First decades of the 19th century in Russia took place in an atmosphere of popular upsurge associated with the Patriotic War of 1812. The ideals of this time found expression in the poetry of the young Pushkin. The war of 1812 and the Decembrist uprising largely determined the character of Russian culture in the first third of the century.
The contradictions of the time became especially acute in the 1940s. It was then that the revolutionary activity of A.I. Herzen, with brilliant critical articles by V.G. Belinsky, passionate disputes were waged by Westernizers and Slavophiles.
Romantic motifs appear in literature and art, which is natural for Russia, which has been involved in the pan-European cultural process for more than a century. The path from classicism to critical realism through romanticism determined the conditional division of the history of Russian art in the first half of the 19th century. as if into two stages, the watershed of which was the 1930s.
Much has changed since the 18th century. in fine and plastic arts. The social role of the artist, the significance of his personality, his right to freedom of creativity, in which social and moral problems were now more and more acute, increased.
The growth of interest in the artistic life of Russia was expressed in the building of certain art societies and the publication of special journals: the Free Society of Lovers of Literature, Sciences and Arts (1801), the Fine Arts Magazine, first in Moscow (1807), and then in St. Petersburg (1823 and 1825), "Society for the Encouragement of Artists" (1820), "Russian Museum." P. Svinin (1810s) and the "Russian Gallery" in the Hermitage (1825), provincial art schools, such as the school of A.V. Stupina in Arzamas or A.G. Venetsianov in St. Petersburg and the village of Safonkovo.
The humanistic ideals of Russian society were reflected in the highly civic examples of architecture of that time and monumental and decorative sculpture, in synthesis with which decorative painting and applied art, which often finds itself in the hands of the architects themselves, act. The dominant style of this time is mature, or high, classicism, in scientific literature, especially at the beginning of the 20th century, often referred to as Russian Empire.
The architecture of the first third of the century is, first of all, the solution of large urban planning problems. In St. Petersburg, the layout of the main squares of the capital is being completed: the Palace and the Senate. The best ensembles of the city are being created. Moscow was built especially intensively after the fire of 1812. Antiquity in its Greek (and even archaic) form becomes the ideal; the civic heroism of antiquity inspires Russian architects. The Doric (or Tuscan) order is used, which attracts with its severity and conciseness. Some elements of the order are enlarged, especially colonnades and arches, the power of smooth walls is emphasized. The architectural image strikes with grandeur and monumentality. A huge role in the overall appearance of the building is played by sculpture, which has a certain semantic meaning. Color decides a lot, usually the architecture of high classicism is two-tone: columns and stucco statues are white, the background is yellow or gray. Among the buildings, the main place is occupied by public buildings: theaters, departments, educational institutions, palaces and temples are built much less often (with the exception of regimental cathedrals at the barracks).
Russian architecture in the first half of the 19th century Presentation prepared by: Zhenya Romanova Zhenya Tanacheva
At the beginning of the 19th century, public interest in works of art increased significantly, which contributed to the development of artistic culture. An important feature of the development of art of this period was the rapid change of artistic trends and the simultaneous existence of various artistic styles.
In the architecture of the first half of the century, classicism lingered longer than in other areas of artistic creativity. He dominated almost until the 40s. Its pinnacle at the beginning of the 19th century was the Empire style, expressed in massive forms, rich decorations, and the severity of lines inherited from imperial Rome. An important element of the Empire was also sculptures that complemented the architectural design of buildings. Palaces and mansions of the nobility, buildings of higher government institutions, noble assemblies, theaters and even temples were built in the Empire style. Empire was the embodiment of the ideas of state power and military strength.
Early 19th century was a time of rapid development of the capitals - St. Petersburg and Moscow. As well as the central part of large provincial cities. A feature of the construction of this period was the creation of architectural ensembles - a number of buildings and structures united into a single whole. In St. Petersburg during this period, Palace, Admiralteyskaya and Senatskaya squares were formed. in Moscow - Teatralnaya. Provincial cities were rebuilt according to special plans. Their central part now consisted not only of cathedrals, palaces of governors and mansions of the nobility, buildings of noble assemblies, but also new institutions - museums, schools, libraries, theaters.
The largest representatives ZAKHAROV Andreyan (Adrian) Dmitrievich, Russian architect. Empire representative. Creator of one of the masterpieces of Russian architecture - the Admiralty building in St. Petersburg (1806-23).
Zakharov created a monumental building in the strict forms of the Russian Empire according to the traditional three-axis scheme: a tower surrounded by a colonnade at the top and crowned with a dome with a spire, and two wings, each of which has a central portico and two side six-columned loggias. Numerous statues (allegorical figures) and reliefs of facades and interiors by V. I. Demut-Malinovsky, F. F. Shchedrin, I. I. Terebenev and S. S. Pimenov are organically connected with the architectural forms of the building. The Admiralty, to the tower of which three highways of the city converge, is the center of the architectural composition of St. Petersburg.
VORONIKHIN Andrei Nikiforovich (1759-1814), Russian architect, representative of the Empire style. His works in St. Petersburg - the Kazan Cathedral (1801-1811), which laid the foundation for a large urban ensemble on Nevsky Prospekt, the Mining Institute (1806-1811) - are marked by monumental and strict solemnity. Participated in the creation of architectural ensembles of Pavlovsk and Peterhof.
BOVE Osip Ivanovich (1784-1834), Russian architect. Empire representative. Chief architect of the Commission for the restoration of Moscow after the fire of 1812. With the participation of Beauvais, Red Square was reconstructed, Theater Square with the Bolshoi Theater (1821-24), Triumphal Gates (1827-34) was created.
MONFERRAN August Avgustovich (1786-1858) - Russian architect, decorator and draftsman. A representative of late classicism, his work marks the transition from classicism to eclecticism. French by origin. From 1816 he worked in Russia. Such buildings of Montferrand as St. Isaac's Cathedral and the Alexander Column played a significant role in shaping the ensembles of the center of St. Petersburg.
Ton Konstantin Andreevich - (1794-1881), Russian architect, "Russian-Byzantine" style in Russian architecture. In 1838-1849, the Grand Kremlin Palace was built under his supervision. In 1837, according to his project, the construction of the grandiose Cathedral of Christ the Savior began in Moscow in memory of the heroes of the Patriotic War of 1812. In 1839, the architect designs the Grand Kremlin Palace and the Armory of the Moscow Kremlin (1843-51) and becomes their main builder. In Moscow, Ton also built the first railway station in Russia, the Nikolaevskaya Road (now Leningradsky Station, 1849; in St. Petersburg - now Moscow, 1844-51).
Karl Ivanovich Rossi - (1775-1849) Russian architect. He made a new contribution to the history of Russian classicism. His major works: the Mikhailovsky Palace in St. Petersburg (now the Russian Museum) with the entire area of arts, the Palace Square ensemble with the General Staff Building and the arch, etc.
The building of the New Hermitage was built in St. Petersburg, where the first national art museum was opened in 1852 (architect L. Von-Klenze).
First half of the 19th century went down in history as the beginning of the "golden age" of Russian artistic culture. It was distinguished by: the rapid change of artistic styles and trends, the mutual enrichment and close interconnection of literature and other areas of art, the strengthening of the public sound of the created works, the organic unity and complementarity of the best examples of Western European and Russian folk culture. All this made the artistic culture of Russia diverse and polyphonic, led to an increase in its influence on the life of not only the enlightened strata of society, but also millions of ordinary people.
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At the beginning of the 19th century, public interest in works of art increased significantly, which contributed to the development of artistic culture. An important feature of the development of art of this period was the rapid change of artistic trends and the simultaneous existence of various artistic styles.
In the architecture of the first half of the century, classicism lingered longer than in other areas of artistic creativity. He dominated almost until the 40s. Its pinnacle at the beginning of the 19th century was the Empire style, expressed in massive forms, rich decorations, and the severity of lines inherited from imperial Rome. An important element of the Empire was also sculptures that complemented the architectural design of buildings. Palaces and mansions of the nobility, buildings of higher government institutions, noble assemblies, theaters and even temples were built in the Empire style. Empire was the embodiment of the ideas of state power and military strength.
Early 19th century was a time of rapid development of the capitals - St. Petersburg and Moscow. As well as the central part of large provincial cities. A feature of the construction of this period was the creation of architectural ensembles - a number of buildings and structures united into a single whole. In St. Petersburg during this period, Palace, Admiralteyskaya and Senatskaya squares were formed. in Moscow - Teatralnaya. Provincial cities were rebuilt according to special plans. Their central part now consisted not only of cathedrals, palaces of governors and mansions of the nobility, buildings of noble assemblies, but also new institutions - museums, schools, libraries, theaters.
The largest representatives ZAKHAROV Andreyan (Adrian) Dmitrievich, Russian architect. Empire representative. The creator of one of the masterpieces of Russian architecture of the Admiralty building in St. Petersburg ().
Zakharov created a monumental building in the strict forms of the Russian Empire according to the traditional three-axis scheme: a tower surrounded by a colonnade at the top and crowned with a dome with a spire, and two wings, each of which has a central portico and two side six-columned loggias. Numerous statues (allegorical figures) and reliefs of facades and interiors by V. I. Demut-Malinovsky, F. F. Shchedrin, I. I. Terebenev and S. S. Pimenov are organically connected with the architectural forms of the building. The Admiralty, to the tower of which three highways of the city converge, is the center of the architectural composition of St. Petersburg.
VORONIKHIN Andrey Nikiforovich (), Russian architect, representative of the Empire style. His works in St. Petersburg Kazan Cathedral (), which laid the foundation for a large urban ensemble on Nevsky Prospekt, the Mining Institute () are marked by monumental and strict solemnity. Participated in the creation of architectural ensembles of Pavlovsk and Peterhof.
BOVE Osip Ivanovich (), Russian architect. Empire representative. Chief Architect of the Commission for the Restoration of Moscow after the Fire With the participation of Beauvais, Red Square was reconstructed, Theater Square with the Bolshoi Theater (), Triumphal Gates () was created.
MONFERRAN August Augustovich () - Russian architect, decorator and draftsman. A representative of late classicism, his work marks the transition from classicism to eclecticism. French by origin. From 1816 he worked in Russia. Such buildings of Montferrand as St. Isaac's Cathedral and the Alexander Column played a significant role in shaping the ensembles of the center of St. Petersburg.
Ton Konstantin Andreevich - (), Russian architect, "Russian-Byzantine" style in Russian architecture. In under his leadership, the Grand Kremlin Palace was erected. In 1837, according to his project, the construction of the grandiose Cathedral of Christ the Savior began in Moscow in memory of the heroes of the Patriotic War of 1812. In 1839, the architect designs the Grand Kremlin Palace and the Armory of the Moscow Kremlin () and becomes their main builder. In Moscow, Ton also built the first railway station in Russia, the Nikolaevskaya Road (now Leningradsky Station, 1849; in St. Petersburg, now Moscow).
Karl Ivanovich Rossi - () Russian architect. He made a new contribution to the history of Russian classicism. His major works: the Mikhailovsky Palace in St. Petersburg (now the Russian Museum) with the entire area of arts, the Palace Square ensemble with the General Staff Building and the arch, etc.
First half of the 19th century went down in history as the beginning of the "golden age" of Russian artistic culture. It was distinguished by: the rapid change of artistic styles and trends, the mutual enrichment and close interconnection of literature and other areas of art, the strengthening of the public sound of the created works, the organic unity and complementarity of the best examples of Western European and Russian folk culture. All this made the artistic culture of Russia diverse and polyphonic, led to an increase in its influence on the life of not only the enlightened strata of society, but also millions of ordinary people. First half of the 19th century went down in history as the beginning of the "golden age" of Russian artistic culture. It was distinguished by: the rapid change of artistic styles and trends, the mutual enrichment and close interconnection of literature and other areas of art, the strengthening of the public sound of the created works, the organic unity and complementarity of the best examples of Western European and Russian folk culture. All this made the artistic culture of Russia diverse and polyphonic, led to an increase in its influence on the life of not only the enlightened strata of society, but also millions of ordinary people.
The architecture of the first third of the century is, first of all, the solution of large urban planning problems. In St. Petersburg, the layout of the main squares of the capital is being completed: the Palace and the Senate. The best ensembles of the city are being created. Moscow was built especially intensively after the fire of 1812. Antiquity in its Greek (and even archaic) form becomes the ideal; Use Doric (or Tuscan) order.Some elements of the order are enlarged, especially colonnades and arches, the power of smooth walls is emphasized. , background - yellow or gray. Among the buildings, the main place is occupied by public buildings: theaters, departments, educational institutions, palaces and temples are built much less often (with the exception of regimental cathedrals at the barracks).
Leading Architect - Voronikhin In 1800, Voronikhin worked in Peterhof, completing the project of galleries at the bucket of the Samson fountain and taking part in the general reconstruction of the fountains of the Big Grotto, a number of fountains for the Pulkovo road, finished the Flashlight office and the Egyptian vestibule in the Pavlovsk Palace, Viskontiev Bridge and Pink pavilion in Pavlovsk park. The main brainchild of Voronikhin is the Kazan Cathedral. Thomas de Thomon (c. 1760–1813), the Exchange building, he changed the whole appearance of the spit of Vasilsvsky Island, shaping the banks of the two channels of the Neva in a semicircle, placing rostral columns-beacons along the edges, thereby forming a square near the Exchange building.
The new century was marked by the creation of the most important ensembles in St. Petersburg. Zakharov(1761-1811), since 1805 "the chief architect of the Admiralty", begins the construction of the Admiralty (1806-1823). Leading Petersburg architect of the first third of the 19th century. ("Russian Empire") was Karl Ivanovich Russia(1777–1849). One of the first works in St. Petersburg - buildings on Elagin Island (1818), "thought in ensembles." So, creating the Mikhailovsky Palace (1819–1825, now the Russian Museum), he organizes the square in front of the palace and paves the street to Nevsky Prospekt, while commensurating his plan with other nearby buildings - the Mikhailovsky Castle and the space of the Field of Mars. One of the ensembles is the building of the Alexandria Theater, the Alexandria Square adjacent to it, the Theater Street behind the facade of the theater, which today has received the name of its architect, and the pentagonal Chernyshev Square near the Fontanka Embankment that completes it. The last creation of Russia in St. Petersburg is the building of the Senate and the Synod. In Moscow O. Bove, D. Gilardi, A. Grigoriev and others erected outstanding structures that significantly changed the former appearance of Moscow. Role OSIPA BOVE in creating the image of Moscow can only be compared with the work of RossivSt. Petersburg. He worked mainly in the style of classicism. Under the leadership of Beauvais in the center of Moscow, the Classicist style shopping malls opposite the Kremlin were rebuilt (not preserved), the Red Square was reconstructed, the earthen fortifications around the Kremlin were demolished and covered with ditches, the Kremlin (Alexander) garden was laid out, the Manege was built, the Theater Square was created with Bolshoi (Petrovsky) Theater(42), erected Arc de Triomphe (43) in honor of the victory of the Russian people in the Patriotic War of 1812. Now it is located on Victory Square (Kutuzovsky Prospekt) in the area of Poklonnaya Gora.
In 1837, Nicholas I conceived the palace in the Moscow Kremlin by the architect K. Ton Grand Kremlin Palace arr. rectangle with courtyard. 5 halls of the palace (Georgievsky Vladimirsky Alexandrovsky Andreevsky and Ekaterininsky named after the orders of the Russian Empire, are currently used for state and diplomatic receptions and official ceremonies, and the palace itself is the main residence of the President of the Russian Federation.
Sculpture I. MARTOS, Monument to Minin and Pozharsky on the Red Square . In 1804–1818 Demut-Malinovsky "The Abduction of Proserpina by Pluto" (54), Pimenov– "The battle of Hercules with Antaeus, Chariot of Glory for the Palace Arc de Triomphe (56) and Apollo's chariot for the Alexandria Theater (57).
I.P. VITALI- figures of angels at the lamps on the corners of St. Isaac's Cathedral (58)
