How to decorate the interior in the Empire style. S. Devyatova. Features of "home life" and the residential interior of manor houses of the late 18th - early 19th centuries Interior in Russian graphics of the 19th - early 20th centuries
was supposed to amaze with beauty and luxury, these are front rooms intended for admiration, but was it possible to work and relax in them? No wonder the kings loved their country residences more.
The nobles also sometimes had ceremonial mansions in St. Petersburg and something simple in the provinces. And often and only the simplest manor houses in the province. In the paintings you can see both the most chic, which the painters of the Winter Palace captured for posterity, and modest drawings of possibly 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 diverse over time, but the ceilings are varied, although the height of the rooms is often small
Podklyuchnikov N. Cabinet P.N. Zubov. 1840
Sredin A.V. A room in the Belkino estate 1907.
Living room in the estate Znamenskoye-Rayok
Tyranov A.V. Interior in a noble house.
Rebu Sh. Avchurino. 1846
The interior of Soymonov's house on Malaya Dmitrovka in Moscow. Unknown painter.
Sverchkov V.D. Interior view of the room. 1859
Zelentsov K.A. In the rooms
Zelentsov K.A. Living room with columns
Unknown artist. Living room interior
Peach L. Manor Porechye. Library.
Peach L. Manor Porechye. Museum. 1855
Rakovich A.N. Interior. 1845
Tikhobrazov N.I. Interior at the Lopukhins' estate. 1844
Tikhobrazov N.I. Petersburg interior
Premazzi L. Mansion-Baron A. L. Stieglitz. White living room.
This is just about the chic noble mansions, which were painted by the same artists as the Winter Palace. The chief financier of the empire, the chairman of the state bank, a man close to the royal family, had a magnificent palace in St. Petersburg, later acquired for the Grand Duke Pavel Alexandrovich.
Premazzi L. Mansion-Baron A. L. Stieglitz. golden living room
Premazzi L. Mansion-Baron A. L. Stieglitz. Living room 
Premazzi L. Mansion-Baron A. L. Stieglitz. Front office.
Premazzi L. Mansion-Baron A. L. Stieglitz. Office of the Baroness.
Premazzi L. Mansion-Baron A. L. Stieglitz. Library
Interior in Russian graphics of the 19th - early 20th century
When photography was invented in the 19th century, it became possible to capture reality with documentary accuracy. People gladly began to take pictures, and soon the watercolor portrait ceased to be in demand, and the photographic portrait firmly took its place. 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, man-made sketches of interiors are valued to this day, even in the era of digital photography and the endless possibilities of image processing. 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. 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, family nest in colors. The photo was black and white, and the owners wanted to keep in mind not only the space and shape, but also the color. The photograph allowed geometric distortions, deterioration of sharpness as it moved away from the center, and the owners wanted not a single detail, not a single fragment to remain uncovered. There was another very important moment, because of which the interior genre in graphics continued to live and prosper despite technical innovations. We will definitely talk about it, but a little later. In the meantime, let's finally begin to consider these same watercolor "portraits" of interiors, in front of 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 Counts Uvarovs (Porechye, Moscow province). 1890
E.A. Uvarov. Study-living room in the estate of Counts Uvarovs (Porechye, Moscow province). 1890. Fragment
Since the end of August 2016, the State Historical Museum in Moscow has opened an exhibition representing a whole gallery of graphic works of the 19th - early 20th centuries, united by the interior theme. Designers and architects are not often seen at such exhibitions, usually they prefer printed catalogs or pictures that have been leaked on the Internet. However, those who have seen the originals at least once understand how much “in real life” the impression is richer and more informative.
At the exhibition, you will find a fascinating immersion in the world of interiors of famous people of that time: the Empress, the Moscow Governor-General, an outstanding historian, the son of Admiral Kruzenshtern, the daughter of the chief architect of Odessa, the Minister of Education, a secular lady and even a future saint.
The uniqueness is that these images are historical documents showing the interior decoration of the houses of the period under consideration with factual accuracy. For example, about the paintings of the Dutch of the 17th century, the founders of the interior genre, one cannot say so: the artists of that time preferred objects-symbols and allegory, as well as the clarity of the composition to the detriment of historical truth. In the 20th century, the author's view and emotional background, which the artist seeks to convey, rather than recreating real space, comes to the fore in the image of the interior. Therefore, the drawings of Russian masters of the 19th century, in addition to their artistic value, are also a reliable source of information on the history of the Russian interior.
Unknown artist. Enfilade of rooms in an unknown mansion. 1830s
We will tell you about some of the works that the exposition presents. The rest can be seen at the exhibition in 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 princes Shakhovsky (Moscow province)- a wonderful example of 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 immediacy.
Unknown artist. Living room in the estate of the Shakhovsky princes (Belaya 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 amber-colored Karelian birch — with white napkin seats and sofa upholstery that looks quite modern.
Unknown artist. Study-living room in the estate of the Shakhovsky princes (Belaya Kolp, Moscow province). 1850s
And here is a place where we would hardly be able to get in reality — office of Count Uvarov in the building of the Ministry of Public Education in St. Petersburg. S.S. Uvarov not only headed this same Ministry and was an outstanding political figure of his time, but also became famous as a brilliant scientist, connoisseur of 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
Study in the house of Professor Granovsky in Moscow captivates with its scholarly atmosphere: books in bookcases, books on an armchair, books on a chair and on a flower stand. On the tables — mountains of manuscripts. By the way, there are two tables. — one written, the other — desk — to work standing or sitting on a high stool. The outstanding Russian historian T.N. Granovsky is known for his scientific works and active social activities. So many prominent personalities of that time climbed the spiral staircase, the balustrade of which so gracefully decorates the office.
Unknown artist. An 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, a carpet, groups of chairs in snow-white covers. The hall is zoned with 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 — a purely feminine territory: in pink and gold finishes, complex lambrequins with tassels on the windows, on the wardrobe — 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 is a sofa-couch with an asymmetrical back and wheels, on the right is a large mirror — a whole "oasis" in flower pots, doubled by mirror 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 the Moscow Governor-General Sergei Alexandrovich Romanov and the villa (cottage) of Princess Zinaida Yusupova. Both houses have survived to this day, but the historical interiors, unfortunately, are 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 eminent owners.
front rooms houses of the Moscow governor-general, of course, impress with artistic integrity and luxurious design, but for practical designers, it would probably be more interesting to look into the private chambers of the Romanovs' house. Let's say in dressing room of Grand Duke Sergei Alexandrovich, brother of Alexander III and uncle Nicholas II. Equipped with plumbing with a tap and sinks, it nevertheless looks like an art gallery: on the walls there are dense hanging portraits of ancestors and relatives, saints and heroes, on the floor — carpeting, on the right is a sofa in satin upholstery. Although, if you imagine a room without paintings, it turns out that it is decorated very functionally and without pathos.
I.I. Nivinsky. The dressing room of Grand Duke Sergei Alexandrovich in the house of the Moscow Governor-General. 1905
The wife of Sergei Alexandrovich, Grand Duchess Elizaveta Feodorovna, was a German princess by birth, after marriage she converted to Orthodoxy. During her lifetime, she was distinguished by piety and mercy, after the revolution she was killed, and after many years — glorified in the face 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 with 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. On the walls — paintings on a religious theme and icons placed in frames for painting. It can be seen that the hostess was aware of the new discoveries of the Christian world. — on the right wall above all the images is a copy of the face of Christ from the Shroud of Turin, which was first presented to the general public in 1898, after receiving photographs.
I.I. Nivinsky. The bedchamber of Grand Duke Sergei Alexandrovich and Grand Duchess Elizabeth Feodorovna in the house of the Moscow Governor-General. Corner with carved oak icon case and icons. 1904
And this boudoir of the Grand Duchess — the kingdom of textiles and light, a secluded, deeply personal space. The walls are covered with colored cloth, the doors and windows are framed with curtains; table, chair, ottoman wrapped in fabric entirely; there is a carpet on the floor, a lamp in a green “skirt” with ruffles. Here and there lie white airy napkins embroidered with richelieu. The monumental wooden dressing table standing on the right looks in contrast. An interesting vertical picture above the trellis, more like a poster or a large book illustration depicting a Russian village in winter.
I.I. Nivinsky. Boudoir of the 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 Elizabeth Feodorovna are exhibited at the exhibition. The full cycle can be seen in the exhibition catalogue.
Before moving on to the story of the second house, which is dedicated to a series of works, let's look at one more study. It was impossible to pass by and not mention it in any way. it study-library in the mansion of the manufacturer K.O. Giro 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 arrangement of furniture, symmetry and compositional balance. Each object and object 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. Cabinet-library in the mansion of K.O. Giro in Moscow. 1898
Princess Zinaida Ivanovna Yusupova, the villa (cottage) which was sketched by the artist, — this is not the blue-eyed brunette from Serov's portrait, but her grandmother. Also an incredible beauty and sophisticated aristocrat, the first lady at St. Petersburg balls. Luxurious cottage in Tsarskoye Selo was built by the court architect I.A. The monighetti is neo-baroque, and the interiors are decorated in various styles. The author of the album with views of the interior is one of the leading watercolorists of that 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 (cottage) of Princess Z.I. Yusupova in Tsarskoye Selo. 1872
Sadovnikov worked like a true professional. At first he made pencil sketches of all the details of the interior. 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 painted 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 by hand what today is called panoramic photography, assembled from individual images, as well as digital image correction, carried out using compensation algorithms in graphic editors.
V.S. Sadovnikov. Louis style living roomXVI. Villa (cottage) of Princess Z.I. Yusupova in Tsarskoye 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. I could not "grab" a large space as widely as possible, create a holistic perspective without geometric distortions, and maintain a harmonious look of each object. All this became possible only in the digital age, with the advent of photo post-processing programs.
And then ... And then, apparently, they simply loved their houses very much, the unusual "interior" beauty and things dear to the heart, — loved 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 plant compositions — everything to the max. And since the artists were talented, they could convey it — then 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 the Russian house hundreds of years later.
G.G. Gagarin. Enfilade 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.
The Empire style brought ancient Roman luxury and French arrogance to the homes of the Russian nobility. But under the influence of either a harsh climate, or mores, he quickly changed, becoming softer and freer.
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On the picture:
"Big Style"
What does it represent. Interiors of the 19th century in the Empire style are, first of all, bright colors combined with gilding. No wonder, because gold is the royal metal, and Empire (French) means "empire". This pompous style has a rather narrow time frame: the beginning of the 19th century and the reign of Napoleon (1804) - the decline of the great emperor (1814-1815). The Russian Empire originated as an imitation of the French, but quickly acquired its own face. It was softer, freer, more plastic and lasted until the 1830s and 1840s.
Main features. Empire - a decorative style created by Napoleon's court decorators, internally hard and cold. It includes Egyptian and especially Roman motifs, mostly attributes of the military history of the Romans, allows for contrasting combinations of colors and sharp transitions of shapes and lines.
In the photo: armchair 8900SC + 8912PL from the Colombostile factory.
Walls. Scarlet, sky blue, green, they went well with gilded furniture, cornices, chandeliers. Pastel shades were also used: pistachio, blue, lilac. The main decoration of the walls were murals and bas-reliefs on antique scenes. They were not abstract, but pointed to the passions and views of the owner of the house, and even contained the image of him and / or his wife in the form of ancient heroes.
Ceilings. They were decorated with plaster moldings or grisaille - painted bas-reliefs. An indispensable detail was a luxurious chandelier, which was hung on heavy chains. Sometimes chandeliers were made ... from papier-mâché, and only then they were covered with gilding.
Examples of ceremonial chandeliers suitable for interior decoration in the Empire style.
Details
Luxury requires light. Lighting in the Empire era was given special attention. In addition to the huge chandelier, the halls and offices always had table lamps, sconces and candelabra, the light from which was reflected in gilding and numerous mirrors.
Golden character. Gilded bronze appeared in Russia thanks to the French master Pierre Agy. Interiors of the 19th century in the Empire style shine with candelabra, inkwells, toilet bags and other small details. In the rooms you can see incense burners and jardinieres - flower stands. It was in the Empire era that mirrors appeared on dressing tables, illuminated on both sides by candelabra.
In the photo: F.B.A.I. watch 2001.
The golden age of Russian porcelain. This is what experts call the first third of the 19th century, when
domestic masters managed to create a unique "Russian Empire". Historical and patriotic subjects (for example, the victory of 1812 was reflected in a series of "military plates" of the Imperial Porcelain Factory), portraits of the imperial family, landscapes, paintings by old masters - all this was captured on porcelain and glass vases and sets. Often they were created according to the drawings of eminent architects.
Furniture as architecture. After 1812, Russian nobles began to acquire recamiers (the famous Parisian beauty Madame Recamier received guests in an antique tunic, lying on a couch), secretaires, boat sofas and other newfangled furniture. The furniture was often decorated with gilding; antique architectural details were used in the decoration - columns, caryatids, friezes. Despite the quirky look, Empire-style tables are comfortable for working with a computer, and therefore are still popular today. Well, psyche mirrors and curule chairs (with X-shaped legs) are not so rare in the interiors of bedrooms and offices.
Famous masters of the Russian Empire
| Carl Rossi (1775—1849) | The Italian Carl Rossi came to Russia as an established master, at the age of 33. He built the Yelagin Palace, the pavilions of the Summer and Mikhailovsky Gardens, and the Alexandrinsky Theatre. He created the famous ensembles of St. Petersburg squares: Palace, Senate, Alexandrinsky. He remained in the memory of his descendants as the main creator of the Russian Empire era. |
| Andrei Voronikhin (1759—1814) | Andrei Voronikhin is a Russian architect; he built the buildings of the Mining Institute and the Kazan Cathedral in St. Petersburg. Enjoyed the patronage of Empress Maria Feodorovna. According to his “design”, vases, dishes, furniture and other items of decoration of the imperial palaces, in particular, Pavlovsk, were created. |
| Heinrich Gambs (1764—1831) |
Furniture made by Heinrich Gambs adorned the imperial palaces and houses of the richest and noblest Russian families. "Gambs chairs" are mentioned in the works of Pushkin and Turgenev, and "Gambs chairs" already in the 20th century became the main characters of the famous book by Ilf and Petrov. |
|
Friedrich Bergenfeldt (1768 —1822) |
At the beginning of the 19th century, there was a famous factory and shop of the bronze maker Friedrich Bergenfeldt in St. Petersburg. He was the supplier of the imperial court and the rich Russian nobility: the Sheremetevs, the Stroganovs, the Yusupovs. Chandeliers, candelabra, vases by Bergenfeldt are stored in the Winter, Pavlovsk and Peterhof Palaces. |
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This exposition was created in 1976 under the guidance of the chief curator of the Pavlovsk Palace-Museum A.M.Kuchumov. Based on literary and documentary sources, paintings, drawings and photographs, typical interiors of that era were recreated. In 2000, the exposition was reopened, with changes and additions. Moving from hall to hall, as if moving in a time machine, a whole century passes before your eyes. Through the interior, the way our ancestors equipped the living space, you better understand the psychology and philosophy of the people of that time, their attitude and worldview.
17 halls are divided into 3 semantic blocks:
- Russian noble estate of the 1800-1830s,
- metropolitan aristocratic mansion of the 1830-1860s,
- city apartment 1860-1890s.
Interiors 1800-1830s
At the beginning of the 19th century, a manor house or city mansion was a typical dwelling of the nobility. Here, as a rule, lived a large family and numerous servants. The ceremonial halls were usually located on the second floor and consisted of a suite of living rooms, a boudoir and a bedroom. The living quarters were located on the third floor or mezzanines and had low ceilings. The servants lived on the first floor, there were also service premises. If the house was two-story, then the living rooms, as a rule, were on the first floor and ran parallel to the service premises.
The end of the 18th - the beginning of the 19th century is the time of the dominance of classicism, which implies a clear rhythm and a single style of placing furniture and art. Furniture was usually made of mahogany and decorated with chased gilded bronze or brass bands. From France and other European countries, interest in antiquity penetrated into Russia. Therefore, in the interior of this time we will see antique statues and the corresponding decor. Under the influence of Napoleon, the Empire style, created by the architects C. Persier and P. Fontaine, with its spirit of luxurious imperial residences of the Roman Empire, comes into fashion. Furniture in the Empire style was made of Karelian birch and poplar, often painted green - like old bronze, with gilded carved details. Clocks and lamps were made of gilded bronze. The walls of the rooms were often painted in pure colors - green, gray, blue, purple. Sometimes they were pasted over with paper wallpaper or imitated paper wallpaper, smooth or striped, with ornaments.
The enfilade of rooms in the exposition opens (the end of the 18th - the beginning of the 19th century). In such a room there could be a valet on duty. Mahogany furniture with brass overlays is made in the style of "Jacob".
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. The portrait room is decorated in the early Russian Empire style, the walls are painted like striped wallpapers.
Cabinet(1810s) was an obligatory attribute of a noble estate. In the interior presented in the exposition, the furniture set is made of Karelian birch, the desk and armchair are made of poplar wood. Wall painting imitates paper wallpaper.
Canteen(1810-1820s) - also made in the Empire style.
Bedroom(1820s) is functionally divided into zones: the actual bedroom and the boudoir. There is a kiot in the corner. The bed is covered with a screen. In the boudoir, the hostess could go about her business - needlework, correspond.
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.
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.
Young man's office(1830s) was created based on Pushkin's "Eugene Onegin" (it is interesting to compare it with, which became the prototype of the Larin house from this novel). Here you can see the desire for convenience and comfort, decorative fabrics are actively used. The conciseness inherent in the Empire gradually disappears.
Interiors 1840-1860s
The 40s - 60s of the XIX century - 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 the end of the 19th century. The interiors of this time are characterized by a desire for luxury. The rooms are full of furniture, decorations and knick-knacks. Furniture was made mainly of walnut, rosewood, and sacchardwood. Windows and doors were covered with heavy draperies, tables were covered with tablecloths. Oriental carpets were laid on the floors.
At this time, W. Scott's chivalric novels became popular. In many ways, under their influence, estates and dachas in the Gothic style are being built (I already wrote about one of them -). Gothic cabinets and living rooms were also arranged in the houses. Gothic was expressed in stained-glass windows, screens, screens, in decorative elements of room decoration. Bronze was actively used for decoration.
The end of the 40s and the beginning of the 50s of the XIX century were marked by the appearance of the “second Rococo”, otherwise called “a la Pompadour”. It was expressed in imitation of the art of France in the middle of the 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 sets with bronze decorations, porcelain inserts painted in the form of bouquets of flowers and gallant scenes. In general, the room was like a precious box. This was especially true for the premises of the female half. The rooms on the men's side were more laconic, but also not without elegance. Often they were decorated in the "oriental" and "Moorish" style. Ottoman sofas came into fashion, weapons were adorned on the walls, Persian or Turkish carpets lay on the floors. There could also be hookahs and incense burners 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, Gothic motifs can be traced in the decorative finish.
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The next room is 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.
Dressing young girl(1840-1850s) made in the walnut rococo style. Such a room could be both in a capital mansion and in a provincial estate.
AT Cabinet-boudoir(1850s) in the "second Rococo" style, expensive furniture "a la Pompadour", veneered with rosewood, with inserts of gilded bronze and painted porcelain, is presented.
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 smoothing out the differences between noble and bourgeois interiors. Many old noble families gradually became poorer, yielding influence to industrialists, financiers, and people of mental labor. 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. So, machine-made lace appeared, windows began to be decorated with tulle curtains. At this time, sofas of new forms appeared: round, double-sided, combined with bookcases, shelves, jardinieres, etc. Upholstered furniture appears.
In the 1870s, under the influence of the World Exhibition in Paris in 1867, the style of Louis XVI came into fashion. The “boule” style is experiencing a rebirth, so named after A.Sh. Boule, who worked under Louis XIV - the furniture was decorated with tortoise, mother-of-pearl, bronze. The rooms of this period are decorated with porcelain from Russian and European factories. Numerous walnut-framed photographs adorned the walls.
The main type of housing is an apartment in an apartment building. Its design was often characterized by a mixture of styles, a combination of incongruous things only by the commonality of color, texture, etc. In general, the interior of this time (as well as architecture in general) was eclectic in nature. The rooms were sometimes more like an exhibition hall than a living space.
The pseudo-Russian style is coming into fashion. In many ways, this was facilitated by the architectural magazine "Architect". Country dachas were often built in this style (for example, near Moscow). If the family lived in an apartment, one of the rooms, usually the dining room, could be decorated in the pseudo-Russian style. The walls and ceiling were sheathed with beech or oak panels, covered with carvings. Often there was a massive buffet in the dining room. The motifs of peasant embroidery were used in the decoration.
At the end of the 1890s, the Art Nouveau style (from the French moderne - modern) was formed, expressed in the rejection of imitation, straight lines and angles. Modern is smooth curved natural lines, new technologies. The Art Nouveau interior is distinguished by the unity of style, careful selection of items.
crimson living room(1860-1870s) impresses with its pomp and luxury of the Louis XVI style, combined with the desire for convenience and comfort.
Cabinet(1880s) is eclectic. Here are collected different, often incompatible items. A similar interior could be in the house of a prestigious lawyer or financier.
Canteen(1880-1890s) made in the Russian style. An obligatory attribute was the chair "Arc, ax and mittens" by V.P. Shutov (1827-1887). After the All-Russian Exhibition in St. Petersburg in 1870, they gained immense popularity. Soon other craftsmen began to make similar pieces of furniture with various variations.
maple living room(1900s) - a fine example of Art Nouveau.
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, the eclecticism of the second half of the century and the unique, unlike anything modern at the turn of the 19th-20th centuries.
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Architecture of a wooden manor house of the 19th century
The love for a tree, for a wooden house, has always been with a Russian person. It's somewhere in the subconscious, on the seventh sense. And at all times, a wooden house in Russia was considered the best, most convenient for living, the best for human health. And for the price, a wooden house compares favorably with a brick building. Therefore, the desire, first of a boyar, then of a nobleman, and later of a merchant and industrialist, to build a house of wooden structures for himself is understandable. And when analyzing the manor houses that have survived to this day, we see a lot of houses built of wooden structures.
If you very schematically draw a table of changes in architectural styles in Russia during the 19th century, you get the following picture. The beginning of the century is classicism, gradually turning, especially after 1812, into the victorious empire. And somewhere in the 1840s, an active search for new forms begins, the time of eclecticism begins, which rebelled against the academic dogmas of ancient architecture. And only at the very end of the 19th century, a truly new style began to gain strength - modern.
But in parallel with this change of styles, small city and country manor 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 dominated around, creating a fabulous symbiosis of the most bizarre combinations of architectural styles and details of past years. The traditional "master's house" with columns, on the lawn, attracted the attention of all strata of the then society. Both the wealthy merchant and the newly-minted industrialist also built for themselves an empire house with columns. Obviously, to feel equal with the nobles.
On the example of several wooden manor houses, today we have the opportunity to analyze the main techniques and methods for 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. According to the name of the church "Savior-Preobrazhenskaya" 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 returning, Ivan Nikolaevich rebuilt the manor house.
In the second half of the 19th century, the estate was sold, the wooden house was dismantled, and the estate fell into complete decay after that.
The manor house was restored after the revolution, in the 1970s. Archival documents, memoirs and paintings by contemporaries of M.I. Glinka.
Today, 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 veracity and naturalness. But here begins the first contradiction between the construction of the building and the elements of its decoration.
In Novospasskoye, the house was restored in wooden structures and with wooden paneling on the outside. And this is very good. But in the details there is plaster work and stucco. These are columns, capitals, a balustrade and some other details. It turned out to be a kind of symbiosis of a completely wooden mansion and details brought from stone architecture.
But today we have to consider not a historical building - but a kind of fantasy of architects-restorers 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 not a hint in this room
that the building is basically wooden
Among the buildings in Boldino is the house of the Votchina office, where Pushkin lived during his last
visiting the estate.The interior is interesting for its simple finish, 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, they are included in numerous excursion routes. But a certain touch of “new buildings” 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 a wooden house, one can give an example of the restoration of a manor house in Vasino.3. Vasino's estate
The ancient estate of Vasino is located in the Chekhov district of the Moscow region. on the high bank of the Lutorka River, in a shady park. At the beginning of the 19th century, the Decembrists visited Vasino, 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, with boarding. This house is one of the few examples of Empire-style wooden manor buildings that have survived 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 started in 2014.
In the photograph of 1991, the manor house is still in good condition,
it housed a school for many years
Another photo from 1991 - it can be seen that the building is in good condition
The house was in good condition until the 1990s, then stood in an abandoned state for more than 20 years,
and now restoration is underway with a complete restoration of the original wooden structures
This is all a very sad story, but thanks to this situation, today it is possible to see the details of the wooden structure of a “typical” manor house of the early 19th century, and see how such houses were created.
Manor Vasino. House plan - restoration project
Manor Vasino. Cross section of a house - restoration project
The approach to interior decoration is also interesting. Inside the walls of the house, too, they did not plaster, but simply pasted over the wallpaper on the boards. The remains of these wallpapers can be seen on the walls, at least today, in the process of restoration, they can be studied and their design recreated.
In general, acquaintance with the Vasino estate provides a huge amount of information about the methods of building poor country estates in the 19th century.
Manor Vasino. surviving fragment of wallpaper
Today it is difficult to say to what extent the 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 House in Vologda
Many wooden manor buildings have been preserved in Vologda. And one of the first would like to be called a one-story wooden building built for the mayor N.A. Volkov in 1814. For many years the building was one of the centers of culture in Vologda. And since 1973, the city music school has been located in the house.
with a front porch overlooking the courtyard with patterned brackets
Facade - restoration project
Plan - restoration project
The carved wooden details of the facade decoration, as it were, repeat the favorite Empire style motifs that we are used to seeing in plastering on the facades of stone houses.
Particularly impressive is the execution of columns and capitals in a wooden version.
The interiors of the building are made in traditional stucco finish,
and ovens are very important in them
5. House of Sokovikov 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. Vasilevsky, 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 was constantly changing, in the eighties there was a museum of the history of the youth movement, exhibitions were held.
The Sokovikov House is unique for Vologda in its architectural design. Attention is drawn to the layout features typical of the houses of the first half of the 19th century: the presence of a mezzanine floor, the location of the main entrance from the courtyard. The architecture is designed in the Empire style: the house gives the impression of simplicity and solemnity at the same time. 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 the entablature with a triangular pediment, form a balcony with a balustrade. The balcony door is interpreted as a large triple window with a complex casing. The house is completed with a large projection cornice with large protrusions - denticles. Above the small windows on the first floor there are semi-arched decorated carved architraves. On the second floor, the high windows of both street facades are framed by framed architraves with light and simple sandriks.
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