Stylistics of the facades of tenement houses of the middle of the 19th century. School Encyclopedia

What was the 19th century in Russia- the time of state alarms and upheavals? The crooked autocracy, the uprisings of peasants and intellectuals, depleting the land of the Russian war ... And still the same claim to power throughout the world.

The greatness of the empire could reflect only one style - Russian (Empire) with its restrained pomposity, pretentiousness in details and congestion with architectural elements. It was this architectural direction that dominated the settlement of the nineteenth century.

At this time, the most famous masters create their architectural masterpieces:

• A.N. ;
• HELL. ;
• K.I. ;
• V.P. .

Changes Moscow architecture of the 19th century: the fire of 1812 destroyed many buildings. Having rolled up his sleeves, O.I. took up the restoration of the modern capital. . Thanks to him, today Moscow can boast of its sights to tourists:

• Ensemble of Red Square;
• Theater Square Ensemble;
• Manezh building;
• Kremlin (Alexander) garden;
• triumphal gates.

Almost in parallel with Beauvais, D.I. . This one has immortalized its name in projects:

• Moscow University;
• Board of Trustees;
• The Lunin houses on Nikitsky Boulevard.

Russian architecture in the first third of the XIX century. reaches a high peak. Period 1810-1830s - a brilliant and at the same time the final stage of Russian classicism.

After the end of the war of 1812-1814. extensive construction is underway in the country and under the control of the state large urban planning tasks are successfully solved, majestic ensembles of streets and squares are being created, in the architecture of which the architects sought to express the triumph of the victory of the Russian people.

Features of the last stage of the architecture of classicism, which affected at the beginning of the 19th century. only on individual buildings in St. Petersburg and Moscow, now they are manifested throughout the country in the field of civil, industrial and rural construction. This was facilitated by new forms of organization of construction, in particular, the widespread use of uniform norms and rules for the planning and development of cities, exemplary projects of administrative buildings and facades of residential buildings. Architectural ensembles were also created in a new way. If earlier they formed around a large, central building, now the square or street space, lined with simultaneously designed public, administrative and residential buildings, became the main one.

The type of noble estate that dominated the architecture of Russian classicism of the previous period gives way to new types of buildings - a residential mansion in Moscow and provincial cities, an apartment building in St. Petersburg. The palace and manor forms of architecture of public buildings of the late 18th - early 19th centuries are gradually dying off.

Construction equipment continues to develop, metal structures are being developed and used in public and industrial buildings.

The achievements of Russian architecture of this period are associated with the work of outstanding architects of late classicism, such as Rossi, Stasov, Mikhailov - in St. Petersburg, Beauvais, Gilardi, Grigoriev - in Moscow, Sviyazev, Komarov and others - in the mining and industrial areas and cities of Russia.

Since the 30s. 19th century the first signs of the collapse of the architecture of classicism, the disunity of its technical, utilitarian and artistic beginnings appear. In the 1830-1840s. there is a division of architecture into "high" and "low". Civil architecture is beginning to be seen as a "beautiful art". This was alien to the progressive principles of the architecture of Russian classicism. Such trends led to a decrease in artistic requirements in the architecture of mass buildings.

Russian classicism with its hundred years of progressive development towards the end of the first half of the 19th century. exhausted its possibilities. The canonization of the principles of classicism architecture and, at the same time, the unprincipled use of the forms and styles of architecture of antiquity, the Middle Ages and the Renaissance led in the 1840s-1850s. to the spread of stylization and eclecticism.

Since the middle of the nineteenth century, the trend has changed. Ancient traditions in art and architecture come to the fore. The result is a "Russian-Byzantine" style. One of the founders of the direction was K.A. Tone. It was he who created the Cathedral of Christ the Savior, which to this day is considered an architectural masterpiece. And the architect K.A. Tone earned himself the fame of the founder of the direction.

On the basis of mixing ancient Russian and Byzantine traditions, numerous branches appear:

• "Pseudo-Russian style";
• "Russian style";
• "Neo-Russian style".

The vigorous activity of the populists and their desire to revive Russian culture led to the widespread use of:

• Windows in the traditions of Russian architecture;
• Small brick ornaments;
• Tents, kokoshnikovs, porches.

Such masters worked on the revival of culture, such as:

• Rezanov;
• Gornostaev;
• Ropet.

The last years of the 19th century marked the rapid development of the "neo-Russian style".

The 19th century turned out to be saturated for the Russian land: wars, uprisings and riots, undermining autocratic power ... All this could not but affect the architecture of this era, which became a strict continuation of the classics and was filled with ancient Russian motifs.

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 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 mental 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.).

Poems and poems of Lermontov 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 Aleksandrovich 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!

Significant events for society are reflected in all areas of art, including architecture. In this material, we will talk about how the changes in Russian society in the 19th century were reflected in architectural monuments.

At the beginning of the 19th century, late classicism, also called Empire style, dominated urban planning. We have already talked about this triumphant style in more detail in our previous one. Let's recall the main points.

In the style of late classicism, such significant architectural and sculptural structures as St. Isaac's and Kazan Cathedrals in St. Petersburg, the Triumphal Arch in Moscow, and a number of others were built. The buildings reflected the mood in the Russian Empire after the triumphant victory over Napoleon in 1812. So, the Kazan Cathedral, built by the architect Voronikhin, became a monument of military prowess: Kutuzov was buried in it, and in the 30s of the 19th century, monuments to Barclay de Tolly and Kutuzov were erected in front of the cathedral.

In Moscow, burned by the French invaders, after the war, there was also an architectural upsurge: Moscow was actively built up. Under the leadership of the architect Beauvais, the towers and part of the walls blown up during the war were restored in the Kremlin. In addition, it was Bove who created the ensemble of Theater Square, built the building of the Bolshoi Theater and reconstructed Red Square, ridding it of small buildings.

Starting from the second third of the 19th century, architects gradually moved away from classicism, paying attention to the Old Russian and Byzantine heritage. This was also facilitated by the increased patriotic sentiments in society, and broad government support - the Russian-Byzantine style embodied the continuity of Orthodoxy from Byzantium to Russia. The first buildings made in the Russian-Byzantine style (also called the pseudo-Russian style) were religious. This fact takes us back to the past: the first architectural monuments in the Gothic, Renaissance and Baroque styles were also commissioned by the church.

Russian-Byzantine architecture borrowed a number of compositional techniques and decorative elements adopted in the Byzantine architectural tradition. This was most clearly reflected in the landmark works of the architect Konstantin Andreyevich Ton. He owns the authorship of the Cathedral of Christ the Savior, the Grand Kremlin Palace and the Armory.

In the Byzantine style, a later architectural monument, the Naval Cathedral in Kronstadt, was built. A distinctive feature of the buildings of this style is that the internal volume of the temple is not divided by cross vaults or pylons, but forms a single church hall that creates a feeling of spaciousness and can accommodate several thousand people.

In the early 1870s, Slavophile sentiments in society aroused interest in ancient Russian architecture, folk culture, as well as in Russian architecture of the 16th and 17th centuries. At first, this direction of the pseudo-Russian style was reflected in the projects of small wooden houses, such as, for example, the Pogodinskaya izba in Moscow. Then it spread to monumental stone architecture. At this time, buildings built of brick or white stone were richly decorated in the traditions of Russian folk architecture. Modern buildings began to be decorated with wide columns, narrow loophole windows, massive forging, multi-colored tiles and floral ornaments.

This was most clearly manifested in the works of architects Alexander Pomerantsev, who created the Upper Trading Rows - now it is the GUM building, Vladimir Sherwood, who authored the building of the Historical Museum, as well as the Savinsky Compound of architect Ivan Kuznetsov.

The end of the 19th and the very beginning of the 20th centuries posed many questions to Russian society about how to act in a rapidly changing world. Architects also tried to find answers, adopting various styles of architecture in their own way - modern, neo-gothic, neoclassicism and eclecticism. But we will talk about this in our next articles.

Former confectionery factory "Bolshevik"

Lofts (English "loft" - attic, dovecote) is a type of housing that appeared in the United States in the 40s of the XX century. Then the price of land in the factory districts of Manhattan began to grow, and it was decided to move many industries outside the city. Empty workshops were willingly occupied by creative people who liked high ceilings, large windows and low rents. There was a fashion for such real estate, which reached its peak by the 1950s. They not only lived and worked in the former factories, but also held exhibitions, concerts, fashion shows. Gradually, such housing became elite, and office centers began to appear in the former large factories. After the collapse of the Soviet Union in Moscow, there was a similar situation, with the only difference that enterprises most often fell into decay due to the economic crisis. Today, no one is surprised that there are offices in the building of the former workshops, while the history of the factories themselves is gradually being forgotten. AiF.ru talks about the five largest business centers in Moscow and those enterprises that used to be in their place.

"Plant" Flacon "": Russian packaging for French perfumes :

The history of the plant began in 1841: Alphonse Rallet and Frederic Dutfoy arrived in Moscow and founded the A. Ralle & Co." It became the first perfumery production in Russia. Soon the new perfume gained immense popularity. Businessmen came to the conclusion that in order to further successfully promote their products on the Russian market, they will need their own production of bottles.

In 1864, Frederic Dutfua bought a plot of land on Bolshaya Panskaya Street and built a crystal glass factory. By the beginning of the 20th century, 145 women and 57 men worked at the plant; The working day at the factory was surprisingly short for those times - only 9.5 hours (the average working day, taking into account overtime work, was about 12 hours at the turn of the 19th and 20th centuries).

After the revolution, the enterprise was renamed - into the "Moscow Crystal Plant named after M.I. Kalinin" - and continued to produce glass products. By 1977, the plant reached a capacity of 100 tons of products per day.

After 1991, when state funding ceased, Comptoir de Parfum and AOZT Parfyumflakon created an enterprise with mixed capital Flacon: Moscow-Paris and tried to continue the production of bottles, but nothing came of it: the crisis of the 2000s finally put cross factory.

Design-factory "Flacon".

In the mid-2000s, the territory was reorganized into the exhibition, trade and office complex Flacon Design Factory. During its creation, it was decided to keep the buildings of the shops, which were occupied by "creative companies". According to the idea of ​​the creators of the project, "Flacon" is not just an office center, but a creative cluster in which people of creative professions can be creative and, if they wish, collaborate with each other. It also hosts film screenings, festivals, exhibitions and other cultural events. Since its opening in 2009, Flacon has become a center of attraction for Muscovites and has been recognized by city residents as a successful project.

Danilovskaya Manufactory: 20 million per year .

The Danilovskaya manufactory is named after the monastery, in the vicinity of which the enterprise was built in the 19th century. From the first half of the 18th century, weaving and craft workshops were located in this area, which gradually increased production. In 1867, a merchant of the first guild, Vasily Meshcherin, acquired a small dye factory, and from that moment the rapid development of the plant began. Meshcherin expanded production to a full cycle - spinning, weaving and dyeing of fabrics.

Construction of the Danilovskaya manufactory workshop, 1903.

By 1914, the factory introduced the production of looms, and its annual turnover was fantastic at that time 20 million rubles. Like many other enterprises, after the revolution, the manufactory was nationalized and continued to work, remaining one of the leading enterprises in the cotton industry in Russia and the world.

Today Danilovskaya Manufactory is a prestigious business center. One of its buildings is named after Meshcherin ("Meshcherin's building"), and the other after the war hero Nikolai Gastello, who worked at the factory from 1930 to 1932 ("Gastello's building"). Other buildings were named after the workshops located here: Flannel, Satin, Calico and Batiste. The combination of modern design solutions with the desire to preserve the architectural appearance of buildings of the 19th century was awarded several awards.

You can also buy apartments in Danilovskaya Manufactory, and some sites are rented out for fashion shows, parties and other cultural events. The presentation of the Audi Q7 took place here, Dima Bilan's clip "Kid" was filmed, Zemfira's photo shoot for Hello magazine was held, and the film "Shadow Boxing" was filmed.

"Stanislavsky Factory": a gold mine of the great director.

The history of the factory begins in 1785, when Semyon Alekseev founded the enterprise of “drawn and clad gold and silver”, which produced wire, sequins and gimp for gold items and precious jewelry. Since then, the Alekseev dynasty has owned the enterprise and developed it. By the beginning of the 19th century, the factory had become the largest in Moscow, and it needed a new, more spacious building. It was found in Alekseevskaya Sloboda, where in 1850 an updated factory was launched.

The building of the former factory theater, 1965.

At the end of the 19th century, a full-scale modernization of the plant began, in which the great actor and director Konstantin Alekseev-Stanislavsky, who led the enterprise from 1892 to 1917, took part. Prior to this, special cast-iron dies were used to draw thin wire, and this process was very long (it was not for nothing that it was called “gimp production”). After modernization, for the first time in Russia, diamond tools began to be used in production, which allowed it to be significantly accelerated. At the beginning of the 20th century, electric cables began to be made at the plant.

The Alekseev family, like most wealthy families (Morozov, Tretyakov), patronized art. Performances were constantly held in the home theater circle of the Alekseevs, and at the plant, on the initiative of Stanislavsky, an amateur theater worked, for which a special building was built, there was an orchestra, a reading room, and evening courses for workers.

Business center "Factory of Stanislavsky".

After the revolution, the plant was renamed "Elektroprovod". Here the country's first plastic compounds and polyethylenes were developed, radio-frequency and optical cables were produced. In the 1980s, the production of optical fiber products began.

In 2003, the production of the factory was moved to the city of Ivanteevka, Moscow Region, and the building was converted into offices of the Stanislavsky Factory business center. The cultural tradition continues: since 2008, the Theater Art Studio of Sergey Zhenovach has been working here.

"Lefort": a meeting room in a water tower.

Weaving craft settlements on the banks of the Yauza have been known since the time of Peter I, who spent his childhood here and created “amusing regiments”. Later, in the area of ​​​​the current Preobrazhenskaya Square, sails were sewn for the Petrovsky fleet. Therefore, it is not surprising that weaving enterprises appeared here at the beginning of the 19th century, which gradually increased.

One of the largest, the "Association of Silk Manufactory in Moscow", was created on the basis of two factories already operating here in 1881. Ten years later, the rapidly growing production was among the ten largest Moscow textile enterprises, which employed more than a thousand people. Between 1890 and 1914 the factory was built up with brick buildings.

Lefort Business Center

After the revolution, the factory was nationalized, and in 1926 it was named after the revolutionary P.P. The plant continued to operate until the collapse of the Soviet Union, producing more than a hundred types of silk fabrics.

In the 1990s, the plant experienced interruptions in state funding, production was actually stopped, and in 2006 it was decided to transfer its remains to the region. The vacated workshops were occupied by the Lefort business center.

During the reconstruction of the factory, part of the one-story buildings were demolished to make way for parking, and the facades of the main red brick buildings were cleaned with a sandblaster. A large meeting room is located in the former water tower.

"Red Rose 1875": a horse "Yandex" and an old manor.

On the site of the future plant "Red Rose" was the estate of the Vsevolzhskys, which in 1875 was acquired by a citizen of Lyon, a merchant Claude-Marie Giraud. He decided to build a factory on the site of the estate, which in the future became one of the largest in the Russian Empire. Already in 1879, 1,700 looms and 4,000 workers were working at full capacity here.

The factory mainly produced lining fabrics, processing foreign raw materials. The quality of the products is evidenced by the fact that the company was awarded the right to depict the state emblem on its advertising and signboard. In 1919, the nationalized factory was named after Rosa Luxembourg, and the people began to call it the "Red Rose".

Sculpture of a horse near the business center "Red Rose 1875".

In Soviet times, the plant continued to work, and it produced not only civilian products: for example, during the Second World War, it supplied the troops with parachute fabrics. In 2003, production was moved outside the city, and a business center was placed in the premises of the plant, called "Red Rose 1875".
Today, Krasnaya Roza is experiencing a rebirth, now in the form of a modern business district, where the offices of such companies as the Kalashnikov concern and the leader of the Russian IT industry Yandex are located.
The reconstruction of the Krasnaya Roza is the first experience in Moscow of creating a modern business center on the site of a former factory. During its design, it was decided to preserve historical objects (the Vsevolzhsky estate and the Giraud Gallery) and at the same time introduce modern solutions into the architecture of some buildings. This is how panoramic glazing appeared on the red brick facades. The sculpture of a horse at the main entrance to the building is the mascot of the Yandex company, whose office is located in the business center.

"Winzavod": the birthplace of "Iskorka" and the place of power of contemporary art.

Center for Contemporary Art "Winzavod"

Initially, the place where the Winzavod Center for Contemporary Art is now located belonged to Princess Ekaterina Volkonskaya. She was a woman with a stern disposition, and her acquaintances called her "Warrior Aunt". Her house has survived to this day: it stands to the left of the entrance to the Winzavod.

In 1810, the estate was bought by the merchant Nikifor Prokofiev, who converted it into a brewery. After that, the company was sold several times, first to the merchant Friedrich Danielson, then to William Watson and Peter Dreyer. In 1855, it was acquired by the famous merchant and philanthropist Vasily Kokorev. For some time, there was a sealing wax factory on the site of the Winzavod, and in the seventies and eighties, the Moscow Bavaria company began to produce beer here, including the famous Black Velvet.

Center for Contemporary Art "Winzavod".

At that time, the enterprise was one of the most modern in the world, it was equipped with three steam engines with a capacity of 45 horsepower, and 70 workers worked on it. In 1909, part of the estate was purchased at the expense of the honorary citizen Khristofor Ledentsov, who bequeathed his fortune to the development of Russian education. A four-year school was organized in the main house of the estate.

After the revolution, the company was renamed the Mosvinkombinat winery, which operated until 2002. Its products were glorified in his poem "Moscow-Petushki" by Venedikt Erofeev: port wines "777", "Dallyar", wine "Iskorka" were produced here.

"Mosvinkombinat", 1929.

In Soviet times, the plant expanded - a year it produced up to 170 types of ordinary and fine wines, but already at the beginning of the 21st century, the Mosvinkombinat had to curtail its activities, and the preserved red brick buildings became a receptacle for all kinds of art projects. Now on the territory of the "Winzavod" there are seven industrial buildings, monuments of industrial architecture of the XIX century. Galleries are constantly working here, showrooms, original shops and cafes are open, large photo exhibitions, lectures and master classes are held.

It was decided in 2007 to turn the former enterprise into a cultural center. After reconstruction on an area of ​​20 thousand square meters. m housed art galleries, design studios, artists' workshops, the largest photography studio, bars, cafes, book and music stores. All buildings of the "Winzavod" retained their old names: "White Workshop", "Red Workshop", "Big Wine Storage", "Fermentation Workshop" and "Angar".

Soon "Winzavod" became widely known and became the "place of power" of contemporary Russian art. Today it hosts exhibitions, festivals, film screenings, concerts and performances.

Not far from Winzavod, there is the ArtPlay design center, known as one of the first creative clusters in Moscow. It is located on the territory of the former Moscow instrument-making plant "Manometr", in the area of ​​the Kursk railway station.
Its history began in 1886, but the plant received the name "Manometer" already under the Soviet regime. In the 1930s, the plant was the only enterprise in the USSR that produced equipment for the Moscow Metro.
In the 1990s, the plant was considered inefficient and evicted from Moscow. And in 2009, ArtPlay moved into the reconstructed workshops. The industrial quarter with an area of ​​75 thousand square meters was occupied by architectural bureaus, galleries, artists' studios, showrooms, cafes, bookstores, a cinema and much more. It regularly hosts contemporary art exhibitions, video art festivals, alternative music concerts, performances and film screenings. In September 2011, the IV Moscow International Biennale of Contemporary Art took place in the exhibition halls of ArtPlay.

One of the most famous Moscow examples of the transformation of an industrial zone into a cultural cluster is the territory of "Red October" on Bersenevskaya embankment. Workshops built in the late 19th and early 20th centuries for the Einem partnership (named after the founder Theodore Einem) remained on the former space of the factory. In 1917, the factory was nationalized and received the name "Red October", which remains to this day.

The legendary confectionery factory with more than a century of history changed its purpose in the 2000s, when chocolate production was moved to the north-east of Moscow . "Red October" today is the epicenter of the cultural life of the Russian capital. Here are architectural bureaus, design studios, advertising agencies, cafes, clubs, shops, galleries and exhibition halls, hotels and hostels. In memory of the past, the factory museum and a handmade chocolate production workshop remained in the building.

A new life began at the Bolshevik confectionery factory, which has been producing Yubileinoye cookies since pre-revolutionary times - one of the most beloved by Russians. The historic red brick building of the factory was built in 1884 and was considered a real miracle of architecture. In 2012, the confectionery production was transferred to the Vladimir region, and a business center was opened in the factory building and in the surrounding areas.
Having filled Moscow with new cultural venues and business centers, the developers decided to engage in gentrification in the more traditional sense of the word.
So, among the plans is the reconstruction of the former tea-packing factory, built in 1914 in the Art Nouveau style according to the project of the architect Roman Klein. In 2017, loft apartments should appear here.

A FORMER TEA FACTORY WILL BECOME PART OF A COMPLETE CONCEPT.

The reconstructed building of the former tea-packing factory in the Basmanny district will be the first stage of the Klein House loft apartment complex with an area of ​​12,000 square meters, the general contractor of which is Krays Development. This should happen in the third quarter of 2017.

“The multifunctional quarter in the Basmanny district will include real estate units united by a holistic concept, but different in architecture and functionality – apartments, office real estate and street retail,” the developer company said in a press release.

But at the same time, the historical appearance of the buildings located here will be preserved, and all objects on the territory of the quarter will be designed in an industrial style typical of a loft.

The six-storey complex of the former tea-packing factory, built back in 1914 in the Art Nouveau style by architect Roman Klein at the intersection of Olkhovskaya and Nizhnyaya Krasnoselskaya streets, is planned to be reconstructed with the latest technology.

Gentrification (from English "gentrification") - this is a complex change in the urban environment that occurs as a result of the resettlement of wealthy citizens in those areas of the city that were previously either inhabited by representatives of the lower classes, or were in a state of decline and represented an abandoned industrial zone. Most often, this process is accompanied by the reconstruction and renovation of old buildings.
Gentrification is clearly observed in the USA and in almost all countries of Western Europe. There, this process is mainly associated with the return of the wealthy "white" population to neglected urban areas inhabited by ethnic minorities.
Also, the term "gentrification" is often used in relation to the process of revival of old industrial city blocks, founded in the last century by the industrial economy (this process is sometimes called urban recycling - the restructuring of factory and factory blocks into residential areas, with the creation of all the necessary infrastructure).
“Gentrification is the transformation of a dirty, disadvantaged and cheap place into an elegant, fashionable and expensive one” (Gorbachev P.A.)

And it pleases. The industrial architecture of the 19th century is our heritage. If these buildings
maintained in good condition, they will last for centuries.

M. Kozlovsky. Monument to A. Suvorov on the Field of Mars. 1801
Suvorov appeared in the guise of Mars, dressed in armor, a helmet and a cloak.
On the pedestal of the monument are allegorical figures of the geniuses of Glory and Peace. On the shield is the inscription: "Prince of Italy, Count Suvorov
Rymniksky"

Russian architecture of the first half of the 19th century

First quarter of the 19th century in Russia - the time of the scope of urban planning. In architecture, the construction of civil and administrative buildings becomes the main thing. Architecture is inextricably linked with sculpture. The synthesis of arts is one of the manifestations of a single stylistic principle, which for Russian art was high classicism, otherwise called Russian Empire, whose masters were A.N. Voronikhin, A.D. Zakharov, K.I. Rossi, V.P. Stasov.
Andrei Nikiforovich Voronikhin (1759-1814), the son of a serf, studied painting in Moscow. After his owner A.S. Stroganov gave him freedom, Voronikhin independently studies architecture.

The main creation of Voronikhin is the Kazan Cathedral in St. Petersburg. The task facing the architect was difficult. The Cathedral of St. Petersburg was supposed to have a colonnade, as in front of the Cathedral of St. Peter in Rome. Voronikhin placed the colonnade on the side of the side facade facing Nevsky Prospekt, it was assumed that on the other side there would be the same colonnade, but this plan was not carried out.
The cathedral was decorated with a variety of sculptural compositions, on which the largest Russian sculptors of that time worked - Prokofiev, Martos, Shchedrin. After the war with Napoleon, the temple became a monument of military prowess: Kutuzov was buried here, in the 30s. monuments to Kutuzov and Barclay de Tolly were erected in front of the cathedral.

Andrey Dmitrievich Zakharov (1761-1811), after graduating from the Academy of Arts and a boarding trip to France, taught at the Academy. In 1805 Zakharov was appointed "chief architect of the Admiralty". In 1806, he began the reconstruction of the Admiralty, which combined administrative buildings, docks and production buildings. The main facade, 406 m long, is divided into five main parts: the central tower, two wings and two buildings between them. Zakharov preserved the gilded spire of the tower, enriching its decorative frame. The sculptural decoration in an allegorical form reflects the idea of ​​Russia as a maritime power. Thus, the relief frieze of the attic is dedicated to the “Establishment of the Fleet in Russia”, above the entrance arch there are figures crossed banners - allegories of the victories of the Russian fleet. On high pedestals, paired groups of nymphs holding spheres are allegories of sea voyages around the world. The composition of the building uses a Doric order, and an Ionic order in the tower.

At the beginning of the century, a number of buildings that determined the architectural appearance of St. Petersburg were created by the Swiss Thomas de
Thomon (1760-1813). One of them was the Exchange on the spit of Vasilyevsky Island. The body of the building is raised on a high plinth.
After the victorious war with Napoleon, active construction began in Moscow, which was burned down by the occupiers, large-scale construction work was carried out at that time in St. Petersburg. Under the leadership of O.I. Beauvais (1784-1834) in the Kremlin, the towers and parts of the wall, blown up by the French during the retreat, were restored. Solemnity and triumphalism intensified in architecture. Unfolded ensemble building, the use of monumental sculpture.

The largest representative of the Empire was Karl Ivanovich Rossi (1775-1849), who erected the building of the General Staff, the center of which was the triumphal arch. At the same time, the architect began to create an ensemble of the Mikhailovsky Palace. Rossi proceeded from the planning scheme traditional for Russian architecture: the main building and outbuildings form a single whole with the front yard. Behind was a vast park. The palace blocked the prospect with a street leading to Nevsky Prospekt. In the second half of the 20s. Rossi created the ensemble of the Alexandrinsky Theater, finding a good location for the theater in relation to Nevsky Prospekt. The last large ensemble of Rossi was the buildings of the Synod and the Senate united by an arch thrown over Galernaya Street, corresponding to the composition of the Admiralty, located on the other side of the square.

V.P. Stasov (1769-1848) rebuilt the Stable Yard on the Moika embankment in St. Petersburg, created the Barracks of the Pavlovsky Regiment on the Field of Mars. The center of the new façade facing the Champ de Mars was adorned with a solemn Doric colonnade. In the 30s. Stasov participated in the restoration of the interiors of the Winter Palace after the fire.
Auguste Ricard de Montferrand (1786-1858). The most important event was the construction of St. Isaac's Cathedral according to the project of O. Montferrand, which lasted from 1818 to 1842. The height of the building is 101.5 m, the length with porticos is 111 m, the diameter of the dome is 21.8 m. Outside, the building is surrounded by 112 granite columns high 17 m. The cathedral was built in the style of classicism with elements of baroque and renaissance, which manifested itself in the sculptural decoration. The pediments of the temple are decorated with high reliefs, on the corners of the roof of the building there are figures of kneeling angels, on the pediments - evangelists. In total, the cathedral is decorated with 350 statues and reliefs cast in bronze. The mighty bell, weighing 29.8 tons, made a sound heard on the outskirts of the city. The interior of the cathedral was striking in its splendor. The walls are lined with white Italian marble, the panels are made of green, red marble, multi-colored jasper, red porphyry. The interior contains mosaic and
picturesque paintings by K.P. Bryullov, F.A. Bruni, V.K. Shebuev and other Russian and foreign artists. The shrine of the cathedral was the icon of the miraculous Image of the Savior, which belonged to Peter I.

Sculpture of classicism

The heyday of sculpture was associated with the socio-political upsurge in Russia. The largest master, representative of classicism, whose works were in Arkhangelsk, Odessa, Taganrog, was Ivan Petrovich Martos (1754-1835). An outstanding work of Martos was the monument to Minin and Pozharsky, on which the sculptor began work in 1804. The monument erected on Red Square represents Kuzma Minin, pointing to Moscow, and the wounded Prince Pozharsky rising from his bed. For the Kazan Cathedral in St. Petersburg, Martos created the monumental high relief “Moses Draining Water in the Desert” on the attic of the cathedral colonnade, as well as the figure of the archangel and the statue of John the Baptist. In the late period of creativity, Martos performed the monument to Richelieu in Odessa and M.V. Lomonosov in Arkhangelsk.

Among the sculptors who communicated with architecture are V.I. Demut-Malinovsky (1779-1846) and S.S. Pimenov (1784-1833), who worked on sculptures for the Kazan Cathedral together with Voronikhin. Pimenov made a sculpture of Alexander Nevsky, and Demut-Malinovsky - a statue of St. Andrew the First-Called. For the Admiralty, the sculptors created three colossal figures that personified the countries of the world. Since 1817, sculptors began to cooperate with K.I. Rossi by creating sculptures of the arch of the General Staff. The arch was crowned with the composition “Victory” made of sheet copper, the central figure of which was the winged Glory, standing in a chariot with a raised emblem of the state. I.I. Terebenev (1780-1815) made sculptures for the Admiralty, including the 22-meter high relief "Establishment of the Fleet in Russia", placed on the attic of the lower cube of the Admiralty tower.

B.I. Orlovsky (1796-1837) created monuments to Field Marshal Kutuzov and Barclay de Tolly in front of the Kazan Cathedral.
F.P. worked in small forms of sculpture. Tolstoy (1783-1873), who created a series of medallions made of plaster, porcelain, bronze, cast iron, dedicated to the events of the Patriotic War of 1812 and the military operations of 1813-1814. Most of the medallions are allegorical compositions. In 1814-1816. Tolstoy made four bas-reliefs with scenes from Homer's Odyssey.

F.P. Tolstoy. People's militia 1812 Medallion. 1816
A woman is depicted sitting on a throne, personifying Russia. She hands swords to nobleman, merchant and peasant