Painted home designs

The Best Sheets

L.L.Bean 280-Thread-Count Pima Cotton Percale Sheet Set

If you like a cool, crisp feel to your sheets, these are comfortable, very breathable, and reasonably priced.

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The Best Bed Pillows

Xtreme Comforts Shredded Memory Foam Pillow

Moldable and adjustable, with excellent support for back-, side-, and some stomach-sleepers, this is also one of the most affordable pillows we tested.

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The Best Comforter

L.L.Bean Baffle-Box Stitch Down Comforter, Warm

Sleeping under this comforter was a delight: It felt lofty and warm, but breathable and includes L.L.Bean’s excellent satisfaction guarantee.

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Control the Light

The ability to control light – both natural and artificial – is important. 

If you’re sensitive to sunlight when sleeping, you want to have the ability to eliminate it completely. The best way to do so is with a blackout roller shade or a Roman shade with a blackout lining. However, sunlight will still usually leak into the room at the edges of the shade. To block it, add curtains with a blackout lining. 

At night, it’s helpful to have layers of lighting. An overhead light allows you to illuminate the whole room quickly, but may not do much to set the right mood. 

A pair of lamps on bedside tables usually offers a more appealing glow. Many designers use table lamps as well as wall-mounted lamps, either hardwired or plugged into an outlet, on either side of the bed. The table lamps provide an ambient glow, and the wall-mounted lamps provide directional light for reading. “It’s nice to have both, but they shouldn’t compete for attention,” said Mr. Ford. “You want a super simple table lamp and a really decorative sconce, or vice versa.” 

In terms of control, “Every light should be on a dimmer,” said Mr. Olsen – good advice for every room of the home.  

Kitchens and Bathrooms

Customizing these spaces can add personality without requiring a gut renovation.  

Evaluate Cabinets and Counters

Changing kitchen counters is no small undertaking, but switching from an inexpensive material, like laminate, to a luxurious one, like marble, granite or quartzite, can significantly change the overall appearance of a kitchen or bathroom.

The kitchen backsplash is another area ripe with opportunity. Even if you leave the existing counters in place, you can add or replace an existing backsplash using a favorite tile made from ceramic, glass, metal or cement. 

If kitchen cabinets and the bathroom vanity cabinet are simple and in good shape, it’s often possible to paint them a new color for a different look. If the cabinet doors have a design that looks dated, you can sometimes keep the existing cabinets carcasses, and replace the doors only. 

In the case of a cheap bathroom vanity, it’s often economical to replace the whole thing. Many companies offer prefabricated vanities, complete with matching tops and sinks.  

Focus on Things You Touch

Simply replacing cabinet pulls with new hardware can significantly change the look of a kitchen or bathroom. The kitchen and bathroom faucets are also no place to skimp – you touch them every day, so choose models that not only look good, but also have handles that feel reassuring when you turn them, and heads that offer the functionality you desire. 

In a bathroom, this line of thinking extends to accessories as well – quality towel bars, robe hooks and toilet roll holders can all give the room an upgraded appearance at minimal cost. 

Refresh With Textiles

There’s no point in having nice towel bars if they’re holding frayed or mismatched towels. Recycle your old ones and buy new towels and washcloths in a single solid color (you deserve it). For a decorative accent, add patterned hand towels. 

If there’s a mildewed shower curtain around the tub, replace it with one made from a pleasing material like linen, or a glass panel.  

If the bathroom or kitchen floor leaves something to be desired, but you don’t want to go to the trouble or expense of tearing it out, you can cover it with a large woven vinyl rug or mat from a company like Chilewich or Bolon. 

The Best Bath Towel

Frontgate Resort Cotton Bath Towel

This is the softest towel we tested—it feels like a plush towel from a luxury hotel and comes in a wider variety of sumptuous colors than any other we found.

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Don't Forget the Powder Room

Because it’s so small and used infrequently, a powder room is the perfect place to let your inner decorator run wild with bold colors and wall coverings.  

“If you entertain, it’s so much fun to make it an unexpected, cool element,” that will surprise guests, said Mr. Olsen, who has designed powder rooms with wild wallpaper and mirrored wall panels. 

That sentiment was echoed by Ms. Maxwell Foster: “Find a wall treatment you love, and just go for it.” 

Finally, remember that decorating should be fun. By starting out with a plan, and following the same steps used by the pros, you’ll make the experience significantly less stressful that going at it in a haphazard fashion. And, hopefully, you’ll end up with the ultimate prize: the home of your dreams. 

Painted houses of the Russian North | Russian Geographical Society

Address:

Novaya Ploschad, 10, building 2

The fifth lecture from the cycle "Genealogy of Russian wooden architecture in photographs: from Lazarevskaya Church to Russian Art Nouveau" is called "Painted Houses of the Russian North".

The tradition of decorating a house with paintings goes back to ancient times. Drawings of primitive people on the walls of caves, amazing picturesque stories about the life of gods and mortals in the Egyptian pyramids and on frescoes in the Mediterranean countries have been preserved. However, in our northern forest power, a sharply continental climate and pronounced seasonality dictated their own conditions of life. Peasant houses in Russia were heated in black for many centuries, and there is no information about their painting until the middle of the 19th century. nine0003

By this time, white-stoked houses appear. The peasants, who were engaged in outdoor activities, returning home, tried to bring elements of urban architecture into the appearance of their homes. The ceilings are getting higher, the windows are bigger, the plumb roofs are wider. However, unlike the townspeople, the village was more conservative and remained a faithful guardian of folk traditions. The beauty of the surrounding world, the remnants of pagan legends and beliefs, the images of the Christian paradise were closely intertwined in the peasants' idea of ​​beauty and powerfully spilled onto the walls of prettier houses - both outside and inside. nine0003

They painted the most protected from the sun and bad weather places of the pediment - the space around the dormer window and the filing of the roof extension. At the same time, the dormers acquired the most intricate shape, they were decorated with fancy balconies with rich paintings. The motifs of the painting are traditional: all kinds of flowers and herbs, flowerpots, stars, birds, mythological beasts that take either an angelic or a demonic appearance... Particularly interesting are the images of lions, which artists who have never seen them portrayed look like either dogs or cats, then endowed them with human faces. nine0003

This is how a new daycare for masters of painting appeared, who usually called themselves not artists, but painters, and signed themselves. This bright craft existed for a very short time - after the revolution, the decoration of houses became unclaimed. And the unique gallery of marvelous images in the open air is still alive. So far...

About the lecturer

Alexander Lyskin graduated from the Faculty of Journalism of Moscow State University. He worked in the Novosti press agency, the Planeta publishing house, the Rossiya magazine of the administration of the President of the Russian Federation and the Government of the Russian Federation, and other publications and organizations. Early 90-x is invited to collaborate with the British news agency Camera Press and to become a member of the Royal Photographic Society of Great Britain.

Has a number of top awards of international professional photo contests - a gold medal and the "Golden Eye" World Press Photo, a gold medal for Inter Press Photo, a prize of the UNESCO International Photo Contest on the Environment and other awards. Author of a number of own large-scale projects. Creator of the author's photobank Phorus. Photographer for the International Fund for Animal Welfare (IFAW). nine0003

A. Lyskin - member of the Union of Photographers of the USSR, member of the Union of Journalists of the USSR and Russia, member of the Russian Geographical Society, teacher of the IPLF (Institute of Professional and Amateur Photography).

To visit the lecture hall pre-registration is required . You can sign up in any of the following ways (sign up ONCE, no need to duplicate!!) :

1) Registration on the announcement page (specify your first and last name).

2) On the page of the lecture hall in social networks Vkontakte and Facebook (indicate the last name and first name).

3) In case of emergency (registration is impossible in any other way!) an appointment is accepted by phone 8-800-700-18-45 (Kirill Kuznetsov).

Admission is free, according to the list and an identity document.

Link to online broadcast : http://www.rgo.ru/ru/lektorii/moskovskiy-lektoriy/onlayn.

Painted houses of the Russian north: Povazhie

Mikhail Isaevich Milchik,
Candidate of Art History,
Deputy Director of St. Petersburg Research Institute
Spetsproektrestavratsiya, Member
of the Federal Council for the Preservation of Cultural Heritage
of the Ministry of Culture of the Russian Federation
, St. Petersburg

the belief that in the Russian North the picturesque decoration of residential buildings was not very common. This opinion is the result of a poor study of house painting, samples of which are becoming less and less every year. Meanwhile, the murals of residential buildings in other regions of Russia - Siberia, Altai, the Urals and the Kama region, the middle Volga (former Kostroma and Vyatka provinces) - have been studied to one degree or another. Nevertheless, the old remark of E.E. Blomkvist that “the painting of the Great Russian peasant dwelling has been studied even less than the painting of the Ukrainian hut; there is almost no literature on this issue ... very little visual material has been collected on this richest, but almost disappeared area of ​​​​folk art. nine0003

A huge number of painted houses, which, as a rule, belonged to rich peasants, were destroyed during the years of collectivization and in subsequent times. In addition, the natural aging of wooden buildings, the change in the aesthetic tastes of the rural population contribute to the death of this kind of monuments. In addition, until the recent past, these monuments remained for researchers, as it were, in “no man's land”: architects were primarily interested in the buildings themselves and their designs, folk art specialists in objects associated with it, crafts, ethnographers in the way of peasant life, rituals, etc. Finally, one cannot discount the difficulties of studying this tradition: there are very few painted houses left; study of all villages in the area. nine0003

House paintings are a national phenomenon in the folk art of Russia and, moreover, the countries of Northern and Central Europe. If we confine ourselves to the current territory of the Arkhangelsk region, then, based on the stylistic originality of the paintings, we can first distinguish the following relatively isolated areas there, only conventionally called schools: Severodvinsk, Pinega-Mezen, Kargopol-Poonezhsky and Vazhsky. Of these, only the last school, presented in late 2003 - early 2004 at the exhibition in Arkhangelsk "Peasant Painting of Povazhye", was studied with almost exhaustive completeness. To some extent, the first and second schools have been studied, and only the Kargopol-Poonezhskaya school remains a "blank spot" on the cultural map of the Russian North. However, it will be discussed in another article. nine0003

Here we will tell you about the house paintings in Povazhie. Approximately a quarter of a century ago, the expeditions of the Central Council of the VOOPIK under the leadership of Z.Ya. Schwager (1901-1978) in 1969-1974, and then the Velsky and Shenkursky museums of local lore in 1981-1983 under the leadership of the author of these lines on the territory of the Velsky, Shenkursky and Ustyansky districts of the Arkhangelsk region, it was possible to identify more than 50 houses in which in one or Exterior and interior paintings have been preserved to a different extent.

First of all, let us briefly characterize the painted houses themselves on the Vaga, the left tributary of the Northern Dvina. All of them were five-walls, heated in white, - one-story on high basements or two-story. Along with the hut, they certainly had "clean halves" - upper rooms. A tower window (lighting room) overlooked the front facade. In front of it was a balcony, often with a decorative portico. The painting, as a rule, was placed on it, on the plane of the pediment, filing the balcony and overhangs (removals) of the roof, and finally, on the architraves and shutters. nine0003

Traditions of decorating dwellings with “rose herbs”, “chess” - colored ornaments - go back to ancient times. Painting is always a sign of special wealth. In the 17th century, for example, the wooden attics of the tsar's palace in the Kremlin were painted with "pink colors on the outside on both sides", and the suburban Kolomna Palace, according to Simeon of Polotsk, was decorated with "many colors painted and sculpted with sharp cunning daggers", but, of course, We have no information about the paintings of peasant houses until the middle of the 19th century. And it was hardly possible at all: after all, almost all the huts then were heated in black and twilight reigned inside them. It is no coincidence that all researchers associate the appearance of house painting in the peasant environment with the spread of white huts, the appearance of glazed windows, that is, approximately from the middle of the century before last. All this paved the way for the emergence of monumental paintings as a means of increasing the representativeness of the houses of those peasants who, to one degree or another, were connected with the provincial city or even the capital through trade, carting or seasonal work. nine0003

In the second half of the 19th century, as noted by P.S. Efimenko, M.B. Edemsky and P.S. Voronov, on Vaga, it has become common to divide the house into three parts: “in front” - summer housing, where murals are most often found, “middle” (bridge, barnyard) and “back” - winter housing. The forehead of the male roof of the house, influenced by the architecture of classicism, begins to resemble a pediment, the rounded surface of its logs is cramped, dormer windows appear, a cornice fixing the border of the log house and the pediment itself, under the slopes - plates - a kind of crackers. Balconies often looked like four-column porticos with their own pediment cut through by one or occasionally three arches. As a result, the role of the decorative dominant shifts from the actual roof with its traditional sculptural elements — the ridge, hens, corbels-releases — to the balcony, which strengthened the accent role of the front façade. The arrangement of balconies in rich peasant houses was a tribute to the tastes of classicism. nine0003

The so-called peasant Empire style and saw carving in Povazhye were most widely used along the busiest roads - Arkhangelsk, which connected the center of the province with Vologda, and through it with Moscow, and Puisky, leading to Kargopol, and then to St. Petersburg. These roads became the main routes for the penetration of urban influences.

Exterior painting here began, apparently, with painting mainly new elements of carved decor. F.N. Berg in 1882 wrote just about the Vazhsky region: “The hut gives a special beauty ... bright . .. coloring according to valances, frosting, ridges, fender liner, shutters, platbands and cornices.” nine0003

At the end of the 19th century, sheathing spread - the edge of houses, imitating elements of brick architecture. Innovations have significantly transformed the interior of houses: the stove received a pipe, instead of a solid stove board, panels are increasingly being made, which sometimes go to the lower part of the front side, closing the under-stove. The space in front of the mouth of the furnace - "middle" - is separated from the hut by a fence. These are often cabinets made of panels, due to which the planes of the panels begin to play an important role in the interior, thus opening up opportunities for painting. A two-panel door leading to the upper room also fits into the new system. The latter became the main conductor of urban influences. Here, for the first time, the walls began to be pasted over with paper or wallpaper. The function of the chamber is ceremonial and representative, and therefore it was rarely used for everyday life. nine0003

In the corners of the pediments or on the under-balcony filing, a lion, which in ancient times had a protective meaning, and a unicorn, one of the symbols of Christ, were often depicted. Plant motifs are even more common: trees or bushes with multi-petal, and sometimes vortex-like rosettes. The multicolored murals created the image of a “beautiful and benevolent garden” - the ideal of peasant life - and corresponded to the basic aesthetic values ​​of the people's worldview, so clearly expressed in song art. Suffice it to recall that the entire lyrics of the Russian wedding ceremony is based on images of flowers. nine0003

There are two main (but not the only!) trends in house painting in Povazhie. The first - focused on classicism, which had already descended from the capital's stage by the middle of the 19th century - used the techniques of "room painters" who painted taverns, tea houses, inns, merchants' houses in cities, painted signs, and the second, which gained strength only by the end of the century and associated primarily with the work of craftsmen, mainly Kostroma. The latter were limited almost exclusively to the interior and widely used the "cursive" free brush painting, widespread not only in the Russian North, but also in the Urals, Altai, and Siberia. nine0003

The first direction, and this article is devoted to it, is most vividly represented by the works of the local "painters" Petrovskys and, above all, the painting of their ancestral home in the village of Churkovskaya, the former Voskresenskaya volost of the Shenkur district (now the Velsky district), located near the village of Blagoveshchenskoye - in the past known for its Evdokievskaya fair. This house in the village was called Alyoshkin - after the name of Alexei Ivanovich (1821-1893), who was the head of the family throughout the second half of the century before last. The house was originally cut from larch at the end of the 18th century, but was moved in the 1860s and soon painted. Remains of painting still remain on its pediment: a fake semicircular window with ray deglazing is written under the tower window; nine0003

On the balcony filing in the center there is a portrait (not preserved) in a circle, flanked by a lion and a unicorn. The same animals are repeated on the pediment itself, but the lion is not shown in profile, as required by the heraldic composition, but with its head turned towards the viewer. On the pediment of Alyoshka's house, both animals peacefully coexist with each other, entwined with a lush floral ornament, now barely noticeable. In the corners of the pediment, animals are again represented: on the left, as it were, a bull looks out, on the right, another lion, here not “rebellious”, but with crossed paws. Once formidable guardians of palaces and temples, here, in Churkovsky, they turn into almost pets, testifying to the prosperity of the family, the beauty and magnificence of the world around. In contrast to the pediment painting, the floral ornament on the roof eaves is very restrained, executed in handwriting in two alternating versions of drawn panels. nine0003

The technique of drawn architecture, common in European art, can also be found in the interior of the room: in the lower part of its walls, panels are painted on paper, in which a blue grass ornament in the form of diagonally arranged branches with lush feather-leaves varies, and in the center of the ceiling there is a rosette, along the perimeter - "stucco molding" in the form of crackers, and in the corners - segments with similarities of palmettes.

Orientation towards the decoration of city houses was also manifested in a kind of “portrait gallery”, going back to the academic varieties of this genre: a full-length portrait of the head of the family, half-length portraits of members of the royal house, and everyday portraits of family members. nine0003

The first one was located on the inside of the entrance single-leaf door. An old man with a gray beard is depicted as if returning to his own house after a hunt. Before us is a strong, imperious, self-confident owner of the house, and it is written carefully, with an attempt at light and shade modeling, which indicates the desire to convey the features of a portrait resemblance. According to family tradition, this is a portrait of an ancestor, brought here from his former home*. Consequently, this door was painted in the first half of the 19th century. nine0003

The custom of moving the front door (gate) goes back to the well-known Slavic rite of "relocation" of the brownie. Therefore, in the rites of passage to a new house, a significant place was given to the transfer of appropriate signs to a new dwelling.

On the doors of the cupboard facing the main space of the hut, according to the last mistress of the house M.M. Petrovskaya (1905-1983), - portraits of two sons of Alexei Ivanovich: on the left - the elder Vasily (1848-1905), on the right - the younger Alexei (1859- after 1912). The first one, a young but already sedate peasant, in a dark red shirt, is depicted strictly frontally, against a conditional blue background. The younger one is a young man with a sharply turned head and an open look. He is dressed in a city suit (double-breasted frock coat, shirt with a standing collar, neckerchief). In these portraits, which have always been located side by side, two characters, and perhaps two destinies, are compared, as it were: the first embodies calmness and confidence, the second - impulsiveness, dynamism, although, of course, there is no psychological nuance in the portraits and they sin greatly against academic drawing. From census records 189For 7 years it has been known that both were engaged in painting trade and the second, Alexei, lived in St. Petersburg, where he was listed as a "state painter". Living in the capital is also due to his costume.

It should be noted here that by the features of the face, the turn of the head and the costume, the young man depicted on the wardrobe door resembles the one who is represented in the oval on the guardianship. Perhaps, in the latter case, we have a brother who lived in St. Petersburg - the pride of the family? It is possible that this is Alexei Ivanovich himself, boldly included in the composition of the English coat of arms. Finally, we can assume that we have before us not a specific, but a generalized image, symbolizing the connection of the family with St. Petersburg. Now that there is no one left alive from the older generation of the Petrovskys, we are unlikely to get an answer to this question. nine0003

Even more mysterious are the paired half-length portraits on the opechka panels: two ladies in a decollete and two young men, above - in a general's uniform, below - in a colonel's, presented as was customary in ceremonial staged portraits. The depiction of any of the Petrovskys here is out of the question. The combination of high ranks with an almost complete absence of orders and medals indicates that before us are the Grand Dukes. And this is not surprising: their lithographed and popular prints were widely distributed. They decorated huts, inns, postal stations. The presence of such portraits is an almost indispensable attribute of noble and philistine houses in cities. Their presence in the hut strengthened associations with the interior of a city house. Here, picturesque portraits and narrative compositions have replaced popular prints. nine0003

The house of hereditary painters in Churkovskoy reflected the desire to increase the representativeness of the family nest, to make it a kind of exhibition of family skills, combining the traditions of peasant and urban semi-professional art. He, being a kind of standard, helped to identify 16 houses painted by the Petrovskys, who for almost half a century were almost trendsetters in the artistic tastes of the rural population of the entire district.

Among these houses, a special place was occupied by a house, exactly dated 1886 thanks to an inscription on the balcony, with portraits on the pediment. He, now no longer existing, was perhaps the most perfect in his artistic qualities. He was in the village of Petergino, the former Pakshengsky volost, Velsky district. This house belonged to Ivan Vasilyevich Gorbunov, the owner of a soot-smoking factory, opened in 1870. In the decoration of the facade, the Petrovskys used all their own achievements: a balcony without a portico, similar to the one in their own house, left large planes for painting on the pediment; we find the triangular arrangement of windows on it in the house of G.S. Popov in the village of Priluk on the old Moscow highway, full-length portraits - in the house of N.V. Menshina in the village of Fedorovskaya (Pershinskaya), a balcony panel depicting a lion and a unicorn - in the house of O.P. Burakova in the village of Kochigino (Timanevka) on the Puya River. nine0003

Here in Petergin, the portraits stood out beautifully against the light background. On the left is Gorbunov himself, an almost bald old man with a gray beard. Leaning on a long staff, he slowly lights his pipe. In all his appearance - sedateness, consciousness of his own dignity and authority. On the right is the hostess, a young beautiful woman with a haircut in the middle. She slightly turned her head in the direction of her husband, but her wide-open eyes were fixed on the distance. With her right hand, she rests a little on the waist, as if akimbo. The heads are painted in such a way that they make one recall the psychological portraits of the Wanderers, although, of course, here there can be no question of academic training. If you look at the figures up close, from the balcony (which was not foreseen by the artist, because, as in other similar cases, there was no way out), then it is easy to see that the proportions are clearly violated in them, and the lower parts are almost not spelled out: portraits were created with the expectation of viewing them from the road that passed in front of the house. nine0003

The “picture” with portraits of the owners is surrounded by a wide “frame”: at the bottom, red-brick slats frame an inscription indicating that the house belongs, and at the top, there is a red ornamental painting of the filing of the roof overhangs. Its middle row was made up of red rhombuses with "bunches" of herbs, on the sides of them a vine with bunches of grapes winds, reminding us of the song "grapes" as a symbol of festivity and decoration.

Animals on the pediment, as is generally typical of folk art, are somewhat humanized: a bull looks at us with sad big eyes and a lion with its slanting eyes, resting its head on crossed paws, the pose echoes the ancient iconography of the awake lion. On the filing of the balcony, the unicorn is shown in profile, and the lion turned his head towards the viewer. Between the animals is a bush growing out of a flowerpot, with bunches of grapes instead of flowers. nine0003

So, portraits - a new phenomenon in house painting - turned out to be combined on the facade of the St. Petersburg house with traditional themes of the tree of life, gardens of Eden and with the image of grapes - a symbol of abundance and prosperity.

At the beginning of the 20th century, interest in house painting began to fade, and Kostroma house painters were in great competition with the Petrovskys. The last of this family who was engaged in painting was Pyotr Nikiforovich Petrovsky (1873–1945), the grandson of Alexei Ivanovich. His handwriting was closest to the spinning type of painting. nine0003

The art of the masters of the Alyoshka House was distinguished by its complex and sometimes contradictory nature. It widely used motifs of classic decor, primitive portraiture, which were widespread among the "room painters", traditional folk art and icon painting techniques. Unfortunately, the house itself, which is a kind of reference for a whole direction in the monumental painting of Povazhie, is in disrepair. It and several other houses painted by the Petrovskys are rare examples of decorative and monumental painting of the second half of the 19th–20th centuries, akin to the art of “room painters”, which completely disappeared in Russian cities. nine0003

LITERATURE

Baradulin V.A. Folk paintings of the Urals and the Urals: Peasant painted house. - L., 1988.

Baradulin V.A. Ural folk painting. - Sverdlovsk, 1982.

Berg F.N. Something about the antiquity of the type of wooden buildings and carvings in the Vazhsky region. - St. Petersburg, 1882.

Blomkvist E.E. Peasant buildings of Russians, Ukrainians and Belarusians // Proceedings of the Institute of Ethnography. N.N. Miklouho-Maclay. New series. — M., 1956. - T. XXXI.

Blomkvist E.E. Buildings of the Bukhtarma Old Believers // Bukhtarma Old Believers. - L., 1930.

Edemsky M.B. About peasant buildings in the North of Russia. - St. Petersburg, 1913.

Kaplan N.I. Essays on folk art of Altai. - M., 1961. Katkova S.S. Folk monumental paintings of the Kostroma region // The art of modern painting on wood and birch bark of the North, the Urals and Siberia. - M., 1985.

Lipinskaya V. A. House painting among the Russian population of Western Siberia // The art of modern painting on wood and birch bark in the North, the Urals and Siberia. — M., 1985.

Makovetsky I.V. Wooden architecture of the Middle Angara region (XVII-XX centuries) // Life and art of the Russian population of Eastern Siberia. - Novosibirsk, 1971. - Part 1.

Milchik M.I. Aleshkin house // Monuments of culture. New discoveries. 1989. - M., 1990.

Milchik M.I. Houses painted by the Petrovsky masters in Povazhye // Problems of research, restoration and use of the architectural heritage of the Russian North. - Petrozavodsk, 1991.

Milchik M.I. Picturesque decor of Burakova's house in the village of Dolmatovo and the question of the emergence of the Vazhsky spinning painting // Vazhsky region: source study, history, culture: Research and materials. - Velsk, 2002. nine0003

Milchik M.I. Monumental painting of Povazhie // Peasant painting of Povazhie: Catalogue. - M., 2003.

Milchik M.I. Petrovskys - masters of house painting in Povazhye // Monuments of Culture. New discoveries. 1993. - M., 1994.

Milchik M.I. Along the banks of Pinega and Mezen. - L., 1971.

Milchik M.I. Murals of peasant houses on the Vaga: traditions and innovations // Folk art. - SPb., 1995.

Milchik M.I. The evolution of peasant housing at the end of the 17th–19th centuries. as a prerequisite for the emergence of house paintings on the Vaga // Problems of research, restoration and use of the architectural heritage of the Russian North. — Petrozavodsk, 1988.

Okhrimenko G.I. Folk Paintings of Eastern Siberia // The Art of Modern Painting on Wood and Bark of the North, the Urals and Siberia. - M., 1985.

Sevan O.G. Painting of a peasant house // Decorative art of the USSR. - 1979. - No. 10.

Taranovskaya N.V. Paintings of houses of Russian peasants in the area of ​​the middle reaches of the Northern Dvina // Ethnography of the peoples of Eastern Europe.

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