Russian architecture in the first half of the 19th century Presentation prepared by: Zhenya Romanova Zhenya Tanacheva. Architecture and painting in the first half of the 19th century

- 1 third of the XIX century - the initial stage of Russian classics - the culture of the Pushkin era, the development of Russian romanticism.
- 40 - 50s of the XIX century - the "Gogol period" of Russian culture, the development of Russian realistic art.

Architecture of the first third of the 19th century

Empire architecture originated in France. Empire - late classicism, in which the Doric order is creatively processed. The beauty of the building is in the cubic volume, in the smooth, undecorated wall.
The architecture of the Russian Empire is a monument of world significance.

A.N. Voronikhin. 1760 - 1814.
Mining Institute (1806 - 1811).

A.N. Voronikhin.
Kazan Cathedral in St. Petersburg (1801–1811).
Huge impact on the formation of the urban area near Nevsky Prospekt. During its construction, the construction of a forged lattice metal dome with a diameter of 17 m was used for the first time.

National-patriotic upsurge in the first quarter of the 19th century. contributed to the development of monumental art forms - sculpture and architecture. The architects of that time worked in unbreakable unity with the sculptors.

B.I. Orlovsky. Monument to M.I. Kutuzov

B.I. Orlovsky. Monument to M.B. Barclay de Tolly.

During these years, the architectural appearance of St. Petersburg was finally formed.
The formation of the city center near the Neva required the restructuring of the old Admiralty, built under Peter I by the architect I.K. Korobov.

A complete reconstruction of the Admiralty was carried out in 1806-23. according to the project of the outstanding master of classicism Andrey Dmitrievich Zakharov (1761 - 1811), who created the complex, which became the high-rise dominant of the city center - three rays-streets diverge from the Admiralty: Nevsky Prospect, Gorokhovaya Street, Voznesensky Prospect).

The majestic Admiralty with its famous spire - "Admiralty Needle", sung by Pushkin - defines the skyline of the city.

Magnificent ensembles, striking in their scope and beauty, were created by Karl Ivanovich Rossi, a Russian architect, a representative of late classicism.
Grew up in an artistic environment (mother - Italian ballerina G. Rossi).
Since 1796, he worked as an assistant to the architect V. F. Brenna,
In 1802-1803 he studied in Italy.
Among the early works is the reconstruction of the Travel Palace in Tver (1809).
In 1815 he returned to Petersburg.
Since 1816, one of the chief architects of the Committee for Buildings and Hydraulic Works. Since that time, the period of flourishing of Rossi's creativity began, creating on the basis of extensive urban planning a number of monumental ensembles of St. Petersburg, which largely determined the appearance of the central parts of the city.

K. Rossi. Ensemble of the Mikhailovsky Palace.
Mikhailovsky Palace (1819-25; now the building of the Russian Museum) and the solemn ensemble of Mikhailovskaya Square (now Arts Square), and Mikhailovskaya Street (now Brodsky Street), connecting it with Nevsky Prospekt.

The interiors of the Mikhailovsky Palace (for example, the White Hall) designed by Rossi testify to his high skill as a decorator.
K. Rossi thought through and worked out literally everything in sketches: from a cast-iron lattice with his favorite military paraphernalia in the decoration of the gate - to the layout of the park, from solving an urban planning problem - to drawing patterns of type-setting parquet in the palace premises.

Headquarters in St. Petersburg. 1819 - 1829.
Architect: K. I. Rossi. Sculptors: S.S. Pimenov, V.I. Demut-Malinovsky.
The buildings, in addition to the General Staff, housed the War Ministry, the Ministry of Foreign Affairs and the Ministry of Finance (in the eastern building). At present, part of the building belongs to the Leningrad Military District. In 1993, the eastern wing of the General Staff building was transferred to the Hermitage.

The General Staff building occupies a huge space from Nevsky Prospekt to the bend of the Moika River.
With a line of smoothly rounded facades of the two buildings of the building, Rossi gave Palace Square a beautiful symmetrical (relative to the central axis of the Winter Palace) rounded shape.

Rossi boldly solved a difficult compositional and planning problem by creating a triumphant entrance to Palace Square: he changed the direction of Morskaya Street, oriented it to the center of the Winter Palace and blocked it with a powerful double arch.
He used a system of three arches, with the help of which he architecturally designed a strong break in the street. Two arches, identical in size and parallel to each other, form the main entrance to the square from Nevsky Prospekt. At an angle to the second arch is the third - it opens the prospect of a palace ensemble, different from the usual urban development.

After the implementation of the monumental idea of ​​building the headquarters building, the buildings of which were connected by a triumphal arch, C. Rossi put forward the idea of ​​completing the architectural composition. He wanted to continue the theme of victory in the Patriotic War of 1812 by building a monument in the middle of Palace Square. He managed to convince Emperor Nicholas I to abandon the idea of ​​erecting a monument to Peter I. The French architect Auguste Montferrand (1786 - 1858) was engaged in further development of the project, according to whose project the Alexander Column was installed in 1828-1834.

Carl Rossi. Alexandria Theater in St. Petersburg. 1816-1834 Color lithograph.
In 1816-1834, Rossi created one of the most significant ensembles in St. Petersburg, which arose in connection with the construction of the Alexandria Theater, and consisted of Teatralnaya Street, Alexandrinskaya Square and Chernyshev Bridge Square.

Theater Square - now Ostrovsky Square - is a square with a monument to Catherine the Second in the center and has the unofficial name Catherine's Garden and the slang name Kat'kin Garden.

In 1832, 76 years after the organization of the troupe, the Alexandrinsky Theater (named in 1832 in honor of the wife of Emperor Nicholas I, Alexandra Feodorovna) received a building.
Karl Ivanovich Rossis created one of the outstanding architectural monuments of St. Petersburg, belonging to the Empire style. The main facade of the theater faces Nevsky Prospekt.

The architect Thomas de Thomon (1760 - 1813) showed a correct understanding of the role of the Neva in the architectural appearance of the city, who built up the spit of Vasilyevsky Island and created the expressive building of the Stock Exchange (1805-10).
He accepted from Quarenghi the unsuccessful project of the St. Petersburg Stock Exchange on Vasilyevsky Island, which was stopped in 1787. The reason for the stop was that the building being erected did not correspond to the appearance of the city and urban planning tasks.

Columns H - 32 m, erected symmetrically on the sides of the Exchange building. Originally served as lighthouses. Represent hollow, with vnutr. spiral staircase, brick structures, facings. stone. On each - three pairs of decorative metal. rostr. On the upper platform there are bowls of torches (in 1957 gas was supplied to them, torches are lit on holidays). At the foot of the rostral columns there is a sculpture symbolizing the rivers: Volga and Dnieper, Neva and Volkhov. The sculptures are carved from Pudost stone.

A.A.Montferrand (1786 - 1858). Saint Isaac's Cathedral. 1818 - 1858 The construction was supervised by Emperor Nicholas I.

St. Isaac's Cathedral is an outstanding example of late classicism, in which new trends (Neo-Renaissance, Byzantine style, eclecticism) are already manifesting, as well as a unique architectural structure and high-rise dominant of the central part of the city.

The height of the cathedral is 101.5 m, length and width - about 100 meters. The outer diameter of the dome is 25.8 m. The building is decorated with 112 monolithic granite columns of various sizes. The walls are lined with light gray Russian marble.

The interiors are decorated with marble, malachite, lapis lazuli, gilded bronze and mosaics. Work on the interior began in 1841, with the participation of famous Russian artists (F. A. Bruni, K. P. Bryullov, V. K. Shebuev, F. N. Riss) and sculptors (I. P. Vitali, P. K. Klodt).

Inside the temple, a Foucault pendulum (now dismantled) was installed, which, due to its enormous length, clearly demonstrated the rotation of the Earth.

Erected in the Empire style in 1834 in the center of the Palace Square by the architect Auguste Montferrand by decree of Emperor Nicholas I in memory of the victory of his elder brother Alexander I over Napoleon.

K.A. Tonn (1794 - 1881). Pier with Egyptian sphinxes in front of the Academy of Arts (1832 - 1834).

Moscow architecture

After the fire of 1812, Moscow was rebuilt.

Architect Osip (Giuseppe) Ivanovich Bove (1784 - 1834) supervised the restoration of the destroyed walls and towers of the Kremlin in 1816-1819

O.I. Bove. Ensemble of Red Square. The redevelopment of the surroundings of the Kremlin was possible in connection with the conclusion of the Neglinnaya River in pipes. Theater Square and a garden near the Kremlin walls were created.

According to the project of O.I. Bove opposite the Kremlin, shopping arcades were built in the style of classicism, later replaced by the building of architect. Pomerantsev.
In the photo, the old shopping arcades of O.I. Bove have not yet been demolished and have not been replaced by Pomerantsev ones.
Under the leadership of Beauvais, the reconstruction of Red Square was carried out, the earthen fortifications around the Kremlin were demolished and the moat was filled up, the Kremlin (Alexandrovsky) garden was laid out, the Manege was built (the engineering structure was developed by A. A. Betancourt).

As part of the reconstruction of the center of Moscow, O.I. Bove created Theater Square (1818 - 1824) with the Bolshoi (Petrovsky) Theater (1821-1824; the project was finalized by A. A. Mikhailov).

In 1818, a monument to Minin and Pozharsky by the sculptor I.P. Martos, the most powerful representative of high classicism in Russian sculpture, was erected on Red Square.
Ivan Petrovich Martos (1754 - 1835). An outstanding master of monumental, decorative and memorial sculpture.

The end of the 18th - the beginning of the 19th century - the era of classicism in Russian architecture. Classicism is a European cultural - aesthetic trend that focused on ancient (Ancient Greek and Roman art). Characteristic features of classicism: 1) Buildings are distinguished by balance, a clear and calm rhythm, and well-balanced proportions. 2) The main laws of composition are symmetry, emphasizing the center, general harmony. 3) The main entrance was located in the center and was designed in the form of a portico (the protruding part of the building with columns and a pediment). 4) The columns differed in color from the walls. (the columns were usually painted white, and the walls yellow).

St. Petersburg classicism is not the architecture of individual knowledge, but of entire ensembles. Admiralty. Architect Andriyan Dmitrievich Zakharov (1761 -1811). The architect emphasized the central tower.

Andrey Nikiforovich Voronikhin (1759 - 1814). The son of a serf. Kazan Cathedral - St. Peter's Cathedral in Rome was taken as a model. The ashes of M. Kutuzov were transferred to the cathedral. In front of the cathedral there are monuments to Kutuzov and Barclay de Tolly, made by B. Orlovsky.

St. Isaac's Cathedral, one of the most majestic buildings in St. Petersburg, was built in the middle of the 19th century according to the project of O. de Montferrand. , Its upper part, crowned with an immense dome with noble dark gilding, rises above all the surrounding buildings and is clearly visible from the roof of the Winter Palace. .

Auguste Montferrand (1786 -1858). St. Isaac's Cathedral (1818 -1858). Inside the cathedral at the same time could be 13,000 people.

Pyotr Klodt of horses "Peter Karlovich Klodt" Tamers - a monument to Nicholas the First on (1805 -1867). Isaac's Square.

In the center of the capital, on Palace Square, K. I. Rossi erects the building of the General Staff (1819 -1829).

The Alexandrinsky Theater is one of the oldest professional theaters in Russia. The theater building was designed by the architect K. Rossi. The Alexandrinsky Theater is part of the ensemble of two squares and a street, the latter is named after K. Rossi and is truly an architectural marvel, and by the way, the theater itself is a masterpiece of Russian classicism. The grand opening of the theater took place in 1832, it was named after the wife of Nicholas I

Senate and Synod, construction 1829 -1834 , architect K. I. Rossi. The building of the Senate and Synod is the last great work of the great architect. Two buildings, decorated with 8-columned loggias of the Corinthian order, are connected by an arch. The architectural monument is distinguished by rich sculptural decor.

The Mikhailovsky Palace was conceived as a gift to Grand Duke Mikhail Pavlovich from his brother Emperor Alexander I. The construction was carried out from 1819 to 1825 according to the project and under the direction of K. I. Rossi. The estate scheme, traditional for Russian classicism, has found its application in the composition of the palace.

Karl Ivanovich Rossi (1775 - 1849). According to his project, the buildings of the Senate, the Synod, the Alexandria Theater, the Russian Museum were built.

The Manege in Moscow was built in 1817 on the occasion of the 5th anniversary of Russia's victory in the Patriotic War of 1812, designed by architect A. A. Betancourt. In 1824-1825 it was decorated in the Empire style by O. Beauvais. The arena was designed for military reviews, so it was designed for 2000 people.

Moscow classicism is captured not in ensembles, but in separate buildings. O. Bove. According to his project, the Bolshoi Theater and the Manege were built.

The building of the Bolshoi Theater (construction in 1824, architects Beauvais, Gilardi and others) is one of the best examples of Russian, classical architecture

In 1839, on the banks of the Moskva River, the Cathedral of Christ the Savior was laid in memory of the deliverance of Russia from the Napoleonic invasion. Founded in 1839 by architect K. A. Ton. He combined classicism with the "Russian style". The temple is located in the center of Moscow, not far from the Kremlin, on the banks of the Moskva River. It took almost 44 years to build, and in 1883 it was opened for worship. On December 5, 1931, the temple building was destroyed to the ground by an explosion. The temple was restored in the 90s of the twentieth century and has been reopened for visits and services since 2000.

On the high Borovitsky hill is the Grand Kremlin Palace. Its facade faces the Moscow River and stretches from west to east for 125 meters. The palace was built in 1838-1849 by a group of Russian architects led by K. A. Ton. The palace was the temporary residence of the imperial family during their stay in Moscow.

30th years of the 19th century - the period of the crisis of classicism. The period of Eclecticism has come - a mixture of styles.

Karl Bryullov (1799-1852) Academic classicism Plots on ancient and biblical themes Exposition of characters according to the principle of stage action Idealization of characters, images of heroes (public interests are higher than personal ones) The primacy of "reason" over "feelings"

Orest Kiprensky (17821836)

First decades of the 19th century in Russia took place in an atmosphere of popular upsurge associated with the Patriotic War of 1812. The ideals of this time found expression in the poetry of the young Pushkin. The war of 1812 and the Decembrist uprising largely determined the character of Russian culture in the first third of the century.

The contradictions of the time became especially acute in the 1940s. It was then that the revolutionary activity of A.I. Herzen, V. G. Belinsky spoke with brilliant critical articles, passionate disputes were waged by Westerners and Slavophiles.

Romantic motifs appear in literature and art, which is natural for Russia, which has been involved in the pan-European cultural process for more than a century. The path from classicism to critical realism through romanticism determined the conditional division of the history of Russian art in the first half of the 19th century. as if into two stages, the watershed of which was the 1930s.

Much has changed since the 18th century. in fine and plastic arts. The social role of the artist, the significance of his personality, his right to freedom of creativity, in which social and moral problems were now more and more acute, increased.

The growth of interest in the artistic life of Russia was expressed in the building of certain art societies and the publication of special journals: "The Free Society of Lovers of Literature, Sciences and Arts" (1801), "Journal of Fine Arts" first in Moscow (1807), and then in St. Petersburg (1823 and 1825), the Society for the Encouragement of Artists (1820), the Russian Museum... by P. Svinin (1810s) and the Russian Gallery in the Hermitage (1825), provincial art schools, such as the school of A.V. Stupina in Arzamas or A.G. Venetsianov in St. Petersburg and the village of Safonkovo.

The humanistic ideals of Russian society were reflected in the highly civic examples of architecture of that time and monumental and decorative sculpture, in synthesis with which decorative painting and applied art, which often finds itself in the hands of the architects themselves, act. The dominant style of this time is mature, or high, classicism, in scientific literature, especially at the beginning of the 20th century, often referred to as Russian Empire.

The architecture of the first third of the century is, first of all, the solution of large urban planning problems. In St. Petersburg, the layout of the main squares of the capital is being completed: the Palace and the Senate. The best ensembles of the city are being created. Moscow was built especially intensively after the fire of 1812. Antiquity in its Greek (and even archaic) form becomes the ideal; the civic heroism of antiquity inspires Russian architects. The Doric (or Tuscan) order is used, which attracts with its severity and conciseness. Some elements of the order are enlarged, especially colonnades and arches, the power of smooth walls is emphasized. The architectural image strikes with grandeur and monumentality. A huge role in the overall appearance of the building is played by sculpture, which has a certain semantic meaning. Color decides a lot, usually the architecture of high classicism is two-tone: columns and stucco statues are white, the background is yellow or gray. Among the buildings, the main place is occupied by public buildings: theaters, departments, educational institutions, palaces and temples are built much less often (with the exception of regimental cathedrals at the barracks).

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

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

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

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

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

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

Exchange building in St. Petersburg

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

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

Leading Petersburg architect of the first third of the 19th century. ("Russian Empire") was Karl Ivanovich Rossi (1777-1849). Rossi received his initial architectural education in the workshop of Brenna, then traveled to Italy, where he studied the monuments of antiquity. His independent work begins in Moscow, continues in Tver. One of the first works in St. Petersburg - buildings on Elagin Island (1818). It can be said about Rossi that he “thought in ensembles”. His palace or theater turned into a town-planning hub of squares and new streets. So, creating the Mikhailovsky Palace (1819–1825, now the Russian Museum), he organizes the square in front of the palace and paves the street to Nevsky Prospekt, while commensurating his plan with other nearby buildings - the Mikhailovsky Castle and the space of the Field of Mars. The main entrance of the building, located in the depths of the front courtyard behind a cast-iron grate, looks solemn, monumental, which is facilitated by the Corinthian portico, to which a wide staircase and two ramps lead. Rossi did much of the decoration of the palace himself, and with impeccable taste - the design of the fence, the interiors of the vestibule and the White Hall, the color of which was dominated by white and gold, characteristic of the Empire, as well as grisaille painting.

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

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

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

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

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

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

Alexandria Theater in St. Petersburg

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

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

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

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

Lunin House in Moscow, architect D.I. Gilardi

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

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

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

Khrushchev House in Moscow

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

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

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

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

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

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

Monument to Minin and Pozharsky in Moscow

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

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

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

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

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

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

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

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

Early 19th century - this is the era of classicism in Russian architecture, an orientation towards ancient art.

The true talent of Tom de Thomon was able to reveal itself in full force only in Russia.

Jean Francois Thomas de Thomon (1760-1813) - French architect, draftsman, representative of mature classicism, who worked in Russia.

The exact place and time of Jean François Thomas de Thomon's birth is not known. It is believed that he was born in 1759 in Nancy or in 1760 in Bern. He received his architectural education in France, at the Paris Academy of Architecture. As the best student, Thomas de Thomon was sent to continue his studies in Italy, where he visited Naples, Florence, Venice and Rome. After returning to Paris, the architect was accepted into the service of Louis XVI's brother Count de Artois.

After the French Revolution, Thomas de Thomon had to leave his homeland. For some time he worked in Poland and Austria. In 1797, he accepted the invitation of Prince A. M. Golitsyn to come to Russia. At first, Thomas de Thomon worked on the prince's estate, later he went to St. Petersburg.

First of all, Thomas de Thomon took part in the competition for the design of the new Kazan Cathedral. A. N. Voronikhin won the competition, but participation itself allowed the French architect to gain the necessary experience and acquaintances. In 1800, the Council of the Academy of Arts awarded Thomas de Thomon the title of academician. In many ways, this was facilitated by the great popularity in St. Petersburg of the architect's drawings and engravings. Thomas de Thomon created five albums, which he called "Memories of Italy".

The building of the Bolshoi Theater (1802) was the first realized project of Thomas de Thomon in St. Petersburg. Alexander I was pleased with the work of the Frenchman and appointed him court architect. In this capacity, he was involved in the alteration of interiors in the Winter Palace, the construction of the summer imperial residence on Kamenny Island. At the same time, Thomas de Thomon designed the buildings of the theater and the military hospital in Odessa.

In 1807-1809, by order of Empress Maria Feodorovna, Thomas de Thomon created a monument-mausoleum in Pavlovsk in memory of Paul I. According to his project, the house of Countess Laval on the English Embankment was rebuilt. For some time the architect taught at the Academy of Arts.

The main work of the architect in St. Petersburg was the architectural ensemble of the Spit of Vasilyevsky Island. Here, according to the project of Thomas de Thomon, the Stock Exchange building, Rostral columns were built, a granite front pier was equipped.

Thomas de Thomon did not have a chance to attend the opening of the Stock Exchange. In 1813, the architect fell from the scaffold while examining the building of the Bolshoi Theatre. He could not recover from his injuries and died on September 4, 1813.

Tom de Thomon was buried at the Smolensk cemetery. In 1940, his ashes were transferred to the necropolis of the Alexander Nevsky Lavra.

A variation of this style was the Empire style, which is characterized by folk monumentality, strictness of lines and proportions. The architectural design of buildings was often supplemented by sculpture. In the center of St. Petersburg, A.D. Zakharov erected a huge building of the Admiralty with a central tower, a light colonnade, a gilded needle with a boat.

Zakharov Andrey Dmitrievich (1761-1811), ve l This Russian architect is one of the most outstanding architects in the history of world architecture.

His work marks the highest flowering of the Russian national architectural school of the era of classicism. A. D. Zakharov was born on August 8, 1761 on the remote outskirts of St. Petersburg, near the mouth of the Fontanka River, in a poor family of a small admiralty servant ensign Dmitry Ivanovich Zakharov. April 21, 1767, when Andreyyan was not yet six years old, his father appoints him at public expense as a pupil at the art school at the Academy of Arts. Since that time, the whole life of the future architect is closely connected with the Academy.

On September 13, 1778, two years after transferring to the architectural class, Zakharov received a small silver medal for the project of a country house, and on September 29, 1780 he was awarded a large silver medal for an architectural composition representing the princes' house. Closer to the end of the Academy of Arts, November 1, 1781, Zakharov A.D. a program was set - to develop a project for a facsimile (station), intended for recreation and entertainment. For this project at the final exam in 1782 Zakharov A.D. received a large gold medal, which gave the right to a pensioner's trip abroad to improve the knowledge gained at the Academy of Arts. AD Zakharov goes to Paris. Here he enters the workshop of one of the leading French architects, J. F. Chalgrin. Since 1787 he has been teaching at the Academy of Arts. By 1792, the first graphic work of the architect known to date dates back - a sketch of a solemn decoration on the occasion of the conclusion of peace in Iasi in December 1791, which marked the victory of the Russian army and navy over Turkey. In 1794, A.D. Zakharov was appointed architect of all academic buildings. At the end of 1799, at the behest of Paul I, he became the architect of the city of Gatchina.

June 6, 1805 A.D. Zakharov received the position of the Chief Admiralty of the architect. In this position, he was in charge of construction management and design of civil and industrial buildings and structures. He works a lot. Work in the Admiralty brought A.D. Zakharov had a lot of worries and troubles, because the architect had to argue with the bureaucracy, which interfered with him in everything. However, A.D. Zakharov managed to realize the project of rebuilding the Admiralty building in St. Petersburg. The initial construction of the Admiralty was carried out by the architect I.K. Korobov in 1738; this building is the greatest monument of Russian Empire style architecture. At the same time, it is a city-forming building and the architectural center of St. Petersburg.

On May 23, 1806, the project for the restructuring of the Admiralty, developed by A.D. Zakharov, was approved and construction began. The architect left unchanged the idea of ​​Peter I - the form of the Admiralty in the form of the letter "P".

HELL. Zakharov gives the Admiralty a majestic architectural appearance, he managed to emphasize its central position in the city (the main highways converge to it with three beams). The center of the building is a monumental tower with a spire, on which there is a boat, which has become a symbol of the city. This ship carries the old spire of the Admiralty, created by the architect I.K. Korobov. In the two wings of the facade, symmetrically located on the sides of the tower, simple and clear volumes alternate with a complex rhythmic pattern, such as smooth walls, strongly protruding porticos, and deep loggias. The strength of the design of the building is sculpture. Decorative reliefs complement the large architectural volumes, grandiosely deployed facades are shaded by wall sculptural groups. Inside the building, such interiors of the Admiralty as a vestibule with a main staircase, an assembly hall, and a library have been preserved. The abundance of light and the exceptional elegance of decoration are set off by the clear severity of monumental architectural forms. During the period of work on the Admiralty, A.D. Zakharov also performed other work, which included the Proviantsky Island development project. In (1806-1808) A.D. Zakharov created a project for the development of the Proviantsky Island. In (1806-1809) the architect created a project for the ensemble of the Galley Port. In addition, A.D. Zakharov fruitfully worked on the urban planning tasks of Kronstadt. In (1806 - 1817) the architect worked on one of the most significant buildings of Kronstadt - St. Andrew's Cathedral (not preserved). In addition, A.D. Zakharov prepared projects of government buildings and churches for the provincial and district cities of Russia, which were emphatically monumental in nature. A.D.Zakharov developed around 1805 the project of the Cathedral of the Holy Great Martyr Catherine in Yekaterinoslav (now Dnepropetrovsk). The cathedral was built after the death of the architect, in (1830 - 1835) under the name of Preobrazhensky and has survived to this day.

HELL. Zakharov was a highly educated architect. He combined a wonderful designer and a brilliant graphic artist, an experienced designer and builder. Family life at AD. Zakharova did not work out, he was a lonely single man. According to one version, the life of a talented architect was tragically cut short on September 8 (August 27), 1811 in his own apartment, located in the building of the Academy of Arts, according to other sources, this happened on the street.

Zakharov Andrey Dmitrievich was buried at the Smolensk cemetery. In 1940, the ashes of the architect were reburied at the Lazarevsky cemetery next to the famous architects Voronikhin, Starov, Rossi, Quarenghi.

On Nevsky Prospekt, designed by architect A.N. Voronikhin built the Kazan Cathedral (1801-1811) - a huge cross-domed building with a powerful semicircular colonnade. The Kazan Cathedral in St. Petersburg is an Orthodox cathedral church, which is located in the very center of the city. The facades of the temple overlook Nevsky Prospekt and the Griboyedov Canal. This is one of the largest buildings in the Northern capital. Its height reaches 71.5 meters. The temple name is given to: an island in the Neva delta, a bridge at the intersection of Nevsky Prospekt and the Griboyedov Canal, as well as a street that departs from the temple. Monuments to M.I. Kutuzov and M.B. Barclay de Tolly (sculptor B.I. Orlovsky).

Voronikhin, Andrey Nikiforovich (1759-1814) Russian architect and painter, representative of classicism, one of the founders of the Russian Empire style. Andrei Voronikhin was born in the village of Novoye Usolye (now the Perm Territory) into a Russian-Permyak family of serfs, Count A. S. Stroganov (who was for a long time the president of the St. Petersburg Academy of Arts). He studied painting in the workshop of the Ural icon painter Gavrila Yushkov. The talent of the young man attracted the attention of Stroganov, and in 1777 the count sent A.N. Voronikhin to study in Moscow. Presumably the teachers of A.N. Voronikhin were V.I. Bazhenov and M.F. Kazakov. Since 1779 A.N. Voronikhin worked in St. Petersburg. In 1785 A.N. Voronikhin was released, and from 1786 to 1790 he studied architecture, mechanics and mathematics in France and Switzerland. In 1797, the artist received the title of academician of "perspective painting" of the Academy of Arts for the paintings "View of the art gallery in the Stroganov Palace" (1793, the Hermitage) and "View of the Stroganov dacha" (1797, Russian Museum, St. Petersburg). From the early 1800s he taught at the Academy of Arts. The early architectural works of A.N. Voronikhin include the interior decoration of the Stroganov Palace (1793). Lush baroque forms proposed by Bartolomeo Francesco Rastrelli, A.N. Voronikhin replaced them with strict classical ones, distinguished by their simplicity and elegance. In a similar way, he rebuilt the interiors of the Stroganov dacha on the Black River (1795-1796), as well as the houses in the Gorodnya estate (1798). In 1797, the Council of the Academy awarded A.N. Voronikhin the title of Academician of Perspective Painting for a painting depicting Stroganov's dacha built by him on the Black River in St. Petersburg. A.N.Voronikhin received the title of architect in 1800 for the design of the colonnades in Peterhof. From 1802 he was a professor at the Academy of Arts. The main creation of A.N. Voronikhin was the cathedral in honor of the icon of the Kazan Mother of God in St. Petersburg. The laying of the cathedral took place on March 27, 1801, the work was completed in 1811. On the occasion of the consecration of the temple, Voronikhin was awarded the Order of St. Anna of the second degree and a pension. Among other works of A.N. Voronikhin, it is necessary to note the State Treasury building, the building of the Mining Institute, the colonnades and cascade in Peterhof, the interiors of palaces in Strelna, Gatchina and Pavlovsk, as well as park structures in these palace and park ensembles. Voronikhin Andrey Nikiforovich died on February 21 (March 5), 1814 in St. Petersburg.

During this period, according to the project of K.I. Rossi built the building of the General Staff and ministries in 1819-1829. The General Staff was located in the western building, and the Ministries of Foreign Affairs and Finance occupied the eastern wing of the building. The triumphal arch, 28 meters high and 17 meters wide, consists of two parts, one of which forms the view of the building from Palace Square, and the other completes Bolshaya Morskaya Street. The arch is decorated with figures of flying Glories, compositions of weapons and military armor. The sculpture crowning the arch was made of sheet copper by sculptors S. S. Pimenov and V. I. Demut-Malinovsky. It personifies the greatness of Russia after the victorious Patriotic War of 1812 and represents the figure of Glory in the chariot of Victory drawn by six horses, the last of which are held by warriors. The building of the General Staff and Ministries is one of the most grandiose structures in Europe, its length is about 580 meters. K.I. Rossi also created the buildings of the Senate and the Synod, the Alexandrinsky Theater, the Mikhailovsky Palace (Russian Museum) on Arts Square.

Rossi Karl Ivanovich (1775 - 1849) architect, was born on December 18 in Venice. Karl Ivanovich Rossi is the son of the Italian nobleman Giovanni Rossi and the famous dancer of Catherine's times, Gertrude Rossi. His mother was married to the choreographer of the St. Petersburg theater Lepik. All childhood and youth Rossi K.I. lived with the architect Vincenzo Brenna, where he was educated and trained in the craft of architecture.

In 1796 K.I. Rossi was enlisted as Vincenzo Brenna's "assistant in architecture" for construction in Pavlovsk and Gatchina in the Office of His Majesty's Cabinet. During these years, he, a young architect, worked on interiors in the palaces of Pavlovsk and Gatchina, created designs for decorative items. Here he acquired the first skills of artistic composition, learned the skill of an artist-decorator. It was during these years that his various architectural talents developed. Vincenzo Brenna has a young C.I. Rossi took the skill of the decorator, Quarenghi - the art of composition, Cameron - the elegance of drawing architectural details, Bazhenov - a broad urban planning approach. Vincenzo Brenna. In Italy, K.I. Rossi studied at the Florentine Academy and, returning to Russia in 1806, received the title of architect. In 1808 K.I. Rossi was assigned to the Kremlin expedition. The head of the expedition, P. Valuev, highly appreciating the talent and diligence of the thirty-year-old architect, entrusted him with one responsible work after another. Rossi is a wooden theater, about which contemporaries said that it had excellent acoustics, and was surrounded by a colonnade from the outside. The theater burned down in a fire in 1812, and its projects or at least some images were not preserved. In 1809, K.I. Rossi began the reconstruction of the palace in Tver, built by M.F. Kazakov back in the 60s of the XVIII century. Then K.I. Rossi transformed the entire center of Tver, essentially forming the master plan of the city. For the development of the city of Tver and its suburbs, the architect developed a series of projects for buildings for various purposes. Built by K.I. Rossi and in Torzhok, and other old Russian cities. In 1814, K.I. Rossi returned to Petersburg. For success in Tver, he was awarded the Order of Vladimir IV degree and the rank of collegiate adviser. Returning to St. Petersburg in 1814 already a well-known architect, Rossi did not immediately find a worthy application for himself in the architectural field. For some time he worked as an architect at the Imperial Glass Factory, at the same time returning to work in Pavlovsk Park. He worked on pavilions and landscaping elements of the remarkable park ensemble for many years. He also worked when he was already supervising the creation of the largest urban complexes in St. Petersburg. Surprisingly thin bridges and pavilions of the park, made according to Rossi's designs, are widely known. Among them is a monument to Maria Fedorovna, a cast-iron bridge, a farm, cast-iron gates, a library of the palace, etc. The first major urban planning work of Rossi was the reconstruction of the Anichkov Palace, which began a grandiose redevelopment of a significant part of the center of St. Petersburg. Rossi's urban planning debut in St. Petersburg was magnificent. But the main thing was yet to come. By the end of the second decade of the 19th century, the reconstruction of the Admiralty was to be completed, where the great architect A.D. Zakharov, having rebuilt one of the grandiose buildings in the center of St. Petersburg, created an architectural masterpiece, amazing in its expressiveness and monumentality. His appearance near the Winter Palace immediately revealed the inconsistency of the environment. The meaning of the work on the ensemble of central squares for K.I. Rossi reduced himself to the task of raising the surrounding buildings to the artistic level of the architectural works of A.D. Zakharov. In terms of planning and in terms of its artistic level, the then Palace Square clearly did not correspond to its significance. The Winter Palace after the last reconstruction of F. B. Rastrelli became commensurate with the river, the length of the building is 250 meters. In 1819, the opportunity arose to rebuild the entire opposite side of the square, and then it was decided to reconstruct the entire ensemble. The efficiency of K.I. Rossi was amazing. Leading the Committee of Buildings and directly involved in the grandiose reconstruction of Palace Square, at the same time the architect is building the palace and park ensemble of Elagin Island and the Mikhailovsky Palace complex with surrounding buildings. Each of these works would be the glory of any architect, but for K.I. Rossi and this was not the limit of his capabilities. Enriched with the experience of reconstructing Tver and the Anichkova estate, K.I. Rossi creates a unique palace and park ensemble on the picturesque Elagin Island. He re-plans the entire estate, designs the reconstruction of the palace, builds greenhouses, stables, kitchen buildings, pavilions and various park structures. Since the ensemble is being built by order of the court as a country entertainment residence, a special commission is created, headed by K. I. Rossi. The work is being carried out in 1818-1824, famous masters of monumental, decorative and applied art are involved, many of whom had previously worked with the architect in Tver, Pavlovsk, Anichkov Palace. It is here that the creative team of architects, artists, builders is finally formed, with whom Rossi constantly collaborated. It should be noted that Rossi's interest in interiors is his hallmark. In parallel with urban planning work, the construction of palace and park ensembles, K.I. Rossi continues to decorate the interiors of the palace in Pavlovsk and the Winter Palace. From the works of the architect in the Winter Palace, after the fire of 1837, unfortunately, little has been preserved. But there is one interior that cannot be ignored. This is the Military Gallery of 1812, which has become another inspired monument to the heroes of the Patriotic War. In 1827, the engineering department was entrusted with the restructuring of the Senate building. The chief architect of the department A.E. Shtaubert did not cope with the task, and a competition was announced to develop the best option. It was attended by the most prominent architects of the capital. The competition was won by K.I. Rossi. The architect, having received a specific task to design the Senate, creates a new significant ensemble of two buildings: the Senate and the Synod. While still building the ensemble on Elagin Island, K.I. Rossi set about designing an ensemble, more precisely, a system of ensembles. In 1816, he drew up the first project for the reconstruction of Theater Square and the adjacent area.

In parallel with Rossi, Anton Antonovich Modui also received an order for the redevelopment of the square, but he did not cope with the task, and in the future the work continues and is completed by K.I. Rossi with his team. According to his project, Theater Square, the square near Chernyshev Bridge, a network of new streets connected with each other and with other highways of the center, are being built up as a single architectural organism.

The great architect K.I. Rossi created the beauty and originality of the center of St. Petersburg. When constructing the Main Headquarters, the architect brilliantly formed the ensemble of the main front square of the capital. During the construction of the Mikhailovsky Palace, he created an ensemble of squares and new streets. Designing the theater complex, K.I. Rossi achieved the highest result by creating an artistically integral architectural ensemble consisting of several squares and streets. This last ensemble of his, as it were, completed the formation of a grandiose architectural and spatial system of ensembles in the center of St. Petersburg.

Throughout his career, K.I. Rossi had to overcome the obstacles and difficulties created by the imperial court. This attitude intensified under the reign of Nicholas I. The conflict with officials grew, and the architect was not given new work. It was a silent removal from your favorite work. At the zenith of his fame, full of creative ideas, K.I. Rossi was forced to retire ostensibly due to illness. On October 25, 1832, the resignation was accepted. Then grief descends on the architect's family. In 1842, his eldest son (also an architect), who graduated from the Faculty of Architecture with honors, died. In 1846 the architect's wife dies. The architect's pension is barely enough to live on.

The great architect Karl Ivanovich Rossi died on April 6, 1849 in complete oblivion. He was buried at the Volkovsky cemetery. Later, his ashes were transferred to the necropolis of the Alexander Nevsky Lavra in St. Petersburg, where A.N. Voronikhin, A.D. Zakharov and other architects.

For forty years (1818-1858) St. Isaac's Cathedral was built in St. Petersburg. The project was developed by A.A. Montferrand, later supplemented by other Russian architects. The cathedral personified the power of the autocracy, its close alliance with the Orthodox Church. A.A. Montferrand also erected a 47-meter column on Palace Square - a monument to Alexander 1 and the heroes of the war of 1812

concept "culture" comes from the Latin word cultura, meaning "cultivation", "processing". In a broad sense, culture means the yoke that is created by the physical and mental labor of people. In a narrower sense, culture is the sum of the achievements of society, its material, ideological and moral conditions of life, manifested in everyday life, ideology, education, upbringing, in the phenomena of science, art, and literature. But often the concept of "culture" is used to refer primarily to artistic creativity.

Russia, located at the crossroads of East and West, in contact with various peoples, beliefs, traditions, has always been under the influence of various, often very dissimilar cultural influences. Something took root on Russian soil, and much was rejected. The same, it remained in Russia (Christianity, writing, some forms of government, methods of organizing scientific activity, etc.), adapted to domestic conditions and ultimately acquired truly national features.

By the beginning of the XIX century. Russia was a country of special cultural life. The upper strata of society (the nobility, bureaucracy, the richest merchants) built their lives in accordance with the norms common in the West. Being fluent in foreign languages ​​(mainly French and German), representatives of these social groups had the opportunity to get acquainted with the latest European achievements.

A huge number of various books and magazines from France, Germany and Great Britain were imported into Russia, which gave an idea of ​​the political and social life of these countries, of the latest scientific discoveries and the most important technical inventions. In the middle of the XIX century. subjects of the Russian Tsar could often be found in the largest cities of Europe. At times, the state of affairs in France, England and Germany was much more known to them than the state of affairs in their homeland, which they saw less often than Europe. Part of the aristocracy became so Europeanized that for them the French language, at that time the language of international communication, became their native language. A considerable number of nobles used the Russian word and letter with great difficulty.

The main part of the population of Russia - the Russian peasantry - in the first half of the XIX century. did not experience any influence of European customs, fashions and habits. For him, there was the traditional Russian world, which lived according to its own laws. Most of the population of the Russian Empire at that time could neither read nor write. But this did not mean at all that ordinary Russian people were outside of culture. They had their own, specific culture, a primordial system of ideas and spiritual values ​​developed over the centuries.

The Russian Orthodox Church, its rites, symbols of faith and sacraments raised people above everyday worldly concerns, taught them to look at the world as God's creation. Unlike the nobility, many of whose representatives actually broke with the Church, ordinary people retained both their adherence to faith in the teachings of Jesus Christ and faith in the king, God's anointed one. No doubts and discontent inherent in the nobility on this score penetrated into their souls.

The people created their own wonderful fairy tales, epics, songs, made a wide variety of products from leather, wood, linen, stone, and metals. And he put his soul into these creations. It was the culture of life of the Russian people, their spiritual world. And when, in the era of the reign of Nicholas I, the Slavophile nobles began to study and propagate this colorful, for many unknown world, a considerable number of people were surprised to learn that, it turns out, there are completely original, unique examples of cultural wealth next to them. The golden age of Russian culture. In the first half of the 19th century the so-called educated society began to realize the significance of Russia's cultural identity. This period was marked by the emergence of creators who overcame the old cultural gap between the top and bottom of society. Their work has become a truly national phenomenon. This time will be called golden age of Russian culture. The names of A. S. Pushkin, N. V. Gogol, M. Yu. Lermontov have forever become a symbol of the stork achievements of Russian culture.

Literary critic and poet A. Grigoriev wrote: Pushkin-G- our everything. And there was no exaggeration in this statement. Pushkin is the pinnacle of human talent. This is a poet, and a writer, and a thinker, and a historian. In fact, he was also the founder of the modern Russian literary language. Everything he touched, everything he wrote and thought about, turned under his pen into a true masterpiece. Pushkin was a Russian genius who raised Russian culture to universal heights and forever established it as one of the most important components of the world cultural heritage of mankind.

Academician D.S. Likhachev wrote: Pushkin is a genius who managed to create the ideal of a nation. Not just "display"national feature of the Russian character, but to break the ideal of Russian nationality, the ideal of culture. A. S. Pushkin (1799-1837) was born in Moscow. The Pushkin noble family was old and eminent.

The poet's mother was the granddaughter of Ibrahim Gannibal, a native of Northern Abyssinia, who was one of the closest associates of Peter I. Pushkin immortalized him in the story Arap of Peter the Great. Alexander's childhood passed partly in Moscow, partly in the Pushkin estates near Moscow. They brought him up, like many other noble children, under the guidance of foreign tutors. In his youth, he knew French incomparably better than Russian. A great influence on the development of love for everything Russian in him and an understanding of folk life and culture was exerted by his nanny, a peasant woman Arina Rodionovna, who doted on her pupil. She told him folk tales, legends, sang Russian songs. Much of what the poet heard from the nanny Arina later sounded in his wonderful works. Written in verse The Tale of the Priest and his Worker Balda, The Tale of Tsar Saltan, The Tale of the Fisherman and the Fish, The Tale of the Dead Princess and the Seven Bogatyrs, The Tale of the Golden Cockerel became a favorite for many generations of Russian people.

The works of A. S. Pushkin reflect all the most significant events of Russian life. Pushkin's philosophy of history, his reflections on its progressive development, on the life of Russian society and many topical issues of our time, found their most vivid embodiment in tragedy. Boris Godunov, in poems Bronze Horseman And Poltava, novel in verse Eugene Onegin, in the novel Arap of Peter the Great, stories Dubrovsky, Captain's daughter and others. The poet also showed himself as a historian-researcher. His History of Pugachev And History of Peter I- serious scientific work.

The creations of A. S. Pushkin are imbued with a deep love for the Motherland. The poet vividly responded to the most important social and state problems of contemporary life, showed himself to be a resolute opponent of serfdom:

Will I see a people unoppressed And slavery fallen to the mania of the king...

He was a great Russian poet-patriot, who knew the culture of his people well, cherished the honor and glory of the Motherland. In the autumn of 1836, in a letter to P. Ya. Chaadaev, A. S. Pushkin wrote: Although personally I am cordially attached to the sovereign, I am far from delighted with everything that I see around me; as a writer - I am annoyed, as a person with prejudice - I am offended - but I swear on my honor that for nothing in the world I would not want to change the Fatherland or have a different history than the history of our ancestors, such as God gave it to us.

N. V. Gogol (1809-1852) Born in the town of Sorochintsy in the Poltava province in a poor noble family. Childhood years spent in Ukraine, folk life, culture of the Ukrainian people were forever imprinted in the memory of Gogol and later reflected in vivid literary works - collections of stories Evenings on a Farm Near Dikanka And Mirgorod.

The first part of the book "Evenings on a farm near Dikanka" immediately attracted the attention of the capital's writers. Having moved to St. Petersburg in 1828, Gogol met V. A. Zhukovsky, A. S. Pushkin and other writers. The undoubted talent of Gogol was universally recognized. After the second part of Evenings on a Farm near Dikanka was published in 1632, Gogol's name gained wide popularity. In St. Petersburg, Gogol was formed as a great master, became a real Russian writer.

In the 1830s Gogol came up with the idea of ​​two hollow works. They will later become a comedy Auditor and a poem Dead Souls, the plots of which were suggested to Gogol by L. S. Pushkin.

The writer finished working on the comedy The Inspector General in 1836. The author dreamed of staging it on stage for the general public. But the influential metropolitan bureaucratic world saw in Gogol's play attacks on power the author was accused of slander against Russia. If the emperor had not intervened, the play would not have reached the audience. Having familiarized himself with The Inspector General, Nicholas I allowed the theatrical production. The king saw and knew that there were many shortcomings in the state administration of the country, and considered it necessary to fight this evil, including publicly ridiculing it.

The play "The Government Inspector" made a strong impression on his contemporaries. The theater scene has never seen anything like it. Russian reality was depicted in it with such talented force and brightness that although, as Gogol himself said, it was only about six provincial officials who turned out to be rogues, many were indignant. The comedy met with a lively and sympathetic response among those who advocated a change in general political conditions and public exposure of the shortcomings of public administration.

In 1836, N.V. Gogol went abroad, where, with short breaks, he remained almost until his death. He lived mainly in Italy, where he worked on his largest work - the poem "Dead Souls", in which he put his most cherished reflections on the historical fate of Russia. In 1841 he completed the first volume, which was published under the title The Adventures of Chichikov, or Dead Souls.

In the 1840s there have been major changes in the writer's worldview. Gogol was in the grip of a spiritual crisis, a serious reassessment of values, deep reflections on the experience. The book is full of these moods of spiritual disorder, humility in the face of life's adversities, dissatisfaction with what he created in literature. 4 Selected places from correspondence with friends.

As soon as this essay appeared, there was a sharp reaction from those who presented themselves as "a fighter for progress, for bright ideals." This indignation was reflected in an aggressive letter from V.G. Belinsky, who mercilessly branded Gogol as an apostate. The writer's thoughts that everything that happens in life should be accepted and. Lermontov with humility, Belinsky perceived as reactionary, believing that the great writer "got lost", "changed".

These attacks had a depressing effect on Gogol. There were signs of a new aggravation of his mental illness, Gogol was tormented by premonitions of imminent death.

Died N.V. Gogol in Moscow and was buried in the cemetery of the Danilov Monastery. The words of the prophet Jeremiah were placed on the tombstone: They will laugh at my bitter word. In 1931 Gogol's remains were transferred to the Novodevichy Cemetery.

Among the remarkable gifts of the golden age of Russian culture is the name M.Yu. Lermontov (2814-1841). He lived a short life, but immortalized himself with poetic and prose writings that have become true classics of Russian literature.

Nature endowed M. Yu. Lermontov with various talents. He possessed rare musicality - he played the violin and piano virtuoso, sang arias from Italian operas, and composed music. He painted and painted in oils, and if he devoted himself to painting, he could become a famous artist. He easily solved complex mathematical problems and was known as a strong chess player. He was well educated, knew several foreign languages. Everything was given to him quite easily, but poetry and literature became the need of his soul.

M. Yu. Lermontov became known to all reading Russia by giving his works Death of poet And Borodino Voldanny in 1837.

The poem “The Death of a Poet”, written immediately after the death of A. S. Pushkin, sold out in the lists. This is a lyrical monologue of the young Lermontov about the tragic fate of Pushkin the Poet.

The poem "Borodino" was published. An old soldier, an honored warrior, a participant in the Battle of Borodino, on whose behalf the story is told in the work, recalls one of the most heroic pages in the history of the Motherland.

The work of M. Yu. Lermontov determined the post-Pushkin stage in the development of Russian poetry.

The fate of the Motherland and the poet's thoughts on them are reflected in many of the poet's works. (Again, folk winds ... Farewell, unwashed Russia ... Motherland o Leaf and etc.).

Lermontov's poems and poems are filled with his spiritual quest, dreams, impulses, moods, and at the same time sober, fearless introspection, self-knowledge. These are reflections on the eternal questions of human existence. Such are the poems Mtsyri And Daemon, poems Sail, I go out alone on the road ..., “And boring and sad ..., Stanzas, Duma, Prophet and etc.

The most significant work of M.Yu. Lermontov - novel Hero of our time, the plot of which was the vicissitudes of life of a young nobleman, officer Grigory Alexandrovich Pechorin, a gifted, thinking man with a strong will. The writer is interested in this rich, deep human personality, which cannot find application for its mighty forces, its violent passions.

In architecture and sculpture, he maintained his position classicism with his close attention to the ancient heritage as a norm and an ideal model. In architecture, its pinnacle was the style empire which was expressed in massive forms with the presence of sculptures that complemented the architectural design of buildings. Urban fantasy in architecture has gained unprecedented scope. First third of the 19th century became the highest phase in almost a century of development of the architecture of Russian classicism. The biggest achievements are related to creativity O. Montferrand, A.N. Voronikhina, A.D. Zakharova And K. Rossi.

Through their efforts, the center of St. Petersburg acquired its unique appearance, having formed not as a sum of individual structures, but as a cycle of spaces. Communicating with each other Palace, Admiralteyskaya, Senate squares along with area exchanges, whose architect was J. Thomon (1760-1813), formed a unique, grandiose system of architectural and spatial complexes.

Among the most outstanding architectural monuments of the first half of the XIX century. applies huge Saint Isaac's Cathedral in St. Petersburg, built from 1818 to 1858 according to the design of a French architect O. Montferrand (1786-1858), The cathedral personified the power and greatness of Orthodoxy, the strength of Russia, which, according to the ideas of the Russian Church, after the fall of Byzantium, became the bearer of the true (Orthodox) faith of Christ.

In 1834, an unusual monument was opened in the center of St. Petersburg - Alexander Column, designed by O. Montferrand. The monument is dedicated to the victories of Russian weapons in the war against Napoleon. The colossal granite monolith was 25.6 m high and weighed over 600 tons with a total height of 47.5 m. The figure of an angel crowning the column was made by the sculptor B. I. Orlovsky (1796-1837).

Even earlier, in 1811, on the main thoroughfare of St. Petersburg, Nevsky Prospekt, the architect A. N. Voronikhin (1759-1814) completed construction Kazan Cathedral. On the square in front of the Kazan Cathedral

made by the sculptor B. I. Orlovsky statues of M. I. Kutuzov and M. B. Barclay de Tolly, in which psychologism, concreteness of images were organically combined with the severity and majesty inherent in classicism. In 1813, the commander-in-chief of the Russian troops in the Patriotic War of 1812, Field Marshal M.I. Kutuzov, was buried in the cathedral. B. I. Orlovsky also owns the project of the building Mountain Cadet Corps(Mining Institute), marked by monumental and strict solemnity.

Among the most significant architectural monuments of St. Petersburg of that time is the building Imperial Hermitage(architect L. von Klenze, 1784-1864), which has become the main Russian museum, which has concentrated the richest art collections. But by the will of Emperor Nicholas I in 1852, the collection of works of art was opened for free viewing by everyone. The Hermitage became the first public museum in Russia.

Creations amaze with the scale of the idea K. I. Ross (1775-1849). His first major work in St. Petersburg was the construction of the Grand Duke's Mikhailovsky Palace, now the building State Russian Museum. Rossi's ideas were also embodied in the construction of the ensemble Alexandrinsky Theater And Palace Square with buildings and arch of the General Staff Building, whose colossal arc borders the Palace Square. The triumphal arch was the culmination of the entire architectural composition, conceived as a monument to the heroic glory of the Russian people who won the war of 1812.

The building was a masterpiece of Russian architecture Admiralty. During its construction, the solution of the most complex urban planning problems proposed by the architect A. D. Zakharov (1761 -1811), turned out to be amazingly accurate.

Remarkable buildings are also appearing in the capital of Russia, Moscow.

Designed by an eminent architect O. I. Bove (1784-1834) in 1814 was reconstructed Red Square. The old building of the mall opposite the Kremlin wall has acquired a new architectural look. It turned into horizontally elongated buildings, creating an expressive contrast with the soaring Kremlin towers.

In 1816 Beauvais created a plan for a classical ensemble Theater square. Here in 1825 opened its doors to the public Big theater, designed by O. I. Bove and became one of the largest theater buildings in the world.

The space of the squares was organized, which included Kraspuya, Theater, Manezhnaya squares. All this testified that the architects of the first half of the XIX century. I thought big - they saw a single building or a group of buildings! in the spatial scope of the street, I square, the city as a whole. This predetermined the length of facades characteristic of Empire architecture. | In 1817, a huge building was opened arena, designed for military reviews, parades and exercises. It could freely accommodate an infantry regiment (2 thousand people). The project was carried out under the supervision of an engineer A. A. Betancourt, and the decoration of the facade belonged to O. I. Bove. By project O. I. Bove was broken Alexander Garden at the Kremlin wall, he created a plan 1st City Hospital. beauvais was the author of those erected in 1834. triumphal gate in honor of the victory in the Patriotic War of 1812. The gate was located at the Tverskaya Zastava at the entrance to Moscow from St. Petersburg, from where the main thoroughfare of the city began.

The first Moscow monument was erected on Red Square in 1818 Kuzma Minin And Dmitry Pozharsky, sculptor I.P.Map then catfish (1754-1835). Minin's gesture pointed to the Kremlin - altar of Russia, according to M. Yu. Lermontov.

On Sukharevskaya Square at the beginning of the 19th century. completed the construction of a large hospital and shelter, called Weird house. This complex of buildings was created at the expense of Count N. P. Sheremetev by architects E.S. Nazarov (1747-1822) And G. Quarenghi (1744-1817).

The largest master of the Moscow Empire was D.I. Gilardi (1788-1845). His best creations are the building reconstructed after the fire. Moscow University, built in the 18th century M. F. Kazakov, and building Board of Trustees on Solyanka (now - the Academy of Medical Sciences of Russia).

A bizarre combination of classicism with decorative motifs of ancient Russian architecture marked the creativity of the architect K. A. Tona (1794-1881), creator The Grand Kremlin Palace, the building of the Armory. Moscow Kremlin, and Cathedral of Christ the Savior.

Strictness, severity, asceticism are inherent in the creation of an architect B.II. Stasova (1769-1848)- building Provision warehouses with their effect of the unshakable power of the walls.

In other cities of the Russian Empire, a lot was also built during this period, but the buildings there did not differ in metropolitan grandiosity.

Theater and dramaturgy

In the first half of the XIX century. the formation of the national theater. Previously, theater groups existed either in the estates of wealthy nobles, or at the royal court. Urban, or, as they said then, public, there were few theatres. They were located, as a rule, in poorly adapted, dark rooms, and the auditoriums were not designed for a large number of people.

They looked at the theater as fun, it was believed that the audience at the performances should only have fun, have fun. Therefore, the theatrical repertoire consisted mainly of merry vaudeville, lightweight plays, indispensable music and dance.

There were French and German theaters in St. Petersburg, and Italian opera artists constantly performed. On the stages of the two largest Russian theaters - Big in Moscow and Mary no one in St. Petersburg there were mainly Italian or French opera and ballet performances.

In the 19th century the position is changing. Theater becomes social phenomenon, modern theatres. In them, domestic plays are staged that affect major social problems (for example, N.V. Gogol's play "The Government Inspector"),

In the first half of the XIX century. on the stage Alexandria Theater brilliant actress V.N. Asenkova (181 7-1841). She equally succeeded in both funny roles in vaudeville and significant roles in such performances as The Government Inspector (Marya Antonovna) and Woe from Wit (Sofya).

Huge popularity in the 1830s and 1840s. enjoyed V. A. Karatygin (1802-1853), who became generally recognized as the first tragedian of the Russian drama theater. He worked a lot at the Alexandrinsky Theatre. His acting skills revealed to the domestic audience the depth and grandeur of W. Shakespeare's plays. His performance of the roles of Hamlet, King Lear and Othello was recognized by the public and theater critics as the pinnacle of acting.

In Moscow, the largest drama theater was founded in the 18th century. Maly Theater(as it was called in contrast to the nearby Bolshoi Theatre). In the plays of Russian and European authors, the talent of outstanding Russian actors was revealed on the stage of the Maly Theater. Among them was a remarkable reformer of the Russian theater, in particular, he developed the principles of the art of acting impersonation, M. S. Shchepkin (1788-1863). The roles of Famusov in Woe from Wit (first production in 1831) and the mayor in The Inspector General (first production in 1836) made the name of this former serf (he received his freedom in 1822) known throughout Russia. Schepkin asserted the educational value of the theater, he largely determined the ideological and artistic positions of the Maly Theater.

Actor P. M. Sadovsky (1818-1872) also became famous on the stage of the Maly Theater. His work contributed to the establishment of the plays of the Russian writer-dramatist in the repertoire of the theater A. I. Ostrovsky (1823-1886). P. M. Sadovsky participated in the productions of all Ostrovsky's plays. The first time Ostrovsky's comedy "Don't get into your sleigh" was played here in 1852. Soon the Maly Theater began to be called Ostrovsky's house, because his plays began to dominate the theater repertoire.

art

Gradually in Russian painting of the first half of the XIX century. the universal style of classicism gives way to a romantic attitude. Canvases are created that become phenomena of the spiritual life of society.

The democratic tendencies of the new era were clearly expressed in the works of V.L. Tropinin (1776-1857).

V. A. Tropinin. Lacemakers":

A talented serf artist of Count I. I. Morkov, for some time he had the opportunity to attend classes at the St. Petersburg Academy of Arts, where he carefully copied the works of Western European masters. In 1823 Tropinin received his freedom and in the same year he was awarded the title of academician. By that time, he had created several first-class paintings. Tropinin-portrait is characterized by romantic elation, his pictorial language is free and bold. The masterpieces of his work are Portrait of A. S. Pushkin, Lacemaker, "Old Beggar" And "Spinner".

K. P. Brullon. Self-portrait:

Brilliant draftsman, watercolorist, portrait painter, historical painter K. P. Bryullov (1799-1852) still a student of the St. Petersburg Academy of Arts, he gained universal fame. He graduated from the Academy with a gold medal. Then, at the expense of the state, he was sent to improve his skills in Italy. Here he spent several years, painted a series of paintings from Roman life. The central work of K. P. Bryullov was the painting created in Italy "The last day of Pompeii with its extraordinary picturesque effect of cold lightning lightning against the backdrop of fiery lava erupting from the depths of Vesuvius.

Another line of Bryullov's creativity - the so-called italian genre, the most striking examples of which are paintings Italian morning And Italian afternoon.

The world of ceremonial portraits of the artist (Portrait of Yu. P. Samoilova with Amazilia Pacchini, Portrait of N. V. Kukolnik, Self-portrait etc.), with its decorativeness and vivid picturesqueness, recreates the appearance of a person in moments of dreamy solitude.

The ancestor of the Russian everyday painting is A.G. Venetsianov (1780-1847). The peasant world, somewhat idealized by the artist, opened up to the viewer. This painting is a master's masterpiece recognized Portrait of A.S. Pushkin. Kiprensky also owns a series of images of the military - participants in the Patriotic War of 1812.

S. F. Shchedrin (1791 - 1830) can be considered the founder of Russian landscape painting. His canvases are characterized by romanticism, an attempt to convey the state of joy and happiness in the human soul. This is a series of works by the artist Harbors in Sorrento with harbors, grottoes, terraces and verandas entwined with grapes.

A. A. Ivanov (1806-1858) gave Russian historical painting a hitherto unprecedented psychological accuracy.

The artist's father, A. M. Ivanov, was a professor of painting, and the boy became addicted to drawing from an early age. At the age of 11, he entered the Academy of Arts, from which he graduated with a gold medal. Then he went to improve his painting technique in Italy. The artist took the plot of his canvas from the Gospel of John - Jesus first appears before the people receiving baptism from John the Baptist. For several years Ivanov prepared for this work, made dozens of sketches, wrote a series of preparatory canvases, including - Appearance of Christ to Mary Magdalene for which he was awarded the title of academician.

For more than 20 years, the artist has been working on this largest canvas in his life. And in 1858 he presented it to the judgment of critics and the public. Huge picture Appearance of Christ to the People made a strong impression on his contemporaries. Alexander II bought it and a few years later presented it to the newly emerged Moscow Public Museum and Rumyantsev Museum. The name of the artist and his grandiose work was on everyone's lips. But the author himself did not have time to enjoy the glory: in the summer of 1858 he suddenly died of cholera.

A whole series of paintings depicting various genre scenes that reflected the life and customs of Russia at that time was created by Ya. A. Fedotov (1815-1852).

Fedotov's picturesque works are distinguished by expressive poses, gestures and facial expressions of characters, humor, and thoroughness of writing. A wide democratic audience was intended for such works of his as The Fresh Cavalier, The Picky Bride, The Major's Courtship, The Aristocrat's Breakfast, The Widow and etc.

Music

In the field of musical culture at the beginning of the XIX century. in Russia, the works of foreign authors reigned supreme. But since the 1830s the situation begins to change, and major musical works appear in which domestic composers make extensive use of national motifs.

The representative of romanticism in Russian music was A. N. Verstovsky (1799-1862). The composer is considered one of the founders of Russian vaudeville opera. His opera Askold's grave built on the basis of Russian folklore and folk tunes. It was the first such work in Russian music.

M. I. Glinka (1804-1857) - generally recognized founder of Russian classical music. Two of his operas ("Life for the king * And "Ruslan and Ludmila*) laid the foundation for two directions in the development of Russian opera - folk musical drama and opera-fairy tale, opera-epic. musical fantasy Kamarinskaya consists of orchestral arrangements of Russian folk songs. Russian melodies also permeate Glinka's operatic works. He is a classic of Russian romance.

The contemporaries of M. I. Glinka were composers A. S. Dargomyzhsky (1813-1869). A. A. Alyabiev (1787-1851).A. E. Varlamov (1801-1848) and A.L. Gurilev (1803-1858).

Opera Dargomyzhsky Mermaid marked the birth of a new genre of Russian opera - folk psychological drama.

Alyabyev, Gurilev and Varlamov were the founders Russian romance - original vocal and musical work, sensual and melodic.

The wonderful poet V. A. Zhukovsky (1783-1852) and composer A. F. Lvov (1798-1870) belongs to the honor of creating the National Anthem of the Russian Empire. On December 11, 1833, its first public performance took place at the Bolshoi Theatre. The anthem reflected the strength of the spirit of the Russian people, its high spiritual values, great devotion to the Motherland, animation by victory and the Patriotic War of 1812. The second name of the anthem is the Prayer of the Russian people.

God save the king! Strong, sovereign, Reign for glory, for glory to us! Reign at the fear of enemies. Orthodox Tsar, God, Tsar, Tsar save!

God save the king! Glorious long days Give on the earth, give on the earth! Proud humbler. Weak keeper. To the comforter of all - Send everything down!

Primary Orthodox Rus'. God save the king, save the king! Her kingdom is harmonious, In strength, calm. All the unworthy

Oh providence. Blessing

Send us down, send us down! To the good desire. Happiness, humility, In sorrow Give patience on earth!