Vologda lace, one of the types of Russian lace, woven with bobbins. Continuous and non-crossing smooth line forming a Vologda pattern
Vologda lace, one of the types of Russian lace, woven with bobbins. A continuous and non-crossing smooth line forming the Vologda lace pattern appears in the form of a woven braid (“wilyushka”) against the background of a thin openwork “lattice” (“coupling” technique)
The history of the appearance and development of lace is full of mysteries and contradictions. There is a legend that in 1725 Peter I ordered lacemakers from the Brabant monasteries to teach orphans how to weave lace in the Novodevichy Convent. How long this training existed in the monastery is unknown. But what’s interesting is that in the samples of lace preserved in different parts of Russia, and in the names of these laces, many old lacemakers pointed to “Draban (i.e. Brabant) thread.”
Lace making as a craft has existed in the Vologda province since 1820. During the times of serfdom, in all significant landowner estates of the province there were lace “factories” that supplied lace products to St. Petersburg and Moscow. And one of these factories was founded by the landowner Zasetskaya three miles from Vologda in the village of Kovyrino no later than the 20s of the 19th century. There, serfs wove the finest lace for finishing dresses and linen, imitating Western European patterns.
Over time, lace weaving moved from landowner workshops to the people and became one of the types of folk art that reflected the needs and tastes of wide circles of the local population. In 1893, in the Vologda province, craftswomen were engaged in lace making; in 1912
Over the years, the lacemakers of the Vologda region were united into artels; in 1928, a professional lace school was restored in Vologda, which began to train lacemakers under new conditions. The school has done a lot to revive traditional lace-making techniques and restore ornamental solutions characteristic of this center.
In 1930, the Volga Lace Union was created in Vologda, which united 50 artels scattered across various villages with a number of lacemakers. The form of labor organization in artels was mainly home-based. In the premises of the artels, craftsmen came to receive assignments and hand over finished products. And only in 1932 the Union created collective workshops, which made it possible to improve the technology of lace making and strengthen control over the quality of lace products.
In 1960, in connection with the abolition of industrial cooperation and the transfer of lace artels to the state system - local industry, 5 lace factories were formed in the Vologda region, and in 1964 the Vologda specialized lace association was created, which became one of the leading traditional crafts in Russia.
Essay based on a painting
V.A. Tropinina
"The Lacemaker"
4th grade
Vasily Andreevich Tropinin (17761857)
born into a family of serfs who
belonged to Count A. S. Minich, in
belonging to the count's village of Karpovo in
Novgorod province.
The father of the future artist was a manager
count's estate and for conscientious
received his free service, but his children
remained serfs and moved to
property of Count I. I. Morkov including
other property that Minich
assigned as dowry to his daughter,
married Morkov.
Initially, Vasily Andreevich was sent to
students to the pastry chef.
However, the young man’s ability to draw was so
noticeable that the master allowed him to attend classes
at the St. Petersburg Academy of Arts.
The young man’s talent quickly emerged. But
for many years he remained a serf.
Lived in Ukraine in one of Morkov’s estates, wrote
portraits of the master and members of his family, painted
local church...
Only at the age of 47 did he finally receive his freedom
thanks to the increased efforts of connoisseurs
art, such as General A. A. Tuchkov, hero
war of 1812
As for women's needlework, here,
Perhaps childhood memories played a role -
the artist grew up on a large estate, and in those days
on manorial estates, girls were maids, and often
the ladies themselves worked diligently on
various elegant things.
It is possible that with women’s needlework the artist
connected - to a greater extent, probably,
subconsciously - a feeling of home comfort and
heat.
And this assumption only gets stronger, it’s worth
take a closer look at the picture
"The Lacemaker."
The painting depicts a young girl, busy
weaving lace. Now not everyone knows how it is
is being done, and what kind of mysterious device is holding
in the hands of a craftswoman.
Bobbins are the name given to small sticks with
a pointed head on which threads are wound.
Depending on the bobbin pattern, it can be used
so many. They are sorted out in a certain
sequences, intertwining the threads, then everything repeats
- this is how the pattern appears.
In the picture, a bunch of bobbins lies on the corner of the stand for
weaving.
Working with bobbins requires considerable skill - not
the threads would get tangled, you wouldn’t confuse which bobbin is where
must be. During the time of Tropinin, this craft
started learning early. Little girl becoming
a girl who was often already high-class
craftswoman.
At the bottom of the picture you can see a fragment of an elegant
lace used to trim fashionable dresses
noblewomen. The craftswoman herself is dressed very simply, on her
no blue-gray dress with short sleeves
lace and embroidery, only a white handkerchief thrown over
shoulders. But despite the modesty of the outfit, it’s hard not to
notice the girl’s charm, her beauty and freshness.
The hairstyle is simple, like the outfit - the hair is combed smoothly,
tied at the back into a knot. No strands, curls - they
They only interfere with work. But how expressive the face is:
large dark eyes under black eyebrows, smooth
lines of the nose, lips, graceful contours of the face. Sight,
thrown to the side - maybe at the artist, maybe
maybe someone entered the room. Carefully drawn
hands that continue to work. Nails neatly
trimmed so as not to accidentally touch the threads, not
ruin the lace.
The picture is painted in golden gray-brown
tones. There is no variegation or excessive brightness in it.
Lighting plays a significant role - the light falls on
a lace maker, and she is clear with her work
stands out against the brownish background.
When looking at the picture, everyone is amazed
from the beauty of pictorial art: pleasantness
brushes, correct, happy lighting, coloring
clear, natural.
Currently a painting by V. A. Tropinin
"The Lacemaker" is kept in the famous
Tretyakov Gallery in Moscow.
1 out of 10
Presentation on the topic: Tropinin Vasily Andreevich
Slide no. 1
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Slide no. 2
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TROPININ Vasily Andreevich (1776-1857), Russian painter. In portraits he strove for a lively, relaxed characterization of a person (portrait of a son, 1818; “A. S. Pushkin,” 1827; self-portrait, 1846), created a type of genre, somewhat idealized image of a person from the people (“The Lacemaker,” 1823). V. A. Tropinin. "Self-portrait". Around 1824.
Slide no. 3
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TROPININ Vasily Andreevich, Russian artist. One of the founders of romanticism in Russian painting. Born into a family of serfs. He was a serf first of Count A. S. Minikh, then of I. I. Morkov. In 1798-1804 he studied at the St. Petersburg Academy of Arts, where he became close to O. A. Kiprensky and A. G. Varnek (the latter also later became a prominent master of Russian romanticism). In 1804 Morkov summoned the young artist to his place; then he alternately lived in Ukraine, in the village of Kukavka, then in Moscow, in the position of a serf painter, obliged to simultaneously carry out the economic orders of the landowner. Only in 1823 was he finally freed from serfdom. He received the title of academician, but, abandoning his career in St. Petersburg, settled in Moscow in 1824. “Portrait of A.V. Tropinin” (the artist’s son). Around 1818. Tretyakov Gallery.
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Early work Tropinin's early portraits, painted in restrained colors (family portraits of Counts Morkov, 1813 and 1815, both in the Tretyakov Gallery), still entirely belong to the tradition of the Age of Enlightenment: the model is the unconditional and stable center of the image in them. Later, the color of Tropinin’s painting becomes more intense, the volumes are usually sculpted more clearly and sculpturally, but most importantly, the purely romantic feeling of the moving element of life insinuatingly grows, of which the hero of the portrait seems to be only a part, a fragment (“Bulakhov”, 1823; “K. G. Ravich” , 1823; self-portrait, circa 1824; all three - in the same place). Such is A. S. Pushkin in the famous portrait of 1827 (All-Russian Museum of A. S. Pushkin, Pushkin): the poet, placing his hand on a stack of paper, as if “listening to the muse,” listens to the creative dream that surrounds the image with an invisible halo .
Slide no. 5
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Portrait and genre From an early period, the artist was actively interested in the everyday genre, creating a large number of drawings and sketches of Ukrainian peasants. Genre and portrait are organically combined in his semi-figured “untitled” paintings, the most famous of which is the pretty “Lacemaker” (1823, ibid.), captivating with its naive and sentimental appearance; the type of girl from the bottom becomes the lyrical personification of Femininity as such, without losing her subtle natural persuasiveness. Tropinin more than once turned to the typical genre portrait (“Guitar Player”, 1823, ibid.; “Golden Seamstress”, 1825, Art Museum of the Komi Republic, Syktyvkar), usually repeating this kind of composition in several versions (as well as his self-portraits).
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Slide no. 7
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In portraits of the 1830s and 40s, the role of expressive detail, in some cases the landscape background, increases, the composition becomes more complex, and the color becomes more intense and expressive. The romantic atmosphere, the element of creativity, appears even more clearly in the portrait of “K. P. Bryullov" (1836, Tretyakov Gallery) and a self-portrait of 1846 (ibid.), where the artist presented himself against the spectacular historical background of the Moscow Kremlin. At the same time, the artist’s romanticism, without ascending to the empyrean, usually remains intimate and peacefully “homey” - even where there is an obvious hint of a strong feeling, an erotic motif (“The Woman in the Window,” whose image was inspired by M. Yu. Lermontov’s poem “ Tambov Treasurer", 1841, ibid.). Tropinin’s later works (for example, “A Servant with Damask Counting Money,” 1850s, ibid.) indicate the fading of coloristic mastery, but still attract with their genre observation, anticipating the passionate interest in everyday life characteristic of Russian painting of the 1860s. x years. V. A. Tropinin. "The Lacemaker." 1823 Tretyakov Gallery.
Slide no. 8
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An important part of Tropinin's legacy is his drawings, especially pencil portrait sketches, which stand out for their sharp observational character. The soulful sincerity and poetic, everyday, harmonic harmony of his images were more than once perceived as a specific feature of the Old Moscow art school. In 1969, the Museum of Tropinin and Moscow artists of his time was opened in Moscow. V. A. Tropinin. "Portrait of an unknown man in a dressing gown with a pipe." This painting is unusual in its style; it stands out among the everyday portraits painted by the artist in the 1840-1850s. The sharp side light reveals the expressive facial features of the person being portrayed and gives the image a certain romanticism characteristic of Tropinin’s earlier works.
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Slide no. 10
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An essay based on a painting by V.A. Tropinin “The Lacemaker” for 4th grade students according to the “School of Russia” program, textbook “Russian language - part 1”. The picture is painted in golden-gray-brown tones. There is no variegation or excessive brightness in it. Lighting plays a significant role - the light falls on the lacemaker, and she and her work clearly stand out against the brownish background. When looking at the picture, everyone comes to admiration for the beauty of the art of painting: the pleasantness of the brush, the correct, happy lighting, the clear, natural coloring.
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An essay based on a painting by V.A. Tropinina “Lacemaker” 4th grade
Vasily Andreevich Tropinin (1776-1857) was born into a family of serfs who belonged to Count A. S. Minikh, in the count’s village of Karpovo in the Novgorod province. The father of the future artist was the manager of the count's estate and received his freedom for conscientious service, but his children remained serfs and became the property of Count I. I. Morkov, among other property, which Minikh designated as a dowry for his daughter, who married Morkov.
Initially, Vasily Andreevich was apprenticed to a pastry chef. However, the young man’s ability to draw was so noticeable that the master allowed him to attend classes at the St. Petersburg Academy of Arts. The young man's talent quickly emerged. But for many years he remained a serf. He lived in Ukraine on one of Morkov’s estates, painted portraits of the master and members of his family, painted the local church... Only at the age of 47 did he finally receive his freedom thanks to the intense efforts of art connoisseurs, such as General A. A. Tuchkov, hero of the War of 1812.
As for women's needlework, childhood memories may have played a role here - the artist grew up on a large estate, and in those days, on the manorial estates, servant girls, and often the ladies themselves, worked diligently on a variety of elegant things. It is possible that the artist associated, to a greater extent, probably subconsciously, with women's handicraft a feeling of home comfort and warmth. And this assumption only gets stronger, it’s worth taking a closer look at the painting “The Lacemaker”.
The painting depicts a young girl busy weaving lace. Now not everyone knows how this is done, and what kind of mysterious device the craftswoman is holding in her hands. Bobbins are the name given to small sticks with a pointed head on which threads are wound. Depending on the bobbin pattern, a lot of bobbins can be used. They are sorted out in a certain order, intertwining the threads, then everything is repeated - this is how the pattern appears. In the picture, a bunch of bobbins lies on the corner of a weaving stand. Working with bobbins requires a lot of skill to ensure that the threads don’t get tangled, and that you don’t confuse which bobbin should be where. In Tropinin’s time, this craft began to be taught early. A little girl, becoming a girl, was often already a highly skilled craftswoman.
At the bottom of the picture you can see a fragment of elegant lace, which was used to trim the fashionable dresses of noblewomen. The craftswoman herself is dressed very simply; there is no lace or embroidery on her bluish-gray dress with short sleeves, only a white scarf thrown over her shoulders. But despite the modesty of the outfit, it is difficult not to notice the girl’s charm, her beauty and freshness. The hairstyle is simple, as is the outfit - the hair is combed smoothly and pulled into a knot at the back. No strands, curls - they only interfere with work. But how expressive the face is: large dark eyes under black eyebrows, smooth lines of the nose, lips, graceful contours of the face. A glance thrown to the side - maybe at the artist, maybe someone entered the room. The hands that continue to work are carefully drawn. The nails are neatly trimmed so as not to accidentally touch the threads or spoil the lace.
The picture is painted in golden-gray-brown tones. There is no variegation or excessive brightness in it. Lighting plays a significant role - the light falls on the lacemaker, and she and her work clearly stand out against the brownish background. When looking at the picture, everyone comes to admiration for the beauty of the art of painting: the pleasantness of the brush, the correct, happy lighting, the clear, natural coloring. Currently, V. A. Tropinin’s painting “The Lacemaker” is kept in the famous Tretyakov Gallery in Moscow.
Plan: 1. About the artist. 2. Description of the painting: Color scheme of the painting. The girl's face, her hair. Hands of a worker. Lacemaker's clothes. The work of a craftswoman. 3. Your attitude to the picture.
Goal: to develop the ability to determine the main content of the picture, select the right words and definitions to describe what is depicted, and convey your attitude to what you see.
Formed UUD: p. – conscious and correct construction of oral and written speech; k. – mastery of monologue and dialogic forms of speech; r. - drawing up a plan and sequence of actions; l. – moral and aesthetic assessment of the material.
Equipment: presentation, samples of Vologda and Yelets lace.
During the classes
1. Organizational moment.
2. Checking homework.
Page 130, exercise 246.
What phrases did you make up?
Name the declension and case of nouns.
3. Updating knowledge.
Make up phrases, determine the declension and case of nouns.
Admire, lace; branch, lilac; rested, tree; sailed, boat; clothes, worker.
4.Self-determination for activity.
Poem. L. Yudnikova “Vologda lace”
What is this poem about?
Who are called lacemakers?
What is lace? (show)
Now look at the reproductions in the “Picture Gallery” and tell me which painting we will work on today.
5. Work on the topic of the lesson.
A) A story about V.A. Tropinina (presentation).
The artist's most famous paintings (reproductions).
B) Conversation on the painting “The Lacemaker” (slide, textbook)
Page 130, exercise 247 (questions and assignments).
Portrait - vocabulary work.
B) A story about lace and lacemakers (slides)
A bobbin is a wooden spool with a handle on which threads are wound for weaving lace.
D) Drawing up a plan.
1. The work of portrait painter V.A. Tropinin.
2. Description of the painting:
Color (color);
Image of a girl (face, look, hair);
Lacemaker's hands;
Her clothes.
3. My attitude to the picture.
D. Vocabulary work.
The colors are warm.
Calm tones.
There are no sharp contrasts.
6. Physical education minute.
7. Writing an essay.
8. Reflection.
(Reading and analysis of essays).
We see a painting by V.A. Tropinin “The Lacemaker”. It depicts a girl weaving lace.
Basically, the artist uses dark colors, but the lace stands out with its whiteness and reflects light. Against this dark background, the girl is very noticeable: by her face, hands and not very dark clothes.
You can see from the girl’s face that her work gives her pleasure. The look is cheerful and welcoming. Her hair is pulled back into a bun, so it looks like she has her hair cut short.
The craftswoman’s hands, and especially her fingers, are gentle, because such delicate work cannot be done with rough hands.
The dark green dress does not distract us from the plot of the picture.
I liked the picture because I saw what amazing craftswomen lived in our country.
V. A. Tropinin’s painting “The Lacemaker” made a strong impression on me.
The artist very talentedly showed the beauty of the girl. Her look is amazing. There is a sense of modesty and charm in him. The craftswoman's hands are gentle and beautiful.
The girl's face is illuminated by the sun, so it radiates warmth. I especially liked her eyes - large and dark. The hair is gathered in a simple hairstyle, only one curl has come out. The whole appearance of the girl shows that she is calm and passionate about what she loves.
The clothes are painted in light colors. The dress is simple, pearl gray in color. There is a light shawl on the needlewoman's shoulders.
The artist clearly depicted the tools the girl uses because he respects her work. And I admire the creativity of the artist himself.
The painting by V.A. Tropinin “The Lacemaker” depicts a young girl bending over her work - weaving lace. The artist chose an ordinary peasant girl for the portrait to show us that beauty is also inherent in ordinary people.
The girl is dressed in a simple dark dress, with a scarf thrown over her shoulders. Black hair tied in a tight knot. Her large dark eyes look carefully from the portrait, her lips are frozen in a slight smile.
In front of the craftswoman stands a loom with expensive fabric thrown over it, which has already been decorated with the finest lace. The girl’s hands habitually hold bobbins.
The portrait “The Lacemaker,” like a photograph, captured one moment in the life of a girl.
9. Summing up the lesson.
Which artist's work have we met today?
Which paintings of his do you particularly remember?
A portrait is......
What do you call an artist who paints portraits? (Portraitist).
