Russian architects from the 18th to the 19th century. 18th century architecture in Russia
18th century Moscow architecture
Alekseev F. Ya. Cathedral Square in the Moscow Kremlin 1811 - Moscow architecture of the 18th centuryAlready in the 18th century, in Moscow architecture one could see buildings in which the features of both Russian and Western culture were simultaneously combined, in one place the Middle Ages and the New Age were imprinted. By the beginning of the 18th century, at the intersection of Zemlyanoy Val and Sretenka Street, a building appeared near the gates of the Streletskaya Sloboda, the architect Mikhail Ivanovich Choglokov contributed to this. Once there was a regiment of Sukharev, therefore the tower was named in memory of the colonel, that is Sukhareva.
Sukharevskaya tower, designed by M.I.Choglokov (built in 1692-1695 on the site of the old wooden Sretensky gates of the Earthen City (at the intersection of the Garden Ring and Sretenka Street). In 1698-1701, the gates were rebuilt in the form in which they reached the beginning of the 20th century, with a high, hipped-roofed tower in the center, reminiscent of the Western European town hall.
The tower changed its appearance enormously in 1701, after rebuilding. It has more details reminiscent of medieval Western European cathedrals, namely clocks and turrets. Here Peter I set up a school of mathematical and navigational sciences, and an observatory appeared here. But in 1934 the Sukharev tower was destroyed so as not to interfere with traffic.
In the same period in the capital and the region (the estate of Dubrovitsy and Ubor), temples in the Western European style were actively built. In 1704 Menshikov A.D. gave an order to the architect I.P. Zarudny for the construction of the Church of the Archangel Gabriel near the Myasnitsky Gate, in another way it was called the Menshikov Tower. Its distinctive feature is a high, wide bell tower in the Baroque style.
Dmitry Vasilievich Ukhtomsky made his contribution to the development of the architecture of the capital, he created great creations: the bell tower of the Trinity-Sergius Monastery and the Red Gate in Moscow. Earlier, there was already a bell tower here, but Ukhtomsky added two new tiers to it, now there are five of them and the height has reached 80 meters. Bells could not be placed on the upper tiers due to the fragility of the structure, but they gave grace and solemnity to the building, which was now noticeable from different parts of the city.
Red gate, unfortunately, now you can see only in pictures of textbooks, they have not survived to this day, but they are deservedly the best architectural structures of the Russian Baroque. The way they were built and modified is directly related to the history of the life of Moscow in the 18th century. and is indicative of that era. When the Russians won the Battle of Poltava against the Swedish army in 1709, a triumphal wooden gate appeared on Myasnitskaya Street. In the same place, on the occasion of the coronation of Elizabeth Petrovna in 1742, a second gate was built, funds for this were allocated by the local merchants. They stood for a while before they burned down, but Elizabeth immediately ordered to restore them in stone form, this work was entrusted to Ukhtomsky, which was mentioned earlier.
The gate was made according to the type of the ancient Roman triumphal arch, the inhabitants of the capital loved them very much, therefore they called them Red, from the word "beautiful". Initially, the building ended with a graceful tent, on which the figure of Trumpeting Glory with a palm branch flaunted. A portrait of Elizabeth was placed above the aisle, which was eventually decorated with a medallion with a coat of arms and monograms. On the sides, above the additional aisles, there are reliefs in honor of the Empress again, and above them there are also statues as symbols of Vigilance, Grace, Constancy, Loyalty, Trade, Economy, Abundance and Courage. About 50 different images were applied to the gate. When the Square was reconstructed in 1928, this great structure was also mercilessly dismantled, now there is an ordinary gray metro pavilion, associated with a completely different time.
Now they stopped talking about the Peter's era, when the architects finally completed the construction of St. Petersburg, which became the capital. Moving towards the end of the 18th century, all construction again returned to Moscow. Secular houses and palaces, churches, educational and medical institutions were actively erected. The best architects of the times of Catherine II and Paul I were Kazakov and Bazhenov.
Vasily Bazhenov studied at the gymnasium at Moscow University, and then at the new St. Petersburg Academy of Arts. When he finished his studies, he went to inspect Italy and France, and then returned to St. Petersburg, where he was awarded the title of academician. Although Bazhenov's career in St. Petersburg was very successful, he still went to Moscow to bring to life Catherine II's project - the Grand Kremlin Palace. Patriarchal Moscow could not accept such a project, it stood out too much from the general picture of that time.
Alekseev F. Ya. View of the Moscow Kremlin from the side of the Stone Bridge 1811
It was planned to demolish the southern walls of the Kremlin, outdated structures in half, and around what remained - the oldest cultural monuments, churches and bell towers, to erect a new pompous building of the palace in the style of classicism. Bazhenov wanted to build not only one palace, but also a theater, an arsenal, colleges, an area for the people nearby. The Kremlin was to become not a medieval fortress, but a large public place for the city and its inhabitants. The architect presented, first of all, drawings of the future palace, and then its wooden model. This model was sent to Catherine II in St. Petersburg to be approved, and then left in the Winter Palace. The project was approved, even the first stone was laid solemnly with the participation of the Empress, but it was never completed.
In 1775, Catherine II gave a new order to Bazhenov, to build a personal residence near Moscow in the Tsaritsyno estate, which at that time was called Black Mud. The Empress wanted the building to be built in a pseudo-Gothic style. Since 1775, the famous Grand Palace, the Bread House, the Opera House, stone bridges and much more were built that can be seen today.
Alekseev F. Ya. Panoramic view of Tsaritsyno 1800
The Tsaritsyno ensemble was very different from the estates of that time, they had a large number of elements of Gothic architecture, for example, pointed arches, window openings of complex shapes, etc. Bazhenov said that Old Russian architecture is a subspecies of Gothic, therefore, there were also elements of the Russian Middle Ages, such as the forked battlements at the top, similar to the end of the Kremlin walls. A characteristic feature of Russian architecture was the combination of white stone details and red brick walls. Inside, everything was specially complicated in the medieval style. The palace looked very rough and gloomy, and when the empress came to look at it, she said with horror that the palace looked more like a prison, and she never returned there. She ordered that the palace be demolished, and with it some other buildings. The task was transferred to another architect, M.F. Kazakov, who preserved the classicist correct form of the building and made the Gothic decoration.
pashkov's house, architect Bazhenov
Many other buildings were also ordered from Bazhenov. For example, his work was the house of P.E. Pashkov, which faces the Kremlin, it is distinguished by a classic style, a light facade, brick walls, which further emphasize the power and majesty of the building. The house is located on a hill, in the middle there is a 3-storey house with a neat portico, statues rise on the sides, and a round sculptural composition of the belvedere is located at the top. The galleries are made on one floor, which continue with two-storey wings with porticoes. From the hill you can go down the stairs, at first it led to a garden with beautiful fences and lanterns, and by the 20th century the street was widened and there were no trellises or a garden left. MF Kazakov could not have created to such an extent without the influence of Bazhenov and Ukhtomsky. Catherine II liked Kazakov's work, and she entrusted him with more than one order, this included houses for housing, palaces for the royal family, churches in the style of classicism.
Petrovsky path (entrance) palace on Tverskoy tract, architect Kazakov
On the way from St. Petersburg to Moscow, one could stop at the Petrovsky entrance palace, in another way it was called the Petrovsky castle, Kazakov also worked on it and used the pseudo-Gothic style. But all the same, it was not without classicism, the correct symmetrical shapes of the rooms and all the interior design speak about it. Only by the elements of the facade one could recognize the echoes of the Old Russian culture.
The next building, the construction of which began in 1776, and was completed already in 1787, was again made with the help of Kazakov, it was the Senate in the Moscow Kremlin. The building is fully consistent with the traditions of classicism, but it also reflects the features of Bazhenov's Kremlin restructuring project. The main part of the building is triangular; in the middle there is a large round hall with a large dome, which cannot be overlooked while on Red Square. Bazhenov and his colleagues very much doubted the strength of the dome, and in order to refute this, Kazakov himself climbed onto it and stood motionless for half an hour. On the front side of the building, there is a colonnade that emphasizes the smooth curves of the walls.
An equally significant event was the organization of the graceful Column Hall in the House of the Noble Assembly in Moscow; Kazakov was engaged in its design at the end of the 18th century. The area of \u200b\u200bthe building is of a regular rectangular shape, columns are placed around the perimeter, which do not stand directly under the walls, but at some distance. Crystal chandeliers hang along the entire perimeter, the upper mezzanine is surrounded by a fence made of figured posts connected by a railing. The proportions are strictly observed, which does not allow you to take your eyes off.
Alekseev F. Ya. Strastnaya Square (Triumphal Gates, the Church of St. Dmitry Thessaloniki and the house of Kozitskaya), painting in 1800
A university was built in the center of the capital by Kazakov, right on Mokhovaya Street, this happened in 1789-1793. A couple of decades later, the building burned down, but it was partially restored by the architect Domenico Gilardi, he did not make his cardinal changes, but left the Cossack principle in the form of the letter "P" and the general plan of the composition.
Moscow University, 1798, architect Matvey Kazakov
Kazakov was very surprised by the fire that had happened, and the news came to Ryazan. He could not bear such a blow and soon died, he was told that the fire had consumed all of his buildings. But in fact, many buildings have survived to this day, according to which one can immediately trace the general from the architecture of the 18th century - "Kazakov's Moscow".
In the middle of the XVIII century. in the northern part of the territory of the modern Neskuchny Garden, a manor was built, ordered by P. A. Demidov, the son of a Ural breeder and a famous amateur gardener.
In 1756. the main house was built - U-shaped chambers in the plan - the Alexandria Palace. A balcony on columns was placed between the risalits of the garden facade. The yard in front of the house was surrounded by stone services and a cast-iron fence, cast at Demidov's factories.
Alekseev F. Ya. Military hospital in Lefortovo 1800
Alekseev F. Ya. View of the church "Nikola Big Cross" on Ilyinka 1800
Alekseev F. Ya. View of the Church behind the Gold Lattice and the Terem Palace 1811
Alekseev F. Ya. View in the Kremlin of the Senate, Arsenal and Nikolskie gates, painting 1800 g.
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Description of the presentation Culture of Russia of the 18th century Architecture B by slides
Architecture The best national traditions of Russian architecture, enriched with world heritage, were embodied in the works of the largest Russian architects of the 18th century. The Mongol-Tatar system of city construction (radial rings with an area in the center) was replaced by the European one - to build cities according to plan. The Byzantine style is replaced by a lighter one, the Italian - Baroque.
Francesco Rastrelli (1700 - 1771) Born in Italy, but in 1716 came to Russia with his father. He is the author of the largest palace ensembles: Winter Palace Grand Palace in Peterhof Grand Catherine Palace Stroganov Palace Smolny Palace St. Andrew's Church in Kiev
Winter Palace The Grand Palace in Peterhof Richly decorated ceremonial rooms, plastered like marble, with painted ceilings, inlaid parquet and gilded walls. The sculptures and vases installed above the cornice along the entire perimeter of the building give elegance and splendor to the silhouette of the building.
The Catherine Palace is one of the most famous buildings of the architect. The architect masterfully uses his favorite artistic means: the spatial scope of the composition, plastic, the relief of architectural forms, the expressive rhythm of the colonnades, the active inclusion of sculpture in the decor. The color scheme characteristic of Rastrelli is also fully used: the contrast of white columns, azure-blue field of walls and gold of the architectural decor.
Classicism in architecture In the 60s, the decorative baroque was replaced by classicism. Features: symmetry of compositions harmony of proportions geometrically correct plans restraint severity
V. I. Bazhenov (1737 - 1790) The son of a sexton of one of the Kremlin's court churches. He studied at the school of D. V. Ukhtomsky and in the gymnasium of Moscow University, worked in St. Petersburg. From the Academy of Arts he was sent to study in France and Italy.
Vladimirskaya Church in Bykovo Pashkov House Two main facades - one looks at the roadway and has a solemn character, the other is oriented towards the courtyard and has a more comfortable look. A whimsical combination of baroque and gothic forms.
M.F. Kazakov (1738 - 1812) In Moscow, he developed types of urban residential buildings and public buildings that organize large urban spaces: the Senate in the Kremlin (1776 - 87), the university (1786 - 93), the Golitsyn hospital (1796 - 1801), homesteads of Demidov (1779 -91), Gubin (1790s). Applied a large order in interior design (Column Hall of the House of Unions). Supervised the drawing up of the general plan of Moscow, organized an architectural school.
The Senate Palace was Kazakov's largest embodied project. According to the architect's idea, the building was supposed to symbolize civil ideals, legality and justice, and the architects found the embodiment of these ideals in the classical forms of antiquity. This explains the austere and restrained laconicism of the building, crowned with a dome, the classical form of which Kazakov wanted to enhance the architectural expressiveness of Red Square as the main square of the capital's capital.
Architectural style-Classicism Architect-Vincenzo Brenna Founder-Paul I Date of foundation - February 26 (March 9) 1797 Construction 1797-1801
Sculpture In the second half of the 18th century. the foundations of Russian sculpture were laid. It developed slowly, but Russian educational thought and Russian classicism were the greatest stimuli for the development of great civic ideas.
FI Shubin (1740 - 1805) He worked in an era when the idea of \u200b\u200bthe value of the human spiritual world penetrates into the art of sculptural portraiture. He worked mainly with marble, very rarely turned to bronze. His works belong to the genre of classicism. Most of his sculptural portraits are in the form of busts.
I. P. Martos (1754 - 1835) I. Martos was an artist of a wide range, but he was especially famous as the author of magnificent monuments and classical tombstones.
Monument to Minin and Pozharsky. Dedicated to Kuzma Minin and Dmitry Mikhailovich Pozharsky, leaders of the second people's militia during the Polish intervention in the Time of Troubles, and the victory over Poland in 1612. The monument was built in 1818.
By advice. Didero-Empress. Catherine. II entrusted the Falcon sculptor with the creation of a monument. Peter. I. A sketch of the wax was done. Paris, after the arrival of the master in Russia in 1766 began to work on a plaster model of the size of the statue. Embossed on the pedestal with the laconic inscription “Petroprimo. Catharina secunda "(" Peter. First. Catherine. Second ") was made according to the proposal. Falcon without a minor revision itself. Catherine, originally the inscription looked like “Peter. First from. Catherine II ". The finishing of the bronze after casting (which was done by the cannon-maker Emelyan Khailov) in 1775 was not performed by Falcon. Leaving. Russia in 1778 before the installation of the monument (the inauguration of the monument was on the occasion of the twentieth anniversary of the reign of Catherine. II on August 7, 1782), Falcone Holland and returned in 1781. France. The last 10 years of his life, overwhelmed by paralysis, he is unable to work and create. Etienne Falcone
Painting The 18th century turned out to be unusually rich in talented artists. The paintings were distinguished by a variety of genres: from traditional portraits and historical painting to theatrical scenery, landscapes, still lifes, scenes from folk life.
Portraiture The main place in the painting of the 18th century is the portrait. Portrait (fr. Portrait, from Old French portraire - "to reproduce something devil in devil") - an image or description of a person or a group of people existing or existed in reality.
IP Argunov (1729 - 1802) IP Argunov does not idealize the appearance of the model; he boldly conveys both squinting eyes and a certain puffiness of the face. At the same time, attention is drawn to the artist's mastery of the brush in the transfer of texture, the sophistication of shadows.
Of the late works of IP Argunov, the most famous is "Portrait of an Unknown Peasant Woman in Russian Dress". Now it is believed that the nurse was depicted, which is confirmed by the model's costume. The artist has embodied his idea of \u200b\u200bfemale beauty on canvas.
D. G Levitsky (1735 - 1822) Levitsky's works are characterized by a bright individuality of images. He is able to find an expressive posture and gesture, to combine the intensity of color with tonal unity and richness of shades.
In 1773, one of the most interesting works of D. Levitsky was created - a portrait of the philosopher Denis Diderot, a French philosopher-encyclopedist, a writer. The energy, creative concern and spiritual nobility of which was so vividly and directly conveyed by the Russian artist.
A.P. Antropov (1716 - 1795) A.P. Antropov avoided depicting superficial grace in portraits. His images are concrete, realistic and, at the same time, psychological.
Coronation portrait of Peter III (1762). The emperor is depicted as if "running in" into lush chambers: uncertainty, mental disharmony against the background of a luxurious interior - this is what A.P. Antropov foresightedly saw.
Rokotov. Fedor. Stepanovich The largest Moscow portrait painter who worked during the Russian Enlightenment. Perhaps the first "free artist" in Russia who did not depend on state and church orders.
Historical painting A genre of painting that originates in the Renaissance and includes works not only on plots of real events, but also mythological, biblical and evangelical paintings. It depicts events of the past that are important for a particular people or for all mankind.
AP Losenko (1737 -1773) The founder of Russian historical painting. From 1753 he studied painting with IP Argunov, from 1759 at the St. Petersburg Academy of Arts. He continued his studies in Paris and the French Academy in Rome.
Vladimir before Rogneda, 1770 Wonderful catch,
Literature Classicism became the main trend in the literature of the 18th century. Russian classicism attached particular importance to "high" genres: Epic poem of Tragedy, Solemn ode Since the 70s of the 18th century, a new trend emerges - sentimentalism. With him new genres appear: Journey A sensitive story
DI Fonvizin (1745 - 1792) Fonvizin was not only a prominent and talented playwright of the 18th century. He is one of the founders of Russian prose, a remarkable political writer, a truly great Russian educator, fearlessly, for a quarter of a century, who fought against tyranny.
GR Derzhavin (1743 - 1816) The main object of Derzhavin's poetics is man as a unique individuality in all the richness of personal tastes and preferences. Many of his odes are of a philosophical nature, they discuss the place and purpose of man on earth, the problems of life and death.
Writers and poets of the 18th century. A. D. Kantemir 1708 -1744 V. K. Trediakovsky 1703 -1769 M. V. Lomonosov 1711 -1765 A. P. Sumarokov 1717 -1777 D. I. Fonvizin 1744- 1792 G. R. Derzhavin 1743 -1816 N. M. Karamzin 1766 -1826 A. N. Radishchev 1749 -
Theater Nemets Johann Gregory - the founder of the theater in Russia. Theater in Russia in the 18th century developed not only in Moscow, but also in St. Petersburg. An institution with Russian actors was opened at the court of Anna Ioannovna. The famous playwright Alexander Sumarokov wrote plays for him. Under Elizaveta Petrovna, the so-called imperial theaters appeared. These state institutions were supported by the treasury. Sumarokov was the director of the Imperial Theater on Vasilievsky Island. The first professional theater was opened in Yaroslavl by F. G. Volkov. The theater of the 18th century in Russia continued its development during the reign of Catherine II. Several professional troupes worked at her court. Italian opera singers held a special position. A Russian drama troupe also worked. During this period, the theater ceased to be a purely palace entertainment. Public entertainment establishments were opened in the city, in which both Russian and foreign artists worked.
Theater. Creation. Ivan Dmitrievsky Theater of the 18th century in Russia knows the names of famous entrepreneurs: Titov, Belmonti, Medox. At this time, landlord troupes continue to exist in the provinces, where serf artists play. Ivan Dmitrevsky was a wonderful actor. Later he became the main actor of the Imperial Theater on Vasilievsky Island. To improve her qualifications, Catherine II sent Dmitrevsky abroad. In Paris, he studied the play of the famous tragedian Lequin, and in London he watched performances with the participation of the great Garrick. Returning to St. Petersburg, Dmitrevsky opened a theater school. He later became the chief inspector of the imperial entertainment establishments.
Gottlieb Siegfried Bayer (1694 -1738). He began by studying the tribes that inhabited Russia in antiquity, especially the Varangians, but did not go further. Bayer left behind a lot of works, of which two rather major works are written in Latin. Much more fruitful were the works of Gerard Friedrich Miller (1705 -1783), who lived in Russia under Empresses Anna, Elizabeth and Catherine II and already knew Russian so well that he wrote his works in Russian. The main merit of Miller was the collection of materials on Russian history. Among the academicians of the XVIII century. MV Lomonosov, who wrote a textbook of Russian history and one volume of Ancient Russian History (1766), also occupied a prominent place in his works on Russian history. History.
History His works on history were driven by polemics with German academicians. The latter took Rus Varangians away from the Normans and attributed to the Norman influence the origin of civicism in Russia, which before the advent of the Varangians was represented as a wild country; Lomonosov, however, recognized the Varangians as Slavs and thus considered Russian culture to be original. Attempts to provide such an overview originated outside the academic environment. The first attempt belongs to V.N. Tatishchev (1686 -1750). In these 5 volumes, Tatishchev brought his history to the troubled era of the 17th century. The first popular book on Russian history belonged to the pen of Catherine II, but her work "Notes on Russian history" was much more scientifically important "History of Russia" by Prince Shcherbatov (1733 -1790)
Details Category: Fine art and architecture of the late XVI-XVIII centuries Published on 04/07/2017 15:31 Hits: 3023In Western European art of the 17th-18th centuries. the main artistic directions and trends were baroque and classicism. In many European countries, the Academy of Arts and Architecture was created. But none of these styles existed in the art of England in the 17th and 18th centuries. in its pure form, because they came to English soil much later than to other countries.
For English art of this period, attention to the emotional life of people is characteristic, especially in portraiture. In addition, the English Enlightenment paid special attention to the ideas of moral education of the individual, the problems of ethics and morality. Another leading genre of English painting of this period was the genre genre. About the most famous artists (T. Gainsborough, D. Reynolds, W. Hogarth), we told on our website.
Architecture
In the XVII and XVIII centuries. England was one of the largest centers of European architecture. But different architectural styles and trends sometimes existed here simultaneously.
The origin of the British architectural tradition was Inigo Jones (1573-1652), English architect, designer and artist.
Posthumous portrait of Inigo Jones by William Hogarth (based on Van Dyck's lifetime portrait)
Inigo Jones was born in 1573 in London into a cloth maker's family. In 1603-1605 Jones studied drawing and decoration in Italy. Returning to his homeland, he was engaged in the creation of scenery for theatrical performances, he played a significant role in the development of European theater.
In the years 1613-1615. Jones is back in Italy, studying the works of Andrea Palladio, antique and Renaissance architecture. In 1615, Jones became the chief caretaker of the royal buildings, in Greenwich he soon began to build a country mansion for Queen Anne, wife of James I.
Queens house
The two-story Queens House is a monolithic cube, completely white and almost devoid of architectural decorations. There is a loggia in the center of the park facade. Queens House was the first English classicism building.
Tulip Staircase of Queens House in Greenwich
The next work of the architect - Banquet House in London (1619-1622). Its two-story facade is almost entirely covered with architectural decoration. In the interior, the two-tiered colonnade reproduces the appearance of an ancient temple. Jones' buildings corresponded to the tastes of the English court of the time. But Jones's work was appreciated only in the 18th century: it was rediscovered by Palladian admirers, and his works became models for the buildings of English Palladianism.
Banquet house
At the end of the 16th and beginning of the 17th centuries. theatrical performances ("masks") played an important role in the history of the palace. Particularly famous were the sets and costumes created by Inigo Jones, a talented theater artist.
The banquet house is 34 m long, 17 m wide and the same height. Two floors rise above the high plinth. Wide windows are arranged rhythmically along the facade. The center of the building is highlighted by 8 columns of the Ionic order in the lower row, Corinthian - in the upper one. A frieze in the form of garlands carved in stone has been created above the windows of the upper floor. A graceful balustrade completes the entire composition. The only hall of this building was decorated by Rubens.
At the end of the XIX century. the building housed the exposition of the military history museum.
A new stage in the history of English architecture began in the second half of the 17th century, when the first buildings appeared sir Christopher Wren (1632-1723), one of the most famous and respected English architects.
Gottfried Kneller "Portrait of Christopher Wren" (1711)
Sir Christopher Wren, an architect and mathematician, rebuilt the center of London after the great fire of 1666. He created the national style of English architecture - Rena Classicism.
Ren was a scientist, engaged in mathematics and astronomy, turned to architecture when he was already over thirty. Over the course of a long and fruitful activity, he managed to realize almost all of his plans. He built palaces and temples, libraries and theaters, hospitals and town halls, equipped residential areas in London. Taken together, Rena's numerous buildings could make up a medium-sized city. After the "great fire" of 1666, Wren took an active part in the reconstruction of London: he rebuilt over 50 of the 87 burnt churches. The culmination of this activity was the grandiose and majestic Cathedral of St. Paul, which became the greatest religious building of the Protestant world.
Located on the banks of the Thames, the Royal Hospital in Greenwich is the last major building of Christopher Wren. The large hospital complex consists of 4 buildings, forming rectangular courtyards with a spacious area between the front buildings, facing the river with porticoes of facades. Wide steps, on both sides of which are located the majestic domed buildings, lead to the second square between the second pair of courtyards. The twin-column colonnades flanking the square form a very dramatic vista ending with Inigo Jones's Queens House. The architect also took part in the construction of the Greenwich Hospital Nicholas Hawksmoor (1661-1736). He began work during Ren's lifetime and continued after the death of the architect.
Ren followed the path of Inigo Jones. But Jones absorbed the spirit of the Italian Renaissance, and Ren worked in the style of classicism.
Christopher Wren's traditions continued James Gibbs (1682-1754) - the most striking and distinctive figure of English architecture of the first half of the 18th century, one of the few representatives of the Baroque style in British architecture. He also built in the Palladian style, borrowing individual elements from him.
A. Soldi "Portrait of James Gibbs"
The greatest influence on the work of Gibbs was the work of Christopher Wren, but Gibbs gradually developed his own style. Its renowned Radcliffe Library at Oxford, austere and monumental, ranks among the finest pieces of English architecture.
The Library is the most significant of Gibbs' buildings in scale and artistic merit. This kind of centric structure consists of a 16-sided base, a cylindrical main part and a dome. The plinth is cut through by large arched door and window openings; the round main part is divided by paired columns into 16 piers, in which windows and niches arranged in two tiers alternate. A dome crowned with a lantern rises above the balustrade.
The library is one of the finest monuments of English architecture.
Another masterpiece by Gibbs is the Church of St. Martin in the Fields.
Church of St. Martin in the Fields
She adorns Trafalgar Square in London. In St. Martin in the Fields, the influence of Christopher Wren can be traced, but the bell tower is not separated into a separate building, it forms a single whole with the church building. Initially, this decision of the architect was criticized by contemporaries, but later the church became a model for numerous Anglican churches in England itself and beyond.
English Palladianism
English Palladianism associated with the name William Kent (c. 1684-1748), architect, archaeologist, painter and publisher.
Villa in Chiswick (1723-1729)
The villa was built by Lord Burlington with the direct participation of William Kent... This is the most famous building of English Palladianism. It almost literally repeats the Villa Rotonda by Andrea Palladio, with the exception of the facades.
Villa Park in Chiswick
The park façade is adorned with a portico with a pediment; a sophisticated and sophisticated staircase leads to the portico. The villa was not intended for living, it has no bedrooms, no kitchen, only premises for Burlington's art collections.
Thanks to the patronage of Lord Burlington, Kent received orders for the construction of public buildings in London, for example, Horse Guards.
Horse guards
Horse Guards - Horse Guards barracks in London. This is the most mature work of William Kent.
William Kent built several palaces in London. Fulfilled orders for the design of the interiors of the country residences of the English nobility. The main work of Kent was the Holkem Hall Estate in Norfolk.
Holkham Hall, Norfolk
It was intended for the art collection of Lord Leicester. Particularly famous are the interiors of Holkem Hall, full of silk, velvet and gilding. Furniture was also made according to Kent's drawings.
English park
The English landscape park is an important achievement of 18th century English architecture. In the landscape park, the illusion of real, untouched nature was created; the presence of man and modern civilization was not felt here.
The first landscape park was arranged in the Palladian era at the estate of the poet Alexander Pop in Twickenham (a suburb of London). The French regular park seemed to him the personification of the state tyranny, which even conquered nature (the Park of Versailles). The poet considered England a free country. An innovator in the art of landscape gardening in England was William Kent... He created the finest landscape parks of that era: Villa Chiswick House Park, Champs Elysees Park in Stowe in Central England.
Park "Champs Elysees"
Particularly impressive were the artificial, purpose-built ruins called the Temple of Modern Virtue. Apparently, the ruins symbolized the decline of morals in modern society and were contrasted with the luxurious Temple of Ancient Virtue, built by W. Kent in the antique style.
The temple of ancient virtue, built by W. Kent in the antique style, is a round domed building surrounded by a colonnade of 16 smooth Ionic columns installed on a low podium. The temple has two entrances in the form of arched openings, to each of which there is a 12-step staircase. Inside the temple there are 4 niches in which statues of ancient Greek celebrities are installed in human growth.
Already in the middle of the XVIII century. landscape parks were common in England, France, Germany, Russia.
The last major representative of Palladianism in English architecture was William Chambers (1723-1796) - Scottish architect, representative of classicism in architecture.
F. Cotes "Portrait of W. Chambers"
Chambers made a significant contribution to the development of gardening art. Thanks to Chambers, exotic (Chinese) motives have appeared in a traditional English landscape park.
Great weather - the first building in the spirit of Chinese architecture in Europe. Built in Richmond Kew Gardens, 1761-1762. designed by the court architect William Chambers in accordance with the wishes of the mother of King George III, Augusta. Height 50 m, diameter of the lower tier 15 m. Inside the pagoda there is a staircase of 243 steps, the roof is tiled.
Imitations of the Kew Pagoda have appeared in the English Gardens in Munich and elsewhere in Europe. At the whim of Catherine II, Chambers' compatriot, Charles Cameron, designed a similar building in the center of the Chinese village of Tsarskoe Selo, but the project was never implemented. But the Chinese houses were still built.
Chinese houses. Chinese village in the Alexander Park of Tsarskoye Selo
Neoclassical architecture
When in the middle of the XVIII century. the first archaeological excavations of ancient monuments began in Italy, all the largest representatives of English neoclassicism went to Rome to see the ruins of ancient structures. Other English architects traveled to Greece to study ancient Greek buildings. In England, neoclassicism was distinguished by the fact that it took lightness and elegance from antiquity, especially in English neoclassical interiors. on the contrary, all buildings were lighter and more elegant.
G. Willison "Portrait of Robert Adam"
A special role in the architecture of English neoclassicism was played by Robert Adam (1728-1792), Scottish architect from the Palladian Adam dynasty, the largest representative of British classicism of the 18th century. Adam relied on the study of ancient architecture and used strict classical forms. Adam's architectural activity was very wide. Together with brothers James, John and William, he erected manor houses and public buildings, built up entire streets, squares, and city blocks of London. His creative method is rationalism, clothed in the forms of Greek antiquity.
House at the Cion House in London. Arch. R. Adam (1762-1764). Reception room. London, Great Britain)
The Reception Room at Sayon House is one of Adam's most famous interiors. The room is adorned with twelve blue marble columns with gilded capitals and sculptures at the top. The trunks of these columns are truly antique - they were found at the bottom of the Tiber River in Rome, while the capitals and sculptures were made according to the drawings of Adam himself. The columns here do not support the ceiling, but simply lean against the wall, but they give the room a majestic look.
During the lifetime of the master, many considered the interiors of Adam to be the highest achievement of English architecture. The traditions of their art have long retained their significance in English architecture.
But in the neoclassicism of the 18th century. there were two architects whose style differed from the "style of Adam": George Dance the Younger (1741-1825) and sir John Soun (1753-1837). Dance's most famous building was Newgate Prison in London (not preserved). John Soun followed the dance style in many ways, was the chief architect of the Bank of England building (1795-1827) and devoted a significant part of his life to its construction.
"Gothic Revival" (neo-gothic)
In the middle of the XVIII century. in England, buildings appeared in which motifs of Gothic architecture were used: pointed arches, high roofs with steep slopes, stained glass windows. This period of enthusiasm for Gothic is commonly called "Gothic Revival" (neo-Gothic). It lasted until the beginning of the 20th century. and has become a popular style to this day: in England, buildings in the Gothic style are often built).
The founder of the "Gothic Revival" was Count Horace Walpole (1717-1797) - writer, author of the first horror novel "Castle of Otranto". In 1746-1790. he rebuilt his villa in the Gothic style at Strawberry Hill, Twickham, a suburb of London.
Villa
Font Hill Abbey in Central England was built between 1796 and 1807. architect James Wyeth (1746-1813).
Font Hill Abbey (not preserved to this day)
Already in the 19th century. the gothic style became state. In this style in the middle of the 19th century. the Parliament building was under construction in London (architect Charles Barry) - one of the main buildings of English architecture of that time.
I.M.Schmidt
The eighteenth century is a time of remarkable flourishing of Russian architecture. Continuing; on the one hand, their national traditions, Russian masters during this period began to actively master the experience of contemporary Western European architecture, reworking its principles in relation to the specific historical needs and conditions of their country. They have enriched the world architecture in many ways, introducing unique features into its development.
For Russian architecture of the 18th century. characterized by a decisive predominance of secular architecture over religious, the breadth of urban plans and decisions. A new capital was erected - Petersburg, as the state was strengthened, the old cities were expanded and rebuilt.
The decrees of Peter I contained specific orders concerning architecture and construction. So, by his special order, it was ordered to bring the facades of newly built buildings to the red line of streets, while in ancient Russian cities, houses were often located in the depths of courtyards, behind various outbuildings.
For a number of its stylistic features, Russian architecture of the first half of the 18th century. undoubtedly can be compared with the baroque style prevailing in Europe.
Nevertheless, a direct analogy cannot be drawn here. Russian architecture - especially of the time of Peter the Great - had a much greater simplicity of forms than was characteristic of the late Baroque style in the West. In its ideological content, it affirmed the patriotic ideas of the greatness of the Russian state.
One of the most notable structures of the early 18th century is the Arsenal building in the Moscow Kremlin (1702-1736; architects Dmitry Ivanov, Mikhail Choglokov and Christoph Konrad). The large length of the building, the calm surface of the walls with sparsely spaced windows and the solemn and monumental design of the main gate clearly indicate a new direction in architecture. The solution of the small twin windows of the Arsenal is completely unique, with a semicircular end and huge outer slopes like deep niches.
New trends penetrated the cult architecture as well. A striking example of this is the Church of the Archangel Gabriel, better known as the Menshikov Tower. It was built in 1704-1707. in Moscow, on the territory of A.D. Menshikov's estate near Chistye Prudy, by the architect Ivan Petrovich Zarudny (died in 1727). Before the fire of 1723 (caused by a lightning strike), the Menshikov Tower - like the soon-to-be-built bell tower of the Peter and Paul Cathedral in St. Petersburg - was crowned with a high wooden spire, at the end of which was a gilded copper figure of the archangel. In height, this church surpassed the bell tower of Ivan the Great in the Kremlin ( The light, elongated head of this church, which now exists in a peculiar form, was made already in the early 19th century. The restoration of the church dates back to 1780.).
The Menshikov Tower is a typical Russian church architecture of the late 17th century. a composition of several tiers - "eight" on the "four". At the same time, compared with the 17th century. here new trends are clearly outlined and new architectural techniques are used. Particularly bold and innovative was the use of a high spire in the church building, which was then so successfully used by St. Petersburg architects. Zarudny's appeal to the classical methods of the order system is characteristic. In particular, columns with Corinthian capitals, unusual for ancient Russian architecture, were introduced with great artistic tact. And already quite boldly - powerful volutes flanking the main entrance to the temple and giving it a special monumentality, originality and solemnity.
Zarudnyi also created a wooden triumphal gate in Moscow - in honor of the Poltava victory (1709) and the conclusion of the Nystadt Peace (1721). Since the time of Peter the Great, the erection of triumphal arches has become a frequent occurrence in the history of Russian architecture. Both wooden and permanent (stone) triumphal gates were usually richly decorated with sculpture. These buildings were monuments to the military glory of the Russian people and in many ways contributed to the decorative design of the city.
With the greatest clarity and completeness, the new qualities of Russian architecture of the 18th century. manifested themselves in the architecture of St. Petersburg. The new Russian capital was founded in 1703 and was built unusually quickly.
From an architectural point of view, St. Petersburg is of particular interest. It is the only capital city in Europe that arose entirely in the 18th century. Its appearance vividly reflected not only the peculiar trends, styles and individual talents of the architects of the 18th century, but also the progressive principles of urban planning skills of that time, in particular planning. In addition to the brilliantly resolved "three-beam" planning of the center of St. Petersburg, the high art of urban planning manifested itself in the creation of complete ensembles, in the magnificent building of the embankments. The indissoluble architectural and artistic unity of the city and its waterways from the very beginning was one of the most important advantages and the most peculiar beauty of St. Petersburg. The formation of the architectural appearance of St. Petersburg in the first half of the 18th century. is associated mainly with the activities of architects D. Trezzini, M. Zemtsov, I. Korobov and P. Eropkin.
Domenico Trezzini (c. 1670-1734) was one of those foreign architects who, having arrived in Russia at the invitation of Peter I, remained here for many years, or even until the end of their lives. Trezzini's name is associated with many structures in early Petersburg; he owns "exemplary", that is, standard designs of residential buildings, palaces, temples, various civil structures.
Trezzini did not work alone. Together with him worked a group of Russian architects, whose role in the creation of a number of structures was extremely responsible. Trezzini's best and most significant creation is the famous Peter and Paul Cathedral, built in 1712-1733. The construction is based on the plan of a three-nave basilica. The most remarkable part of the cathedral is its bell tower directed upwards. Just like the Menshikov Tower of Zarudny in its original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, completed with the figure of an angel. The proud, light takeoff of the spire is prepared by all the proportions and architectural forms of the bell tower; the gradual transition from the actual bell tower to the “needle” of the cathedral has been thought out. The bell tower of the Peter and Paul Cathedral was conceived and implemented as an architectural dominant in the ensemble of Petersburg under construction, as the embodiment of the greatness of the Russian state, which established its new capital on the shores of the Gulf of Finland.
In 1722-1733. another well-known building of Trezzini is created - the building of the Twelve Collegia. Strongly elongated in length, the building has twelve sections, each of which is designed as a relatively small but independent house with its own ceiling, pediment and entrance. Trezzini's favorite austere pilasters in this case are used to unite the two upper floors of the building and emphasize the measured, calm rhythm of the façade articulations.The proud, rapid rise of the bell tower of the Peter and Paul Fortress Cathedral and the calm length of the building of the Twelve Collegia - these wonderful architectural contrasts were made by Trezzini with the impeccable tact of the outstanding master.
Most of Trezzini's works are characterized by restraint and even austerity in the architectural design of buildings. This is especially noticeable next to the decorative splendor and rich design of buildings from the middle of the 18th century.
The activity of Mikhail Grigorievich Zemtsov (1686-1743), who worked at the beginning with Trezzini and with his talent attracted the attention of Peter I. Zemtsov, apparently participated in all major works of Trezzini, was diverse. He completed the construction of the Kunstkamera building, begun by architects Georg Johannes Mattarnovi and Gaetano Chiaveri, built the churches of Simeon and Anna, Isaac of Dalmatsky and a number of other buildings in St. Petersburg.
Peter I attached great importance to the regular building of the city. The famous French architect Jean Baptiste Leblond was invited to Russia to develop the master plan for St. Petersburg. However, the general plan of St. Petersburg drawn up by Leblond had a number of very significant shortcomings. The architect did not take into account the natural development of the city, and his plan suffered from abstractness to a large extent. Leblon's project was only partially implemented in the layout of the streets of Vasilievsky Island. Russian architects have made many significant adjustments to its layout of St. Petersburg.
A prominent urban planner of the early 18th century was the architect Pyotr Mikhailovich Eropkin (c. 1698-1740), who gave a remarkable solution to the three-beam layout of the Admiralty part of St. Petersburg (including Nevsky Prospekt). Carrying out a great deal of work in the “Commission on the St. Petersburg Construction” formed in 1737, Eropkin was in charge of the development of other areas of the city. His activity was cut short in the most tragic way. The architect was associated with the Volynsky group that opposed Biron. Among other prominent members of this group, Eropkin was arrested and executed in 1740.
Yeropkin is known not only as a practicing architect, but also as a theoretician. He translated into Russian the works of Palladio, and also began work on the scientific treatise "The Position of an Architectural Expedition." The last work, concerning the basic questions of Russian architecture, was not completed by him; after his execution, this work was completed by Zemtsov and IK Korobov (1700-1747) - the creator of the first stone building of the Admiralty. Crowned with a tall thin spire, echoing the spire of the Peter and Paul Cathedral, the Admiralty tower built by Korobov in 1732-1738 has become one of the most important architectural landmarks of St. Petersburg.
Definition of the architectural style of the first half of the 18th century. usually causes a lot of controversy among researchers of Russian art. Indeed, the style of the first decades of the 18th century. evolved difficult and often very contradictory. In its formation he participated in a somewhat modified and more restrained in form style of Western European Baroque; the impact of Dutch architecture also affected. To one degree or another, the influence of the traditions of ancient Russian architecture made itself felt. A distinctive feature of many of the first buildings in St. Petersburg was severe utility and simplicity of architectural forms. The unique originality of Russian architecture of the first decades of the 18th century. lies, however, not in the complex and sometimes contradictory interweaving of architectural styles, but primarily in the city-planning scale, in the life-affirming power and in the greatness of the structures erected during this most important period for the Russian nation.
After the death of Peter I (1725), the extensive civil and industrial construction undertaken on his instructions faded into the background. A new period began in the development of Russian architecture. The best forces of the architects were now directed at palace construction, which took on an extraordinary scale. Since about 1740s. a distinctly expressed style of the Russian baroque was established.
In the middle of the 18th century, the widespread definition of Bartholomew Varfolomeevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. The work of Rastrelli the son belongs entirely to Russian art. His work reflected the increased power of the Russian Empire, the wealth of the highest court circles, who were the main customers of the magnificent palaces created by Rastrelli and the team headed by him.
Rastrelli's work on rebuilding the palace and park ensemble of Peterhof was of great importance. The site for the palace and a vast garden and park ensemble, which later received the name Peterhof (now Petrodvorets), was outlined in 1704 by Peter I. himself. In 1714-1717. Monplaisir and the stone Peterhof Palace were built according to the designs of Andreas Schlüter. In the future, several architects were involved in the work, including Jean Baptiste Leblond - the main author of the layout of the park and the fountains of Peterhof and I. Braunstein - the builder of the Marly and Hermitage pavilions.
From the very beginning, the Peterhof ensemble was conceived as one of the world's largest ensembles of garden and park structures, sculptures and fountains, competing with Versailles. The concept, magnificent in its integrity, united the Grand Cascade and the grandiose staircases that frame it, with the Big grotto in the center and towering over the entire palace into one inseparable whole.
Without touching upon in this case the complex issue of authorship and the history of construction, which was carried out after the sudden death of Leblond, the installation in 1735 of the central in compositional role and ideological concept of the sculptural group "Samson tearing the lion's mouth" should be noted (authorship has not been established exactly), which ended the first stage of the creation of the largest of the regular park ensembles of the 18th century.
In the 1740s. the second stage of construction began in Peterhof, when a grandiose reconstruction of the Great Peterhof Palace was undertaken by the architect Rastrelli. Having retained some restraint in the design of the old Peterhof Palace, characteristic of the style of Peter the Great, Rastrelli nevertheless significantly enhanced its decorative design in the Baroque style. This was especially pronounced in the design of the left wing with the church and the right wing (the so-called Corps under the coat of arms), newly built to the palace. The final of the main stages of the construction of Peterhof dates back to the end of the 18th - the very beginning of the 19th century, when the architect A.N. Voronikhin and a whole galaxy of outstanding masters of Russian sculpture, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev, were involved in the business.
In general, the first projects of Rastrelli, dating back to the 1730s, are still largely close to the style of Peter's time and do not amaze with that luxury
and the pomp that manifests itself in his most famous creations - the Big (Catherine) Palace in Tsarskoe Selo (now Pushkin), the Winter Palace and the Smolny Monastery in St. Petersburg.
Having started the creation of the Catherine Palace (1752-1756), Rastrelli did not rebuild it entirely. In the composition of his grandiose building, he skillfully included the already existing palace structures of architects Kvasov and Chevakinsky. These relatively small buildings, interconnected by one-storey galleries, Rastrelli united into one magnificent building of a new palace, the facade of which reached three hundred meters in length. Low one-story galleries were built on and thereby raised to the total height of the horizontal articulations of the palace, the old side buildings were included in the new building as protruding projections.
Both inside and outside the Catherine Palace Rastrelli was distinguished by an exceptional richness of decorative design, inexhaustible invention and a variety of motives. The roof of the palace was gilded; sculptural (also gilded) figures and decorative compositions towered above the balustrade that encircled it. The façade was decorated with mighty Atlantean figures and intricate stucco moldings of garlands of flowers. The white color of the columns stood out clearly against the blue color of the walls of the building.
The interior of the Tsarskoye Selo Palace was designed by Rastrelli along the longitudinal axis. The numerous halls of the palace, intended for ceremonial receptions, formed a solemn, beautiful enfilade. The main color combination of interior decoration is gold and white. Abundant gold carving, images of frolicking cupids, exquisite forms of cartouches and volutes - all this was reflected in the mirrors, and in the evenings, especially on the days of solemn receptions and ceremonies, it was brightly lit by countless candles ( This rare in beauty palace was barbarously plundered and set on fire by the German fascist troops during the Great Patriotic War of 1941-1945. Thanks to the efforts of the masters of Soviet art, the Great Tsarskoye Selo Palace has now been restored as far as possible.).
In 1754-1762. Rastrelli is building another large building - the Winter Palace in St. Petersburg, which became the basis for the future Palace Square ensemble.
Unlike the highly elongated Tsarskoye Selo Palace, the Winter Palace is designed in terms of a huge closed rectangle. The main entrance to the palace was at that time in a spacious courtyard.
Considering the location of the Winter Palace, Rastrelli designed the facades of the building differently. For example, the south-facing facade of the Palace Square that was subsequently formed is designed with a strong plastic accent on the central part (where the main entrance to the courtyard is located). On the contrary, the facade of the Winter Palace, facing the Neva, is sustained in a calmer rhythm of volumes and colonnades, due to which the length of the building is better perceived.
Rastrelli's activities were mainly aimed at creating palace structures. But in church architecture, he left an extremely valuable work - the project of the ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, begun in 1748, stretched out over many decades and was completed by the architect V.P. Stasov in the first third of the 19th century. In addition, such an important part of the entire ensemble, as the nine-tiered bell tower of the cathedral, was never completed. In the composition of the five-domed cathedral and in a number of general principles for solving the ensemble of the monastery, Rastrelli directly proceeded from the traditions of ancient Russian architecture. At the same time, we see here the characteristic features of the architecture of the middle of the 18th century: the splendor of architectural forms, the inexhaustible richness of the decor.
Among the outstanding creations of Rastrelli are the wonderful Stroganov Palace in St. Petersburg (1750-1754), St. Andrew's Cathedral in Kiev, the Resurrection Cathedral of the New Jerusalem Monastery near Moscow, rebuilt according to his project, the wooden two-story Annenhof Palace in Moscow, which has not survived to our time, and others.
If Rastrelli's activity took place mainly in St. Petersburg, then another outstanding Russian architect, Korobov's student Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two remarkable monuments of Russian architecture of the mid-18th century are associated with his name: the bell tower of the Trinity-Sergius Lavra (1740-1770) and the stone Red Gate in Moscow (1753-1757).
By the nature of his work, Ukhtomsky is quite close to Rastrelli. Both the bell tower of the Lavra and the triumphal gate are rich in external design, monumental and festive. Ukhtomsky's valuable quality is his striving to develop ensemble solutions. And although his most significant plans were not implemented (the project of the Invalidny and Hospital houses ensemble in Moscow), progressive tendencies in Ukhtomsky's work were picked up and developed by his great students - Bazhenov and Kazakov.
A prominent place in the architecture of this period was occupied by the work of Savva Ivanovich Chevakinsky (1713-1774 / 80). A disciple and successor of Korobov, Cheva-kinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and Tsarskoe Selo. The talent of Chevakinsky was especially fully manifested in the Nikolsky Naval Cathedral he created (Petersburg, 1753 - 1762). The slender four-tiered bell tower of the cathedral, enchanting with its festive elegance and impeccable proportions, is remarkably designed.
Second half of the 18th century marks a new stage in the history of architecture. Just like other types of art, Russian architecture testifies to the strengthening of the Russian state and the growth of culture, reflects a new, more sublime idea of \u200b\u200bman. The ideas of civic consciousness, proclaimed by the enlighteners, the idea of \u200b\u200ban ideal, built on a reasonable basis, a noble state find a peculiar expression in the aesthetics of 18th century classicism, and are reflected in ever clearer, classically restrained forms of architecture.
Since the 18th century. and up to the middle of the 19th century, Russian architecture occupies one of the leading places in world architecture. Moscow, Petersburg and a number of other cities of Russia are enriched at this time with first-class ensembles.
The formation of early Russian classicism in architecture is inextricably linked with the names of A.F. Kokorinov, Wallen Delamot, A. Rinaldi, Y. M. Felten.
Alexander Filippovich Kokorinov (1726-1772) was among the direct assistants of one of the most prominent Russian architects of the mid-18th century. Ukhtomsky. As the latest research shows, the young Kokorinov built the palace ensemble in Petrovsky-Razumovsky (1752-1753), famous by his contemporaries, which has survived to this day modified and rebuilt. From the point of view of the architectural style, this ensemble was undoubtedly close to the magnificent palace structures of the mid-18th century, erected by Rastrelli and Ukhtomsky. New, foreshadowing the style of Russian classicism, was, in particular, the use of a severe Doric order in the design of the entrance gates of the Razumovsky palace.
From about 1760, Kokorinov began a long-term collaboration with Wallen Delamot (1729-1800) who came to Russia. Originally from France, Delamot came from a family of renowned architects Blondel. Such significant buildings of St. Petersburg as the Great Guest House (1761 - 1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767) are associated with the name of Wallen Delamot. Delamot's structure, known as New Holland - the building of the admiralty warehouses, where special attention is drawn to the arch thrown over the channel made of simple dark red brick with decorative use of white stone, is executed with a subtle harmony of architectural forms, solemnly stately simplicity.
Vallene Delamot participated in the creation of one of the most distinctive structures of the 18th century. - The Academy of Arts in St. Petersburg (1764-1788). The austere, monumental building of the Academy, built on Vasilievsky Island, has acquired an important role in the city's ensemble. The main facade overlooking the Neva was majestically and calmly solved. The general design of this building testifies to the predominance of the early classicism style over the baroque elements.
The most striking is the plan of this structure, which, apparently, was mainly developed by Kokorinov. Behind the seemingly calm facades of the building, which occupies an entire city block, there is a complex internal system of educational, residential and utility rooms, staircases and corridors, courtyards and passages. Particularly noteworthy is the layout of the courtyards of the Academy, which included one huge circular courtyard in the center and four smaller courtyards in the shape of a rectangle, in each of which two corners are rounded.
A building close to the art of early classicism is the Marble Palace (1768-1785). Its author was the Yang architect Antonio Rinaldi (c. 1710-1794), who was invited to Russia. In the earlier buildings of Rinaldi, the features of the late Baroque and Rococo style were clearly manifested (the latter is especially noticeable in the refined decoration of the apartments of the Chinese Palace in Oranienbaum).
Along with large palace and park ensembles in Russia, estate architecture is being developed more and more. The construction of estates was especially active in the second half of the 18th century, when the decree of Peter III was issued on the release of the nobles from compulsory public service. Having dispersed to their ancestral and newly received estates, the Russian nobles began to intensively build and improve themselves, inviting the most prominent architects for this, and also widely using the labor of talented serf architects. Estate building reaches its peak in the late 18th and early 19th centuries.
The master of early classicism was Yuri Matveyevich Felten (1730-1801), one of the founders of the remarkable embankments of the Neva, associated with the implementation of urban planning work in the 1760s-1770s. Closely connected with the ensemble of the Neva embankments is the construction of the Summer Garden grating, striking in its nobleness, in the design of which Felten participated. Among Felten's buildings, the Old Hermitage building should be mentioned.
In the second half of the 18th century. lived and worked one of the greatest Russian architects - Vasily Ivanovich Bazhenov (1738-1799). Bazhenov was born into the family of a sexton near Moscow, near Maloyaroslavets. At the age of fifteen, Bazhenov was in an artel of painters on the construction of one of the palaces, where the architect Ukhtomsky drew attention to him, who accepted the gifted young man into his "architectural team." After organizing the Academy of Arts in St. Petersburg, Bazhenov was sent there from Moscow, where he studied at the gymnasium at Moscow University. In 1760 Bazhenov went abroad as a pensioner of the Academy, to France and Italy. The outstanding natural talent of the young architect already in those years received high recognition, 28-year-old Bazhenov comes from abroad with the title of professor of the Roman Academy and the title of academician of the Florentine and Bologna Academies.
Bazhenov's exceptional talent as an architect, his great creative scope, manifested itself with particular clarity in the project of the Kremlin Palace in Moscow, on which he began to work in 1767, actually conceiving the creation of a new Kremlin ensemble.
According to Bazhenov's project, the Kremlin was to become, in the full sense of the word, a new center of the ancient Russian capital, moreover, in the most direct way connected with the city. In counting on this project, Bazhenov even proposed to tear down part of the Kremlin wall from the side of the Moskva River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would be no longer separated from the city.
The facade of the Bazhenov Kremlin Palace was to face the Moskva River, to which from above, from the Kremlin hill, there were solemn staircase descents, decorated with monumental decorative sculpture.
The palace building was designed as a four-storey building, with the first two floors serving a service purpose, while the third and fourth were used as the actual palace apartments with large two-story halls.
In the architectural design of the Kremlin Palace, new squares, as well as the most significant internal premises, an exceptionally large role was assigned to colonnades (mostly Ionic and Corinthian orders). In particular, a whole line of colonnades surrounded the main square in the Kremlin designed by Bazhenov. This square, which had an oval shape, the architect intended to surround with buildings with strongly protruding basement parts, forming, as it were, stepped stands for accommodating the people.
Extensive preparatory work began; a wonderful (preserved to this day) model of the future structure was made in a specially built house; the interior decoration and decoration of the palace were carefully developed and designed by Bazhenov ...
The unsuspecting architect faced a severe blow: as it turned out later, Catherine II was not going to bring this grandiose construction to the end, it was started by her mainly in order to demonstrate the power and wealth of the state during the Russian-Turkish war. Already in 1775 the construction was completely stopped.
In subsequent years, Bazhenov's largest work was the design and construction of the ensemble in Tsaritsyn near Moscow, which was supposed to be the summer residence of Catherine II. The ensemble in Tsaritsyno is a country estate with an asymmetric arrangement of buildings, executed in a distinctive style, sometimes called "Russian Gothic", but to a certain extent based on the use of motives of Russian architecture of the 17th century.
It was in the traditions of Old Russian architecture that Bazhenov gave combinations of red brick walls of Tsaritsyn buildings with details of white stone.
The surviving Bazhenov buildings in Tsaritsyn - the Opera House, the Figured Gate, the bridge across the road - give only a partial idea of \u200b\u200bthe general idea. Bazhenov's project was not only not implemented, but even the palace that was almost completed by him was rejected by the arriving empress and was broken on her orders.
Bazhenov paid tribute to the emerging pre-romantic tendencies in the project of the Mikhailovsky (Engineering) castle, which, with some changes, was carried out by the architect V.F.Brenna. Built by order of Paul I in St. Petersburg, Mikhailovsky Castle (1797-1800) was at that time a structure surrounded, like a fortress, by moats; draw bridges were thrown over them. The tectonic clarity of the general architectural concept and, at the same time, the complexity of the layout were combined in a peculiar way.
In most of his projects and structures, Bazhenov acted as the greatest master of early Russian classicism. A remarkable creation of Bazhenov is the Pashkov house in Moscow (now the old building of the V.I.Lenin State Library). This building was built in the years 1784-1787. The palace-type structure, the Pashkov house (named after the name of the first owner) turned out to be so completely resolved that it took one of the first places among the monuments of Russian architecture both in terms of the urban ensemble and for its high artistic merit.
The main entrance to the building was arranged from the side of the front yard, where there were several service buildings of the manor-palace. Situated on a hill rising from Mokhovaya Street, the Pashkov House faces the Kremlin with its main facade. The main architectural array of the palace is its central three-storey building, crowned with a light belvedere. On both sides of the building there are two side two-storey buildings. The central building of Pashkov's house is decorated with a Corinthian colonnade that unites the second and third floors. The side pavilions have smooth Ionic columns. The subtle thoughtfulness of the overall composition and all the details imparts to this building an extraordinary lightness and at the same time significance, monumentality. The genuine harmony of the whole, the graceful elaboration of the details eloquently testify to the genius of its creator.
Another great Russian architect who worked at one time with Bazhenov was Matvey Fedorovich Kazakov (1738-1812). A native of Moscow, Kazakov even more closely than Bazhenov linked his creative activity with Moscow architecture. When he was thirteen years old at the Ukhtomsky school, Kazakov learned the art of architecture in practice. He was neither at the Academy of Arts, nor abroad. From the first half of the 1760s. young Kazakov already worked in Tver, where a number of buildings, both residential and public, were built according to his project.
In 1767, Kazakov was invited by Bazhenov as his direct assistant for the design of the ensemble of the new Kremlin Palace.
One of the earliest and at the same time the most significant and famous buildings of Kazakov is the Senate building in Moscow (1776-1787). The Senate building (currently the Supreme Soviet of the USSR is located here) is located inside the Kremlin not far from the Arsenal. It is triangular in plan (with courtyards), one of the facades faces Red Square. The central compositional node of the building is the Senate Hall, which has a huge domed ceiling for that time, the diameter of which reaches almost 25 m. The relatively modest design of the building from the outside is contrasted with the magnificent solution of a round ceremonial hall with three tiers of windows, a Corinthian colonnade, a coffered dome and a rich stucco molding.
The next widely known creation of Kazakov is the building of Moscow University (1786-1793). This time Kazakov turned to the widespread plan of a city estate in the form of the letter P. In the center of the building is an assembly hall in the form of a semi-rotunda with a domed ceiling. The original appearance of the university, built by Kazakov, differs significantly from the exterior design given to it by D.I.Gilardi, who restored the university after the fire of Moscow in 1812. The Doric colonnade, reliefs and pediment over the portico, aedicules at the ends of the side wings, etc. - all of this was not in the Kazakov building. It looked taller and less deformed in front. The main facade of the university in the 18th century. had a slender and lighter colonnade of the portico (Ionic order), the walls of the building were dismembered with shoulder blades and panels, the ends of the side wings of the building had Ionic porticoes with four pilasters and a pediment.
Like Bazhenov, Kazakov sometimes turned in his work to the traditions of the architecture of Ancient Rus, for example, in the Petrovsky Palace, built in 1775-1782. Pitcher-shaped columns, arches, window decorations, hanging weights, etc., together with red brick walls and white stone decorations, clearly echoed pre-Petrine architecture.
However, most of Kazakov's church buildings - the Church of Philip the Metropolitan, the Church of the Ascension on Gorokhovskaya Street (now Kazakov Street) in Moscow, the Baryshnikov Church-Mausoleum (in the village of Nikolo-Pogorel, Smolensk Region) - are resolved not so much in terms of ancient Russian churches as in the spirit classically solemn secular structures - rotunda. A special place among the church buildings of Kazakov is occupied by the church of Kosma and Damian in Moscow, which is peculiar in its plan.
Sculptural decoration plays an important role in Kazakov's works. A variety of stucco decorations, thematic bas-reliefs, round statues, etc., in many ways contributed to the high degree of decoration of buildings, their festive solemnity and monumentality. Interest in the synthesis of architecture and sculpture manifested itself in the last significant construction of Kazakov - the building of the Golitsyn Hospital (now the 1st Gradskaya Hospital) in Moscow, the construction of which dates back to 1796-1801. Here Kazakov is already close to the architectural principles of classicism of the first third of the 19th century, as evidenced by the calm surfaces of the wall surfaces, the composition of the building and its wings stretched along the street, the severity and restraint of the general architectural concept.
Kazakov made a great contribution to the development of manor architecture and architecture of the city residential mansion. Such are the house in Petrovsky-Alabin (completed in 1785) and the beautiful house of Gubin in Moscow (1790s), distinguished by a clear simplicity of composition.
One of the most gifted and renowned masters of architecture of the second half of the 18th century was Ivan Yegorovich Staroi (1745-1808), whose name is associated with many buildings in St. Petersburg and the province. The largest work of Starov, if we talk about the constructions of the master that have come down to us, is the Tauride Palace, built in 1783-1789. In Petersburg.
Even Starov's contemporaries highly valued this palace as meeting the high requirements of genuine art - it is as simple and clear in its decision as it is majestic and solemn. According to the decision of the internal premises, this is not only a residential palace-manor, but also a residence intended for solemn receptions, festivities and amusements. The central part of the palace is highlighted by a dome and a six-codon Roman-Doric portico located in the depths of the ceremonial courtyard wide open to the outside. The significance of the central part of the building is emphasized by the low, one-story side wings of the palace, the design of which, like the side buildings, is very strict. The interior of the palace was solemnly resolved. The granite and jasper columns located directly opposite the entrance make up the whole appearance of an internal triumphal arch. From the vestibule, those who entered entered the monumental domed hall of the palace, and then into the so-called Great Gallery with a solemn colonnade, consisting of thirty-six columns of the Ionic order, placed in two rows on both sides of the hall.
Even after repeated reconstructions and changes inside the Tavricheskiy Palace, made in the following time, the grandiosity of the architect's plan leaves an indelible impression. In the early 1770s. Starov was appointed chief architect of the Commission for the Stone Construction of St. Petersburg and Moscow. Under his leadership, planning projects for many cities in Russia were also developed.
In addition to Bazhenov, Kazakov and Starov, at the same time, many other outstanding architects are working in Russia - both Russians and those who came from abroad. The wide construction opportunities available in Russia attract large foreign craftsmen who did not find such opportunities in their homeland.
An outstanding master of architecture, especially of palace and park structures, was a Scotsman by origin, Charles Cameron (1740s -1812).
In 1780-1786 Cameron is building a complex of garden and park structures in Tsarskoye Selo, which includes a two-story building of the Cold Baths with Agate Rooms, a hanging garden and, finally, a magnificent open gallery bearing the name of its creator. Cameron's Gallery is one of the most perfect works of the architect. Its extraordinary lightness and gracefulness of proportions amazes; the staircase descent, flanked by copies from antique statues of Hercules and Flora, is majestically and peculiarly designed.
Cameron was a master of interior decoration. With impeccable taste and sophistication, he develops the decoration of several rooms of the Great Catherine Palace (Catherine II's bedroom, see illustration, the Snuffbox office), the Agate Rooms pavilion, as well as the Pavlovsk Palace (1782-1786) (Italian and Greek halls, billiard room and others).
Not only the palace in Pavlovsk created by Cameron is of great value, but also the entire garden and park ensemble. In contrast to the more regular planning and development of the famous Peterhof Park, the ensemble in Pavlovsk is the best example of a "natural" park with freely scattered pavilions. In a picturesque landscape, among groves and meadows, near the Slavyanka River curving around the hills, there is a pavilion - the Temple of Friendship, an open rotunda - the Colonnade of Apollo, the Pavilion of the Three Graces, an obelisk, bridges, etc.
End of the 18th century in the architecture of Russia, the next stage of development is already largely anticipated - the mature classicism of the first third of the 19th century, also known as the "Russian Empire". New trends are evident in the work of Giacomo Quarenghi (1744-1817). Even at home, in Italy, Quarenghi is fond of Palladianism and becomes an ardent defender of classicism. Not finding the proper use of his forces in Italy, Quarenghi came to Russia (1780), where he remained for life.
Having started his activity with work in Peterhof and Tsarskoe Selo, Quarenghi moved on to the construction of the largest capital buildings. The Hermitage Theater (1783-1787), the building of the Academy of Sciences (1783-1789) and the Assignation Bank (1783-1790) in St. Petersburg, as well as the Alexander Palace in Tsarskoye Selo (1792-1796) are austere, classical buildings , which in many ways already herald the next stage in the development of Russian architecture. Strictly speaking, Quarenghi's creative activity in Russia is almost equally divided in time between the 18th and 19th centuries. Of the most famous structures of Quarenghi at the beginning of the 19th century. the hospital building on Liteiny Avenue, the Anichkov Palace, the Horse Guards Manege and the wooden Narva Triumphal Gates of 1814 stand out.
The most outstanding creation of Quarenghi of the early 19th century. is the Smolny Institute (1806-1808). This work shows the characteristic features of Quarenghi as a representative of mature classicism in architecture: the desire for large and laconic architectural forms, the use of monumental porticoes, the accentuation of the powerful basement of the building, processed with large rustication, the utmost clarity and simplicity of the layout.
I.M.Schmidt
The eighteenth century is a time of remarkable flourishing of Russian architecture. Continuing; on the one hand, their national traditions, Russian masters during this period began to actively master the experience of contemporary Western European architecture, reworking its principles in relation to the specific historical needs and conditions of their country. They have enriched the world architecture in many ways, introducing unique features into its development.
For Russian architecture of the 18th century. characterized by a decisive predominance of secular architecture over religious, the breadth of urban plans and decisions. A new capital was erected - Petersburg, as the state was strengthened, the old cities were expanded and rebuilt.
The decrees of Peter I contained specific orders concerning architecture and construction. So, by his special order, it was ordered to bring the facades of newly built buildings to the red line of streets, while in ancient Russian cities, houses were often located in the depths of courtyards, behind various outbuildings.
For a number of its stylistic features, Russian architecture of the first half of the 18th century. undoubtedly can be compared with the baroque style prevailing in Europe.
Nevertheless, a direct analogy cannot be drawn here. Russian architecture - especially of the time of Peter the Great - had a much greater simplicity of forms than was characteristic of the late Baroque style in the West. In its ideological content, it affirmed the patriotic ideas of the greatness of the Russian state.
One of the most notable structures of the early 18th century is the Arsenal building in the Moscow Kremlin (1702-1736; architects Dmitry Ivanov, Mikhail Choglokov and Christoph Konrad). The large length of the building, the calm surface of the walls with sparsely spaced windows and the solemn and monumental design of the main gate clearly indicate a new direction in architecture. The solution of the small twin windows of the Arsenal is completely unique, with a semicircular end and huge outer slopes like deep niches.
New trends penetrated the cult architecture as well. A striking example of this is the Church of the Archangel Gabriel, better known as the Menshikov Tower. It was built in 1704-1707. in Moscow, on the territory of A.D. Menshikov's estate near Chistye Prudy, by the architect Ivan Petrovich Zarudny (died in 1727). Before the fire of 1723 (caused by a lightning strike), the Menshikov Tower - like the soon-to-be-built bell tower of the Peter and Paul Cathedral in St. Petersburg - was crowned with a high wooden spire, at the end of which was a gilded copper figure of the archangel. In height, this church surpassed the bell tower of Ivan the Great in the Kremlin ( The light, elongated head of this church, which now exists in a peculiar form, was made already in the early 19th century. The restoration of the church dates back to 1780.).
I. P. Zarudny. Church of the Archangel Gabriel ("Menshikov Tower") in Moscow. 1704-1707 View from the southwest.
The Menshikov Tower is a typical Russian church architecture of the late 17th century. a composition of several tiers - "eight" on the "four". At the same time, compared with the 17th century. here new trends are clearly outlined and new architectural techniques are used. Particularly bold and innovative was the use of a high spire in the church building, which was then so successfully used by St. Petersburg architects. Zarudny's appeal to the classical methods of the order system is characteristic. In particular, columns with Corinthian capitals, unusual for ancient Russian architecture, were introduced with great artistic tact. And already quite boldly - powerful volutes flanking the main entrance to the temple and giving it a special monumentality, originality and solemnity.
Zarudnyi also created a wooden triumphal gate in Moscow - in honor of the Poltava victory (1709) and the conclusion of the Nystadt Peace (1721). Since the time of Peter the Great, the erection of triumphal arches has become a frequent occurrence in the history of Russian architecture. Both wooden and permanent (stone) triumphal gates were usually richly decorated with sculpture. These buildings were monuments to the military glory of the Russian people and in many ways contributed to the decorative design of the city.
Plan of the central part of St. Petersburg in the 18th century.
With the greatest clarity and completeness, the new qualities of Russian architecture of the 18th century. manifested themselves in the architecture of St. Petersburg. The new Russian capital was founded in 1703 and was built unusually quickly.
From an architectural point of view, St. Petersburg is of particular interest. It is the only capital city in Europe that arose entirely in the 18th century. Its appearance vividly reflected not only the peculiar trends, styles and individual talents of the architects of the 18th century, but also the progressive principles of urban planning skills of that time, in particular planning. In addition to the brilliantly resolved "three-beam" planning of the center of St. Petersburg, the high art of urban planning manifested itself in the creation of complete ensembles, in the magnificent building of the embankments. The indissoluble architectural and artistic unity of the city and its waterways from the very beginning was one of the most important advantages and the most peculiar beauty of St. Petersburg. The formation of the architectural appearance of St. Petersburg in the first half of the 18th century. is associated mainly with the activities of architects D. Trezzini, M. Zemtsov, I. Korobov and P. Eropkin.
Domenico Trezzini (c. 1670-1734) was one of those foreign architects who, having arrived in Russia at the invitation of Peter I, remained here for many years, or even until the end of their lives. Trezzini's name is associated with many structures in early Petersburg; he owns "exemplary", that is, standard designs of residential buildings, palaces, temples, various civil structures.
Domenico Trezzini. Peter and Paul Cathedral in Leningrad. 1712-1733 View from the northwest.
Trezzini did not work alone. Together with him worked a group of Russian architects, whose role in the creation of a number of structures was extremely responsible. Trezzini's best and most significant creation is the famous Peter and Paul Cathedral, built in 1712-1733. The construction is based on the plan of a three-nave basilica. The most remarkable part of the cathedral is its bell tower directed upwards. Just like the Menshikov Tower of Zarudny in its original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, completed with the figure of an angel. The proud, light takeoff of the spire is prepared by all the proportions and architectural forms of the bell tower; the gradual transition from the actual bell tower to the “needle” of the cathedral has been thought out. The bell tower of the Peter and Paul Cathedral was conceived and implemented as an architectural dominant in the ensemble of Petersburg under construction, as the embodiment of the greatness of the Russian state, which established its new capital on the shores of the Gulf of Finland.
Trezzini. The building of the Twelve Collegia in Leningrad. Fragment of the facade.
In 1722-1733. another well-known building of Trezzini is created - the building of the Twelve Collegia. Strongly elongated in length, the building has twelve sections, each of which is designed as a relatively small but independent house with its own ceiling, pediment and entrance. Trezzini's favorite austere pilasters in this case are used to unite the two upper floors of the building and emphasize the measured, calm rhythm of the façade articulations.The proud, rapid rise of the bell tower of the Peter and Paul Fortress Cathedral and the calm length of the building of the Twelve Collegia - these wonderful architectural contrasts were made by Trezzini with the impeccable tact of the outstanding master.
Most of Trezzini's works are characterized by restraint and even austerity in the architectural design of buildings. This is especially noticeable next to the decorative splendor and rich design of buildings from the middle of the 18th century.
Georg Mattarnovi, Gaetano Chiaveri, M.G. Zemtsov. Kunstkamera in Leningrad. 1718-1734 Facade.
The activity of Mikhail Grigorievich Zemtsov (1686-1743), who worked at the beginning with Trezzini and with his talent attracted the attention of Peter I. Zemtsov, apparently participated in all major works of Trezzini, was diverse. He completed the construction of the Kunstkamera building, begun by architects Georg Johannes Mattarnovi and Gaetano Chiaveri, built the churches of Simeon and Anna, Isaac of Dalmatsky and a number of other buildings in St. Petersburg.
G. Mattarnovi, G. Chiaveri, M.G.3emtsov. Kunstkamera in Leningrad. Facade.
Peter I attached great importance to the regular building of the city. The famous French architect Jean Baptiste Leblond was invited to Russia to develop the master plan for St. Petersburg. However, the general plan of St. Petersburg drawn up by Leblond had a number of very significant shortcomings. The architect did not take into account the natural development of the city, and his plan suffered from abstractness to a large extent. Leblon's project was only partially implemented in the layout of the streets of Vasilievsky Island. Russian architects have made many significant adjustments to its layout of St. Petersburg.
A prominent urban planner of the early 18th century was the architect Pyotr Mikhailovich Eropkin (c. 1698-1740), who gave a remarkable solution to the three-beam layout of the Admiralty part of St. Petersburg (including Nevsky Prospekt). Carrying out a great deal of work in the “Commission on the St. Petersburg Construction” formed in 1737, Eropkin was in charge of the development of other areas of the city. His activity was cut short in the most tragic way. The architect was associated with the Volynsky group that opposed Biron. Among other prominent members of this group, Eropkin was arrested and executed in 1740.
Yeropkin is known not only as a practicing architect, but also as a theoretician. He translated into Russian the works of Palladio, and also began work on the scientific treatise "The Position of an Architectural Expedition." The last work, concerning the basic questions of Russian architecture, was not completed by him; after his execution, this work was completed by Zemtsov and IK Korobov (1700-1747) - the creator of the first stone building of the Admiralty. Crowned with a tall thin spire, echoing the spire of the Peter and Paul Cathedral, the Admiralty tower built by Korobov in 1732-1738 has become one of the most important architectural landmarks of St. Petersburg.
Definition of the architectural style of the first half of the 18th century. usually causes a lot of controversy among researchers of Russian art. Indeed, the style of the first decades of the 18th century. evolved difficult and often very contradictory. In its formation he participated in a somewhat modified and more restrained in form style of Western European Baroque; the impact of Dutch architecture also affected. To one degree or another, the influence of the traditions of ancient Russian architecture made itself felt. A distinctive feature of many of the first buildings in St. Petersburg was severe utility and simplicity of architectural forms. The unique originality of Russian architecture of the first decades of the 18th century. lies, however, not in the complex and sometimes contradictory interweaving of architectural styles, but primarily in the city-planning scale, in the life-affirming power and in the greatness of the structures erected during this most important period for the Russian nation.
After the death of Peter I (1725), the extensive civil and industrial construction undertaken on his instructions faded into the background. A new period began in the development of Russian architecture. The best forces of the architects were now directed at palace construction, which took on an extraordinary scale. Since about 1740s. a distinctly expressed style of the Russian baroque was established.
In the middle of the 18th century, the widespread definition of Bartholomew Varfolomeevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. The work of Rastrelli the son belongs entirely to Russian art. His work reflected the increased power of the Russian Empire, the wealth of the highest court circles, who were the main customers of the magnificent palaces created by Rastrelli and the team headed by him.
Johann Braunstein. The Hermitage Pavilion in Peterhof (Petrodvorets). 1721-1725
Rastrelli's work on rebuilding the palace and park ensemble of Peterhof was of great importance. The site for the palace and a vast garden and park ensemble, which later received the name Peterhof (now Petrodvorets), was outlined in 1704 by Peter I. himself. In 1714-1717. Monplaisir and the stone Peterhof Palace were built according to the designs of Andreas Schlüter. In the future, several architects were involved in the work, including Jean Baptiste Leblond - the main author of the layout of the park and the fountains of Peterhof and I. Braunstein - the builder of the Marly and Hermitage pavilions.
From the very beginning, the Peterhof ensemble was conceived as one of the world's largest ensembles of garden and park structures, sculptures and fountains, competing with Versailles. The concept, magnificent in its integrity, united the Grand Cascade and the grandiose staircases that frame it, with the Big grotto in the center and towering over the entire palace into one inseparable whole.
Without touching upon in this case the complex issue of authorship and the history of construction, which was carried out after the sudden death of Leblond, the installation in 1735 of the central in compositional role and ideological concept of the sculptural group "Samson tearing the lion's mouth" should be noted (authorship has not been established exactly), which ended the first stage of the creation of the largest of the regular park ensembles of the 18th century.
In the 1740s. the second stage of construction began in Peterhof, when a grandiose reconstruction of the Great Peterhof Palace was undertaken by the architect Rastrelli. Having retained some restraint in the design of the old Peterhof Palace, characteristic of the style of Peter the Great, Rastrelli nevertheless significantly enhanced its decorative design in the Baroque style. This was especially pronounced in the design of the left wing with the church and the right wing (the so-called Corps under the coat of arms), newly built to the palace. The final of the main stages of the construction of Peterhof dates back to the end of the 18th - the very beginning of the 19th century, when the architect A.N. Voronikhin and a whole galaxy of outstanding masters of Russian sculpture, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev, were involved in the business.
In general, the first projects of Rastrelli, dating back to the 1730s, are still largely close to the style of Peter's time and do not amaze with that luxury
and the pomp that manifests itself in his most famous creations - the Big (Catherine) Palace in Tsarskoe Selo (now Pushkin), the Winter Palace and the Smolny Monastery in St. Petersburg.
V.V. Rastrelli. Big (Catherine's) Palace in Tsarskoe Selo (Pushkin). 1752-1756 View from the park.
Having started the creation of the Catherine Palace (1752-1756), Rastrelli did not rebuild it entirely. In the composition of his grandiose building, he skillfully included the already existing palace structures of architects Kvasov and Chevakinsky. These relatively small buildings, interconnected by one-storey galleries, Rastrelli united into one magnificent building of a new palace, the facade of which reached three hundred meters in length. Low one-story galleries were built on and thereby raised to the total height of the horizontal articulations of the palace, the old side buildings were included in the new building as protruding projections.
Both inside and outside the Catherine Palace Rastrelli was distinguished by an exceptional richness of decorative design, inexhaustible invention and a variety of motives. The roof of the palace was gilded; sculptural (also gilded) figures and decorative compositions towered above the balustrade that encircled it. The façade was decorated with mighty Atlantean figures and intricate stucco moldings of garlands of flowers. The white color of the columns stood out clearly against the blue color of the walls of the building.
The interior of the Tsarskoye Selo Palace was designed by Rastrelli along the longitudinal axis. The numerous halls of the palace, intended for ceremonial receptions, formed a solemn, beautiful enfilade. The main color combination of interior decoration is gold and white. Abundant gold carving, images of frolicking cupids, exquisite forms of cartouches and volutes - all this was reflected in the mirrors, and in the evenings, especially on the days of solemn receptions and ceremonies, it was brightly lit by countless candles ( This rare in beauty palace was barbarously plundered and set on fire by the German fascist troops during the Great Patriotic War of 1941-1945. Thanks to the efforts of the masters of Soviet art, the Great Tsarskoye Selo Palace has now been restored as far as possible.).
In 1754-1762. Rastrelli is building another large building - the Winter Palace in St. Petersburg, which became the basis for the future Palace Square ensemble.
Unlike the highly elongated Tsarskoye Selo Palace, the Winter Palace is designed in terms of a huge closed rectangle. The main entrance to the palace was at that time in a spacious courtyard.
V.V. Rastrelli. Winter Palace in Leningrad. 1754-1762 View from the side of Palace Square.
V.V. Rastrelli. Winter Palace in Leningrad. Facade from the side of Palace Square. Fragment.
Considering the location of the Winter Palace, Rastrelli designed the facades of the building differently. For example, the south-facing facade of the Palace Square that was subsequently formed is designed with a strong plastic accent on the central part (where the main entrance to the courtyard is located). On the contrary, the facade of the Winter Palace, facing the Neva, is sustained in a calmer rhythm of volumes and colonnades, due to which the length of the building is better perceived.
V.V. Rastrelli. Cathedral of the Smolny Monastery in Leningrad. Fragment of the western facade.
V.V. Rastrelli. Cathedral of the Smolny Monastery in Leningrad. Started in 1748. View from the west.
Rastrelli's activities were mainly aimed at creating palace structures. But in church architecture, he left an extremely valuable work - the project of the ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, begun in 1748, stretched out over many decades and was completed by the architect V.P. Stasov in the first third of the 19th century. In addition, such an important part of the entire ensemble, as the nine-tiered bell tower of the cathedral, was never completed. In the composition of the five-domed cathedral and in a number of general principles for solving the ensemble of the monastery, Rastrelli directly proceeded from the traditions of ancient Russian architecture. At the same time, we see here the characteristic features of the architecture of the middle of the 18th century: the splendor of architectural forms, the inexhaustible richness of the decor.
Among the outstanding creations of Rastrelli are the wonderful Stroganov Palace in St. Petersburg (1750-1754), St. Andrew's Cathedral in Kiev, the Resurrection Cathedral of the New Jerusalem Monastery near Moscow, rebuilt according to his project, the wooden two-story Annenhof Palace in Moscow, which has not survived to our time, and others.
If Rastrelli's activity took place mainly in St. Petersburg, then another outstanding Russian architect, Korobov's student Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two remarkable monuments of Russian architecture of the mid-18th century are associated with his name: the bell tower of the Trinity-Sergius Lavra (1740-1770) and the stone Red Gate in Moscow (1753-1757).
By the nature of his work, Ukhtomsky is quite close to Rastrelli. Both the bell tower of the Lavra and the triumphal gate are rich in external design, monumental and festive. Ukhtomsky's valuable quality is his striving to develop ensemble solutions. And although his most significant plans were not implemented (the project of the Invalidny and Hospital houses ensemble in Moscow), progressive tendencies in Ukhtomsky's work were picked up and developed by his great students - Bazhenov and Kazakov.
A prominent place in the architecture of this period was occupied by the work of Savva Ivanovich Chevakinsky (1713-1774 / 80). A disciple and successor of Korobov, Cheva-kinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and Tsarskoe Selo. The talent of Chevakinsky was especially fully manifested in the Nikolsky Naval Cathedral he created (Petersburg, 1753 - 1762). The slender four-tiered bell tower of the cathedral, enchanting with its festive elegance and impeccable proportions, is remarkably designed.
Second half of the 18th century marks a new stage in the history of architecture. Just like other types of art, Russian architecture testifies to the strengthening of the Russian state and the growth of culture, reflects a new, more sublime idea of \u200b\u200bman. The ideas of civic consciousness, proclaimed by the enlighteners, the idea of \u200b\u200ban ideal, built on a reasonable basis, a noble state find a peculiar expression in the aesthetics of 18th century classicism, and are reflected in ever clearer, classically restrained forms of architecture.
Since the 18th century. and up to the middle of the 19th century, Russian architecture occupies one of the leading places in world architecture. Moscow, Petersburg and a number of other cities of Russia are enriched at this time with first-class ensembles.
The formation of early Russian classicism in architecture is inextricably linked with the names of A.F. Kokorinov, Wallen Delamot, A. Rinaldi, Y. M. Felten.
Alexander Filippovich Kokorinov (1726-1772) was among the direct assistants of one of the most prominent Russian architects of the mid-18th century. Ukhtomsky. As the latest research shows, the young Kokorinov built the palace ensemble in Petrovsky-Razumovsky (1752-1753), famous by his contemporaries, which has survived to this day modified and rebuilt. From the point of view of the architectural style, this ensemble was undoubtedly close to the magnificent palace structures of the mid-18th century, erected by Rastrelli and Ukhtomsky. New, foreshadowing the style of Russian classicism, was, in particular, the use of a severe Doric order in the design of the entrance gates of the Razumovsky palace.
Wallen Delamot. Small Hermitage in Leningrad. 1764-1767
From about 1760, Kokorinov began a long-term collaboration with Wallen Delamot (1729-1800) who came to Russia. Originally from France, Delamot came from a family of renowned architects Blondel. Such significant buildings of St. Petersburg as the Great Guest House (1761 - 1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767) are associated with the name of Wallen Delamot. Delamot's structure, known as New Holland - the building of the admiralty warehouses, where special attention is drawn to the arch thrown over the channel made of simple dark red brick with decorative use of white stone, is executed with a subtle harmony of architectural forms, solemnly stately simplicity.
Wallen Delamot. The central part of the main facade of the Academy of Arts in Leningrad. 1764-1788
A.F.Kokorinov and Wallen Delamot. Academy of Arts in Leningrad. 1764-1767 View from the Neva.
Wallen Delamot. "New Holland" in Leningrad. 1770-1779 Arch.
Vallene Delamot participated in the creation of one of the most distinctive structures of the 18th century. - The Academy of Arts in St. Petersburg (1764-1788). The austere, monumental building of the Academy, built on Vasilievsky Island, has acquired an important role in the city's ensemble. The main facade overlooking the Neva was majestically and calmly solved. The general design of this building testifies to the predominance of the early classicism style over the baroque elements.
The most striking is the plan of this structure, which, apparently, was mainly developed by Kokorinov. Behind the seemingly calm facades of the building, which occupies an entire city block, there is a complex internal system of educational, residential and utility rooms, staircases and corridors, courtyards and passages. Particularly noteworthy is the layout of the courtyards of the Academy, which included one huge circular courtyard in the center and four smaller courtyards in the shape of a rectangle, in each of which two corners are rounded.
A. F. Kokorinov, Wallen Delamot. Academy of Arts in Leningrad. Plan.
A building close to the art of early classicism is the Marble Palace (1768-1785). Its author was the Yang architect Antonio Rinaldi (c. 1710-1794), who was invited to Russia. In the earlier buildings of Rinaldi, the features of the late Baroque and Rococo style were clearly manifested (the latter is especially noticeable in the refined decoration of the apartments of the Chinese Palace in Oranienbaum).
Along with large palace and park ensembles in Russia, estate architecture is being developed more and more. The construction of estates was especially active in the second half of the 18th century, when the decree of Peter III was issued on the release of the nobles from compulsory public service. Having dispersed to their ancestral and newly received estates, the Russian nobles began to intensively build and improve themselves, inviting the most prominent architects for this, and also widely using the labor of talented serf architects. Estate building reaches its peak in the late 18th and early 19th centuries.
Lattice of the Summer Garden in Leningrad. 1773-1784 Attributed to Yu.M. Felten.
The master of early classicism was Yuri Matveyevich Felten (1730-1801), one of the founders of the remarkable embankments of the Neva, associated with the implementation of urban planning work in the 1760s-1770s. Closely connected with the ensemble of the Neva embankments is the construction of the Summer Garden grating, striking in its nobleness, in the design of which Felten participated. Among Felten's buildings, the Old Hermitage building should be mentioned.
Laundry bridge over the Fontanka river in Leningrad. 1780s
In the second half of the 18th century. lived and worked one of the greatest Russian architects - Vasily Ivanovich Bazhenov (1738-1799). Bazhenov was born into the family of a sexton near Moscow, near Maloyaroslavets. At the age of fifteen, Bazhenov was in an artel of painters on the construction of one of the palaces, where the architect Ukhtomsky drew attention to him, who accepted the gifted young man into his "architectural team." After organizing the Academy of Arts in St. Petersburg, Bazhenov was sent there from Moscow, where he studied at the gymnasium at Moscow University. In 1760 Bazhenov went abroad as a pensioner of the Academy, to France and Italy. The outstanding natural talent of the young architect already in those years received high recognition, 28-year-old Bazhenov comes from abroad with the title of professor of the Roman Academy and the title of academician of the Florentine and Bologna Academies.
Bazhenov's exceptional talent as an architect, his great creative scope, manifested itself with particular clarity in the project of the Kremlin Palace in Moscow, on which he began to work in 1767, actually conceiving the creation of a new Kremlin ensemble.
V.I.Bazhenov. Plan of the Kremlin Palace in Moscow.
According to Bazhenov's project, the Kremlin was to become, in the full sense of the word, a new center of the ancient Russian capital, moreover, in the most direct way connected with the city. In counting on this project, Bazhenov even proposed to tear down part of the Kremlin wall from the side of the Moskva River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would be no longer separated from the city.
The facade of the Bazhenov Kremlin Palace was to face the Moskva River, to which from above, from the Kremlin hill, there were solemn staircase descents, decorated with monumental decorative sculpture.
The palace building was designed as a four-storey building, with the first two floors serving a service purpose, while the third and fourth were used as the actual palace apartments with large two-story halls.
V.I.Bazhenov. The project of the Grand Kremlin Palace in Moscow. Incision.
In the architectural design of the Kremlin Palace, new squares, as well as the most significant internal premises, an exceptionally large role was assigned to colonnades (mostly Ionic and Corinthian orders). In particular, a whole line of colonnades surrounded the main square in the Kremlin designed by Bazhenov. This square, which had an oval shape, the architect intended to surround with buildings with strongly protruding basement parts, forming, as it were, stepped stands for accommodating the people.
V.I.Bazhenov. Model of the Kremlin Palace. Fragment of the main facade. 1769-1772 Moscow, Museum of Architecture.
Extensive preparatory work began; a wonderful (preserved to this day) model of the future structure was made in a specially built house; the interior decoration and decoration of the palace were carefully developed and designed by Bazhenov ...
The unsuspecting architect faced a severe blow: as it turned out later, Catherine II was not going to bring this grandiose construction to the end, it was started by her mainly in order to demonstrate the power and wealth of the state during the Russian-Turkish war. Already in 1775 the construction was completely stopped.
In subsequent years, Bazhenov's largest work was the design and construction of the ensemble in Tsaritsyn near Moscow, which was supposed to be the summer residence of Catherine II. The ensemble in Tsaritsyno is a country estate with an asymmetric arrangement of buildings, executed in a distinctive style, sometimes called "Russian Gothic", but to a certain extent based on the use of motives of Russian architecture of the 17th century.
It was in the traditions of Old Russian architecture that Bazhenov gave combinations of red brick walls of Tsaritsyn buildings with details of white stone.
The surviving Bazhenov buildings in Tsaritsyn - the Opera House, the Figured Gate, the bridge across the road - give only a partial idea of \u200b\u200bthe general idea. Bazhenov's project was not only not implemented, but even the palace that was almost completed by him was rejected by the arriving empress and was broken on her orders.
V.I.Bazhenov. Pavilions of the Mikhailovsky (Engineering) Castle in Leningrad. 1797-1800
V.I.Bazhenov. Mikhailovsky (Engineering) Castle in Leningrad. 1797-1800 North facade.
Bazhenov paid tribute to the emerging pre-romantic tendencies in the project of the Mikhailovsky (Engineering) castle, which, with some changes, was carried out by the architect V.F.Brenna. Built by order of Paul I in St. Petersburg, Mikhailovsky Castle (1797-1800) was at that time a structure surrounded, like a fortress, by moats; draw bridges were thrown over them. The tectonic clarity of the general architectural concept and, at the same time, the complexity of the layout were combined in a peculiar way.
In most of his projects and structures, Bazhenov acted as the greatest master of early Russian classicism. A remarkable creation of Bazhenov is the Pashkov house in Moscow (now the old building of the V.I.Lenin State Library). This building was built in the years 1784-1787. The palace-type structure, the Pashkov house (named after the name of the first owner) turned out to be so completely resolved that it took one of the first places among the monuments of Russian architecture both in terms of the urban ensemble and for its high artistic merit.
V.I.Bazhenov. P. E. Pashkov's house in Moscow. 1784-1787 Main facade.
The main entrance to the building was arranged from the side of the front yard, where there were several service buildings of the manor-palace. Situated on a hill rising from Mokhovaya Street, the Pashkov House faces the Kremlin with its main facade. The main architectural array of the palace is its central three-storey building, crowned with a light belvedere. On both sides of the building there are two side two-storey buildings. The central building of Pashkov's house is decorated with a Corinthian colonnade that unites the second and third floors. The side pavilions have smooth Ionic columns. The subtle thoughtfulness of the overall composition and all the details imparts to this building an extraordinary lightness and at the same time significance, monumentality. The genuine harmony of the whole, the graceful elaboration of the details eloquently testify to the genius of its creator.
Another great Russian architect who worked at one time with Bazhenov was Matvey Fedorovich Kazakov (1738-1812). A native of Moscow, Kazakov even more closely than Bazhenov linked his creative activity with Moscow architecture. When he was thirteen years old at the Ukhtomsky school, Kazakov learned the art of architecture in practice. He was neither at the Academy of Arts, nor abroad. From the first half of the 1760s. young Kazakov already worked in Tver, where a number of buildings, both residential and public, were built according to his project.
In 1767, Kazakov was invited by Bazhenov as his direct assistant for the design of the ensemble of the new Kremlin Palace.
MF Kazakov Senate in the Moscow Kremlin. Plan.
M.F. Kazakov. Senate in the Moscow Kremlin. 1776-1787 Main facade.
One of the earliest and at the same time the most significant and famous buildings of Kazakov is the Senate building in Moscow (1776-1787). The Senate building (currently the Supreme Soviet of the USSR is located here) is located inside the Kremlin not far from the Arsenal. It is triangular in plan (with courtyards), one of the facades faces Red Square. The central compositional node of the building is the Senate Hall, which has a huge domed ceiling for that time, the diameter of which reaches almost 25 m. The relatively modest design of the building from the outside is contrasted with the magnificent solution of a round ceremonial hall with three tiers of windows, a Corinthian colonnade, a coffered dome and a rich stucco molding.
The next widely known creation of Kazakov is the building of Moscow University (1786-1793). This time Kazakov turned to the widespread plan of a city estate in the form of the letter P. In the center of the building is an assembly hall in the form of a semi-rotunda with a domed ceiling. The original appearance of the university, built by Kazakov, differs significantly from the exterior design given to it by D.I.Gilardi, who restored the university after the fire of Moscow in 1812. The Doric colonnade, reliefs and pediment over the portico, aedicules at the ends of the side wings, etc. - all of this was not in the Kazakov building. It looked taller and less deformed in front. The main facade of the university in the 18th century. had a slender and lighter colonnade of the portico (Ionic order), the walls of the building were dismembered with shoulder blades and panels, the ends of the side wings of the building had Ionic porticoes with four pilasters and a pediment.
Like Bazhenov, Kazakov sometimes turned in his work to the traditions of the architecture of Ancient Rus, for example, in the Petrovsky Palace, built in 1775-1782. Pitcher-shaped columns, arches, window decorations, hanging weights, etc., together with red brick walls and white stone decorations, clearly echoed pre-Petrine architecture.
However, most of Kazakov's church buildings - the Church of Philip the Metropolitan, the Church of the Ascension on Gorokhovskaya Street (now Kazakov Street) in Moscow, the Baryshnikov Church-Mausoleum (in the village of Nikolo-Pogorel, Smolensk Region) - are resolved not so much in terms of ancient Russian churches as in the spirit classic torus
