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Exhibition: Moscow Art Nouveau. Epoch & Style

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O. M. Zamickaja

Konzultant Vboru pro kulturn ddictv msta Moskvy

Vila Morozova, konec XIX. st., arch. F. O. echtl

, XIX ., . . .
Mansion of Morozov, end of XIX century, arch. F. O. Shekhtel

Vila Nosova na ul. Vednsk, rok 1903, arch. L. N. Kekuev

., 1903 ., . . .
Mansion of Nosov in Vvedenskay Square, 1903, arch. L. N. Kekushev

Koncem 19. stolet zav rusk architektura vznamn rst, kter je spojen s spchy ekonomickho a prmyslovho rozvoje a tomu odpovd hledn novch umleckch
metod i stylu, kter se v Rusku oznauje jako modern.
Tento styl vznikl jako alternativa klasicismu a vyznaoval se sloitmi dekoranmi kompozicemi, v nkterch
ppadech inspirovanmi organickou prodou a tc
z novch princip tektoniky. Jednm z nejvraznjch rys
novho stylu byl odklon od pouvn pmch lini ve prospch plastitjch a dynamitjch forem. Principy nov
utven tektoniky bylo mon aplikovat dky modernm
stavebnm materilm a technologim (elezobeton, elezn konstrukce, sklo). V novm stylu se vzjemn propojovaly umleck a utilitrn funkce, umlci se snaili zapojit do
sfry umn veker typy lidsk innosti. Pro tuto dobu je
charakteristick rozkvt uitho umn zdobcho nejenom
fasdy, ale i interiry budov.
V Rusku se nov styl rozvjel dvma smry. Prvn smr,
tak zvan internacionln, ml spolen rysy s vdeskou
seces, franko-belgickm Art Nouveau, nmeckm Jugendstilem a tak s anglickmi a dokonce i americkmi secesemi.
Druh smr byl spe nrodn zleitost a vyznaoval se v-
raznmi vzory. Je znm jako nov, rusk varianta secese.
Velmi zdailm pedchdcem tohoto stylu je vila
Z. G. Morozov na ul. Spiridonovka (1893). Pi jejm projektovn vznamn moskevsk architekt F. O. echtl pouil
motivy viktorinsk gotiky. Poprv bylo v kompozici pr-
el aplikovno velik okno a pi vzdob pokoj stedovk detaily. Osobit styl dodvaly interirm sochy, sklenn mozaiky, svteln pstroje, vyezvan detaily zdobc
stny a strop i dekoran prce M. A. Vrubelja.
Za prvn budovu, postavenou v novm stylu, je povaovna vila A. Lista od architekta L. N. Kekuevho, realizovan v roce 1898. Kompozice, zsadn se odliujc od
tradin adov architektury, je nyn zaloena na volnm
seskupen okolo centrln vstupn haly se schoditm a sys-

`
tm dispozinho een tak vytv iluzi pelvn prostoru, zaplnnho barevnm svtlem mozaik.
K nejvtm spchm moskevsk nov architektury
pat vila A. I. Droinsk ve ttn ulice (1901) a vila Rjabuinskho na Mal Nikitsk ulici (1900). Plastick krby,
dynamicky vyeen schody, vjimen rozmanit devn
ezba jako ozdoba stn a strop, pouit umleck litiny, sklo,
mozaiky, draprie to vechno se spojilo do vsledn synt-
zy, urujc novou umleckou kvalitu prostor obvanch lovkem. Nov stylizace urila vzhled veejnch a kulturnch
budov: Umleckho divadla a Kupeckho klubu.
Nov tvary v kombinaci s technickmi inovacemi
umonily vytvet budovy s novmi, funknmi monosti.
Kdy byl v roce 1899 postaven Obchodn dm V. F. Arinova v Staropansk ulice, spojil F. O. echtl vechny skladebn prvky: okna pemnil na mozaiky, snil meziokenn
pile a hlavn osu fasdy navrhl jako gigantick oblouk,

inovn dm M. V. Sokol, rok 19021903, architekt I. P. Makov,

vtvarnk N. N. Sapunov
.., 19021903 ., . .
, . .
Commercial apartment building of M. V. Sokol, 19021903, architect I. P. Maskov, artist N. N. Sapunov

Budova Trejakovsk galerie, rok 1906, vt. V. M. Vasncov

, 1906 ., . . .
Building of Tretyakovskaya gallery, 1906, artist V. M. Vasnetsov

vyplnn mozaikou. Budova se tak stala jednm z nejasnjch pklad vyuit skeletov struktury principu, kter
se til velk oblib v architektue 20. stolet.
Velk obchodn a vrobn budovy zskaly vrazn
estetitj vzhled. Takov je napklad romanticky een rychlotiskrna Levensona nebo nejlep vzor pozdnho
racionlnho stylu novho umn se stdmm dekorem
a psnou plasticitou stn knihtiskrna Rusk rno
(19071909).
Tvaroslov v duchu anglick secese pedstavuj stavby
V. Valkota vila Jakunikov (1900) a vila K. Gutheila
(1902) na Peistnsk ulice. Vyznauj se stzlivost a prostotou forem s vraznm vertiklnm lennm, bohatstvm
sklennch povrch i krsou dekoranch detail. Nejvtm Valkotovm dlem je hotel Metropol, projektovan
v roce 1899. Je zajmav tm, e vytv zdn velkho objemu s optickou diferenciac vnitnho prostoru, majolikovmi dekoracemi na fasdch, realizovanmi podle nvrh
M. Vrubelja a uniktnmi mozaikami v interirech.
V obdob kolem roku 1900 architekti asto dvali
pednost racionlnmu pojet, umoujcmu vytvet prostorn budovy, uren k obchodnm, vzdlvacm i lka-
skm elm.

Hledn novch stylistickch postup lo ruku v ruce

s rozvojem idej nvratu k nrodnm koenm, k formm
starho ruskho umn. Spojen tchto tendenc vytvoilo originln variantu evropsk secese nov, rusk
styl. Prvnmi przkumnky tohoto stylu v architektue
byli umlci V. M. Vasncov, M. V. Nstrov, V. M. Polenov,
K. A. Korovin, F. O. echtl a jin. Podoba starho ruskho
chrmu, ve, vrat a jinch dvnch forem se promtla do
typologicky novch objekt a vznikly tmto zpsobem nejkrsnj ukzky civiln architektury, jako napklad vila
N. V. Igumnova (arch. N. I. Pozdjev, 1891), vila I. E. Cvetkova (nvrh V. M. Vasncova, spoluprce ing. B. N. naubert,
1899-1901) a fasda Trejakovsk galerie (nvrh V. M. Vasncova).
Kompozice vil je charakteristick typickm ruskm
zasteenm a keramickmi obklady stn. Vnitn prostory
jsou eeny na zpsob divadelnch scn, s kobercovou v-
zdobou i s dekoracemi na zlatm pozad, pipomnajcmi
starovk brokt.
Zajmavou skupinu tvo vily-muzea, kter nejsou ureny pouze k obvn, ale i k umstn umleckch sbrek,
napklad dm P. I. ukina (B. V. Freidenberg, 1885 a A. E.
Erihson, 1896-1898). V kompozici stavby i ve vzdob interiru je ctit snaha o vytvoen zobecnn pedstavy o star
rusk architektue.
Dal krok uskutenil V. M. Vasncov na fasd Tre-
jakovsk galerie (projekt 1899, realizace 19001905).
Odvn spojen monumentln een stny s plasticitou
kadho detailu nebo motivu umonilo vytvoit vjimen
dlo, charakteristicky nrodn. Domem-pohdkou je asto
nazvn inovn dm Percova na Peistnskm nbe
(nvrh S. V. Maljutin, spoluprce ing. N. K. ukov, 1904)
a to dky vraznm majolikovm dekoracm s ruskmi motivy, kter zdob jeho fasdy z ervench cihel. Nejlepmi
ukzkami budov, sloucch svmu elu v novm ruskm
stylu se staly objekty Jaroslavskho ndra (F. O. echtl,
1902) a budova Sttn zlony (arch. B. M. Nilus, 1913)
s velkolepou vzdobou klenby a stn vnitnch prostor,
dokonale prokomponovan v celku i v detailech.

Budova hotelu Metropol, rok 18991903, arch. V. F. Valkott,

vtvarnk M. A. Vrubel
, 18991903 ., . . . , . . .
Building of Metropol hotel, 18991903, arch V. F. Valkott, art. M.
A. Vrubel

Vila Kekuev na ul. Ostoenka, rok 1903, arch. L. N. Kekuev

, 1903 ., . . .
Mansion of Kekusheva in Ostozhenka Street, 1903, arch. L. N. Kekushev

. .

Obchodn dm Arinova, rok 1899, arch. F. O. echtl

, 1899 ., . . .
Trade house of Arshinov, 1900, arch. F. O. Shekhtel

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Vila Rjabuinskho, konec XIX. zatek XX. st., arch. F. O. echtl
Interir obvacho pokoje.
, XIX XX ., . . . . .
Mansion of Ryabushinsky, the end of XIX the beginning of XX
century, arch. F. O. Shekhtel. Interior of drawing-room.

. , . . 1898 .
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Budova rychlotiskrny spolenosti A. A. Levenson, rok 1900,

arch. F. O. echtl
. , 1900 .,
. . .
Building of printing-house of A. A. Levenson partnership, 1900,
arch. F. O. Shekhtel

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Budova typografie Rusk rno, rok 1907, arch. F. O. echtl

, 1907 ., . . .
Building of Utro Rossii printing-house, 1907, arch. F. O. Shekhtel

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Vila Moskevsk obchodn-stavebn spolenosti, rok 18991900,

arch. V. Valkott
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18991900 ., . .
Mansion of Moscow trade and industrial society, 18991901,
arch. V. Valkott

O.M. Zamzhitskaya

Consultant of Committee on cultural heritage

of Moscow city.

Dvorcov komplex P. I. ukina, konec XIX. zatek XX. st.

. . , . XIX . XX.
Estate complex of P. I. Schukin, the end of XIX century the beginning of XX century.

In the end of nineteenth century Russian architecture went through tremendous upsurge, caused by
successes of economic and industrial development and
accompanied by search of ne artistic methods and by development of new style, called modern in Russia.
Modern, originated as an alternative to classicism
architecture, used complex picturesque compositions,
sometimes adopted from organic nature, and developed
new principle of tectonics. One of the most vivid features

of new style was renunciation of straight lines in favour of

more plastic and dynamic. Principles of new non-classic
tectonics became possible for implementation due to new
building materials and technologies (reinforced concrete,
metalworks, glass). Modern combined artistic and utilitarian functions. Artists aspired to involve in sphere of
beautiful all types of human activity. Bloom of applied art,
which enriched front elevations and interiors of buildings, is characteristic for this period.
Russian modern developed in two directions international and national. The first had common features with
Vienese secession, French-Belgian ar nuovo, German
ugendstyle, English and even American new styles. The
second direction gave the brightest templates of neorussian variant of modern.
Mansion of Z.G. Morozova became original forerunner of modern. Outstanding Moscow architect F.O. Shekhtel used motives of Victorian Gothic in its design.
Mansion of A. List (built by L.N. Kekushev in 1898)
became the first building in modern style. External forms
of cubic volume with free alternation of embrasure, flat
and three-dimensional elements, contrast finishing textures added new sensation in image of building, drastically different from convetional order architecture.
Mansions of A.I. Derozhinskaya in Shtatny Lane and
Ryabushinsky in Malaya Nikitskaya Street were the highest achievements of Moscow modern. Developing principle of free composition of volumes F.O. Shekhtel achieved
ideal combination of laconicism and generality of entire
composition with heavenly workup of all details. Sculptural fireplaces, dynamically solved starecases, exceptionally diverse wooden carving in formation of walls and ceilings, picturesque metal, glass, mosaics, painting, lighting
fixtures, drapings all was combined in synthesis of arts,
defining new artistic quality of human living environment. New stylish tastes defined appearance of civil and

performance buildings Khudozhestvenny Teatr and

Kupechensky Club.
Methods of modern in combination with new technical possiblities allowed to create buildings with new
functional features. Erecting Torgovy Dom of V.F. Arshinof in Staropansky Lane in 1899, F.O. Shekhtel enlarged
all elements, transformed shopwindows in glass paintings,

Mstsk dvorec, XIX. zatek XX. st., arch. N. I. Pozdjev

, XIX XX . . . .
City estate, XIX the beginning of XX century , arch. N. I. Pozdeyev

Budova Cvtkovsk galerie, rok 18991901, arch. V. M. Vasncov

, 18991901., . . .
Building of Metropol hotel, 18991903, arch V. M. Vasnetsov

reduced piers to constructive carcass, main axis of front elevation is solved as gigantic arc with glass painting filling.
This building is one of the most early examples of exposing
of carcass structure on front elevation. This principle got
development in architecture of the twentieth century. Big
trade and industrial edifices got pronouncedly aesthetic
image. Such were, for example, romanticly solved building
of Levensons printing house and the best pattern of late
rational modern with more modest decoration and stict
plasticity of walls Utro Rossii printing-house.
Personal style in spirit of English modern is presented in buildings of V. Valcot Mansions of Yakunchikova
and K. Gutheil in Prechisteka Lane. They are distinguished
by restraint and simplicity of forms with clear vertical partitioning, abundance of glazed surfaces, beauty of separate
details. The biggest work of Valcot is Metropol hotel designed in 1899. It is interesting by solution of big volume
with light overlaps of internal space, by majolica panel
on front elevations according sketches of M. Vrubel and
unique window panes in interiors.
In 1900s architects often preferred rational modern,
allowing to create big buildings of business assignment,
educational and medical institutions.
Search of new stylistic solution took place simultaneously with development of idea of return to national
sources and forms of ancient Russian art. Combination
of these tendences created original variant of modern
neorussian style. Particular attention to plastic and artistic tasks was defined by the fact, that first conductors
of this style in architecture were artists V.M. Vasnetsov,
M.V. Nesterov, V.M. Polenov, K.A. Korovin, F.O. Shekhtel
and others. The best civil buildings of neorussian style are
distinguished by absence of stereotype, orientation toward
image, not toward template. Image of old Russian temple,
tower, palace, gate and other ancient forms was projected
into typologically different constructive order, allowing
display plastic expressiveness of edifice volume. The best
buildings of this direction are Mansions of N.V. Igumnov,
I.E. Tsvetkov, front elevation of Tretyakovskaya Galereya.
Intersting group is presented by mansions-museums,
intended not only for dwelling, but also for allocation of
artistic collections. House of P.I. Schukin is an example.
Its front elevation, layout structure and interior finishing

Obytn dm Percov, rok 19061911, in. N. K. ukov,

vt. S. V. Maljutin
, 19061911 ., . . . ,
. . .
Living house of Pertsova, 19061911, engineer N. K. Zhukov,
artist S. V. Malyutin

show the intention to create generalized image of ancient

Russian architecture.
Living House of Pertsov in Prechistenka Enbankment is called house-fairytale, due to bright majolica
panel with Russian motives. The best templates of buildings of new assignment in neorussian style were Yaroslavsky Station and building of Ssudnaya Treasury. They
have picturesque solution of general composition and
magnificent paintings of vaultings and walls of interior
premises.

` `
`

`
`

Vila Lista, rok 18981899,

arch. L. N. Kekuev. Fragment stechy do a po zahjen
restauranch prac.
, 18981899
., . . . . .
Mansion of List, 18981899,
arch. L. N. Kekushev. Fragment
of roofing before and after restoration.

tt nad pardnm vchodem a

mozaika na fasd po zahjen
restauranch prac.
.
Pediment over front access door
and mosaics after restoration.

N. D. Troskina,

naun sekret

Restaurovn architektury z pelomu 19. a 20. stolet bylo v Rusku zahjeno kolem roku 1970, kdy dostaly
Centrln vdecko-restaurtorsk projektov dlny kol
opravit budovu Moskevskho umleckho divadla v Kamergersk ulice. Architekt-restaurtor G. P. Blov musel
doslova po kouscch restaurovat znan pokozen fasdy
a interiry od F. O. echtla. Prv tehdy restaurtoi narazili na specifick problmy: asto se na prelch pouvalo nepli odolnch materil a svrznch postup: na
pltno, sukno i slamn rohoe se nanely slab vrstvy
dekorativnch ntr a maleb, provedench nestlmi barvami nebo rychle se rozpadajc glazurou. V divadle
byly mnoh interiry do zatku restaurtorskch prac
prakticky znieny. Nicmn bohat zkuenosti a znalost
ikonografie umonily restaurtorm obnovit interiry
kavrny, nstropn malbu hledit a dal prostory. Dleitou skutenost bylo to, e mnoh detaily vzdoby byly
metodami typickmi pro zatek 20. Stolet malbami
s pomoc ablon a rabou detail. To umonilo navrtit
interirm autentickou podobu.
Druhm restaurovanm objektem se stal znm
moskevsk dm Rjabuinskho, postaven F. O. echtlem.
Restaurovn tohoto objektu, kter byl podle minulosti reprezentantem cizorod buroazn kultury, bylo sloitj
vzhledem k pamtkovmu vznamu objektu v dom
se nachzelo muzeum i byt proletskho spisovatele
A. M. Gorkho, jeho interiry byly peplnny drahocen-

nmi umleckoemeslnmi dly. Pro zachovn originlnch autorskch dekorac a zazen vypracoval hlavn
architekt projektu V. I. Jakubeni zvltn technologii restaurovn. V tabulkch se soupisem vekerch stavebnch
prvk, urench k rekonstrukci, ponaje vzdobou stn, se
zaznamenval stav s vsledky dlch przkum a uvdla
se podrobn doporuen, tkajc se restaurtorskch prac.
Na restaurovn se podleli nejlep specialist-technologov, zabvajc se restaurovnm umleckch pedmt
a tak specialist Vesvazov centrln vdecko-vzkumn
laboratoe konservace a restaurovn (nyn ).
V prbhu prac se podailo objevit malbu soukromho
sakrlnho prostoru, velmi vzcn umleck pamtky pelomu 19. a 20. stolet.
Prv na tchto objektech byly vypracovny zkladn
principy vdeckho pstupu k restaurovn podobnch pamtek danho obdob a zmapovny hlavn problmy zachovn pvodnch materil. Hlavnmi z nich jsou technologick otzky zachovn a zpevnn mlo trvanlivch materil,
nahrazen zaniklch emeslnch technologi modernmi,
zskn zkuenost s kompromisnmi eenmi atd.
Pokud uvme, kolik bylo znieno pamtek v Rusku
z tto doby, je jasn, e jsou restaurtoi v nkterch ppadech nuceni jt cestou vdeck rekonstrukce jednotlivch
detail a tak se meme setkat se zmnou materil
a technologi. Proto jsou pro rusk restaurtory neobyejn
dleit zkuenosti s eenmi podobnch problm a vz-
jemn vmna tchto zkuenost na mezinrodn rovni.
Za poslednch deset let bylo restaurovno
nkolik destek pamtek architektury z konce 19. a zatku
20. stolet. Mezi nimi takov kultovn stavby, jako Nikolsk
kostel na Butrskm valu (restaurtor N. V. Sibirjakov), Pokrovsk katedrla Marfo-Mariinskho kltera (restaurtor
S. V. Dmidov). V souasn dob dokonuje E. V. Skrynnikova restaurovn chrmu-zvonice Zmrtvchvstn Krista
Robosk straobrjadesk komunity.
Velk projekty Moskomnasledije, tkajc se organizace obnovy vil a obytnch dom, se pedevm zamuj na
mistrovsk dla F. O. echtlja a L. Kekueva. Vtinou se
jedn o komplexn prce na obnov fasd a interir. Mezi
nimi jsou i vily I. A. Mindovskho, O. A. Lista, A. I. Droinsk, D. F. Beljajeva, restaurovan pod vedenm zkuenho
restaurtora B. G. Moginova. Na tchto pamtkch byly rozpracovny restaurtorsk metody na opravy krytin z olo-

Mstsk dvorec D. F. Beljajeva, konec XIX. zatek

XX. st., arch. A. A. Galeck.
Dvorn fasda do (2000)
a po (2006) zahjen
restauranch prac.

. . , XIX
. XX .,
. . . . (2000 .)
(2006 .) .
City estate of D. F. Belyaev,
the end of XIX century the
beginning of XX century,
arch. A. A. Galetsky. Yard
front elevation before (2000)
and after (2006) restoration.

vnch slitin a obnoven litinovch detail. Mnoh z ve

uvedench realizac byly vyznamenny diplomy Magistrtu
msta Moskvy. V souasn dob se dokonila komplexn rekonstrukce domu Bogdanova na Td mru .p. 21.
Rozshl restaurtorsk prce si vydaly obnovy
fasd moskevskch objekt s tradinm dekorem. Zajmavm a ukzkovm pkladem jsou prce, tkajc
se obnovy prel domu doktora F. A. Alexandrova na
Merzljakovsk ulice .p. 20. Tento tpodlan dm byl
postaven podle projektu architekta A. A. Ostrogradskho
v roce 1902. Do zatku rekonstrukce byly zdi ochuzeny
o balkny s aurovm kovanm zbradlm, vchodovou
m a truhlsk vpln oken. Projekt rekonstrukce,
vypracovan pod vedenm E. I. Tolstopjatenkem, potal
s obnovou zniench st, ale i s vybudovnm tvrtho
patra budovy. Tento nikdy nerealizovan projekt, kter
se zachoval do naich dn, vypracoval v roce 1912 asistent Ostrogradskho, K. S. Razumov. Na fasdu byly
pipevnny majolikov destiky s etrnm dokomponovnm odpadlch fragment.
V roce 2006 byla realizovna dal etapa restaurtorskch prac v hlediti Moskevskho umleckho divadla,
pi n byla obnovena jeho pvodn barevnost.

Nkter pamtky na svou obnovu stle ekaj. Nap-

klad E. G. Ignatva pipravila projekt rekonstrukce Domu
Guthela, postavenho v roce 1902 architektem V. F. Valkotem.
Budova Umleckho divadla
s basrelifem na fasd, rok
1902, arch. F. O. echtl,
sochaka A. S. Golubkina


, 1902 .,
. . . ,
. .
Building of Khudozhestvenny Teatr with bas-relief on
front elevation, 1902,
arch. F.O. Shekhtel,
sculptor A.S. Golubkina

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Vila Lista. Balkn do a po zahjen restauranch
prac.
. .
Mansion of List. Balcony before and after restoration.

10

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Vila Droinsk ve
ttn ulice, rok 1901.
Krb, schody,
arch. F. O. echtl.

, 1901 .. ,
,
. . . .
Mansion of Derozhinskaya in Shtatny
Lane, 1901. Fireplace,
staircase,
arch. F. O. Shekhtel

11

N.D. Troskina

Academic secretary, CSRDW

Restoration of monuments of Russian modern architecture began in 1970s,

when Central Scientific-Restoration Design Workshops (CSRDW) were charged
with restoration of building of Moscovsky
Khudozhestvenny Teatr (MKT) in Kamergersky lane Architect-restorator G. P. Belov
restorated (literally by grains) significantly
modified front elevations and interiors by
F. O Shekhtel design. Exactly at this time
restorators faced with specific problems of
restoration of monuments of this period. Often short-lived materials and specific finishing techniques were applied in construction
and faade finishing canvas, broadcloth,
straw mats, fine decorative paintings made
with unstable dyes, fastly destroying glaze of
majolica. In MKT many interiors was practically destroyed to the beginning of restoration works. However, outstanding craftsmanship and experience of natural research, skill
Mstsk dvorec D. F. Beljajeva. Celkov pohled z
vnitnho dvoru do (2000) a po (2006) zahjen
restauranch prac.
. . .
(2000) (2006) .
City estate of D. F. Belyaev. General view from internal yard before (2000) and after (2006) restoration.

12

of work with icon-graphical materials made it possible for

restorators to revive interior of Chainy buffet (Tea Buffet),
portrait and upper foyer, painting of hall plafond. The important circumstance was the fact, that many details of finishing were performed by conventional ways and methods
of the beginning of twentieth century painting on templates and stamping of details. This made possible restoration of original interiors with maximal identity.
Second object of modern epoch for restoration was
famous Moscow house of Ryabushinsky built by F. O. Shekhtel. Performance of works on this object (belonging by
estimates of that time to ideologically alien bourgeois culture) was justified by reasons of memorial nature museum-apartment of the great proletarian writer A. M. Gorky
was situated in this building. Building and its interiors was
sated with invaluable works of art of Russian modern. To
save original author finishings and furniture complex, chief
architect of the project V. I. Yakubeni developed special
technology of restorational design. All elements, from wall
finishing of walls to last latch, were fixed in tables with degree of safety, results of research, and detail recommendations on restoration. Best restorators-technologists working
on restoration of museum valuables were included in work,
and first all All-union central research laboratory of conservation and restoration (today GosNIIR). In the course of
works paintings of home church of the rarest monument of
modern architecture were found.
Main principles of scientific approach to restoration of monuments of modern architecture were created
exactly on these objects. Main problems of preservation
of original materials were displayed. The most significant

of them are technological problems of preservation and

strengthening of short-lived materials, replacement of
lost craftsmenship technologies of the end of nineteenth
century and the beginning of twentieth century.
Of course, taking into account the scales of losses of
monuments of this time in Russia, Restorators in some
cases must go on the way of scientific restoration of some
elements. Replacement of materials and technologies is
applied in practice. So Russian restorators must use world
experience of collegues to solve such problems and exchange this experience.
During last ten years CSRDW restored several tens
of monuments of modern architecture. Cult monuments
such as Nikolsky Church in Butyrsky Val (restorator
N. V. Cibiryakov) and Pokrovsky Cathedral of MarfoMariinskaya Cloister (restorator S.V. Demidov). E. V.
Skrynnikova is completing restoration of Resurrection
Bell-Tower of Christova-Rogozhsky of Old Believer commonalty.
Moscomnasledie performs big works on organization of mansion and apartment houses restoration, first of
all of masterpieces by F.O Shekhtel, L. Kekushev. These
works, as a rule, are complex activities on restoration of
front elevations and interiors. Mansions of I. A. Mindovsky, O. A. List, A. I. Derozhinskaya, D. F. Belyaev are among
them. They are restored under direction of experiences
restorator B. G. Moginov. In particular, special methods of
restoration are developed: repair of roofing from lead alloy spiatre and renovation of artistic cast details from
this alloy. Many of listed works are rewarded by Diplomas of Moscow Government. Now complex restoration of
Bogdanovs house in Prospect Mira, 21 is completed.
Vast works are performed on front elevation restoration of Moscow monuments of modern epoch usign conventional reconstruction of decorative details. Interesting and
indicative example is works on restoration of front elevations of doctor F. A. Alexandrovs house. In Merzlyakovsky
Lane, 20. This three storey house was built by archictect
A.A. Ostrogradsky design in 1902. Before restoration front
elevations lost forged tracery balconies, gate grating and
window joiners fillings. Restoration project by direction of
E.I. Tolstopyatenko foreseen not obly reconstruction of lost
forms but construction of fourth storey. This unrealized
project was developed in 1912 by K. S. Razumov, assistant

Vila Rjabuinskho. Fragment fasdy, schody, arch. F. O. echtl.

. , ,
. . .
Mansion of Ryabushinsky. Fragment of the faade, staircase,
arch. F. O. Shekhtel

of Ostrogradsky. Majolica tiles were strengthened on front

elevation with additional composition of chips and relief.
The next stage of restoration will be made in the hall
of MKT, which now has initial colour solution.
Some monuments still wait for restoration.
E.G. Inatyieva have prepared restoration project of
Gutkhel house, built by architect V.F. Valcot in 1902.

Vila Mindovskho,
rok 1903,
arch. L. N. Kekuev
, 1903 .,
. . .
Mansion of Mindovsky, 1903,
arch. L. N. Kekushev

13

`
O.B. Strugova

`
`

Teoretika umn, lenka Svazu moskevskch designer

Dekorativn tal Sadko bohat host. Vyrobeno po obrzku
S. V. Maljutina pro interir moskevskho obchodu Rodnik. Rusk
kupec s bylinkami Sadko v loce s vesly symbolizoval spn
podnikn.
.
. .
. ,
, .
Sadko the Rich Guest panel-painting. Made according to drawing by S.V. Malyutin for interior of Moscow Rodnik (Spring) shop.
Russian epic kupets (merchant) Sadko sailing in ladya (boat with
oarsmen); symbolized successful trade.

Na rozhran 19. a 20. stolet rusk interir, stejn

jako evropsk, doznv podstatnch zmn. Minulost se
stv systm prchozch pokoj. Funknost a pohodl dispozinch een jsou nyn hlavnmi poadavky.
V tto dob je mon v Rusku pozorovat opravdov stavebn boom, kter je zvl charakteristick pro ob
hlavn msta Moskvu a Petrohrad. Hlavnmi typy obytnch budov jsou vily a inovn domy. Zan se objevovat
rovn typ bytu-vily, kdy nkter z byt je v inovnm
dom pestavn a zazen jako vila uvnit domu a zaujm
asto i nkolik pater. Pkladem me bt byt . 3 Percov
v jejm moskevskm dom, postavenm podle projektu architekta S. V. Maljutina.
Nov principy dispozinch een vyadovaly nov
een interirov vbavy. Nov utven styl pedpokl-
dal jednotn een interiru, v bohatch domech souzn-
vajc spolen s architektonickou formou. Velk oblib se

14

Drk novin. Rusko, Sergijev-Pasat, kolem roku 1910.

. , -, 1910 .
Magazine rack. Russia, Sergiyev-Posad, 1910s.

Skka. Rusko, Talakino, okolo roku 1900. Projekt S. V. Maljutina. Bza,

ezba, tnovn, kreslen dekor, matov ntr. Velikost 830670170 mm.
. , , 1900 . .. .
, , , , .
830670170 .
Locker. Russia, Talashkino, 1900s. Designed by S.V. Malyutin. Birch,
carving, toning, colour finishing, mat polishing. Size 830670170 mm.

til zabudovan nbytek, maximln zdrazujc jednotu vekerho interiru.

Obrovsk poptvka po nbytku byla pinou vzniku novch tovren a Moskevsk gubernie se stala hlavnm
centrem nbytksk vroby. Nicmn moskevsk domy
byly zaizovny tak importem, vyrbnm v evropsk
sti Ruska. Star tovrny pechzely na vrobu novho
nbytku, drobn dlny se zanaly spojovat a rst. Tento
fakt se vysvtluje nezbytnost poizovn prmyslovho
vybaven, kter by umonilo zvit a zjednoduit hromadnou vrobu nbytku. Znan se zvil tak vvoz. Proto
se interiry moskevskch dom vyznaovaly velikou stylistickou rznorodost. Mohli jste uvidt interiry ve stylu
secese, charakteristick pro evropsk zem francouzsk
Art Nouveau i nmeck Jugendstil. Velmi rozen byl
vdesk ohban nbytek, jak z dovozu tak i vyrbn
pmo v Rusku. Stle se til velkmu zjmu nbytek v duchu historismu. Na pozad tto rznorodosti byly velmi
vyhledvan nvrhy ruskch umlc a architekt, snac
se na zklad jednotnho evropskho stylu (secese) vytvoit jeho vlastn variantu. Za guru tohoto smru je povaovn V. M. Vasncov.
Poprv se nbytek s pznaky ruskho novho stylu,
zaloenho na tradicch staroruskho a nrodnho umn,
objevil v podmoskevskm Abramcevo. Toto msto se stalo
jednm z nejznmjch center ruskho umn a potkvali
se zde nejlep umleck talenty Ruska t doby. Vedouc
abramcevskch truhlskch dlen byla E. D. Polenov,
kter sama vytvoila velk mnostv nvrh jednotlivch
kus nbytku a tak celch interir. Proto je za kolbku
nrodnho romantismu (smru orientovanho na znovuzrozen ruskch umleckch tradic), povaovna prv
Moskva.
Abramcevsk dlny, kter ovlivnily innost truhl-
skch dlen na pelomu stolet, vznikly nedaleko msta
Smolensk a pojmenovny byly na poest M. K. Tniov
Talakino. Tady pracovali znm rut umlci: S. Maljutin
prvn vedouc truhlsk dlny, kter byl pozdji vystdn A. Zinovjevem, V. Beketovem a D. Stelleckm. 48
projekt na zazen knihovny vytvoil znm vtvarnk
N. Rerich.
V roce 1904 M. K. Tnieva otevela v centru Moskvy svj obchod Rodnik. Nbytek, kter se v nm prodval,

Police s kaenkami. Rusko, kolem roku 1910. Projekt N. J. Davidov

(pouity motivy E. Polenov a Vornoskho).
. , 1910 . . .
( . ).
Shelf with ducks. Russia, 1910s. Design by N. Ya. Davydova (motives of E. Polenova and Vornosky).

Skka. Rusko, Abramcevo, kolem

roku 1910. Projekt N. J. Davidov.
. , , 1910
. . . .
Locker. Russia, Abramtsevo, 1910s.
Design by N. Ya. Davydova.

byl Moskvany velmi vyhledvan a bezesporu ovlivnil

pevn inteligenci a vzdlan kupce. Nov styl v Moskv
podporovalo Stroganovsk umlecko-prmyslov uilit.
Brzy se nedaleko Rodniku otevel obchod nazvan Rusk
dlo, kde se prodval nov stylizovan nbytek, vyroben
v dlnch uilit pod vedenm S. Vakova, vynikajcho
umlce a architekta.
V roce 1910 vzniklo v Moskv pi Nrodnm muzeu
Muzeum vzorovch projekt. Krom toho byly zakoupeny nejvznamnj autorsk modely uplynulch
let. lo hlavn o autorsk dla v duchu nrodnho romantismu. Byly shromdny ukzky nbytku realizovanho podle projekt
S. Maljutina, A. Vasncova, A. Zinovjeva
a mnohch dalch. Muzeum pijmalo tak
objednvky na vrobu mnoha dalch kus podle tchto nvrh. Ty se potom vyrbly nejen
v dlnch Nrodnho
muzea ale tak
v Sergijev-Pasat
nedaleko Moskvy,
v nejvtm centru
umleckch emesel.
Obdob kolem roku 1900 se
v Rusku neslo ve
znamen hromadn
obliby ruskho stylu.
Nesporn prvenstv
v tomto umleckm
hledn nrodn osobitosti patilo Moskv.

15

..

idle ze soupravy, po projektu S. V. Maljutina vyrobeno v dlnch

Moskevskho, nrodnho muzea v roce 1912. ezb Kapucinov.
, . . 1912 .
.
Chair from suite of furniture made by S.V. Malyutin design is in
Studioes of Moscow Kustarny (Handicraft) Museum, 1912. Carver
Kaputsynov.

16

XIXXX ,
, . .
.

,
.
. -,

, .
.
,
. . .

.
,
. , .
. .

, .
Sk. Rusko, Abramcevo, kolem roku 1880. Projekt E. D. Polenov.
. , , 1880 . . . .
Sideboard. Russia, Abramtsevo, 1880s. Design by E. D. Polenova.

, .

, .
. ,
.
,

-, . , ,
. .

,
.

-.
. . ,
,
, . ,
XIXXX .

. . , -,
. , ,
, .
, XIXXX

. . . : . - ,
. , . , . .
48 . .
1904 . . .

. .
,
- .
1900- , .

.

Krabika Ostrov Bujan. Rusko, Talakino. Projekt N. Rericha.

. , , . .
Buyan Island casket. Russia, Talashkino. Design by N. Rerikh.

. , ,
.

- .
, ,
.
.
1910
. , ,
. ,
.
. ,
. , . , .

Poliky (2ks). Rusko, Vjatsk dlny

nrodnho umn, kolem roku 1900.
(2.). , . 1900 .
Tringles (2 pieces). Russia, Vyatka handicraft studio, 1900s.

Police. Rusko, Abramcevo, kolem roku 1880. Projekt E. D. Polenov.

. , , 1880 . . . .
Shelf. Russia, Abramtsevo, 1880s. Design by E. D. Polenova.

17

Furniture of Moscow
Interior at the End of the XIX
Century and the Beginning of
the XX Century
Truhlice. Rusko.
. .
Small chest. Russia.

Russian interior at the end of the nineteenth century and the beginning of the twentieth century, like the
European interior, undergoes drastic changes. Suite system becomes a thing of the past. Functionality and convenience of layout become critical factors.
There is a real constuctive boom in Russia in
this period, especially in both capitals Moscow and
St.Petersburg. Main types of apartment houses were mansions and tenement buildings. Type of apartment-mansion appears, where one of apartment of tenement building transforms into a mansion built inside the building.
Such mansion can occupy several floors. The example is
the apartment of Z. Pertsova in her Moscow house built
by design of artist S.V. Malyutin.
New principles of layout gave rise to new solutions
of house and apartment furnishings. Modern style suggested unified solution of interior, which was created in
rich houses at the same time with architectural decoration. Built-in furniture gains grounds, because it reflects
the integrity of interior as a whole.
Vast demand for furniture caused appearance of new
furniture plants. Moscow Province became main centre of

18

O.B. Strugova

Arts critic. Member of Moscow Designer Union

furniture production. However Moscow houses were furnished with imported furniture produced in European
part of Russia. Old enterpises turned to production of furniture new by its nature, small workshops showed trend
to integration and consolidation. It was explained by necessity to buy industrial equipment capable to enlarge
and simplify production of mass furniture. Export was
significantly increased. Thus furniture of Moscow houses was characterizes by vast stylistic variety. There could
be found interiors in modern style typical for European
countries French Art Nouveau, German Ugendstyle.
Viennese bent-wood furniture was very popular imported and produced in Russia. Furniture in historical
also style had significant demand.
Developments of Russian artists and architects was
of great interest against the background of this variety.
Artists-painters played big role in creation of Russian national version of modern style. V.M. Vasnetsov was considered the inspirer of this school. For the first time furniture
with features of new style, based on traditions of Old Russian and folklore art appeared in Abramtsevo situated new
Moscow. This place became one of outstanding centers of

Pbornk. Projekt N. J. Davidov, kolem roku 1910. Abramcevo.

. . . . 1910- . .
Semi-sideboard. Design by N. Ya. Davydova. 1910s. Abramtsevo.

Russian art. It integrated the best creating forces of Russia

at the end of the nineteenth century and the beginning of
the twentieth century. E.D. Polenova, aquarellist artist, became a director of joiners shop of Abramtsevo. She created
a great number of furniture outlines and integral interiors. Thus national romanticism direction
of modern oriented on revival of Russian artistic traditions can consider Moscow as
its homeland.
Abramtsevo workshops influenced
the activity of joiners shop appeared at the
end of the nineteenth century and the beginning of the twentieth century near Smolensk in
Talashkino estate of princess M.K. Tenisheva. The
great Russian artists worked in this place: S. Malyutin
the first director of furniture workshop, A. Zinovyev,
who replaced him at this position, V. Beketov, D. Stelletsky. Outstanding artist N. Rerikh performed 48 designs
of library furniture.
In 1904 M.K. Tenisheva opened shop Rodnik
(Spring) in center of Moscow to sell her products. Furniture sold in this shop enjoyed wide popularity and exerted
doubtless influence on living environment of intelligence
and enlightened merchants. If Abramtsevos furniture
mainly continued school analogous to European Motion
of Art and Craft, then Talashkinos furniture entirely lay
in modern course.
Stroganovskoye Artistic and Industrial College
in Moscow suppored the same course. Short time later
shop Russkie Raboty (RussianWorks) was opened ner
the Rodnik. This shop sold furniture in Russian modern style made in studios of college under leadership of
S. Vashkov outstanding artist and architect.
In 1910 Museum of Samples was established under
Handicraft Museum in Moscow. The best Russian artists,
working in design of furniture, created a great number
of model designs. Besides, the most significant authors
patterns of previous years was bought. These were, in the
main, works of furniture art in the course of national romanticism. Thus, furniture patterns by design of S. Malyutin, A. Vasnetsov, A. Zinovyev and many other outstanding artists and architects of modern period were collected
here. Museum took orders on manufacture of furniture

according these patterns. These orders were performed by workshops of Handicraft Museum and
furniture makers and carvers of Sergiyev-Posad
city situated new Moscow the greatest center of
art and craft in Russia.
The nineteenth years were in Russia the period of the widest passion for Russian style, which was
mostly visible in the nature of
living environment. Doubtless
superiority in this artistic process of searching national peculiarity belonged to Moscow.
Pbornk. Projekt A. Vasncova, kolem roku 1910.
Dlny Muzea nrodnho umn.
, . . 1910-
. .
Semi-sideboard. Design by A. Vasnetsov. 1910s.
tudios of handicrafts museum.

Stolika (2ks). Rusko, Abramcevo, kolem roku 1880.

Projekt E. D. Polenov.
(2.). , , 1880 .
. . .
Stool (2 pieces). Russia, Abramtsevo, 1880s.
Design by E. D. Polenova.

Polika Sirin. Rusko, Sergijev-Pasat, kolem

roku 1900. Projekt E. Teljakovskho.
. , -, 1900
. . .
Sirin tringle. Russia, Sergiyev-Posad, 1900s.
Designed by E. Telyakovsky.

19

`
`
`

O.B. Strugov

Teoretika umn, lenka Svazu moskevskch

designer
Zpsob ivota dvou ruskch hlavnch mst se podstatn liil: davy lid v ulicch upjatho, ednky pepln-
nho Petrohradu na jedn stran a kupeck, v mnohm
uchovvajc star tradice Moskv na stran druh. Nejnovj pask modely moskevskch pardnic a vihk
se lehce a pirozen doplovaly s holnkami a halenami
moskevskch kupc i s honosnm barevnm tradinm
odvem jejich en. Bohatstv a vynalzavost se bohuel
ne vdy projevovala v upednostovn mstsk, evropsk
mdy.
Pesto prv v Moskv, v tomto obrovskm dynamickm mst, vznikla rusk mda novho stolet. Tady
se zrodila hvzda nejznmj rusk mdn nvrhky
Naddy Lamanov. Atelir, kter v roce 1885 otevela, se
brzy stal nejvyhledvanjm mezi moskevskou inteligenc, herci a umlci. Mimodn talentovan Nadda Lamanov brala tvorbu odv jako opravdov vtvarnice jej
modely se vyznaovaly individulnm pstupem ke kad-
mu zkaznkovi. V souladu se zkony vysok mdy, Lamanov nikdy sama neila sv modely, ale pmo na figurn
pendlky vyznaovala postup v pprav stihu. Devzou
umlkyn byla elnost odvu a stdmost jeho ozdoben.
Jej npady urily styl prvnch desetilet 20. stolet.
V prbhu svho pobytu v Pai se Lamanov seznmila s Paulem Poiretem. Vznamn francouzsk md-

20

Veern rba, rok 1910, Petrohrad, atelir A. G. Gindus

. 1910 ., , . .
Evening dress. 1910, St. Petersburg, Studio of A. G. Gindus

n nvrh, ktermu se jako prvnmu povedlo povit krejovinu na umn, si velmi vil jejho talentu a nabdl j
monost spoluprce. Jejich seznmen vystilo v mnohalet pracovn ptelstv, nicmn umlkyn dala pednost
prci v Moskv. Zatkem 20. stolet se Lamanov stala
hlavnm dvornm dodavatelem od t doby zaaly aty
tto umlkyn nosit dvorn dmy a lenov carsk rodiny.

V tuto dobu j tak slavn divadeln reisr K. Stanislavsk

nabz msto hlavn kostymrky Moskevskho umleckho
divadla.
V Rusku jsou pojmy divadeln kostm a mda v dob
secese nerozlun spjaty. Divadeln kostm tzv. Ruskch
sezn v Pai siln ovlivnil evropskou mdu. Velkho
spchu se dokal znm umlec Leon Bakst. Po spchu
dvancti Djagilevovch divadelnch pedstaven se pa-
t majitel mdnch dom na nho obrtili s objednvkami na nvrhy kostm. Tehdy ho osud svedl dohromady
s Paulem Poiretem. Apotezou jejich spolen tvorby se
staly odvy, inspirovan baletem na orientln a antick
tmata. Voln aty bez korzet, prhledn tkaniny, hlubok dekolt, turbany s pem a irok, vykasan sukn
pronikly do svtskch saln. Se jmnem Leona Baksta
je spojena i prvn divadeln mdn pehldka. lo o akci organizovanou Poiretem, kter plynule pela do makarn-
ho plesu, kde se pedvdly kostmy vyroben na motivy
baletu eherezda.
Mda, kterou urovali rut umlci, se z Pae vracela do Ruska. V kostmu, jak ekl Bakst, se odrely
npady cel epochy. Jednou z inspirac Ruskch sezn
v Pai byly moskevsk bly v zim roku 1911, na kter
se ily kostmy ve stylu tzv. blanc et noir (kombinace
bl a ern).
Snaha najt svou cestu je charakteristick pro veker rusk umn na rozmez 19. a 20. stolet. Tento fakt se
dotknul i svta mdy, pestoe nespornou autoritou v tto
oblasti byla Pa. Osobitost rusk mdy se projevila velkou mrou tak v dekoraci kostm. Obliba prodnch
materil, asto lnnch a obarvench prodnmi barvivy
je charakteristick pro umlce na pelomu 19. a 20. stolet.
Pod znakou knny M. K. Tniov Talakino se vyrblo
obrovsk mnostv vyvanch textili, kter vytvely vesnick vadlenky jak v souladu se staletmi tradicemi, tak
i podle nvrh profesionlnch nvrh. Tyto textilie se
prodvaly v moskevskm obchod Rodnik. Vstavy, kter
organizovala v letech 1905-1907 v Pai Tniov, mly
velk vliv na paskou mdu. V Pai se tehdy vystavily textilie z dlen Tniov a knna pak napsala ve svch
memorech, e i za dva roky po tto udlosti potkvala na
paskch ulicch blousones russe s vyvnm, kter
byly vytvoeny pod oividnm vlivem tto expozice.

Rozmez 19. a 20. stolet, v Rusku nazvan Stbrnm stoletm, je charakteristick spchy rusk kultury
ve vech oblastech. Mda zaujmala v tomto procesu velmi
dleit msto. Vytvoen nov koncepce kostmu, pklon
k racionalit a funknosti a nov prvky dekoru se formovaly v Evrop za pm a aktivn asti ruskch umlc.
Prv v tto dob je mon spatovat koeny budoucch
styl art deco a rusk avantgardy.

..

.

. , , ,
.
, .
.
, ,
, .
.
1885 , , . ,

-

.
, ,
.
. .
.
, , -

21

 .

, .


.
. - .
Veern rba, rok 19131915, Moskva, atelir N. P. Lamanov
. 19131915 ., ,
. .
Evening dress. 19131915, Moscow, Studio of N. P. Lamanova

.
.
.

.
.
,
.
, , , .
. ,
, , .
, ,
. , , .
1911 ,
,
.
XIXXX .
, .
. ,
, , XIX .
. .
,
, . . 19051907
, ,
Veern rba, rok 1900, Moskva, atelir N. P. Lamanov
1900 ., , . .
Ball-dress, 1910, Moscow, Studio of N. P. Lamanova

22

O.B. Strugova

Arts critic. Member of Moscow Designer Union

, . ,

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Veern rba, rok 19101911,

Moskva, atelir N. P. Lamanov
. 19101911 .,
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Evening dress. 19101911,
Moscow, Studio
of N. P. Lamanova

Mode of life of two Russian capitals differed significantly. People flows in the streets of prudish official
St.Petersburg and merchant, loyal to old traditions Moscow, undoubtedly reflected this features. Last Parisian
model of Moscow fashionable women and dandies naturally coexisted with top-boots and Russian shirts of Moscow merchants and with luxuriant bright traditional
clothes of their wifes. Wealth and enterprise were not always reflected in adherence to common European vogue.
Nevertheless, Russian vogue of new century was born
in exactly Moscow this huge dynamic city. The star of
most famous Russian costume artist Nadezhda Lamanova was ignited in Moscow. Tailors studio she opened in
1885 soon became the most popular among Moscow intelligence, actors, and artists. Extraordinarily gifted Lamanova
related to clothes design as real artist her design showed
brighly individual approach to every customer. According
to laws of high fashion she never sewd herself models created by her imagination. The motto of artist became costume form expediency and rationality of its decoration.
These concepts forestalled style of first decades of twentieth
century.
Lamanova got acquainted with Paul Poiret during her trip to Paris. Outstanding French couturier, who
raised tailors trade in the rank of real art, appreciated
her talant very high and offered to work together. Their
acquaintance transformed in the longstanding creative
friendship, but Lamanova preferred to work in Moscow.
Lamanova became purveyor of royal household in the

beginning of the twentieth century. From this time ladiesin-waiting and members of royal court weared dresses of
this artist. At the same time the great theatrical director
K. Stanislavsky invited her to the post of chief costumer
artist of Moscovsky Khudozhestvenny Teatr (Moscow Artistic Theatre).
Theatrical dress and vogue became the indissoluble
concepts in the modern period Theatrical dress of Russian seasons in Paris significally affected European vogue.
Special success fell to the lot of outstanding artist Leon
Bakst. Success of twelve plays, decorated by him, of Dy-

23

of Bakst were reflected in costumes. One of influence

of Russian seasons in became Moscow balls blanch a
noire os winter season 1911, where costumes were built
on combination of white and black colours.
Aspiration for finding own path is typical for Russian
art of the and of nineteenth century and the beginning
of twetieth century. This touched fashion world despite
indisputable authority of Paris in this area. Peculiarity of
Russian vogue in greater degree was revealed in decoration of costumes. Use of natural fabrics, often linen, painted by natural dyes is characteristic for artists of the end
of nineteenth century. Vast amount of such embroidered
fabrics was manufactured in Talashkino estate of princess
M.K. Tenisheva. This fabrics were manifactured by peasant craftswomen in accordance with multicentury traditions or by sketches of professional artists. These fabrics
were sold in Moscow shop Rodnik (Spring). In 1905-1907
Tenisheva organized exhibitions in Paris. Fabrics from
Talahskino occupied significant place in this exhibitions.

agilevs non-repertory theatre induced owners of Parisian fashion houses (boutiques) give him orders on dress
drafts. At the same time he met Paul Poiret. Apotheosis
of their joint creativity was costumes inspired by ballets
ob easterb and antique themes. Free dresses without corsets, gauzy fabrics, big decolettes and open hands, turbans
with plumes and shalvar skirts widely penetrated in high
society. First dramatized fashion show is also related with
name of Bakst. It was fashion defile organized by Poiret.
Defile turned into masquerade, where costumes, created
on motives of Sheherezada ballet, was demonstrated.
Vogue created by Russian artists returned fro Paris
to Russia. Concepts of current epoch by expression

24

Vedouc projektu V. A. evuk

Odpovdn redaktor O. V. Jakovleva
Autoi lnk:
O. M. Zamickaja, N. D. Troskina, O. B. Strugova
Strnkov korektura: design studia Natlie Malinin
Veejn dopisy a kabinetn fotografie z kolekce architekta
Sergeje Tkaenko
Korektura N. V. Bezdnnch
Vydalo nakladatelstv Rudencovch v roce 2008
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2008 .

These fabrics notably influenced Parisian vogue. Princess

wrote in her memoirs, that even two years later she met in
Parisian streets blouse Russ with embroideries, created
under obvious influence of exhibition patterns.
The end of nineteenth century and the beginnig of
twentieth century in Russia (called Silver century) are
marked by the highest achievements of Russian culture in
all areas. Vogue took important place in this process. Creation of new costume conception, turn to rationality and
fuctionality, new principles of decorations was formed in
Europe with direct and active participation of Russian artists. In this modern style one could see origin of future
styles ar-deco and Russian avant-guard.

Project manager V. A. Shevchuk

Executive editor O. V. Yakovleva
Authors of articles:
O. M. Zamzhitskaya, N. D. Troskina, O. B. Strugova
Make-up: design studio of Natalya Malinina
Open letters and cabinet photos from collection
of architect Sergey Tkachenko
Proof-reader N. V. Bezdenezhnykh
Rudentsov Publishing house, 2008