DOI issue:
No. 172 (July, 1907)
DOI article:Danilovicz, C.: Talashkino: princess Tenishef's school of Russian applied art
DOI Page / Citation link:https://doi.org/10.11588/diglit.20775#0167
Talashkino
tery— the art of enamelling. Her champs-
levls with their dull tones of an ideal purity,
composed in the style so dear to her, arouse
a general admiration, and her case at the Salon
of the Societe Nationale des Beaux-Arts at
Paris was one of the most remarked. Her
works stood out among others of a more
commonplace beauty by reason of their richness
and subtlety of tone, and the originality of
composition, which seems almost spontaneous
in its individual power.
The objection has often been raised that
ornamentation, drawn in part from the actual
sources of peasant art, and in part from the rare
remains of the ornamental art of past centuries,
• polotchka or wall-bracket
designed by a. zinovief
Serge Mah'utin took charge of the studio
of sculpture: this extraordinary artist
seems, like Surikoff, to pursue, in the
midst of our civilisation, some fantastic
dream of the misty ages of heroes and
legends. His influence on the debut of
the art of Talashkino was very great. He
powerfully sounded the forgotten note of
ancient epics with their marvellous stories
of the "Sun Bird" (zar-ptitza), the flaming
bird of the old beliefs, symbol of all the
epic past of Old Russia. Then Zinovief
and Bolotof placed their talent at the
service of the Princess Tenishef, who
herself designed a number of objects in
which the decoration, drawn from subjects
in the vegetable world, is richly deve-
loped.
Designs for wood-carving for furniture,
caskets, small objects of everyday use,
embroideries of rare beauty, stuffs of
blended tones, Ceramics, pottery—in short,
everything connected with domestic life,
left Princess Tenishefs hands bearing the
seal of originality. She devotes herself,
moreover, to a purely personal art, which
she cultivates with an incontestable mas- buffet cupboard designed by v. beketoff
137
tery— the art of enamelling. Her champs-
levls with their dull tones of an ideal purity,
composed in the style so dear to her, arouse
a general admiration, and her case at the Salon
of the Societe Nationale des Beaux-Arts at
Paris was one of the most remarked. Her
works stood out among others of a more
commonplace beauty by reason of their richness
and subtlety of tone, and the originality of
composition, which seems almost spontaneous
in its individual power.
The objection has often been raised that
ornamentation, drawn in part from the actual
sources of peasant art, and in part from the rare
remains of the ornamental art of past centuries,
• polotchka or wall-bracket
designed by a. zinovief
Serge Mah'utin took charge of the studio
of sculpture: this extraordinary artist
seems, like Surikoff, to pursue, in the
midst of our civilisation, some fantastic
dream of the misty ages of heroes and
legends. His influence on the debut of
the art of Talashkino was very great. He
powerfully sounded the forgotten note of
ancient epics with their marvellous stories
of the "Sun Bird" (zar-ptitza), the flaming
bird of the old beliefs, symbol of all the
epic past of Old Russia. Then Zinovief
and Bolotof placed their talent at the
service of the Princess Tenishef, who
herself designed a number of objects in
which the decoration, drawn from subjects
in the vegetable world, is richly deve-
loped.
Designs for wood-carving for furniture,
caskets, small objects of everyday use,
embroideries of rare beauty, stuffs of
blended tones, Ceramics, pottery—in short,
everything connected with domestic life,
left Princess Tenishefs hands bearing the
seal of originality. She devotes herself,
moreover, to a purely personal art, which
she cultivates with an incontestable mas- buffet cupboard designed by v. beketoff
137