The symbol of the Lomonosov porcelain factory - the famous "cobalt net" - a reminder of the blockade. Blockade pattern Pattern "Cobalt net" in contemporary art

Among the many porcelain decors and various patterns, one of the most famous and recognizable is the “cobalt mesh”. This painting, which first adorned porcelain in 1945, has already become a classic of decorative art and a hallmark of the Lomonosov Porcelain Factory (Imperial Porcelain Factory), by whose master it was created. The famous pattern was invented by the artist Anna Yatskevich. True, at first it was not cobalt, but gold. Services with such a pattern at the LFZ began to be produced immediately after the war, in 1945. And a year later, Yatskevich interpreted her pattern and created the very famous cobalt mesh from the golden mesh. With them, she first painted a tea service in the form of "Tulip" by Serafima Yakovleva. In 1958, Cobalt Mesh, a simple and elegant pattern, took the world by storm. This year the World Exhibition took place in Brussels, where the Lomonosov Porcelain Factory presented its best creations, including objects decorated with this painting. The service with the “Cobalt Net” was not specially prepared for the exhibition, it was simply part of the factory’s assortment, and the more unexpected was the award for the LFZ - the service received a gold medal for the pattern and shape.

Anna Adamovna Yatskevich (1904-1952), a graduate of the Leningrad Art and Industrial College (1930). She worked at the LFZ from 1932 to 1952. Porcelain painter. Glory to her, as the creator of the famous "Cobalt Net" came only after her death. She never found out about the triumph of her painting in Brussels.

How did the cobalt mesh pattern come about?
There is a version that the famous Yatskevich pattern was inspired by the "Own" service, which was made for the Empress Elizabeth Petrovna by Dmitry Vinogradov, the creator of porcelain in Russia, in the middle of the 18th century. Also, one of the festive services of the IPM, which supplied porcelain to the imperial court of Nicholas I, was the Cobalt Service. This service was a repetition of its more famous predecessor of the same name. It was once made at the Vienna Manufactory by special order of the Austrian Emperor Joseph II. The monarch decided to present such a gift to the Russian Emperor Pavel Petrovich and his wife, Grand Duchess Maria Feodorovna, who were visiting him.

In order to win over the heir to the Russian throne, Joseph II decided to present a luxurious porcelain service as a present. The model, according to which the Cobalt Service was created at the Vienna Manufactory, was another service - a product of the Sevres Manufactory, which in 1768 Louis XV presented to the Danish King Christian VII. The Viennese service was decorated with gold openwork painting "cailloute" (French - to pave with cobblestones) on a cobalt background, bouquets of polychrome flowers in reserves, framed by gold rocaille.
Paul I appreciated the luxurious gift of Joseph II, as evidenced by the fact that when he went to war with Sweden, he bequeathed it to his mother-in-law. However, the emperor returned from the war in good health and continued to own the Cobalt Service. In the 1840s, the Cobalt Service was located in Gatchina, in the Priory Palace, and it was then that it was replenished at the IPM.
In 1890, the Kobolt Service with the stamp of the Vienna Manufactory was sent to the Winter Palace in full. A part of the service remained in the Gatchina Palace, the one that was made at the IPM. Today, from the famous service made in Vienna, 73 items have survived to our time.
Comparing Yatskevich's "Cobalt Mesh" and the painting of the "Own" service, experts consider the similarity very distant - the artist's mesh is more intricate, made with underglaze cobalt. At the intersections of the blue lines, the grid is decorated with 22-carat gold stars, which gives the painting even more nobility and elegance. At the “Own” service, small pink flowers are written out in the knots of the golden mesh.

There is another interesting moment in the history of the creation of this decor, it is associated with a pencil, with which the artist Anna Yatskevich applied her famous pattern to porcelain. In those days, the idea arose at LFZ to use the so-called cobalt pencil. Of course, the pencil was an ordinary one, made at the Sacco and Vanzetti factory, but its core was porcelain paint. The artists of the plant did not like the pencil, only Anna Yatskevich decided to try the novelty and painted the first copy of the Cobalt Net service for them. Like it or not, this copy of the service is now on display at the Russian Museum.
The "cobalt mesh", according to experts, looked very advantageous on the "Tulip" service, it successfully played with it and gave it solemnity. Subsequently, this painting began to decorate the LFZ (IFZ) and other products: coffee and table sets, cups, vases and souvenirs. By the way, Anna Yatskevich also made another contribution to the development of the porcelain factory - she is the author of the famous LFZ logo (1936), which is depicted on all products of the enterprise.

cobalt mesh- one of the most famous and popular among the IPE collections.

What is cobalt?

They called the grid "Cobalt" because it is blue, but: - initially (since 1945) this pattern was made gold at the Lomonosov Porcelain Factory (LFZ); - cobalt metal has a silvery-white color, and it has only a bluish tint. The name of the corresponding element - cobalt - comes from the German word "kobold" (kobold), meaning gnomes. The reason is that cobalt minerals contain arsenic. Minerals are fired to smelt metal. Poisonous arsenic oxide is released as a gas, and without respiratory protection, smelters until the 18th century were poisoned when roasting ores, which were called "kobold". These poisonings were attributed to the evil mountain spirit - "Kobold".

The Swedish mineralogist Georg Brandt in 1735 isolated a metal from a "poisoned" mineral and called it cobalt. Plus, Georg Brandt found out that it is cobalt compounds that color glass blue, although the ancient Assyrians and Babylonians used this property of cobalt.

Who came up with the "cobalt mesh" pattern?

The author of the cobalt mesh is called the artist Anna Adamovna Yatskevich, who worked at the LFZ from 1932 to 1952. The "grid" was made gold for about a year, and in 1946 Anna Adamovna created a blue (cobalt) version of the pattern, and only some elements are still painted in gold - original six-ray stars and edgings.

Which service was the first to be covered with "cobalt mesh"?

Anna Yatskevich painted the first "cobalt mesh" of the blue version of the tea service in the form of "Tulip", created by Serafima Yakovleva. And in 1958, at the World Exhibition in Brussels, the leadership of the LFZ decided to present its products to the public, among which was the Cobalt Net service. For LFZ, this service was only one of the samples of the product range, but the organizers of the exhibition awarded it a gold medal “for pattern and shape”. Historians of the plant believe that the worldwide fame of the "Cobalt Mesh" has been growing since then.

By the way, the LFZ logo of the 1936 model is also the work of Anna Yatskevich, and maybe even more famous than the “grid”, because right up to the renaming it was depicted on almost all the products of Lomonosovsky, who has now become.

This painting on porcelain is not only a business card of one factory, but also a brand of St. Petersburg

Mass production of sets with the decor "cobalt mesh" at the Leningrad Porcelain Factory. Lomonosov began in 1950 - that's why in 2015 they celebrate the 65th anniversary of this special painting. But in fact, as they say at the factory, the mesh was created back in wartime. Its author is the plant's artist Anna Adamovna Yatskevich. There are many legends about what inspired her to create this pattern.

There is a version that the pattern was created in memory of the cross-glued windows of houses and the cross-light of searchlights that illuminated the sky of besieged Leningrad. There is a legend that the decor motif was inspired by cracks in the ice on the Neva and frosty patterns on the windows, which regularly appeared in the poorly heated rooms of the porcelain factory.

But, as art historians say, in fact, in wartime, the idea of ​​a cobalt mesh was inspired by Anna Yatskevich by elegant and elegant porcelain of the 18th century - the Elizabethan Own Service. At the new Neva Porcelain Manufactory, as this factory on the banks of the Neva was called when it was founded, the service was created by Dmitry Vinogradov in 1756 for Empress Elizabeth Petrovna. Its decor is a gilded mesh with purple forget-me-nots at the intersection of lines. The cobalt mesh at its intersections is with gilded bees, as these finishing touches of the pattern are called at the factory. The grid is painted by hand, the bees are applied with a stamp.

In the last century, tourists and guests of the city would certainly take the cobalt mesh home as the main souvenir from Leningrad, along with the Mishka in the North sweets. In our century, there was a period of fakes, but fake cobalt is easy to distinguish: it is usually on faience, the lines are blurred, there are no gilded bees and branded hallmarks of the plant.

Journalists from St. Petersburg, who visited the plant to celebrate the 70th anniversary of the creation and the 65th anniversary of the production of this essentially urban brand, were able to see the cobalt mesh in its development. Now there is already a purple mesh (it is called "blues"), and a cobalt cage, and cobalt stripes - a reference to the vest. As they say at the plant, at present, a somewhat modified “cobalt mesh” pattern is produced on more than 100 product items.

However, today, when the price of a tea cup with a saucer in the classical “cobalt mesh” painting reaches almost two and a half thousand rubles, porcelain from the Northern capital has ceased to be as massive and popular as in former times, when it was available in almost every Leningrad house. In 2005, from the democratic LFZ, the enterprise, now private, was renamed into IFZ - the Imperial Porcelain Factory.

According to Tatyana Tylevich, General Director of the Imperial Porcelain Factory OJSC, “the crisis could not but affect the distribution system, because the purchasing power of the population is falling significantly and, of course, our product is not essential. Of course, the cost of raw materials, materials that we have in euros and dollars have all increased quite significantly.” This also explains not the most democratic IPF prices.

Among the many porcelain decors and various patterns, one of the most famous and recognizable is the “cobalt mesh”. This painting, which first adorned porcelain in 1945, has already become a classic of decorative art and a hallmark of the Lomonosov Porcelain Factory (Imperial Porcelain Factory), by whose master it was created.

The famous pattern was invented by the artist Anna Yatskevich. True, at first it was not cobalt, but gold.

Services with such a pattern at the LFZ began to be produced immediately after the war, in 1945. And a year later, Yatskevich interpreted her pattern and created the very famous cobalt mesh from the golden mesh. With them, she first painted a tea service in the form of "Tulip" by Serafima Yakovleva. In 1958, Cobalt Mesh, a simple and elegant pattern, took the world by storm. This year the World Exhibition took place in Brussels, where the Lomonosov Porcelain Factory presented its best creations, including objects decorated with this painting. The service with the “Cobalt Net” was not specially prepared for the exhibition, it was simply part of the factory’s assortment, and the more unexpected was the award for the LFZ - the service received a gold medal for the pattern and shape.

Anna Adamovna Yatskevich (1904-1952), a graduate of the Leningrad Art and Industrial College (1930). She worked at the LFZ from 1932 to 1952. Porcelain painter. Glory to her, as the creator of the famous "Cobalt Net" came only after her death. She never found out about the triumph of her painting in Brussels. She, like many blockade survivors, died shortly after the war, never knowing that her drawing had become a symbol of Russian porcelain.

How did the cobalt mesh pattern come about?
There is a version that the famous Yatskevich pattern was inspired by the "Own" service, which was made for the Empress Elizabeth Petrovna by Dmitry Vinogradov, the creator of porcelain in Russia, in the middle of the 18th century. Also, one of the festive services of the IPM, which supplied porcelain to the imperial court of Nicholas I, was the Cobalt Service. This service was a repetition of its more famous predecessor of the same name. It was once made at the Vienna Manufactory by special order of the Austrian Emperor Joseph II. The monarch decided to present such a gift to the Russian Emperor Pavel Petrovich and his wife, Grand Duchess Maria Feodorovna, who were visiting him.

In order to win over the heir to the Russian throne, Joseph II decided to present a luxurious porcelain service as a present. The model, according to which the Cobalt Service was created at the Vienna Manufactory, was another service - a product of the Sevres Manufactory, which in 1768 Louis XV presented to the Danish King Christian VII. The Viennese service was decorated with gold openwork painting "cailloute" (French - to pave with cobblestones) on a cobalt background, bouquets of polychrome flowers in reserves, framed by gold rocaille.

Paul I appreciated the luxurious gift of Joseph II, as evidenced by the fact that when he went to war with Sweden, he bequeathed it to his mother-in-law.

However, the emperor returned from the war in good health and continued to own the Cobalt Service. In the 1840s, the Cobalt Service was located in Gatchina, in the Priory Palace, and it was then that it was replenished at the IPM.

In 1890, the Kobolt Service with the stamp of the Vienna Manufactory was sent to the Winter Palace in full. A part of the service remained in the Gatchina Palace, the one that was made at the IPM. Today, from the famous service made in Vienna, 73 items have survived to our time.
Comparing Yatskevich's "Cobalt Mesh" and the painting of the "Own" service, experts consider the similarity very distant - the artist's mesh is more intricate, made with underglaze cobalt. At the intersections of the blue lines, the grid is decorated with 22-carat gold stars, which gives the painting even more nobility and elegance. At the “Own” service, small pink flowers are written out in the knots of the golden mesh.

This pattern appeared shortly after the blockade was lifted in 1944. It was not just a geometric ornament. The artist Anna Yatskevich, the author of the famous blue LFZ logo, painted the service of the sculptor Serafima Yakovleva with a grid in memory of the cross-glued windows of houses and the cross-light of searchlights that illuminated the sky of besieged Leningrad.

There is another interesting moment in the history of the creation of this decor, it is associated with a pencil, with which the artist Anna Yatskevich applied her famous pattern to porcelain. In those days, the idea arose at LFZ to use the so-called cobalt pencil. Of course, the pencil was an ordinary one, made at the Sacco and Vanzetti factory, but its core was porcelain paint. The artists of the plant did not like the pencil, only Anna Yatskevich decided to try the novelty and painted the first copy of the Cobalt Net service for them. Like it or not, this copy of the service is now on display at the Russian Museum.

The "cobalt mesh", according to experts, looked very advantageous on the "Tulip" service, it successfully played with it and gave it solemnity. Subsequently, this painting began to decorate the LFZ (IFZ) and other products: coffee and table sets, cups, vases and souvenirs. By the way, Anna Yatskevich also made another contribution to the development of the porcelain factory - she is the author of the famous LFZ logo (1936), which is depicted on all products of the enterprise.

Other products of the plant.

Mug "Milk". Form N. Danko (1918) Painting A. Vorobyevsky. Exhibition. "In a certain kingdom...". State Hermitage

Decorative dish “Bow to I. Bilibin. Fairy tale 1 "Author - O. Belova-Weber

sculpture “Officer of the Life Guards of the Hussar Regiment at the beginning of the reign of Alexander I (1801)” from a series of equestrian figures of officers of the Life Guards of the Horse Regiment in the uniforms of the former time, 1912 Model K.K. Rausch von Traubenberg, painting by V. Petrov. Porcelain, overglaze polychrome painting, gilding, silvering.

On May 13, 2016, 64 years have passed since the death of Anna Adamovna Yatskevich (1904-1952), artist of the Lomonosov State Porcelain Factory, author of the painting of the famous Cobalt Net service.

More than six decades after her death, what do we know about her, except for a few repeated lines in various reference books about Soviet porcelain? What kind of person was she? How was the service created, which became the "calling card" of the LFZ-IFZ? Alas, not much information has been preserved, but we will try to figure it out anyway.

In the autobiography written by A. A. Yatskevich in 1946, we read: “She was born in St. Petersburg on July 31, 1904 in the family of an employee;
Russian, father and mother are also Russian
Unmarried. Non-partisan.
My father worked in the household and died in 1930, my mother has always been a housewife.
After the death of her father, Anna Adamovna was dependent on her mother and sister. They always lived in Leningrad without a break; address - embankment of the Fontanka River, house 166, apartment 1 "
In 1924, A. A. Yatskevich graduated from the 34th Soviet Unified Labor School. In 1925 she entered the State Art Industrial College, from which she graduated in 1930 with the qualification of a porcelain artist.
In addition, she completed a three-year study in the art of books and posters at the same technical school.
Since 1929 she was a member of the trade union of porcelain makers.
During the years of study at the technical school, she underwent production practices at the Krasny Porcelainist, Komintern and State Federal Reserve named after Lomonosov factories. After graduating from a technical school on July 10, 1930, she was sent for an internship at the Red Porcelain Factory in the city of Volkhov.
On January 15, 1932, she was seconded by the Rosfarfor trust to work at the Lomonosov State Federal Reserve as an artist in an art laboratory that was being organized, where she worked for 20 years - until her death on May 13, 1952.

The artist T. N. Bespalova-Mikhaleva (1912-1991), who worked at the factory in 1931-1975, wrote in her unpublished memoirs: “A. A. Yatskevich came from the Red Porcelain Factory, a master fine graphic art on porcelain. Unfortunately her creative life was not too long...
... Artists L. V. Protopopova and A. A. Yatskevich had a great friendship, although they were completely different in character. A. A. Yatskevich was more resolute, independent, more expansive. Summer holidays Yatskevich usually spent in the Caucasus in New Athos. She came black as a firebrand from sunburn and sighed for a long time about the southern sun and the beautiful river Bzyb.

In the prewar years, A. A. Yatskevich worked a lot and fruitfully - she created vases, including those with portraits of Stalin and other political figures, sets "Komsod", "Moscow Metro" and others, various cups and saucers, anniversary feet, bottles and other products.
In 1936, A. A. Yatskevich created the LFZ logo, which has since become the brand of the plant and has been applied to the bottoms of all items manufactured at the plant until 2006.

A. A. Yatskevich constantly participated in exhibitions of artists of the city and the country.
She was awarded the badge "Excellence in the socialist competition of Narkompromstroymaterialov", cash prizes from the plant management and the people's commissariat.

With the beginning of the Great Patriotic War, the plant, the museum collection and part of the employees were evacuated from Leningrad to distant Irbit. Some factory artists remained in the besieged city.
T. N. Bespalova-Mikhaleva wrote: “A. A. Yatskevich remained in the barracks at an empty porcelain factory, where the former accountant of the factory A. M. Bogdanov was the director at that time. Somehow, in the late autumn of 1941, the artist L.K. Blak and I decided to visit our factory. The wind blew through the workshops of the art laboratory, scattering the sheets of old library books thrown in disarray to the will of fate.
Anna Adamovna told us that she was camouflaging the ships nestled on the Nevsky embankment near the factory with a supply of porcelain paints. It was cold, deserted, sad…”
Personal merit of A. A. Yatskevich is the salvation of the unique library of the plant. Somehow she noticed that the soldiers of the military unit, located next to the plant, were examining among themselves various pictures clearly torn from some books. Looking closely, she was surprised to recognize in these pictures illustrations from the books of the factory library. I began to understand and found out that the collection of porcelain and glass of the factory museum, together with the equipment and workers of the factory, had been taken by rail to the city of Irbit. And for some reason, the carriage, in which there were books from the factory library, did not have time to be sent, and it remained standing, having got into a dead end of the station. It was from it that the soldiers took out the factory library books and pulled out beautiful pictures. A. A. Yatskevich decides to save the books and gradually transports the rest of the library to the factory on a sled.

In his autobiography, A. A. Yatskevich writes "mother and sister died in the difficult days of the siege of Leningrad in 1942."
July 27, 1943 A. A. Yatskevich was awarded the medal "For the Defense of Leningrad."

In the autumn of 1943, under the leadership of N. M. Suetin, the plant's art laboratory gradually began to resume its work. In the summer of 1944, it was planned to celebrate the 200th anniversary of the founding of the plant, and N. M. Suetin appealed to artists to create works for this significant event.

On June 26, 1944, by the Decree of the Presidium of the Supreme Soviet of the USSR, the Lomonosov Leningrad Porcelain Factory was awarded the Order of the Red Banner of Labor, 64 employees were awarded orders and medals of the USSR.
Anna Adamovna Yatskevich was awarded the Order of the Red Star.

In November 1944, A. A. Yatskevich completed work on the service "Cobalt Net" on the form of the sculptor S. E. Yakovleva "Tulip".
There is no reliable data on what exactly served for A. A. Yatskevich as the prototype of the created drawing. Perhaps - the painting of the "Own service", created by D. I. Vinogradov in the 1750s, perhaps the motifs of the service of the Vienna Porcelain Manufactory, stored in the funds of the factory museum. Some sources indicate that these are associations with cross-pasted blockade windows of Leningrad houses. Quite exotic assumptions are being made - A. A. Yatskevich and N. A. Konovalova, the head of the plant’s workshop, went to the Neva in winter for water and pierced ice holes with crowbars. And the sheaves of ice floes that flew out from under the crowbar and the bright sun on a frosty day formed the basis of the painting.
Now it is not possible to establish this, but the genius of the artist lies in the fact that he can summarize much of what he has seen and experienced before and then translate it into his works.

A. A. Yatskevich originally painted five items - a teapot, a sugar bowl, a creamer, a cup and a saucer - with an elegant blue and gold ornament on a white background. The rounded lobed shapes of the "Tulip" service are organically entwined with a cobalt lace pattern, complemented by gold "bugs", stylized floral ornaments and scalloped trims.
A little later, the Golden Mesh service with bouquets of flowers appeared, and in 1950 the Cell service.

Under the guidance of N. M. Suetin, A. A. Yatskevich, together with the artists A. A. Skvortsov, L. V. Protopopova and L. I. Lebedinskaya, worked in 1945-1946 on the creation of the monumental vase “Victory” for the first anniversary of the victory of the USSR in the Great Patriotic War. The creators of the majestic fundamental porcelain work, glorifying the victory of the Soviet people, were awarded the gratitude of I. V. Stalin. The vase was exhibited for a long time in the State Tretyakov Gallery, and now - in the Museum of the History of the Great Patriotic War on Poklonnaya Hill in Moscow.

A. A. Yatskevich enjoyed authority in the team. It was to her that on August 14, 1945, leaving the NKVD camp, the factory artist A. V. Vorobyevsky (1906-1992), the future People's Artist of the RSFSR, who became a classic of porcelain painting during his lifetime, wrote: “... I was especially pleased and I am extremely grateful to you for the truly human participation that you, Protopopova and many other laboratory comrades took when I was in the hospital. I will never forget such an attitude, especially after three years in captivity, where I drank the full cup of suffering - hunger, cold and exploitation.
...I am very pleased that you have made a number of successes in art. Try, try, success is achieved at the cost of great effort of creative forces and labor. Courage amazes me. with which you endured inhuman suffering, excruciating hunger and the cold of the blockade, and especially you, who have always been weak and pale. But now you are on the way to happiness, which I sincerely wish you.”

March 18, 1946 A. A. Yatskevich was awarded the medal "For Valiant Labor in the Great Patriotic War of 1941-1945."
On March 10, 1947, the director of the plant, I. M. Leibman, issues order No. 75, which states that in January it was 15 years of continuous work at the plant of the artist Yatskevich A. A.:
“Noting her fruitful and useful work as an artist, which she did not stop even during the difficult period of the siege of Leningrad, with her work displayed the heroism of our people on porcelain, I congratulate the artist Yatskevich A. A., I wish you further success in your work and order you to reward with a valuable gift.”

In 1948-1949, A. A. Yatskevich, together with other artists and painters of the plant, worked on the creation of a grandiose vase "Builders of Communism" for the 70th anniversary of Stalin.
In the postwar years, A. A. Yatskevich created various vases "Ornamental", "Lux", "Cobalt" and others, sets for mass production "Decorative", "Summer", "Moscow", "Yellow Background", "Festive" and a number of others, various cups and saucers.

Difficulties arose with the introduction into production of the original, excellent "nets" created by her. If the "Golden Mesh" service was immediately mastered and produced by the factory for many years, and not only on the "Tulip" form, then the introduction of the "Cobalt Mesh" was not an easy task.

N. Shchetinina, a researcher at the GE, writes: “The service appeared at the end of 1944. He became a kind of quintessence of previous searches and achievements, new trends in the development of porcelain art. The "Own" service of Elizabeth Petrovna of the middle of the 18th century is widely known. Perhaps it was his relief gilded mesh with purple forget-me-nots at the intersection of lines that served as the prototype for the creation of cobalt painting. ...
The author made the first test with a cobalt pencil. But the pencil did not live up to expectations, the cobalt lay unevenly, and even lines filled with color did not work out. It was decided to apply the drawing with a brush. The service, painted with cobalt, is complemented by elements made of powdered gold with zigzag, which enhances the depth of blue paint and the whiteness of porcelain, revealing the decorative qualities of the material. Since 1950, the service has been replicated at the factory. The introduction into production and mass production required technological improvements. The forms of the service are grooved, which help to draw lines accurately, which speeds up the process of painting. Gold "bugs", scalloped layers, stylized floral ornaments on spouts and handles began to be applied with glossy gold. The decoration of the service, adapted to the circulation, became more contrasting and more elegant than the author's sample.
It took five years of work of technologists and masters of the plant to solve and overcome all the technological problems and subtleties of underglaze painting with cobalt.
In 1950, a student of A. A. Yatskevich - O. S. Dolgushina, under her leadership, performed the final version of the painting of the service, which was put into production.
At the present time, it is this service that is displayed in the showcase of the Soviet hall of the State Hermitage department "Museum of the Porcelain Factory".

Actively participating in the life of the art laboratory and the plant, A. A. Yatskevich in the spring of 1944 brought her niece Muza Fedorovna Feoktistova (Izotova) to work at the plant, who began to work as a painter, and since 1947 an employee of the factory museum. Having become the team's favorite over the years, Muza Fedorovna kept the memory of Anna Adamovna all her life.
She later recalled: “We lived far from the factory, near a trading port. There was no subway then, so you had to get to the factory for an hour and a half, or even more. I remember. how in the winter, frozen, she would come home from work, and in the morning, at a little light, she would happily go to her favorite business. At this time, the plant became an outstanding laboratory of Soviet porcelain. Artists N. M. Suetin, E. A. Shtrikker, S. E. Yakovleva created new forms of tea sets Crocus, Lotus, Tulip. Anna Adamovna then painted the unique sets "Pushkin in Tsarskoye Selo", "Moscow Metro" on the form "Crocus", the service "White Sea-Baltic Canal" on the form "Lotus". She performed graphic works: stamps for factories, various organizations, as well as the LFZ brand for our factory.
In the difficult years of the blockade, Anna Adamovna, one of the creative group, remained at the plant, was in the barracks, helped N. A. Konovalova, who was the chief engineer, to solve difficult, overwhelming tasks. In 1944, Anna Adamovna took me to the plant, which began to revive. I was enrolled as an apprentice painter. There was no side work for her; everything she did was done with great enthusiasm, with a sense of duty, with a sense of responsibility of the artist to the people.
Anna Adamovna created a painting of a large vase by the sculptor E. M. Krimmer with a portrait of K. E. Voroshilov and with the painting “The First Horse”, the Cup of the Big Neva was painted, the “Decorative” service was painted on the “Lotus” form, where she showed a high class of skill gold tints and a bold combination of blue tones with red selenium. The craftsmanship of Anna Adamovna is distinguished by subtlety, jewelry, and accuracy of compositional constructions. It was brought up on the best traditions of the oldest porcelain factory in the country.”

A. A. Yatskevich herself never created a family, living after the war on Dostoevsky Street, house 16, apartment 16.
As often happens in life, the author did not live to see the well-deserved recognition of his wonderful work. In October 1951, Anna Adamovna Yatskevich went on another vacation, went to the Caucasus, then fell ill and died on May 13, 1952 at the age of 48. She was buried at the Bogoslovsky cemetery of the city.

Years passed ... In 1958, in Brussels, for the first time after the war, the World Exhibition EXPO "58 was held. The USSR took part in it, occupying a whole pavilion. One of the country's enterprises represented at the exhibition was the Leningrad Order of the Red Banner of Labor Porcelain Factory named after Lomonosov, whose products aroused great interest and were awarded high awards.
For a harmonious combination of form and painting, a simple and figurative solution, the Cobalt Mesh service was awarded the Gold Medal (author A. A. Yatskevich, posthumously).
A triumphal march across the country and the world of porcelain from the banks of the Neva with the painting "Cobalt Net" began, in which A. A. Yatskevich managed to find the exact rhythm, the extraordinary fineness of the lines and the color ratio.

In 1969, the Cobalt Mesh service was awarded the USSR Quality Mark.
To have a service from the banks of the Neva has become the cherished dream of many. Gradually, the “Cobalt net” becomes the “signature” service of the LFZ, the “calling card” of the plant and Leningrad.
The composition of the tea service was constantly replenished and grew to a multi-object ensemble.
In the 1990s, Honored Artist of the Russian Federation G. D. Shulyak, an unsurpassed master of painting with cobalt, transferred the Cobalt Net pattern to cutlery and other items. Later, the drawing began to be applied to objects made of thin-walled bone china.
At present, a somewhat modified pattern "Cobalt mesh" is produced on more than 100 items of the plant's products.
Products with a Cobalt Mesh pattern are in stable consumer demand. They can be found in many homes in Russia and abroad. They are used by housewives and deputies, scientists and cultural and scientific figures, diplomats and presidents.

In 2015, IFZ JSC celebrated the 70th anniversary of the creation and the 65th anniversary of the start of industrial production of the Cobalt Net service.
Created by the genius of the Russian artist Anna Adamovna Yatskevich in the military hero city of Leningrad, the Cobalt Net service became not only a landmark item of the first porcelain factory in Russia, but also a symbol of our city, the personification of the classic St. Petersburg style.