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Professional
Secrets or "How Nesting
Dolls are Drawn"
Based on the works of Svetlana Barchenkova,
for which we are grateful to her.
Adapted from www.xydo.ru | Translated
by Tatyana Kostromskaya
All
of us, people living in Russia, know firsthand what a wonderful
souvenir-toy is MATRYOSHKA. Encyclopedias define it as:
1. (a) Russian toy in a form of a painted wooden doll, containing
smaller dolls of the same shape inside. (b) One of such dolls.
2. Figurative sense: Plump, rosy, round-faced girl or lady, resembling
such doll.
My
first opinion of the matryoshka
dolls formed when I was little child. That was when I first saw
- in the widow of a shop - a wooden doll of an unusual shape,
weirdly painted into three bright colors, with a symbolic picture
of flowers on the doll's dress.
Basically,
until very recently I simply could not understand why
this weirdness is so popular both in Russia, and abroad.
I couldn't understand until I saw professionally painted
nesting dolls. They had nothing in common with those wretched
dolls that I saw before; they were entirely different
- airy and tender works of folk art. How could it be that
on a standard wooden blank one could paint such a spledor?!
I
will not tell of how a painter paints a matryoshka doll.
(Even thought in the nearest future I do hope to find
an artist that can tell of his/her work.) What I want
do describe here are my own impressions, impressions having
effect on you when you are watching a miracle performed
on a wooden blank doll before your very eyes.
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So,
everything started with an order. The order was for nesting
dolls with winter motifs: blue scarves on the heads of the
dolls and winter landscapes on their bellies.
The
artist I wanted drew similar things many times before, for
- as everyone knows - retail matryoshkas are thought up
according to what sells and not according to what one simply
wants to draw. This was a typical case.
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So,
the work begun… It begun from working the blank doll with
sandpaper. The process was not a fast one; yet it did not
require much intellect. You can just sit and enjoy the nature,
while your hands are sandpapering the matryoshka. The only
thing to be concerned about is not working it too hard,
not to make holes in it…
Now,
when the blank doll is totally smooth, you can start painting
on it… Nothing is simple here. First of all, you have to
work on the background of the belly landscape. How to properly
mix colors in such paintings you have to ask an artist.
One thing I can tell you: the work on each landscape (which
has to be very thorough) is an extremely laborious one,
and not everyone can handle it. There are dozens of landscape
drawing techniques when it comes to matryoshkas. Some include
the employment of various brushes, others - cotton wool
tampons or even a regular bandage (for hoar-frost drawing).
Sometimes winter birds are drawn on matryoshka bellies as
well.
Besides
drawing a landscape, a painter paints matryoshka's face.
As far as I understand, each painter draws the face the
way he/she wants. The sample represented possesses big eyes
and fluffy eyelashes.
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Matryoshka's
face is a story in itself. Normally, an artist paints a
sweet-looking girl with light brown (other colors are possible)
hair. Obviously, I am not discussing matryoshka dolls, depicting
political leaders and/or other humorous characters. So,
traditional tradition dolls, usually, posses blue eyes,
Cupid's bow, gentle high color face - charm itself. After
all, it is the image of "Russian beauty" that
attracts to this 'souvenir-transformer' most of all.
Strange
as it may seem, this image was created immediately on the
blank doll, without any auxiliary tone put on it prior to
the painting itself. The painter said that in the finished
form - or after being lacquered - the doll's face would
acquire a real, warm, body-color look. Eyebrows, lips and
eyes are painted in gouache (but more often in watercolor)
by a thin brush. High color on the cheeks of our doll has
been achieved with a help of a small cotton wool tampon
that helped apply previously dried gouache to the face of
the doll. Finally, gentle highlights have been marked on
the nose and the chin of our doll. This was done for the
purpose of giving relief to the flat face of the blank doll.
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As
soon as the faces and the bellies of the dolls were ready,
the work on the scarf - wrapping our work of art - has begun.
First of all the main tone of the scarf was worked on. In
our case, it was a blue one. Then the blue color of the
fringe was taken care of.
As
soon as everything dried - which happened very quickly (I'd
like to note that nesting dolls do not stick in the work;
most likely because the wood absorbs paint very well and
it dries quickly) - the contours of the doll were set. This
means the frame around the belly with landscapes (which
looked like a window, leading into a different dimension),
the fringe, the frame around the stand and the crown.
Matryoshka's
crown is her kokoshnik [woman's head-dress in old Russia].
I believe, the most painstaking work is lying in wait for
the artist here. Save the fact that the crown, as I see
it, consists of a million of finest details, there is also
a risk of a slightest error, tremble of hand or, for that
matter, even a mosquito getting stuck in the paint, spoiling
the whole work.
The
scarf of this particular doll matryoshka doll was painted
in Gzhel' flowers style: dark blue flowers with white or
light contours. While the matryoshka was being painted,
I noticed that had almost totally bold spots on the sides
and on the back of the scarf (see the picture). When I had
asked the artist why this is so, he answered that these
places will look especially showy when the doll is coated
with lacquer. They were much brighter that the background
itself. The edge of every detail had an accurate contour.
It was achieved through lines, patterns and lace imitation
- extremely striking details.
Most
of the work was completed. Now the artist had to give his
matryoshka a bright, festive look. On this stage he used
sparklets of various colors, mixed with paper glue, lacquer
and whitewash. The inside of the flowers was brightened
with paint mixed with sparklets, while the crown started
shining like it was decorated with semi-precious stones,
and the hair of matryoshka was covered by a whole diadem
of sparklets.
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So,
the matryoshka doll was almost ready. The only thing missing
was the lacquer coating. The paint on the doll wasn't coming
smudged as it was, but the sparklets could fall off. I will
not get into the process of lacquer coating, as, frankly,
do not know myself how it is done.
Now,
knowing everything (well, of course, a couple of tricks
remained a secret!), we can fully understand and appreciate
the laborious task set before an artist; especially, because
he has to paint at least 10 of such dolls. Each of these
dolls has a different landscape on its belly. The smallest
doll is never taller that 1.5 cm (or 1/2 of an inch), sometimes
being even smaller than that!
By
the way, the smallest nesting dolls are being stuck on a
needle or a thin metal stick - to ease the process of painting.
To look at the process, one has to be a brave person, but,
after all, your fingers do not hide the whole of the picture
from you when you're painting in such a way.
Now,
I have hereby told you how matryoshkas are painted. This
was a perspective of a stranger to the subject. Pictures
of the bellies of all pieces included in the above-described
matryoshka set are following this article. I hope that to
be able to get the artist himself tell you about his professional
secrets some time soon…
Best
of luck to you!
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Pictures from
the dolls…
And
these are from a different set (without birds)…
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