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The Card Case Forum, 2009
In 1818, control of the Korobov workshop passed to Piotr Lukutin (Korobov's son-in-law) who expanded production to include tea caddies, album covers,desk accessories, and boxes for many different purposes. Artists began to hand paint intricate decorative motifs on the boxes, and these small paintings became status symbols among the aristocracy and wealthy merchant class. As demand for the lacquered papier-mâché items grew, so did the complexity of design and decoration. Just five years after Lukutin took over, the workshop employing over 50 skilled painters, and a school at the factory was training apprentices.
Piotr Lukutin began exhibiting his products in 1828 at industrial and handcraft fairs in Russia and Europe, winning public acclaim and many awards. It was this same year that Lukutin received the highest honour, a royal edict, allowing him to use the Imperial emblem of the double-headed eagle and his initials as the company trademark. Alexander Lukutin joined his father as factory manager in 1841, and together they
Piotr Lukutin began exhibiting his products in 1828 at industrial and handcraft fairs in Russia and Europe, winning public acclaim and many awards. It was this same year that Lukutin received the highest honour, a royal edict, allowing him to use the Imperial emblem of the double-
transformed a simple craft into a genuine art form through daring innovation in subject-matter and technique.
Most of the lacquer miniature paintings from this era were hand rendered reproductions of famous paintings and popular illustrations rather than being original compositions. However, these lacquer miniatures distinguished themselves from the works that inspired them due to the techniques used in their creation and the resulting depth and illumination in the painting. The techniques include the use of a primed papier-mâché surface with a background of metal powder over which several layers of thin oil paint were applied.
he Lukutin workshop was finally closed in 1904 and some of the artists transferred to the Vishnyakov workshop. Many of the artists found the working conditions there unacceptable and in 1910 they banded together to form the Fedoskino Artel.
Most of the lacquer miniature paintings from this era were hand rendered reproductions of famous paintings and popular illustrations rather than being original compositions. However, these lacquer miniatures distinguished themselves from the works that inspired them due to the techniques used in their creation and the resulting depth and illumination in the painting. The techniques include the use of a primed papier-
he Lukutin workshop was finally closed in 1904 and some of the artists transferred to the Vishnyakov workshop. Many of the artists found the working conditions there unacceptable and in 1910 they banded together to form the Fedoskino Artel.
