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Russian brides and their culture: Art

June 28th, 2009
Written by Yuliya

Russian art is a very interesting and unique – and knowing something about it is another great way to impress your beautiful Russian bride!

You have probably seen one of Russia’s most famous examples of folk art: Matryoshka. They are the colorful wooden dolls dressed in traditional clothing that are designed to fit one inside the other from largest to smallest. These dolls are known all over the world. All Russian brides owned at least one set of these dolls when they were children.

Today, folk art in Russia survives in two basic forms: handicrafts produced on a broad scale and works of art created by talented people working at home. Works made of marble, glass, ceramics, metal, or ornamental textiles bring delight to everyday life.

If you travel to Russia to visit potential Russian brides, you will probably see examples of this artwork in their homes.

Some of the most popular handicrafts in Russia are:

• wood carving and painting (Bogorodskoe, Khotkovo, Abramtsevo, Kudrino)
• the Golden Khokhloma artistic ceramics (Gzhel)
• clay toys (Dymkovo, Kargopol, Filimonovo, Abashevo)
• lacquer painting (Fedoskino, Palekh, Mstera)
• decorative tray painting (Zhostovo, Troitskoe)
• artistic metalworking (Veliky Ustiug silver, Rostov enamel, Kazakovo filigree);
• bone carving (Tobolsk, Chukotka, Khotkovo)
• artistic stone working (Tyva carved sculpture)
• lace making (Vologda, Vyatka, Yelets)

… As well as embroidery, golden thread needlework, pattern weaving and rug making.
All the different kinds of Russian folk art reflect the richness and diversity of the national soul of Russia and the brilliance of the works crafted by hand. Many Russian brides are capable of making beautiful artwork themselves.

If you are interested in art, I recommend you learn more about the styles of art mentioned above. You will greatly impress potential Russian brides with your knowledge!

Have you met your true love yet? If not, please check out our beautiful Russian brides today!

2 Comments regarding “Russian brides and their culture: Art”
  1. Vladimir says:

    From icons and onion domes to suprematism and the Stalin baroque, Russian art and architecture seems to many visitors to Russia to be a rather baffling array of exotic forms and alien sensibilities. Without any sense of the rich tradition of Russian culture, an appreciation of the country’s enormous artistic wealth becomes a game of historical anecdote–“the church where so-and-so took refuge from what’s-his-name”–or a meaningless collection of aesthetic baubles–“I like the blue domes the best.” In fact, Russian art and architecture are not nearly so difficult to understand as many people think, and knowing even a little bit about why they look the way they do and what they mean brings to life the culture and personality of the entire country.

  2. Vladimir says:

    The rising influence of European culture in Russia during the 17th and 18th centuries brought Russian artwork closer to the familiar traditions of western painting. It wasn’t until the end of the 19th century that the next great body of uniquely Russian artistic styles arose, having developed in conjunction with liberal forces of social reform. This modern movement took many different directions almost from its inception, and it would be impossible to describe all of them. However, even a very general acquaintance with their common ideas and interests makes their work much more accessible.

    rusart05.jpg (34713 bytes) From the start, the modern art movement was concerned with breaking away from the classical tradition and creating a new kind of art that was intimately engaged with the daily life of Russian society. It developed a renewed interest in traditional Russian art forms, including both decorative folk art and, of course, icon painting. From decorative art it gained an appreciation of the power of abstract geometrical patterns–lines, shapes, and color were used to construct rhythms and energetic forms, not necessarily to depict objects or actual spaces. The re-examination of icon painting made painters more aware of the power of a flat, two-dimensional visual perspective. In other words, they realized that they could treat the canvas like a canvas, rather than trying to give the impression that it was a window into a space.

    From the end of the nineteenth century until about 1910, the modern art movement remained most interested in traditional aspects of Russian life–religion and village life were as influential as the life of the great cities. As the forces of social reform became more closely linked to the rising population of industrial workers, Russia’s avant-garde artists turned increasingly to the factory and the frenetic pace of urban life for inspiration. Brilliant colours, simplified and sharply angular forms, and an emphasis on the liberatory energy of the modern world became the basis for new and increasingly abstract compositions. Cubo-Futurism, Rayonnism and Suprematism were the most important of the styles and schools that emerged during this time. Among their most prominent artists were Kasimir Malevich, Vladimir Tatlin, Mikhail Larionov, and Anna Goncharova.

    After the 1917 Revolution, the Russian Avant-Garde leapt into the service of the new Bolshevik regime. It seemed to promise just the sort of break into a new world, and sweeping away of the old, that they had been working for in art for years. They produced political posters, organized street pageants and fairs, and, most notably, carried out the design of the country’s great public spaces for anniversary celebrations of the Revolution. Caught up in the new regime’s emphasis on the importance of industrial power, they began to bring to composition a sense of the rationality and technological focus of industrial work and design. Constructivism, as this style is known, continued to evolve into the late 1920s, when the conservatism of the Stalinist state renounced the Avant-Garde in favor of Soviet Realism. Many of the prominent artists of the earlier schools played a central role in Constructivism, especially Tatlin. Other well-known artists of the Constructivist movement include Alexander Rodchenko, Varvara Stepanova, and Liubov Popova.

    Repudiated by the Stalinist government and neglected in the west, the Russian Avant-Garde has only recently received the attention it deserves. The Russian Museum in St. Petersburg possesses the finest collection of its work.

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