Zhostovo Trays
History:
In early 19th century
As the century progressed, tray
demand rose as large city hotels and eateries became prevalent. However, buyers
eventually recognized that their papier-mâché trays were becoming damaged by
hot food and drink. As a result, Zhostovo
painters gradually switched to sheet-iron trays. The move was fortunate, as
bright floral bouquets painted on reflective metal reinforced their
luxuriousness.
Accordingly, demand for such trays
soared, providing Zhostovo workshops with greater
talent and prosperity. Ironically, such success intensified the pressure on
artists to expand production and sacrifice quality. By mid-century, Zhostovo trays frequently employed glued-on
prints, leading
Thankfully, Zhostovo
tray-painting was saved by its close proximity to
In the early 20th century,
Zhostovo painters would face another crisis.
As public interest waned and workshops declined, working in a cramped workshop
for long hours and little pay became the norm. Early attempts to organize a
cooperative came to a halt during World War I. When a cooperative was finally
instituted in 1923, it failed to fully relieve Zhostovo
painters from their predicament. As a result, Soviet authorities attempted
to impose new painting methods such as easel-painting and thematic compositions
(modernity/realism) upon the craft.
Fortunately, in 1928 the Soviet
Handicraft Council decided to rejuvenate the craft by creating an industry-wide
cooperative and painting factory. Not subject to standardization and mass
production pressures (as other crafts were), the Zhostovo
tray-painting industry thrived. During the 1930s, local vocational trainers
recognized Zhostovo painting as a worthy
subject in its own right and created a separate academic department for it.
Though the Zhostovo tray-painting
factory recently closed, the craft continues to thrive in the West where
several admirers are propagating the craft .
Design:
Design Background.
Formerly a border element only, the floral
motif became increasingly apparent late in the late Classicist
era. In the early 1800s, the floral
bouquet gradually came into its own as an art form in
Not surprisingly, the typical Zhostovo floral
bouquet retains the same stylistic floral features evident in early Fedoskino-style lacquerware.
Nevertheless, Moscow-style enamels, Russian porcelain, and even
Chippendale-style furniture have influenced Zhostovo’s
floral designs since then.
Design Characteristics
Traditionally, Zhostovo
floral bouquets display a few large flowers (such as roses, tulips, or dahlias)
or several small flowers (such as pansies) in a thin volute. Flowers are
displayed in an impressionistic and luxurious pose by using strong contrasts
and deliberate fluidity. To augment these contrasts, colors are kept to a
minimum.
The floral centerpiece is positioned
and framed as if a ‘still life’, yet appears more prominent against an enlarged
and shiny background. And unlike a ‘still life’, the bouquet appears more alive
than in reality. Indeed, Zhostovo bouquets are
noted for their lush intensity, bright colors, and exaggerated artistry.
Artists further distinguish these characteristics by painting them in
reflective media.
The artist’s spontaneity shows forth
as well. Zhostovo artists pride themselves for
never stenciling in their compositions. And since no painting is ever a copy,
success is dependent upon brushwork expertise. Without brushwork fluidity,
aspiring Zhostovo artists might as well be
painting still life. Consequently, brushwork expertise may largely determine
each composition’s success.
Design Process:
Today, Zhostovo
artisans employ the same priming techniques, oil paints, and lacquers used in
the lacquer-box industry. They begin by coating a metal tray with oil paint to
produce a strong sheen. Light colors are then applied as an undercoat for
reflective purposes (tray backgrounds are typically dark green, blue, cherry,
brown or red). Afterwards, the tray is lacquered three times. Each layer is
then polished when dry to produce a smooth and glossy surface. When ready, a
floral design silhouette is sketched in flat-finish white acrylic paint.
Finally, linseed oil is applied to keep the paint from quickly drying.
Before painting can begin however,
the Zhostovo painter must decide whether to
paint in acrylic or oil. Though acrylic dries quickly, artists use the media to
enhance transparency. In contrast, Zhostovo
painters employ oils for their vibrancy and reflective quality on metal.
When ready, the artist fills in
shadows and highlights with a transparent white tint for depth. By emphasizing
volume and lighting, these highlights create a more luxuriant-looking
flower. Added brushstrokes can produce
fine contrasts between floral and foliage areas. Details are added next by
carefully placed line work. Smaller
elements such as blossoms, grasses, and tendrils are then painted to flesh out
the bouquet.
Grasses and tendrils also help
integrate the bouquet into the background. Darker foliage created along the
bouquet’s fringes produces an almost imperceptible link to the background as
well. The finished effect reinforces the
naturalistic nature of the centerpiece. Painters employ added details with
varying degrees of success. Indeed, unique line work frequently becomes
identified with a particular painter.
When the centerpiece is done,
ornamental gold borders are added using c-, s-, and/or teardrop-shaped
brushstrokes (known as "uborka"). The
edges are then painted with gold, silver, or bronze. Finally, the tray is
lacquered once again to produce a high-glaze finish.
Though Zhostovo
trays incorporate a limited "assembly-like" production process, Zhostovo masters is well-versed in all stages of
production. Indeed, talented Zhostovo artists have typically learned from master
painters and are skilled in related painting styles as well.
Brushstrokes:
To achieve spontaneity, Zhostovo painters must
learn to effectively employ fluid brushstrokes. To do so, the painter turns the
tray in his lap, effortlessly pulling his brushstrokes inward to give a
swirling effect. At the same time, the painter is surreptitiously cognizant of
brushstroke order and direction.
By leading the eye, well-directed brushstrokes
can generate a harmonious composition, (especially where flower stems and
leaves are concerned). Likewise, brushstroke order can affect how light
is distributed upon the painting. Several brushstrokes maybe used by the
artist: s-shaped, comma-shaped teardrop-shaped, u-shaped or any similar
variation. Finally, sable brushes (known as filbert brushes in this country),
are typically used in Zhostovo painting.
Conclusion:
During the 19th century, well-known
painters established workshops employing as many as 50 people or more. Their legacy can be found in several
dynasties still known today (Vishniakov, Antipov, Kledov, Belyayev, Sorokin, and Gogin to name a few). This may not be surprising given that
notable Zhostovo painters often begin their apprenticeship
as young as 2 years of age.
Bibliography:
Hauser, Priscilla and Boris Grafov. Russian Folk Art Painting. Sterling Publishing.
Ilyin, M. Russian Decorative Folk Art. Foreign Languages Publishing House.
Langford, Jenny. "Painting Zhostovo: I'm in
Love." accessed at http://brushtales.tolefriends.com/15-zhostovo.pdf and http://www.artrusse.ca/zhostovo.htm