The formation and development of secular sculpture in Russia is connected with the work of Rastrelli Sr. Rastrelli Jr. left a rich architectural heritage.
Thanks to the sculptor Carlo Rastrelli, new types of sculpture appeared for Russian art: an equestrian monument, sculptural groups. Carlo Bartolomeo Rastrelli did not have apprentice sculptors; only Russian apprentices worked with him and learned from his experience. But he still had one student - this is his son, Francesco Bartolomeo Rastrelli.
Carlo Bartolomeo Rastrelli (1675-1744)
The Italian sculptor Carlo Rastrelli worked in the Baroque style. He was also a metal foundry worker and an architect with special education. He lived and worked in Rome, but at the invitation of Peter I in 1716 he arrived in Russia to cast cannons, as well as to artwork to decorate the new Russian capital. And he stayed in Russia forever. Soon after his arrival in St. Petersburg, Rastrelli began work on the first monument in Russia - the equestrian sculpture of Peter I. But this monument was created for a very long time, several decades, and in the meantime, Carlo Rastrelli took up sculpture. And the first work was a bust of AD Menshikov in bronze.
Carlo Rastrelli. Bust of A.D. Menshikov (1716-1717). State Hermitage(Saint Petersburg)
HELL. Menshikov- an associate of Peter I. This portrait, kept by the descendants of Menshikov, was seen by the artist V. I. Surikov. In his painting “Menshikov in Berezov”, he borrowed many of the characteristic features of Menshikov from this portrait of Rastrelli.
The bust of Peter I by B. K. Rastrelli is one of the most significant works of Russian sculpture of the 18th century. It clearly shows the character of Peter I: mind, energy, will. The work is considered quite reliable, tk. Rastrelli used a wax cast from the face of Peter, taken in 1719. The bust was cast in 1723, but only 6 years later the engraver Semange completed work on chasing the details of clothing.
Carlo Rastrelli. Bronze bust of Peter I. State Hermitage Museum (St. Petersburg)
By 1747, the bronze equestrian monument of Peter I in front of the Mikhailovsky Castle in St. Petersburg was finally completed, although the sculptor Carlo Rastrelli made a model of the monument during the life of Peter I. About 50 more years were considered different places to erect a monument. And all this time he himself remained under a wooden canopy near the Trinity Bridge.
The monument was finally erected on a pedestal only in 1800. The pedestal was made according to the drawing Russian architect Fedor Volkov. The granite pedestal is lined with white, pink and greenish Olonets marble and decorated with two bronze bas-reliefs: "The Battle of Poltava" and "The Battle of Gangut", as well as an allegorical composition with trophies. The bas-reliefs were made by sculptors I. I. Terebenev, V. I. Demut-Malinovsky, I. E. Moiseev under the direction of M. I. Kozlovsky. By order of Emperor Paul I, the inscription “Great-grandfather is a great-grandson” was made on the pedestal.
Carlo Rastrelli. Monument to Peter the Great near the Mikhailovsky Castle in St. Petersburg
Another one great work Carlo Rastrelli - group sculpture.
Carlo Rastrelli "Anna Ioannovna with a black boy" (1741). State Russian Museum (St. Petersburg)
In 1741-3174. Rastrelli made ceremonial medallions with bust portraits of Emperor Peter I and his daughter, Empress Elizabeth Petrovna. Initially they were cast in tin, but later they were often replicated in bronze, cast iron and painted papier-mâché.
Carlo Rastrelli. Empress Elizaveta Petrovna (1740s). Tin. Museums of the Moscow Kremlin
But, as we remember, Rastrelli Sr. was an architect by education. He participated in the design of the Strelna Palace for Peter the Great. Already they began to dig canals and plant trees under his leadership in the park, but the architect J.-B. Leblon with his project, and the king liked his project more, so further work was carried out without the participation of Rastrelli. French architect and craftsman landscape architecture Jean-Baptiste Leblon from 1716 until his death in 1719 was the chief architect of St. Petersburg.
Francesco Bartolomeo Rastrelli (1700-1771)
Lucas Conrad Pfandzelt. Portrait of Bartolomeo Francesco Rastrelli
Francesco Rastrelli - Russian architect Italian descent, academician of architecture Imperial Academy arts (1771). Most bright representative so-called Elizabethan Baroque. He is the author of the most famous monuments Petersburg and its environs. Art historians believe that it is to Father Rastrelli Jr. that he owes his successful career. Francesco Rastrelli built Winter Palace, Smolny Cathedral, Large palaces in Peterhof and Tsarskoye Selo. The son of Francesco Bartolomeo Rastrelli (Joseph Yakov) died of cholera at a very young age, and Rastrelli's creative dynasty was interrupted.
So the original professional education Francesco received under the guidance of his father, then several times went to study in Europe. His first early works were not original and were in line with the Petrine baroque. In the early 1740s, Francesco Rastrelli became the chief architect of the Empress Anna Ioannovna, and then her successor Elizabeth. He is looking for his own style: he travels to Moscow twice, gets acquainted with traditional Russian architecture.
Period creative flourishing architect began with the construction of a wooden summer palace in St. Petersburg for Empress Elizabeth Petrovna (not preserved). From 1747 to 1752 he worked on the Grand Palace in Peterhof.
Grand Palace (Peterhof)
The central part of the southern facade of the palace. Architect Francesco Rastrelli
The building was almost completely destroyed during the Second World War and restored in 1952. The palace has about 30 rooms, including richly decorated ceremonial rooms, stuccoed in marble, with painted ceilings, inlaid parquet and gilded walls.
Main staircase. Allegories of Summer and Spring
The dance hall was created in 1751-1752. and completely retained the idea of Rastrelli. The abundance of mirrors creates the effect of multiplied space.
Dance hall
The decoration is dominated by gilded woodcarving. The ornamental pattern of maple, walnut, light and dark oak parquet complements the interior.
picture room
In 1747, Rastrelli created a sketch of St. Andrew's Cathedral in Kyiv. The cathedral was built by the Russian architect I.F. Michurin.
St. Andrew's Cathedral in Kyiv
In 1752-1757. Francesco Rastrelli rebuilt Catherine Palace in Tsarskoye Selo.
Francesco Bartolomeo Rastrelli. Great Catherine Palace in Tsarskoye Selo (Pushkin)
Winter Palace
Francesco Bartolomeo Rastrelli. Winter Palace
This building of the palace (fifth) was designed and built in 1754-1762. Francesco Rastrelli in the Elizabethan Baroque style with French Rococo elements in the interiors. Since Soviet times, the main exposition of the State Hermitage has been located within the walls of the palace.
The building has about 1500 rooms. total area palace of about 60,000 m². Elizaveta Petrovna did not live to see the completion of construction, which was accepted by Peter III in 1762. By this time, the facades had been completed, but many interior spaces were not yet ready. In the summer of 1762 Peter III overthrown from the throne, the construction of the Winter Palace was already completed under Catherine II. She removed Rastrelli from work. The interior decoration of the palace was carried out by the architects Yu. M. Felten, J. B. Vallin-Delamot and A. Rinaldi under the guidance of I.I. Betsky, Catherine's personal secretary.
Smolny Monastery
The Smolny Monastery was built under the personal supervision of Empress Elizaveta Petrovna, who wished to retire here at the end of her life. Designed by Francesco Rastrelli.
The monastery complex was to include a temple with house churches and a high bell tower, as well as an institute for girls from noble families.
In 1764, Catherine II established an institute for noble maidens at the monastery.
The outbreak of the war with Prussia prevented the construction - there were not enough funds. Construction progressed slowly. In 1797 the monastery was abolished. The cathedral of the former monastery was completed by the architect Vasily Stasov only in 1835.
On October 24, 1763, by royal decree, Francesco Rastrelli was dismissed "in the argument of old age and poor health." In early August 1764 he and his family left Petersburg.
Date of death and place of burial of Rastrelli are unknown. There is an assumption that he died in Courland, in Mitava (now Yelgava), and was buried next to his wife Maria near the Reformed Church. His grave was destroyed during World War II.
According to the project of Francesco Rastrelli, the Mitava (or Jelgava) Palace, the largest baroque palace in the Baltics, was built in Mitava. It was built as a ceremonial city residence of the Dukes of Courland and Semigallia in their capital Mitau.
Mitava (Jelgava) Palace
The Mitava Palace is not considered one of Rastrelli's artistic successes due to the monotony of the façade solution, the absence of a palace park, etc.
Since 1961, the Latvian Agricultural University has been located in the building.
The architect Francesco Rastrelli was also an outstanding civil engineer. He perfectly understood how it was necessary to erect buildings on weak soils in the conditions of St. Petersburg.
In the religious buildings of B.F. Rastrelli combined elements of the European Baroque, which he learned in his youth during trips to Europe, with Russian architectural traditions.
A total of 12 Rastrelli buildings have been preserved: Rundale Palace (present-day Latvia), Mitava Palace, Great Peterhof Palace and the Church of Great Peterhof Palace, St. Andrew's Church (Kiev), Smolny Cathedral (Petersburg), Vorontsov Palace (Petersburg), Great Catherine Palace, pavilion "(Tsarskoe Selo), pavilion" Hermitage "(Tsarskoe Selo), Royal Palace(Kyiv), Stroganov Palace (Petersburg), Winter Palace.
Vorontsov Palace. Architect Francesco Rastrelli (baroque style)
Unfortunately, by different reasons not all the works of Carlo Rastrelli have been preserved: 6 buildings have been lost.
Bartolomeo Carlo Rastrelli (1675 - 1744). (Dmitrienko A.F.)
Bartolomeo Carlo Rastrelli was born in 1675 in Florence, the son of a wealthy nobleman Francesco Rastrelli. Noticing his son's artistic inclinations, his father sent him to a sculptural workshop, where Rastrelli received excellent training. He drew well, knew how to work in bronze, comprehended artistic casting and jewelry, acquired architectural design skills, got acquainted with construction equipment and hydraulics, and mastered the art of a theater painter. But he could not use his abilities at home: the once prosperous Florence was going through a severe economic and political crisis.
There were no orders at the papal court in Rome. Rastrelli returns to Florence, soon marries a Spanish noblewoman, and travels with her to Paris. There, in 1700, their son was born - the future famous architect. In 1707, for the manufacture of a tombstone for the Marquis de Pompon, minister Louis XIV, which pleased the widow and many influential people, Rastrelli received county title.
He designs several tombstones that show features of the Baroque style, complex and dynamic in composition, with many allegorical figures. However, French criticism stated that the visiting Italian had a "spoiled" taste, since in France at the beginning of the 18th century, classicism, which was alien to baroque forms, became dominant.
But, despite Rastrelli's attempts to adapt to the French taste, no new large orders were received.
The reign of Louis was coming to an end, and many masters did not have orders. Peter I, interested in attracting artists to Russia, and understanding the situation, wrote to the Russian resident in France, N. Zotov, so that he would not miss the "necessary and kind" masters.
In April 1715, Zotov began to negotiate with many masters, including Rastrelli. On May 1, 1715, the sculptor was already accepted under an agreement "with his son and student to work in the service of the Tsar's Majesty for three years in all the arts and crafts that he himself knows."
His duties included the design of palaces, gardens, cascades and fountains, the execution of statues from marble, porphyry and other hard rocks, the casting of sculpture from copper, lead and iron, the production of portraits from wax and plaster, as well as stamps for minting medals and coins, creating decorations and cars for theatrical performances. A special clause of the contract provided that Rastrelli undertakes to train students.
On March 24, 1716, the forty-year-old Rastrelli arrived in St. Petersburg and became the first of the great sculptors of Russia. According to the contract, he went abroad for three years, but stayed here forever.
Initially, Rastrelli worked primarily as an architect. He participated in the planning of Vasilyevsky Island and in the construction of the palace in Strelna, submitted a design for the Senate building to the competition, made models of hydraulic machines for fountains, taught at the drawing department of the Academy of Sciences, performed sketches for masquerade costumes, and also studied sculpture. But soon the French architect J.-B. Leb-lon, who arrived almost simultaneously with Rastrelli and competed with him, pushed Rastrelli aside as an architect. Therefore, the versatile gifted Rastrelli was able to show his talent only in the field of sculpture and, above all, showed himself as an amazing portrait painter. In his sculptural portraits, he managed to combine the magnificent baroque pomp, which so well corresponded to the victorious spirit of the reign of Peter the Great, with a thoughtful insight into human soul, which also met the tasks of the era, with its interest in an active personality.
Working on portraits, Rastrelli carefully studies nature, seeks to convey the most characteristic personality traits. The first significant portrait work is the bust of A. D. Menshikov, made at the end of 1716. A year later, this work appeared in bronze, and in the late 1840s, the sculptor Vitali repeated the portrait in marble (RM).
Rastrelli repeatedly turned to the image of Peter I. Even during the life of the king, in 1719, he took off his mask (GE), creatively interpreted it and created an absolutely reliable portrait. At the same time, a wax bust of Peter in armor was made. After the death of Peter I, by order of Catherine I, Rastrelli executed a "wax person" (GE) - a life-size painted figure dressed in Peter's clothes. Two last works interesting as a kind of "documents".
The real success of Rastrelli is the bronze bust of Peter I (1723 - 1729, GE; variant - the Russian Museum): an image full of indomitable energy, truthful and lively, very dynamic in form. B.-K. Rastrelli made two more busts of Peter: one in wood - for a warship, the other - from gilded lead (Copenhagen Museum).
The portrait busts of Rastrelli are more monumental than easel works, since they convey not only the individual features of individuals, but the content and character of an entire era.
For many years Rastrelli worked on the equestrian monument of Peter. Back in 1720, by order of the king, he made a small model of the future monument. In 1724, the model appeared in its final form. But only twenty years later, after the death of the sculptor, with the participation of his son, the architect F.-B. Rastrelli, the statue was cast in bronze. The monument was erected by Paul I only in 1800 in front of the Mikhailovsky Castle. There he stands to this day with the inscription "Great-grandfather - great-grandson." This is the first equestrian monument in Russian art, although it was installed later than the famous "Bronze Horseman".
In 1741, the sculptor completed work on the statue "Anna Ioannovna with a black child" (RM), in which portrait characteristic and monumental generalization. If in the image of Peter and his associates there is an impulse and burning, then in the named work - the personification of one of the most dark periods history of Russia.
Portrait work is not the only thing that Rastrelli left behind. He worked a lot as a master of decorative sculpture in Strelna, summer garden and especially in Peterhof. The work of Rastrelli had a noticeable effect on the development of Russian medal art. Of considerable interest is the participation of Rastrelli in the work on the project of the Triumphal Pillar, the idea of which was put forward by Peter in imitation of the Roman Column of Trajan. According to Peter, the "pillar in memory of the Northern War" was supposed to perpetuate the military exploits of the Russian army, which led to the formation of a mighty Russian Empire. But after the death of Peter the column began to be called "Pillar of memory of Peter I and the Northern War."
The grandiose column, girded with bas-reliefs on the themes of the events of the Northern War, was supposed to be crowned with a statue of Peter I. However, the Triumphal Pillar was never erected either under Peter I or his successors. The model of the statue was not even finished. Only in 1938 the model of the pillar was reconstructed, and now it is in the Hermitage.
Rastrelli belongs architectural solution columns. It is possible that he began to carry out the model and part of the bas-reliefs. But after the death of Peter, Catherine I handed over this work to Andrey Nartov, a talented carver and turner. It is difficult for researchers to determine which part of the work was done by Rastrelli and which by the Narts. Nevertheless, the patriotic idea of this peculiar monument is characteristic of Rastrelli's work.
According to the contract, Rastrelli was supposed to teach gifted people "arts and crafts." He tried to organize a professional school for sculptors, but there were no conditions for systematic studies. Nevertheless, it is known that the sculptor had many students and some of them became his assistants.
Rastrelli died in 1744.
1675–1744) Bartolomeo Carlo Rastrelli was born in 1675 in Florence. His family belonged to the number of hereditary townspeople. Like all children of wealthy Florentines, Bartolomeo received a good education, studied French, and later, when his artistic inclinations were revealed, he was given to vocational training in one of the sculpture workshops. Rastrelli went through a training typical of the Florentine sculptural school. Bartolomeo was versatilely prepared for work in various materials and taught the art art casting. He drew well, was not a stranger to jewelry, could act as a theatrical painter and decorator. In addition, he acquired the skills of architectural design, understood construction equipment and structures, and knew hydraulics. a significant role in the formation of the future sculptor played and artistic impressions obtained in Florence. However, the young gifted master could not find a use for his forces in Italy and was forced to leave his homeland. Having married a Spanish noblewoman, Rastrelli went with her to Paris. Here in 1700 his son was born - the future architect, named after his grandfather - Bartolomeo Francesco. In 1702, Rastrelli received an order to design and execute a magnificent tombstone Minister Simon Arnaud Marquis de Pomponne. The construction of the monument was completed in 1707. The sculptor's first major work in Paris met with harsh criticism in artistic circles. For french art At the beginning of the 18th century, with its strict classical foundations in architecture and the restrained use of Baroque techniques in sculpture, Rastrelli's work already seemed to be a manifestation of insufficiently demanding taste. During the fifteen years he lived in France, the sculptor never managed to achieve a strong position or perform anything outstanding. Attracted by the wide prospects of creative activity in the new capital of the Russian state, Rastrelli leaves Paris. It was in Russia that he would find a second home and create works that immortalized his name. At first, in Russia, Rastrelli acted primarily as an architect. However, a serious and gifted rival soon appeared on the path of Rastrelli the architect - the French architect Alexander Leblon. From the very first days of the meeting, hostile relations arose between them. In a “memorial” sent to Peter on September 19, 1716, Leblon presented everything Rastrelli had done in Strelna in the most unfavorable light: “Having 200 people at his disposal and having such a period [three months], Rastrelli would have to plan the whole garden. The alleys are not prepared for planting trees… The central and one side canals are dug to a depth less than they should…” Rastrelli tried to defend himself, but at the insistence of the Frenchman, he was nevertheless removed from work in Strelna. Only the intervention of Menshikov kept the master from leaving Russia. But from now on, Rastrelli no longer acted as an architect. From the autumn of 1716, he completely turned to sculpture. However, even before that, according to his drawings and models, a decorative frame was made for the ceiling of the Main Hall of the Monplaisir Palace in Peterhof. Here the master managed to achieve a combination of strict architectonics and dynamics. The latter was achieved by him with a variety of foreshortenings of the figures and rich modeling that creates the impression of picturesqueness. The first portrait work of Rastrelli in Russia - a bust of A. D. Menshikov, the closest associate of Peter I - is dated to the end of 1716. The bust of the governor-general is a typical ceremonial portrait, cold and theatrical. Both the composition of the bust and its details, the sculptor shows the image of a wise statesman, commander, winner in many battles. But the sculptor achieves the dominant impression not by revealing the psychology of the person being portrayed, but by the general impressiveness and abundance of decorative details. In 1719, Rastrelli, at the end of the next year's term, addressed with a "report" on an increase in salary. But the petition had the opposite result, the king, when he was informed of Rastrelli's request, ordered to offer the sculptor "so that he would contract to do the work with a bargain" - to fulfill orders under separate contracts. The transition from a guaranteed "state salary" to contract work worsened Rastrelli's position. Rastrelli was assured that he would be provided with contract work, and on July 5, 1719, he "made an agreement to take him by the piece, and not an annual salary." 1721 in creative biography Rastrelli is noted for his work on significant decorative works. Peter I invited the sculptor to make a model of the Triumphal Pillar in honor of victories in northern war, "in order to reveal and show the victories of his majesty possessed in it." Rastrelli quickly created a model. Since then, it has firmly entered and established itself in his work. patriotic theme victorious struggle of Russia with a formidable enemy. A triumphal pillar, made to the intended scale, could be impressive monumental monument St. Petersburg. The same theme was devoted to nine allegorical bas-reliefs for the Grand Cascade in Peterhof, cast in March 1721 from lead. In November 1721, Rastrelli performed the “head”, which he “made according to his own drawing and model”, that was gypsum head king. "The Head of Peter" is not a simple cast, but a documentary portrait that combines the precision of the mask and the artist's lively feeling. Rastrelli managed to work out the mask with such artistic sensitivity that it seemed to come to life, inspired by art. In 1722, the master began with the execution of another royal order - a full-length statue of Peter, intended to decorate one of the squares of the new capital. From the description of the model, it can be understood that the artist was ready to complete the monument with a complex compositional construction designed for a variety of visual impressions. In the last two years of the life of Peter I, Rastrelli worked especially intensively, performing a variety of works: fountain groups, portraits, decorative sculptures, and even sometimes acting as an architect. In the spring of 1723, he completed one of the paired figures of the "Gladiators" for the Grand Cascade in Peterhof. Then he fashioned a “great wax bas-relief” depicting the Poltava battle, which Peter ordered to be placed in his office. In 1723-1724, Rastrelli executed two busts of Peter: the first was sculpted in the "new Roman manner" in August 1723 and the second - in the "old Roman manner" - in March 1724. The busts were cast at the same time - in June 1724. The bronze busts of Peter are one of the highest achievements of Rastrelli's work. These sculptures figurative basis which served as the "gypsum head" of Peter in 1721, give the most penetrating and versatile characterization of Peter's personality, and at the same time it artistic images colossal generalizing power. The thirties of the XVIII century in the work of Rastrelli are marked by the creation a large number major works monumental character. He performed complex multi-figure compositions. decorative groups for fountains, a statue of Anna Ioannovna, sculptural portraits. Rastrelli happened to open new page in the development of Russian sculpture, having completed in nature a statue intended for installation on the square of the capital. It is with this statue that the flowering of monumental sculpture in Russia begins, although according to political reasons The statue never made it to the street. Rastrelli began work on it immediately after returning from Moscow to St. Petersburg in September 1732. In just four months, the colossal statue of the empress was molded and prepared for molding. But only at the beginning of 1741, Rastrelli announced that “the portrait poured out of copper is coming to an end” and ordered to engrave his title, surname and date of completion of the work on the front side of the plinth. N. I. Arkhipov and A. G. Raskin in a book about Rastrelli write: ““ Anna Ioannovna with a black child “- the coronation portrait of the Empress. She stands on a throne platform covered with velvet trimmed with fringe and tassels. Her pose is learnedly solemn: haughty posture, head slightly turned to the right. majestic gesture right hand she put forward and commandingly tilted the scepter, and with her left hand points to the “power”, which the little black woman gives. Her face is impenetrable, nothing betrays thoughts and feelings - it is a mask of regal calmness and confidence ... ... Despite the general impressiveness of her appearance, the sculptor managed to make a cruel and power-hungry nature be felt behind the petrified features. Behind the glittering ceremonial dress you see a woman of narrow mind with wary thoughts, withdrawn and suspicious. Peering into the figure of Anna, into her heavy face with a menacingly fixed look, you agree with the description given by N. B. Sheremeteva: “It was a terrible look; she had a disgusting face, she was so great that when she walks among the cavaliers, her head is taller than everyone and extremely fat. The last four years of his life (1741-1744) Rastrelli marked by a powerful creative upsurge. The master completed his long haul in art. This period is significant for the creation of one of his most perfect works - the equestrian monument of Peter I. At the end of 1716, Rastrelli received Peter's order to cast his equestrian statue and a bronze bas-relief. At the beginning of 1719, he showed the tsar a model of an equestrian monument cast in lead in the autumn of 1717. Peter approved the model. Then Rastrelli removes the mask from Peter's face to achieve an absolute portrait resemblance. Based on the removed mask, Rastrelli performed in the same 1719 a painted wax bust of Peter in armor. Although by 1724 Rastrelli had not received the order to start work, he was firmly convinced that he would soon have a grandiose project. Unfortunately, his expectations were not destined to come true: the models remained with the sculptor for a long time. They were again "tested" only on July 22, 1743. However, the master, who was already sixty-eight years old, found the creative strength in himself to create a completely new monument. He reworks the original model approved by Peter. The changes were directed towards greater compositional conciseness and generalization of the plastic form. Alas, the sculptor never saw his most capital work cast in metal. Rastrelli died on November 18 (29), 1744. His son - great architect Francesco Bartolomeo Rastrelli secured the continuation of the work. On December 14, 1744, by royal decree, he was instructed to "correct the work conceived by his father." But the equestrian monument was erected in front of the entrance to the Mikhailovsky Castle only at the end of the summer of 1800! Since that time, the equestrian monument has organically entered the landscape of the city on the Neva. “Above a rectangular plinth, the plane of which is softened from above by a barely noticeable undulating elevation, rises the gigantic figure of Peter on a mighty horse,” write Arkhipov and Raskin. - Rastrelli presented him not on the battlefield, but as if surveying the new capital - the fleet, regiments, fortress bastions ... Peter's head is turned slightly to the left. His face is full of strength and calmness. All features are smooth, rounded and at the same time courageous. Huge eyes under the eagle arches of the eyebrows with an "all-seeing" look pierce the distance. Hair, falling back, frames the noble oval of the face; broken strands emphasize a steep forehead. On Peter's head Laurel wreath, but its leaves are interpreted as flames. With his left hand he holds the reins of the horse, with his right he holds the commander's staff. The figure of Peter strikes with a gigantic build - powerful shoulders, wide chest, big hands. He is wearing military armor, a heavy forged shell, which only a hero can shoulder. On the feet are Roman sandals and knee pads in the form of lion half masks. The hilt of the sword is also decorated with a lion's head. A porphyry with embossed coats of arms, lined with ermine, is thrown over the chest over the shoulders. Peter sits unwaveringly on his obedient horse. Remarkable type of horse. The sculptor chose not an elegant thoroughbred horse, but a heroic horse to match the rider. “Proud of being a powerful rider,” the horse slowly raised its right front leg and froze sensitively, arching its elastic neck. The dressing of the horse is royally rich: a carpet saddle with pendants, a harness and a bridle strewn with precious stones ... ... In the history of world art, the Rastrelli monument to Peter is one of the brilliant examples of solving a theme begun by the sculptors of antiquity, developed by Renaissance and Baroque masters. And its special value lies precisely in the fact that Rastrelli, having abandoned the congestion and theatricality of baroque monuments, revived the best Renaissance traditions on a new basis and created a magnificent example of the Russian monumental style ... ... The huge plastic culture of the Renaissance and Baroque, mastered by Rastrelli and embodied in his creations , impeccable mastery of the material - all this had a great influence on the work of Russian sculptors of subsequent generations. It is difficult to overestimate the role of Rastrelli as a portrait sculptor. The busts he created largely predetermined the further realistic direction of the development of this genre in domestic sculpture.
Rastrelli Bartolomeo Carlo- (Rastrelli) (1675 1744), sculptor. Italian by origin. representative of the baroque. In 1716 he arrived at the invitation of Peter I in St. Petersburg. Baroque splendor and splendor, the desire to convey the texture of the depicted material are combined in ... ... Art Encyclopedia
Rastrelli Bartolomeo Carlo- (1675 1744), sculptor. Italian by origin. He studied in Florence, from 1700 he worked in Paris, from 1716 at the invitation of Peter I in St. Petersburg. Starting with architectural planning work (the initial project for the development of Vasilyevsky Island, ... ... St. Petersburg (encyclopedia)
Rastrelli Bartolomeo Carlo- (Rastrelli) (1675 1744), sculptor. Italian by origin. From 1716 he worked in St. Petersburg. Baroque splendor and splendor, the ability to convey the texture of the depicted material (“Empress Anna Ivanovna with a black woman”, 1733 41) are combined in ... ... encyclopedic Dictionary
Rastrelli Bartolomeo Carlo- Rastrelli (Rastrelli) Bartolomeo Carlo, sculptor, Italian by birth. Around 1700 he settled in Paris, where he proved himself as a master of the complete decorativeness of Baroque sculpture (tombstone of the Marquis ... ... Great Soviet Encyclopedia
Rastrelli Bartolomeo Carlo- Monument to Peter I at the Mikhailovsky Castle Bartolomeo Carlo Rastrelli (1675, Florence November 18 (29), 1744, St. Petersburg) metal foundry worker and sculptor. Father of Bartolomeo Francesco Rastrelli. He bought himself a count in France and was summoned in 1716 ... Wikipedia
Rastrelli, Bartolomeo- Rastrelli, Bartolomeo: Rastrelli, Bartolomeo Carlo (1675 1744) Italian metal foundry and sculptor, father of F.B. Rastrelli. Rastrelli, Bartolomeo Francesco (also known as F.B. Rastrelli) (1700 1771) famous Russian architect ... ... Wikipedia
Rastrelli Bartolomeo Carlo- (1675 1744) sculptor. Italian by origin. From 1716 he worked in St. Petersburg. The works are characterized by baroque splendor and splendor, the ability to convey the texture of the depicted material (Empress Anna Ioannovna with a black child, 1733 41) ... Big Encyclopedic Dictionary
Rastrelli, Bartolomeo Francesco- Wikipedia has articles about other people with that surname, see Rastrelli. Bartolomeo Francesco Rastrelli Bartolomeo Francesco Rastrelli ... Wikipedia
Rastrelli Bartolomeo Francesco- Francesco Bartolomeo Rastrelli Francesco Bartolomeo Rastrelli Years of life Date of birth 1700 Place of birth Paris, France ... Wikipedia
Rastrelli Bartolomeo- (1667 1744) Italian. sculptor and architect, studied in Florence with G. B. Foggini and in Rome, from the beginning. 18th century worked in Paris. Until the age of 50, he failed to create anything significant in the region. sculptures. R. received the opportunity to realize his talent in ... ... Russian humanitarian encyclopedic dictionary
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- Rastrelli, N. I. Arkhipov, A. G. Raskin. The Book of the Extraordinary sculptor Bartolomeo Carlo Rastrelli introduces readers to the life and creative activity creator famous works- a bust of Peter I, a pillar in honor of the Northern ...
Rastrelli Rastrelli
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(rastrelli) Bartolomeo Carlo (1675, Florence - 1744, St. Petersburg), Italian sculptor; representative baroque. Father of the architect B.F. Rastrelli. He studied in Florence with the largest baroque master D. B. Foggini. In 1698-99. lived and worked in Rome, in 1700-15. - in Paris. In 1715 he signed an agreement with the agent of Peter I I. Lefort on work in Russia.
B. K. Rastrelli. Death mask of Peter I. 1725
In 1716 he arrived in St. Petersburg. Starting to work as an architect, he was forced to cede this field of activity to J. B. Leblon, concentrating on sculptural orders. He captured Peter I in many works (two bronze busts of the emperor, one of them has survived, 1723-29; "Wax person", 1725), made models of monuments to the tsar with a foot (not preserved) and equestrian statue of Peter I. In the equestrian statue, Rastrelli created the image of a triumphant commander, following the tradition of the 17th-18th centuries. on ancient roman monument Emperor Marcus Aurelius. The sculptor also owns a model of the Triumphal Pillar in memory of Russia's victories in the Northern War, which was crowned with a statue of the Tsar. In 1730-32. Rastrelli lived in Moscow, worked on the design of the festivities on the occasion of the coronation of Anna Ioannovna.
B. K. Rastrelli. Monument to Peter I. 1743-44 Saint Petersburg
The sculptor created a significant number of portrait works (bust of A. D. Menshikov, 1716-17; “Unknown [S. L. Vladislavich-Raguzinsky?], 1732). In 1741, he cast in bronze the sculptural group “Empress Anna Ioannovna with a black child”, the expressiveness of which is built on the contrasting juxtaposition of the massive, overweight figure of the empress, whose dress studded with jewels is like armor, and the light figure of a boy, as if ready to slide off its pedestal.
The formation and development of secular sculpture in Russia, the emergence of new types of plastic art for Russian art are connected with the work of Rastrelli: an equestrian monument, sculptural group, portrait bust. Rastrelli did not have direct apprentice sculptors, but Russian apprentices worked with him, directly adopting technical experience.
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Bartolomeo Francesco, Russian architect, Italian by birth; largest representative baroque. The son of the sculptor B.K. Rastrelli. In 1725-30. studied abroad. Upon his return to Russia, he became a court architect.
1730s - period creative development masters. It follows the traditions of Russian architecture of the time of Peter the Great (the so-called third Winter Palace in St. Petersburg, 1732-33; not preserved; Biron's palaces in Rundale, 1736-40; and Mitava, now Jelgava, Latvia, 1738-40). At the same time, Rastrelli studied ancient Russian architecture (smart churches of the 17th century in Yaroslavl, St. Basil's Cathedral in Moscow). Joyful, major system, sonorous color combinations that inspired the architect and creatively processed by him, will become feature his art.
B. F. Rastrelli. Winter Palace. 1754-62 Saint Petersburg
The heyday of Rastrelli's work came during the reign of Empress Elizabeth Petrovna (1740-50s). In his buildings, the architect organically combined the traditions of European Baroque, rococo, partly classicism and ancient Russian architecture. From Baroque, he takes the scope and dynamics in the organization of space and architectural forms of the building, the system of interior decoration, from Rococo - many elements. decor, from classicism - clarity of planning decisions, from ancient Russian architecture - colorful patterned, elegant porches, a special expressiveness of the silhouette of the building.
B. F. Rastrelli. Cathedral of the Smolny Monastery. 1748-64 Saint Petersburg
Rastrelli - consummate master architectural ensemble and synthesis various arts. In the complex of the Smolny Monastery in St. Petersburg (1748-64), low buildings of monastic cells with churches in the corners and a fence repeat the outlines of the cruciform cathedral in the plan, which rises in the center - magnificent, slender and radiant. The Catherine Palace in Tsarskoye Selo, rebuilt by Rastrelli (1752-57), forms a single ensemble with the park adjacent to it: low, semi-circular outbuildings cover a vast space in front of the main facade of the palace, creating a semblance of a front square - the court of honor (courtyard of honor). The center of the palace is located on the main planning axis of the palace and park ensemble: from the court of honor and the porch of the park facade, perspectives of the main alley open up, at one end of which is the Hermitage pavilion, at the other - Monbijou. An example of the synthesis of arts in the interior can serve as the Great Hall of the Catherine Palace in Tsarskoye Selo and the Dance Hall of the Palace in Peterhof. Gilding and mirrors visually facilitate, almost destroy the plane of the wall, picturesque ceiling lamps ceilings “break through”, floor slabs “dissolve” in parquet patterns. Thanks to the dynamic decor, the interiors are filled with a feeling of jubilant conviviality.
B. F. Rastrelli. Pavilion Hermitage. 1752-57 Tsarskoye Selo
The facades of Rastrelli's buildings are also full of dynamics. The Cathedral of the Smolny Monastery, St. Andrew's Church in Kyiv (1747) and others are directed upwards; architectural masses are compact and collected towards the center; the ascent of volumes culminates in complex, fluid forms of chapters. In palace buildings (Winter, 1754-62, and Stroganov, 1752-54, palaces in St. Petersburg; Catherine's Palace in Tsarskoye Selo, Grand Palace in Peterhof, 1747-52) the movement develops horizontally, however, the facades of significant length do not look monotonous. They are diversified by protrusions (risalits), crowned with torn gables, balconies, a combination of gold and white details against the background of brightly colored walls, the play of light and shadow.
Under Catherine II, who preferred strict classical architecture, the architect, still full of creative energy, did not have the opportunity to realize his plans.
