hanging of portraits of ancestors and relatives, saints and heroes, on the floor — carpet covering, on the right you can see a sofa upholstered in satin. Although, if you imagine a room without paintings, it turns out that it is decorated very functionally and without pathos.
I.I. Nivinsky. Toilet room Grand Duke Sergei Alexandrovich in the house of the Moscow Governor-General. 1905
Sergei Alexandrovich's wife, Grand Duchess Elizaveta Feodorovna, was a German princess by birth, and after her marriage she converted to Orthodoxy. During her life she was distinguished by piety and mercy, after the revolution she was killed, and many years later — glorified in the ranks of the holy new martyrs. Two drawings, made in 1904-1905, well characterize the personality of this unique woman, a noble lady and at the same time a person possessing the qualities of a saint.
Prayer corner in the couple's bedroom decorated very comfortably and tastefully. In the corner — traditional canonical icons in a large carved folding icon case. Along the walls — paintings on religious themes and icons placed in painting frames. It is clear that the hostess was aware of the new discoveries of the Christian world — on the right wall above all the images there is a copy of the face of Christ from the Shroud of Turin, which was first presented general public in 1898, after receiving photographic photographs.
I.I. Nivinsky. Bedchamber of Grand Duke Sergei Alexandrovich and Grand Duchess Elizaveta Feodorovna in the house of the Moscow Governor-General. Corner with oak carved icon case and icons. 1904
And this Boudoir of the Grand Duchess — a kingdom of textiles and light, a secluded, deeply personal space. The walls are covered with colored fabric, the doors and windows are framed with curtains; the table, armchair, ottoman are completely wrapped in fabric; there is a carpet on the floor, a lamp in a green “skirt” with ruffles. Here and there there are white airy napkins with cutwork embroidery. The monumental wooden dressing table standing on the right looks contrasting. Interesting is the vertical painting above the trellis, more like a poster or large book illustration, depicting a Russian village in winter.
I.I. Nivinsky. Boudoir of Grand Duchess Elizabeth Feodorovna in the house of the Moscow Governor-General. 1905
By the way, not all works from the album of interiors of the princely couple Sergei Alexandrovich and Elizaveta Feodorovna are on display at the exhibition. The full cycle can be seen in the exhibition catalogue.
Before moving on to the story about the second house, which is the subject of a series of works, let’s look at one more office. It was impossible to pass by and not mention him. This office-library in the mansion of manufacturer K.O. Girod in Moscow. Claudius Osipovich came from France and founded a weaving factory in Moscow, which later became one of the largest in Russia. The room is impeccable in its furniture arrangement, symmetry and compositional balance. Each object and item is in the right place and in a clear connection with other objects. Integrity is also achieved by using the same fabric for the sofa, chairs and curtains.
A. Teich. Office-library in the mansion of K.O. Girod in Moscow. 1898
Princess Zinaida Ivanovna Yusupova, the villa (dacha) of which the artist sketched, — This is not the blue-eyed brunette from Serov’s portrait, but her grandmother. She is also an incredible beauty and a sophisticated aristocrat, the first lady at St. Petersburg balls. Luxurious dacha in Tsarskoe Selo was built by the court architect I.A. Monighetti is in neo-baroque style, and the interiors are decorated in different styles. Author of the album with views interior spaces is one of the leading watercolorists of the time, Vasily Sadovnikov — also a courtier, but an artist. The Yusupov family was so influential and wealthy that they could afford to use the services of specialists who worked for the emperors.
V.S. Sadovnikov. Living room in chinese style. Villa (dacha) of Princess Z.I. Yusupova in Tsarskoe Selo. 1872
Sadovnikov worked as real professional. First, he made pencil sketches of all the interior details. Then he drew the perspective of the room and created a general, universal perspective, synthesizing it from several options. Then he drew a sketch of the interior, accurately distributing objects in a new image, “synthesized” from several angles, achieving maximum coverage of the room and the absence of distortion. At the very end I colored everything. The result was an ideal presentation of the interior, with a detailed panorama of the room and correction of geometric distortions.
In general, the artist made manually what is today called panoramic photography, assembled from individual photographs, as well as digital image correction, carried out using compensation algorithms in graphic editors.
V.S. Sadovnikov. Living room in Louis styleXVI. Villa (dacha) of Princess Z.I. Yusupova in Tsarskoe Selo. 1872
Remember, at the beginning of the article we promised to talk about another very important point, why the 19th century camera could not defeat watercolor interiors? That's exactly why. The camera couldn't do that back then. Couldn't "grab" large space as wide as possible, to create a holistic perspective without geometric distortions, to maintain the harmonious appearance of each object. All this became possible only in the digital era, with the advent of photo post-processing programs.
And then... And then, apparently, they simply really loved their homes, the unusual “interior” beauty and things dear to their hearts, — loved it so much that they did not want to be content with black and white conventions and small fragments. No, we needed color, and air, and a high ceiling, and a clock on the fireplace, and compositions of plants — everything to the maximum. And since the artists were talented, they could convey it — then the love for the interior was manifested in its entirety, through detailed watercolor “portraits”. We can only sincerely rejoice, because thanks to the fact that the graphic interior genre was not defeated by progress, we can still enjoy the beauty of a Russian home hundreds of years later.
G.G. Gagarin. A suite of rooms in an unknown mansion. 1830-1840s
Exhibition “Interiors in Russian graphics of the 19th – early 20th centuries. From the collection of the State Historical Museum" is open until November 28, 2016 at the address: Moscow, Red Square, 1.
There could be a valet on duty in such a room. The mahogany furniture with brass overlays is made in the Jacobean style.
Sample for Portrait(1805-1810s) became the corresponding room in the estate of Count A.A. Arakcheev in Gruzino. Unfortunately, the estate itself was completely destroyed during the Great Patriotic War. Patriotic War. The portrait room is decorated in the early Russian Empire style, the walls are painted with striped wallpaper.
Cabinet(1810s) was a mandatory attribute of a noble estate. In the interior presented in the exhibition, the furniture set is made of Karelian birch, the desk and armchair are made of poplar wood. The coloring of the walls imitates paper wallpaper.
Dining room(1810-1820s) – also made in the Empire style.
Bedroom(1820s) is functionally divided into zones: the bedroom itself and the boudoir. There is an icon case in the corner. The bed is covered with a screen. In the boudoir, the hostess could do her business - do needlework, correspondence.
Boudoir(1820s) was located next to the bedroom. If conditions allowed, it was a separate room in which the mistress of the house went about her business.
As a prototype Living room(1830s) served as the living room of P.V. Nashchekin, a friend of A.S. Pushkin, from a painting by N. Podklyushnikov.
Cabinet young man(1830s) was created based on Pushkin’s “Eugene Onegin” (it is interesting to compare it with the Trigorskoye estate, which became the prototype of the Larins’ house from this novel). Here you can see the desire for convenience and comfort, they are actively used decorative fabrics. The laconicism inherent in the Empire style is gradually disappearing.
INTERIORS 1840-1860s
The 40s - 60s of the 19th century were the time of the dominance of romanticism. At this time, historicism was popular: pseudo-Gothic, second Rococo, neo-Greek, Moorish, and later pseudo-Russian styles. In general, historicism dominated until late XIX century. The interiors of this time are characterized by a desire for luxury. The rooms are filled with an abundance of furniture, decorations and trinkets. Furniture was made mainly from walnut, rosewood, and sacchardan wood. The windows and doors were covered with heavy draperies, and the tables were covered with tablecloths. Oriental carpets were laid on the floors.
At this time, W. Scott's chivalric novels became popular. Largely under their influence, estates and dachas are being built in gothic style(I already wrote about one of them - Marfino). Gothic cabinets and living rooms were also installed in the houses. Gothic was expressed in stained glass on windows, screens, decorative elements finishing of rooms. Bronze was actively used for decoration.
Late 40's - early 50's. The 19th century was marked by the emergence of the “second Rococo”, otherwise called “a la Pompadour”. It was expressed in imitation of the art of France of the mid-18th century. Many estates were built in the Rococo style (for example, the now dying Nikolo-Prozorovo near Moscow). The furniture was made in the style of Louis XV: rosewood furniture with bronze decorations, porcelain inserts with paintings in the form of bouquets of flowers and gallant scenes. Overall, the room looked like a precious box. This was especially true for the women's quarters. The rooms on the men's side were more laconic, but also not devoid of grace. They were often decorated in an “oriental” and “Moorish” style. Ottoman sofas came into fashion, the walls were decorated with weapons, and the floors were covered with Persian or Turkish carpets. There could also be hookahs and smokers in the room. The owner of the house dressed in an oriental robe.
An example of the above is Living room(1840s). The furniture in it is made of walnut, and Gothic motifs can be traced in the decorative finish.
Next room - Yellow living room(1840s). The set presented in it was made for one of the living rooms of the Winter Palace in St. Petersburg, presumably according to the drawings of the architect A. Bryullov.
Young girl dressing(1840-1850s) made in the “walnut rococo” style. A similar room could be in a metropolitan mansion or in a provincial estate.
IN Cabinet-boudoir(1850s) in the “second Rococo” style is presented expensive furniture“a la Pompadour”, veneered with rosewood, with inserts of gilded bronze and painted porcelain.
Bedroom of a young girl(1850-1860s) is striking in its splendor; it is also an example of the “second Rococo”.
INTERIORS 1870-1900s
This period is characterized by a smoothing out of the differences between noble and bourgeois interiors. Many old noble families gradually became poorer, losing influence to industrialists, financiers, and intellectuals. Interior design during this period begins to be determined by the financial capabilities and taste of the owner. Technological progress and industrial development contributed to the emergence of new materials. Thus, machine lace appeared, and windows began to be decorated with tulle curtains. At this time, sofas of new shapes appeared: round, double-sided, combined with whatnots, shelves, jardinieres, etc. Upholstered furniture appears.
In the 1870s, under the influence of the World Exhibition in Paris of 1867, the Louis XVI style came into fashion. The “Boule” style, named after A.Sh. Boule, who worked under Louis XIV, is experiencing a rebirth - furniture was decorated with tortoiseshell, mother-of-pearl, and bronze. The rooms of this period are decorated with porcelain from Russian and European factories. The walls were decorated with numerous photographs in walnut frames.
The main type of housing is an apartment in a tenement building. Its design was often characterized by a mixture of styles, a combination of incompatible things only due to the similarity of color, texture, etc. In general, the interior of this time (like architecture in general) was eclectic in nature. The rooms were sometimes more reminiscent of an exhibition hall than a living space.
Pseudo-Russian style is coming into fashion. This was largely facilitated by the architectural magazine Zodchiy. Country dachas were often built in this style (for example, Abramtsevo near Moscow). If the family lived in an apartment, one of the rooms, usually the dining room, could be decorated in pseudo-Russian style. The walls and ceiling were covered with beech or oak panels and covered with carvings. Often there was a massive buffet in the dining room. IN decorative design Peasant embroidery motifs were used.
At the end of the 1890s, the Art Nouveau style emerged (from the French moderne - modern), expressed in the rejection of imitation, straight lines and angles. Modern is smooth curved natural lines, new technologies. The interior in the Art Nouveau style is distinguished by unity of style and careful selection of objects.
Raspberry living room(1860-1870s) amazes with its pomp and luxury of the Louis XVI style, combined with the desire for convenience and comfort.
Cabinet(1880s) is eclectic. Various, often incompatible items are collected here. A similar interior could be in the house of a prestigious lawyer or financier.
Dining room(1880-1890s) made in Russian style.
Maple living room(1900s) is a wonderful example of the Art Nouveau style.
Thus, the entire 19th century passed before our eyes: from the Empire style with its imitation of ancient culture at the beginning of the century, through the fascination with the styles of historicism in the middle of the century, eclecticism in the second half of the century and the unique, unlike anything else, modernism at the turn of the 19th-20th centuries.
© Maria Anashina
The other day I managed to visit an incredibly “delicious” ( for both gourmet and photographer) place - the house-estate of the manufacturer Dumnov in the village of Zarechye, Vladimir region.
The manufacturer's house is at the same time a weaving museum, a showpiece merchant estate of the late 19th century, and a hotel. The recreated interiors of a rich merchant's house with antique objects are quite impressive...
Since we came to the estate more on museum business, we were not very able to immerse ourselves in most interesting story this place.
Therefore, we will give its description with third party resource(strana.ru), decorating the text with our photographs: “The mansion of the manufacturer I.S. Dumnov in the village of Zarechye stands out sharply against the general unpretentious background: a nice two-story house with beautiful platbands and a strong fence. Behind the fence there is a wonderful garden and gazebos not visible from the street , a real Russian bathhouse. A well-kept village estate in the very center of the village.
This splendor is not so old - at the end of the 20th century, the hundred-year-old house was not much different from other houses abandoned to the mercy of fate, left without owners. The estate was taken away from the Dumnovs in the wake of dispossession, almost the entire family was imprisoned and deported, and they were placed in the house rural school, which closed in the nineties.
Already in new era The granddaughter of the last of the Dumnovs, Galina Maslennikova, returned to Zarechye. She managed to buy the family house and a plot of land under it. The goal was formulated right away: not just to equip a place to live, but to open a museum in Zarechye.
With the help of sponsors and with the assistance of the Vladimir-Suzdal Museum, the Maslennikov family managed to put the estate in order, recreate ancient interiors, lay out a garden and collect a collection of exhibits dedicated to the unique craft for which the village of Zarechye was famous.
The fact is that before the historical victory of the proletariat, the Dumnov factory produced silk, silk velvet and plush, and in the village almost every house had spinning wheels and looms. Everyone weaved - men, women, old people and children.
After the revolution, it turned out that luxurious fine fabrics were alien to the people, and production was retrained to artificial plush and lining fabrics. The fishery almost died if not for the enthusiasm of the Dumnov heiress, which was supported by the residents of Zarechensk.
They willingly donated antiques for the museum collection - in almost every house there was some historical object lying in the attic, such as grandmother’s spinning wheel, parts of weaving machines, and various antique utensils. Some things were found in other villages and purchased from antique dealers. Today the museum is rightfully proud, for example, of the presence of a handloom, which is extremely rare in museums of a similar profile in the world. The entire process of creating fabric, all the necessary equipment for this, are carefully collected and restored.
The exhibition is housed in two houses next to the main house of the Dumnovs. Typical peasant hut turned into a small museum “The House of a Country Weaver”, and next to it they built a copy of an old private factory, which was called a light house: it is a two-story hut, only with many windows to make it brighter.
Interestingly, each window does not consist of the usual two or four glasses, but of a large number of small cells. This is explained reasonable savings: the spindle often broke off and flew out of the window, and in order not to replace the entire expensive glass every time, they were prudently divided into fragments.