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The first matrioshkas were made in 1898, in a children's toyshop owned by Mamontov in Moscow. Despite of the Moscow origin, the real native land of the matrioshka has become Sergiev Posad, the centre of handicraft toy manufactureand the largest in Russia, which is situated not far from Moscow. Its artists began to draw not only the well-known Matrena, but also knights, heroes of the war of 1812 etc. Till 1917 the products of this craft gained a great popularity abroad. Matrioshkà's were represented in Paris at the world exhibition of 1900. In 1909 it had become a constant participant in the Berlin exhibition, and practically all Europeans got acquainted with it. After the revolution the matrioshka was considerably simplified. The painting of matrioshka became solely factory-made and of the same mass character. In 1953 the main centre of matrioshka manufacturing moved from Moscow to a district in the Nizhniy Novgorod region, to Semenov city, which was famous for its woodwork, i.e. wooden utensils, spoons, salt-boxes etc. Semenov's matrioshka differed from Posad's in its bright colour and simplistic painting, this made the increase of volumes manufactured possible. The end of the 1980's can be loosely called "the period of the second birth of matrioshka in Sergiev Posad". Owing to the highly increased flow of foreign tourists there was a necessity for the increse in the variety of forms and images, that in reality, had always been a distinguishing feature of Sergiev Posad's matrioshka from the moment of its appearance. Now every matrioshka is a product of an individual craftsman.
After the revolution Lukutin's factory was renamed "Fedoskin's labour artel of craftmen". Despite of changes in the State authority, the old artists maintained the glory of their skill untill the 1930's and trained their successors, new young craftmen. Fedoskin's miniatures gave an example for similar craftsman, who appeared in the 1920's in the Ivanovo region in the village Palekh, and then in the villages Kholuy and Mstera. However the style of Palekh, Mstera and Kholuy differs essentially from Fedoskin's miniatures. The principles of their work represents the development in Russian icon painting. This art was created by professional icon painters who found themselves unemployed after the persecutions of church in October, 1917. The style of painting used by Palekh, Mstera and Kholuy is quite original in spite of the fact that the main technique for the manufacturing of papier-mache caskets is common. They use black backgrounds, fine smooth drawings, a large amount of gold colour and ornaments. Tempera is also used instead of oil paint. The themes for casket painting is taken basically from Russian fairy tales written by Pushkin, Yershov and others. The art of the Russian varnish miniature has continued developing right up untill today. Again and again it has given the public new artistic findings. Nowadays these are a unique work of folk-lore, and sometimes they represent astonishing patterns and true painting. |
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