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Architecture and painting in the first half of the 19th century. Russian architecture in the first half of the 19th century

Architecture and painting in the first half of the 19th century. Russian architecture in the first half of the 19th century

04.05.2019

Architecture and painting in the first half of the 19th century

Late XVIII - early XIX V. - the era of classicism in Russian architecture. Classicism - cultural direction focused on antique art, literature and mythology. In Russianliterature and music, classicism almost did not find reflection, and in painting, sculpture, and especially arthitektura created genuine masterpieces. Forbuildings in the style of classicism are characterized by strictproportions, balance, symmetry, harmonya perfect combination of the whole and the parts. Typical de- tal - the main entrance in the center, decorated in the form of a portico.

Even in the middle of the eighteenth century. Petersburg was a citysingle estates, in many ways similar to the oldMoscow. But then regular building beganalong straight avenues diverging from the centertra. The building of the Admiralty was erected in the centerstva according to the project of A. D. Zakharov. His solemnThis view set the tone for the whole look of the city. Petersburg- Classicismdeveloped as architecture not from-individual buildings, but whole avenues and ensembles,striking in their harmony. At the beginning of theka on the spit of Vasilyevsky Island according to the project To-ma de Thomon, the Exchange building was erected, very successfully fit into the system of "Peter and Paul fortress - spit of Vasilyevsky Island - Yard- tsovaya embankment”, united by the smooth surface of the river. The theme of dominance over the water element was emphasized and S. S. Pimenov, I. I. Terebenev, V. I. De Mut-Malinovsky in monumental sculpture,decorating the rostral columns in front of the buildingExchanges. The main thoroughfare of the city, Nevsky pro-spectrum, acquired the form of an integral ensemble with erected niem in 1801-1811. Kazan Cathedral designed by A. N. Voronikhin. Monuments to Kutuzov and Barclay de Tolly by B. I. Orlovsky were erected in front of the cathedral building. In the 40-50s Nevskythe avenue was decorated with "Horse Tamers" by P. K. Claudethe one installed on the Anichkov bridge. From 1818 to 1858 St. Isaac's Cathedral was built - the most shoe building erected in Russia in the first half Not XIX V. It was intended to symbolize the power of the autocracy and a close alliance with the rightglorious church. The author of the project, O. Montferrand,also erected the Alexander Column on the Dvor- tsovaya square - a monument to Alexander I and Russian weapons, famous in the Patriotic war. The triumphal motifs of the Alexander Column were repeated in the sculptural decorationarches of the General Staff, built according to the projectK. I. Rossi. The completion of shaping work on the formation of St. Petersburg ensembles. Buildings were built according to his designs.of the Senate and the Synod, the Alexandria Theater, the Hail Palace. The famous architect built and redesigned streets and squares, turning the whole city into a work of art.

Moscow classicism, in contrast to Peterburgsky, characterized by separate buildings. By-after the fire of 1812, which did not change the traditional different styles of Moscow streets, were builtny Bolshoi Theatre, Manezh (architect O. I. Bove), Ope-Kuna Council on Solyanka (architect D.I. Gilardi).A monument was erected on Red SquareMinin and Pozharsky by I.P. Martos, VIn general, Moscow classicism is not so monumentalTalen. Moscow is characterized by mansionsof a different type, such as, for example, the Lopukhins' house on Pre-cleaning of the architect A. G. Grigoriev.

Provincial classicism was close toskovsky; in Siberia at the beginning of the century was widespreadStrange baroque, classicism came later.

In the 30s of XIX V. classicism has arrived crisis. Canonical features of classical buildings ny - the only entrance, indispensable columns - did not meet the new requirements of life: in St.burg, tenement houses were erected with manyentrances, on the lower floors there were shopszines with wide windows. creative thoughtarchitects came to the need for "smart you-bora ": combinations of the appearance of the building with itsvalue. Now everything was determined by the desire forthe treasurer and the predilections of the architect. Has comeperiod eclecticism(mixing styles). In 1839-1852. in St. Petersburg, the building of the New Hermitage was built according to the project of L. Klenze; Modern Greek the style of the building created an impressive image of the museum.Nicholas Palace designed by A. I. Shtakensh nader was built in 1853-1864. using motives of the Italian Renaissance. K. A. Tonin his work he tried to combine classicism with traditions of ancient Russian architecture. In 1839-1849. under his leadership, the Bolshoi Kremlin Palace was built; in 1839-1883 - temple Christ the Savior in honor of the victory of Russia in the Fatherland military war of 1812, talented Russian sculptors participated in its construction and decoration, artists, engineers. Few creations, Tona survived to this day, among them - the Petersburg station in Moscow and Moscow - in St. Petersburg.

Classicism in painting was called aka- demism.It was good at the Academy of Artstraining in painting and drawing was set up, but the plot line focused only on the ancient heritage, modern life was considered unworthy Images. For the works of academic artistscharacteristic landscape, theatricalitycompositions and an indispensable plot from antiquity.The talent of K. P. Bryullov made it possible to createacademicism, significant and living works niya. His painting "The Last Day of Pompeii" sewed a triumphant journey from Italy to Russiathis and made a deep impression on modernMennikov. Academic painting of its peakreached in the work of A. A. Ivanov and his works deniya "The Appearance of Christ to the People". In the first half XIX V. portrait painters O. A. Kiprensky workedand V. A. Troshshin, who wrote lifetime port-Pushkin's reta. Does not fit into the framework of academicismmoose creativity P. A. Fedotov; his "Fresh Cava"ler", "Major's Matchmaking", "Aristocrat's Breakfast" - works of a clearly satirical nature.

In 1852creation began in Russia general dos- dumb art museums. opened his doors Hermitage, which has become from the palace collectionartistic treasures (founded by CatherineNoah P) National Museum.

The architecture of Russian classicism in the first half of the 19th century

The beginning of the 19th century was marked by new trends in art and a new brilliant stage in the architecture of Russian classicism. In art, the search for more majestic and simple forms begins.

Architects are looking for laconic and powerful compositions, trying to avoid decoration and reveal the mighty trunks of columns against the background of the calm surface of the walls. Only in places they decorate the wall with a rich and strong stain, stucco and other details, thus emphasizing the simplicity of the whole more sharply.

Petersburg architecture

A new stage in the development of classicism (the so-called Empire style) was opened by the architect A. N. Voronikhin. His best work - the Kazan Cathedral in St. Petersburg (1801 - 1811) - is still close to classicism in its architecture. The mighty colonnades of the cathedral cover the semi-oval square, open to Nevsky Prospekt. The second planned colonnade on the other side of the building was not implemented.

Another work by Voronikhin - the Mining Institute (1806-1811) - in its forms already belongs entirely to the 19th century. Remarkable is the powerful Doric colonnade of the huge portico against the background of the severe walls of the facade, with sculptural groups on the sides of the portico.

An outstanding work of this period is the Stock Exchange (1805-1816) by Thomas de Thomon on the spit of Vasilyevsky Island. The strict Doric colonnade of the main building of the Exchange in the spirit of an ancient Greek temple and the mighty rostral columns in front of it are perfectly combined with the harsh expanse of the Neva.

The ingenious work of the architecture of Russian classicism of this era is Admiralty (1806-1817)- a monument dedicated to the sea power of Russia. Its builder was A. D. Zakharov. The style and ideals of the era are fully reflected in the artistic image and perfect forms of this work... more>>>

A major architect after Zakharov was Stasov, a student of Bazhenov and Kazakov. His best works were: a slender bell tower in the village of Gruzino (1815), sustained in strict forms, the Triumphal Gates in St. Petersburg (1833-1838), whose heavy and severe Doric order gives the impression of power and strength, and the barracks of the Pavlovsky regiment (1817-1819) . Something new is already felt in this building: there is less severity in it, more pomp, especially in its attic decorated with sculpture.

After the decisive victory of the Russian people over the Napoleonic armies, in architecture there is a tendency towards solemnity, triumphal forms.
The last major figure, completing the era of Russian classicism, was K.I. Russia. His works were, as it were, a synthesis of the previous stages of the architecture of Russian classicism. Rossi's statement in an explanatory note to one of the unrealized projects is characteristic: "The dimensions of the project I propose exceed those that the Romans considered sufficient for their monuments. Shall we be afraid to equal them in splendor?"

Rossi created a large number of individual structures and a number of ensembles. The best of his early Petersburg works is the Mikhailovsky Palace, now the Russian Museum (1819-1823). A magnificent building, well placed in the park, with a huge front courtyard, a beautiful Corinthian portico of the main facade and a huge loggia of the park facade. The interior decoration of the premises is luxurious, the front staircase of the vestibule with paintings and the internal colonnade of the Ionic order is especially good.

An outstanding work of Rossi is the building and the arch of the General Staff. The headquarters building encloses Palace Square in a semicircle. The famous double arch connects the square with the street. This ensemble is one of the best creations of the master due to the boldness of the idea and the perfection of execution. Unsurpassed is the Rossi ensemble, which includes two squares - Chernyshev and them. A. N. Ostrovsky - and the Theater Street connecting them, now the street of the architect Rossi (1827-1832). The center of the whole composition is the building of the former Alexandria Theatre. It was here that the idea of the ensemble, which was born during the construction of the General Staff building (the connection of two architectural spaces by passing), received its final completion.

The Doric colonnade of the upper floors of the buildings of Rossi Street leads from Chernyshev Square to the Alexandrinsky Theater Square. The austere Dorica of Rossi Street is replaced on the square by the splendor of the Corinthian porticos and loggias of the Alexandria Theater, located in the center of the buildings surrounding it: the Public Library and the elegant pavilions of the Anichkov Palace, created by the same architect. In front of the theater there is a square with a monument to Catherine. The ensemble of the square with the main facade of the theater opens onto Nevsky Prospekt. Chernyshev Square was not completed by Rossi, which somewhat violates the integrity of the entire composition of the ensemble. The left wing of the building covering the square and the rotunda church in the center were not built.

The last major building of Rossi was the building of the Senate and Synod (1829-1834). The colossal arch in the center was conceived as a compositional center uniting two separate buildings (the Senate and Si Noda), designed grandly and solemnly in a magnificent Corinthian order. The arch is crowned with a sculptural attic.

Rossi completes the heyday of the architecture of Russian classicism. After him comes the "sunset", the slow disintegration of the style, in the coming twilight there is a search for new ways in architecture.

Moscow Empire

The Moscow classicist architecture of the early 19th century, like the architecture of St. Petersburg, experienced a brilliant flowering during this period, inspired by the same ideals and created a number of great works, the so-called "Moscow Empire".

The majestic style of St. Petersburg architecture, with its scale, grandeur and cold harmony of lines, is being modified in Moscow, acquiring an intimate interpretation - warmth, elegance of lines, shapes and decorations. Such is the Moscow manor building, for which Naydenov's house is typical. But in official buildings, the architecture of the Moscow Empire is imbued with the same cold severity and power (Provision warehouses, Manege).

Architect O.I. beauvais

The first major master of the Moscow Empire style was the architect O. I. Bove, who graduated from the Kazakov school. The best building of Beauvais - the mansion of Prince Gagarin (1813) - was destroyed as a result of a Nazi air raid in 1941. In this building with wide-spread wings, the center was especially remarkable with its arch-loggia, groups of columns on the sides and a bas-relief of flying "glories" at the top. The architecture of the house was strongly influenced by Kazakov's classicism.

In the Manezh (1817), with its powerful and simple volume, the calm rhythm of the Doric semi-columns encircling the entire huge building, the new character of architecture is already clearly expressed. The seal of cold and official severity lies on the architecture of this building, emphasizing its purpose.

The building of the Gradskaya Hospital (1823) by the same master, located next to Kazakov's Golitsynskaya Hospital, is a variant of a manor with a front yard in terms of type, and differs in architecture by some heaviness of forms.

In 1821-1824, Beauvais created the Theater Square ensemble (later rebuilt), which included the Bolshoi Theater in the center, the Maly Theater on the right, and a number of buildings along the entire perimeter. The whole ensemble was tied together by an arcade that encircled the entire square. Traces of this arcature have been preserved on the lower floor of the Maly Theatre. Between the buildings, it turned into connecting galleries. The center of the square was decorated with a fountain group by the sculptor Vitali, which has survived to this day.

D. Gilardi and A.S. Grigoriev

Simultaneously with Beauvais, two great masters of the Moscow Empire style, D. Gilardi and A. S. Grigoriev, worked. Among the huge number of works of these architects there are a number of first-class monuments of Russian architecture.

The old building of the University, burnt down during the Napoleonic invasion, built by Kazakov, was restored in the style of the Moscow Empire in 1817 by Gilardi with the preservation of the general composition - the type of the estate given by Kazakov. The semicircular hall of the University is beautiful with a wonderful Empire style painting and an elegant white colonnade supporting the balcony. Outside, it is met by a majestic Doric portico of strict proportions, emphasizing the center of the building and the calm surface of the walls of the facades, touched in places by rich spots of bas-reliefs and rosettes, typical of the entire Moscow Empire style.

The Naydenov Estate, built by Gilardi and Grigoriev in 1821, is also one of the finest works of this period in Moscow. It consists of a house with an elegant Ionic portico to the street, a monumental open staircase leading from the garden to the second floor, and a garden with pavilions and pavilions, among which the musical pavilion is especially elegant. The halls of the main building are decorated with beautiful Empire-style paintings. The whole ensemble as a whole is full of charm and nobility.

A significant monument of this period is the building of the Board of Trustees (1823-1825) on Solyanka. The building is somewhat distorted by later development. In its original form, it was an ensemble of three separate volumes: a central building with a beautiful Ionic portico, reminiscent of the portico of Naydenov's house, and two side pavilions. A monumental fence with gates decorated with lions connected these links. Later, these gaps were built up to the same height as the side pavilions.

The house of the former State Bank (1819) on Nikitsky Boulevard stands out in composition and architecture. It also consists of a central building adorned with a beautiful loggia colonnade and two unequal side pavilions, of which the right one is especially beautiful in the form of a small elegant Palladian villa.

Gilardi created one of the best estates near Moscow - Kuzminki. The first place among the buildings of Kuzminok is occupied by the Horse Yard. The central part of the Horse Yard is especially good. This is a simple pavilion with a huge exedra arch, which contains an elegant colonnade with a sculptural group crowning it. The impression of this contrasting combination is huge. It is reinforced by Klodt's equestrian groups, placed later on the sides of the pavilion.

Wonderful creations of the architect were scattered in the picturesque park near the pond - propylaea, the preserved left wing of the palace, a cast-iron fence, an Egyptian-style service pavilion and a pier with lions.

In addition to Kuzminki, Gilardi and Grigoriev built the small estates of Sukhanovo and Otrada. Provision warehouses in Moscow are an outstanding work of the Moscow Empire style. Enormous power emanates from these seemingly simple volumes placed side by side. The cold splendor and austerity of the architectural forms of this complex seem to portend the official style of classicism of the 30s of the 18th century.

One of the last monuments of the Moscow Empire is the university church built by E. D. Tyurin, a semi-rotunda (1837), in which the heaviness of forms and the coming decline of classicism architecture are already felt.

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 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 city 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. The 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).

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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, V. G. Belinsky spoke with brilliant critical articles, passionate disputes were waged by Westerners 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), "Journal of Fine Arts" first in Moscow (1807), and then in St. Petersburg (1823 and 1825), the Society for the Encouragement of Artists (1820), the Russian Museum... by 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).

The largest architect of this time, Andrei Nikiforovich Voronikhin (1759–1814), began his independent path back in the 90s, following F.I. Demertsov of the interiors of the Stroganov Palace F.-B. Rastrelli in St. Petersburg (1793, Mineral Cabinet, art gallery, corner room). Classical simplicity is also characteristic of the Stroganov dacha on the Black River (1795–1796, not preserved. For the oil landscape "Stroganov's Dacha on the Black River", 1797, Russian Museum, Voronikhin received the title of academician). In 1800, Voronikhin worked in Peterhof, completing the project of galleries near the bucket of the Samson fountain and taking part in the general reconstruction of the fountains of the Great Grotto, for which he was officially recognized as an architect by the Academy of Arts. Later, Voronikhin often worked in the suburbs of St. Petersburg: he designed a number of fountains for the Pulkovo road, decorated the Flashlight office and the Egyptian lobby in the Pavlovsk Palace, Viskontiev Bridge and the Pink Pavilion in Pavlovsk Park. The main brainchild of Voronikhin is the Kazan Cathedral (1801–1811). The semicircular colonnade of the temple, which he erected not from the side of the main - western, but from the side - northern facade, formed a square in the center of the Nevsky Prospect, turning the cathedral and the buildings around it into an important town-planning hub. Driveways, the colonnade ends second, connect the building with the surrounding streets. The proportionality of the side passages and the building of the cathedral, the design of the portico and the fluted Corinthian columns testify to the excellent knowledge of ancient traditions and their skillful modification in the language of modern architecture. In the remaining unfinished project of 1811, a second colonnade was proposed near the southern facade and a large semicircular square near the western one. Only a wonderful cast-iron grating in front of the western facade turned out to be made from this plan. In 1813 M.I. was buried in the cathedral. Kutuzov, and the building became a kind of monument to the victories of Russian weapons. Banners and other relics recaptured from the Napoleonic troops were kept here. Later, monuments to M.I. Kutuzov and M.B. Barclay de Tolly, executed by the sculptor B. I. Orlovsky.

Voronikhin gave the Mining Cadet Corps (1806-1811, now the Mining Institute) an even more strict, antiquity character, in which everything is subordinated to a powerful Doric portico of 12 columns facing the Neva. Equally severe is the image of the sculpture that adorns it, perfectly combined with the smoothness of the side walls and Doric columns. I.E. Grabar correctly noted that if the classicism of the Catherine's era proceeded from the ideal of Roman architecture (Quarenghi), then the "Alexander" one, as it were, resembles the majestic style of Paestum.

Voronikhin, the architect of classicism, devoted a lot of energy to the creation of an urban ensemble, the synthesis of architecture and sculpture, the organic combination of sculptural elements with architectural divisions both in large structures and in small ones. The mountain cadet corps, as it were, opened a view of Vasilsvsky Island from the sea. On the other side of the island, on its spit, during these years, Thomas de Thomon was building the Bourse Ensemble (1805–1810).

Thomas de Thomon (c. 1760–1813), a Swiss by birth, came to Russia at the end of the 18th century, having already worked in Italy, Austria, and possibly having taken a course at the Paris Academy. He did not receive a completed architectural education, however, he was entrusted with the construction of the Stock Exchange building, and he brilliantly coped with the task (1805-1810). Tomon changed the entire appearance of the spit of Vasilsvsky Island, shaping the banks of the two channels of the Neva in a semicircle, placing rostral columns-lighthouses along the edges, thereby forming a square near the Stock Exchange building. The Exchange itself looks like a Greek temple - a peripter on a high plinth, intended for trading warehouses. Decor is almost non-existent. Simplicity and clarity of forms and proportions give the building a majestic, monumental character, make it the main one not only in the ensemble of arrows, but also influencing the perception of both embankments, both Universitetskaya and Dvortsovaya. Decorative allegorical sculpture of the Stock Exchange building and rostral columns emphasizes the purpose of the buildings. The central hall of the Stock Exchange with a laconic Doric entablature is covered with a coffered semicircular vault.

The Stock Exchange Ensemble was not the only construction of Thomas de Thomon in St. Petersburg. He also built in the royal suburban residences, using here the Greek type of construction. The artist's romantic moods were fully expressed in the mausoleum "To the Benefactor Spouse", erected by Empress Maria Feodorovna in memory of Pavel in the park of Pavlovsk (1805-1808, the memorial sculpture was made by Martos). The mausoleum resembles an archaic type of prostyle temple. Inside the hall is also covered with a coffered vault. Smooth walls are lined with artificial marble.

The new century was marked by the creation of the most important ensembles in St. Petersburg. A graduate of the St. Petersburg Academy and a student of the Parisian architect J.-F. Shalgren Andrey Dmitrievich Zakharov (1761–1811), since 1805 “the chief architect of the Admiralty”, begins the construction of the Admiralty (1806–1823). Having rebuilt the old Korobov building, he turned it into the main ensemble of St. Petersburg, which invariably rises in the imagination when talking about the city even today. Zakharov's compositional solution is extremely simple: the configuration of two volumes, with one volume as if nested in the other, of which the outer, U-shaped, is separated by a channel from the two inner outbuildings, L-shaped in plan. The inner volume is ship and drawing workshops, warehouses, the outer one is departments, administrative institutions, a museum, a library, etc. The Admiralty facade stretches for 406 m. is the castle of the composition and through which the main entrance runs inside. Zakharov retained Korobov's ingenious design for the spire, showing tact and respect for tradition and managing to transform it into a new classicist image of the building as a whole. The monotony of the almost half a kilometer facade is broken by evenly spaced porticos. In striking unity with architecture is the decorative plasticity of the building, which has both architectonic and semantic significance: the Admiralty is the maritime department of Russia, a powerful maritime power. The whole system of sculptural decoration was developed by Zakharov himself and brilliantly embodied by the best sculptors of the beginning of the century. Allegories of the Winds, Shipbuilding, etc. are depicted above the parapet of the upper platform of the tower pavilion, crowned with a dome. At the corners of the attic are four seated warriors in armor, leaning on shields, executed by F. Shchedrin, below is a huge, up to 22 m long, relief frieze " Establishment of the Fleet in Russia” by I. Terebenev, then in flat relief the image of Neptune, passing the trident to Peter as a symbol of dominance over the sea, and in high relief - winged Glories with banners - symbols of the victories of the Russian fleet, even lower are the sculptural groups of “nymphs holding globes” , as Zakharov himself called them, also performed by F. Shchedrin. This combination of round sculpture with high and low relief, statuary sculpture with relief-ornamental compositions, this correlation of sculpture with a smooth mass of the wall was also used in other works of Russian classicism of the first third of the 19th century.

Exchange building in St. Petersburg

Zakharov died without seeing the Admiralty in its finished form. In the second half of the XIX century. the territory of the shipyard was built up with profitable houses, much of the sculptural decoration was destroyed, which distorted the original plan of the great architect.

The Zakharovsky Admiralty combines the best traditions of Russian architecture (it is no coincidence that its walls and the central tower remind many of the simple walls of ancient Russian monasteries with their gate bell towers) and the most modern urban planning tasks: the building is closely connected with the architecture of the city center. Three avenues originate from here: Voznesensky, Gorokhovaya st., Nevsky avenue (this ray system was conceived under Peter). The Admiralty needle echoes the high spiers of the Peter and Paul Cathedral and the Mikhailovsky Castle.

Leading Petersburg architect of the first third of the 19th century. ("Russian Empire") was Karl Ivanovich Rossi (1777-1849). Rossi received his initial architectural education in the workshop of Brenna, then traveled to Italy, where he studied the monuments of antiquity. His independent work begins in Moscow, continues in Tver. One of the first works in St. Petersburg - buildings on Elagin Island (1818). It can be said about Rossi that he “thought in ensembles”. His palace or theater turned into a town-planning hub of squares and new streets. 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. The main entrance of the building, located in the depths of the front courtyard behind a cast-iron grate, looks solemn, monumental, which is facilitated by the Corinthian portico, to which a wide staircase and two ramps lead. Rossi did much of the decoration of the palace himself, and with impeccable taste - the design of the fence, the interiors of the vestibule and the White Hall, the color of which was dominated by white and gold, characteristic of the Empire, as well as grisaille painting.

In the design of Palace Square (1819-1829), Rossi faced the most difficult task - to combine the Baroque Rastrelli Palace and the monotonous classicist facade of the General Staff building and ministries into a single whole. The architect broke the dullness of the latter with the Arc de Triomphe, which opens the exit to Bolshaya Morskaya Street, to Nevsky Prospekt, and gave the correct shape to the square - one of the largest among the squares of European capitals. The triumphal arch, crowned with the chariot of Glory, gives the entire ensemble a highly solemn character.

One of the most remarkable ensembles of Rossi was begun by him at the end of the 10s and completed only in the 30s and included the building of the Alexandria Theater, built with the latest technology of that time and with rare artistic perfection, Alexandria Square adjacent to it, Theater Street beyond the facade of the theater, which today has received the name of its architect, and the five-sided Chernyshev Square near the Fontanka embankment that completes it. In addition, the ensemble included the Sokolovsky building of the Public Library, modified by Rossi, and the pavilions of the Anichkov Palace, built by Rossi back in 1817–1818.

The last creation of Rossi in St. Petersburg is the building of the Senate and the Synod (1829-1834) on the famous Senate Square. Although it still amazes with the impudent scope of the architect’s creative thought, who connected the two buildings separated by Galernaya Street with a triumphal arch, one cannot but note the appearance of new features characteristic of the late work of the architect and the last period of the Empire as a whole: some fragmentation of architectural forms, congestion with sculptural elements, harshness, coldness and pomposity.

In general, Rossi's work is a true example of urban planning. Like Rastrelli once, he himself composed the decor system, designing furniture, creating wallpaper patterns, and also led a huge team of wood and metal craftsmen, painters and sculptors. The integrity of his plans, a single will helped create immortal ensembles. Rossi constantly collaborated with sculptors S.S. Pimenov Senior and V.I. Demut-Malinovsky, the authors of the famous chariots on the Arc de Triomphe of the General Staff and sculptures at the Alexandria Theater.

Vasily Petrovich Stasov (1769–1848) was the “most strict” of all architects of late classicism – whether he built barracks (Pavlovsky barracks on the Field of Mars in St. Petersburg, 1817–1821), whether he rebuilt the Imperial stables (“Stable Department” on the Konyushennaya Square, 1817–1823), whether he erected regimental cathedrals (the Cathedral of the Izmailovsky Regiment, 1828–1835) or triumphal arches (Narva and Moscow Gates), or designed interiors (for example, the Winter Palace after the fire of 1837 or Catherine’s Tsarskoye Selo after the fire of 1820 G.). Everywhere Stasov emphasizes the mass, its plastic heaviness: his cathedrals, their domes are heavy and static, the columns, usually of the Doric order, are just as impressive and heavy, the general appearance is devoid of grace. If Stasov resorts to decor, then it is most often heavy ornamental friezes.

Voronikhin, Zakharov, Thomas de Thomon, Rossi and Stasov are Petersburg architects. No less remarkable architects worked in Moscow at that time. During the war of 1812, more than 70% of the entire urban housing stock was destroyed - thousands of houses and more than a hundred churches. Immediately after the expulsion of the French, intensive restoration and construction of new buildings began. It reflected all the innovations of the era, but the national tradition remained alive and fruitful. This was the originality of the Moscow construction school.

Alexandria Theater in St. Petersburg

First of all, Red Square was cleared, and O.I. Beauvais (1784-1834) were rebuilt, and in fact, re-erected Trade Rows, the dome over the central part of which was located opposite the dome of the Kazakov Senate in the Kremlin. A little later, a monument to Minin and Pozharsky was erected on this axis by Martos.

Beauvais was also engaged in the reconstruction of the entire territory adjacent to the Kremlin, including a large garden near its walls with a gate from Mokhovaya Street, a grotto at the foot of the Kremlin wall and ramps at the Trinity Tower. Beauvais created the Theater Square ensemble (1816–1825), building the Bolshoi Theater and linking the new architecture to the ancient Kitai-Gorod wall. Unlike St. Petersburg squares, it is closed. Osip Ivanovich also owns the buildings of the First City Hospital (1828–1833) and the Triumphal Gates at the entrance to Moscow from St. late 18th century Bazhenov bell tower and refectory. This is a rotunda temple, the dome of which is supported by a colonnade inside the cathedral. The master worthily continued the work of his teacher Kazakov.

Almost always, Domenico (Dementiy Ivanovich) Gilardi (1788–1845) and Afanasy Grigorievich Grigoriev (1782–1868) worked fruitfully together. Gilardi rebuilt the Kazakov Moscow University (1817–1819), which burned down during the war. As a result of reconstructions, the dome and the portico become more monumental, from Ionic to Doric. Gilardi and Grigoriev worked a lot and successfully in estate architecture (Usachev's estate on the Yauza, 1829-1831, with its fine stucco decoration; Golitsyn's Kuzminki estate, 1920s, with its famous horse yard).

Moscow residential buildings of the first third of the 19th century conveyed to us the special charm of the Russian Empire: solemn allegorical figures on the facades peacefully coexist in them - with the motif of balconies and front gardens in the spirit of provincial estates. The end facade of the building is usually displayed on the red line, while the house itself is hidden in the depths of the courtyard or garden. Compositional picturesqueness and dynamics reign in everything, in contrast to the balance and orderliness of St. Petersburg (the Lunin house at the Nikitsky Gate, built by D. Gilardi, 1818–1823); Khrushchev's house, 1815–1817, now the museum of A.S. Pushkin, built by A. Grigoriev; his own house Stanitskaya, 1817–1822, now the museum of L.N. Tolstoy, both on Prechistenka.

Lunin House in Moscow, architect D.I. Gilardi

Gilardi and Grigoriev greatly contributed to the spread of the Moscow Empire, mostly wooden, throughout Russia, from Vologda to Taganrog.

By the 40s of the XIX century. classicism lost its harmony, became heavier, more complicated, we see this in the example of St. Isaac's Cathedral in St. Petersburg, built by Auguste Montferrand for forty years (1818–1858), one of the last outstanding monuments of religious architecture in Europe of the 19th century, which united the best forces of architects, sculptors, painters , masons and foundry workers.

The paths of development of sculpture in the first half of the century are inseparable from the paths of development of architecture. In sculpture, such masters as I.P. Martos (1752–1835), in the 80–90s of the 18th century. famous for its tombstones, marked by grandeur and silence, wise acceptance of death, “like the ancients” (“My sorrow is bright ...”). By the 19th century there is a lot of change in his handwriting. Marble is replaced by bronze, the lyrical beginning - heroic, sensitive - strict (tombstone of E.I. Gagarina, 1803, GMGS). Greek antiquity becomes a direct role model.

Khrushchev House in Moscow

In 1804–1818 Martos is working on a monument to Minin and Pozharsky, funds for which were collected by public subscription. The creation of the monument and its installation took place during the years of the highest public upsurge and reflected the mood of these years. Martos embodied the ideas of the highest civic duty and feat in the name of the Motherland in simple and clear images, in a laconic artistic form. Minin's hand is extended to the Kremlin - the greatest shrine of the people. His clothes are a Russian shirt, not an antique toga. Prince Pozharsky is wearing old Russian armor, a pointed helmet and a shield with the image of the Savior. The monument is revealed differently from different viewpoints: if you look to the right, it seems that, leaning on a shield, Pozharsky stands up to meet Minin; from a frontal position, from the Kremlin, it seems that Minin convinced Pozharsky to take on the high mission of defending the Fatherland, and the prince is already taking up the sword. The sword becomes the link of the whole composition.

Together with F. Shchedrin, Martos also works on sculptures for the Kazan Cathedral. He executed the relief “The outflow of water by Moses” on the attic of the eastern wing of the colonnade. A clear articulation of figures against a smooth background of the wall, a strictly classical rhythm and harmony are characteristic of this work (the attic frieze of the western wing "The Copper Serpent", as mentioned above, was executed by Prokofiev).

In the first decades of the century, the best creation of F. Shchedrin was created - the sculpture of the Admiralty, as mentioned above.

The next generation of sculptors is represented by the names of Stepan Stepanovich Pimenov (1784–1833) and Vasily Ivanovich Demut-Malinovsky (1779–1846). They, like no one else in the 19th century, achieved in their works an organic synthesis of sculpture with architecture - in sculptural groups made of Pudost stone for the Voronikhinsky Mining Institute (1809-1811, Demut-Malinovsky - "The Abduction of Proserpina by Pluto", Pimenov - "The Battle of Hercules with Antaeus”), the character of heavy figures of which is consonant with the Doric portico, or in the chariot of Glory and the chariot of Apollo made of sheet copper for Russian creations - the Palace Arc de Triomphe and the Alexandria Theater.

The Chariot of Glory of the Arc de Triomphe (or, as it is also called, the Victory composition) is designed to perceive silhouettes that are clearly drawn against the sky. If you look at them directly, it seems that the mighty six horses, where the foot warriors are led by the bridle, are presented in a calm and strict rhythm, reign over the entire square. From the side, the composition becomes more dynamic and compact.

One of the latest examples of the synthesis of sculpture and architecture can be considered the statues of Barclay de Tolly and Kutuzov (1829–1836, erected in 1837) at the Kazan Cathedral by B.I. Orlovsky (1793–1837), who did not live a few days before the discovery of these monuments. Although both statues were executed two decades after the construction of the cathedral, they brilliantly fit into the passages of the colonnade, which gave them a beautiful architectural frame. Pushkin succinctly and vividly expressed the idea of Orlovsky’s monuments: “Here is the initiator Barclay, and here the performer Kutuzov”, i.e. the figures personify the beginning and end of the Patriotic War of 1812. Hence the resilience, internal tension in the figure of Barclay are symbols of heroic resistance and a gesture calling forward Kutuzov's hands, Napoleonic banners and eagles under his feet.

Monument to Minin and Pozharsky in Moscow

Russian classicism also found expression in easel sculpture, in small-scale sculpture, in medal art, for example, in the famous medallion reliefs of Fyodor Tolstoy (1783–1873) dedicated to the war of 1812. A connoisseur of antiquity, especially Homeric Greece, the finest plastic, the most elegant draftsman. Tolstoy managed to combine the heroic, the sublime with the intimate, deeply personal and lyrical, sometimes even romantic mood, which is so characteristic of Russian classicism. Tolstoy's reliefs were executed in wax, and then in the "old manner", as Rastrelli the Elder did in the time of Peter the Great, they were cast by the master himself in metal, and numerous plaster versions have been preserved, either translated into porcelain, or executed in mastic ("People's Militia", "Battle Borodino”, “Battle of Leipzig”, “Peace to Europe”, etc.).

It is impossible not to mention F. Tolstoy's illustrations for the poem "Darling" by I.F. Bogdanovich, made with ink and pen and engraved with a chisel, is an excellent example of Russian sketch graphics based on the plot of Ovid's Metamorphoses about the love of Cupid and Psyche, where the artist expressed his understanding of the harmony of the ancient world.

Russian sculpture of the 30-40s of the XIX century. becoming more democratic. It is no coincidence that such works as “The Guy Playing Money” by N.S. Pimenov (Pimenov the Younger, 1836), "A guy playing pile" by A.V. Loganovsky, warmly welcomed by Pushkin, who wrote famous poems about their exhibition.

The work of the sculptor I.P. Vitali (1794–1855), who, among other works, made a sculpture for the Triumphal Gate in memory of the Patriotic War of 1812 near the Tverskaya Zastava in Moscow (architect O.I. Bove, now on Kutuzova Avenue); a bust of Pushkin, made shortly after the death of the poet (marble, 1837, VMP); the colossal figures of angels at the lamps on the corners of St. Isaac's Cathedral are perhaps the best and most expressive elements of the entire sculptural decoration of this gigantic architectural structure. As for the portraits of Vitali (with the exception of the bust of Pushkin) and especially the portraits of the sculptor S.I. Halberg, they bear the features of a direct stylization of ancient herms, which does not get along well, according to the right remark of the researchers, with an almost naturalistic elaboration of faces.

The genre stream can be clearly seen in the works of early deceased students of S.I. Galberg - P.A. Stavasser ("The Fisherman", 1839, marble, Russian Museum) and Anton Ivanov ("Young Lomonosov on the Seashore", 1845, marble, Russian Museum).

In the sculpture of the middle of the century, there are two main directions: one, coming from the classics, but coming to dry academicism; the other reveals a desire for a more direct and multilateral reflection of reality, it becomes widespread in the second half of the century, but there is no doubt that both directions are gradually losing the features of the monumental style.

The sculptor who, during the years of the decline of monumental forms, managed to achieve significant success in this area, as well as in “small forms”, was Pyotr Karlovich Klodt (1805–1867), the author of horses for the Narva Triumphal Gates in St. Petersburg (architect V . Stasov), "Horse Tamers" for the Anichkov Bridge (1833–1850), the monument to Nicholas I on St. Isaac's Square (1850–1859), I.A. Krylov in the Summer Garden (1848-1855), as well as a large number of animal sculptures.

Decorative and applied art, which so powerfully expressed itself in the general single stream of interior decoration of the "Russian Empire" of the first third of the 19th century - the art of furniture, porcelain, fabric - also loses its integrity and purity of style by the middle of the century.

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 ().

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.