31. Style features in Russian architecture of the first third of the 19th century.
In the first third of the 19th century, the Russian Empire style developed in Russian architecture.
Brilliant success was achieved by the architecture of the Russian Empire. In the first thirds of XIX in. she continued the traditions of classicism and was associated with the names of A.D. Zakharov (1761-1811), one of the first founders of the Russian Empire style, A.N. Voronikhin (1759-1814), K.I. Rossi (1775-1849). For the architects of this time, the synthesis of architecture and sculpture becomes characteristic. At this time, monumental ensembles of St. Petersburg were created, the squares of the northern capital were formed - Palace, Senate, Strelka of Vasilyevsky Island. In Moscow, the Russian Empire style had a certain peculiarity: a softer, more intimate character, which is characteristic of buildings and ensembles created by O.I. Bove (1784-1834), D.I. Gilardi (1785-1845). In the 1930s, in connection with the signs of the collapse of the artistic system of classicism, architecture increasingly acquired a functional and utilitarian character. The construction of tenement houses, which began, gradually began to crowd out the noble mansions, which retained the unity of style.
- The period of exceptional scope of Russian urban planning.
- the main attention is paid to the construction of public - civil and administrative buildings, which are being built in order to form the center of public life of a particular area of the city. Church and palace buildings are subject to the requirements of a single architectural composition of the urban area in which they are located.
- An exceptionally highly developed form of synthesis of architecture and sculpture; in stylistic unity with them are decorative painting and applied art. The major architects of the first third of the century planned for their buildings the general character of sculptural and pictorial decor, interior decoration: draperies, furniture, lamps.
- The construction emphasizes the volume of the building, the power of smooth blank walls. Separate elements of the order are enlarged: colonnades, window openings and arches sometimes get an exaggerated almost titanic sound. Striving for greater figurative expressiveness, architects sometimes deviate from order forms.
- In the architecture of high classicism, color plays an important role; it is usually two-tone. White colonnades, stucco, reliefs and statues stand out clearly against the intensely colored - yellow or gray - background of the plastered walls.
- By the end of the period under review, the features of majesty, festive solemnity are intensifying in architecture.
- Russian Empire style
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 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 Andrey Nikiforovich Voronikhin(1759–1814) began his independent journey back in the 1990s with perestroika 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 supposed at the southern facade and a large semicircular square at the western. 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 era proceeded from the ideal of Roman architecture (Quarenghi), then the "Alexandrian" kind of resembles the stately 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. Mountain cadet corps as if opening a view of Vasilsvskiy 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), Swiss by birth, came to Russia in late XVIII centuries, having already worked in Italy, Austria, possibly taking 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 has the appearance of 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. Central hall 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), from 1805 " chief of the admiralty architect", 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, and one volume is, as it were, nested in the other, of which the outer, U-shaped, is separated by a channel from 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 porticoes. In striking unity with the 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.
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”. A palace or a 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 according to last word techniques of that time and with rare artistic perfection, Alexandria Square adjacent to it, Teatralnaya Street behind the facade of the theater, which today has received the name of its architect, and completing its five-sided Chernyshev Square near the Fontanka embankment. 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 was the "most strict" of all architects of late classicism.(1769-1848) - 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 Moika embankment near Konyushennaya Square, 1817-1823), whether he erected regimental cathedrals ( 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). Everywhere Stasov emphasizes mass, its plastic heaviness: his cathedrals, their domes are heavy and static, columns, usually Doric order, just as impressive and heavy, the overall 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.
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 new architecture with the ancient Kitaigorod 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 (Dementy Ivanovich) Gilardi (1788–1845) and Afanasy Grigoryevich Grigoriev worked fruitfully together.(1782–1868). 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.
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 best forces architects, sculptors, painters, masons and foundry workers.
M. Kozlovsky. Monument to A. Suvorov on the Field of Mars. 1801
Suvorov appeared in the guise of Mars, dressed in armor, a helmet and a cloak.
On the pedestal of the monument are allegorical figures of the geniuses of Glory and Peace. On the shield is the inscription: "Prince of Italy, Count Suvorov
Rymniksky"
Russian architecture of the first half of the 19th century
First quarter XIX in. in Russia - the time of the scope of urban planning. In architecture, the construction of civil and administrative buildings becomes the main thing. Architecture is inextricably linked with sculpture. The synthesis of arts is one of the manifestations of a single stylistic principle, which for Russian art was high classicism, otherwise called Russian Empire, whose masters were A.N. Voronikhin, A.D. Zakharov, K.I. Rossi, V.P. Stasov.
Andrei Nikiforovich Voronikhin (1759-1814), the son of a serf, studied painting in Moscow. After his owner A.S. Stroganov gave him freedom, Voronikhin independently studies architecture.
The main creation of Voronikhin is the Kazan Cathedral in St. Petersburg. The task facing the architect was difficult. Cathedral Petersburg was supposed to have a colonnade, as in front of the Cathedral of St. Peter in Rome. Voronikhin placed the colonnade on the side of the side facade facing Nevsky Prospekt, it was assumed that on the other side there would be the same colonnade, but this plan was not carried out.
The cathedral was decorated with various sculptural compositions, on which the largest Russian sculptors of that time worked - Prokofiev, Martos, Shchedrin. After the war with Napoleon, the temple became a monument of military prowess: Kutuzov was buried here, in the 30s. monuments to Kutuzov and Barclay de Tolly were erected in front of the cathedral.
Andrey Dmitrievich Zakharov (1761-1811), after graduating from the Academy of Arts and a boarding trip to France, taught at the Academy. In 1805 Zakharov was appointed "chief architect of the Admiralty". In 1806, he began the reconstruction of the Admiralty, which combined administrative buildings, docks and production buildings. main facade 406 m long is divided into five main parts: the central tower, two wings and two buildings between them. Zakharov preserved the gilded spire of the tower, enriching its decorative frame. The sculptural decoration in an allegorical form reflects the idea of Russia as a maritime power. Thus, the relief frieze of the attic is dedicated to the “Establishment of the Fleet in Russia”, above the entrance arch there are figures crossed banners - allegories of the victories of the Russian fleet. On high pedestals, paired groups of nymphs holding spheres are allegories of sea voyages around the world. The composition of the building uses a Doric order, and an Ionic order in the tower.
At the beginning of the century, a number of buildings that determined the architectural appearance of St. Petersburg were created by the Swiss Thomas de
Thomon (1760-1813). One of them was the Exchange on the spit of Vasilyevsky Island. The body of the building is raised on a high plinth.
After the victorious war with Napoleon, active construction began in Moscow, which was burned down by the occupiers, large-scale construction work was carried out at that time in St. Petersburg. Under the leadership of O.I. Beauvais (1784-1834) in the Kremlin, the towers and parts of the wall, blown up by the French during the retreat, were restored. Solemnity and triumphalism intensified in architecture. Unfolded ensemble building, the use of monumental sculpture.
The largest representative of the Empire was Karl Ivanovich Rossi (1775-1849), who erected the building of the General Staff, the center of which was the triumphal arch. At the same time, the architect began to create an ensemble of the Mikhailovsky Palace. Rossi proceeded from the planning scheme traditional for Russian architecture: the main building and outbuildings form a single whole with the front yard. Behind was a vast park. The palace blocked the prospect with a street leading to Nevsky Prospekt. In the second half of the 20s. Rossi created an ensemble Alexandrinsky Theater, finding a good location for the theater in relation to Nevsky Prospekt. The last large ensemble of Rossi was the buildings of the Synod and the Senate united by an arch thrown over Galernaya Street, corresponding to the composition of the Admiralty, located on the other side of the square.
V.P. Stasov (1769-1848) rebuilt the Stable Yard on the Moika embankment in St. Petersburg, created the Barracks of the Pavlovsky Regiment on the Field of Mars. The center of the new façade facing the Champ de Mars was adorned with a solemn Doric colonnade. In the 30s. Stasov participated in the restoration of the interiors of the Winter Palace after the fire.
Auguste Ricard de Montferrand (1786-1858). major event St. Isaac's Cathedral was erected according to the project of O. Montferrand, which lasted from 1818 to 1842. The height of the building is 101.5 m, the length with porticos is 111 m, the diameter of the dome is 21.8 m. Outside, the building is surrounded by 112 granite columns 17 m high The cathedral was built in the style of classicism with elements of baroque and renaissance, which manifested itself in the sculptural decoration. The pediments of the temple are decorated with high reliefs, on the corners of the roof of the building there are figures of kneeling angels, on the pediments - evangelists. In total, the cathedral is decorated with 350 statues and reliefs cast in bronze. The mighty bell, weighing 29.8 tons, made a sound heard on the outskirts of the city. Interior decoration the cathedral was astounding with splendor. The walls are lined with white Italian marble, the panels are made of green, red marble, multi-colored jasper, red porphyry. The interior contains mosaic and
picturesque paintings by K.P. Bryullov, F.A. Bruni, V.K. Shebuev and other Russian and foreign artists. The shrine of the cathedral was the icon of the miraculous Image of the Savior, which belonged to Peter I.
Sculpture of classicism
The heyday of sculpture was associated with the socio-political upsurge in Russia. The largest master, representative of classicism, whose works were in Arkhangelsk, Odessa, Taganrog, was Ivan Petrovich Martos (1754-1835). Outstanding work Martos became a monument to Minin and Pozharsky, on which the sculptor began work in 1804. The monument erected on Red Square represents Kuzma Minin, pointing to Moscow, and the wounded Prince Pozharsky rising from his bed. For the Kazan Cathedral in St. Petersburg, Martos created the monumental high relief “Moses Draining Water in the Desert” on the attic of the cathedral colonnade, as well as the figure of the archangel and the statue of John the Baptist. AT late period Creativity Martos performed the monument to Richelieu in Odessa and M.V. Lomonosov in Arkhangelsk.
Among the sculptors who communicated with architecture are V.I. Demut-Malinovsky (1779-1846) and S.S. Pimenov (1784-1833), who worked on sculptures for the Kazan Cathedral together with Voronikhin. Pimenov made a sculpture of Alexander Nevsky, and Demut-Malinovsky - a statue of St. Andrew the First-Called. For the Admiralty, the sculptors created three colossal figures that personified the countries of the world. Since 1817, sculptors began to cooperate with K.I. Rossi by creating sculptures of the arch of the General Staff. The arch was crowned with the composition “Victory” made of sheet copper, the central figure of which was the winged Glory, standing in a chariot with a raised emblem of the state. I.I. Terebenev (1780-1815) made sculptures for the Admiralty, including the 22-meter high relief "Establishment of the Fleet in Russia", placed on the attic of the lower cube of the Admiralty tower.
B.I. Orlovsky (1796-1837) created monuments to Field Marshal Kutuzov and Barclay de Tolly in front of the Kazan Cathedral.
F.P. worked in small forms of sculpture. Tolstoy (1783-1873), who created a series of medallions made of plaster, porcelain, bronze, cast iron, events Patriotic War 1812 and the military operations of 1813-1814. Most of medallions represents allegorical compositions. In 1814-1816. Tolstoy made four bas-reliefs with scenes from Homer's Odyssey.
F.P. Tolstoy. People's militia 1812 Medallion. 1816
A woman is depicted sitting on a throne, personifying Russia. She hands swords to nobleman, merchant and peasant
End XVIII-beginning 19th century - era classicism in Russian architecture, which left a bright mark on the architectural appearance of St. Petersburg, Moscow and other cities. Buildings in the style of classicism are distinguished by balance, a clear and calm rhythm, and well-balanced proportions. The main laws of the architectural composition were symmetry, emphasizing the center, general harmony. The main entrance was usually located in the center and was designed in the form of a portico. The columns had to be different in color from the walls. Most often, the columns were painted in White color and the walls are in yellow.
AT mid-eighteenth in. Petersburg was a city of solitary architectural masterpieces, buried in the greenery of estates. Then regular building of the city began along straight avenues radiating from the Admiralty. Petersburg classicism- this is the architecture of not individual buildings, but entire ensembles that amaze with their unity and harmony.
In 1806-1823. a new building of the Admiralty was built according to the project Andrey Dmitrievich Zakharov(1761-1811). In a huge building, the architect emphasized the central tower. It is distinguished by a dynamic vertical rhythm. The Admiralty is crowned by a gilded needle with a ship rapidly flying up. The solemn major rhythm of the Admiralty set the tone for the entire architecture of the city on the Neva, and the boat became its symbol.
The construction at the beginning of the 19th century was of great importance. the Exchange building on the spit of Vasilyevsky Island. It was this building that was supposed to unite the ensembles that had developed around the widest section of the Neva channel. The design of the Exchange and the design of the arrow were entrusted to the French architect Thomas de Thomon. A. D. Zakharov participated in the finalization of the project. Their creative collaboration led to a brilliant solution to the problem. Mirror of the Neva united the system: Peter-Pavel's Fortress- Spit of Vasilievsky Island - Palace Embankment.
Nevsky Prospekt - the main thoroughfare of the capital - acquired the form of a single ensemble with the construction in 1801-1811. Kazan Cathedral. Project author Andrei Nikiforovich Voronikhin(1759-1814), the son of a serf, took as a model the Cathedral of St. Peter in Rome - the creation of Michelangelo. Using his motives, Voronikhin created an original architectural work.
For forty years, from 1818 to 1858, St. Isaac's Cathedral in St. Petersburg was being built - the most large building, erected in Russia in the first half of the XIX century. Inside the cathedral there can be 13 thousand people. From the gallery on its dome, Kronstadt, Peterhof, Pulkovo, Tsarskoe Selo, Gatchina and the sea in the distance are visible. The project of St. Isaac's Cathedral was developed by a French architect Auguste Montferrand(1786-1858). According to the project of Montferrand, a 47-meter column of granite monolith was erected on Palace Square (1829-1834) - a monument to Alexander I and at the same time - a monument in honor of the victory of Russian weapons in 1812.
Karl Ivanovich Rossi(1775-1849) was a leading St. Petersburg architect who "thought in ensembles". The palace and the theater turned into a town-planning hub of squares and new streets. So, creating the Mikhailovsky Palace (now the Russian Museum), he organizes the square in front of the palace and paves the street to Nevsky Prospekt. 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. Rossi designed the building of the General Staff, covering Palace Square from the south side. One of the most remarkable ensembles in Russia included the building of the Alexandrinsky Theater adjacent to it. Alexandrinsky Square, Theater Street behind the facade of the theater, which today has received the name of Rossi, and the five-sided Chernyshev Square near the Fontanka Embankment that completes it. The last creation of Rossi in St. Petersburg is the building of the Senate and the Synod on the famous Senate Square.
The "most rigorous" of all architects of late classicism was Vasily Petrovich Stasov(1769-1848). He built the Pavlovsky barracks on the Field of Mars in St. Petersburg, the cathedral of the Izmailovsky regiment, triumphal arches (Narva and Moscow gates), etc. Everywhere he emphasized mass, its plastic heaviness.
No less remarkable architects worked in Moscow at that time. After the expulsion of the French from Moscow in 1812, intensive restoration and construction of new buildings began. It reflected all the innovations of the era, but the tradition remained alive. This was the originality of the Moscow construction school. Osip Ivanovich Bove(1784-1834) rebuilt, and in fact rebuilt the 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; created the Theater Square ensemble; built the building of the First City Hospital; Triumphal gates at the entrance to Moscow from St. Petersburg (now on Kutuzov Avenue), etc.
Almost always worked together fruitfully DementyIvanovich Zhelyardi(1788-1845) and Afanasy Grigorievich Grigoriev(1782-1868). Dominico Gilardi rebuilt the Kazakov Moscow University, which burned down during the war. Architects worked a lot and fruitfully on estate architecture (the Usachov estate on the Yauza, the Golitsyn estate "Kuzminki").
I would like to note the Moscow residential buildings of the first third of the 19th century, which conveyed to us the charm Russian Empire. They peacefully coexist with solemn allegorical figures on the facades - 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 Gilardi; the Khrushchev house on Prechistenka - now the museum of A. S. Pushkin, built by Grigoriev).
Since the end of the 30s. 19th century classicism begins to outlive itself. Architecture 2nd floor. 19th century commonly referred to as retrospective styling or eclecticism,
for artists-architects began to use motives and patterns architectural styles past eras - Gothic, Renaissance, Baroque, Rococo, etc. Researchers note that eclecticism, or, as it is sometimes called, "historicism", was a kind of reaction to the canonicity of the classic style. The period of eclecticism lasted almost 70 years - from the end of the 1830s. until the turn of the next century.
In the 1870-80s. classical traditions in architecture have practically disappeared. Technical and functional expediency became the main one - in connection with the emergence of new types of buildings: industrial and administrative, stations, passages, markets, hospitals, banks, bridges, theater and entertainment facilities, exhibition halls, etc.
A special page in Russian architecture of the 2nd half of the 19th century. - it tenement houses, from which the customer sought to extract the maximum profit and which quickly paid off. One of the main creative problems This time was the development of a model of an apartment building. In the decoration of tenement houses, eclecticism has become a mass phenomenon.
The "Russian style" (or "pseudo-Russian") is becoming widespread. Thus, hipped ceilings, patterned decor, “marble towels and brick embroidery,” as a contemporary called these motifs, come back into fashion. Typical examples of this style: the Church of the Resurrection on the Blood of A. A. Parland in St. Petersburg, the Historical Museum (A. A. Semenov, V. O. Sherwood), the building of the Upper Trading Rows (A. N. Pomerantsev) in Moscow. In fact, Russian wooden architecture was taken as a model.
Significant events for society are reflected in all areas of art, including architecture. In this material, we will talk about how the changes in Russian society in the 19th century were reflected in architectural monuments.
At the beginning of the 19th century, late classicism, also called Empire style, dominated urban planning. We have already talked about this triumphant style in more detail in our previous one. Let's recall the main points.
In the style of late classicism, such significant architectural and sculptural structures as St. Isaac's and Kazan Cathedrals in St. Petersburg, the Triumphal Arch in Moscow, and a number of others were built. The buildings reflected the mood in Russian Empire after the triumphant victory over Napoleon in 1812. So, the Kazan Cathedral, built by the architect Voronikhin, became a monument of military prowess: Kutuzov was buried in it, and in the 30s of the 19th century, monuments to Barclay de Tolly and Kutuzov were erected in front of the cathedral.
In Moscow, burned by the French invaders, after the war, there was also an architectural upsurge: Moscow was actively built up. Under the leadership of the architect Beauvais, the towers and part of the walls blown up during the war were restored in the Kremlin. In addition, it was Bove who created the Theater Square ensemble, built the building Bolshoi Theater and reconstructed Red Square, ridding it of small buildings.
Starting from the second third of the 19th century, architects gradually moved away from classicism, paying attention to the Old Russian and Byzantine heritage. This was also facilitated by the increased patriotic sentiments in society, and broad government support - the Russian-Byzantine style embodied the continuity of Orthodoxy from Byzantium to Russia. The first buildings made in the Russian-Byzantine style (also called the pseudo-Russian style) were religious. This fact takes us back to the past: the first architectural monuments in the Gothic, Renaissance and Baroque styles were also commissioned by the church.
Russian-Byzantine architecture borrowed a number of compositional techniques and decorative elements adopted in the Byzantine architectural tradition. This was most clearly reflected in the landmark works of the architect Konstantin Andreyevich Ton. He owns the authorship of the Cathedral of Christ the Savior, the Grand Kremlin Palace and the Armory.
In the Byzantine style, a later architectural monument, the Naval Cathedral in Kronstadt, was built. Distinctive feature buildings of this style - the internal volume of the temple is not divided by cross vaults or pylons, but forms a single church hall that creates a feeling of spaciousness and can accommodate several thousand people.
In the early 1870s, Slavophile sentiments in society aroused interest in ancient Russian architecture, folk culture, as well as in Russian architecture of the 16th and 17th centuries. At first, this direction of the pseudo-Russian style was reflected in the projects of small wooden houses, such as, for example, the Pogodinskaya izba in Moscow. Then it spread to monumental stone architecture. At this time, buildings built of brick or white stone were richly decorated in the traditions of the Russian folk architecture. Modern buildings began to be decorated with wide columns, narrow loophole windows, massive forging, multi-colored tiles and floral ornaments.
This was most clearly manifested in the works of architects Alexander Pomerantsev, who created the Upper Trading Rows - now it is the building of GUM, Vladimir Sherwood, whose authorship belongs to the building Historical Museum, as well as the Savinsky Compound of the architect Ivan Kuznetsov.
The end of the 19th and the very beginning of the 20th centuries were set before Russian society many questions about how to operate in a rapidly changing world. Architects also tried to find answers, adopting various styles of architecture in their own way - modern, neo-gothic, neoclassicism and eclecticism. But we will talk about this in our next articles.
