Interior of the 19th century beginning of the 20th. How to decorate the interior in the Empire style

03.03.2020

Rudolf von Alt, Salon in the apartment of Count Lankorowski in Vienna (1869)

Today, photographs of impeccable interiors and countless photographs of private homes can easily be found in design magazines and on the Internet. However, when the tradition of imprinting private rooms emerged in the early 19th century, it was very avant-garde and unusual. Even before there was photography, people who could afford it hired an artist to make detailed watercolor sketches of the rooms of the house. Such drawings were inserted into the album and, if desired, shown to strangers.

Such paintings, preserved to this day, provide a glimpse into the decadent lifestyles of the affluent 19th century and appreciate the art of detailed rendering of home interior design. There are currently 47 such paintings on display at the Elizabeth Myers Mitchell Gallery at St. John's College in Annapolis, Maryland. The exhibition was organized by Cooper Hewitt, Smithsonian Design Museum. According to curator Gale Davidson, the paintings were usually painted after the room had been renovated, as a keepsake for the family.

Rudolf von Alt, Library in the apartment of Count Lankorowski in Vienna (1881)

Rudolf von Alt, Japanese Salon, Villa Hügel, Vienna (1855)

Some parents made albums with such paintings as wedding gifts to their own children, so that they would have memories of the house in which they grew up. People also often laid out albums on tables in living rooms to impress guests. According to Davidson, Queen Victoria, who commissioned many paintings of palace interiors, wrote in her personal diaries that she and her husband loved to look at these paintings, recalling the years they lived in these houses. Aristocratic families throughout Europe eventually adopted the practice of commissioning these "interior portraits" as well. The exhibition features paintings of house interiors from many countries including England, France, Russia and Germany, which show the various interior design trends of the 1800s as well as the rise of the consumer culture society. As people began to travel more, their homes began to fill with furniture from abroad. Illustrations of interiors became very fashionable, reaching their peak around the 1870s.

This practice was largely a reflection of the growth of the industrial classes. Many watercolors, for example, depict interiors filled with plants and organic decorations that reflect not only an interest in the natural world, but also a growing trend towards rare exotic plants. The Hotel Villa Hügel in Venice, for example, had a Japanese salon filled with purely decorative elements that turned it into a "garden"; in the Berlin Royal Palace there was a Chinese room with panels of tropical plants and birds, which also hovered over the space in the ceiling painting. The interiors of that era were also notable for the presence of orchids and caged birds, which people kept not only to impress, but also to entertain guests. Many artists (mostly men) started their careers by drawing topographic maps for military use or painting porcelain, and then specialized in interior painting due to increased demand. Some painters have even made their name in this genre. The exhibition features works by the Austrian brothers Rudolf and Franz von Alt; James Robertas, British painter who traveled with Queen Victoria; and designer Charles James - all of whom were known for distinct styles. The approach to painting these interiors also evolved over time, gradually becoming less formal and more intimate.

Joseph Satira, Study Room of Tsarina Alexandra Feodorovna, Russia (1835)

In the late 19th and early 20th century, a more impressionistic type of painting became popular, and artists gradually began to depict a more relaxed, domestic environment. Sometimes even residents were present in the paintings: the Polish Count Lankoronsky, for example, reading a book in his office in Vienna; a girl plays the piano in the room, and a dog lies next to her. Although these paintings were created to capture how people decorated their homes, what furniture and fabrics they chose, what they hung on the walls and what they collected, sometimes they resembled illustrations. Everyday life, right up to the moment when the camera took over this role at the beginning of the 20th century.

James Roberts, The Queen's Drawing Room at Buckingham Palace, England (1848)

Henry Robert Robertson, Interior of one of the halls of the palace in Kent (1879)

Eduard Gaertner, Chinese Room in the Royal Palace, Berlin, Germany (1850)

Eduard Petrovich Hau, Living room of Empress Alexandra Feodorovna

Anna Alma-Tadema, Sir Laurence Alma-Tadema's Study Room, Townsend, London (1884)

Charlotte Bosanquet, Library (1840)

Karl Wilhelm Streckfuss (1860)

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.
Late 18th - early 19th centuries - the time of the dominance of classicism, which implies a clear rhythm and a single style of placement of furniture and art. Furniture was usually made of mahogany and decorated with chased gilded bronze or brass bands. From France and others 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. Empire style furniture was made from Karelian birch and poplar, often painted in green color- under the 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 an ornament.

The enfilade of rooms in the exposition opens Kamerdinerskaya(late 18th - early 19th centuries). In such a room there could be a valet on duty. Mahogany furniture with brass overlays is made in the style of "Jacob".

Russian residential interior of the 19th-early 20th centuries Kamerdinerskaya
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.

Russian residential interior of the 19th-early 20th centuries Portrait, 1805-1810s
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.

Russian residential interior of the 19th-early 20th centuries Cabinet, 1810s
Canteen(1810-1820s) - also made in the Empire style.

Russian residential interior of the 19th-early 20th centuries Dining room, 1810-1820s
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.

Russian residential interior of the 19th-early 20th centuries Bedroom, 1820s
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.

Russian residential interior of the 19th-early 20th centuries Boudoir, 1820s
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.

Russian residential interior of the 19th-early 20th centuries Living room, 1830s
Young man's office(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 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.

Russian residential interior of the 19th-early 20th centuries
Young man's study, 1830s

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 respects, under their influence, estates and dachas in the Gothic style are being built (I already wrote about one of them - Marfino). Gothic cabinets and living rooms were also arranged in the houses. Gothic was expressed in stained glass windows, screens, screens, decorative elements room decorations. Bronze was actively used for decoration.
Late 40s-early 50s. The 19th century was 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 smokers in the room. The owner of the house dressed in an oriental robe.
An example of the above is Living room(1840s). Furniture in it

Russian residential interior of the 19th-early 20th centuries Living room, 1840s

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.

Russian residential interior of the 19th-early 20th centuries Yellow Drawing Room, 1840s

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.

Russian residential interior of the 19th-early 20th centuries Dressing room of a young girl, 1840-50s

V 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.

Russian residential interior of the 19th-early 20th centuries Boudoir study, 1850s

Bedroom of a young girl(1850-1860s) is striking in its splendor, it is also an example of the "second Rococo".

Russian residential interior of the 19th-early 20th centuries Bedroom of a young girl, 1850-60s

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 style “boule” is experiencing a rebirth, so named after A.Sh. Bul, who worked under Louis XIV- the furniture was decorated with turtle, 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 cottages were often built in this style (for example, near Moscow

Original taken from museum_tarhany Wall decoration in residential premises of the 18th - first half of the 19th centuries. Wallpaper in the Tarkhan manor house

Due to the fact that the interior architecture and decoration of the manor house in Tarkhany do not quite correspond to Lermontov's time, the museum management considers it necessary to carry out a major overhaul - restoration in the coming years. There are no documents proving how the manor's house looked like in Lermontov's time. Therefore one of options creating interior decoration is a reproduction of a typical environment of that time.

Precious information about the decoration residential buildings of that era are contained in the memoirs of contemporaries, the work of writers, poets and artists (it was during the period under review that a peculiar type of image appeared, which received the general name “In the Rooms”), reference literature of those years, as well as scientific research works contemporary authors, among whom I would like

highlight the book by T. M. Sokolova and K. A. Orlova “Through the eyes of contemporaries. Russian residential interior of the first third of the 19th century.

Unfortunately, memories of provincial and landowner houses are few. But it should be noted that provincial manor houses were often built according to the model and likeness of the houses of Moscow wealthy nobles, because Moscow for a long time kept the style of building not so high as wide (as T. M. Sokolova and K. A. Orlova write). D. Blagovo in the book “Grandma’s Stories ...” reports: “The house was wooden, very large, roomy, with a garden and a kitchen garden and a huge wasteland, where in the spring, until we leave for the village, our two or three cows”17 (here we are talking about the 1790s).

In 1815, a Commission was formed for the construction of the city of Moscow. She you-worked standard projects residential development. Post-fire residential buildings in Moscow are wooden, more often one-than two-story, almost always with a mezzanine, often with mezzanines, with an invariable front garden and an entrance porch at the side wall.

Wooden houses were sheathed with boards or plastered. They were painted in light colors prescribed by the Commission in 1816: “So that henceforth houses and fences are painted more tenderly and the best paints, for which light colors are assigned: wild, blunge, fawn and with greenery. (Colors "wild" and "blush" - light gray and flesh).

Provincial and estate landlord houses were built, as a rule, according to the same standards of architectural techniques. So, D. Blagovo writes: “This house used to belong to Count Tolstoy ... who at one time built two completely identical houses: one in his village, and the other in Moscow. Both houses were finished in exactly the same manner: wallpaper, furniture, in a word, everything, both in one and in the other. Here we are also talking about the 1790s. Count Tolstoy, according to D. Blagovo, "is a very rich man." But even quite poor landowners often built their houses on the model of Moscow ones. The same D. Blagovo reports: “The house in Khoroshilov

was then old and dilapidated, in which Neelova lived for several more years, and then she built new house on the model of our Prechistensky, built after the French. Neelova is a poor landowner, her village Khoroshilovo was located in the Tambov province.

Just as typical was the internal structure of the landowner's houses. “The internal structure was exactly the same everywhere: it was repeated almost without any changes in Kostroma, Kaluga, Oryol, Ryazan and other provinces,” Count M. D. Buturlin testifies (memoirs date back to the 1820s).

A detailed description of the wooden provincial house in the city of Penza is given by the famous memoirist F.F. Vigel in 1802. “Here (that is, in Penza. - V.U.) the landowners lived in exactly the same way as in the summer in the village ... Having described the location of one of these houses, city or village, I can give an idea of the others, so great was their uniformity.

At the beginning of the 19th century, echoes of the 18th century were still felt in the decoration of walls and ceilings, when walls and ceilings were most often painted or upholstered with damask. Moreover, murals were in use both in capital houses and in estates, with the difference that in St. Petersburg they preferred murals with figures of ancient deities, while in estates, colorful painting with bouquets, exotic birds, etc., was more common, which was cultivated more in Moscow. S. T. Aksakov (at the end of the 18th century): “Looking into the hall, I was struck by its splendor: the walls were painted with the best colors, they depicted forests, flowers and fruits unknown to me, birds, animals and people unknown to me. ..".

From M. D. Buturlin (in 1817): “Then there were still in use clumsy (for the most part) images on the walls of a dense forest in almost real sizes and different landscape views. At the landowners middle class the dining room was usually painted with these plots ... ".

Along with damask and murals, paper wallpapers were widely used in Russia at that time.

Wallpaper production emerged as an independent industry already in the 18th century. Paper wallpapers were borrowed by Europeans from China, where their production has been practiced for a long time. The first wallpaper factories in Europe arose in England, then in France, Germany, and Russia. In England, cheap and medium grades of wallpaper were produced in huge quantities; in France, for the most part, only luxurious wallpapers were made; in Russia, the number of wallpaper factories was less.
...

By the end of the 18th century, wallpaper began to be used everywhere.

F. Vigel describes the house of the Kiev provincial marshal of the nobility D. Obolensky in 1797: “The whole city feasted with him twice a week ... Once they took me with them to one of these evenings. Here's what I found: two reception rooms, a long and low hall and a slightly smaller living room, both pasted over with the most ordinary paper wallpaper ... ".

The fact that wallpapering seems to Vigel to be an ordinary phenomenon and the very fact of the existence of registered wallpaper manufactories quite convincingly proves the widespread use of paper wallpapers already at the end of the 18th century. Manor houses, both urban and suburban, began to be decorated with "papers". Wallpaper was replaced with silk fabrics. From the very beginning of its existence, wallpaper did not claim to be an independent finishing material. They sought to imitate well-known, more expensive materials: leather, wood, marble, damask. Most often, the wallpaper pattern was made “under the fabric” and often

wallpaper as close as possible to the imitated material. They did not shun paper wallpaper even in palaces (Ostankino, Kuskovo, etc.).

Here is a description of the Mikhailovsky Palace: “The crimson living room adjacent to the oval hall got its name from the crimson color with golden rosettes of wallpaper pasted on canvas and covering the walls ... In symmetry with the crimson living room on the other side of the oval hall was a blue or blue living room. .. the walls in it were upholstered with canvas and covered with paper wallpaper blue color with golden flowers.

In the 18th century, wallpaper was first glued onto the canvas, then attached to the wall. This method of decorating walls with wallpaper carries the tradition of wall upholstery with damask. Recall that in N. Gogol's "Dead Souls" near Korobochka "the room was hung with old striped wallpaper" (about the 1820s).

At the beginning of the 19th century - in the 10s and 20s - wallpaper industrial production are used less often - mainly in residential premises (not front doors). In 1829, the Journal of Manufactories and Trade reported: “Since the time when it was found most convenient to plaster, paint and paint walls inside houses, even wooden ones, paper wallpapers gradually began to go out of use, and only v summer houses, pavilions and insufficient people have been preserved ... Such a change in taste and custom has led wallpaper factories to a cramped position ... ". One of the most popular ways to decorate walls is monochrome painting.

In connection with the new fashion, a fundamentally new type of wallpaper appears - both in terms of technology and decorative qualities. Since plaster occupies a dominant place in the decoration, they strive to make the “papers” outwardly similar to a painted plaster surface: the walls were pasted over with paper and painted

glue paint; they lost their ornamentation, becoming more and more monotonous, especially in the front rooms. “Colors acquire saturation and density. It is rarely used in living rooms with a blue color scheme, more often a deep, rich dark blue. The greenery of offices and bedrooms is saturated to the natural color of meadows and juicy spring linden crowns.

Adhesive coloring on paper could also be ornamented - on a stencil. So, in the 10s and 20s of the last century, the most common way to decorate walls in interiors wooden houses Ordinary Empire buildings became decorative painting on paper. This was convincingly proved by the architect I. Kiselev in the course of design and research work. His wallpaper collection contains about a thousand samples of the 18th-20th centuries, that is, it practically “covers the entire chronological range of the use of paper as a finishing material ... most of its receipts consist of wallpaper for residential buildings

buildings in Moscow scheduled for demolition.

In the 1830s, one-color factory wallpapers became widespread, and the popularity of factory ornamented ones also increased. The “expensive” wallpapers included wallpapers with a very complex pattern, when complex pictures were reproduced on paper and hand-painted and had to be applied to one picture up to several hundred colors one on top of the other.

In 1829, the “Journal of Manufactories and Trade” reported: “In the case of wallpaper, the first place belongs without any doubt to the Tsarskoye Selo wallpaper factory of the department of His Imperial Majesty. Products of this wealth, taste, purity of finish and the greatest resemblance to expensive materials are unparalleled. Rich and beautiful patterns, vibrant colors, pure and delicate printing, or rather a shadow, distinguish them from everyone else so that they can be compared with the best foreign ones.
M. N. Zagoskin in the story "Evening on Khoper"

(first published in 1834) describes a provincial estate in the Serdobsky district, the territory of which is now part of the Penza region. The author testifies: “Two hefty lackeys, not luxuriously, but neatly dressed, took us out of the carriage. We entered the vast entrance hall... Having passed the billiard room, the dining room and two living rooms, one of which was covered with Chinese wallpaper, we met the owner of the house at the door of the sofa painted with bosquet.

Of those located near Moscow, the Zhilkinskaya wallpaper factory was more popular, although the quality of the wallpaper it produced was lower than that of Tsarskoye Selo. And, of course, in addition to well-organized and equipped manufactories, there were whole line small workshops. One of these workshops is described by I. S. Turgenev in the story “First Love”. “The case took place in the summer of 1833. I lived in Moscow with my parents. They rented a dacha near the Kaluga outpost... Our dacha consisted of a wooden lord's house and two low outbuildings; in the wing to the left was placed a tiny

naya factory of cheap wallpapers.

The mother of I. S. Turgenev, Varvara Petrovna, lived in Moscow on Metrostroevskaya (now) Street in a wooden house since 1839. When examining the house, I. Kiselev found paper wallpaper pasted directly on the frame under several layers in the office premises. Their drawing is strict, geometric.

laquo; Encyclopedia of the Russian urban and rural owner-architect" (it was published in 1837 and 1842) says: "Internal walls are also painted with oil and glue ... the first method is more profitable, because the walls, painted with oil paint, can be washed, the second one is much cheaper, more colorful and more beautiful. The interior walls are still upholstered or covered with wallpaper.

Member of the Union of Architects I. A. Kiselev, great specialist in internal architecture of the 19th century and a great connoisseur of wallpaper, was in Tarkhany in April 1990. After examining the manor house, he wrote: “Over the memorial period (about 30 years), the nature of the decoration could repeatedly change radically. The first time after the construction, the framed walls of the log house were not finished in any way, that is, the log tree remained open. This period could be very long. At the next stage, they could glue the wallpaper directly on the log house. Further, individual local changes could be made: repair and replacement of wallpaper, wallpapering in previously unfinished premises. The presence of plaster in the interiors during the memorial period is unlikely. All the walls in the house cannot and should not be finished in the same technique. The richest and most elegant wallpaper is in the front area; it can be factory-made wallpaper, polychrome, with a pattern. Moreover, such wallpapers can only be in one front room, living room or hall, in other rooms - plain. They can also be plain with borders in living rooms. ...Wallpaper in the interiors of a manor-type house in the first half of the 19th century was the most common finishing material. simple wallpaper(not polished, not bulky, with a small number of printed boards) cost much less than all other types of finishes, having rather high decorative qualities.

So, what kind of decoration of the interior walls of the manor house should be given preference? Currently, the walls are covered with paper and painted in monochrome. Finishing work carried out with high quality, at a high professional level: colors were very well chosen, the rules for pairing walls with window and door frames, with skirting boards, etc. were observed. This method of wall decoration is one of the most popular in the first half of the 19th century, that is, it fully corresponds in typology to the time we are interested in. And therefore, it would be possible not to talk about changing the decoration of interior walls, if not for

which circumstances. Let's consider them.

As already mentioned, there is no documentary information about the interior of the manor house for the memorial period. What happened next?

In 1845 E. A. Arsenyeva died. 14 years pass. I.N. Zakharyin-Yakunin (this is 1859) arrives in Tarkhany and describes the manor house as follows: “The master’s house ... turned out to be empty, that is, no one lived in it at that time, but

order and cleanliness in the house were exemplary, and it was full of the same furniture as it was eighteen years ago, when Lermontov lived in this house. The manager led Zakharyin-Yakunin into “those rooms in which Lermontov always lived while in Tarkhany. There, as in the house, everything was preserved in the same form and order as it was during the time of the brilliant tenant of these rooms. In a locked mahogany cabinet with glass, there were even books that belonged to the poet on a shelf ... Dying ... my grandmother bequeathed ... to leave the poet's rooms on the mezzanine in the same form in which they were during his lifetime and which she guarded from change while she lived herself. In 1859, when fate gave me the opportunity to visit Tarkhany, the testament of the old woman Arsenyeva was still sacredly fulfilled.

Another eight years passed, during which Gorchakov remained the manager of Tarkhan. All this time no one lived in the manor house. Under Gorchakov in 1867 - in what month, it is not known exactly - the mezzanine was removed from the house. In the same year, 1867, a well-known doctor and local historian N.V. Prozin visited Tarkhany. He wrote: “You ... drive up to the porch of a small manor house ... everywhere thick mura-va covered the entire courtyard like a velvet carpet. Single storey wooden house was previously with a mezzanine, but the mezzanine was removed very recently and still stands undisassembled right there, in the manor's courtyard ... Lermontov spent a lot of time here and lived in the same mezzanine, which is now removed and placed in the yard ... The location of the rooms in the house remains to this day the same as it was before, when the poet lived in it.

N.V. Prozin visited Tarkhany in the summer, judging by the fact that porridge is in bloom, wild chi-cory, roses and meadows are lush green.

In 1891, on the eve of the 50th anniversary of the death of the poet, N.V. Prozin again writes about visiting Tarkhan: “Several years ago, when I was in the village of Tarkhanakh, I found the old servant Lermontov still alive ... The old man was already decrepit even then and, besides, blind... Even at that time in Tarkhany, I found that mezzanine on the house where Lermontov lived intact. ...Thanks to the courtesy and enlightened attention of the manager

P. N. Zhuravleva, I could see the whole house. Directly from the living room, pasted over with old dark blue wallpaper with golden stars, from a low balcony, we went down to the garden.

We also have information about other rooms of the manor house. The daughter-in-law of Uncle Lermontov A.I. Sokolova Anna Petrovna Kuznetsova said: “The manor house was with a mezzanine, as it is now. Its walls were pale yellow, the roof was green, and the columns were white... The mezzanine was demolished because of dilapidation, but then restored in the same form as before. ... Mikhail Yuryevich's room was covered with yellow wallpaper, and there was a fireplace in it; the furniture in it was yellow, sheathed in yellow silk. ... In the living room there were two stoves made of white tiles, and the floor was cut into parquet; the walls in it were upholstered with burgundy wallpaper ... The walls of the hall were covered with light wallpaper, and a chandelier with glass pendants hung.

V. A. Kornilov - being the director - in the first guide to the Tarkhan museum-estate wrote: "The restoration of the manor house ... was carried out in 1936, and it was based on the testimony of the old residents of the village of Lermontov and the poet's texts" .

...
In the era of late classicism (Russian Empire, in the style of which the manor's house was built), each room was painted with its own, only inherent color scheme: the hall was, as a rule, light, by analogy with the facade - yellow, pale, blanche tones; hostess's room (study - bedroom) - green; the living room was most often blue or light blue; if there were several living rooms, the next ones could be pink, raspberry, lemon.

In three texts by M. Yu. Lermontov - wallpaper. In the first case, these are “multi-colored wallpapers” in the style of the 18th century in the house of a wealthy provincial landowner Palitsyn; in the second - this is "light blue French wallpaper" in the room of a dandy Petersburg officer, in the third - "old wallpaper" in the house of his beloved Sashka, the hero of the poem, a girl of the middle class.

What can be concluded from all of the above?

First: based on the typology, a manor's house can be painted (oil or glue, monochrome or stenciled); there could be factory-made paper wallpapers (monochrome and ornamented). Any of these types of finishes will match the era.

Second, we have evidence for wallpaper. And we do not have those in favor of other types of finishes. This information, of course, is not a document for the memorial period, but we cannot, we have no right to neglect them, because we have so little information about the decoration, architecture, decoration of the manor house that any, even the smallest grain, at least bringing us a little closer to the era of Lermontov, we must cherish, store and use in our work.

Materials:
1. D. Blagovo. Grandmother's stories. From the memories of five generations, recorded and collected by her grandson. L., Science, 1989
2. T.M. Sokolova, K.A. Orlov. Through the eyes of contemporaries. Russian residential interior of the first third of the 19th century. L., Artist of the RSFSR. 1982
3. S.T. Aksakov. Sobr. op. in 4 vols. M., 1955, v. 1
4. N.V. Gogol. Sobr. op. in 4 vols. M., Pravda, 1952. v. 3
5. Journal of manufactories and trade. SPb. No. 6, 1829
6. A. Kiselev Wallpaper XVIII-XIX centuries. — decorative arts USSR, 1979, No. 4
7. M.N. Zagoskin. Favorites. M., Pravda, 1988
8. I.S. Turgenev. PSS, vol. 9. M.-L., 1965
9. Encyclopedia of the Russian urban and rural owner-architect of St. Petersburg, part 1
10. I.N. Zakharyin-Yakunin. Belinsky and Lermontov in Chembar. (From my notes and memoirs). — Historical Bulletin. 1898, book. 3
11. Museum archive. Materials for the history of Tarkhan; op. 1, unit ridge 75
12. P.A. Viskovatov. Mikhail Yurjevich Lermontov. Life and art. M., Sovremennik, 1987
13. V. Kornilov. Museum-estate of M.Yu. Lermontov. State Literary Museum, 1948
14. M.Yu. Lermontov Collection. op. in 4 t. M., Fiction, 1976, v. 1,

Interior in Russian Schedule XIX- 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 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 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 theme of the interior. 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. 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 very 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. This 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. Couldn't "grab" large space as wide as possible, create a holistic view without geometric distortions, 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.

This exposition was created in 1976 under the guidance of the chief curator of the Pavlovsk Palace-Museum A.M.Kuchumov. On the basis of 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, how 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

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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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.

V 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

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. V decorative design motifs of peasant embroidery were used.

At the end of the 1890s, the Art Nouveau style (from 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 ancient culture at the beginning of the century, through the passion for 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 XIX-XX centuries.