Yekaterina Nikolayevna Dospalova (1932–2001) — artist.
Yekaterina Dospalova belonged to that constellation of remarkable Russian women of whom one might say, in Nekrasov's words: "She will stop a galloping horse, she will walk into a burning izba (traditional wooden house)…" Yet alongside her resolute and strong-willed character she possessed warmth, gentleness, and tact — qualities that found their way into her inspired, graceful, and supple art.
Yekaterina Nikolayevna was born in Kirov Region, but came to Town of Semyonov as a child when her father was transferred there as stationmaster. It was in the little shops near the station that she first encountered Khokhloma wares — objects she could not take her eyes off. Enchanted by Khokhloma, Dospalova enrolled in a vocational school, where she mastered all the techniques and secrets of decorative painting under the demanding guidance of her mentor Anton Yermilovich Muravyov, whom she remembered with gratitude for the rest of her life. Already an established artist, Yekaterina Nikolayevna undertook sweeping changes, speaking out against stencil-based painting, which was wearing itself out through its lack of expressiveness, monotony, and oversimplification. She favored bold, freehand drawing and, in place of conventional designs, intricate compositions that demanded exceptional virtuosity and care. At thirty-three, Dospalova became chief artist at the Khokhloma Painting factory. The principle by which the new chief artist worked was quickly understood by everyone: talent combined with exacting standards. This marked the beginning of a determined overhaul of the product range. Returning to the traditions of the ancient craft — in which objects united practical purpose with the natural refinement and beauty so prized by the old masters — Yekaterina Nikolayevna and her like-minded colleagues began developing multi-piece sets that joined aesthetics to everyday life. An experimental studio was established at the factory, led by a gifted artist and Dospalova's close friend, Nina Petrovna Salnikova. A memorable moment for the Semyonov craftswomen came with an exhibition opened in 1965 at the Stroganov Church in the regional center. For the first time, new product designs were displayed there: sets for fish soup, kvass, salad, and tea. The exhibition was an extraordinary success, and orders soon poured into the factory. Khokhloma painters from Town of Semyonov began to be invited to exhibitions abroad. Yekaterina Nikolayevna traveled to the United States, Korea, Yugoslavia, Argentina, Mexico, and Canada. At the world's fair Expo 67 in Montreal, she painted wooden tableware right in the pavilion, in full view of visitors. Throughout the day, dense crowds of admiring onlookers gathered around her. It was an era when Khokhloma was conquering the world. In her travels to various countries, Dospalova took a keen interest in the art of other peoples and drew her own conclusions, which she later set down in her memoirs. She noted, in particular: "Perhaps one cannot single out the folk art of any one country, but it seems to me that it develops most interestingly where ancient traditions are preserved. I found the silver work of Mexico and the embroidery and lacquerware of Japan especially interesting." The acclaimed master did her best to absorb and reflect on everything of value, concluding that the combination of tradition and modernity is essential to the development of any craft. Yekaterina Nikolayevna's creative work and achievements were recognized with the State Prize named after I. E. Repin, and she was awarded the high title of People's Artist of Russia. Her contribution is undeniably great to the fact that Khokhloma painting became more refined and virtuosic, that the so-called "grass script" grew considerably more complex — a style to which Dospalova herself gave dynamism and musical proportion. The festive palette of the painting on contemporary pieces creates an impression of celebration and splendor. It was not for nothing that people said the Semyonov Firebird had "flown around" the entire world. Semyonov remembers Yekaterina Nikolayevna's guiding principle: the vitality of Khokhloma art, which has elevated the glory of Russian culture, lies in unceasing renewal.