Presentation on the theme of Empire style in the interior. Presentation - Architectural style “Empire. The most important thing is the meaning, but to get to it
Late 18th – early 19th century- The era of neoclassicism in Russian architecture.
Classicism – European cultural - aesthetic movement, which was oriented towards antiquity (ancient Greek and Roman art) (XVII-XIX centuries).
Neoclassicism – is a term used in art to designate artistic phenomena of the second half XVIII - first third XIX centuries.
Empire - (imperial style), the style of late (high) classicism in architecture and applied arts.
In Russian classicism, two stages can be distinguished:
first - Catherine's (end XVIII century) or early Russian classicism,
second - Alexandrovsky (beginning of the 19th century), turning into Empire (was only in France and Russia)
Characteristic features of classicism:
1) Balance, clear and calm rhythm, strict proportions.
2) Symmetry, emphasizing the center.
3) The main entrance was located in the center and was designed in the form of a portico (the part of the building protruding forward with columns and a pediment).
4) The columns differed in color from the walls. (the columns were usually painted white, and the walls yellow).
Smolny. Saint Petersburg.
Paris
In the middle of the 18th century. classicism in France is experiencing its rebirth. The surge of increased interest in antiquity is reinforced by the discovery of remarkable monuments of artistic culture during excavations of ancient cities that were once buried during a volcanic eruption.
Place des Vosges in Paris (1605-1612), general view.
A prominent representative of the “new” classicism in architecture is Jacques-Anji Gabriel (1698 – 1782)
His views on classicism found expression in Petit Trianon- the country palace of the French king in Versailles, which rather resembles a small mansion.
Petit Trianon Palace 1762-1764, Versailles
Gazebo in Trianon
New urban planning tasks put forward by time find brilliant implementation in the ensemble of Place Louis XV (now Place de la Concorde; 1757-1779).
The square, rectangular in plan, is connected to the city by the rays of three alleys. It is surrounded on two sides by the green areas of the Tuileries Gardens and the Champs Elysees, and on the third by the river. The ensemble is closed by two buildings, which cover the square with wings on the fourth side.
The whole city is in smooth turns,
And only emphasizes the distance
In avenues, arches and gates
Classic vertical.
And all the palaces, fences, buildings,
And these lions and this horse
Visible, as if for admiration
Placed on the palm.
And the waters flow smoothly
To the gray city granites -
Nature's Great Designs
To the great plans of men...
D. Samoilov. "Above the Neva"
- J. Leblond,
- D. Trezzini,
- A. Rinaldi,
- I. Starova,
- D. Quarenghi,
- Oh Montferan,
- A. Zakharova
- K. Rossi,
- A.Voronikhina,
- Charles Cameron
The joint creative activity of Russian and foreign masters was distinguished by high professionalism and adherence to the principles of classicism.
St. Petersburg classicism is the architecture not of individual buildings, but of entire ensembles.
Starov Ivan Egorovich (1745-1808)
- Russian architect, one of the founders of Russian classicism.
- The most important of its buildings:
- Trinity Cathedral in the Alexander Nevsky Lavra;
- Tauride Palace;
- Prince Vladimir Cathedral (reconstruction after the fire);
- St. Sophia Cathedral, near Tsarskoye Selo,
- and country palaces in the estates of Taitsy, Sivoritsy and Pella in the St. Petersburg province,
- Catherine's Cathedral in Kherson.
Holy Trinity Cathedral in the Alexander Nevsky Lavra.
Sivoritsa estate.
Catherine's Cathedral in Kherson.
Prince - Vladimir Cathedral.
Tauride Palace (1783 - 1789)
- Large city estate of G. A. Potemkin-Tavrichesky - favorite of Catherine II
- The building consists of three main volumes connected by low galleries - in the depths of the area crowned with a central dome and two wings pushed forward to the red line of the street.
Giacomo Antonio
Domenico Quarenghi
(1744 – 1817)
An architect of Italian origin, perhaps the most prolific representative of Palladianism in Russian architecture. Honorary free associate of the Imperial Academy of Arts.
At the age of 35, in January 1780, Quarenghi arrived in St. Petersburg at the invitation of Catherine II as “architect of Her Majesty’s court.” In the first decade of his stay in Russia, he built the English Palace in Peterhof (1780-1787) and a pavilion in Tsarskoe Selo (1782). In St. Petersburg, Quarenghi built the buildings of the Hermitage Theater (1783-1787), the Academy of Sciences (1783-1785), the Assignation Bank (1783-1789), and the Foreign Collegium.
English Palace.
The palace in the English Park in the south of Peterhof, built by order of Catherine II in 1781-1789. During the Great Patriotic War, it was destroyed by artillery fire from the 291st German Infantry Division.
Palace in lithograph by K. Schulz (19th century)
Memorial stone on the site of the palace (2011)
Andreyan Dmitrievich
Zakharov (1761 – 1811)
Russian architect, representative of the Empire style. Creator of the Admiralty building complex in St. Petersburg.
Portrait by S. S. Shchukin.
Around 1804.
At the end of 1799, by decree of Paul I, Zakharov was appointed chief architect of Gatchina, where he worked for almost two years:
- completed the Lutheran Church of St. Peter,
- erected the Humpbacked Bridge.
St. Peter's Lutheran Church (1799 – 1800)
Humpback Bridge. 1800.
Zakharov completed a number of works that were quite significant in scope and content:
- St. Andrew's Cathedral in Kronstadt (1805 – 1817),
- project of a naval hospital for Kherson,
- development projects for Proviantsky Island and Galerny Port.
St. Andrew's Cathedral project
architect A.D. Zakharov. 1806
Church of the Obukhov Plant (demolished in the 20th century)
However, the outstanding significance of Zakharov’s creative activity is due primarily to the creation of the new Admiralty.
Admiralty. 1806 – 1823
Architectural and planning center of St. Petersburg. The first building of the Admiralty, erected back in 1704 according to the design of Peter I himself, was a one-story mud-brick building in the shape of the letter “P”, topped with a turret. It was here that ships were built and the Russian fleet was born.
Zakharov faced a difficult task - the need to change the appearance of the building so that it would harmonize with the nearby Winter Palace and other majestic architectural ensembles located next to the Admiralty.
In 1806-1823, the architect Zakharov brilliantly solved this problem. The idea for the new look of the building was the theme of the maritime glory of Russia, the power of the Russian fleet.
Voronikhin Andrey Nikiforovich
(1759 – 1814)
Russian architect and painter, representative of classicism, one of the founders of the Russian Empire style.
He designed not only the structure of the buildings themselves, but also interior decor, furniture design, lighting devices, achieving special integrity of images.
Based on his sketches, the interiors of the Stroganov Palace on Nevsky were rebuilt (1793), and the palace in Pavlovsk was also restored after a fire (from 1803).
The main creations of the master were the St. Petersburg Kazan Cathedral and the Mining Institute.
- Built in 1801-1811 in honor of the ancient icon of the Kazan Mother of God, after whom it was named (by decision of Paul I).
- The cross-domed building faces Nevsky Prospekt with an elongated side façade. A powerful semicircular colonnade with a 6-column portico forms a ceremonial square.
St. Petersburg, Russia. Nevsky Prospekt. Kazan Cathedral.
Kazan Cathedral, 1821.
In 1813, M. I. Kutuzov was buried in the Kazan Cathedral.
In 1837, monuments to Kutuzov and M. B. Barclay de Tolly were erected in front of the cathedral
On December 6, 1876, the first revolutionary demonstration of students and workers in Russia took place in front of the Kazan Cathedral.
In 1932, the Museum of the History of Religion and Atheism was opened in the Kazan Cathedral.
Monument to Field Marshal Prince Kutuzov
Smolensky. 1812
National Mineral Resources University "Mining" is one of the leading and largest universities in St. Petersburg, the first higher technical educational institution in Russia.
Interior.
Sculptural group in front of the portico.
The era of neoclassicism and the period of the emergence of the imperial style marked the beginning of work on streamlining the ensembles of St. Petersburg.
In the new architecture, steps were taken to overcome the feudal chaotic urban development and create ensembles designed for unobstructed views.
To use presentation previews, create a Google account and log in to it: https://accounts.google.com
Slide captions:
MHC General lesson with a form of control in the form of an electronic test School No. 283 of the Kirov district of St. Petersburg Teacher: Gubar Marina Dmitrievna Rome, Paris, St. Petersburg. From Baroque to Empire style.
Baroque Era and artistic style Circumnavigation of the world, the latest discoveries in astronomy, the invention of the telescope and microscope showed the relativity, variability and incomprehensibility of space and time, which led to the tragic feeling of life as a continuous movement, the purpose of which is unknown to man and is reflected in the images of the Baroque. Francesco Borromini. Church of San Carlo alle Cuatro Fontane. Rome.
Baroque Giacomo della Porta. Church of Il Gesu. Rome. Italian Baroque gravitated towards facades, and facades, especially of church buildings, became a symbol of the era. The balance and harmony of the Renaissance was replaced by the picturesque, illusory-moving appearance of the building.
Baroque ceiling painting Church of Il Gesù. Rome. The illusory blurring of the clear boundary between architecture, sculpture and painting contributes to the loss of ideas about the real extent of space in interiors.
Mystical moods The place of Renaissance Harmony was taken by Contradiction. Take the reins into your holy hand, my Lord, stand at our helm to overcome the waves. Set your sails straighter And in this menacing hour guide us on a reliable path And cast an anchor for us George Wheater (translation by O. Rumer)
The sorcerer of the Baroque - Lorenzo Bernini The architect and sculptor Lorenzo Bernini created his ensembles with an external “theatrical” effect in mind. The square in front of St. Peter's Basilica in Rome is designed as a continuation of the temple. The square and the temple are connected into an inextricable whole. Bernini compared the sleeves of the colonnade with the embrace of the Church, ready to accept all those who suffer into its bosom. Obelisks and fountains in Baroque Rome became the most active elements in ordering the architectural environment. St. Peter's Square. Rome.
Urban ensemble Baroque was primarily the art of the ensemble, of the overall impression. His attraction to vibrating surfaces and complex curved shapes demanded open skies and vast spaces. Fountains became one of the most important components of urban ensembles, because the dynamics of the water element inherently corresponds to the spirit of the Baroque. Lorenzo Bernini. Piazza Navona.
Russian Baroque. St. Petersburg All major architectural ensembles were grouped around the Neva. The specifics of Russian Baroque were determined by the specifics of the development of St. Petersburg, which meant a complete break with the traditions of national Russian urban planning. The main “prospect” and main “square” of the new capital was the Neva
Rastrelli's Baroque Francesco Bartolomeo Rastrelli transformed St. Petersburg from a fortified city and a port city into a city of palaces. This style combined the orderly rigor of classicism, the dynamics of baroque, rococo ornamentation and the major character of polychrome. Winter Palace. Saint Petersburg.
Winter Palace Rastrelli's favorite color combinations - white with gold order elements and azure-blue - go back to the gilded carvings of the iconostasis of ancient Russian churches with their rich colorfulness and cheerfulness. Winter Palace. The main staircase.
Catherine Palace Amber Room. A through suite of rooms from the main staircase in both directions allows you to see the perspective of the halls through the doorways from one end of the palace to the other. Francesco Bartolomeo Rastrelli. Catherine's Palace. View from the northeast. Tsarskoye Selo.
Smolny Monastery The Smolny Monastery in its magnificent splendor is not inferior to palace estates and is considered the most Baroque work of Francesco Bartolomeo Rastrelli. The ensemble of the Smolny Monastery is a creative reworking of the techniques of Russian architecture of the pre-Petrine era and the architecture of European monastic complexes.
Classicism The ideals of statehood in France required artistic forms that would be associated with the greatness of the rulers of the ancient Greeks and Romans. Versailles. Favorite country residence of King Louis XIV of France.
Grand Royal Style Since strict, rational classicism did not seem lush enough to glorify Louis XIV, the “Sun King,” the architects turned to the whimsical, sophisticated forms of the Italian Baroque. As a result, the “Great Royal Style” emerged, combining the severity of classical forms in architecture and landscape art with the pomp of Baroque in interior decoration. Central Alley and Grand Canal. Versailles.
Versailles Flat bodies of water serve as giant mirrors duplicating space. Mandatory elements of a regular park are grass lawns and flower beds. The large mirrors of the gallery reflect the park ensemble, which gives the illusion of endless space.
Rococo The center of the formation of the new style, with its predilection for the theatricalization of life and masquerade, was the salons of aristocrats, who turned life into a festive extravaganza. Instead of a cornice separating the wall plane from the ceiling, a smooth, semicircular transition appeared, decorated with a gilded plaster pattern.
Neoclassicism is the image of the “ideal city” in the classicist ensembles of Paris... The Enlightenment movement in the second half of the 18th century led to the emergence of new social ideas, new morality and new aesthetics. The embodiment of naturalness, simplicity and clarity was the classicist architecture that re-established itself in France. Jacques Ange Gabriel. Place de la Concorde. Paris.
... and St. Petersburg The pathos of simplicity and linearity is palpable in the buildings of Giacomo Quarenghi. Being a convinced admirer of Roman antiquity, he built buildings distinguished by symmetry, perfect proportions and laconic decor. Giacomo Quarenghi. Academy of Sciences. Ensemble of the Strelka of Vasilyevsky Island. Giacomo Quarenghi. Horse Guards Manege.
Urban ensembles The desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired decisive significance in the first decades of the 19th century. Karl Ivanovich Rossi. Senate and Synod buildings. The Admiralty and the “trident of prospects.” Andreyan Dmitrievich Zakharov. Admiralty.
Empire The Empire style established itself in Russia thanks to Karl Ivanovich Rossi. His ensembles realized a seemingly impossible idea - to turn an entire city into a work of art, into an open-air museum. The first work of the Russian Empire style was Palace Square with the buildings of the General Staff, ministries and the Winter Palace. When decorating Empire interiors, the combination of yellow and white prevailed. Bolshaya Morskaya Street and the arch of the General Staff building. The buildings of the ministries and the General Staff, connected by the Arc de Triomphe.
Mikhailovsky Palace The greatness of the ensemble of the Mikhailovsky Palace is perceived not from the facade, but in movement. The palace, while maintaining its architectural independence, includes in its orbit a chain of streets, squares and waterways. The special “sovereign” mythology underlying the St. Petersburg Empire architecture and complex imperial symbols is expressed in the pale yellow color of the walls and the white color of the architectural decor. Karl Ivanovich Rossi. Mikhailovsky Palace. Front facade.
Sources of information World artistic culture. L.G.Emokhonova, textbook for grade 11 (basic level), M. Publishing center "Academy", 2009. Unified collection of digital educational resources www.school.edu.ru Collection of images at http://yandex.ru
Preview:
General lesson on the topic “Rome, Paris, St. Petersburg. From Baroque to Empire style", 11th grade,
Goals: Expanding the horizons of students; repetition of the main stages of formation, development and change of artistic styles in different historical periods in various European countries, generalization of the features of historical style using examples of national masterpieces, development of imaginative thinking and the formation of the emotional sphere of the individual.
Tasks: Repetition and generalization of previously acquired knowledge about the architectural styles of Europe in the 17th - early 19th centuries centuries Performing an electronic test.
- Conversation using presentation slides
Slide 2 | Circumnavigation of the world, the latest discoveries in astronomy, the invention of the telescope and microscope showed the relativity, variability and incomprehensibility of space and time, which led to the tragic feeling of life as a continuous movement, the purpose of which is unknown to man and was reflected in the images of the Baroque. |
|
Slide 3 | Italian Baroque gravitated towards facades, and facades, especially of church buildings, became a symbol of the era. The balance and harmony of the Renaissance was replaced by the picturesque, illusory-moving appearance of the building. |
|
Slide 4 | The illusory blurring of the clear boundary between architecture, sculpture and painting contributes to the loss of ideas about the real extent of space in interiors. |
|
Slide 5 | The place of Renaissance Harmony was taken by Contradiction. The Catholic Church decisively extended power to all spheres of spiritual and social life. A similar spiritual mood found a specific refraction in the images of the Baroque. Baroque - (from Italian - strange, bizarre) - began to be called both an era and an artistic style that developed primarily in the architecture of Italy. |
|
Slide 6 | Bernini compared the sleeves of the colonnade with the embrace of the Church, ready to accept all those who suffer into its bosom. Obelisks and fountains in Baroque Rome became the most active elements in ordering the architectural environment. The architect and sculptor Lorenzo Bernini created his ensembles with an external “theatrical” effect in mind. The square in front of St. Peter's Basilica in Rome is designed as a continuation of the temple. The square and the temple are connected into an inextricable whole. |
|
Slide 7 | Baroque was primarily the art of the ensemble, of the overall impression. His attraction to vibrating surfaces and complex curved shapes demanded open skies and vast spaces. Fountains became one of the most important components of urban ensembles, because the dynamics of the water element inherently corresponds to the spirit of the Baroque. |
|
Slide 8 | The specifics of Russian Baroque were determined by the specifics of the development of St. Petersburg, which meant a complete break with the traditions of national Russian urban planning. The main “avenue” and main “square” of the new capital was the Neva. |
|
Slide 9 | Francesco Bartolomeo Rastrelli transformed St. Petersburg from a fortified city and a port city into a city of palaces. The ensembles he created - the Winter Palace and the Smolny Monastery in St. Petersburg, the Catherine Palace in Tsarskoe Selo - belong to a unique style that has no analogues in the West - Rastrelli's Baroque. This style combined the orderly rigor of classicism, the dynamics of baroque, rococo ornamentation and the major character of polychrome. |
|
Slide 10 | Rastrelli’s favorite color combinations - white with gold order elements and azure-blue - go back to the gilded carvings of the iconostasis of ancient Russian churches with their rich colorfulness and cheerfulness. |
|
Slide 11 | A through suite of rooms from the main staircase in both directions allows you to see the perspective of the halls through the doorways from one end of the palace to the other. The visual destruction of the monotony of an excessively long facade is facilitated by the plastic alternation of columns, pilasters and rustication, the luxurious variety of platbands and windows, a rich color scheme based on a combination of azure walls, white architectural details and gilding of sculptures. |
|
Slide 12 | The Smolny Monastery in its magnificent splendor is not inferior to the palace estates and is considered the most Baroque work of Francesco Bartolomeo Rastrelli. The ensemble of the Smolny Monastery is a creative reworking of the techniques of Russian architecture of the pre-Petrine era and the architecture of European monastic complexes. |
|
Slide 13 | The ideals of statehood in France required artistic forms that would be associated with the greatness of the rulers of the ancient Greeks and Romans. |
|
Slide 14 | Since strict, rational classicism seemed insufficiently lush to glorify Louis XIV, the “Sun King,” the architects turned to the whimsical, sophisticated forms of the Italian Baroque. As a result, the “Great Royal Style” emerged, combining the severity of classical forms in architecture and landscape art with the pomp of Baroque in interior decoration. |
|
Slide 15 | Flat bodies of water serve as giant mirrors duplicating space. Mandatory elements of a regular park are grass lawns and flower beds. The large mirrors of the gallery reflect the park ensemble, which gives the illusion of endless space. The history of the creation of the park in Versailles is closely connected with the garden life of classicism, which was characterized by lush parades and open-air entertainment with many guests. |
|
Slide 16 | The center of the formation of a new style with its predilection for the theatricalization of life and masquerade became the salons of aristocrats, who turned life into a festive extravaganza. Instead of a cornice separating the wall plane from the ceiling, a smooth, semicircular transition appeared, decorated with a gilded plaster pattern. |
|
Slide 17 | The Enlightenment movement in the second half of the 18th century led to the emergence of new social ideas, new morality and new aesthetics. The embodiment of naturalness, simplicity and clarity was the classicist architecture that re-established itself in France. |
|
Slide 18 | The pathos of simplicity and linearity is palpable in the buildings of Giacomo Quarenghi. Being a convinced admirer of Roman antiquity, he built buildings distinguished by symmetry, perfect proportions and laconic decor. |
|
Slide 19 | In the first decades of the 19th century, the desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired decisive significance. |
|
Slide 20 | The Empire style established itself in Russia thanks to Karl Ivanovich Rossi. His ensembles realized a seemingly impossible idea - to turn an entire city into a work of art, into an open-air museum. The first work of the Russian Empire style was Palace Square with the buildings of the General Staff, ministries and the Winter Palace. Without changing the strict regulations of the French Empire style - symmetry, the Corinthian order, linear relief from elements of Egyptian and ancient Roman ornamentation, Rossi introduced elements of ancient Russian military symbols into the architectural decor and received a national version of the Empire style. |
|
Slide 21 | The greatness of the ensemble of the Mikhailovsky Palace is perceived not from the facade, but in movement. The palace, while maintaining its architectural independence, includes in its orbit a chain of streets, squares and waterways. The special “sovereign” mythology underlying the St. Petersburg Empire architecture and complex imperial symbols is expressed in the pale yellow color of the walls and the white color of the architectural decor. |
Preview:
General lesson on the topic “Ideas of ancient people about the world”, grade 11,
GBOU secondary school No. 283. Teacher: Gubar Marina Dmitrievna – MHC.
II. Taking an electronic test based on the material covered.
The difficulty of the test lies in the fact that for each of the 15 questions there is a choiceseveral options answer. The test is graded on a five-point system.
Option 1
Baroque appeared as a result of... | |||
affirmation of the image of a closed space with a person at the center of the universe. | |||
excessive growth of mystical moods, hyperbolization of feelings, exaltation. | |||
the latest discoveries in the field of science and technology. | |||
Russian Baroque is due to... | |||
the development of the building as a three-dimensional volume according to the ancient Russian tradition. | |||
focusing on the facade of the building. | |||
specifics of the development of St. Petersburg. | |||
The Smolny Monastery Cathedral is… | |||
the most baroque work of F-B Rastrelli. | |||
creative reworking of the architecture of ancient Rus' and European monasteries. | |||
a typical example of ancient Russian architecture. | |||
Rococo… | |||
The presented interior belongs to the style…. | |||
rococo | |||
baroque | |||
empire style | |||
became Palace Square. | |||
Neoclassicism in architecture is... | |||
smooth ornaments and curls. | |||
straight, clear geometric shapes. | |||
continuation of the feudal chaos of urban development | |||
Giacomo Quarenghi... | |||
was the court architect of Peter I. | |||
exquisitely combined straight and rounded lines of the transition from Rococo to Neoclassicism. | |||
was a convinced admirer of Roman antiquity. | |||
The history of the creation of the palace and park ensemble of Versailles is connected with... | |||
"garden life" of classicism. | |||
symbolism of Apollo and an appeal to the theme of antiquity in planning and decor. | |||
the idea of glorifying the greatness of Rome. | |||
This picture shows a garden and park ensemble... | |||
Catherine Palace | |||
Peterhof | |||
Versailles | |||
Place de la Concorde in Paris... | |||
has no access to water. | |||
created by the architect J-A Gabriel. | |||
looks huge thanks to the wide panorama of parks and embankments | |||
Empire style... | |||
appeared in Russia earlier than in France. | |||
in Russia did not differ in ornamentation from the imperial style of France in the set of military attributes. | |||
Karl Ivanovich Rossi... | |||
changed the regulations of the French Empire - symmetry, Corinthian order, military ornaments. | |||
solved urban planning problems in dynamics, calculated the perception of the building in the process of movement. | |||
created the formula: “Every ensemble is an architectural landscape, every house is a function of the imperial capital” | |||
The ensemble of the Mikhailovsky Palace includes… | |||
Spit of Vasilyevsky Island | |||
buildings of the musical theater, the museum of ethnography, the Catherine Canal, the Moika and the Neva. | |||
building of the Russian Museum. |
Option 2
Baroque is characterized by... | |||
calmness of planes, balance and harmony of verticals and horizontals. | |||
the flow of one volume into another, the art of an architectural ensemble. | |||
illusion, mobility, curvilinearity, play of light and shadow, water dynamics. | |||
Rastrelli's Baroque is characterized by... | |||
passion for abundance, polychrome, festive solemnity. | |||
monotony of facades, monochrome, severity, static. | |||
the reinforcement of the entablature, the special rhythm of the columns, the whimsicality of the pediments. | |||
"Big Royal Style" is | |||
the severity of classical forms in architecture combined with the pomp of baroque in the interior | |||
prototype of the garden and park ensemble in Petrodvorets | |||
the splendor of Baroque architecture combined with the rigor of classical interiors | |||
Rococo… | |||
proclaimed picturesqueness and ornamentation as criteria of beauty. | |||
arose as a decorative style and spread its influence to architecture. | |||
formed in the salons of aristocrats, boudoirs and bedrooms, turned everyday life into an extravaganza. | |||
A feature of Rococo interiors… | |||
there was a clear, richly ornamented separation of the wall plane from the ceiling plane. | |||
was the use of large paintings on biblical subjects. | |||
there were a large number of mirrors on the walls and trinkets on the mantelpieces, tables and stands. | |||
This building built in the style... | |||
baroque | |||
classicism | |||
empire style | |||
A manifesto of classicism can be called... | |||
The building of the Senate and Synod. | |||
General Staff building. | |||
Building of the Academy of Sciences. | |||
Neoclassicism... | |||
inherited the feudal chaos of urban development. | |||
made many dreams of an “ideal city” come true. | |||
gardens and parks were moved outside the urban area. | |||
The building created by Andreyan Zakharov... | |||
has no sculptural decoration. | |||
is a typical example of the Baroque style. | |||
included in the ensembles: Trident of Perspectives, Palace Square, Neva, Strelka V.O. and Senate Square | |||
Layout of the park at Versailles... | |||
reflects the idea of the greatness of the “sun king” and the cyclical nature of nature | |||
symmetrical and regular, includes large planes of ponds | |||
picturesque and dynamic | |||
The presented interior belongs to the style… | |||
baroque | |||
rococo | |||
empire style | |||
Empire style... | |||
reproduced architectural images of Ancient Greece | |||
was created for Emperor Napoleon Bonaparte and reproduced the architectural images of Ancient Rome. | |||
established itself in Russia after the successes of Alexander I in military campaigns and European politics. | |||
The first work of the Russian Empire style... | |||
became the ensemble of the Mikhailovsky Palace. | |||
became the Admiralty ensemble. | |||
became Palace Square. | |||
The ensemble of Palace Square… | |||
not connected with Nevsky Prospekt. | |||
combines buildings of Baroque, Classicism and Empire style | |||
connects with the ensemble of the water area in front of the Spit of Vasilyevsky Island | |||
At the heart of the St. Petersburg Empire style... | |||
lay the aesthetic ideals of F.B. Rastrelli | |||
lay “sovereign” mythological and imperial symbols, expressed by a combination of pale yellow walls and white decorative elements. | |||
there was a masterful combination of architectural details with sculptural and pictorial decoration. |
Sources of information
- World artistic culture. L.G.Emokhonova, textbook for grade 11 (basic level), M. Publishing center "Academy", 2009.
- Unified collection of digital educational resourceswww.school.edu.ru
- Collection of images onhttp://yandex.ru
Description of the presentation by individual slides:
1 slide
Slide description:
IMPERIAL STYLE IN ARCHITECTURE SPECIFICS OF THE RUSSIAN EMPIRE Karl Ivanovich Rossi. Palace Square White Hall of the Mikhailovsky Palace in St. Petersburg Empire interior
2 slide
Slide description:
Empire style is a style created for Napoleon Bonaparte, which turned St. Petersburg into an imperial city. Successes in European politics and the military campaign of 1812 surrounded the image of Alexander I with the halo of the arbiter of the destinies of not only Russia, but all of Europe. Alexander I turns St. Petersburg into an imperial city, the “world capital.” The historical paradox was that the national pride of the victorious king was embodied in the forms of the style of defeated France - the Empire style, created for Emperor Napoleon Bonaparte. The French Empire style reproduced the architectural images of imperial Ancient Rome and Ancient Egypt. Napoleon Bonaparte Alexander I
3 slide
Slide description:
The national version of the Empire style and Karl Ivanovich Rossi The Empire style in Russia was established thanks to Karl Ivanovich Rossi (1775-1849). Rossi introduced elements of ancient Russian military symbols into the architectural decor and obtained a national version of the Empire style, distinguished by the boldness of its spatial solutions. Urban ensembles of Russia are similar to the scenery of a theatrical performance, the beauty and grandeur of which can only be comprehended in motion, from different angles. K. I. Rossi Portrait by B. Sh. Mituar Palace Square 1819-1834 Mikhailovsky Palace 1819-1825
4 slide
Slide description:
A brilliant solution to an urban planning problem The first work of the Russian Empire style was Palace Square (1819-1834) with the buildings of the General Staff, ministries and the Winter Palace. Rossi brilliantly solved the urban planning problem, creating a composition within the framework of a complex site plan, a given arched line of the square's border and an acute angle of the square with the Moika River.
5 slide
Slide description:
Palace Square is a kind of counterpoint to the various architectural melodies of the city. Palace Square is a kind of counterpoint to the various architectural melodies of the city. On the eastern side, through Razvodnaya Square, it leads to the Neva and the Peter and Paul Fortress on the opposite bank. From the west – to Admiralteyskaya Square. Through Admiralteysky Boulevard it smoothly flows into Senate Square, bounded by the elegant buildings of the Senate and Synod from the west, the austere building of the Admiralty from the east and infinitely expanded by the expanses of the Neva from the north. Nicholas I, under whom the construction of the arch was completed, expressed displeasure at the modesty of the decor. A high-relief composition of military armor and ancient Russian weapons appeared at the foot. Above them, between the columns, rise figures of warriors, personifying the peasantry and clergy - the main forces of the Patriotic War of 1812. The tympanum of the arch is decorated with relief images of Glory with laurel wreaths in their hands. The attic is crowned by a magnificent chariot of Victory, drawn by six horses, standing out sharply against the sky and seeming to be flying over the city.
Description of the presentation by individual slides:
1 slide
Slide description:
The image of the “ideal city” in the classical ensembles of Paris and St. Petersburg Jacques Ange Gabriel. Place Louis XV in Paris by Giacomo Quarenghi. Academy of Sciences in St. Petersburg Andreyan Dmitrievich Zakharov. Admiralty in St. Petersburg
2 slide
Slide description:
The emergence of new social ideas, new morality, new aesthetics The Enlightenment movement, started by Voltaire, taken up by Denis Diderot, J.J. Rousseau, led to the emergence of new social ideas, new morality, new aesthetics. Architecture became the embodiment of educational utopias and new values - naturalness, simplicity, clarity. In classical architecture, the capricious curls of the ornament and smooth silhouettes of Rococo were replaced by straight lines, clear geometric shapes, and undivided volumes of Neoclassicism. Voltaire (1694-1778) D. Diderot (1713-1784) J.J. Rousseau (1712-1778)
3 slide
Slide description:
Jacques Ange Gabriel Place Louis XV in Paris Utopian dreams of an “ideal city”, where houses stand among trees, wide streets form regular plots, and spacious squares offer views of city blocks, were brilliantly realized in the ensemble of Place Louis XV in Paris. The creator was one of the first architects of neoclassicism, Jacques Ange Gabriel (1698-1782). Place Louis XV (Place de la Concorde) - 1757-1779 Jacques Ange Gabriel (1698-1782) Having located the square on the right bank of the Seine (one natural border of the embankment), Gabriel included in the space of the square and living nature - the water surface of the river and the vegetation of parks.
4 slide
Slide description:
Place de la Concorde. Paris A small square looks huge thanks to the wide panorama. The Champs Elysees, like an endless green ribbon, leads the eye to the Arc de Triomphe on Place des Stars (Place Charles le Gaulle). On the opposite side, behind the park, rises the Arc de Triomphe on Place Carrousel, and then the bulk of the Louvre.
5 slide
Slide description:
Giacomo Quarenghi Academy of Sciences. 1783 - 1789. St. Petersburg The building of the Academy of Sciences, built by Quarenghi next to Peter's Kunstkamera in 1783 - 1785, is distinguished by its simplicity and severity. Russian art developed similarly to French. The pathos of simplicity and linearity is palpable in the buildings of the architect of “Catherine classicism” Giacomo Quarenghi (1744-1817). The ideas of the Enlightenment were in tune with the aesthetics of classicism and were adopted in Russia by Empress Catherine II. A fan of Roman antiquity, Giacomo Quarenghi built buildings distinguished by symmetry, perfect proportions and laconic decor. D. Quarenghi (1748-1817) Catherine II (1729-1796)
6 slide
Slide description:
The desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired in the first decades of the 19th century. defining value. The building in which the whole city recognizes itself was the Admiralty building built by A.D. Zakharov (1761-1811). The Admiralty is the first building on the left bank of the Neva in St. Petersburg / Initially, the Admiralty was conceived by Peter I only as a shipyard; according to his design, it was founded on November 5, 1704. In 1806–1823, by decree of Alexander I, the building was rebuilt by A.D. Zakharov. Zakharov built the third building of the Admiralty, which became a symbol of Russia's maritime power. Andreyan Dmitrievich Zakharov Admiralty. 1806-1823. St. Petersburg A.D. Zakharov (1761-1811) Alexander I (1777-1825)
Classicism in the architecture of Western Europe
Let's leave it to the Italians
Empty tinsel with its false gloss.
The most important thing is the meaning, but in order to get to it,
We'll have to overcome obstacles and paths,
Follow the designated path strictly:
Sometimes the mind has only one path...
You need to think about the meaning and only then write!
N. Boileau. "Poetic Art".
Translation by V. Lipetskaya
This is how one of the main ideologists of classicism, poet Nicolas Boileau (1636-1711), taught his contemporaries. The strict rules of classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satires of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris...
Classicism was most clearly manifested in works of architecture focused on the best achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan. The “strict style” of classicism architecture seemed designed to visually embody its ideal formula of “noble simplicity and calm grandeur.” Simple and clear forms and calm harmony of proportions dominated in the architectural structures of classicism. Preference was given to straight lines and unobtrusive decor that followed the outline of the object. Simplicity and nobility of decoration, practicality and expediency were evident in everything.
Based on the ideas of Renaissance architects about the “ideal city,” the architects of classicism created a new type of grandiose palace and park ensemble, strictly subordinated to a single geometric plan. One of the outstanding architectural structures of this time was the residence of the French kings on the outskirts of Paris - the Palace of Versailles.
Fairytale Dream of Versailles
Mark Twain, who visited Versailles in the mid-19th century.
“I scolded Louis XIV, who spent 200 million dollars on Versailles when people did not have enough for bread, but now I have forgiven him. It's incredibly beautiful! You look, stare and try to understand that you are on earth and not in the Gardens of Eden. And you are almost ready to believe that this is a hoax, just a fairytale dream.”
Indeed, the “fairytale dream” of Versailles still amazes today with the scale of its regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors. Versailles became the visible embodiment of the ceremonial official architecture of classicism, expressing the idea of a rationally organized model of the world.
One hundred hectares of land in an extremely short time (1666-1680) were turned into a paradise intended for the French aristocracy. The architects Louis Levo (1612-1670), Jules Hardouin-Mansart (1646-1708) and Andre Le Nôtre(1613-1700). Over the course of a number of years, they rebuilt and changed a lot in its architecture, so that currently it is a complex fusion of several architectural layers, incorporating the characteristic features of classicism.
The center of Versailles is the Grand Palace, to which three converging access avenues lead. Situated on some elevation, the palace occupies a dominant position over the area. Its creators divided the almost half-kilometer length of the facade into a central part and two side wings - risalit, giving it a special solemnity. The facade is represented by three floors. The first, which serves as a massive base, is decorated with rustication following the example of Italian palazzo palaces of the Renaissance. On the second, front, there are high arched windows, between which there are Ionic columns and pilasters. The tier crowning the building imparts a monumental appearance to the palace: it is shortened and ends with sculptural groups, giving the building a special elegance and lightness. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and splendor. It is no coincidence that Moliere said about the Grand Palace of Versailles:
“The artistic decoration of the palace is so in harmony with the perfection that nature gives it that it can well be called a magic castle.”
The interiors of the Grand Palace are decorated in Baroque style: they are replete with sculptural decorations, rich decor in the form of gilded stucco moldings and carvings, many mirrors and exquisite furniture. The walls and ceilings are covered with colored marble slabs with clear geometric patterns: squares, rectangles and circles. Picturesque panels and tapestries on mythological themes glorify King Louis XIV. Massive bronze chandeliers with gilding complete the impression of wealth and luxury.
The halls of the palace (there are about 700 of them) form endless enfilades and are intended for ceremonial processions, magnificent celebrations and masquerade balls. In the largest main hall of the palace - the Mirror Gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the hall corresponded with mirrors on the other. In sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.
The decorative compositions of Charles Lebrun (1619-1690) in Versailles and the Louvre were striking in their ceremonial pomp. The “method of depicting passions” he proclaimed, which involved pompous praise of high-ranking persons, brought the artist dizzying success. In 1662, he became the king's first painter, and then director of the royal manufactory of tapestries (hand-woven carpet-pictures, or tapestries) and director of all decorative work at the Palace of Versailles. In the Mirror Gallery of the palace, Lebrun painted
a gilded lampshade with many allegorical compositions on mythological themes glorifying the reign of the “Sun King” Louis XIV. The piled-up pictorial allegories and attributes, bright colors and decorative effects of Baroque clearly contrasted with the architecture of classicism.
The king's bedroom is located in the central part of the palace and faces the rising sun. It was from here that there was a view of three highways diverging from one point, which symbolically reminded of the main focus of state power. From the balcony, the king could see all the beauty of Versailles Park. Its main creator, Andre Le Nôtre, managed to combine elements of architecture and landscape art. Unlike landscape (English) parks, which expressed the idea of unity with nature, regular (French) parks subordinated nature to the will and plans of the artist. The Park of Versailles amazes with its clarity and rational organization of space; its drawing was precisely verified by the architect using a compass and a ruler.
The alleys of the park are perceived as a continuation of the halls of the palace, each of them ends with a pond. Many pools have a regular geometric shape. In the pre-sunset hours, the smooth water mirrors reflect the rays of the sun and the bizarre shadows cast by bushes and trees trimmed in the shape of a cube, cone, cylinder or ball. The greenery forms either solid, impenetrable walls or wide galleries, in artificial niches of which sculptural compositions, herms (tetrahedral pillars topped with a head or bust) and numerous vases with cascades of thin streams of water are placed. The allegorical sculpture of the fountains, made by famous masters, is intended to glorify the reign of the absolute monarch. The “Sun King” appeared in them either in the guise of the god Apollo or Neptune, riding out of the water in a chariot or resting among the nymphs in a cool grotto.
The smooth carpets of lawns amaze with their bright and variegated colors with intricate patterns of flowers. The vases (there were about 150 thousand of them) contained fresh flowers, which were changed in such a way that Versailles was in constant bloom at any time of the year. The paths of the park are sprinkled with colored sand. Some of them were lined with porcelain chips sparkling in the sun. All this splendor and lushness of nature was complemented by the smells of almond, jasmine, pomegranate and lemon, spreading from the greenhouses.
There was nature in this park
As if lifeless;
As if with a pompous sonnet,
We were fiddling with the grass there.
No dancing, no sweet raspberries,
Le Nôtre and Jean Lully
In the gardens and dances of disorder
They couldn't stand it.
The yew trees froze, as if in a trance,
The bushes leveled the line,
And they curtsied
Memorized flowers.
V. Hugo Translation by E. L. Lipetskaya
N. M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in “Letters of a Russian Traveler”:
“Enormousness, perfect harmony of parts, the action of the whole: this is what a painter cannot depict with a brush!
Let's go to the gardens, the creation of Le Nôtre, whose bold genius everywhere placed proud Art on the throne, and threw humble Nature, like a poor slave, at his feet...
So, do not look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes...”
Architectural ensembles of Paris. Empire style
After the completion of the main construction work in Versailles, at the turn of the 17th-18th centuries, Andre Le Nôtre began active work on the redevelopment of Paris. He laid out the layout of the Tuileries Park, clearly fixing the central axis on the continuation of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt and the Place de la Concorde was created. The major axis of Paris gave a completely different interpretation of the city, meeting the requirements of greatness, grandeur and pomp. The composition of open urban spaces and the system of architecturally designed streets and squares became the determining factor in the planning of Paris. The clarity of the geometric pattern of streets and squares linked into a single whole will for many years become a criterion for assessing the perfection of the city plan and the skill of the city planner. Many cities around the world will subsequently experience the influence of the classic Parisian model.
A new understanding of the city as an object of architectural influence on humans finds clear expression in the work on urban ensembles. In the process of their construction, the main and fundamental principles of classicism urban planning were outlined - free development in space and an organic connection with the environment. Overcoming the chaos of urban development, architects sought to create ensembles designed for free and unobstructed views.
Renaissance dreams of creating an “ideal city” were embodied in the formation of a new type of square, the boundaries of which were no longer the facades of certain buildings, but the space of adjacent streets and neighborhoods, parks or gardens, and the river embankment. Architecture strives to connect in a certain ensemble unity not only buildings directly adjacent to each other, but also very distant points of the city.
Second half of the 18th century. and the first third of the 19th century. in France mark a new stage in the development of classicism and its spread in European countries - neoclassicism. After the Great French Revolution and the Patriotic War of 1812, new priorities appeared in urban planning, in tune with the spirit of their time. They found their most vivid expression in the Empire style. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, appeal to the art of imperial Rome and Ancient Egypt, and the use of attributes of Roman military history as the main decorative motifs.
The essence of the new artistic style was very accurately conveyed in the significant words of Napoleon Bonaparte:
“I love power, but as an artist... I love it to extract sounds, chords, harmony from it.”
Empire style became the personification of the political power and military glory of Napoleon, and served as a unique manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new time. Large architectural ensembles of open squares, wide streets and avenues were created everywhere, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.
For example, the Austerlitz Bridge commemorated Napoleon's great battle and was built from Bastille stones. At Place Carrousel was built triumphal arch in honor of the victory at Austerlitz. Two squares (Concord and Stars), located at a considerable distance from each other, were connected by architectural perspectives.
Church of Saint Genevieve, erected by J. J. Soufflot, became the Pantheon - the resting place of the great people of France. One of the most spectacular monuments of that time is the column of the Grand Army on Place Vendôme. Likened to the ancient Roman Column of Trajan, it was supposed, according to the plans of the architects J. Gondoin and J. B. Leper, to express the spirit of the New Empire and Napoleon’s thirst for greatness.
In the bright interior decoration of palaces and public buildings, solemnity and stately pomp were especially highly valued; their decor was often overloaded with military paraphernalia. The dominant motifs were contrasting color combinations and elements of Roman and Egyptian ornaments: eagles, griffins, urns, wreaths, torches, grotesques. The Empire style manifested itself most clearly in the interiors of the imperial residences of the Louvre and Malmaison.
The era of Napoleon Bonaparte ended by 1815, and very soon they began to actively eradicate its ideology and tastes. From the “disappeared like a dream” Empire, all that remained were works of art in the Empire style, clearly demonstrating its former greatness.
Questions and tasks
1.Why can Versailles be considered an outstanding work?
How the urban planning ideas of 18th century classicism found their practical embodiment in the architectural ensembles of Paris, for example the Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, such as Piazza del Popolo (see p. 74)?
2. What is the expression of the connection between Baroque and classicism architecture? What ideas did classicism inherit from Baroque?
3. What are the historical background for the emergence of the Empire style? What new ideas of his time did he strive to express in works of art? What artistic principles does he rely on?
Creative workshop
1. Give your classmates a correspondence tour of Versailles. To prepare it, you can use video materials from the Internet. The parks of Versailles and Peterhof are often compared. What do you think are the grounds for such comparisons?
