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Exhibition "Lace for show". Exhibition "lace for show" About additional projects within the framework of the exhibition

About the name and concept of the exhibition:

"Show off" - defiantly expensive and pompous - this is how lace appears in the 18th century, when a new type of decorative and applied art that is rapidly gaining popularity enters the life of royal families, church clergy and high military ranks. "Show off" - frankly, at the limit of sensuality - in the era of boudoirs and the involvement of art in the world of intimate fashion of decadence at the turn of the 19th-20th centuries. “For show” is also a social order of the young USSR, when the craftsmen of Vologda, Yelets or Ryazan wove five-, six-meter lace panels of unimaginable scale for all-Russian exhibitions from the finest threads, designed to demonstrate the country’s aspirations in space exploration and the construction of a “bright path”. Finally, "for show" - in the context of "high fashion" of the second half of the twentieth century, with the transfer of traditional lace-making techniques to the podium and the conquest of the mass consumer.

About the exposure:

The project will present more than 300 works created in Russia and Western Europe in the 18th-21st centuries. - from the first samples of metal lace for the costume of the highest nobility to modern interpretations of bobbin art in the spirit of "Gothic chic" and experimental projects of modern designers.

The exhibition is located in seven halls of VMDPNI, on an area of 600 sq.m. Major museums take part in the project, including the State Tretyakov Gallery, the Tsaritsyno State Museum-Reserve, the Ostankino Moscow Estate Museum, the Museum of V. A. Tropinin and Moscow Artists of His Time, the Three Centuries Gallery and private collections, as well as the "Alexandre Vassiliev foundation", which provided about thirty of the rarest samples of lace, accessories and fashionable costumes from Western Europe and Russia.

Costumes, underwear and accessories from various historical periods deserve special attention, including: samples of lace from the Mariinsky School, founded in St. Petersburg in 1883 by S.A. Davydova, evening and tea dresses of the Art Nouveau era, matinet (French matineé) of the 19th century - women's morning clothes made of the finest lace combined with silk, designed for reading in bed, fildepers French stockings and garters with openwork stitching (unpaired, because one stocking the lady usually gave her admirer at his request), a chinoiserie fan from the collection of the Minister of Culture of the USSR E. A. Furtseva - the only one that miraculously survived in her apartment, dresses from the Fashion Houses of France and the USSR of the 1960-1980s and much more. The exposition is complemented by 19th-century accessories - various fans, mussels, gloves, binoculars, perfume bottles and other items. Behind each of the exhibits is not just “provenance”, but also the history of an entire era.

More than a hundred items from the storerooms will be presented by VMDPNI. The central place among them is occupied by lace panels of the 1930s-1960s with socio-political subjects. There are no analogues of "ideologized" lace-making anywhere in the world, with unique plot compositions calling for the construction of a new life - the organization of collective farms, the development of industry, and space exploration.

In addition to numerous examples of lace, the exhibition will feature paintings of the 18th – 20th centuries, rare photographs, graphics and newsreel, reflecting the symbolism and use of lace in different periods of Russian and foreign history.

Particular attention is paid to the masterpieces of painting from the collection of the State Tretyakov Gallery - female images in lace, depicted on the canvases of K.P. Bryullova, N.I. Argunova, V.G. Khudyakova, N.N. Ge, G.S. Sedova, Yu.I. Pimenov, as well as the famous "Spanish woman in white" N.S. Goncharova and "Lacemaker" V.A. Tropinin.

Fans of glossy magazines will be interested to see what the most famous fashion magazines looked like 150 years ago. For example, colored "inserts" - lithographs from the Bazar magazines of 1885-1889, showing fashion for ladies who are going to visit an exhibition, opera or go to a resort.

At the end of the exposition, the audience will see the radical objects of Olga Berg, the rebellious spirit of which turns the idea of the possibilities of the ancient technology of bobbin lace upside down.

About the exhibit:

The exhibition is conditionally divided into seven thematic blocks, interconnected: the emergence of lace, the emergence of crafts, the triumph of lace - the fashion of the XIX century, the boudoir, lace in the USSR in the 30-50s, lace in fashion houses and Soviet design 60-70- 1990s, special projects on modern design, fashion and experimental projects.

On some days, visitors will see performances during which lace-makers will weave designer panels in the exhibition space.

About additional projects within the exhibition:

Separate special projects are also planned with major world institutions and museums, such as the Victoria and Albert Museum in London and the Museum of Applied Arts (MAK) in Vienna, cultural centers at the embassies of foreign countries in Moscow, leading universities, as well as fashion historians and famous designers, in including Alexander Vasiliev and Olga Berg. The exhibition will also host a large-scale program of events, information about which will be published on the Museum's website and social networks.

The project is the central event of the Year of Lace, which the All-Russian Museum of Decorative, Applied and Folk Art holds as part of the strategic program “Property of Russia. Traditions for the Future”, aimed at the development and support of art crafts in Russia.

Venue: All-Russian Museum of Decorative, Applied and Folk Art

Address: st. Delegate, 3

Contacts:

Anna Zagorodnikova, PR specialist of the project: +7 916 339 37 38.

Press Service of the Museum: +7 495 609 01 30, +7 499 973 31 87.

Keywords:Exhibition LACE FOR SHOW, LACE FOR SHOW, exhibition, exhibitions, 2016, Poster Moscow, Contacts, Full information, where to go, cultural program, order, buy tickets, reservation, ticket price, address, phone, March, November, Museum of Decorative and Applied Art

About the exposure:

The exhibition "Lace for Show" about the history, symbolism, technologies and types of lace from the 18th century to the present day will open on March 26 at the All-Russian Museum of Decorative, Applied and Folk Art. The project will present more than 300 works created in Russia and Western Europe in the 18th-21st centuries. - from the first samples of metal lace for the costume of the highest nobility to modern interpretations of bobbin art in the spirit of "Gothic chic" and experimental projects of modern designers.

The exhibition is located in seven halls, on an area of 600 sq.m. Major museums take part in the project, including the State Tretyakov Gallery, the Tsaritsyno State Museum-Reserve, the Ostankino Moscow Estate Museum, the Museum of V. A. Tropinin and Moscow Artists of His Time, the Three Ages Gallery, private collections, as well as the "Alexandre Vassiliev foundation".

Among the exhibits are costumes, underwear and accessories from various historical periods, including: samples of lace from the Mariinsky School, evening and tea dresses of the Art Nouveau era, 19th-century matinee (French matineé) - women's morning clothes made of the finest lace combined with silk, designed for readings in bed, fildepers French stockings and garters with openwork stitching (unpaired, because the lady usually gave one stocking to her admirer at his request), a chinoiserie fan from the collection of the Minister of Culture of the USSR E. A. Furtseva - the only one that miraculously survived in her apartment, dresses of fashion houses of France and the USSR of the 1960-1980s. The exposition is complemented by 19th-century accessories - various fans, mussels, gloves, binoculars, perfume bottles and other items.

The exhibition will also feature paintings of the 18th – 20th centuries from the collection of the State Tretyakov Gallery, rare photographs, graphics and newsreels, as well as color “inserts” - lithographs from the Bazar magazines of 1885-1889.

About additional projects within the exhibition:

The exhibition "Lace for show" about the history, symbolism, technologies and types of lace from the 18th century to the present day will open on March 26 at the All-Russian Museum of Decorative, Applied and Folk Art.

About the name and concept of the exhibition:

"Show off" - defiantly expensive and pompous - this is how lace appears in the 18th century, when a new type of decorative and applied art that is rapidly gaining popularity enters the life of royal families, church clergy and high military ranks. "Show off" - frankly, at the limit of sensuality - in the era of boudoirs and the involvement of art in the world of intimate fashion of decadence at the turn of the 19th-20th centuries. “For show” is also a social order of the young USSR, when the craftswomen of Vologda, Yelets or Ryazan wove five-, six-meter lace panels of unimaginable scale for all-Russian exhibitions from the finest threads, designed to demonstrate the country’s aspirations in space exploration and the construction of a “bright path”. Finally, "for show" - in the context of "high fashion" of the second half of the twentieth century, with the transfer of traditional lace-making techniques to the podium and the conquest of the mass consumer.

About the exposure:

The exhibition is located in seven halls of VMDPNI, on an area of 600 sq.m. The largest museums take part in the project, among which are the State Tretyakov Gallery, the Tsaritsyno State Museum-Reserve, the Ostankino Moscow Estate Museum, the Museum of V. A. Tropinin and Moscow Artists of His Time, the Three Centuries Gallery and private collections, as well as the "Alexandre Vassiliev foundation", which provided about thirty of the rarest samples of lace, accessories and fashionable costumes from Western Europe and Russia.

Costumes, underwear and accessories from various historical periods deserve special attention, including: samples of lace from the Mariinsky School, founded in St. Petersburg in 1883 by S.A. Davydova, evening and tea dresses of the Art Nouveau era, matine (French matine?) of the 19th century - women's morning clothes made of the finest lace combined with silk, designed for reading in bed, French stockings and garters with openwork stitching (unpaired, because one a lady usually gave a stocking to her admirer at his request), a chinoiserie fan from the collection of the Minister of Culture of the USSR E. A. Furtseva - the only one that miraculously survived in her apartment, dresses from the Fashion Houses of France and the USSR of the 1960-1980s and much more. The exposition is complemented by 19th-century accessories - various fans, mussels, gloves, binoculars, perfume bottles and other items. Behind each of the exhibits is not just "provenance", but also the history of an entire era.

In addition to numerous examples of lace, the exhibition will feature paintings of the 18th-20th centuries, rare photographs, graphics and newsreel, reflecting the symbolism and use of lace in different periods of Russian and foreign history.

Fans of glossy magazines will be interested to see what the most famous fashion magazines looked like 150 years ago. For example, colored "inserts" - lithographs from the "Bazar" magazines of 1885-1889, showing fashion for ladies who are going to visit an exhibition, an opera or go to a resort.

About the exhibit:

On some days, visitors will see performances during which lace-makers will weave designer panels in the exhibition space.

About additional projects within the exhibition:

The project is the central event of the Year of Lace, which the All-Russian Museum of Decorative, Applied and Folk Art holds as part of the strategic program "Property of Russia. Traditions for the Future", aimed at developing and supporting the artistic crafts of Russia.

ABOUT THE EXHIBITION

"Show off" - defiantly expensive and pompous - this is how lace appears in the 18th century, when a new type of decorative and applied art that is rapidly gaining popularity enters the life of royal families, church clergy and high military ranks. "Show off" - frankly, at the limit of sensuality - in the era of boudoirs and the involvement of art in the world of intimate fashion at the turn of the 19th-20th centuries. “For show” is also a social order of the young USSR, when the craftswomen of Vologda, Yelets or Ryazan wove five-, six-meter lace panels of unimaginable scale for all-Russian exhibitions from the finest threads, designed to demonstrate the country’s aspirations in space exploration and the construction of a “bright path”. Finally, "for show" - in the context of "high fashion" of the second half of the twentieth century, with the transfer of traditional lace-making techniques to the podium and the conquest of the mass consumer.

The project will present more than 300 works created in Russia and Western Europe in the 18th-21st centuries. – from the first samples of metal lace for the costume of the highest nobility to modern interpretations of bobbin art in the spirit of "Gothic chic" and experimental projects of modern designers.

Costumes, underwear and accessories from various historical periods deserve special attention, including: samples of lace from the Mariinsky School, founded in St. Petersburg in 1883 by S.A. Davydova, evening and tea dresses of the Art Nouveau era, matinet (fr. matinee) of the 19th century - women's morning clothes made of the finest lace combined with silk, designed for reading in bed, fildepers French stockings and garters with openwork stitching (unpaired, because one stocking the lady usually gave her admirer at his request), a chinoiserie fan from the collection of the Minister of Culture of the USSR E. A. Furtseva - the only one that miraculously survived in her apartment, dresses from the Fashion Houses of France and the USSR of the 1960-1980s and much more. The exposition is complemented by 19th-century accessories - various fans, mussels, gloves, binoculars, perfume bottles and other items. Behind each of the exhibits is not just "provenance", but also the history of an entire era.

On some days, visitors will see performances during which lace-makers will weave designer panels in the exhibition space.

Moscow Exhibition «Lace Parade»

In Moscow, the All-Russian Museum of Decorative, Applied and Folk Art on Delegatskaya Street hosts the exhibition "Lace for Show" (March 26 - November 20, 2016). In this name, the peculiarity of lace products is very subtly noted: to attract attention, to emphasize the special status of their owners.

Moscow, All-Russian Museum of Decorative, Applied and Folk Art. Opening of the exhibition "Lace for show". V. Efremova

Valentina Efremova, teacher of bobbin weaving at the municipal museum of the history of the Shchapovo estate, Podolsky district, Moscow region. In this museum-estate, the famous multi-pair laces of the Podolsk craft are preserved, reconstructed and weaved (I. E. Belozerova. Revival of the Podolsk lace weaving technique. M., 2014).

V. Efremova stands at a huge curtain - the Vologda masterpiece of lace-making of the Soviet period "Reunification of Ukraine with Russia" (Korableva A. A., 1954, Vologda; artel of lace-makers, linen threads, gold threads, bobbin weaving, coupling technique. This work reflects the events of 300 years ago in 1654, which took place during the reign of Tsar Alexei Mikhailovich, the father of Peter I). This photo is symbolic. Against the background of our beautiful lace past, there is a future in which there is also manual bobbin creativity.

Moscow, All-Russian Museum of Decorative, Applied and Folk Art. Opening of the exhibition "Lace for show".

The museum collection was formed as a result of the merger in 1999 of the collections of the All-Russian Museum of Decorative, Applied and Folk Art ( VMDPNI, year of establishment 1981) and the Museum of Folk Art. S. T. Morozov in Leontievsky Lane (the year of creation was 1885, it was called the Handicraft Museum). The unique building of the Handicraft Museum in the neo-Russian style in the form of an old Russian tower belonged to the famous industrialist and philanthropist Sergei Timofeevich Morozov, who rebuilt his house for this and gave it to the city. The basis of the museum created in it were the exhibits of the handicraft department of the Commercial and Industrial Exhibition of 1882 in Moscow, objects of art crafts of the late 19th - early 20th centuries. Years and many reorganizations with the museum property have passed, as a result of which in 2006 the building in Leontievsky lane ceased to be on the balance sheet of the new united VMDPNI. The department of fabrics includes exhibits of folk embroidery, weaving, lace, folk costume, modern art of clothing design. The richness of the textile collection of the MNI can be judged from the book “Illustrative Motifs in Russian Folk Embroidery”, M., 1990., 318 sheets.

It notes that for 100 years the collection has been formed by the contributions of many outstanding collectors of folk art: N.Ya. Davydova (1919), M. F. Yakunchikova (1919), E. I. Pribylskaya (1938), A. L. Pogosskaya (1945), G. S. Maslova (1948-1949), I. P. Rabotnova (1956 ), A. V. Maraeva (1959), expeditions to various areas of the museum staff, exhibits of domestic and foreign exhibitions, such as the All-Russian 1923, Paris 1925 and 1937, New York 1939 and others.

Significant receipts in the museum fund of textile products occurred in the 1960-1970s. It included collections of artists and teachers V. D. and E. D. Polenov (1960), architect D. P. Sukhov (1963), architect I. S. Kuznetsov (1965), A. A. and N. P. Olenins (1965-1968, more than 500 items), historian B. A. Rybakov (1963, 1973), writer Yu. A. Arbat (1973-1974), artist S. V. Malyutin (1978) and other donors.

In 1991, the collection of the museum was replenished with a part of the collection of folk art, preserved in Nice after the death during the Second World War of the daughters of N. L. Shabelskaya (1945-1904, Nice), which at one time was divided into two parts. The first part is now in the United States at the Metropolitan Museum of Art in New York and from private collectors, and the second part was bought in 1988 by P.M. Tolstoy-Miloslavsky at Lukyanovsky, secretary N. L. Shabelskaya. In 1991, she was donated by him to the All-Russian Museum of Folk and Decorative and Applied Arts. Unfortunately, lace from the collection of N. L. Shabelskaya is not presented at the exhibition "Lace for Show".

By the decision of the government of the Russian Federation in August 1999, the museum was given the art, library and archival values of the reorganized Scientific Research Institute of the Art Industry (NIIKhP).

Currently, the All-Russian Museum of Decorative, Applied and Folk Art is located in the historic estate of Count Osterman of the late 18th-19th centuries, located in the center of Moscow on the Garden Ring.

The authors of the project divided the exhibition into seven thematic blocks: the emergence of lace, the emergence of crafts, the triumph of lace - the fashion of the 19th century, the boudoir, lace in the USSR in the 30-50s, lace in fashion houses and Soviet design in the 60s-70s.

The first hall of the exposition (the appearance of lace). Here are samples of gold and silver laceXVIII- XIXcenturiesXVIIIthe century is the heyday of Russian metal lace.

Before that, in the 17th century it (mostly foreign) was used to decorate the clothes and household items of the tsar and his family members, in the everyday life of the highest hierarchs of the church, boyars and nobles close to the Court.

Paid with bars. Belonged to Tsar Peter Alekseevich (Peter I).

Workshops of the Moscow Kremlin, 1691. Aksamit (Venice, XVII century.), golden braided lace (Western Europe, XVII century.). Barmy. Moscow, workshop of Irina Godunova, late 16th century. Silk, silk, gold threads, facial and decorative sewing. State Armory Chamber (State Armory Chamber, album, Moscow, "Soviet Artist", 1990, pp. 334-335). ( At the exhibition “Lace is not shown, it is given as an example of the golden lace of Western EuropeXVIIV.)

There are archival documents indicating that Russian woven lace appeared in the 17th century, and samples of such lace made in Moscow at the Tsaritsyna Workshop Chamber, which are stored in the State Armory (2. V. A. Faleeva “Russian woven lace , L., "Artist of the RSFSR", 1983, pp. 20 - 36).

In the samples of gold and silver lace presented at the exhibition “Lace for Show”, we see pictorial motifs based on teeth with a large multi-petal rosette - a flower.

Dimensional lace, gold - silver - edge, XVIII century. Gold threads, silver threads, bobbin weaving, multi-pair technique. All-Russian Museum of Decorative, Applied and Folk Art.

From the beginning of the 18th century, threads made of spun and drawn gold and silver, biti flats (white or gilded silver and copper served as the material for manufacturing, from the second half of the 18th century it was dyed in different colors), tinsel (silver-plated or gilded copper) became in large quantities produced in Russia. This contributed to the widespread use of braided metal lace in all segments of the population. Lace made of tinsel began to decorate peasant women's sundresses and headdresses. It was also very impressive and beautiful.

In the middle of the 18th century, European costume became fashionable in Russia among the privileged class.

In the portraits of that time, the ladies' and men's toilets of the nobles are trimmed with agramants and lace edges. In their estates, they open workshops - manufactories (Protasova and Kurakins in the Oryol province, Sleptsovs in the Saratov province, Sokovnina in the Tula province), in which serf girls and women will weave lace.

The painting “The Lacemaker”, almost unfamiliar to the general public, was brought to the exhibition “Lace for Show” from the museum in Omsk. There are more and more such girls trained in bobbin weaving in Russia: bourgeois women, merchant daughters are weaving. Lacemaking becomes a craft that can generate income. The peasant costume will also be decorated with lace.

In the second hall of the exposition, against the background of folk costumes (Kursk, Voronezh, Ryazan), we see modest samples of measured Russian lace (lace-edge, lace-seam and lace-agramant), which were woven in different regions of Russia. Almost all major commercial centers of lace-making in the Vologda, Oryol, St. Petersburg, Moscow, Novgorod, Tver, Ryazan, Vyatka provinces were formed in the second half of the 19th century, which was officially recognized after the Polytechnic Exhibition of 1872. After the international exhibition in 1873 in Vienna, Russian lace is exported for sale abroad, where it is a success.

The most massive was the lace of geometric ornament. It retained similarities with the traditions of Russian folk art in embroidery, weaving, printing, carving and painting on wood and other crafts, so braided lace is filled with symbolic significance passed down from generation to generation.

(Up). Dimensional lace - edge. Russia, Ryazan province, Mikhailovsky district. Early 20th century Linen threads, bobbin weaving, numerical technique. All-Russian Museum of Decorative, Applied and Folk Art.

All-Russian Museum of Decorative, Applied and Folk Art. Exhibition "Lace for show".

(Up). Dimensional lace - edge. Russia, Oryol province. Late XIX - early XX centuries. Cotton threads, bobbin weaving, multi-pair technique. All-Russian Museum of Decorative, Applied and Folk Art.

(At the bottom). Dimensional lace - edge. Russia, Ryazan province, Mikhailovsky district. Early 20th century Linen threads, bobbin weaving, multi-pair technique. All-Russian Museum of Decorative, Applied and Folk Art.

All-Russian Museum of Decorative, Applied and Folk Art. Exhibition "Lace for show".

(At the bottom). Dimensional lace - edge. Russia, Novgorod province. (?). Second half of the 19th century Linen threads, bobbin weaving, coupling technique. All-Russian Museum of Decorative, Applied and Folk Art.

(Up). Dimensional lace - edge. Russia, Petersburg Province. (?). Late XIX - early XX centuries. Cotton threads, bobbin weaving, coupling technique. All-Russian Museum of Decorative, Applied and Folk Art.

In the same hall there are portraits of two women (Empress Maria Feodorovna (1847-1922) - Princess Dagmar of Denmark, S. A. Davydova), who played an important role in Russian lace art.

In 1879, the critic, art historian, an outstanding figure of Russian culture V. V. Stasov (1824 - 1906), who at that time since the 1870s worked as a librarian in the Public Library of St. Petersburg, recommended S. A. Davydova (nee von Goyer - 1842-1915) pay attention to the study of the history of Russian lace. S. A. Davydova devoted all subsequent years of her life to the study of Russian lace crafts. To do this, she takes drawing lessons at the school of the Society for the Encouragement of Artists and Photography from the photographer S. L. Levitsky, in order to accurately reproduce lace patterns.

Moscow. All-Russian Museum of Decorative, Applied and Folk Art. Exhibition "Lace for show". The book by S. A. Davydova “Russian lace and Russian lacemakers”. 1892

V. V. Stasov introduced S. A. Davydova to the chairman of the Commission for the Study of Handicraft Industry, E. N. Andreev. On the instructions of the Commission, in 1880 she traveled to the Moscow, Ryazan, Tver, Yaroslavl, Tula and Orel provinces, in 1881 to the Olonets and Novgorod provinces, in 1883 to the Vologda, Vyatka, Nizhny Novgorod, Kazan provinces. In total, she studied 11 provinces, reports on lace-making in which were published in the proceedings of the Commission. For a comprehensive study of Russian lace in 1882, S. A. Davydova traveled to Venice, Genoa, and Silesia. The result of the researcher's work was the book “Russian lace and Russian lacemakers. Historical, technical and statistical research”, published in 1892 and received the award of the Imperial Academy of Sciences (Metropolitan Macarius). During her travels across Russia, S.A. Davydova compiled three collections of lace, which are now in various museums in the country.

On August 20, 1883, in St. Petersburg, under the patronage of Empress Maria Feodorovna, the first specialized educational institution was founded - Mariinsky practical school of lacemakers. During the twenty-five years of its existence (1883-1908), 834 students were accepted into it. From the very beginning, on the recommendation of S.A. Davydova, E.E. Novosiltseva (1834-1901) headed the school, who back in 1874 organized the Society of Lacemakers, which consisted of several ladies of high society who tried to instill in Russia needle lace “point de Moscow. The patterns for this new lace were drawn by the professional artist Dobrokhotov, who was a student of the architect V. A. Hartman and based his work on Butovsky’s collection of Russian ornaments.

Exhibition "Lace for show". Lace measured - edge. 1880s Sample of the Mariinsky school. Made at the Kukar lace school. All-Russian Museum of Decorative, Applied and Folk Art.

The well-known example of the Mariinsky School with a pattern of a pair of writhing snakes, presented at the exhibition “Lace for Show”, woven in the Kukarskaya Lace School, is a copy of the “point de Moscou” needle lace motif, made in the 1870s exactly according to Dobrokhotov’s drawing.

In order to teach drawing to students of lacemakers of the Mariinsky School, drawing classes were organized in the early years in the elementary department of the Central School of Technical Drawing of Baron A.L. He compiled a special program, which he taught at school until 1896. A part of the collected collection of lace and embroidery by I. A. Galnbek is divided into Russian museums.

The exposition of the exhibition includes outstanding samples of braided lace in the "national taste", the patterns of which were created by professional artists based on the ornaments of ancient Russian art.

Russia, Saint-Petersburg. Lace panel (top). Mariinsky school. Beginning of the XX century. Linen threads, gold threads, bobbin weaving, coupling technique. VMDPNI.

Russia, Saint-Petersburg. Lace - "Bird" motif (bottom left). Mariinsky school. Beginning of the XX century. Linen threads, gold threads, bobbin weaving, coupling technique. VMDPNI.

Russia, Saint-Petersburg. Dimensional lace - edge (bottom right). Mariinsky school. Beginning of the XX century. Silk threads, silver threads, bobbin weaving, multi-pair technique. VMDPNI.

Russia, Vologda province (?). Lace panel (below). Mariinsky practical school of lacemakers. Beginning of the XX century. Linen threads, gold threads, bobbin weaving, coupling technique. VMDPNI.

In the 1890s, following the example of the Mariinsky School, lace schools began to open in other provinces, the number of which reached 60 by 1913. In the newly created schools, graduates of the Mariinsky School became teachers.

In 1892, the Palensky school of lacemakers was opened in Yelets, Oryol province.

In 1893, a lace school was also opened in the Kukarka settlement of the Yaransky district of the Vyatka province.

In 1899, Princess A. D. Tenisheva organized a lace school in Mtsensk, Oryol province.

In 1903-1907 there was a lace school in Vologda.

In 1895-1909, through the efforts of Mrs. E. N. Polovtsova, lace schools were opened in three villages in the town of Skopina, Ryazan province.

In 1918 The Mariinsky school of lacemakers from Petrograd was transferred to Ryazan, renamed the Instructor's School of Embroidery and Lace.

In 1932, the Instructor School was transferred from Ryazan to the city of Kadom, Ryazan Region. Subsequently, it was transformed into a sewing college.

(M. A. Sorokina "Mariinsky practical school of lace-makers. To the 125th anniversary of the first lace school in Russia." Magazine "Bobbin Lace" No. 1 - 2009 (6), pp. 18-21)

All lace schools used the programs and pieces of the Mariinsky School, in the products of which the "Russian style" fashionable at that time appeared.

In the late 1990s, in one of the antique shops in Moscow, I saw a bright embroidered costume, the origin of which I could not immediately determine, because it did not belong to the traditional Russian folk costume. As it turned out, it was an "urban costume in folk style", a costume à la russe. I bought this costume then and showed it several times at various exhibitions. It was worn from the 1870s to 1917 by women and children from both aristocratic and middle class families. In elegant costumes, they posed for photographs, participated in family evenings, masquerades. White suits with embroidery and kokoshniks were worn by nannies. In 1996 the Hermitage hosted the exhibition “Historicism in Russia. Style and era in the decorative arts. 1820-1890s”, whose catalog on page 186 shows a sample of such a costume in the collection of the State Hermitage Museum. There is a brief description of this costume and an alleged place of manufacture (p. 367), which says “they could be made in city workshops, as well as in artistic sewing and lace-making centers organized by representatives of Russian society to support folk art (Mrs. Kaznacheeva, Nadporozhskaya, Princesses S. P. Dolgorukova, N. N. Shakhovskaya and others). It was thanks to this description in the catalog that I realized at one time what kind of costume I had and became interested in this topic.

Alexander Vasiliev in the book “Russian fashion. 150 years in photographs”, published in 2006, p. 106, published three photographs of a girl, a young lady, Frenchwoman Marie-Louise Jollan (March 20, 1888) in “Russian” dresses.

In 2013, the publishing house Boslen, Moscow, published a beautifully published book "Costume in the Russian style", which shows and describes such costumes that are in the collections of some museums in Russia (VMDPNI, State Historical Museum, State Hermitage Museum, Murom Historical and Art Museum, "Museum of Moscow ”, Russian Museum of Ethnography, Metropolitan Museum of Art, etc.). The authors of the introductory articles are N. A. Bertyaeva, O. A. Lobachevskaya, E. L. Madlevskaya, D. V. Razumikhina.

Jacket: cotton, kumach, Chinese, cotton threads, silk threads, linen threads, buttons, cross stitch, bobbin weaving.

Jacket: kumach, Chinese, cotton threads, silk threads, linen threads, buttons, cross stitch, bobbin weaving.

Russian-style costume embroidery patterns are usually called "Brokar's". In the brochures of the famous perfume factory "Brocard and Co" (1864-1917), patterns for cross-stitching were printed on soap wrappers, which contributed to an increase in trade. There are practically no repetitions of patterns in well-known costumes that are in museums and in private collections in embroidered red, blue, white stitches, in lace inserts. In the Museum of P. I. Tchaikovsky in Klin, you can see a dressing table decorated in the Russian style with a set of), richly decorated with cross-stitch embroidery and Mikhailov's bobbin lace. It was presented to the composer by an admirer of his talent, Frenchwoman Emma Genton, a governess. Pyotr Ilyich dedicated "Sentimental Waltz" to her.

However, the original costumes in the Russian style were more worn by young people. Ladies preferred French lace to decorate their clothes and underwear. At the lectures of M. S. Koleva (teacher of the history of lace and embroidery at the School - Studio (University) at the Moscow Art Theater named after A. P. Chekhov), read at the seminars of the World of Lace society (Moscow, .2003 - 2013, president N . A. Burleshina) in 2005-2006, I heard that theater actresses sought to buy their wardrobe in Parisian stores, unlike O. L. Knipper-Chekhova, who wore clothes decorated with Russian woven "Vologda" lace. At that time, all braided bobbin lace was called Vologda.

Halls 3 of the exhibition "Lace for show" demonstrates lace products, which are named by the authors of the exhibition "Triumph of lace - fashion of the 19th century" and "Boudoir".

An elegant lace collar of the original form (a collar with a tie, in fashion in the 1860s) from a portrait of V. G. Khudyakov of European origin. It perfectly emphasizes the status of its owner and taste.

(Top) France. Shawl. Braided Chantilly lace. Silk thread. 1860s Alexandre Vassiliev Foundation.

(Bottom) France. Frill. Braided Chantilly lace. Silk thread. 1860s Alexandre Vassiliev Foundation.

The exhibits of this section of the exhibition "Lace for Show" represent samples of work, both European lacemakers and Russian lashes. If in Europe multi-pair thin lace was woven, for large items using the technique of sewing together narrow strips with an inconspicuous seam “point de raccroc”, invented by the lace maker Cahanet from Bayeux (Normandy), then in Russia they mainly used thick threads, weaving lace with a small number of bobbins (5 -9 pairs) in coupling technology.

O. A. Skvortsova, a teacher of lace-making from Tula, told me about this costume that she saw a piece of such lace in the Tula Art Museum. It is possible that this is Belevsky lace from the Tula province. The question of the place of origin of this exhibit, therefore, requires further study.

Recamier. Russia, mid-century Poplar, carving, gilding. Gallery "Three centuries".

Peignoir. Moscow, early 20th century. Silk with machine lace inserts. Alexandre Vassiliev Foundation.

Cap. Western Europe, France (?). Last quarter of the 19th century Fabric, lace (machine), silk braid, thread (silk). Satin stitch embroidery (machine), manual assembly. GBUK Moscow "Museum - Ostankino Estate").

Fildepers stockings with a monogram. France. circa 1900s. Alexandre Vassiliev Foundation.

In the section "Boudoir" in the exposition of the exhibition "Lace for show" various items of ladies' underwear are shown. Shirts, pantaloons, corsets, negligees are decorated in abundance with embroidery and lace, both handmade and machine-made.

Finishing my tour of the first half of the exhibition "Lace for show" (XVIII - early XX centuries), I want to go back to our XXI century. In today's fashion, lace is still popular. See the first photo of this article, in which Valentina Efremova is standing in a dress decorated with lace inserts and cuffs woven by her on bobbins, and the last photo, where Ekaterina Rychkova, an employee of the All-Russian Museum of Decorative, Applied and Folk Art, is sitting in an elegant dress made of machine-made lace.

Thank you so much for the intellectual journey to Delegatskaya and the new knowledge that you generously share!
All the best!.Elena

2. Svetlana Konovalova

Olga Fedorovna! Thank you so much for your publications about lace, stories about exhibitions and creative travels! All the very best to you. Sincerely.

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