It adorns the walls and ceilings of public buildings. In the past, they painted mainly temples, now - palaces of culture, stations, hotels, stadiums. Such paintings must be made of durable materials so that they can exist together with buildings for centuries. The creators of the murals, depicting historical events or scenes from their contemporary life, strive to convey their idea of the world, the advanced ideas of their time. Monumental painting educates the artistic taste of the broad masses of viewers.
monumental painting located on walls, ceilings, vaults, often it goes from one wall to another. They examine the paintings while moving around the building, sometimes even from the street, through the large windows of modern buildings. In other words - monumental painting is perceived in motion from different points of view, and it should not lose its impact on the viewer.
muralist can unfold a complex story-narrative in painting, can connect events that occurred in different places and at different times. So, the great Italian artist Michelangelo on the ceiling Sistine Chapel in Rome depicted many biblical scenes, combining them into a single complex composition.
| The famous fresco "Creation of Adam" |
Monumental painting appeared as long ago as human habitation. Already on the walls of the caves where the primitive man took refuge, one can see hunting scenes made with amazing observation or simply images of individual animals. (see com. "Primitive Art") .
Studying the history of ancient cultures, we meet monuments of monumental painting everywhere. They not only give us artistic pleasure, but also tell us about life, life, work, wars of peoples. ancient egypt, India, China, Mexico and other countries.
Vesuvius eruption in 79 covered with ashes rich city of the Roman Empire Pompeii. This has kept many murals in untouchable freshness for us. Some of them, taken from the walls, decorate now museum in Naples.
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| Fresco from Pompeii. Aphrodite, Ares and Eros. |
Art culture Ancient Rus' also found its expression in the monuments of monumental painting. monumental painting came to Rus' from Byzantium after the adoption of Christianity, but quickly acquired national Russian features. Despite the fact that the subjects of the paintings were of a religious nature, Russian artists portrayed the people they saw around them. Their saints are simple Russian men and simple Russian women, they are the entire Russian people in their noblest features. The main centers of monumental painting in Rus' were Kyiv, Novgorod, Pskov, Vladimir, Moscow, and later Yaroslavl. (see com. "Old Russian Art") . But even outside these large ancient cities, in quiet remote monasteries, interesting paintings were also created.
In the distant Ferapontov Monastery, sheltered on the lakes of the former Vologda province, the great Russian artist Dionysius created murals that delight us with the musicality of forms, tenderness, and a wonderful selection of colors. Paints for painting Dionysius prepared from multi-colored stones with which the shore of the lake near the monastery is strewn.
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| Dionysius. Fresco of the Cathedral of the Nativity of the Virgin in the Feropont Monastery |
Paintings differ depending on the technique of execution: fresco, tempera painting, mosaic, stained glass window.
Word fresco often incorrectly used to define any wall painting. This word comes from the Italian al fresco” which means “fresh”, “raw”. And indeed, the fresco is written on raw lime plaster. Paints - dry pigment, i.e. dye in powder - are diluted in clean water. When the plaster dries, the lime contained in it releases the thinnest calcium crust. This crust is transparent, it fixes the paints under it, makes the painting indelible and very durable. Such frescoes have come down to us through the centuries little changed.
Sometimes they write on an already dry fresco tempera- paints diluted on an egg or casein glue. Tempera- also an independent and very common type of wall painting.
Mosaic called painting, laid out from small colored pieces of stones or smalts- opaque colored glass specially welded for mosaic work. Smalt tiles are pricked into cubes of the size desired by the artist, and from these cubes, according to a sketch and a life-size drawing (according to the so-called cardboard), an image is typed. Previously, the cubes were placed in wet lime plaster, but now they are placed in cement mixed with sand. The cement hardens, and cubes of stone or smalt are firmly fixed in it. The ancient Greeks and Romans already knew the mosaic. It was also widespread in Byzantium, the Balkan countries, and Italy. The Italian city of Ravenna is especially famous for its mosaics (see Art. "
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Types of monumental painting Yaroshchuk Tatyana Viktorovna Fine art teacher
Monumental works are paintings of large size, which are performed on the external and internal surfaces of buildings. The monumental work and the architecture of the building are inextricably linked, they form a single whole.
Types of monumental painting: Fresco Stained glass Mosaic Panel
What is a fresco? The art of fresco was known in ancient Rus'. … The word “fresco” comes from the Italian “fresco”, which means “fresh”, “raw”.
Fresco is painting on wet plaster, translated from Italian means “fresh”, “raw”, fresco painting was done by Leonardo da Vinci, Raphael, Michelangelo, Feofan Grek, Andrey Rublev
What is stained glass? Stained-glass window (French vitrage, from Latin vitrum - glass), an ornamental or narrative decorative composition (in a window, door, partition, in the form of an independent panel) made of glass or other material that transmits light.
A stained-glass window is a picture made up of pieces of colored glass fastened together with lead strips, this art was most widespread in the Middle Ages, almost all medieval cathedrals are famous for their stained-glass windows, it is now widespread
What is a mosaic? Mosaic (French mosaïque, Italian mosaico, from Latin musivum, literally - dedicated to the muses), an image or pattern made of particles of the same or different material (stone, smalt, ceramic tiles, etc.) ...
Mosaic is a monumental painting, image or pattern, which is made of colored stones, smalt (colored opaque glass), ceramic tiles, originated in the ancient era, is still popular.
What is a panel? Panel (French panneau, from Latin pannus - a piece of fabric), 1) a part of the wall, highlighted by a frame (stucco frame, ornamental ribbon, etc.) and filled with a picturesque or sculptural image. 2) Oil painting, tempera, etc.
A panel is a framed part of a wall or ceiling filled with an image, or a picture that adorns a wall or ceiling.
Creative task Create a stained glass window sketch
Lesson summary: What is monumental painting? List the types of monumental painting. What did you learn about the fresco, stained glass, mosaic, panel?
Homework Learn concepts and definitions. Bring an album, glue, scissors, colored pens or felt-tip pens.
On the topic: methodological developments, presentations and notes
This paper presents a test work for the 8th grade according to the program of B.M. Nemensky on the topic "The Origins of Architecture and Monumental Art"...
Portrait in painting. Types of portrait.
The purpose of this presentation is to acquaint students with the image of a person in the visual arts, the concept of "portrait", its types, learn about the individual characteristics of portraits....
The first works of monumental painting can be considered murals in the caves of Lasko, Altamir and others. It was widely used in the burial and temple complexes of Ancient Egypt, as well as in Crete-Mycenaean, which has practically not come down to us.
Since early times, painting has become the main decorative element in the decoration of stone, concrete and brick structures. Fresco and were widely used in the temple architecture of Byzantium and due to this they had a great influence on the monumental of Ancient Rus'.
Modern masters of monumental painting boldly combine painting with sculptural forms, use new artistic materials - synthetic paints, ceramic relief mosaics.
In the art of the Middle Ages, stained glass technique was greatly developed. The great masters of the Renaissance created many frescoes that were grandiose in design and implementation. Today, artists are actively mastering new techniques and materials for creating frescoes and mosaics.
Distinctive features of monumental painting
Monumental painting includes stained-glass windows, frescoes, mosaic decoration of buildings. Acting in synthesis with architecture, works of monumental art are often an important semantic dominant of the ensemble.
The decoration of walls, facades, ceilings give monumental painting architectural and ornamental qualities close to decorative art. Therefore, it is often called decorative and monumental art.
According to the figurative and thematic content, it is customary to distinguish between monumental and decorative paintings and works with features of monumentality. Both directions stem from the peculiarity of this type of painting - synthetic and direct connection with architectural objects.
Usually, pictorial compositions placed on facades and in interiors embody the most general philosophical and social ideas of the time. This dictates the majesty of forms. Works that have features of monumentality are characterized by socially significant content. So, the founder of the Mexican school of monumental painting, Siqueiros, in his paintings of the National Preparatory School, the Palace of Fine Arts, the National Museum of History, displayed the most acute political events.
The works of another founder of the Mexican school of monumental painting - Diego Rivera - are frankly publicistic and historical and educational. He used monumental painting as a means of propaganda, agitation and education.
MONUMENTAL PAINTING- a kind of painting related to monumental art. Monumental painting includes works directly related to architectural structures, placed on walls, ceilings, vaults, less often on floors, as well as all types of paintings on plaster - this is a fresco (buon fresco, fresco a secco), encaustic, tempera, oil painting (or painting on some other binder), mosaics, picturesque panels painted on canvas, specially adapted for a specific place in architecture, as well as stained-glass windows, sgraffito, majolica and other forms of planar-pictorial decor in architecture.
According to the nature of the content and figurative structure, paintings are distinguished that have the qualities of monumentality, which are the most important dominant of the architectural ensemble, and monumental and decorative paintings that only decorate the surface of walls, ceilings, facades, which, as it were, “dissolve” in architecture. Monumental painting is also called monumental-decorative painting, or pictorial decor, which emphasizes the special decorative purpose of the murals. Depending on their function, works of monumental painting are solved in a volume-spatial or planar-decorative manner.
Monumental painting acquires integrity and completeness only in interaction with all the components of the architectural ensemble.
The oldest known wall decorations are scratched animal outlines in the caves of the Dordogne in France and in the south of the Pyrenees in Spain. They were probably created by the Cro-Magnons between 25 and 16 thousand BC. The cave paintings of Altamira (Spain) and more perfect examples of this art of the late Paleolithic era in the cave of La Madeleine (France) are widely known.
Wall paintings existed in pre-dynastic Egypt (5-4 thousand BC), for example, in the tombs of Hierakonpolis (Hierakonpolis); in these paintings, the Egyptians' tendency to stylize human figures is already noticeable. During the era of the Old Kingdom (3-2 thousand BC), the characteristic features of Egyptian art were formed and many beautiful wall paintings were created. In Mesopotamia, few wall images have survived, due to the fragility of the building materials used. Figurative images are known, reflecting a certain penchant for realism in the transfer of nature, but ornaments are more characteristic of Mesopotamia.
In 2 thousand BC. Crete becomes a cultural mediator between Egypt and Greece. In Knossos and other palaces of the island, many fragments of magnificent frescoes have been preserved, executed with vivid realism, which greatly distinguishes this art from hieratic Egyptian painting. In Greece, the pre-archaic and archaic periods, wall painting continued to exist, but almost nothing of it has survived. The flowering of this genre in the classical period is evidenced by numerous references in written sources; the murals of Polygnotus in the Propylaea of the Athenian Acropolis were especially famous. Fine examples of ancient Roman monumental painting have been preserved under a layer of ash on the walls of houses in the cities of Pompeii, Herculaneum and Stabia, which died during the eruption of Vesuvius in 79, as well as in Rome. These are polychrome compositions with a variety of subjects, from architectural motifs to complex mythological cycles, such as a fresco Odysseus in the Land of the Laestrigons from a house on the Esquiline in Rome; in such compositions one can see the artist's excellent knowledge of nature and the ability to convey it.
In the early Christian period (3rd-6th centuries) and in the Middle Ages, monumental painting was one of the leading forms of art. During this period, walls and vaults of the catacombs were decorated with frescoes, and then wall paintings and mosaics became the main types of monumental decoration of temples both in the Western Roman Empire (until 476), and in Byzantium (4-15 centuries) and other countries of Eastern Europe. In the Middle Ages in Western Europe, churches were mainly decorated with frescoes or paintings on dry plaster; in Italy, mosaics also continued to exist. In the murals of the Romanesque style (11th-12th centuries), in contrast to classical and Renaissance painting, there is no interest in the plastic modeling of volume and the transfer of space; they are flat, conditional and do not at all strive to accurately reproduce the surrounding world.
Plastic modeling reappears in the works of Italian masters of the late 13th and early 14th centuries, especially Giotto. In Italy, during the Renaissance, the fresco was unusually widespread. In their works, the artists of this era sought to achieve the maximum semblance of reality; they were primarily interested in the transfer of volume and space.
High Renaissance artists also begin to experiment with painting techniques. Yes, composition. The Last Supper Leonardo da Vinci in the refectory of the monastery of Santa Maria delle Grazie in Milan is painted in oil on a poorly prepared wall surface. However, it has suffered greatly over time and has become almost indistinguishable under a layer of later updates. In the 16th–18th centuries in Italian monumental painting, there is a growing desire for pomp, decorativeness and illusionism.
The decisive transition from the old to the new, the most difficult process of mastering the European “language” in the shortest possible time and familiarizing with the experience of world culture are especially noticeable in the painting of Peter the Great. The loosening of the artistic system of ancient Russian painting occurred, as already mentioned, as early as the 17th century. From the beginning of the XVIII century. the main place in painting begins to be occupied by oil painting on a secular subject. New technique and new content bring to life their own specific methods, their own system of expression. But the new oil-on-canvas technique is characteristic not only for easel painting, it also penetrated into its monumental and decorative forms.
In connection with the construction of St. Petersburg and the country residences of the royal family and dignitaries close to the court, naturally, the monumental painting of plafonds and wall panels is developing. Monumental and decorative painting was also widely used in mass festivities, in theatrical performances, parades, solemn "processions" of troops, illuminations in honor of the "victorias", for which triumphal arches and pyramids were built, richly decorated not only with sculpture, but also with painting.
Unfortunately, it was the monumental painting of the 18th century, especially its first half and most of all the time of Peter the Great, that survived worse than easel painting: temporary wooden structures in the form of triumphal arches or pyramids disappeared by themselves, buildings were rebuilt more than once, painting was renewed, changed its image or perished altogether by the will of time and people. That is why the problems of monumental and decorative painting of the time of Peter the Great are perhaps one of the most undeveloped in Russian art history. Only in the last decade a number of generalizing works on this topic have appeared, primarily the already mentioned works of B. Borzin “Paintings of Peter the Great” and N.V. Kalyazina, G.N. Komelova "Russian Art of the Petrine Era", in which, in addition to extensive visual and architectural material, the authors used the results of research and discoveries related to the restoration work of recent decades.
The monumental and decorative painting of the Petrine era is one of the most ephemeral areas of Russian art of the 18th century, because we know more about it from descriptions, drawings, a few surviving engravings and watercolors than from the samples that have come down to us. This primarily applies to the painting of the triumphal gates. Made of wood, they, unfortunately, have not come down to us, and we form an impression of their appearance from the surviving literary sources - documents, memoirs, drawings, sketches, engravings. So, thanks to the engraving of 1710, we imagine how Russian troops entered Moscow after the victory in the Battle of Poltava (Triumphal Gates of A.D. Menshikov in Moscow in honor of the Poltava victory. Arch. N. Zarudny). Recently, some drawings for the painting of the triumphal gates have also been discovered (for example, the drawing by A. Matveev for the Anichkovsky Gates, 1732, BAN).
It was customary to erect triumphal arches in honor of some outstanding event: in the time of Peter the Great, the main victories were celebrated in this way (Poltava, Nishtad peace, etc.); during the reign of Anna Ioannovna and Elizabeth Petrovna, they were built mainly on the occasion of coronations, namesakes, etc. Under Anna Ioannovna, in honor of her entry into St. Petersburg in 1732 after the coronation, they even built several gates: and the Myi River, as the Moika was then called) and the Anichkovsky (through the Nevsky Perspective, not far from the Anichkov Palace, but on the other side of the bridge) (all by architect D. Trezzini).
During the construction of the gate, special programs were drawn up and carefully developed, which were discussed in the Synod, then drawings and sketches were made, which were also controlled. In the time of Peter the Great, the final literary version was signed by the vice-president of the Synod, Feofan Prokopovich, and approved by Peter (as well as sketch drawings). Moreover, different estates, not only the state, could be the customers of the gate. For example, "The Gate of School Teachers" was commissioned by the Slavic-Greek-Latin school. There could be single customers: the gates of AD. Menshikov (1709), mentioned above, G.D. Stroganov (1709, architect G. Ustinov?), "Eminent people of the Stroganovs" (1721, architect I. Ustinov) - all in Moscow. The triumphal gates were usually built by leading architects (Zarudny, Trezzini, Zemtsov), they were decorated by famous sculptors (K. Osner, N. Pino), many Russian masters, icon painters of the Armory, painters Gr. Adolsky, R. Nikitin, A. Matveev, from foreigners - L. Caravakk.
The triumphal gates were a brilliant synthesis of almost all types of art: architecture, sculpture (sometimes several dozen figures), painting, all kinds of light and color effects. The "lantern" crowning the arch, as a rule, was decorated along the main facade with a portrait of the reigning person. Sculptural and pictorial allegories glorified the autocrat or the event in honor of which the arch was erected. The general impression of solemnity and festivity was enhanced by color: the sculptures were painted, dressed in "antique togas", the painting was built on a combination of large color spots with the expectation of "looking" from a distance.
The pictorial language of the decoration of the triumphal gates is the language of allegories and symbols (taken mainly from the book “Symbols and Emblems”, published in 1705), which glorified Russian victories and the Russian state. This symbolism is quite naive and straightforward. So, in the Menshikov Gates, Menshikov offers Peter his flaming heart. Or: Neptune forbids the winds to blow on Kronstadt. In the image of the crashed Phaeton, one can easily read the allusion with Charles XII, etc. In honor of the capture of Azov (known from the engraving by P. Pikart), in addition to the huge carved figures of Hercules and Mars, two picturesque panel depicting a naval battle and inscriptions. On one, the inscription read: “The Turks are amazed at the sea, leaving Moscow booty, their ships are burned,” on the other: “Moscow Ogaryan wins, drives the brave one for many miles.”
The allegories characteristic of the art of the 18th century coexisted well in the painting of the triumphal gates with a host of ancient gods and goddesses. And Hercules or Bellerophon, or Perseus and Andromeda were friendly neighbors with George the Victorious or the Archangel Michael. In Peter's time, Alexander the Great became favorite heroes (Peter is unequivocally compared with him), Zeus, Mars, Hercules, from the biblical ones - David (Charles XII, therefore, Goliath). In Russian history, Alexander Nevsky was noted with special attention. The defeated lion is the symbol of a defeated Sweden.
It should be noted that it is on the triumphal gates that historical and battle compositions first appear. And it is here, as a rule, that specific historical characters act (Peter, Karl XII, Menshikov), in modern clothes and even endowed with a certain psychological characteristic, in a certain real environment - at sea, on the battlefield, under the walls of fortresses - which makes such images, in fact, the first historical canvases.
Painting and sculptural decoration of the triumphal arches on the occasion of coronations and namesakes in the middle of the century are becoming more complex and richer, in accordance with baroque architecture and its decor, but the civic programming and edification, rationalistic restraint inherent in the style that we conditionally call "Peter's baroque" are being lost. ".
As already mentioned, we know about many paintings only from drawings and watercolors. So, about the decor of the central hall of the palace F.M. Apraksin ("Admiral's House"), his decoration for the wedding of the eldest daughter of the king, Anna Petrovna, with the Duke of Holstein, we learn from the drawing by H.-L. Berner (paper, kar., aqv., 1725; Stockholm National Museum) (see N.V. Kalyazina, G.N. Komelova in op. cit., p. 67, No. 48-49). Rastrelli, father and son took part in its decoration. Painting here coexisted with modeling, marbled painting, fantastically refracted in crystal chandeliers and mirrors. The newlyweds lived in this palace after the wedding, and in 1732 it entered the complex of buildings of the new Winter Palace of Anna Ioannovna. Also, according to the documents, we know about the painting of the houses of U.A. Senyavin and Prince. Repnin on Vasilevsky Island, Feofan Prokopovich on Karpovka and others.
What remains of the works of monumental and decorative painting of the time of Peter the Great in St. Petersburg and its environs? A little, very little, and besides, this little suffered during the Great Patriotic War and appears before us in a restored form as the result of an unparalleled feat of a huge team of art restorers, architects, and art historians. These are the paintings of the Meshshtkovsky and Summer Palaces in St. Petersburg and Monplaisir, Aviary and the Grand Palace in Peterhof. There is no doubt that if not specifically secular elements, then a certain secular spirit also penetrates into religious architecture, its painting. And, in fact, a sign, a symbol of the innovations of the Petrine era is its main shrine - the Peter and Paul Cathedral and its decor, although the painting of the temple was carried out after the death of Peter I (1728-1732).
Speaking of monumental-decorative painting, it is impossible not to touch upon the interior as a whole, of which this painting is a part. As for the time of Peter the Great, we know about its early period, that is, about the secular interior of Moscow and the Moscow region, mainly from archival inventories of the royal choirs, images on engravings or memoirs of contemporaries. This is a considerable period, covering the last two decades of the 17th - the first decade of the 18th century, since, as we know, the real construction of St. Petersburg begins in 1710-1714. and Peter's decree stops stone construction in Moscow and other cities.
In the last third of the XVII century. in Moscow, several old palaces are being restored and expanded: the Golden Chamber of Teremnoy, the Faceted Chamber in the Kremlin, the Kolomna and Izmailovsky palaces are expanding, Vorobyevsky is being built. But we can only judge the Lefortovo Palace (1697-1699, architect D. Aksamitov), which is especially interesting in that its interior combined both old ancient Russian features and new ones that were to develop later in St. Petersburg, which was primarily expressed in the inclusion living quarters into a common clear symmetrical structure. Accordingly, the traditions in Lefortovo remain the main two chambers - the Dining Room and the Bedroom (bed). The view of the Dining (Ceremonial) Chamber was preserved for us by an engraving of 1702 by A. Shkhonebek, depicting the wedding of the jester Theophylact of Shansky.
It was the Dining Chamber that served in Ancient Rus', in addition to its direct purpose, as a place for receiving ambassadors, various celebrations and even theatrical performances. (See about this: Evangulova O. S. The secular interior of Moscow and the Moscow region of the late 17th - early 18th centuries. // Russian city. Moscow and the Moscow region. M., 1981. Issue 4. P. 110-120; Pronina IL Terem "Palace. Manor. Evolution of the Ensemble of Interior in Russia at the End of the 17th-First Half of the 19th Century", Moscow, 1996). On the engraving we see a solemn, festive, “magnificent” interior: walls covered with fabrics, an intricate ceiling, “corrupted” stoves, gilded chandeliers, tapestries, large icons (which, as it were, are equated in their decorative role with portraits on the walls). Even more mundane is the Corner Chamber (also an engraving by Schkhonebek) with an abundance of mirrors and tapestries. Already in the "Petersburg period of Russian history", when the Lefortovo Palace was donated by the king of AD. Menshikov (and began to be called Slobodsky), it was rebuilt, and the interior is oversaturated with luxurious "oriental" things, "Chinese" coming into fashion. True to the old tradition is the estate in Preobrazhenskoye, the favorite palace of Peter I, with which, however, the gloomy pages of Peter's history are also connected: here Romodanovsky, the head of the terrible Preobrazhensky order, had fun and rampaged the little respected "Most Joking Cathedral". Combining all literary and historical sources, the researchers restore the picture of the interiors of the palace: rooms that look like a box, walls covered with damask, an abundance of not only “curtains” (curtains), but already mirrors, and portraits, and Peter’s personal belongings (his favorite compasses , astrolabes, etc.).
The Moscow tradition of decorating the interior did not immediately die out. It was also reflected in the interior of the first Winter Palace in St. Petersburg. On the engraving by Alexei Zubov (1712), depicting the wedding feast of Peter and Catherine, the central hall also resembles a box. It is decorated with magnificent espaliers, carvings and stucco, shaped mirrors, a complex chandelier made of ivory and ebony, carved by Peter himself.
We note, by the way, that the replacement of woven upholstery of walls and painted ceiling ceiling with plaster trim and even stucco and pieces occurs even in Moscow, or rather, architecture near Moscow (Menshikov's estate in Alekseevskaya near Moscow).
On another, earlier engraving by A Zubov (1711), depicting the wedding of Shug Volkov, which took place in Menshikov’s “Ambassador’s House” in St. Petersburg (wooden mansions on the site of the future stone palace), we see in the interior the same patterned damask fabrics on the walls, an abundance walls with candles - lighting fixtures (as we would say now) - and a large number of framed portraits on the side walls, with which two huge icons on the entrance wall - "Crucifixion" and "Ascension of Christ" seem to compete in their decorative role. So gradually, in a complex interweaving of the old and the new, the palace interior of the capital city, which was born on the shores of the Baltic, was formed.
In the architecture of Peter's palaces, it is necessary to note the appearance of rooms that were completely new in purpose, unfamiliar before: dance halls, cabinets (Peter's Oak Cabinet in the Grand Peterhof Palace, the Walnut Cabinet in Menshikovsky, "cabinets of antiquities", or "rare", Lacquer cabinets - in the period hobbies for "Chinese" and "Japanese", etc.), special front rooms - the Front Bedroom, even the Front Kitchen, "latrines" rooms (dressing rooms), etc. Each of them required its own decoration.
The interior of the St. Petersburg palaces of the time of Peter the Great, clearly pursuing the principle of regularity and practicality in architecture and thematic in painting, remains true to the already traditional decoration and festiveness of the interior as a whole.
Turning specifically to the monuments of monumental and decorative painting of the time of Peter the Great, let's take the chronologically earliest complex - Peter's Summer Palace in the Summer Garden. His painting seems to be the most characteristic of the Petrine era. The theme of the murals is the same: with the help of symbols and allegories, so beloved in this era, the heroic time and, above all, state power are glorified, the ideas of patriotism are inspired. For the first time, the theme of Russia's victories in the Northern War, its glorification appeared here in synthesis with the architectural and artistic image as a whole.
Peter's Summer Palace in the Summer Garden with its beautiful exterior decoration by A. Schluter - sculptural reliefs between the windows (they will be discussed in Chapter 4. Sculpture), the bas-relief "Minerva surrounded by trophies" on the southern facade and a wooden panel depicting Minerva as the guardian of the house, with an owl (a symbol of vigilance) in the lobby, etc., retained the original interior decoration only in the Green Cabinet and the Kitchen on the first floor.
Decorative work in the Summer Palace began early, in 1713-1714. Russian masters A. Zakharov, P. Zavarzin, F. Matveev painted (on wood) the walls of the Green Cabinet. The murals are still in the style of the 17th century: these are ornaments, fantastic birds, masks, as well as a favorite motif of baskets with flowers in the panels above the door.
The plafonds of the Summer Palace (there are 7 of them) were completed already in the 1729s. The plafond of the Lower Floor Reception Hall “The Triumph of Russia” was made by Georg Gzel in 1719 (G. Gzel, a Swiss by birth, was educated in Vienna and worked in Amsterdam, where Peter saw him. In Russia - since 1717). "Triumph" is personified by three female figures surrounded by cupids and accompanied by attributes glorifying the state. The central figure rests on the earthly sphere - this is the image of the Power of the ruler. A figure with a cross - Religion, with ears of corn - Fertility.
In the center of the plafond of the Dining Room, which is a real hymn to autocratic power and military victories, a portrait of Peter is depicted. In the rest of the rooms, the plots of the plafonds are as follows: in the Study - "The Triumph of Minerva", in the Throne Room - "The Triumph of Catherine" (also performed by Gzel), in the Bedroom - "The Triumph of Morpheus", in the Children's Room - "Peace and Tranquility" (also close to Gzel in style and color). manner. Gzel is also reminiscent of the allegories of the four parts of the world (figures of Europe, Asia, Africa, America) in the oval medallions of the Green Cabinet.
The peculiarity of the plafonds of the Summer Palace is that they do not occupy the entire ceiling, but are, as it were, inset paintings. They were performed in the easel way - below, and then inserted into the ceiling. In terms of technique, they also differ, for example, from the murals of the Menshikov Palace: this is not tempera on plaster, but oil painting on canvas stretched on a stretcher.
The interpretation of the plots in the plafonds is typical of the time of Peter the Great: there are no specific characters (with rare exceptions), the language is allegorical and symbolic, and if in one of the plafonds (the Dining Room) we see a portrait of Peter, then he is introduced into the allegorical composition and fully corresponds to the abstract language in in general.
In another remarkable monument - the Menshikov Palace - the earliest example of monumental and decorative painting of the time of Peter the Great is the plafond of the Walnut Room in Menshikov's office. (The room is decorated with walnut panels, hence its name.) The plafond was painted several times. The first (1711-1712) and the second (1715-1716) layers are tempera-oil technique on plaster and grisaille, tone painting.
In the first layer in the center of the composition, the earliest image was found - against the background of a black-purple sky, a warrior with a shield and a sword, leaning on the "Book of Mars", dedicated to the martial art of winning (Peter took an active part in its creation). Among the attributes of the battle (some researchers see the Battle of Poltava in it, and even the features of Peter himself are seen in the figure of a warrior) cannonballs, cannons, regimental banners, trampled banners of enemies, a drum, pipes, powder kegs. All this creates a certain romantic halo. Mars, as the warrior is sometimes called, lacks aggressiveness, his courageous face seems rather tired. V. Borzin finds an analogue of this image not in ancient art, but in ancient Russian and compares the warrior with the Archangel Michael in the wall paintings of the Smolensk Cathedral of the Novodevichy Convent in Moscow and in the Assumption Cathedral of the Trinity-Sergius Lavra. The author of the painting is unknown. Archival documents tell us the names of the performers: A. Zakharov, the Adolsky brothers, D. Solovyov and other masters, but the leader and author of the “inventions” is not named, with the figure of a warrior located in the center of the ceiling, and in the corners there are emblems so familiar to the masters of the 18th century . according to the book "Symbols and Emblems", and the accompanying mottos of the edifying and educational sense familiar to the Peter the Great era ("I agree to bring victory", "foresee", "darkness helps", "where truth is faith, that i strength will come"). Researchers believe that this painting was also made by domestic masters - G. Adolsky "with comrades" in 1711-1712.
The second layer (grisaille) is a composition with cupids, garlands of flowers and decorative monograms, on which the Russian masters A. Zakharov and L. Fedorov worked, possibly under the direction of Caravacca: light broad strokes resemble his painting in the Aviary and Monplaisir in Peterhof.
The third layer is later - 1717-1719. (some even consider 1722 to be the date of its completion). This is purely ornamental, with a rosette in the center and grotesque motifs, the plafond was made by F. Pilman, an artist from a family of hereditary Lyon decorators, a student of Claude Gillot, from whom Antoine Watteau studied at one time. Pilman came to Russia on a personal call from Leblon in 1717. Among the grotesques and plant motifs, female heads appear in the ceiling, in which some researchers see similarities with Menshikov's daughters. The plafond is executed in an exquisite range of red-coral and olive-green tones on a gold background (kept in the Hermitage). The local red and blue colors with black and yellow in the first layer testify to the still living traditions of the 17th century. It is curious that the painting of the first layer with a warrior was discovered and became known only during the restoration of the Menshikov Palace in the 1960s, since even during the lifetime of both Peter and Menshikov, the painting was covered by painting on a stretcher, executed by Pilman in oil on canvas . The figure of a warrior as a result of all the alterations was simply whitewashed.
N. Yu. Zharkova rightly, in our opinion, saw in the motifs of the plafond of the Secretaries a commonality with the decorative elements of the facade of the Menshikov Palace, distinguishable in the engraving by A Zubov “Entrance from the sea with triumph” (1714), and the decoration of the triumphal arch built near the Menshikov estate right on the ice in January 1712, about which we also have an idea from the engraving by A. Zubov in 1711 [see. more about this: Zharkova N.Yu. The plot of the plafond of the "Secretary" of the Menshikov Palace and its connection with the art of St. Petersburg in the first quarter of the 18th century // Petersburg readings (on the anniversary of the city). Abstracts of the conference reports. SPb., 1992. S. 116-119].
Speaking about the decoration of the Menshikov Palace, one should not forget that its decorative structure was not only painting and sculpture, but also tiles made according to the Dutch model or simply Dutch in origin, as well as fabrics, stucco molding, marble and marble painting, porcelain services, imported furniture. The monograms of Menshikov and Peter were woven into this decor (in the gratings of the staircase on the second floor), elements of the Order of St. Andrew the First-Called, etc. Everything played its role, as rightly noted, right down to the gold and silver threads of the costumes and the gilded nail heads on the seats of the chairs. It was "a whole chronicle of the era with a story about the life of specific people and the country, about glory and dreams, about the difficult struggle, the approval of the ideals of secular life and the policy of the state, about the friendship of Menshikov and Peter I, about the victories won by Russia ..." ... one of the most important principles of the ensemble of the palace interior of the Petrine Baroque is the thematic principle, a meaningful concept" (see: Pronina I A. Terem. Palace. Manor. S. 45-46).
Of the suburban residences, the earliest murals are Monplaisir. Built, as already mentioned, in succession by Braunstein, Leblon and Michetti over the decade from 1714 to 1723, Monplaisir began to be decorated with paintings and carvings already in the process of construction. The central part of Monplaisir - the Dutch House (aka Central - Assembly - Hall) was flanked on one side by the Secretarial, Bedroom and Marine Study, on the other - Lacquer Study, Kitchen and Pantry. The galleries ended with lusthaus pavilions. All apartments have been decorated. So, the plafond of the Central Assembly Hall was made by F. Pilman already in 1718; four paired groups of sculptures - allegories of the seasons - support this wonderful domed ceiling, decorated with a ceiling. The sculptures are made of alabaster, the authorship has not yet been established (Schluter? N. Pino?). The painting of the plafond is in full unity with decorative molding and wood carving. This is a hymn to the elements, the seasons, all earthly gifts - an allegorical expression of the joy of being.
The central figure of the Pilman ceiling is Apollo. Four elements are depicted in padsugs: northern - Water, the most dynamic composition with Neptune, Amphitrite and Nereus; the southern one is Fire (“Forge of the Volcano”), the eastern one is Earth, the western one is Air, the allegory of which is Juno. Everything demonstrates an excellent knowledge of ancient mythology. The remaining panels are also attributed to F. Pilman. The central ceiling of the Secretarial - "The Triumph of Bacchus"; Bedrooms - "Merry Carnival" (with masks of the comedy del "arte); Sea Cabinet - "Monkey Fun" (a favorite plot of Western European painting of the 17th-18th centuries, it is enough to recall "Monkeys in the Kitchen" by D. Teniers or A. Watteau's sketches for French Marley); in the Cupboard and Lacquer Cabinet - “The Seasons” (in the Cupboard allegory of Winter in the form of a female figure with a brazier and cupid trembling from the cold, in the Lacquer Cabinet - Autumn in the form of a woman with a bunch of grapes and a goblet of wine). 94 large and small panels of “Chinese and Japanese work” were executed by lacquer craftsmen under the guidance of the Dutchman G. Brumkorst (Brumhorst), who was specially invited to work in Russia.
The murals of the galleries with lustgauses were made later, in 1720-1722, by an artel of Russian masters - M. Zakharov, S. Bushuev, F. Vorobyov, V. Broshevsky, M. Negrubov, L. Fedorov, V. Morozov, G. Ivanov. D. Solovyov, B. Mochenov (Mocheny?) and others - under the direction of F. Pilman (?) and L. Caravacca (?) in the technique of egg tempera on plaster. Note that the main core of the artel was preserved for a very long time, these same artists would work in the 1730s under the guidance of the already Russian painter Andrei Matveev, and in the 1740s under Ivan Vishnyakov. Negrubov and Bushuev, for example, Pilman gave the highest rating: “... these de students learned from me pictorial arts, ornaments with which ceilings, walls or anything else are cleaned inside houses, and they can rule all those picturesque things without any burden "(Uspensky A. Dictionary of artists of the XVIII century, who wrote in the imperial palaces. M., 1913. S. 15-16).
All the decor was made taking into account the display of the collection of paintings, because the first collection of paintings in Russia was located in Monplaisir, already in 1725, there were about 200 canvases.
The decor of Monplaisir's galleries is light, graceful - it is an ornament of stylized leaves, shells, garlands and baskets of flowers, rosettes, birds, masks, winged monsters. In the western gallery, Spring is represented as a lovely girl, to whom Cupid hurries. The painting was made according to the sketches of Caravacca. Caravaccus also painted the tent ceiling of the Aviary (Aviary) - a twelve-sided arbor with a dome and a light lantern: Diana, Actaeon, Aurora, Apollo among cupids and various ornaments.
The painting of Monplaisir, created in the technique of tempera on plaster by an artel of Russian masters under the guidance and "on the models" of Pilman and Caravacca, is a true synthesis of the best features of architecture, monumental and decorative painting, carving and modeling of the first half of the 18th century, an example of the collective work of architects, builders, painters, sculptors, sculptors, decorators.
In the decor of the large Peterhof Palace, carving deserves special interest. In the Oak Cabinet (1718-1720), the walls are decorated with vertical oak (hence the name) panels (8 out of 14 survived), on which symbols of sea power, seasons, attributes of sciences and arts were presented in fine, exquisite carving. Drawings and models for them were performed by the French sculptor and carver Nicola Pino, who came to the Russian service, who showed here a high sense of form and inexhaustible imagination in decorative motifs.
In addition to everything in the interiors of the palace, Leblon first used the illusionistic effect of mirrors, later a favorite Baroque technique that was widely used in the Rastrelli buildings of the middle of the century.
It is difficult to talk about the painting of the Great Peterhof Palace - it, in fact, has been lost forever. We know that Caravakk and Pilman also worked on its plafonds (the latter, for example, painted the ceiling of the famous Oak Cabinet together with Russian masters - Negrubov, Bashuev, Skorodumov, Morozov, Semenov, etc.). B. Tarsia, who kept the Venetian traditions, in 1726 executed the plafond of the Picture Hall (the famous “Cabinet of Fashion and Graces”, later decorated with 368 paintings by P. Rotary) (oil, canvas). Four allegorical paintings on the paddocks were made by Russian masters Bushuev and Negrubov (tempera on plaster). B. Tarsia also owned the plafond of the Central Hall (1726-1727).
As already mentioned, secular elements also penetrate religious architecture. Just as the walls of Vladimir-Suzdal churches were decorated with “birds” and griffins inspired by folk fantasy, and the pages of liturgical books were decorated with outlandish “teratological” little men, which are many examples in the art of Ancient Russia, the secular principle invades wall paintings on the Gospel plots of the main Petersburg Cathedral - St. Peter and Paul. At the same time, the plots of Holy Scripture are not distorted, do not contradict the "letter" and the established iconography, they simply already contain a lot of purely human experiences and everyday realities.
It took at least five years (1726-1731) to finish the Peter and Paul Cathedral. The best carvers and gilders in Moscow decorated the iconostasis according to I. Zarudny's patterns. In 1726 the iconostasis was brought from Moscow. Icon painter Andrey Merkuriev "and his comrades" performed 41 images.
Work in the church of Peter and Paul, like all others, was done “with haste” and “with small hands,” as it was customary to write in the minutes of the Chancellery from buildings, so much so that any absence and departure to another city was strictly recorded, passports were selected, masters returned to the Chancellery "for the guard". This was the case even with famous painters, for example, with one of the Adolsky brothers and Ivan Nikitin "from the Particular shipyard."
The Peter and Paul Cathedral was supposed to be decorated with multi-color plaster paintings: on the walls - a stylized floral ornament and quite realistically interpreted garlands, in the dome - a multi-figure composition, in the drum and vaults above the cornices - paintings on evangelical themes.
The paintings “under the vaults” of the cathedral were, in fact, original easel works, one of the first painted for the temple in oil on canvas. For the first time in Rus', as far as we know, “icon painting” with its centuries-old traditions and new painting, three-dimensional and spatial, striving to depict the real world, were combined in one church interior. New was not only technology, but also the worldview itself. Everything was affected by the turning point that was outlined in Russian culture as early as the 17th century. The gospel scenes are interpreted without medieval conventions, human figures have lost their iconic incorporeality, the surrounding world is depicted like-illusory and attentively-detailed.
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