Jacques gabriel. Ange-Jacques Gabriel and his famous works
Jacques Ange Gabriel (1698-1782) came from a family of famous French architects. His father, Jacques Gabriel the Fifth (1667-1742), was the king's court architect. In 1741, his son took his place. Jacques Ange Gabriel was also president of the Academy of Architecture. He worked only for royal orders, so he can be considered the exponent of the official taste in French architecture of the mid-18th century. The work of Jacques Ange Gabriel does not fully belong to neoclassicism,
* Portico (from lat.- porticus) - a gallery formed by columns or pillars, as a rule, in front of the entrance to a building, with a pediment (a triangular end formed by roof slopes and a cornice) or an attic (a wall above the cornice, decorated with sculpture or inscriptions).
LITTLE TRIANON
Louis XV (1715-1774) and his favorite, the Marquis de Pompadour, were passionate about botany. The king decided to build a farm in Versailles for farming, as well as arrange Botanical Garden and greenhouses. Jacques Anjou Gabriel was entrusted with the task of erecting an elegant building here, which was called the Lesser Trianon (the word "trianon" then meant a place of solitude or quiet pastime in the circle of close friends). Work lasted from 1762 to 1764, and the interiors were not completed until 1768.
The Little Trianon is not a luxurious country palace. It is rather a mansion, taken out into nature. The cubic shape of the building with clear edges of the corners is not disturbed by the abundant decorations. All of its facades are decorated in the same style, but each in its own way. The main (entrance) and rear facades are decorated with pilasters - flat vertical protrusions of the walls in the form of tetrahedral pillars with the same details as the column: base (base), trunk and crown part (capital). The left facade is decorated with columns, while the right one has neither columns nor pilasters. All facades have only straight lines without a single bend.
A driveway leads to the main facade. The right and rear facades overlook an English landscape park - one of the few in France. Adjacent to the left façade is a French regular park (like a smaller model of the Parc de Versailles), at the end of which is the French Pavilion, also built by Gabriel.
Gabriel, Ange-Jacques (1698-1782) French classicist architect, since 1742 chief architect of Louis XV and Madame de Pompadour. Its elegant, no-frills Rococo structures are distinguished by excellent proportions, among them the Petit Trianon at Versailles (1762-1768), the Place de la Concorde ensemble in Paris (1755).
In the mid-1750s, the Rococo style was criticized for its mannerism, sensuality and complexity of the composition of pictorial and decorative elements. The impact of rationalistic educational ideas first of all affected architecture. The attention of architects was attracted by the severity and calmness of antique, mainly order Greek architecture: the simplicity of the general solution of the masses, the clarity of the main volumes and plans, the constructiveness and nobility of proportions, the abundance of vertical and horizontal divisions. The growing interest in antiquity was facilitated by the discovery in 1755 of Pompeii with the richest artistic monuments, excavations in Herculaneum, and the study of ancient architecture in southern Italy, on the basis of which new views on Greek architecture were formed. The first steps of architecture in a new direction were still uncertain. The academy tried to lead the nascent movement. Classicism became fashionable at court.
The architecture of the 1760s and 1770s was not rich in decorative elements. Columns, entablatures, pediments returned to their constructive meaning. The regular artificial park was replaced by a park, loosely laid out according to a natural landscape system, with secluded corners, groves and ponds, with small gazebos called "temples of friendship".
Creativity belongs to the transitional period in the development of classicism. Jacques-Ange Gabriel (1699-1782)- the spokesman for educational ideals. Reconsidering the traditions of 17th century architecture in accordance with the conquests of the 18th century, Gabriel strove to bring it closer to a person, to make it more intimate; he paid attention to delicately drawn delicate decorative details, using antique order and ornamentation. At the same time, Gabriel's activities were closely related to the expanding urban planning, with the solution of new tasks of the ensemble.
Jacques Ange Gabriel is an eminent master of fine French architecture. Gabriel's style is an extremely original and organic phenomenon, generated by the original development of French architecture. His work is distinguished by plasticity and exquisite subtlety of decorative details. The architect was born on October 23, 1698 in Paris. His father was the famous architect Jacques Gabriel V. Jacques the Younger worked with his father on the construction of the king's buildings in the interiors of Versailles, Fontainebleau and Tuileries.
The participation of Gabriel, his son, in his father's urban planning work prepared him for solving ensemble problems, which by the middle of the 18th century played a much more important role in architectural practice. It was at this time that the press focused attention on Paris, on the problem of turning it into a city worthy of the name of the capital. Paris had wonderful monuments of architecture, a number of squares created in the previous century, but these were separate, self-contained, isolated parts of organized development. In the middle of the 18th century, a square appeared that influenced the formation of the ensemble of the Parisian center - the present Place de la Concorde. It owes its appearance to a whole team of French architects, but its main creator was Jacques-Ange Gabriel.
In 1748, at the initiative of the capital's merchants, it was decided to erect a monument to Louis XV. The Academy has announced a competition to create an area for this monument. As a result of the first competition, none of the projects was chosen, but the place for the square was finally established. After the second competition, held in 1753 only among the members of the academy, the design and development were entrusted to Gabriel, so that he could take into account other proposals. The site chosen for the square was a vast wasteland on the banks of the Seine on the then outskirts of Paris, between the garden of the Tuileries Palace and the beginning of the road leading to Versailles.
Place de la Concorde in Paris. Architect Gabriel, Jacques Ange
Gabriel used the advantages of the open and coastal location of the square in an unusually fruitful and promising way. Its area became the axis of the further development of Paris. This became possible due to her versatile orientation. On the one hand, the square is thought of as the entrance to the Tuileries and Louvre palace complexes. It is not for nothing that three rays, provided by Gabriel, lead to it from outside the city limits - the alleys of the Champs Elysees, the mental point of intersection of which is at the entrance gate of the Tuileries Park. The equestrian monument of Louis XV is oriented in the same direction, facing the palace. At the same time, only one side of the square, parallel to the Seine, is architecturally accentuated. Here, the construction of two majestic administrative buildings is envisaged, and between them the Royal Street is projected, the axis of which is perpendicular to the axis of the Champs Elysees - Tuileries. At the end of it, the Madeleine Church began to be built very soon, closing the perspective with its portico and dome. On either side of the buildings, Gabriel designed two more streets parallel to Royal. Thus, another possible direction of movement was given, connecting the area with the nearby quarters of the growing city.
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Russian State Agrarian University - Moscow Agricultural Academy
named after K.A.Timiryazev
Department of Landscape Architecture
Abstract on the topic:
"Ange-Jacques Gabriel and his famous works "
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V.V. Makarova
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ROCOCO (trans. Half of the 18th century)
Rococo is characterized by the mannered luxury of decoration of premises and furniture, fragmentation and pretentiousness of forms, curvilinear and broken lines, fragile decorativeness, an abundance of gilding. The order was not used in the decoration of the premises.
Wall panels, plafond rosettes, frames of numerous mirrors were decorated with small ornaments resembling shells, sea waves and stones, acanthus leaf, Chinese motives were intertwined. The major, intense colors of the "Louis XIV style" are replaced by muted, pale tones of pearl gray, bluish, crab meat, pale ocher, etc.
A lot of gold and silver was used. The atmosphere of court intrigues, love affairs, ballet and masquerade festivities gave birth to the so-called gallant style. These are the times of Madame de Pampadour, the favorite of King Louis XV, who expressively said: "After us, even a flood." The prominent representatives of Rococo in painting were Francois Boucher, Antoine Watteau, J.B. Fragonard.
Rococo features can be found in paintings by Thomas Gainsborough. In music, Rococo was inherent in the work of the composers Couperin and Rameau. The style developed in the European plastic arts of the 1st floor. 18th century originated in France during the crisis of absolutism, reflecting the hedonistic moods characteristic of the aristocracy, a tendency to escape from reality into the illusory and idyllic world of theatrical play.
In architecture, he mainly influenced the nature of the decor, which acquired a mannered sophisticated, emphatically elegant and sophisticated look. In the early period of the development of French Rococo (until about 1725), fractional ornament was introduced into the decoration of the premises, whimsically curved shapes were given to furnishings (the so-called regency style). The developed rococo (about 1725-50) widely used carved and stucco patterns, curls, torn cartouches, rocailles, cupid-head masks, etc., in decoration; Reliefs and picturesque panels in exquisite frames (ten-ports, etc.), as well as numerous mirrors that enhanced the effect of light movement (the so-called Louis XV style) played an important role in the decoration of the premises. Ornament, orientation of the Rococo style limited its influence on tectonics and the external appearance of structures.
BiographyJacques-Ange Gabriel(1698-1782)
Ange-Jacques is the most captivating master of French architecture. He worked during the period of the Rococo domination. However, Gabriel's style is an extremely original and organic phenomenon, generated by the natural, "deep" development of French architecture. His work is distinguished by closeness to a person, intimacy, as well as exquisite subtlety of decorative details. The work of Jacques-Ange Gabriel does not fully belong to neoclassicism, although, of course, new trends were reflected in it.
Ange-Jacques Gabriel was born on October 23, 1698 in Paris. His father was the famous architect Jacques V Gabriel. Jacques worked with him on the construction of the king's buildings in the interiors of Versailles, Fontainebleau, Tuileries. Gabriel's participation in his father's urban planning prepared him well for solving ensemble problems, which by the middle of the 18th century had already played a more important role in architectural practice. Just at this time in the press there is increasing attention to Paris, to the problem of turning it into a city worthy of the name of the capital. Paris had wonderful monuments of architecture, a number of squares created in the previous century, but they were all separate, self-contained, isolated islands of organized development. In the middle of the 18th century, a square appeared that influenced the formation of the ensemble of the Parisian center - the present Place de la Concorde. It owes its appearance to a whole team of French architects, but its main creator was Jacques - Ange Gabriel.
In 1748, at the initiative of the capital's merchants, it was decided to erect a monument to Louis XV. The Academy has announced a competition to create an area for this monument. As a result of the first competition, none of the projects was chosen, but the place for the square was finally established. After the second competition, held in 1753 only among the members of the academy, the design and development were entrusted to Gabriel, so that he could take into account other proposals.
The site chosen for the square was a vast wasteland on the banks of the Seine on the then outskirts of Paris, between the garden of the Tuileries Palace and the beginning of the road leading to Versailles. Gabriel has exploited the benefits of this open and coastal location with exceptional fruitfulness and promise. Its area became the axis of the further development of Paris. This became possible due to her versatile orientation. On the one hand, the square is thought of as a gateway to the Tuileries and Louvre palace complexes. It is not for nothing that three rays, provided by Gabriel, lead to her from outside the city - alleys Champs Elysees, the mental point of intersection of which is at the entrance gate of the Tuileries Park. The equestrian monument of Louis XV is oriented in the same direction - facing the palace.
At the same time, only one side of the square is architecturally accentuated - parallel to the Seine. It provides for the construction of two majestic administrative buildings, and between them projected Royal Street, the axis of which is perpendicular to the axis of the Champs Elysees - Tuileries. At the end of it, very soon, the construction of the Madeleine church by the architect Contana d "Ivry begins, with its portico and dome enclosing the perspective. On the sides of his buildings, Gabriel designs two more streets parallel to the Royal. Thus, another possible direction of movement is given, connecting the square with other quarters. Gabriel decides the boundaries of the square very cleverly and in a completely new way. On both sides he projects shallow dry ditches, lined with green lawns, bordered by stone balustrades, the gaps between them giving an additional clear accent to the beams of the Champs Elysees and the axis of the Rue Royal.
In the appearance of the two buildings that close the northern side of the Concorde Square, the characteristic features of Gabriel's work are well expressed: a clear, calm harmony of the whole and details, the logic of architectural forms that is easily perceived by the eye. The lower tier of the building is heavier and more massive, which is emphasized by the large rustication of the wall; it bears two other tiers united by Corinthian columns - a motif that goes back to the classical eastern facade of the Louvre.
But Gabriel's main merit lies not so much in the masterful solution of the facades with their slender fluted columns rising above the powerful arcades of the lower floor, but in the specifically ensemble sound of these buildings. Both of these buildings are inconceivable without each other, and without the space of the square, and without a building located at a considerable distance - without the Madeleine Church. Both buildings of the Concorde Square are oriented towards it - it is no coincidence that each of them does not have an accented center and is, as it were, just one of the wings of the whole.
Thus, in these buildings, designed in 1753 and beginning to be built in 1757-1758, Gabriel outlined the principles of volumetric-spatial solutions that would develop in the period of mature classicism.
The obelisk was erected later, in 1829. It was presented to the French government by the Egyptian Viceroy Mehmet Ali. In 1840, it was solemnly installed in the center of the square, which has since acquired its final form.
The pearl of the French architecture XVIII century - Small Trianon, created by Gabriel at Versailles in 1762-1768. This small palace was once intended for the Countess of Dubarry. The Petit Trianon is an almost square building, raised onto a wide stone terrace. All four facades are different, but each represents a variation of the same theme, and this reinforces the impression of wholeness and unity that the Lesser Trianon produces. rococo architect palace
The facade facing the open space of the parterre, perceived from the farthest distance, is interpreted in the most plastic way. Four additional columns connecting both floors form a kind of slightly protruding portico. A similar motive, but in a changed form - the columns are replaced by pilasters - sounds in two adjacent sides, but each time is different, because due to the difference in levels in one case, the building has two floors, in the other - three. The fourth facade, facing the thickets of the landscape park, is quite simple - the wall is dissected only by rectangular windows of different sizes in each of the three tiers. This is how Gabrielle achieves an amazing richness and richness of impressions with meager means. Beauty is drawn from the harmony of simple, easily perceived forms, from the clarity of proportional relationships. The interior layout is also designed with great simplicity and clarity. The palace consists of a number of small rectangular rooms, the decoration of which, built on the use of straight lines, light cold colors, and the parsimony of plastic means, corresponds to the graceful restraint and noble grace of the outer appearance. The plan of the builder is crystal clear; it is based on simple and strict geometric relationships. The Trianon, with its miniature size, with huge windows that give the building an amazing lightness, is one of the graceful park pavilions characteristic of the 18th century, located at a considerable distance from the main palace, deep into the park. And at the same time, the severity of forms and laconic solutions make it a wonderful example of classical architecture. It was the miniature size of the Lesser Trianon that helped Gabriel achieve such composure and harmony. During his long life, Gabriel raised many students: Sh.A. d "Avile, J. Beren, Pierre Le Nôtre, Lassurance, J. Boffrand, Robert de Cott and others. With 1742 years the king's first architect and president of the Academy of Architecture. One of the founders classicism XVIII century... Gabriel died in Paris on January 4, 1782.
Main works:
§ Reconstruction of the palace in Choisy, 1740 --1777
§ Castle in Compiegne, 1750
§ Pavilion Butart, 1750 in the town of La Celle-Saint-Cloud ( La Celle-Saint-Cloud)
§ Rebuilding the estate Menard (Loire and Cher), 1760 --1764 , for Madame Pompadour
§ Little Trianon v Versailles, 1762 --1768
§ Military school on the Field of Mars in Paris
§ Palace Opera at Versailles, 1769
§ North wing Louvre
§ Concorde Square, 1772
§ Facades of mansions in Place de la Concorde, including the Naval Mansion, Paris, 1775
§ Exchange area in Bordeaux, 1755 : former Royal Palace overlooking Garonne.
Gabriel's work was a transitional link between the architecture of the first and second half of the 18th century. In the buildings of the 1760s-1780s of the younger generation of architects, a new stage of classicism is already being formed. It is characterized by a decisive turn towards antiquity, which has become not only the inspirer of artists, but also a treasury of the forms they use.
Little Trianon
On the right side of the Grand Canal of Versailles is the Trianon complex, consisting of the Grand and Small palaces with their own garden surroundings. The Small Palace, or the porcelain Trianon, is an extraordinary architectural structure. It was designed Ange-Jacques Gabriel by order Louis XV for his favorite and built in 1762 --1768 biennium The original pavilion, lined with faience tiles on the outside, was dedicated by the king Marquis de Pompadour.
The toy one-story building of the Petit Trianon is located in the depths of a small courtyard. The center of its façade, in the fashion of the time, was decorated with pilasters supporting the classic pediment. On the high roof, there were vases skillfully made to look like faience. The same vases adorned the courtyard benches and garden fountains.
In the pavilion itself, the main interest is the royal setting. The interiors of the "Chinese House" are simply amazing for many visitors and tourists. Its inner walls are completely covered with Delft tiles, and the floors in the halls are also lined with them. The main salon of the "House of Pleasures" is lined with white with azure patterned faience tiles. The walls of the "Hall of Cupids" are covered with white taffeta, strewn with gold and silver Chinese flowers. In "Diana's Room" there were screens decorated with images of exotic birds, vases, flower garlands and monograms of the king. The same pattern was on the silk covering the walls, on carpets and tile designs. The porcelain "Chinese House" was truly an intricate structure. It also included the "Cabinet of Fragrances", special rooms "for making jam", "for light meals" served before dessert, and "for soups." At the fairy house there was also a garden overflowing with wonderful wonders, in which rare then orange trees, wild chestnuts were cultivated, levkoi, anemones, Spanish jasmine, Istanbul daffodils were planted ... The Little Trianon became the favorite place of stay of the French queen Marie Antoinette. A detailed description of this is given in his novel "Marie Antoinette" by the Austrian writer Stefan Zweig.
Louis XVI, partly due to weakness of character, partly out of gallantry, presents her as a "Morning Gift" a small summer palace Trianon is a tiny country, a sovereign state in a huge French kingdom ... Here it is, her trinket, perhaps the most charming of those that have been created by French taste - delicate lines, perfect forms, a real jewelry box, a frame worthy of a young and a graceful queen ... In subsequent years, the queen changes very little in the decoration of the small castle. Discovering the true taste, she does not spoil these rooms, designed for an intimate mood, with anything luxurious, pompous, deliberately expensive ... They strive here not for defiant splendor, not for theatrical imposing, but for non-intrusiveness, muffledness. Not the power of the queen should be emphasized here, but the charm of a young woman, whose image is subtly reproduced by all the objects around her.
Trianon is a miniature fictional world; it is symbolic that from its windows neither Versailles, nor Paris, nor villages can be seen. In a dozen minutes you can walk around the palace, and yet this tiny space for Marie Antoinette is much more important than a whole kingdom with twenty million subjects ... Here the queen feels great and soon gets used to such a free way of life that in the evenings it becomes more and more difficult for her to return to Versailles. In the Little Trianon, Marie Antoinette wants to have an innocent landscape, a "natural" garden, and the most natural of all fashionable natural gardens ... In this "Anglo-Chinese garden" they want to represent not just nature, but all nature, in a space of a couple square kilometers- the whole world on a toy scale. Everything should be on this tiny piece of land: French, Indian, African trees, Dutch tulips, southern magnolias, a pond, a river, a mountain and a grotto, romantic ruins and rural huts, a Greek temple and an oriental landscape ... - all artificial but productive the impression of the present.
Driven by the impatience of the queen, hundreds of workers begin to conjure over the implementation of the plans of engineers and artists ... First of all, a quiet, lyrically muttering stream is being laid across the meadow. True, the water must be brought out of Marly through pipes up to a thousand feet long, and a lot of money flows through these pipes at the same time, but the winding stream bed looks so nice and natural! Quietly murmuring, the brook flows into an artificial pond with an artificial island, a lovely bridge is thrown to the island, white swans in sparkling plumage gracefully swim along the pond ...
Every year, the queen has new whims, more and more refined ... In order to host Italian and French comedians, she gives instructions to build a small theater, extremely graceful in its proportions. And then she herself makes a jump onto the stage. The cheerful, noisy company surrounding the queen is also fond of the idea of amateur performances ... Several times even the king appears to pay tribute to his wife as an actress. This is how the Trianon carnival continues all year round. Marie Antoinette retires to the Trianon not in order to become judicious, but in order to be more varied and more free to entertain herself.
To entertain herself and her guests, she commanded to break up a small village around Trianon. Of course, this royal village was a toy in which peasant girls, for example, had to rinse clothes in a stream and hum at the same time. The cows were thoroughly washed here every day and colored bows were tied to them. In addition, Marie Antoinette ordered to paint pictures for reality, so that cracks gaped on the facades of newly built peasant houses. The royal village housed a mill, a poultry house and a dairy. Now, in this place, guides usually tell visitors an entertaining story about the fact that cups are kept here, in their shape representing a cast of Marie Antoinette's breasts. From these bowls, the queen in her "dairy" loved to treat guests with milk from her cows. The guides also tell that the private royal chambers (for example, the bed of Marie Antoinette) subsequently often served as a place of scandalous adventures of influential persons who came here to spend the night comfortably. During the revolution, the Parisians beheaded the queen, whom they hated: for the people, she was an Austrian, a whore and a squander of the national property. They say that, ascending the scaffold, the queen accidentally stepped on the executioner's foot, but said politely: "Sorry, monsieur, I did it by accident." The palaces and parks of Versailles could tell about many adventures, and not only about those that took place several centuries ago. For example, in 1901, not far from the Lesser Trianon, a "performance from the past", so to speak, took place. People have been thinking about the existence of physical movement of persons in time for a long time, because there have always been phenomena that are ready to swear that for a moment they were clearly transferred to another era.
CastlePortici - Naples
Royal Palace of Portici- summer residence of the king of Naples Charles III built by him in the vicinity Naples and subsequently abandoned in favor of a more grandiose Caserta residence.
While visiting a villa built in Portici French duke d "Elboeuf, the young king and his wife were captivated by the views of Bay of naples and on Vesuvius... In 1738 the architect Antonio Canevari called for the sake of this order from Lisbon, was commissioned to begin construction of a country palace in Portici in the style of baroque.
A menagerie with strange animals and a museum were set up at the palace, where finds made during excavations were exhibited. Herculaneum... The first owner of the residence, Maria Amalia of Saxony, decorated interiors porcelain trinkets from the manufacture she founded in Capodimonte. Decoration in style rococo developed Giuseppe Bonito.
The construction started by the monarch in Portici has inflated real estate prices along " golden mile"(A stretch of coastline from Naples to Torre del Greco). Neapolitan aristocrats rushed to build villas overlooking Mount Vesuvius (so-called. Vesuvian villas), from where it was a stone's throw to the royal court in Portici. However, the king soon lost interest in Portici and turned his attention to the construction of a new palace in Caserta.
When approaching Naples Napoleonic troops the statue " Resting Hermes”And other Portichian antiquities were taken to Sicily. Having acquired the royal title, he settled in Portici Murat, who furnished the palace with French furniture in the style of empire... Subsequent Neapolitan monarchs spent little time in Portici. Currently, the palace is occupied by one of the faculties University of Naples.
Conclusion
The architecture of the XVIII century in France is traditionally divided into two periods, which correspond to two architectural style: in the first half of the 18th century. the dominant position is occupied by rococo, in the second - neoclassicism. These styles are in every way opposed to each other, so the transition from Rococo to neoclassicism is often called "rebellion".
The Rococo style departed from the strict rules of 17th century classicism; his masters were more attracted by sensual, free forms. Even stronger than Baroque architecture, Rococo architecture sought to make the outlines of structures more dynamic and their decoration more decorative, but it rejected the solemnity of the Baroque and its close relationship with the Catholic Church.
The very word "neoclassicism" in the XVIII century. did not exist yet. Critics and artists used different definitions - "true style" or "art revival". Interest in antiquity in the 18th century acquired a scientific character: archaeologists began methodical excavations of ancient monuments, architects began to make accurate measurements and drawings of the surviving fragments and ruins. For the neoclassicists, architecture was a way of rebuilding the world. Although neoclassicism prevailed in the second half of the 18th century, Ange-Jacques Gabriel was ahead of his time in his work and foresaw future trends.
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Works at the royal residences of Fontainebleau and Chantilly. In Fontainebleau - Gabriel's Pavilion 1749-1751. In Chantilly - Manege (1719-1740, Jacques D ”Aubert) and stables.
Country palaces are becoming more and more like hotels (Compiegne, Montmorency). Striving for comfort - corridor system, sanitary devices are carried out into turrets outside the walls of the building. Hotel Malgrange in Nancy (Germaine Boffran) - Rococo forms are carried out from the interior to the outer facade of the building, this is rare.
Germaine Boffran is a student of Mansart. Sculptor, architect and painter. Buildings in Paris: Arsenal, Opera, City Hall, Palace of Justice, hotels - Amelo, Brizac, Colbert, Demar, Dura, Montmorency, Soubise, Vilar and others. Castles - Saint-Cloud, Boutefort.
ROCOCO. The art of the highest circles of the French aristocracy. For him in France is characterized by the stability of the techniques of classicism in the facades with a complete departure from them in the interiors. Inside - painting, carved wood, stucco molding. The theme of the paintings is fantastic scenes, Chinese motives. "Lambri" - painting in the frieze part of the walls. Heavily scaled down fireplaces become large mirror stands.
The first direction of Rococo in architecture is the Mansara School. Sophisticated and sophisticated interiors while observing classicism on the facades. Links with 17th century architecture.
The second is the rococo on the facade. He was represented by Oppenor, Meyssonnier and Pinault, who came from Flanders and studied in Italy and gravitated towards the splendor of the Baroque. An example is the Gollion Oppenor hotel. Nevertheless, their ideas became more widespread in interiors.
Hotels: everything for comfort. Ceilings are lowered, windows are increased to illuminate Bathrooms and toilets are room-sized. Houses with a facade facing the street are beginning to appear; oval and semi-oval rooms and lobbies are disappearing. Hotel Amelo Boffrana.
Mansart's students - Robert de Cott, Pierre Queneto.
The Hôtel de Soubise is a classic example of French Rococo (1705 Delamere, Boffran décor), a diagram of a hotel between the courtyard and the garden.
Demar Hotel - all services are located along the street.
The Bourbon Hotel (Guarini, 1722-1729) is similar in plan to the Maison castle, but is kept in classicism and much more austere.
Military School in Paris 1750-1771. Gabriel. Facade overlooking the Champ de Mars. In the center of it is a portico of the Corinthian order with a pediment carrying a sculpture. Above it is a four-ribbed high dome, reminiscent of the Louvre pavilion of clocks. The military school was established in the 18th century. so that the poor nobles could receive a military education. In 1777, this educational institution became the Higher Cadet School, where the future Napoleon Bonaparte entered in 1784. The building of the Military School was designed by the architect Jacques Ange Gabriel; the complex occupies an entire block. Between the Military School and the Seine there is the Champ de Mars, which is also the merit of Gabriel, who transformed this urban outskirts into a field for maneuvers and parades of the students of the Military School. It is quite understandable that the square got its name in honor of the god of war Mars. Now the Military Academy is located in the building of the Military School.
The type of theater is being formed: architect. Shimon brought theatrical plans from Italy in 1756. Gabriel builds a theater at Versailles. And together with Soufflot, he was instructed to adapt the engine room of the Tuileries Theater for the auditorium.
The 1731-1735 competition for the restoration of the Church of Saint-Sulpice was won by the architect Servandoni for the design of the church with two towers in the façade and a two-tiered portico.
Gabrielle Jacques Ange (1698-1782)
The largest French architect of the 18th century. One of the founders of neoclassicism. He studied with his father, architect Jacques Gabriel, and from 1718 - at the Academy of Architecture in Paris. In 1728 he became the caretaker of the royal buildings, and in 1742 - “the first architect of the king” and president of the Academy of Architecture. For thirty years he was mainly engaged in the construction and decoration of the interiors of the royal palaces. In his works (reconstruction of the interiors of the palace in Versailles and the reconstruction of its northern wing, 1735-74; Military School in Paris; French Pavilion and Royal Opera at Versailles) Gabriel contrasted the emphasized representativeness of the architecture of the 17th century. and capricious whimsical Rococo decor rationality of planning, logical clarity, noble simplicity and clarity of forms, grace of restrained decoration. Harmonious, refined in proportions, the Petit Trianon, built by Gabriel in the park of Versailles, has rightfully become one of the most remarkable works of European architecture. Gabriel's most significant work is the Place Louis XV (now Place de la Concorde) in Paris.
He worked only for royal orders, so he can be considered the exponent of the official taste in French architecture of the mid-18th century. The work of Jacques Anges Gabriel does not fully belong to neoclassicism, although, of course, new trends were reflected in it.
The military school was established in the 18th century. so that the poor nobles could receive a military education. In 1777, this educational institution became the Higher Cadet School, where the future Napoleon Bonaparte entered in 1784. The building of the Military School was designed by the architect Jacques Ange Gabriel; the complex occupies an entire block. Between the Military School and the Seine is the Champ de Mars, which is also the merit of Gabriel, who transformed this urban outskirts into a field for maneuvers and parades of the students of the Military School. It is quite understandable that the square got its name in honor of the god of war Mars. Now the Military Academy is located in the building of the Military School.
The most significant work of Jacques Anges Gabriel in Paris was the Place Louis XV (now Place de la Concorde). The king decided to arrange this square at the end of the Tuileries park, where there was then a huge wasteland. In 1753, after a competition in which many architects participated, the final choice fell on Gabriel's project. The square was built up to 1775.
Unlike the closed Parisian squares of the 17th century, surrounded by buildings, the Louis XV square is open to the city. From the west and east, it is adjoined by the alleys of the Champs Elysees and Tuileries Park, and from the south - the Seine embankment. Only from the north side are the buildings of the palaces overlooking the square. In the center was an equestrian statue of Louis XV by the sculptor Edme Bouchardon. During the Great French Revolution (1789-1799), the statue of the king was demolished. In 1793, a guillotine was installed in the center of the square: executions took place here. In 1836, the place of the guillotine was taken by the Egyptian obelisk, which has survived to this day. This obelisk, twenty-three meters high, which stood earlier in the temple of Pharaoh Ramses II in Thebes, was presented to France by the Egyptian Pasha Mehmet Ali. Later, the Madeleine Church (1806-1842) was erected at the end of Rue Royal, laid between the buildings of the palaces. Although it does not belong to the ensemble of the square, it is included in it in the same way as the building of the Bourbon Palace (1722-1727, portico - 1804-1807; now the Chamber of Deputies), located on the other bank of the Seine opposite the Madeleine church. The axis between these buildings, perpendicular to the axis of the square itself, completes one of the most beautiful urban ensembles in Europe.
In the works of Jacques Anges Gabriel, one can feel the beginning of a new era in the history of architecture. His work influenced the entire subsequent development of French neoclassicism.
Royal Opera at Versailles Gabriel 1769-1770. The largest French theater of the time (712 seats), the Royal Opera was erected by Gabriel on the basis of an old building from the 17th century. On May 16, 1770, the Opera opened with a festive performance in honor of the wedding of the future King Louis XVI and the Austrian princess Marie Antoinette. During the French Revolution, the Opera was closed. During the reign of Louis-Philippe, the interior decoration of the building was renewed. At the end of the XIX century. the building was the seat of the National Assembly. In 1952-57. The Royal Opera has been renovated and reopened for performances on special occasions.
Gabrielle Ange Jacques
Gabriel, Ange-Jacque (Gabriel, Ange-Jacque) (1698-1782), French architect, one of the founders of classicism of the 18th century.
Born in Paris on October 23, 1698, he studied with his father, architect Jacques Gabriel, and from 1718 - at the Academy of Architecture in Paris.
In 1728 he became the caretaker of the royal buildings, and in 1742 - “the first architect of the king” and president of the Academy of Architecture. For thirty years he was mainly engaged in the construction and decoration of the interiors of the royal palaces. Among his most significant works: Opera theatre at Versailles (1748–1770), reconstruction of the interiors and reconstruction of the northern wing of the Palace of Versailles (1734–1774), Lesser Trianon (1762–1764).
Gabriel was the author of the project for the Place Louis XV (now the Place de la Concorde) in Paris (1754) and began to build the Military School, completed by other masters. He completed several projects to decorate the Louvre apartments, but, unfortunately, little of the plans were implemented. The wide scope of ideas, the harmony and grace of the proportions of the buildings built and the decorated interiors give reason to call him the greatest architect of France in the 18th century. Gabriel died in Paris on January 4, 1782.
The Petit Trianon is distinguished by a clear division of the façade, which is built on the basis of a grid of squares. the square of accord is distinguished by new methods of dividing space: located between the Champs Elysees, the Seine Embankment and the Champ de Mars (?), it possesses "isolation", which is achieved with the help of the device of "dry ditches". Compositionally, the square is closed by the buildings of the Military School (Ecole Maritim) and the Royal Furniture Store. Has not survived.
Bibliography
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