The 18th century for Russia is an era of changes associated with the reforms of Peter I. These reforms affected almost all spheres of the country’s life:
economy, government, military affairs, education, social thought, science and culture. From the “window to Europe”, which Peter the Great cut, all the achievements of modern times literally poured into Russia.
Russian art in various ways it mastered and processed Western European experience: ready-made works of art were bought abroad, their own works were created by domestic and foreign specialists, who were very actively involved in Russia at that time. Talented people were sent to Europe to study at government expense.
Features of artistic creativity of the 18th century
New times created and new culture which replaced the Middle Ages. The idea of beauty and the forms of its embodiment changed.
At the same time, we must not forget that the art of Peter the Great’s time had not yet been completely established; foreign art was not filtered, but did not have a predominant importance in Russian art. Life itself put everything in its place, and in Russian culture only that which took root on Russian soil and met national interests remained. It was this process that brought Russian art out of the closed space of the Middle Ages and connected it with pan-European art, while providing examples of world-class masterpieces.
We must not forget that the public worldview was changing - Russia took the path of absolutism. Science and education developed. The Academy of Sciences was created, book printing actively developed, and culture entered a secular path of development. These changes were especially pronounced in the visual arts and architecture.
The principles of urban planning have changed - they relate to layout, certain types of buildings, compositions of facades, decor, interior, etc.
In the second half of the 18th century. Baroque was replaced by classicism, based on the principles of antiquity. But in Russian architecture, the features of classicism became noticeable already in the first half of the 18th century: simplicity, balance and severity of forms. In connection with the development of industry and trade, the need arose for the construction of buildings of industrial, state and public importance: banks, exchanges, markets, guest houses, government offices. And the development of culture and education led to the construction of libraries, theaters, universities, and academies. The privileges of the nobility expanded, and this led to the growth of noble estates in rural areas.
Painting
In the first half of the 18th century. a genre is being formed secular portrait. This era is called the “portrait of Peter’s time.” The portrait genre becomes dominant in painting. It is already very different from the parsuna of the late 17th century. composition, color, individualization of the person depicted.
I. G. Tannauer. Portrait of Peter I
Artists began to use direct perspective, which creates depth and volume in the image on a plane. The art of Peter the Great's era is characterized by a high pathos of affirmation, which is why central theme it becomes a person, and the main genre is a portrait.
But the question of authorship in the Peter the Great era remained a complex problem. Artists sometimes did not sign their works. In addition, there was also the problem of identifying the model, because commissioned portraits were usually created with a large degree of embellishment of the person being portrayed, especially since these were usually the emperor and members of his family and their entourage.
I. Nikitin. Portrait of Chancellor Golovkin
Parsuna is gradually being replaced, but continues to exist for some time even in the works of advanced artists of the era: I. Nikitina, I. Vishnyakova, A. Antropova, A. Matveeva, I. Argunova and other artists, which indicates the not yet completed transition from the medieval to the new style. Traces of parsunism are also found in the second half of the 18th century, especially in the works of serfs and provincial craftsmen, self-taught.
I. Vishnyakov. Portrait of Ksenia Ivanovna Tishinina (1755)
In Russian painting of the second half of the 18th century. Two artistic styles predominated: classicism and sentimentalism.
Further development received the genre of portrait. Artists V. Borovikovsky And F. Rokotov worked in the style of sentimentalism and created a number of lyrical and spiritual portraits.
V. Borovikovsky. Portrait of E.N. Arsenyeva (1796)
A portrait artist created a whole gallery of images of extraordinary people D. Levitsky.
Architecture
First half of the 18th century marked in architecture by the Baroque style. The first stage of the development of Russian Baroque dates back to the era of the Russian Empire, and from the 1680s to the 1700s the Moscow Baroque began to develop, the main feature of which was the widespread use of elements of the architectural order and the use of centric compositions in temple architecture.
The founding of St. Petersburg gave a powerful impetus to the development of architecture in Russia; it began with the activities of Peter I new stage in the development of Russian Baroque, this stage was called “Petrine Baroque”, which was guided by examples of Swedish, German and Dutch civil architecture. But only the first architectural monuments of this period (for example, the Peter and Paul Cathedral in St. Petersburg) practically escaped Russian influence. Despite the abundance of foreign architects, a new architectural school of its own is beginning to form in Russia.
The architecture of Peter the Great's time was distinguished by the simplicity of volumetric constructions, clarity of divisions and restraint of decoration, and planar interpretation of the facades. The first architects of St. Petersburg: Jean-Baptiste Leblond, Domenico Trezzini, Andreas Schlüter, J.M. Fontana, Nicolo Michetti And G. Mattarnovi. All of them worked in Russia at the invitation of Peter I. Each of them introduced the traditions of the architectural school that he represented into the appearance of the buildings they constructed. Russian architects also adopted the traditions of European Baroque, for example, Mikhail Zemtsov.
The Winter Palace is one of the most famous monuments Elizabethan Baroque
During the reign of Elizabeth Petrovna, a new Elizabethan baroque developed. It is associated with the name of the outstanding architect Francesco Bartolomeo Rastrelli. But this style is more associated not with Peter the Great, but with the Moscow Baroque. Rastrelli designed palace complexes in St. Petersburg and its environs: the Winter Palace, the Catherine Palace, Peterhof. His creations are characterized by their enormous scale, splendor of decorative decoration, and two- or three-color facades using gold. The festive nature of Rastrelli's architecture left its mark on all Russian art of the mid-18th century.
In the Elizabethan Baroque, an important place belongs to the work of Moscow architects of the mid-18th century. led by D. V. Ukhtomsky And I. F. Michurin.
In the 1760s, Baroque in Russian architecture was gradually replaced by classicism.
The rise of strict classicism is associated with creativity M.F. Kazakova(1738-1812). Almost all monumental buildings in Moscow from the late 18th century. created by him: the Senate Palace in the Kremlin, the Petrovsky Travel Palace, the Great Tsaritsyn Palace, Butyrka, etc.
Old buildings of Moscow University on Mokhovaya Street. Architect M.F. Kazakov
In 1812, during the fire of Moscow, the building almost completely burned down. All the floors that were made of wood have been lost. The library, which included many exclusive materials, was destroyed. The museum collection and archives have disappeared. Until 1819, Domenico Gilardi worked on recreating the old building.
Nowadays the Institute of Asian and African Countries at Moscow State University is located here.
The masters of early classicism were A.F. Kokorinov(1726-1772) and French J.B. Valen-Delamote(1729-1800). Kokorinov's works mark the transition from Baroque to Classicism. They are the authors of the building project Imperial Academy arts in St. Petersburg. And Valen-Delamot also owns the building of the Small Hermitage.
I.E. Starov(1745-1808) - the largest architect of the second half of the 18th century. Among his works is the Tauride Palace in St. Petersburg (1783-1789). This is a huge city estate of G.A. Potemkin, who bore the title of Prince of Tauride.
In the 80-90s, the championship passed to the architects Quarenghi and Cameron. D. Quarenghi(1744-1817), Italian by birth, mainly worked in St. Petersburg. A typical building for Quarenghi is a building made up of three parts: a central building and two wings connected to it by galleries. The center of the composition was highlighted by a portico. Quarenghi built the building of the Academy of Sciences and the building of the Assignation Bank. Then he creates the Hermitage Theater and the Alexander Palace in Tsarskoe Selo. The buildings of the Smolny Institute are also the work of Quarenghi.
Cameron- author of the palace-estate in Pavlovsk.
The building of the Smolny Institute. Architect D. Quarenghi
Sculpture
In the second half of the 18th century. the highest achievements in the field of sculpture are associated with creativity F.I. Shubina(1740-1805). Shubin is a master of Russian sculptural portraiture. He had no predecessors in this genre in Russia. The gallery of sculptural portraits created by him (A.M. Golitsyn, P.A. Rumyantsev, M.V. Lomonosov, Paul I, etc.) is distinguished by its realism and expressiveness.
Monumental sculpture of the second half of the 18th century. represented by many works, the largest of which is “The Bronze Horseman” EM. Falcone– equestrian monument to Peter I.
A prominent representative of classicism in sculpture was M.I. Kozlovsky. He embodied the image of a modern hero in the monument to A. Suvorov, although without a portrait resemblance. Rather, this is a generalized image of a hero-commander. M.I. Kozlovsky is the author of the famous sculptural group “Samson Tearing the Lion’s Mouth” in Peterhof.
Monument to Suvorov in St. Petersburg (1801). Inscription under the monument: Prince of Italy Count Suvorov of Rymnik
Details Category: Fine arts and architecture of the late 16th-18th centuries Published 04/07/2017 15:31 Views: 3113IN Western European art XVII-XVIII centuries main artistic directions and the movements were Baroque and Classicism. In many European countries ah, the Academy of Arts and Architecture was created. But none of these styles existed in the art of England in the 17th-18th centuries. in its pure form, because they came to English soil much later than to other countries.
For English art This period is characterized by attention to the emotional life of people, especially with regard to portraiture. In addition, the English Enlightenment paid special attention to the ideas of moral education of the individual, problems of ethics and morality. Another leading genre of English painting of this period was the everyday genre. We talked about the most famous artists (T. Gainsborough, D. Reynolds, W. Hogarth) on our website.
Architecture
In the 17th and 18th centuries. England was one of the largest centers of European architecture. But different architectural styles and trends sometimes existed here simultaneously.
At the origins of the British architectural tradition stood Inigo Jones(1573-1652), English architect, designer and artist.
Posthumous portrait of Inigo Jones by William Hogarth (painted after lifetime portrait Van Dyck)
Inigo Jones was born in 1573 in London into the family of a clothier. In 1603-1605. Jones studied drawing and design in Italy. Returning to his homeland, he was engaged in creating scenery for theatrical performances; he played a significant role in the development of European theater.
In 1613-1615 Jones is back in Italy, studying the works of Andrea Palladio, ancient and Renaissance architecture. In 1615, Jones became the chief caretaker of the royal buildings, and in Greenwich he soon began construction of the country mansion of Queen Anne, wife of James I.
Queens House
The two-storey Queens House is a monolithic cube, completely white and almost without architectural decoration. There is a loggia in the center of the park façade. Queens House was the first English building in the classicist style.
Tulip staircase at Queens House, Greenwich
The architect's next work was the Banqueting House in London (1619-1622). Its two-story facade is almost entirely covered with architectural decoration. In the interior, a two-tier colonnade reproduces the appearance of an ancient temple. Jones's buildings were in keeping with the tastes of the English court of the time. But Jones's work was appreciated only in the 18th century: it was rediscovered by fans of Palladio, and his works became models for the buildings of English Palladianism.
Banqueting house
At the end of the 16th and beginning of the 17th centuries. played an important role in the history of the palace theatrical performances(“masks”). Particularly famous were the sets and costumes created by Inigo Jones, a talented theater designer.
The banqueting house is 34 m long, 17 m wide and the same in height. Two floors rise above the high base. Wide windows are arranged rhythmically along the façade. The center of the building is highlighted by 8 columns of the Ionic order in the bottom row, Corinthian - in the top. Above the windows of the upper floor there is a frieze in the form of garlands carved in stone. An elegant balustrade completes the entire composition. The only hall of this building was decorated by Rubens.
At the end of the 19th century. The building housed an 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 revered 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 - Wren classicism.
Ren was a scientist, studied mathematics and astronomy, and turned to architecture when he was already over thirty. Over the course of a long and fruitful career, he managed to realize almost all of his plans. He built palaces and temples, libraries and theaters, hospitals and town halls, and developed residential areas of London. Taken together, Ren's many buildings could form a medium-sized city. After the “great fire” of 1666, Wren took an active part in the restoration of London: he rebuilt over 50 of the 87 burned churches. The crowning achievement of this activity was the grandiose and majestic cathedral 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. Large complex The hospital consists of 4 buildings, forming rectangular courtyards with a spacious area between the front buildings, porticoes of the facades facing the river. Wide steps, flanked by majestic domed buildings, lead to a second square between a second pair of courtyards. The colonnade of twin columns framing the square forms a very impressive vista ending with Inigo Jones's Queens House. The architect also took part in the construction of Greenwich Hospital Nicholas Hawksmoor(1661-1736). He began work during Ren's lifetime and continued it after the architect's death.
Ren followed the path of Inigo Jones. But Jones absorbed the spirit of the Italian Renaissance, and Wren created in the style of classicism.
The traditions of Christopher Wren continued James Gibbs(1682-1754) - the most striking and original 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 it.
A. Soldi “Portrait of James Gibbs”
Gibbs's greatest influence was the work of Christopher Wren, but Gibbs gradually developed his own style. His famous Radcliffe Library at Oxford, austere and monumental, ranks high among the best monuments of English architecture.
The library is the most significant of Gibbs's buildings in scale and artistic merit. This peculiar 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 topped with a lantern rises above the balustrade.
The library is one of the best monuments of English architecture.
Another masterpiece of Gibbs is the Church of St. Martin in the Fields.
Church of St Martin in the Fields
She decorates Trafalgar Square in London. In St. Martin in the Fields, the influence of Christopher Wren can be seen, but the bell tower is not a separate building, it forms a single whole with the church building. Initially, contemporaries criticized this decision of the architect, but later the church became a model for numerous Anglican churches in England itself and beyond its borders.
English Palladianism
English Palladianism is associated with the name William Kent(c. 1684-1748), architect, archaeologist, painter and publisher.
Villa at Chiswick (1723-1729)
The villa was built by Lord Burlington with the direct participation William Kent. This is the most famous building of English Palladianism. It almost literally repeats the Villa Rotunda by Andrea Palladio, with the exception of the facades.
Villa park in Chiswick
The park facade is decorated with a portico with a pediment; a complex and elegant staircase leads to the portico. The villa was not intended for living, there are no bedrooms or a kitchen, there are only rooms 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 are the barracks of the Horse Guards in London. This is William Kent's most mature work.
William Kent built several palaces in London. Completed orders for interior design of country residences English nobility. Main job Kent's estate became Holkham Hall in Norfolk.
Holkham Hall in Norfolk
It was intended for Lord Leicester's art collection. Particularly famous are the interiors of Holkham Hall, full of silk, velvet and gilding. Furniture was also made according to Kent's drawings.
English park
Landscape English park is an important achievement of English architecture of the 18th century. The landscape park created the illusion of real, untouched nature; the presence of man and modern civilization was not felt here.
The first landscape park was built in the Palladian era at the estate of the poet Alexander Pope in Twickenham (a suburb of London). The French regular park seemed to him the personification of state tyranny, which even subjugated nature (Versailles Park). The poet considered England a free country. An innovator in the landscape art of England was William Kent. He created the best landscape parks of that era: the park of the Chiswick House villa, the Champs Elysees park in Stowe in Central England.
Champs Elysees Park
Particularly impressive were the artificial, specially 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 ancient style.
The Temple of Ancient Virtue, built by W. Kent in the ancient 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, each of which is reached by a 12-step staircase. Inside the temple there are 4 niches in which human-sized statues of ancient Greek celebrities are installed.
Already in the middle of the 18th century. landscape parks were common in England, France, Germany, and Russia.
The last major representative of Palladianism in English architecture was William Chambers(1723-1796) - Scottish architect, representative of classicism in architecture.
F. Kotes “Portrait of W. Chambers”
Chambers made a significant contribution to the development of landscape gardening art. Thanks to Chambers, exotic (Chinese) motifs appeared in the traditional English landscape park.
Big pagoda- the first building in the spirit Chinese architecture in Europe. It was built in Kew Gardens in Richmond in 1761-1762. designed by court architect William Chambers in accordance with the wishes of King George III's mother, Augusta. The height is 50 m, the diameter of the lower tier is 15 m. Inside the pagoda there is a staircase of 243 steps, the roof is tiled.
Imitations of the pagoda at Kew appeared in the English Garden in Munich and other parts of Europe. At the whim of Catherine II, Chambers' compatriot, Charles Cameron, designed a similar structure in the center of the Chinese village of Tsarskoe Selo, but the project was not brought to life. But the Chinese houses were still built.
Chinese houses. Chinese village in Alexander Park of Tsarskoe Selo
Neoclassical architecture
When in the middle of the 18th century. The first archaeological excavations of ancient monuments began in Italy; all the major representatives of English neoclassicism went to Rome to see the ruins of ancient buildings. Other English architects traveled to Greece to study ancient Greek buildings. In England, neoclassicism was distinguished by the fact that it adopted lightness and elegance from antiquity, especially in English neoclassical interiors. on the contrary, all the buildings were lighter and more elegant.
G. Wilson "Portrait of Robert Adam"
Played a special role in the architecture of English neoclassicism Robert Adam(1728-1792), Scottish architect from the Palladian Adam dynasty, the largest representative of the British XVIII classicism V. Adam relied on the study of ancient architecture and used strict classical forms. Adam's architectural activity was very wide. Together with his 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- rationalism, clothed in the forms of Greek antiquity.
House in the Syon House estate in London. Arch. R. Adam (1762-1764). Reception. London (UK)
The reception room at Syon House is one of Adam's most famous interiors. The room is decorated with twelve blue marble columns with gilded capitals and sculptures on 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 are simply placed against the wall, but they give the room a majestic appearance.
Even during the master’s lifetime, Adam’s interiors were considered by many to be the highest achievement of English architecture. The traditions of their art retained their importance in English architecture for a long time.
But in neoclassicism of the 18th century. There were two architects whose style differed from the “Adam style”: George Dance the Younger(1741-1825) and Sir John Soane(1753-1837). Dance's most famous building was Newgate Prison in London (not preserved). John Soane largely followed Dance's style, 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 18th century. In England, buildings appeared that used motifs gothic architecture: pointed arches, high roofs with steep slopes, stained glass windows. This period of enthusiasm for the Gothic is usually called the “Gothic Revival” (neo-Gothic). It continued until the beginning of the 20th century. and has become a popular style to this day: in England buildings are often built in the Gothic style).
The founder of the Gothic Revival was Count Horace Walpole(1717-1797) – writer, author of the first horror novel “The Castle of Otranto”. In 1746-1790 he rebuilt his villa in the Strawberry Hill estate (Twickenham, a suburb of London) in the Gothic style.
Villa
Font Hill Abbey in Central England was built between 1796 and 1807. architect James Wyeth (1746-1813).
Font Hill Abbey (not extant)
Already in the 19th century. gothic style became state-owned. In this style mid-19th V. The Houses of Parliament were under construction in London (architect Charles Barry) - one of the main buildings of English architecture of that time.
Plan:
1.) Introduction
2.) Main part.
I.) Architecture of the first half of the 18th century: Baroque
II.) Baroque architecture of the mid-18th century
III.) Prerequisites for the emergence and development of classicism
IV.) Architecture of early classicism (1760-1780)
V.) Architecture of strict classicism (1780-1800)
3.) Conclusion
4.) List of used literature
1.) Introduction.
For many centuries of Russian history, wood remained the main material in the construction of buildings and structures. It was in wooden architecture that many construction and compositional techniques were developed that met the natural and climatic conditions and artistic tastes of the people, which later influenced the formation of stone architecture.
Frequent fires accelerated the replacement of wood with stone in important urban structures such as city walls, towers and temples. The wooden walls of the Novgorod brainchild with an earthen rampart and moat are mentioned around 1044, and the first information about the stone fence dates back to 1302. The first information about the stone fence of Kyiv dates back to 1037, Staraya Ladoga - 1116, Moscow - 1367. some architectural differences in separate parts Rus', it had a number of common features, determined by the same conditions of development. This allows us to talk about Russian architecture in general and its artistic manifestation in different regions of the country throughout the history of the people.
Architecture is a phenomenon derived from a specific functional need, depending both on construction and technical capabilities (building materials and structures), and on aesthetic ideas, determined by the artistic views and tastes of the people, their creative ideas.
When perceiving works of Russian architecture, regardless of the time of their construction and size, the proportionality of the relationship between man and building is clearly visible. A peasant hut, a city residential building, a church or other building - they are all on a human scale, which gives Russian architecture a humanistic character.
2.) Main part.
I.) Architecture of the first half of the 18th century: Baroque.
The seventeenth century marks the end of the 700-year period of ancient Russian stone construction, which has written more than one remarkable page in the chronicle of world architecture. The sprouts of new monetary and trade relations and a rational worldview are breaking through the ossified forms of Domostroevsky life and scholastic* dogmas of theology. The sound views of the serving nobility and the economically prosperous merchants affect many aspects of public life and its material shell - architecture. Trade expanded, especially at the end of the 17th century, with Germany, Flanders, and England. Cultural ties with Poland and Holland are becoming closer. The broadening of horizons and the penetration of elements of Western European artistic culture into art and architecture was facilitated by the joint creative work of Russian, Ukrainian and Belarusian craftsmen. The historical unity of three fraternal peoples, largely based on common architectural trends, mutually enriched their skills. Life urgently demanded the construction of guest courtyards, administrative buildings, industrial enterprises, posed new practical problems, and obliged architects to look for technical and artistic solutions. The centralization of state power was accompanied by regulation in the field of construction. Architectural and technical documentation is being normalized. Design and reporting materials are being improved, large-scale drawings are being mastered, and architectural and construction details are being unified.
The end of the 17th century is a connecting link between ancient Russian architecture and architecture of the XVII century, a time that prepared the ground for a new artistic worldview, promoting the creative perception of the order tectonic system and the formation of masters of architecture for the transition to regular civil construction.
At the beginning of the 17th century, St. Petersburg became the main construction center. In 1700, Russia began the Northern War against Sweden to liberate Russian lands and return the Neva banks to Russia. On May 1, 1703, Russian troops entered the Nyenschanz fortress (at the confluence of the Okhta and Neva rivers). Main task northern war was decided by the capture of the fortress. Access to the Baltic Sea was open for Russia. It was only necessary to secure it and secure it. At the branching of the Neva into three branches, on a small Hare Island approximately 750 by 350 meters long and wide, on May 27, 1703, according to the drawings of Peter I and military engineers, a fortress of a new bastion type was founded - the Peter and Paul Fortress. To cover the mouth of the Neva from the sea, in 1703, construction of the naval base Kronshlot (Kronstadt) began on Kotlin Island. On the southern bank of the Neva, almost opposite the Peter and Paul Fortress, in 1704, according to the drawings of Peter I, a shipbuilding shipyard-fortress was founded - the Admiralty. Under the protection of three interacting fortresses, the construction of St. Petersburg began, which in 1712 became the new capital of Russia, proclaimed an empire in 1721.
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*Scholasticism (from the Greek scholastikos - school, scientist), a type of religious philosophy characterized by a combination of theological-dogmatic premises with rationalistic methodology and interest in formal-logical problems.
State and cultural transformations during the Petrine period gave rise to industrial and public buildings and structures - fortifications, shipyards, factories, industrial and hospitality yards, colleges, hospitals, educational and museum premises, theaters and residential buildings. The development of St. Petersburg was carried out mainly along the banks of the Neva, its branches and channels, due to the severe swampiness of the soil and access to waterways.
The placement of city-forming structures was carried out according to the instructions of Peter I himself. Initially, settlements were grouped according to tradition into settlements. They were built in the form of peasant huts or city mansions with facades, sometimes
painted to resemble brickwork. The only example of the early period is the later recreated log house of Peter I on the banks of the Neva on the Petrograd side, painted on the outside to look like brick.
Since 1710, only brick houses began to be built. Despite forced resettlement measures in St. Petersburg, construction proceeded slowly. The ideological and political importance of the rapid construction of the capital put forward important tasks for architecture. The city had to be created based on advanced urban planning principles, ensuring its prestigious and representative character not only in its external architectural and artistic appearance, but also in its planning structure. There was a shortage of qualified architects. And in 1709, the Chancellery was established, which was in charge of all construction matters. It creates a school for initial study architecture It was hoped that the students of this school would gain deeper knowledge in architectural teams in the process of practical cooperation between experienced architects. However, the school and teams could not support the expanding capital construction. Peter I invited experienced architects from Western countries, which made it possible to almost immediately involve them in the construction of the city. They also select talented young people and send them to study engineering and architectural arts in Western European countries.
IN new capital in 1710 the following were invited: Italians N. Michetti, G. Chiaveri, C. B. Rastrelli, Frenchman J. B. Leblon, Germans G. Matornovi, I. Schendel, A. Schlüter, Dutchman G. Van Boles. They had to not only build, but also train Russian architects from the students who worked with them. Italians came from Moscow - M. Fontana and fortification engineer and architect Domenico Trezzini. Gifted Russian architects I.P.Zarudny, D.V.Aksamitov, P.Potapov, M.I.Chochlakov, Ya.G.Bukhvostov, G.Ustinov and others successfully worked in Moscow. At the same time, the art of architecture was comprehended by those sent abroad who later became major architects: Ivan Korobov, Mordvinov and Ivan Michurin, Pyotr Eropkin, Timofey Usov and others. Thus, architects of different national schools worked in the new capital, but they created differently than in their homeland, obeying the tastes and requirements of customers, as well as adapting to the specific conditions of the city under construction. As a result of their activities, the architecture of St. Petersburg at that time became a kind of fusion of native Russian artistic traditions and formal elements brought from Western European countries.
Russian, Italian, Dutch, German and French architects erected mansions, palaces, temples and state buildings in the Russian capital, the architecture of which had common artistic features that defined the architectural style, usually called Russian Baroque of the 18th century or Peter's Baroque.
All the diversity of individual creative views of various architects in practice was softened under the influence of two main factors: firstly, the influence of centuries-old Russian traditions, the carriers and conductors of which were the executors of architectural designs - numerous carpenters, masons, plasterers, molders and other construction craftsmen. Secondly, the role of the customers, and above all Peter I himself, who extremely carefully and demandingly examined all the design proposals of the architects, rejecting those that, from his point of view, did not correspond to the appearance of the capital, or making significant and sometimes decisive changes. Often he himself indicated where, what and how to build, becoming an architect. On his initiative, master plans for St. Petersburg were developed. The artistic commonality of St. Petersburg buildings of Peter the Great's time is also explained by the peculiarities of building materials. Houses in the capital were built of mud-dove type and brick, plastered in two colors (the walls were red, light brown or green, and the blades, pilasters, platbands, and rustications on the corners were white). To attract masons to St. Petersburg, Peter I in 1714 issued a decree prohibiting construction with stone and brick throughout Russia, except the capital. The features of the architectural style can be clearly seen when considering the surviving architectural works of that time, such as "Monplaisir" and "Hermitage" in Petegof, the building of the Kunstkamera and the Twelve Colleges in St. Petersburg, etc.
At the direction of Peter I, Domenico Trezzini (1670-1734), for the first time in Russian architecture, developed in 1714 exemplary designs for residential buildings intended for developers of different incomes: one-story small ones for poorest population, more for nobles. The French architect J.B. Leblon (1679-1719) developed a project for a two-story house “for eminent people.” The exemplary project “reminiscent of the well-preserved summer palace of Peter I, which was built by D. Trezzini in 1710-1714 in the summer garden.
Despite the simplicity of the “exemplary” residential building projects, they are all distinguished by the character of the facades with rhythmically placed openings, framed by platbands of restrained outlines and figured gates on the side. Unlike the medieval development of Russian cities, where residential buildings stood behind fences in the depths of plots, all houses in the capital had to face the red lines* of streets and embankments, forming the front of their development and thereby giving the city an organized appearance. This urban planning innovation is reflected in the development of Moscow. Along with residential buildings, palaces with representative facades and vast, richly decorated state rooms were built in St. Petersburg and its suburbs.
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* Conditional boundary in urban planning, separating the roadway of the street from the building area
Decorative sculpture began to be used in combination with architecture, and picturesque decoration began to be used in interiors. Country and suburban residences with gardens are being created. The largest public buildings created by D. Trezzini that have survived to this day are the Peter and Paul Cathedral and the building of the Twelve Colleges. From under the arch of the Peter's Gate, the Peter and Paul Cathedral (1712-1733) clearly appears. The dynamic silhouette of the cathedral's bell tower, crowned with a high gilded spire and a weather vane in the form of an angel, rises from behind the walls of the fortress to 122 meters, becoming one of the most expressive dominant features in the panorama of the city on the Neva. The cathedral marked a complete departure from the compositional traditionalism of Russian temple construction. The cathedral was an innovative phenomenon for Russia. In its plan and appearance, it is not similar to Orthodox, cross-domed, five-domed or hipped churches. The cathedral is a rectangular building, elongated from west to east. The interior space of the cathedral is divided by powerful pylons* into three almost equal and identical in height (16 meters) spans. This type is called hall, in contrast to churches, in which, with the same plan, the middle span is higher and often wider than the side ones. The layout and silhouette composition of the cathedral were based on the structure of Baltic Lutheran hall-type churches with a bell tower topped with a spire. It was he who was supposed to become a symbol of the establishment of Russia at the mouth of the Neva and a symbol of the creative power of the Russian people. The spire, the prominent end of church bell towers, was a typical phenomenon for Peter's Petersburg, determining the silhouette character of the city's development in the first third of the 18th century. It should also be noted interior decoration- wooden carved gilded iconostasis in the Baroque style. The iconostasis was made under the direction of the architect and artist I.P. Zarudny (1722-1727) by an artel of Moscow craftsmen.
On Vasilievsky Island, the political center of the capital was formed and, according to the project of D. Trezzini, a building of twelve colleges was being erected (10 colleges - government bodies; the Senate and the Synod). The three-story building, 400 meters long, consists of twelve identical buildings with separate roofs and porticoes, connected at the ends. All buildings are united by an open arcade** with a long corridor on the second floor. According to the tradition of Peter the Great's time, the building was painted in two colors: brick red and white. The original decoration of the interiors in the form of stucco decoration has been preserved only in the Petrovsky Hall. The architectural value of that time should be noted for the palace of A.D. Menshikov (1710-1720). The three-tier order system of the facade with tiered rhythmic rows of pilasters was based on the artistic principles of Italian Renaissance architecture. The most remarkable architectural heritage is the state rooms, lined with Dutch tiles and the main staircase with columns and pilasters of the Baroque order.
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*Pylon (from the Greek pylon, lit. - gate, entrance), massive pillars that serve as a support for ceilings or stand on the sides of entrances or driveways.
**Arcade (French arcade), a series of identical arches supported by columns or pillars.
The use of orders in the architecture of St. Petersburg was a continuation of the traditions embodied in many buildings in Moscow of an earlier time. The original silhouette of the Kunstkamera building occupies a special place in the panorama of the banks of the Neva. The two wings of the three-story building on the ground floor are united by a four-story tower. The angles of the projections* and the fractures of the tower walls, combined with the two-tone coloring of the facade, give the building an elegant look. The silhouette of the tower clearly shows the continuity of the traditional stepped multi-tiered buildings of Moscow at the beginning of the 18th century. After the fire, the façade was simplified during restoration.
In 1710, Peter I issued a decree obliging the development of the southern coast of the Gulf of Finland. Palace and park ensembles are being built in Peterhof. By 1725, a two-story Nagorny Palace was erected. Subsequently, the palace underwent reconstruction and was expanded in the middle of the 18th century. Architect Rastrelli.
During the same period, a small palace was built near the bay itself, consisting of several rooms for Peter I and a state hall - the Monplaisir Palace. The Hermitage pavilion for privacy and the small two-story Marly palace were built.
In addition to St. Petersburg, construction was carried out in Moscow and other cities of the Russian Empire. As a result of the fire in Moscow in 1699, it was forbidden to erect wooden buildings in fire areas.
At the same time, the formal artistic convergence of the architecture of stone buildings in Moscow with Western European architecture, which began at the end of the 17th century, became even more noticeable at the beginning of the 18th century. An example of this is: the palace of F.Ya. Lefort on the Yauza (1697-1699); Old Mint (1697); Church of the Assumption on Pokrovka (1695-1699); Church of the Sign in Dubrovitsy (1690-1704). This indicates that domestic architects knew the order tectonic system and could skillfully combine order and other elements with Russian traditional techniques. An example of such a combination is the Lefortovo Palace in Nemetskaya Sloboda, built by one of the Moscow architects. The facades of the palace are divided by the measured rhythm of pilasters of the great Corinthian order. On the sides of the entrance arch their rhythm changes and they form a pilaster portico with a pediment. The planned system at the same time is a composition of a closed square, adopted in Rus' for trading and other yards.
In the 18th century, the order system became a common decorative technique for giving various buildings an elegant appearance.
This is evidenced by the artistic design of the main entrance to the courtyard
Arsenal (1702-1736) in the Kremlin, which represents a skillful transformation of orders combined with an abundance of decorative relief details. Remarkable in its architecture and artistic significance in Moscow architecture is the Church of the Archangel Gabriel (1701-1707), created by the architect I.P. Zarudny (1670-1727). The architect showed excellent skill in using order systems. The load-bearing part of the church volumes is designed using a large order, which is combined with elegant compositions of porticoes at the entrance made of two light columns
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*Rizalit (from Italian risalita - protrusion), part of the building protruding beyond the main building. façade line; usually located symmetrically relative to to the central axis of the facade.
Corinthian order supporting a decoratively designed entablature with a balustrade. The order in the building expresses the tectonics of the exhibition.
A new direction in the church architecture of Moscow, clearly expressed in the architecture of the Church of the Archangel Gabriel (Menshikov Tower), consisting in a harmonious combination of traditional Russian volumetric-spatial composition with formal elements of the new style, left an interesting example in Moscow - the Church of John the Warrior (1709-1713) on Yakimanka.
Architects I.A. Mordvinov and I.F. Michurin (1700-1763) were sent from St. Petersburg to Moscow. They were involved in drawing up plans for the Kremlin, Kitai-gorod and partly the White City in connection with the move of the royal court to Moscow and construction along the banks of the Yauza palaces of the court nobility. Michurin in 1734-1739 drew up a plan for Moscow, which represents a significant urban planning document of Moscow in the 18th century. It depicted the development of the city at that time. Other Russian cities continued to develop. An interesting example The longevity of national architectural traditions in the province is the Peter and Paul Cathedral in Kazan (1726).
II.) Baroque architecture of the mid-18th century.
During the period described, V.N. Tatishchev and M.V. Lomonosov laid the foundations of Russian historical science. Russian science and culture are of a high level, not inferior to European ones. Thanks to this, the first university was opened in Russia in 1755, and the Academy of Arts was opened in St. Petersburg, which played a major role in the development of the art and architecture of classicism.
Russia in the middle of the 18th century became one of the most developed European countries. All this determined the solemn and decorative appearance of palaces and temples - the main types of monumental buildings in Russia during this period. The most outstanding architects of that time included students of I.K. Korobov-S.I. Chevakinsky and D.V. Ukhtomsky. The largest architect of the mid-18th century was F.B. Rastrelli. At the same time, many unknown serf architects, painters, sculptors, carvers and other masters of applied art were working with him.
In the middle of the 18th century, the Baroque style in Russia had pronounced original features due to the continuity of decorative compositional techniques of Russian architecture of the early 18th century. One cannot help but emphasize the specific national feature of Baroque architecture in the mid-18th century - the polychromy of facades, the walls of which are painted blue, red, yellow and green. This is complemented by beams of columns, pilasters, and framed windows. A characteristic feature of architectural works is that groups of buildings or buildings often form a closed architectural ensemble, revealing itself only when one penetrates inside it. In palace and church premises, along with stucco picturesque decoration of walls and ceilings, multi-colored patterned floors were made from different types of wood. The ceiling painting creates the illusion of the infinity of the rising hall, which is emphasized by figures of different proportions floating in the sky, clearly separating their different distances from the viewer. The walls of the front rooms were framed with complex profiled gilded rods. The techniques for planning the halls are interesting. In palaces they are located according to the principle that the doors of passage halls are on a common axis, and their width illusorily increases.
Imperial and estate palaces were created in unity with gardens and parks, which were characterized by a regular planning system with straight alleys, trimmed tree vegetation and ornamental flower beds. In this section, special mention should be made of the works of Rastrelli's chief architect Francesco Bartolomeo (1700-1771), whose work reached its apogee in 1740-1750. The main works include: the ensemble of the Smolny Monastery in St. Petersburg; palaces in Courland (Latvia), in Rundava and Mitava (Jelgava); palaces of the Elizabethan nobles M.I. Vorontsov and S.G. Stroganov in St. Petersburg; imperial palaces - Winter in the capital, Bolshoi (Catherine's) in Tsarskoe Selo (Pushkin), Grand Palace in Peterhof, St. Adreevskaya Church and Mariinsky Palace in Kyiv. All of them characterize the Baroque style of the mid-18th century in Russia. The architect S.I. Chevakinsky worked simultaneously with F.B. Rastrelli. (1713-1770). The most remarkable creation of Chevakinsky S.I. surviving to this day was the design and construction of the huge two-story St. Nicholas Naval Cathedral (1753-1762) in St. Petersburg. Chevakinsky’s student was the future architect V.I. Bazhenov.
The largest representative of the Moscow Baroque of the mid-18th century was the architect D.V. Ukhtomsky. (1719-1774). His work developed under the influence of the artistic views and works of F.B. Rastrelli, in particular in Moscow and the Moscow region: palaces in the Kremlin, Annegof and Perov. Only one work by Ukhtomsky has survived to this day - the five-tiered bell tower in the Trinity-Sergius Lavra in Zagorsk.
III.) Prerequisites for the emergence and development of classicism.
In the 1760s, a change in architectural and artistic style occurred in Russia. Decorative baroque, which reached its apogee in the work of the greatest representative of this trend - the architect F.B. Rastrelli, gave way to classicism, which quickly established itself in St. Petersburg and Moscow, and then spread throughout the country. Classicism (from Latin - exemplary) is an artistic style that develops through the creative borrowing of forms, compositions and examples of art ancient world and the Italian Renaissance.
The architecture of classicism is characterized by geometrically correct plans, logic and balance of symmetrical compositions, strict harmony of proportions and the widespread use of the order tectonic system. The decorative style of the Baroque ceased to correspond to the economic capabilities of the circle of customers, which was increasingly expanding to include small landed nobles and merchants. It also ceased to respond to changing aesthetic views.
The development of architecture is determined by economic and social factors. The country's economy led to the formation of an extensive domestic market and increased foreign trade, which contributed to the productivity of landowners' farms, crafts and industrial production. As a result, the need arose for the construction of government-owned and privately owned structures, often of national importance. These included commercial buildings: guest courtyards, markets, fairgrounds, contract houses, shops, and various warehouse buildings. As well as unique public buildings - stock exchanges and banks.
Many government administrative buildings began to be built in cities: governor's houses, hospitals, prison castles, barracks for military garrisons. Culture and education developed intensively, which necessitated the construction of many buildings, educational institutions, various academies, institutes - boarding houses for noble and middle-class children, theaters and libraries. Cities grew rapidly, primarily due to estate-type residential development. In the conditions of enormous construction taking place in cities and estates, increased construction needs, architectural techniques and busy forms of Baroque, exquisitely complex and lush, turned out to be unacceptable, since the decorativeness of this style required significant material costs and a large number of qualified craftsmen of various specialties. Based on the above, there was an urgent need to revise the fundamentals of architecture. Thus, deep domestic preconditions of a material and ideological nature determined the crisis of the Baroque style, its extinction and led in Russia to the search for economic and realistic architecture. Therefore it is classical architecture antiquity, expedient, simple and clear and at the same time expressive, served as a standard of beauty, became a kind of ideal, the basis of classicism emerging in Russia.
IV.) Architecture of early classicism (1760-1780).
To guide widespread urban planning activities, a commission on the stone construction of St. Petersburg and Moscow was established in December 1762. Created to regulate the development of both capitals, it soon began to manage all urban planning in the country. The commission functioned until 1796. During this period, it was successively led by prominent architects: A.V. Kvasov (1763-1772); I.E. Starov (1772-1774); I. Lem (1775-1796). In addition to regulating the planning of St. Petersburg and Moscow, the commission over 34 years created master plans for 24 cities (Arkhangelsk, Astrakhan, Tver, Nizhny Novgorod, Kazan, Novgorod, Yaroslavl, Kostroma, Tomsk, Pskov, Voronezh, Vitebsk and others). The main city-forming factors were considered to be water and land routes, established administrative and commercial areas, and clear city boundaries. Streamlining urban planning based on a geometrically regular rectangular system. The construction of city streets and squares was regulated by height. The main streets and squares were to be lined with model houses, placed close to each other. This contributed to the unity of street organization. Architectural appearance houses was determined by several approved model façade designs. They were distinguished by the simplicity of their architectural solutions; their planes were enlivened only by the figured repeating frames of the window openings.
In Russian cities, residential buildings usually had one or two floors, only in St. Petersburg the number of floors rose to three or four. During this period, A.V. Kvasov developed a project for the improvement of the Fontanka River embankment. The formation of through passage embankments and bridgehead areas turned the Fontanka into an important arc-forming highway. For Moscow in 1775, a new master plan was drawn up, preserving the radial-ring structure and outlining a system of squares in a semi-ring covering the Kremlin and Kitay-Gorod. For consideration and approval of privately owned development projects in 1775-1778. a special Stone Order functioned. In the 1760s, features of classicism began to appear more and more noticeably in Russian architecture. The earliest manifestation of classicism was the project of the "Pleasure House" in Oranienbaum (now does not exist). Compiled by the architect A.F. Kokorin and the so-called Boat House of A.F. Vista (1761-1762) in the Peter and Paul Fortress.
During this period, famous architects worked in Russia: Yu.M. Felten and K.M. Blank, the Italian A. Rinaldi, the Frenchman T.B. Wallen-Delamont. Considering this period in the chronological sequence of construction of buildings, it should be noted that classical forms and clear compositional techniques increasingly replaced excessive decorativeness. Here it is necessary to consider the main creations of architects that have survived to this day. Antonio Rinaldi (1710-1794) - Chinese Palace (1762-1768) in Oranienbaum. The interior of the palace testifies to the high artistic skill of the architect. The whimsical outlines of the palace were in harmony with the surrounding park composition, with an artificial reservoir and beautifully decorated vegetation. The ceremonial rooms of the one-story palace are especially distinguished by their majestic beauty - the Great Hall, the Oval Hall, the Hall of the Muses. Chinese cabinet with elements of decoration, Glass bead cabinet. The Rolling Hill Pavilion (1762-1774) is a well-preserved three-story pavilion with colonnades of bypass galleries on the second and third floors. The pavilion in Lomonosov is the only surviving reminder of folk entertainment. The Marble Palace (1768-1785) is one of the unique phenomena of St. Petersburg and Russia, thanks to the multi-colored cladding of the facades. The three-story building is located on the site between the Neva and the Field of Mars and has a U-shaped composition with wings forming a rather deep front courtyard. The palace in Gatchina (1766-1781) is three-story with a passage gallery, at the bottom the main building is complemented by pentagonal six-tiered view towers and arched two-story wings covering the front courtyard. After the transfer of the palace to Tsarevich Pavel (1783), it was rebuilt inside and supplemented with closed squares at the ends of the original composition by V.F. Brenna.
The restrained plasticity of the facades is complemented by the nobility of the local stone - light gray Pudost limestone. The ceremonial interiors are located on the second floor, the most significant of which are the White Hall, the Antechamber, the marble dining room and others. The palace was destroyed during the years of fascist occupation. Now restored. In addition to those mentioned above, A. Rinaldi built several Orthodox churches, the peculiarity of which is the combination in one composition of a five-domed structure, newly established in the Baroque period, and a high multi-tiered bell tower. The artificial use of classical orders, their tiered arrangement on bell towers and the delicate layout of the facades testify to the stylistic reality of artistic images, which corresponds to early classicism. In addition to monumental buildings, A. Rinaldi created a number of memorial structures. These include the Oryol Gate (1777-1782); Chesme Column (171-1778) in Pushkin; Chesma obelisk in Gatchina (1755-1778). The establishment of the Academy of Arts in 1757 brought about new architects, both Russian and foreign. These include A.F. Kokorinov (1726-1772), who came from Moscow and J.B. Vallin-Delamont (1729-1800), invited from France by I.I. Shuvalov. The creations of these architects include the palace of G.A. Demidov. A special feature of the Demidov Palace is the cast-iron external terrace and cast-iron stairs with arched diverging flights connecting the palace with the garden. The building of the Academy of Arts (1764-1788) on the Universitetskaya embankment of Vasilyevsky Island. The buildings clearly show the style of early classicism. This should include the main building of the Herzen Pedagogical Institute. Northern façade of the Small Hermitage; Construction of a large Gostiny Dvor, built on foundations laid along the contour of the entire block. A.F. Kokorinov and J.B. Vallin-Delamont created palace ensembles in Russia that reflected the architecture of Parisian mansions and hotels with a closed front courtyard. An example of this could be the palace of I.G. Chernyshev, which has not survived to this day. In the middle of the 19th century, in its place near the Blue Bridge, the Mariinsky Palace was erected by the architect A.I. Stackenschneider. During the same period, the architect Yu.M. Felton launched a large construction activity. His work was formed under the influence of F.B. Rastrelli, and then he began to create within the framework of early classicism. The most significant creations of Felten are: the building of the Great Hermitage, the Alexander Institute, located next to the ensemble of the Smolny Monastery. The institute building with three courtyards has well preserved its original appearance, consistent with early classicism. The most perfect work of Yu.M. Felten is the fence of the Summer Garden from the side of the Neva embankment (1770-1784). It was created with the creative participation of P.E. Egorov (1731-1789); the iron links were forged by Tula blacksmiths, and the granite pillars with figured vases and the granite base were made by Putilov stonemasons. The fence is distinguished by simplicity, amazing proportionality and harmony of parts and the whole. The turn of Russian architecture towards classicism in Moscow was most clearly manifested in the huge ensemble of the Orphanage, erected in (1764-1770), not far from the Kremlin on the banks of the Moscow River according to the plan of the architect K.I. Blank (1728-1793). In the Kuskovo estate near Moscow, K.I. Blank erected the impressive Hermitage pavilion in 1860. In accordance with the emergence and development of classicism, the regular French system of gardening art was replaced by the landscape (English system), which spread to Western Europe and above all in England.
V.) Architecture of strict classicism (1780-1800)
The last quarter of the eighteenth century was marked by major socio-historical events (Crimea and the northern coast of the Black Sea were assigned to Russia). The state's economy developed rapidly. Formed all-Russian market, fairs and shopping centers. The metallurgical industry developed significantly. Trade with Central Asia and China expanded. The revitalization of economic life contributed to the quantitative and qualitative growth of cities and landowners' estates. All these phenomena are noticeably reflected in urban planning and architecture. The architecture of the Russian province was characterized by two features: most cities received new general plans. The architecture of cities, especially urban centers, was formed on the basis of techniques of strict classicism. Along with the types of buildings previously known, new structures began to be built in cities. In cities that still retained traces of defensive structures, they increasingly disappeared as a result of the implementation of new plans, and these cities acquired urban planning features characteristic of most Russian cities. Estate construction expanded, especially in the south of Russia and the Volga region. At the same time, a system was developed for the placement of various outbuildings depending on natural conditions. In the provincial estates of noble owners, manor houses were stone buildings of the palace type. The ceremonial architecture of classicism with porticoes became the personification of social and economic prestige. During the period under review, outstanding Russian architects created architectural creations that are the property of not only Russia, but the whole world. Some of them, namely: Vasily Ivanovich Bazhenov (1737-1799) - construction of the Grand Kremlin Palace and college buildings on the territory of the Moscow Kremlin. Despite the fact that the outstanding plan was realized, its significance for the fate of Russian architecture was not great, first of all, for the final establishment of classicism as the main stylistic direction in the development of Russian architecture. Creation of a country royal palace and park residence in the village of Tsaritsyno near Moscow. All the buildings of the ensemble are located on rough terrain, parts of which are connected by two figured bridges, resulting in a single, unusually beautiful panorama that has no analogues in the history of architecture. Pashkov House (1784-1786), now the old building of the V.I. Lenin Library. Consisting of three various parts, the silhouette composition of a house crowning a green hillock is still one of the most perfect works of all Russian classicism of the late 18th century. The culmination of Bazhenov’s work was the project of the Mikhailovsky Castle in St. Petersburg (1797-1800). The castle was built without the participation of an architect; the managing builder was V.F. Brenna, who made significant changes to the interpretation of the main facade. Kazakov M.F.: Petrovsky Palace - he gave the appearance of the palace a pronounced national character, the ensemble of the Petrovsky Palace is an outstanding example of a harmonious architectural synthesis of classical principles and Russian national painting. The Senate building in the Moscow Kremlin - the Senate rotunda is recognized in the architecture of Russian classicism as the best ceremonial round hall and is the first example of a composition of this type in Russia. This hall is an important link in the development of Russian classicism. Church of Philip Metropolitan (1777-1788). A classic Russian composition was used in relation to an Orthodox church. In the second half of the 18th century, the rotunda began to be embodied in the architecture of Russian classicism when creating religious buildings; it was also used in the construction of the Baryshnikov mausoleum near Smolensk (1784-1802). Golitsyn Hospital (now the first city hospital of Pirogov). University building (1786-1793). The University building was damaged in 1812 and was rebuilt with changes in 1817-1819.
Approval of new master plan Moscow in 1775 stimulated privately owned residential development, which developed widely in 1780-1800. By this time, two space-planning types of urban estates had finally been developed - the first main residential building and outbuildings located along the red line of the street, forming a three-part system that forms the development front; the second is a residential estate with an open front courtyard surrounded by wings and outbuildings. Since 1770, the development of classicism based on the ancient Roman principles of the Renaissance has been clearly visible in St. Petersburg construction. Some of them, namely: architect Starov I.E. (1745-1808) erects the Tauride Palace (1883-1789) with a landscape garden; Trinity Cathedral (1778-1790) in the Alexander Nevsky Lavra. The construction of the cathedral had an important ideological and patriotic significance, since under the arches of the temple there is the tomb of Alexander Nevsky. In addition to the greatest buildings mentioned above, Starov was engaged in design for the southern provinces, developed plans for the new cities of Nikolaev and Yekaterinoslavl; in the latter, the architect built the palace of the governor of the region - G.A. Potemkin.
Architect Volkov F.I. (1755-1803). By 1790, he developed exemplary designs for barracks buildings, subordinating their appearance to the principles of classicism. The largest works are the building of the Naval Cadet Corps (1796-1798) on the Neva embankment. Ensemble of the General Post Office (1782-1789).
Architect Quarenghi and Giacomo (1744-1817). Quarenghi's creations clearly embody the features of strict classicism. Some of them: the dacha of A.A. Bezborodko (1783-1788). The building of the Academy of Sciences (1783-1789), the Hermitage Theater (1783-1787), the building of the Assignation Bank (1783-1790), the Alexander Palace (1792-1796) in Tsarskoye Selo, Arc de Triomphe in 1814 - Narva Gate.
Important landscaping work continued in St. Petersburg. Granite embankments of the Neva, small rivers and channels were created. Remarkable architectural monuments were erected, which became important city-forming elements. On the banks of the Neva, before the unfinished construction of St. Isaac's Cathedral, one of the best equestrian elements in Europe was unveiled in 1782 - a monument to Peter I (sculptor E.M. Falcone and M.A. Collo; the snake was made by sculptor F.G. Gordeev). A wonderful bronze hollow sculptural composition on a natural granite rock. The size of the rock (10.1 meters high, 14.5 meters long, 5.5 meters wide) corresponded to a spacious coastal area. Another monument to Peter I was installed in the ensemble of the Mikhailovsky Castle (1800). Bronze was used equestrian statue(sculptor K.B. Rastreli - father, architect F.I. Volkov, bas-reliefs - sculptors V.I. Demont-Malinovsky, I.I. Terebinov, I. Moiseev under the direction of M.I. Kozlovsky). In 1799, a 14-meter obelisk “Rumyantsev” was erected on Tsaritsyn Meadow (Field of Mars) (architect V.F. Brenna); in 1818 it was moved to Vasilyevsky Island to the First Cadet Corps, where the outstanding military leader P.A. Rumyantsev studied. In 1801, on Tsaritsyn Meadow there was
A monument to the great Russian commander A.V. Suvorov was opened (sculptor M.I. Kozlovsky, moved closer to the bank of the Neva.
3.)
Conclusion.
The most important progressive traditions of Russian architecture, which are of great importance for the practice of late architecture, are ensemble and urban planning art. If the desire to form architectural ensembles was initially intuitive, then later it became conscious.
Architecture was transformed over time, but nevertheless, some features of Russian architecture existed and developed over the centuries, maintaining traditional stability until the 20th century, when the cosmopolitan essence of imperialism began to gradually erase them.
4.) List of used literature .
Arkin D.E. Russian architectural treatise-code of the 18th century. Architectural expedition position. - In the book: Architectural archive. M., 1946.
Belekhov N.N., Petrov A.N. Ivan Starov. M., 1950.
Pilyavsky V.I. History of Russian architecture. L., 1984.
A.V.Chekmarev
Trinity Cathedral
Alexander Nevsky Lavra
as an iconographic example
Part 2. New shrine of the capital
The article was published in the collection "St. Petersburg and the architecture of Russia. Architecture in the history of Russian culture." Vol. 7. M., 2007. pp. 317-362.
Trinity Cathedral of the Alexander Nevsky Lavra. Western façade. Photo from the beginning of the 20th century
The Elizabethan era put forward new ideals of temple architecture. In the appearance of the Transfiguration Cathedral in the capital, which had the significance of a monument to the accession of the Empress to the throne, the idea of the traditional Russian five-domed structure was revived. The combination of the national “Greek” type of temple with the principles of Baroque gave rise to a whole group of buildings in the works of P. A. Trezzini and F. B. Rastrelli, erected according to the orders of the empress herself and people from her circle. Against this background of the Orthodox Renaissance, the foreignness of the unfinished Schwertfeger Cathedral became more clearly evident. Petrine radicalism in relation to the original Orthodox symbols clearly did not find support at the court of Elizabeth, who revered religious traditions. However, the idea of completely abandoning the Trinity Cathedral in its previous form probably did not take shape immediately. Disassembly was initially considered a forced technical measure. There is reason to believe that subsequently it was planned to rebuild the cathedral in the same forms, with some minor amendments. Otherwise, it is difficult to explain the appearance in 1748 of an engraving by G. Kachalov (based on a drawing by M. Makhaev) with a view of the Alexander Nevsky Monastery, commissioned by Archimandrite Theodosius.
View of the Alexander Nevsky Monastery. Drawing by M.I. Makhaeva. 1747
St. Alexander Nevsky (with a panorama of the Alexander Nevsky Monastery). icon from the 1740s OIRK GE
It is somewhat surprising to see a direct replica of the Trinity Cathedral in the church orders of Empress Elizabeth herself. The remaining unrealized project of the Church of the Resurrection of the Word for the royal estate in Pokrovsky-Rubtsov near Moscow dates back to 1752.
Its authorship is associated with F.-B. Rastrelli, who performed other works for this residence, and the drawing itself belongs to the “architect student of the Police Chief’s Office” Vasily Zabolotsky.
Project of the Church of the Resurrection of the Word in the palace village of Pokrovskoye-Rubtsovo. Drawing by V. Zabolotsky. 1752 GNIMA im. A.V. Shchuseva
The proposed temple, both in its planning and volumetric design, repeats the Schwertfeger model, only in a reduced and simplified form. The rarity of this project against the backdrop of Elizabethan temple architecture can be explained only by one circumstance - the daughter’s reverence for her father’s personality and, as a consequence, the symbols associated with him. One of them, without a doubt, was the Trinity Cathedral of the Alexander Nevsky Monastery. All this proves that the condemned man in the early 1740s. Moreover, the temple, which was emphatically innovative in architecture, retained its relevance for quite a long time. The cult of veneration of the first emperor even then gave the structure, strange for Russian perception, a memorial character. However, by 1755 the cathedral was dismantled. Under Elizabeth, the matter never came to a renewal.
In addition to the examples discussed, only one project of a two-bell church in Russian architecture of the pre-Catherine period is known. Made by P.A. Trezzini in 1751 for the metochion of the Trinity-Sergius Lavra in St. Petersburg, he sought to compromise the type of two-bell church, coming from the Roman church of Sant'Agnese by C. Borromini, with the Russian five-domed main volume.
Project of a two-bell church for the Fountain Metochion of the Trinity-Sergius Lavra in St. Petersburg. Drawing by P.A. Trezzini. 1751
This and, perhaps, other plans that existed, lying outside the main line of Russian temple construction and did not have support in the ideologically significant initiatives of Peter the Great, did not leave either a stable tradition in Russian architecture, or even the realized monuments themselves. It should also be noted that the grafting of the two-tower typology into Orthodox church building, twice undertaken in the capital’s cathedrals by Peter himself, had only a faint echo. The absence of similar projects and buildings after 1752 confirms the almost complete disappearance of this architectural theme in Russia. However, the power of the authority of St. Alexander Nevsky and Peter the Great, multiplied by the political ideas of Empress Catherine II , made it possible to revive the type of Orthodox two-bell church, again in the guise of the Trinity Cathedral of the main capital's monastery. And this third vaccination turned out to be the most successful.
The idea of completing the Alexander Nevsky Monastery came to Catherine II already in 1763. At the beginning of 1764, the rector, Archbishop Gabriel, submitted a note for the highest consideration “on the structure of the Alexander Nevsky Monastery, what, in the bishop’s opinion, should be built again in it and what should be corrected from the previous structure for strength and convenience for life.” Gabriel put the question of building a cathedral church first. The development of the project for the new cathedral was entrusted to almost all the major architects of St. Petersburg - J.-B. Wallen-Delamot, Y. M. Felten, A. F. Wiest and others. Unfortunately, the drawings presented at that time are unknown, none received approval, and the construction of the temple was postponed for a long time. What kind of cathedral the empress wanted to see remains a mystery. However, one detail in the terms of the order suggests that it belongs to the two-bell typology. The building was supposed to be erected on old foundations (with their strengthening), that is, to repeat the dimensions and structure of the dismantled Schwertfeger temple.
The re-creation of the cathedral symbolically signified the continuity of the new government with Peter’s initiatives, later expressed in Catherine’s meaningful thesis: “What is begun is completed.” The return to the appearance of the capital’s shrine, approved personally by Peter, against the background of the rapid curtailment of the construction of the Smolny Monastery (the main church project of the previous reign) can also be interpreted as a reproach to the late Elizabeth, under whom it was as if “the connection of times fell apart” and there was a rollback to pre-Petrine principles. EkaterinaII due to her origin and upbringing, they were alien, and the era of Peter the Great (expressed, among other things, in architectural symbols) at first became for her the main reference point in Russian history. The restoration in the 1760s is significant. in the previous form of the Peter and Paul Cathedral, which burned down after being struck by lightning in 1756. Despite the presence of various projects that preserved the general composition of the building, but modernized its architectural forms, the appearance of the cathedral was brought as close as possible to the original. In line with the “architectural inheritance” of the first emperor lies Catherine’s plan for the Trinity Cathedral of the Alexander Nevsky Monastery. In the mid-1770s, when they decided to implement it again, the concept was enriched with a number of new relevant ideas that arose within the framework of the so-called. "Greek project"
In 1774, the design of the Trinity Cathedral was entrusted to I.E. Starov, known to the empress for his work on the estates of her illegitimate son A.G. Bobrinsky. Two years later, on February 26, 1776, the project and estimate were highly approved, and two years later the temple was solemnly laid. The ceremony took place on August 30, 1778, the day of the celebration of Peter the Great's transfer of the relics of Alexander Nevsky. In addition to the Empress, there were Grand Duke Pavel Petrovich with his wife and numerous retinue. The roof of the pavilion erected for the occasion was decorated with the monogram of Alexander Nevsky with radiance and a crown. At the foundation of the temple, the empress placed in a silver casket a particle of the relics of the Apostle Andrew the First-Called, the heavenly patron of the Russian Empire. Under the leadership of Starov, a wooden model was made, which made it possible to imagine the future building in detail.
View of the Alexander Nevsky Lavra. Colorized engraving by I.A. Ivanova. Early 19th century
Model of Trinity Cathedral. NIMRAKH
The cathedral itself was roughly built by 1786. Its consecration took place on August 30, 1790 in the presence of Catherine and the entire imperial family.
It is noteworthy that Starov was not constrained by the need to fit into the size of the previous building; his temple stands on new foundations. This again confirms the by no means utilitarian nature of the repetition of the two-tower structure. The Empress reproduced the basilica design with a two-bell porch that came from Peter, filling the architectural image with new content. Direct adherence to Peter's precepts was combined here with a qualitatively new sound of the Roman theme.
Geopolitical plans for the conquest of the Ottoman Empire and the liberation of the Orthodox Balkan peoples had the goal of recreating Byzantium - the second Rome. The grandiose plan was reflected in Catherine’s architecture with a number of projects and buildings that figuratively expressed the new mission of the Russian crown. Transparent allusions (not only semantic, but also purely architectural), indicating the continuity of Russia from the second Rome - Constantinople (and further - from Ancient Hellas), formed the basis of perhaps the most textbook ensemble of the “Greek project” - the city of Sofia in Tsarskoye Selo with its cathedral of the same name. St. Joseph's Cathedral in Mogilev, Pell's new country residence, the Tsarskoye Selo baths with the Cameron Gallery and other plans of the Empress also show a close connection with this ideological program. The Trinity Cathedral of the Alexander Nevsky Monastery is also organically integrated here, whose image directly appealed to the first Rome, which stood at the origins of the imperial idea and European Christianity.
Associations with the Roman Cathedral of St. Peter, which were also indirectly present in the first Schwertfeger project, now intensified. Classicism, with its reliance on the heritage of antiquity and the Renaissance, gave the similarity greater specificity - in the general domed silhouette, in the use of orders and interior design. This led to a noticeable shift in emphasis in the composition of the building - the dominance of multi-tiered baroque bell towers was replaced in Starov's plan by the primacy of the dome with relatively low towers. The allusion to the famous Roman prototype is obvious here, especially since in St. Petersburg, which aspires to the role of the capital of enlightened Europe, the theme of a monumental dome overshadowing the city had not previously been presented. By this he lost not only " eternal city", but also to other capitals - London with its St. Paul's Cathedral, Paris with the Cathedral of the Invalides, Vienna with the Karlskirche. The domed basilica, rising above the Nevsky Monastery, organizing a panorama of the complex from the river, again emphasized Russia’s involvement in the course of European history, including architectural history. The city acquired an iconic symbol, important for the imperial ideology and the establishment of the classical architectural style. According to researchers of Starov’s work, the cathedral “was the most significant religious building in terms of monumentality in the capital and had no rivals until the construction of the Kazan Cathedral by Voronikhin and St. Isaac’s Cathedral by Montferrand.” It is important that both churches mentioned here significantly developed the Roman theme in St. Petersburg, which was started so clearly by the Trinity Lavra Cathedral.
See: T.P.Fedotova. On the problem of five domes in Baroque architecture of the first half of the 18th century // Russian Baroque Art. Materials and research. Ed. T.V. Alekseeva. M., 1977. P.70-87.
When decreeing the dismantling of the Trinity Cathedral, the Senate specified “to build a cathedral church in the same place and according to the same plan and façade according to the model, to make a report to Her Imperial Majesty from the Senate, and when the decree is received, then that the entire amount If there is a need for that building, a report will be submitted to the Senate from the Office of Buildings, according to which the release of money and a determination will be made” (Holy Trinity Alexander Nevsky Lavra. Book 2, p. 86).
An order to the Academy of Sciences for the production of an engraving was received from Archbishop Theodosius in April 1747. First, E. Grimmel executed a drawing depicting the cathedral according to the design of D. Trezzini. Theodosius ordered “to build a cathedral church according to the current structure.” In July 1747, M. Makhaev performed a new version with a view of the Trinity Cathedral by T. Schwertfeger. Based on it, G.A. Kachalov made an engraving depicting St. in 1748. Alexander Nevsky and his brother Fyodor with a panorama of the Alexander Nevsky Monastery at their feet. See: M.A. Alekseeva. Mikhailo Makhaev. Master of landscape drawing of the 18th century. St. Petersburg, 2003. P.64-67.
A.G. Pobedinskaya. Features of Baroque in Russian icon painting of the 18th-19th centuries (based on materials from the OIRK collection) // Russian Baroque Art. New materials and research. Collection of articles. St. Petersburg, 1998. pp. 111-126. Architects of Moscow from the time of Baroque and Classicism. (1700-1820s). Comp. A.V. Krasheninnikov. M., 2004. P. 95.
On the southern shield, commissioned by Elizabeth Petrovna, there is a shrine of St. Alexander Nevsky there is an inscription: “The most powerful Elizabeth, an imitator of paternal veneration for the saints, zealous for him in piety, deigned to build this shrine decorated with courage and holiness by his deeds from the silver first acquired under her blessed power in the summer of 1750” (Holy Trinity Alexander Nevsky Lavra. Book 2. P. 195.
Initial assumptions that these are variants of the project of the Catholic Church on Nevsky Prospekt were refuted in the book: A.N. Petrov. S.I. Chevakinsky and St. Petersburg architecture of the mid-18th century // Russian architecture of the first half of the 18th century. Research and materials. By ed. I.E. Grabar. M., 1954. P.362-363; G.I.Vzdornov. Architect Pietro Antonio Trezzini and his buildings // Russian art of the 18th century. Materials and research. Ed. T.V. Alekseeva. M., 1968. P.81-82.
The bell tower of the cathedral was damaged by a thunderstorm on April 30, 1756. Until the death of Elizabeth Petrovna, the restoration of the cathedral had not begun. In 1765, Catherine II ordered the cathedral to be reconstructed in accordance with the new project. Chevakinsky, Wallen-Delamot, Rinaldi, Felten, Volkov, and Wiest presented their proposals. However, none of the projects was approved, and on August 21, 1766, the empress ordered to restore the bell tower “exactly as it was before.” The work was completed in 1780. See: E.N. Elkin. Restoration of the Peter and Paul Cathedral after the fire of 1756 // Local history notes. Research and materials. Issue 2... P.87-112.
See: D.O. Shvidkovsky. Architecture and politics in the era of Catherine II // Architecture in the history of Russian culture. Issue 3. Desired and actual. M., 2001. P.99-108; E.I. Kirichenko. “Greek project” of Catherine II in the architectural space of the Russian Empire // 18th century - assembly of arts... P.244-260; E.I. Kirichenko. The Greek project of Catherine II in the space of Russian capitals and their environs // Architecture in the history of Russian culture. Issue 3. Desired and actual. P.109-123.
In the first half of the 18th century, such famous buildings as the Menshikov Tower, as well as the subsequently destroyed Red Gate, were built in Moscow.
The most significant achievements in Moscow architecture of the second half of the 18th century are associated with the works of such architects as Vasily Bazhenov and Matvey Kazakov. Both of them are known primarily for the architectural complex at Tsaritsyno and Petrovsky Castle. Bazhenov built the famous Pashkov house. The Noble Assembly, the Palace of the Governor General, the Senate building in the Moscow Kremlin, the Eliseev House and many other Moscow buildings were built according to Kazakov’s designs.
Matvey Fedorovich Kazakov (1738 -1812) - Russian architect, who during the reign Catherine II rebuilt the center Moscow V Palladian style . One of the largest representatives Russian pseudo-Gothic. Developer of standard development projects.
1 Biography
2 Works
3 Notes
Biography
Matvey Kazakov was born in 1738 in Moscow, in the family of the sub-office clerk of the Main Commissariat Fyodor Kazakov, who came from serfdom. The Kazakov family lived near Kremlin, in the area Borovitsky Bridge. In 1749 or early 1750, Kazakov’s father died. Mother, Fedosya Semyonovna, decided to send her son to the architectural school of the famous architect D. V. Ukhtomsky ; in March 1751, Kazakov became a student at Ukhtomsky’s school and stayed there until 1760. From 1768 he worked under the direction V. I. Bazhenova V Expeditions of the Kremlin building; in particular, in 1768-1773. he participated in the creation of the Grand Kremlin Palace, and in 1775 - in the design of festive entertainment pavilions on Khodynka field. IN 1775 Kazakov was confirmed in the rank of architect.
Kazakov’s legacy includes many graphic works - architectural drawings, engravings and drawings, including “Pleasure buildings on Khodynskoye Field in Moscow” (ink and pen, 1774-1775; GNIMA), “Construction of the Peter’s Palace” (ink and pen, 1778; GNIMA).
Kazakov also proved himself as a teacher, organizing an architectural school during the Kremlin Building Expedition; his students were such architects as I. V. Egotov, A. N. Bakarev, O. I. Bove and I.G. Tamansky. IN 1805 the school was transformed into the School of Architecture.
During Patriotic War of 1812 relatives took Matvey Fedorovich from Moscow to Ryazan. There the architect learned about fire in Moscow- this news accelerated the death of the master. Kazakov died October 26 (November 7) 1812 in Ryazan and was buried in a cemetery (now not preserved) Ryazan Trinity Monastery .
The former Gorokhovskaya street in Moscow. His ex is also named after him. Dvoryanskaya street V Kolomna. In 1959 in Kerch, on the initiative of the chief architect of the city A.N. Morozova, the newly formed street began to bear the name of Kazakov in honor of his 225th anniversary.
Works
Many monuments of Cossack Moscow were badly damaged during fire of 1812 and were restored with deviations from the original plan of the architect. Kazakov's authorship of many Palladian buildings, especially those built according to standard designs outside of Moscow, is speculative and extremely controversial (despite statements contained in local history publications).
Monument Vasily Bazhenov And Matvey Kazakov(in the foreground) in Tsaritsyn work Leonid Baranov
Prechistensky Palace V Moscow (1774-1776);
Senate building in the Moscow Kremlin (1776-1787);
University buildings on Mokhovaya(1786-1793, rebuilt after the fire of 1812 Domenico Gilardi);
Novo-Ekaterininskaya Hospital (1774-76);
Noble Assembly (1775);
House of Archbishop Plato, later Small Nikolaevsky Palace (1775);
Petrovskoe-Alabino, house-estate of the Meshcherskys (1776);
Church of Philip Metropolitan (1777-1788);
Travel Palace (Tver);
Kozitsky House on Tverskaya (1780-1788);
Temple of the Ascension on the Pea Field (1790-1793);
Church of Cosmas and Damian on Maroseyka (1791-1803);
Demidov's estate house V Gorokhovsky Lane (1789-1791) ;
Gubin's house-estate Petrovka(1790s);
Golitsyn Hospital (1796-1801);
Pavlovsk hospital (1802-1807);
Baryshnikov's estate house (1797-1802);
General plan of Kolomna 1778;
Church of the Savior in the village Raisemenovskoe, completed in 1774-1783
Petrovsky entrance palace (1776-1780);
Governor General's House (1782);
Attributed
Tikhvin Church, bishop's house, towers Staro-Golutvina Monastery(1780s)
Mausoleum in Nikolo-Pogorelom(Smolensk region, 1784-1802).
House Musina-Pushkin on Razgulyae
22. Urban development of St. Petersburg in the 1760s - 1790s. Bridges and embankments.
The second half of the 18th century brought a lot of new things to Russian architecture. The growth of industry, trade, the expansion of cities, as well as major successes in Russian science led to changes in construction. Advanced architects of this time developed issues related to city planning and created new types of public buildings. The changes in the appearance of the buildings were radical. The forms used in the mid-18th century for free-standing unique palace and church buildings naturally turned out to be unsuitable for construction on a larger scale. The new content also determined the forms corresponding to it. The architects turned to the heritage of ancient, primarily Roman, classics. From the latter they took orders, which were reproduced extremely accurately, observing the correct relationships and details. Orders became the main means of tectonic and plastic solutions for facades and interiors. Another requirement for architectural structures of this time is the harmony of proportions, both in relation to the overall volumes and individual elements of buildings. Architectural techniques developed on the basis of a creative appeal to antiquity later received the name of Russian classicism.
From the beginning of the 1760s, large-scale urban planning work began - in St. Petersburg, Moscow, and a number of other Russian cities. Of great importance in the construction of St. Petersburg were the works on regulating the banks of the Neva and small rivers, laying new canals, building granite embankments, and constructing the first stone bridges. “The Neva was dressed in granite, the bridges hung over the waters,” A. S. Pushkin would later aptly and accurately characterize these works. At the same time, the development of a system of large squares was underway on the territory of the city center that had finally been determined by this time near the Admiralty. Squares were created near the Fontanka; its banks were connected by seven monumental drawbridges. In Moscow, on the site of the old fortress walls of the White City, a ring of wide, beautiful boulevards arose, defining the appearance of many streets. Significant construction work has been carried out in a number of other cities. Thus, in Tver (now the city of Kalinin), after the fire of 1763, the entire city center was reconstructed on a new basis. Considerable construction took place in Yaroslavl.
At the same time, separate large structures for new purposes were also built. On the banks of the Neva A. F. Kokorinov(1726-1772), who studied with Korobov, Ukhtomsky, and J.-B. Ballen-Delamotme(1729-1800) the huge building of the Academy of Arts was erected (1764-1788, ill. 33). Near the Smolny Monastery, which during these years was turned into a closed privileged educational institution, Yu. M. Felten built a new large building specifically for educational purposes. A vast building of the Orphanage was erected in Moscow. In the general schemes of their solutions there is still a lot from the previous palace buildings, but at the same time the architects boldly developed new techniques and created convenient, rational plans. The appearance of these buildings is also designed differently - in strict and simple forms.
Il. 33. A. F. Kokorinov, J.-B. Wallen-Delamot. Academy of Arts. 1764-1788. Leningrad
Simplicity and restraint are also characteristic of other buildings of this time. The Marble Palace (1768-1785), built by the architect A. Rinaldi (c. 1710-1794) in the central part of St. Petersburg, is indicative; its facades are distinguished by their clarity of composition and harmonious proportions.
What was outlined in the works of the 1760s later received a particularly vivid and consistent revelation in the works of the leading architects of that time - Bazhenov, Kazakov, Starov, Quarenghi.
V. I. Bazhenov(1737-1799). Vasily Ivanovich Bazhenov began studying at Ukhtomsky’s school, then studied at Moscow University with Chevakinsky and finally graduated from the Academy of Arts. After a business trip abroad, he settled in Moscow, with which his largest buildings and projects are associated. A particularly prominent place among them belongs to the project of the Kremlin Palace and construction in Tsaritsyn near Moscow.
Il. 49. V. I. Bazhenov. Entrance pavilions of the Mikhailovsky Castle. 1798-1800. Leningrad
In 1768-1773, Bazhenov headed a design workshop - the so-called Model House, where work was carried out on the project of a grandiose new Kremlin palace. It was assumed that the palace would cover the entire Kremlin hill. In its courtyards and squares there should have been ancient monuments of the Kremlin. In contrast to the characteristic techniques of palace buildings of the mid-century, Bazhenov puts the solution in the first place common tasks layouts. He plans to create a whole system of squares and passages connecting them on the territory of the Kremlin hill and plans the entire palace, taking into account the general layout and specific features of the area. In close connection with the new palace building (the main building of which was oriented towards the Moscow River), large buildings of the main administrative institutions of Moscow were also conceived. The entrance from Red Square through the Spassky Gate led to the main square (courtyard) in the form of a grandiose open-air hall with amphitheater-like seating for large gatherings. The main entrance to the palace should have been located nearby. The project of Bazhenov (1767-1775) was not implemented, but the grandiose model he created (now in GNIMA, ill. 51) had a strong impact on the development of architecture of that time.
Il. 51. V. I. Bazhenov. Model of the Kremlin Palace in Moscow. Fragment. 1773
In the construction of the ensemble in Tsaritsyn, Bazhenov also approached the task assigned to him boldly and in a new way. In contrast to the palace buildings of the mid-century, he created here a picturesque landscape park with small pavilions placed in it, organically connected with the specific areas on which they were built. In the unique architectural forms of Tsaritsyn buildings, Bazhenov tried to develop the traditions of ancient Moscow architecture. Abandoned at the end of the 18th century, these buildings have reached us in a dilapidated state.
Of Bazhenov’s buildings in Moscow, the former Pashkov House (1784-1786), now the old building of the V.I. Lenin Library, is of particular importance. The architect made good use of the terrain of the site and took into account the location of the building in close proximity to the Kremlin.
Bazhenov was not only a remarkable practical architect, he also belonged to the largest representatives of Russian artistic culture of the late 18th century. If many of his undertakings were not realized in the difficult conditions of that time, then his attempts to create a public art gallery in Moscow, the organization of an art school, the publication of a huge engraved work on Russian architecture, the project for reform of the Academy of Arts clearly testify to his progressive views and tireless desire to develop national Russian fine arts and architecture. This is Bazhenov - a man of glorious and at the same time almost tragic creative destiny.
M. F. Kazakov(1738-1812). Along with Bazhenov, Matvey Fedorovich Kazakov worked in Moscow, owing his education to the Ukhtomsky school. Kazakov's practical activity began in Tver, but his most important buildings were completed in Moscow. At first he was Bazhenov’s closest assistant in the Model House; in the mid-1770s, his independent work began. One of Kazakov’s first outstanding buildings was the Senate building in the Kremlin (1776-1787), now the Supreme Soviet of the USSR (ill. 50). Kazakov excellently took into account and used the features of the triangular-shaped site allocated for construction and created a building in which the monumentality of the general appearance and the splendor of the composition are organically combined with the convenience and expediency of the plan, which was unusual for that time. In terms of interior decoration, the large round hall (now Sverdlovsk) is especially remarkable.
Il. 50. M. F. Kazakov. The Senate building in the Moscow Kremlin (now the building of the Supreme Soviet of the USSR). 1776-1787
Subsequently, Kazakov built many different buildings in Moscow, among which the most notable are the university (after the fire of 1812, restored by D. Gilardi, who changed the appearance, but retained the original general composition and layout) and the Golitsyn hospital (1796-1801, the first large city Moscow Hospital), which is one of the latest and most rigorous in style of the architect’s works.
I. E. Starov(1745-1808). One of the largest architects of this time, Ivan Yegorovich Staroye, also received his first knowledge of architecture in Ukhtomsky’s team, then graduated from the Academy of Arts and subsequently worked a lot in it as a teacher. Starov designed a lot for different cities, but his most important buildings are located in St. Petersburg. Among them, the largest is the Tauride Palace (1783-1789, ill. 53). The site on which it is located was not part of the city at the end of the 18th century, which made it possible to freely place the building, organize access to it by a canal from the Neva, and create a large park with it. The palace was intended for large celebrations and receptions associated with the celebrations of the annexation of Crimea to Russia. This explains the presence of state rooms in the palace. Behind the lobby there is a domed hall (“Russian Pantheon,” as G.R. Derzhavin called it in his description of the palace), behind it, crossing the width of the entire building, there was a grandiose columned hall and behind - winter garden, the walls of which adjoined the extensive park of the palace. In terms of breadth and scope, solemnity and at the same time severity, the Tauride Palace was one of the most significant buildings of that time.
Il. 53. I. E. Starov. Tauride Palace. 1783-1789. Leningrad
At the end of the XVIII - early XIX centuries, large construction work was carried out Giacomo Quarenghi(1744-1817). A native of Northern Italy, it was only after his arrival in Russia in 1779 that he had the opportunity to create major works. Among the numerous buildings made according to his designs, simple and laconic in form, public buildings also predominate - the Academy of Sciences (1783-1789), the State (Assignation, as it was called then) bank (1783-1790), shopping arcades, educational institutions, a hospital . One of the best buildings of Quarenghi is the building of an educational institution - the Smolny Institute (1806-1808, ill. 52).
Il. 52. D. Quarenghi. Smolny Institute. 1806-1808. Leningrad
Extremely simple and rational in plan, strict in appearance, it is inextricably linked for us with the events of the Great October Socialist Revolution.
In the suburbs of St. Petersburg - Tsarskoe Selo and Pavlovsk - an architect worked in the last two decades of the 18th century Charles Cameron(1740s-1812). The Pavlovsk Palace (1782-1786) and the Cameron Gallery (1783-1786) in Tsarskoe Selo, which he built, are distinguished by their clarity of composition and elegance of decoration. The interiors of Catherine II’s private rooms in the Catherine Palace of Tsarskoe Selo were unusually varied in composition and in the facing materials used.
During these years, significant construction took place not only in cities, but also in estates. Here, serf architects played a major role, closely associated with folk traditions and at the same time using new architectural techniques (the Ostankino estate near Moscow, created by serf craftsmen with the participation of the remarkable serf architect P. I. Argunov).
In the 1760s - 1790s, questions of the synthesis of arts were widely raised. Outstanding sculptors of that time worked in the field of decorative sculpture - Shubin, Kozlovsky, Prokofiev.
A lot of new things have been introduced into park construction. Regular gardens were replaced by landscape parks. The best examples of this type include: Tsaritsyno, Ostankino, Gatchina, Pavlovsk.
23. Architectural ensemble Tsarskoe Selo.
Tsarskoe Selo – a pearl of 18th century architecture