The culture of the second half of the 19th century was characterized by a growing interest in national art and architecture. In Russia, the appeal of exploring the roots of national culture was supported by the ideas of Narodnichestvo — a form of agrarian socialism that was gaining popularity among the more democratically inclined population.
Some Russian architects turned their attention to the pre-Petrine era. They found inspiration in Russian architecture of the 16th–17th centuries, as well as in folk arts and crafts.
One of the originators of the Russian Revival in architecture was Ivan Petrov, better known as Ivan Ropet. His designs of buildings and other structures are reminiscent of Russian fairy-tale houses with high V-shaped roofs and ridge ornaments.
The architect had a penchant for openwork decoration, inspired by motifs of Russian embroidery and woodcarving. This style was sometimes referred to as “ropetovshchina” by the architect’s contemporaries.
Although he lived in St. Petersburg, Ivan Ropet felt a strong connection with Savva Mamontov’s Circle in Abramtsevo, near Moscow, where such talented artists as Ilya Repin, Mikhail Vrubel, and Vasily Polenov spent time and worked on their art. The estate’s bath house was designed by Ivan Ropet.
The architect became famous in Europe after he designed the Russian wooden pavilion for the World’s Fair in Paris. Later, his designs were used to build pavilions at exhibitions in Copenhagen, Chicago, and Nizhny Novgorod. Apart from being an architect, Ropet designed books and created sketches of interiors and furniture. The oak chair from the museum’s collection was manufactured according to one of the sketches he made in the 1870s.
The back of the chair is shaped like a circle. It is richly decorated with carved geometric patterns, which consist of rows of concentric circles and a rose with many petals in the center.
The artist achieved a captivating effect by creating a circle of repeating T-shaped elements. Together they form the motif of the “kolovrat” — an ancient solar symbol. The seat of the chair is inlaid with a rectangular woven rattan insert.
Some Russian architects turned their attention to the pre-Petrine era. They found inspiration in Russian architecture of the 16th–17th centuries, as well as in folk arts and crafts.
One of the originators of the Russian Revival in architecture was Ivan Petrov, better known as Ivan Ropet. His designs of buildings and other structures are reminiscent of Russian fairy-tale houses with high V-shaped roofs and ridge ornaments.
The architect had a penchant for openwork decoration, inspired by motifs of Russian embroidery and woodcarving. This style was sometimes referred to as “ropetovshchina” by the architect’s contemporaries.
Although he lived in St. Petersburg, Ivan Ropet felt a strong connection with Savva Mamontov’s Circle in Abramtsevo, near Moscow, where such talented artists as Ilya Repin, Mikhail Vrubel, and Vasily Polenov spent time and worked on their art. The estate’s bath house was designed by Ivan Ropet.
The architect became famous in Europe after he designed the Russian wooden pavilion for the World’s Fair in Paris. Later, his designs were used to build pavilions at exhibitions in Copenhagen, Chicago, and Nizhny Novgorod. Apart from being an architect, Ropet designed books and created sketches of interiors and furniture. The oak chair from the museum’s collection was manufactured according to one of the sketches he made in the 1870s.
The back of the chair is shaped like a circle. It is richly decorated with carved geometric patterns, which consist of rows of concentric circles and a rose with many petals in the center.
The artist achieved a captivating effect by creating a circle of repeating T-shaped elements. Together they form the motif of the “kolovrat” — an ancient solar symbol. The seat of the chair is inlaid with a rectangular woven rattan insert.
