Features of the Russian manor: style and interior, history and modern interpretations. Interior

Today, most people prefer comfortable and maximally functional housing. However, there are also rare connoisseurs of the old classics who wish to arrange their home in the best traditions of the old days. Usually, such a category includes people rich, having not one type of real estate, collectors and antiquars, which, on the one hand, experience the thirst for experiments, and on the other hand, remain faithful to tradition.

To date, the interior of the 19th century, which dominated the houses of the aristocratic nobility, is one of the most indicative among the pages describing the history of architecture and life of the Russian Empire. For example, in the famous Pavlovsk Palace there is a whole exposition dedicated to the residential interior of 19 of the beginning of the 20th centuries, which allows you to move as if by car time to another century.

Let us try to determine what features of the 19th century interior were present in different decades of century.

So, at the beginning of the 19th century, Russian know often was located in the country estates or mansions located within the city. Together with the owners in the house lived a servant, which was classified by status. Houses in which the Lord lived, usually consisted of three floors. It is the first floor rooms in the interior of the 19th century were given to the order of servants, household premises, a kitchen, a subsidiary.

On the second floor there were guest choices, which often were adjacent living rooms, halls and a dining room. But on the third floor most of them were located the Lord's choirs.

At the beginning of the century in the interior of the 19th century, classicism and ampir styles were present. Most of the premises were harmoniously combined with each other and included the furniture of a single style, often made of mahogany with tissue finish, decorated with gold-plated, brass or bronzed elements. The walls in the houses were often stained with monophonic paint green, blue or purple colors or were covered with striped paper wallpaper.

Mandatory room in any residential building was the host's office, whose furniture was often made from poplar or birch. Weightful place also occupied portrait rooms, which were drawn up with striped wallpaper and decorated with portraits in heavy and massive gold-plated frames.

The bedroom was usually divided into two zones: the bedroom and the future, especially the young ladies rooms concerned. In richer houses, the BooR was located in the next bedroom. The boudoir in the 19th century interior wore not only the function of the toilet room, as was the personal space of the hostess, where she could do reading, embroidery or simply be alone with her thoughts.

The interior of the 19th century in the 40-60s was inflicted under the influence of romanticism, neootics and pseudorous style. The windows in the houses began to hide heavy draped fabrics. On the tables appeared tablecloths. The genius of gothic sometimes manifested itself in fashion on the fitted windows with stained glass windows. In about the reign of Nikolai II, fashion was introduced into French style. Furniture made of mahogany gave way to a pink tree, decor objects such as porcelain vases and figurines appeared in the interior. And already a little later, especially in men's bedrooms, the Eastern motives began to be reflected. For example, weapons were hanging as a decor on the walls, hookahs and other smoking accessories could be present in the rooms, the owners often loved to fall in bathrobes with oriental motifs. But, with regard to living rooms and women's bedrooms, the style of the second Rococo remained dominant.

The interior of the late 19th century begins little to fade in comparison with the beginning and middle of the century. This is due to the fact that many bourgeois families ruined and found themselves in an unenviable financial situation. At the same time, there was no scientific and technological progress on the spot, which brought to the interior of Tuli and tablecloths from machine lace.

Instead of houses in the 19th century, the apartments that combined the eclectics of many architectural styles in themselves are more popular. The place of the estates took the country villas whose interiors were often drawn up in the pseudo-building style, which was finished with beams with ceiling threads and an unchanged buffet in the dining room.

By the end of the year, the modern style of modern lines entered their rights, which assumes smooth curved lines in all interior items without exception.

The interior of the 19th century on the saturation of different styles can take, perhaps, first place among other centuries, as under the influence of historicism, such currents as classicism, Rococo, Gothic were reflected in the middle of the century, in the middle of the century, and at the end of their rights entered Unique Modern.

The beginning of the 19th century is characterized by the emergence in France of the architectural and interior directions called Ampir. The so-called imperial style is distinguished by luxury and solemnity designed to emphasize the greatness of the emperor Napoleon. The organic combination of Roman antiquity, Egyptian motives, architectural monumentality of the interiors, abundance of gilding and bright colors in the decoration allowed the French ambigu to expect a sufficiently long historical period and with some changes to be adopted as a Russian imperial courtyard and bourgeois Germany. The 19th century allows you to plunge into the atmosphere of the magnifies and luxury of ballrooms, living rooms, boudoons of that time.

Characteristic style features

Ampire as an architectural and interior style originated in the early 19th century with a slight hand of Napoleon Bonaparte. He was designed to emphasize the greatness of the emperor, combining solemnity, luxury and rigor.

The bulk of an emergency is Roman antiquity with its monumental arches, columns, the Caryatids. The architecture and interiors of the 19th century in the imperial style are distinguished by monumentality, integrity and symmetry.

A red tree, marble, bronze and gilding were used in the decoration. The walls decorated with painting of ancient scenes, bas-reliefs. On the ceiling was used gypsum stucco.

The 19th century interiors in the ampir style are withstanding in saturated colors: blue, red, green, turquoise, white. They are well combined with an abundance of gilding and an ornamental decor. Pastel shades were often used: dairy, beige, lavender, pale blue, pistachio, mint.

Complemented the finishing of the monumental furniture made of red wood with decorative bronze linings or gold-plated thread. Popular motives were popular in furniture: legs in the form of paws, armrests with lions heads. It provoked the fashion to the authentic attribute, which later influenced the French Ampire, organically pour into the interior along with antique motifs. No less popular was the military topics: paintings with scenes of battles, weapons.

Walls

Walls in the interior of the 19th century of imperial style painted antique plots and exotic scenery. Often there were bas-reliefs. Wallpapers were rarely used, mainly with a pattern in the form of monograms or a strict strip. In the bedrooms and future walls, the walls were drained to textiles decorated with Akante in the Roman style. Bright shades prevailed in the color scheme: red, blue, green, as well as white. They are remarkably combined with the abundance of gilding, emphasizing the majestity and the identity of the situation.

A characteristic feature of an emergency is and stucco in the decoration of the walls. Columns made of marble, malachite and other diverse stones, stucco covered with gilding. Huge mirrors - an integral attribute of the 19th century interior. They were actively used in the decor, complementing with suitis gilded ram.

Ceiling

The ceilings in the interiors of the ampir style are always high, dome or straight form. The main color is white. Decorated the painting ceiling as well as griezayl. It is difficult to present the interior of the 19th century in the imperial style without stucco. Gypsum sockets, eaves, moldings and other decorations were used everywhere. Often stucco covered with gilding. Strict centralization of the composition and symmetry, characteristic of the Roman style, is brightly traced in amp. The center of the ceiling necessarily decorated with patterns and complemented the magnificent suspension chandelier. Gilding and crystal harmoniously emphasized the solemn

Imperial style lighting plays an important role. With a large area of \u200b\u200bthe room, several large symmetrically arranged chandeliers were installed. In addition to them, wall and table candelabras were present in the room. Numerous lights, reflected in mirrors and gilding, created a unique atmosphere of solemnity and greatness.

Furniture

In the interior, the furniture was monumental as the work of architectural art. Such exclusively architectural elements as columns, eaves, caryatids were used. Countertops were often manufactured from a solid piece of marble or malachite. Sofas, chairs, couches were smooth ergonomic forms.

The red tree was widely used. Decorated furniture with bronze linings, gold-plated threads stylized under animals with legs and armrests. The animal motifs are clearly traced in the imperial style: heads and paws of lions, eagle wings, snakes. Mythical creatures were popular: griffins, sphinxes. The upholstery of the couch, chairs, chairs in French ampir predominantly monophonic, made under marble or leather. In the interiors there were round tables on one leg, servers for dishes and trendy baubles, a secret with a shelf for books.

Decor

The 19th century decoration predominates the antique Roman and Egyptian motifs - columns, friezes, pilasters, ornaments with the leaves of acanta, sphinxes, pyramids. The era of Napoleonic wars could not not affect the interior. Images of weapons were widely used: saber, shields, arrows, guns, nuclei. The decorators of that time could not get around the laurel wreath as a symbol of magnifies. He meets everywhere.

The interior is replete with plaster statues, paintings and huge mirrors in massive gold-plated frames. Sophisticated drapes on the windows and walls is a characteristic point of an amp. Beds decorated with ductachins. The entire decor in the imperial style interior is carefully calmed, and the same images can be found in the furniture decor, walls, accessories and even books.

Russian ampir

The Russian interior of the 19th century took a lot from the French Ampury, recycling and mitigating. Instead of mahogany and bronze linings on the furniture, Karelian Birch, ash, Maple, were used. Furniture decorated with gold-plated carvings. The creatures of Egyptian mythology successfully replaced Slavic. Unlike the French Ampury, which lines first of all the identity of the emperor, the Russian has paid great attention to the magnitude of state power. Marble was replaced by the Ural Malachite, Lazurit and other diverse stones.

Russian ampir gradually divided into two directions: metropolitan and provincial. Metropolitan was more like French, but was softer and plastic. The Italian Karl Rossi was undoubtedly contributed to the development of style. The provincial version of the Russian ampury was even more restrained, close to classicism.

Ampir - bright and majestic style in architecture and 19th century interior. The pomp and the identity of the interiors was designed to emphasize the greatness of the emperor. The characteristic features of the imperial style are a central composition, bright colors, an abundance of gilding, stucco, huge mirrors, antique, Egyptian, animal and military motives.

There are opportunities to use the style of the 19th century and in modern interior design. Designers can implement the implementation of such a project using modern materials and stylized items. Luxurious Ampire style can decorate any apartment, there would be a desire and opportunities.

The Russian manor has become a separate phenomenon in the architecture and design of interiors. And now many owners of country houses are trying to reproduce this direction. Let's try to figure out what the Russian manor is different from ordinary mansions, we will bow a little in the past and consider the features of such an interior.

The artist Stanislav Zhukovsky is known for his paintings, on which he lovingly portrayed the ancient Russian estates. According to his paintings, it is possible to study the interiors of houses from mid-XIX and before the beginning of the 20th century.

S. Yu. Zhukovsky. Poetry of the old noble house, 1912

S. Yu. Zhukovsky. Big Living Room in Brasov, 1916

S. Yu. Zhukovsky. Interior of the Library of the landowner house, 1910s

Immediately we define that we will talk exactly about the estates, not the outstands, terems and princely palaces. A lot of ranks and teremes said, this is also a story, and more ancient. And repeat the luxury and the royal style of the Palaces of Russian princes now can afford the units. Yes, and who will decide to reproduce such a style - in modern realities it is difficult to imagine.

Russian Terem, as a place of residence is enough prosperous families, now you can meet mainly in the ancient cities and villages. Carved platbands, wood as the main material, four small rooms around a solid furnace, a veranda - these are the main differences in such a structure.

The interior of the Russian huts currently can be found in the baths, sometimes so build giving people who are fond of antique. Here everything is simple, rustic, without delights and extra details.

So, having broken up a bit with teremes and hollows, go directly to the estate. This name comes from "plant" or "trust". Under the estate traditionally refers to a country construction, a whole complex, whereby in addition to the most residential house includes economic structures and an extensive garden. It is customary to distinguish the following types of ussers:

Boyars or merchant estates that began to appear in the XVII century.
The landowners of the estates who remained the main place of residence of wealthy Russians up to the beginning of the 20th century, and were specially popular in the XIX century.

Baron Nikolai Wrangel (Brother Peter Wrangegel, the leader of the White Movement) in 1902 went to the province in detail to study the features of the preyss of the then landowners. This is how he described the traditional estate in his book: "White houses with columns, in shady more often trees; Sleepy, smelling ponds with white silhouettes of swans, furrowing summer water ... ".

White or sometimes blue classic style house, columns with Corinthian orders, maximum two floors, a wide porch or terrace - such an external appearance of the Russian manor is not outdated now.

On this photo, the manor of the Galskih, located in Cherepovets. Now this is a house-museum telling about the life of the landowners of the beginning of the XIX century.

As for the interior of Russian estates, a merchant style should be distinguished from later, created under the influence of European, mostly French directions and approximately to modern realities.

In this pictures, the House of the merchant Klepikov, located in Surgut. A well visible abundance of textiles, very simple finish, boardwalk, solid wooden furniture. Such a metal bed with springs, confident, many of you are still caught grandmother in the village. Let us turn again to the Baron Wrangel, who interior the estate described like this: "Inside, in the rooms, - genuine comfortable chairs and armchairs, friendly round tables, ruffled endless sofas, hoarse clocks with rusty bass fights, and chandeliers, and candlesticks, and sonnets, and Screens, and screens, and tubes, tubes to infinity. "

Furniture In such a manor, it was often a diverse - an old chest, which was getting from grandfather, could coach with a new-fashioned French chair or an English chair, which the owner of the house on the whim of the spouse acquired during a trip to the city. Traditionally, in the Russian manor, there was a hall for receiving guests and, if the size of the house - balls was allowed, as well as the office, which became a male asylum of the owner.

On this photo, the interior of the estate built in the village of Copper Lake (near St. Petersburg) by architects Elena Barykina and glory valve for collectors of antique furniture. Almost all furnishings are authentic, but there are in this house and modern replicas created by "Under the Starin".

If you want to recreate the interior of the Russian manor in your home, such principles should be followed:

A mandatory element will be a wooden floor, you can parquet or boards.
Furniture is concise, better from dark wood, with thin legs.
Interior doors and white plinths.
Walls can also be wooden painted in neutral shades (but better - snow-white). You can also use wallpaper for antiquity that mimic textiles.
Round or oval tables, with beautiful tablecloths, lamps with cozy lamps and light curtains.

As for the kitchen and bathroom, it is advisable to use tiles. Doors of kitchen cabinets can be left wooden or painted under Gzhel, as in the example we submitted.

Separately, it should be mentioned about the impact that an ampir or late classicism came to the interior of the Russian manor, who came from Europe. As part of the landlord estate, this direction was called the "Rural Ampire", becoming less pompous and luxurious.

Now the style of the Russian manor, some homeowners imagine, as a kind of hut, country, chalet, rustic and modern motifs.

Well, the style of the Russian manor has always been a kind of mixture of various directions, taking a lot from the classics and the history of our country. However, if you stick to the main canons, as a result, you should get light, not overloaded with furniture interior, cozy, fresh, quite simple and at the same time really homely, the real Chekhov cottage, not yet described by the classics of Russian literature.

The other day we managed to visit incredibly "tasty" ( and for gourmet and for the photographer) Place is a house-manor of the Dumanov manufacturer in the village of Zarechye of the Vladimir region.

The manufacturer's house is simultaneously the museum of weaving, an indicative merchant estate of the late XIX century and a hotel. The recreated interiors of the rich merchant house with old objects are very impressive ...

As we arrived in the estate more on museum matters, we did not really manage to immerse yourself in the most interesting story of this place.

Therefore, we give his description from a third-party resource (strana.ru), decorating the text by our photos: "Mansion manufacturer I.S. Dumunova in the village of Zarechye dramatically stands out on a common non -parade background: a huge two-storey house with beautiful platbands and a strong fence. Behind the fence - not Wonderful garden, gazebos, real Russian bathroom. Well-groomed rustic manor in the very center of the village.

It is not worth it for a long time ago - at the end of the 20th century, a centenary house was little different from others abandoned on the mercy of the fate of houses left without owners. Dubnov's estate was selected on the wave of delaping, almost the whole family were planted and expelled, and in the house there were a rural school, closed in the nineties.

Already in the new era in Zarechye, the granddaughter of the last of Dumunov, Galina Maslennikova returned. She managed to buy a generic home and a plot of land under it. The goal was formulated immediately: not just to equip a place to live, but open the museum in the district.

With the help of sponsors and with the assistance of the Vladimir-Suzdal Museum, the Maslennikov family managed to lead the estate in order, recreate old interiors, break the garden and collect a collection of exhibits dedicated to the unique craft, which Zarechye village was famous for the unique craft.

The fact is that the Dubnovsky factory produced a silk, silk velvet and plush, and plush, and in the village there were strands and machines in the village almost every home. All the fabrics are men, women, old people and children.

After the revolution, it turned out that the luxurious subtle matters of the people of alien, and production retrained to an artificial plush and lining fabrics. The fishery almost died if it were not for the enthusiasm of the hear of Dumunov, who supported the Zarechensky residents.

They willingly gave the old things for the museum assembly - in almost every home in the attic, some historical object sort of grandmother's ribbons, details of weaving machines, and vintage utensils. Something found in other villages, purchased from Antikvarov. Today, the museum is legally proud, for example, the presence of a hand-made weaving machine, extremely rare in world museums of a similar profile. The whole process of creating fabric, all necessary for this device is carefully assembled and restored.

The exposition is located in two houses next to the main house of Dumunov. Typical peasant hut turned into a small Museum "House of Rural Tag", and near the copy of the ancient private factory, which was called the belling: it is a two-story loose, only with a multitude of windows to be lighter.

Interestingly, each window is not from the usual two or four glasses, but from a large number of small cells. This is explained by reasonable savings: the spindle was often broken, fleeing the window, and not to change the expensive glass every time, they were prudently divided into fragments.

Rudolf von Alto, Salon in the apartment of Count Lancorers in Vienna (1869)

Today, photographs of impeccable interiors and countless photos of private houses can be easily found in design magazines and on the Internet. However, when the tradition of improving personal rooms arose in the early 19th century, it was very avant-garde and unusual. Even before the photograph appeared, people who could afford it hired an artist who did a detailed watercolor sketch of the rooms at home. Such drawings were inserted into the album and, if desired, were demonstrated by strangers.

Such pictures that preserved to this day make it possible to take a look at the decadent lifestyles of the height of the 19th century and evaluate the art of detailed transfer of home interior design. Currently, 47 such paintings are shown at the exhibition in the Elizabeth Myers Mitchell Gallery in St. John and Annapolis College, Maryland. The exhibition was organized by Cooper Hewitt, Smithsonian Design Museum. According to the curator Geila Davidson, the paintings were usually written after the room was renovated, for the family memory.

Rudolph von Alto, library in the apartment of Count Lancorers in Vienna (1881)

Rudolph von Alto, Japanese Salon, Villa Hügel, Vienna (1855)

Some parents made albums with similar paintings as a wedding gift to their own children, so that they remain memories of the house in which they rose. People also often laid out albums on the tables in the living rooms to impress guests. According to Davidson, Queen Victoria, on the order of which many paintings were made with the image of the palace interiors, wrote in his personal diaries that she loved to consider these paintings with her husband, recalling years lived in these homes. Aristocratic families throughout Europe ultimately also accepted the practice of commissioning these "interior portraits." The exhibition presents pictures with interiors of houses from many countries including England, France, Russia and Germany, which show the various tendencies of interior design of the 1800s, as well as the growth of the consumer culture society. As people began to travel more, then their homes began to fill with furniture from abroad. Interior illustrations have become very fashionable, reaching a peak in about the 1870s.

Such practice was largely a reflection of the growth of industrial classes. Many watercolors, for example, depict interiors filled with plants and organic jewelry, which reflect not only interest in the world of nature, but also a growing tendency to rare exotic plants. Villa Hügel in Venice, for example, was a Japanese salon filled with exclusively decorative elements that turned it into the "garden"; In the Berlin Royal Palace there was a Chinese room with a panel with tropical plants and birds, which also batted over the space in the ceiling painting. The interiors of that era were also distinguished by the presence of orchids and birds in cells, which people were stored not only to impress, but also to entertain guests. Many artists (mostly men) began their careers, drawing topographic maps for military use or painting porcelain products, and then began to specialize in the pictures of interiors due to increased demand. Some painters even made their name in this genre. The exhibition presents the works of the Austrian brothers Rudolph and Franz von Alt; James Robertas, a British painter who traveled with Queen Victoria; And the designer of Charles James - all of which were known excellent styles. The approach to painting of these interiors has also developed over time, gradually becoming less formal and more intimate.

Joseph Satira, Tsaritsna training room Alexandra Fedorovna, Russia (1835)

At the end of the 19th beginning of the 20th century, a more impressionistic type of painting and artists gradually began to depict a more relaxed, home environment became popular. Sometimes even residents attended paintings: Polish Count Lancoronsky, for example, reading a book in his office in Vienna; The girl plays the piano in the room, and next to it is a dog. Although these pictures were created in order to capture how people decorated their homes, what furniture and fabric chose that they were hanging on the walls and what collections were collections, but sometimes they reminded illustrations of everyday life, exactly until the moment while at the beginning of 20 -Ge century this role was adopted by the camera.

James Roberts, Queen Living Room in Buckingham Palace, England (1848)