Russian architecture styles and monuments of the 18th century. Russian classicism in architecture. Palace ensemble in Bogoroditsk

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Architecture XVIII The art of designing and constructing various buildings, structures and their complexes. Peter and Paul Cathedral (St. Petersburg, Russia)

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The architecture is divided into Narshkinskoe (Russian) Baroque. Classicism Architectural styles of the 18th century. Baroque Rastrelli F. B. Smolny Monastery,

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Architecture Classicism Artistic style in European art of the 17th century. He considered antiquity as an ethical and artistic norm. It is characterized by heroic pathos, plastic harmony and clarity of Baroque. One of the artistic styles of the late 16th and mid-18th centuries, which gravitated towards ceremonial solemnity, decorativeness, tension and dynamism of images. Baroque is characterized by a tendency towards ensemble and synthesis of arts.

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Rastrelli F.B. Russian architect of Italian origin (1700 - 1771) Probably born in Paris. He received his initial education under the guidance of his father, the sculptor Charles Bartholomew Rastrelli. Helped him in fulfilling orders. Invited to Russia in 1830. Several outstanding ensembles were built in St. Petersburg, including the Smolny Monastery, as well as the Peterhof (1747-1752) and Tsarskoye Selo palaces (1752-1757), the building Winter Palace, St. Andrew's Cathedral in Kyiv (1774-1748) and Smolny Monastery (1748-1755)

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Charles Cameron (1746 - 1812) Born in London, into the family of a building contractor. Initially he worked as an artist creating sketches of objects of decorative and applied art, then he was an architectural draftsman and engraver. In 1779 he was invited to Russia to build baths in Tsarskoe Selo as the most famous researcher in Europe of buildings of this type. In 1779 he was appointed architect of the imperial court, responsible for the “structures” of Tsarskoe Selo. His most outstanding works in this ensemble are the complex of thermal baths, including the Cold Baths, Agate Rooms (1779-1785), the promenade Cameron Gallery and the Hanging Garden (1783-1786), as well as a ramp. From 1779 until 1786, Cameron worked in Pavlovsk for the grand dukes. After the accession of Paul I, Cameron was dismissed from the post of court architect, but in 1800 he was again hired to serve in the Imperial Cabinet. In 1803-1806 he was the chief architect of the Admiralty. He played a significant role in the development of mature classicism in Russian architecture, combining Palladian ideas with the desire for an archaeologically accurate “revival” of antiquity.

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Charles Cameron is an English architect who worked most of his life in Russia (1746 - 1812) Cameron Gallery. Staircase 1782 - 1785 Russia, Tsarskoe Selo

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Charles Cameron is an English architect who worked most of his life in Russia (1746 - 1812) Palace in Pavlovsk 1779 - 1786 Russia, Pavlovsk

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G. Quarenghi, Italian architect, worked in Russia, a prominent representative of 18th-century classicism (1744 - 1817). Born near Bergamo into a family of artists. According to family tradition, he was supposed to become a clergyman, but, seeing his son’s passion for drawing, his father sent him to Rome, where he became interested in architecture. While traveling in Italy, he met Baron Grimm, who invited the architect to Russia (1780), where Quarenghi became the court architect of Catherine II. He built many buildings for the court and courtiers, mainly in St. Petersburg, Peterhof and Tsarskoe Selo; building of the Academy of Sciences in St. Petersburg, Smolny Institute (1806-1808). Along with the buildings, he left a significant graphic heritage. He was engaged in engravings and etchings, prepared and published engraved albums “The Hermitage Theater” (1787), “Assignation Bank” (1791), “St. George’s Hall of the Winter Palace” (1791), “Hospital House named after Countess Sheremeteva” (1800s). Quarenghi's buildings are distinguished by the clarity of planning decisions, simplicity and clarity of compositions, and monumental plasticity of forms, which is achieved by the introduction of solemn colonnades that stand out against the background of smooth surfaces of the walls. Quarenghi brought to Russian architecture the highest achievements of Western, Italian architecture and his ardent adherence to the techniques of A. Palladio.

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Bazhenov V.I. great Russian architect of the 18th century, draftsman, architectural theorist (1738 - 1799) Bazhenov - the first name of international scale in the history of Russian architecture. He raised Russian architecture to European excellence and introduced original national features, thanks to which we can talk about “Russian classicism.” The generosity of his talent and the breadth of his creative scope were closely intertwined with the failures of his personal destiny. non-recognition of contemporaries. But Bazhenov’s great architectural plans, such as the Grand Kremlin Palace and the ensemble in Tsaritsyn, were not realized

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Bazhenov V.I. great Russian architect of the 18th century, draftsman, architectural theorist (1738 - 1799) In 1767, Bazhenov, on behalf of Catherine II, began the reconstruction of the Kremlin. According to Bazhenov’s project, the Kremlin was transformed into the new center of Moscow. The main part of the palace occupied the space from the Spassky Gate along the Moscow embankment to the Vodovzvodnaya Tower. The Kremlin wall remained only on the Red Square side. The center of the entire composition was to be Oval Square - the Square of People's Assembly. It was connected through huge arches by three rays of avenues running from Troitsky, Nikolsky to Spassky Gates with smaller squares. However, the colossal size of the proposed palace made the construction economically unrealistic. The Empress soon cooled down to this idea, and in 1775 construction was stopped..

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Bazhenov V.I. The Pashkov House in all descriptions of the city published after the 80s of the 18th century is called “the most beautiful building in Moscow”, “the pearl of Russian architecture”. It crowns Vagankovsky Hill opposite the Kremlin. In the 1780-1790s, after the failures that befell Bazhenov, he accepted private orders for the construction of mansions. Among the customers are Guard Captain-Lieutenant P.E. Pashkov, grandson of Denshik Peter 1. That is why this building is still called Pashkov’s house. The palace was the center of the city estate, which included outbuildings, outbuildings, a garden with ponds, fountains, strange birds. The building was decorated with statues of ancient gods - Mars, Flora, Minerva. Pashkov Palace 1784 – 1786

Description of the presentation Culture of Russia of the 18th century Architecture B by slides

Architecture The works of the largest Russian architects of the 18th century embodied the best national traditions Russian architecture enriched with world heritage. The Mongol-Tatar system of city construction (radial rings with a square in the center) was replaced by the European one - to build cities according to a plan. The Byzantine style is being replaced by a lighter, Italian - Baroque.

Francesco Rastrelli (1700 - 1771) Born in Italy, but in 1716 he and his father came to Russia. He is the author of the largest palace ensembles: the Winter Palace Grand Palace in Peterhof Grand Catherine Palace Stroganov Palace Smolny Palace St. Andrew's Church in Kyiv

Winter Palace The Grand Palace in Peterhof Richly decorated state rooms, plastered to resemble marble, with painted ceilings, inlaid parquet and gilded walls. The sculptures and vases installed above the cornice along the entire perimeter of the building add elegance and splendor to the silhouette of the building.

The Catherine Palace is one of the most famous buildings of the architect. The architect masterfully uses his favorite artistic means: the spatial scope of the composition, plasticity, relief of architectural forms, the expressive rhythm of the colonnades, the active inclusion of sculpture in the decor. The color scheme characteristic of Rastrelli is also fully used: the contrast of white columns, the azure-blue field of the walls and the gold of the architectural decor.

Classicism in architecture In the 60s, classicism replaced decorative baroque. Features: symmetry of compositions, harmony of proportions, geometrically correct plans, restraint, rigor

V. I. Bazhenov (1737 - 1790) Son of a sexton of one of the Kremlin court churches. He studied at the school of D. V. Ukhtomsky and at the gymnasium of Moscow University, and worked in St. Petersburg. From the Academy of Arts he was sent to study in France and Italy.

Vladimir Church in Bykovo Pashkov House Two main facades - one looks at the roadway and has a solemn character, the other is oriented towards the courtyard and has a more comfortable appearance. A bizarre combination of Baroque and Gothic forms.

M. F. Kazakov (1738 - 1812) In Moscow, he developed types of urban residential buildings and public buildings that organize large urban spaces: the Senate in the Kremlin (1776 -87), the university (1786 -93), the Golitsyn hospital (1796 -1801), estate houses of Demidov (1779 -91), Gubin (1790s). He used a large order in interior design (Column Hall of the House of Unions). He supervised the preparation of the master plan for Moscow and organized an architectural school.

The Senate Palace was Kazakov's largest realized project. According to the architect's idea, the building was supposed to symbolize civil ideals, legality and justice, and the architects found the embodiment of these ideals in the classical forms of antiquity. This explains the strict and restrained laconicism of the building, topped with a dome, the classical form of which Kazakov wanted to enhance the architectural expressiveness of Red Square as main square the capital of the capital.

Architectural style - Classicism Architect - Vincenzo Brenna Founder - Paul I Founding date - February 26 (March 9) 1797 Construction 1797-1801

Sculpture In the second half of the 18th century. The foundations of Russian sculpture were laid. It developed slowly, but Russian educational thought and Russian classicism were the greatest incentives for the development of great civic ideas.

F. I. Shubin (1740 – 1805) Worked in an era when the idea of ​​the value of the human spiritual world penetrated into the art of sculptural portraiture. He worked mainly with marble, very rarely turning to bronze. His works belong to the genre of classicism. Most of his sculptural portraits are in the form of busts.

I. P. Martos (1754 - 1835) I. Martos was an artist of a wide range, but he became especially famous as the author of magnificent monuments and classical tombstones.

Monument to Minin and Pozharsky. Dedicated to Kuzma Minin and Dmitry Mikhailovich Pozharsky, leaders of the second people's militia during the Polish intervention in the Time of Troubles, and the victory over Poland in 1612. The monument was built in 1818.

By advice. Didroempress. Catherine. II entrusted the sculptor Falcon with the creation of an equestrian monument. Petru. I. The wax sketch was made again. In Paris, after the master’s arrival in Russia in 1766, work began on a plaster model the size of a statue. Embossed on the steel pedestal is the laconic inscription “Petroprimo. Catharina secunda" (“To Peter. The First. Catherine. The Second”) was made according to a proposal. Falcon with minor editing itself. Catherine, the inscription initially looked like “Petra. First of all. Catherine the Second". The finishing of the bronze after casting (which was done by the cannon maker Emelyan Khailov) in 1775 was carried out by Falconev himself. Having left. Russia in 1778 before the installation of the monument (the grand opening of the monument was timed to coincide with the twentieth anniversary of the reign of Catherine II on August 7, 1782), Falconeuhalv. Holland and returned to 1781. France. For the last 10 years of his life, paralyzed, he was unable to work or create. Etienne Falconet

Painting of the 18th century turned out to be unusually rich in talented artists. The paintings were distinguished by a variety of genres: from traditional portraits and historical painting to theatrical scenery, landscapes, still lifes, and scenes from folk life.

Portraiture The main place in the painting of the 18th century is occupied by the portrait. Portrait (French portrait, from Old French portraire - “to reproduce something feature by feature”) is an image or description of a person or group of people who exist or existed in reality.

I. P. Argunov (1729 – 1802) I. P. Argunov does not idealize the model’s appearance; he boldly conveys the squinting eyes and some puffiness of the face. At the same time, the artist’s masterful use of the brush in conveying texture and the sophistication of shadows attract attention.

Of the later works of I. P. Argunov, the most famous is “Portrait of an unknown peasant woman in a Russian dress.” It is now believed that the depiction was of a wet nurse, which is confirmed by the model’s costume. The artist embodied his idea of ​​female beauty on canvas.

D. G Levitsky (1735 – 1822) Levitsky’s works are characterized by a bright individuality of images. He is able to find an expressive pose and gesture, to combine the intensity of color with tonal unity and richness of shades.

In 1773, one of the most interesting works of D. Levitsky was created - a portrait of the philosopher Denis Diderot, a French encyclopedist philosopher and writer. The energy, creative restlessness and spiritual nobility of which were so vividly and directly conveyed by the Russian artist.

A. P. Antropov (1716 - 1795) A. P. Antropov avoided depicting superficial grace in portraits. His images are concrete, realistic and at the same time psychological.

Coronation portrait of Peter III (1762). The Emperor is depicted as if he had “run” into magnificent chambers: uncertainty, mental disharmony against the backdrop of a luxurious interior - this is what A.P. Antropov perspicaciously saw.

Rokotov. Fedor. Stepanovich The largest Moscow portrait painter who worked during the Russian Enlightenment. Perhaps the first “free artist” in Russia who did not depend on state and church orders.

Historical painting A genre of painting that originates in the Renaissance and includes works not only based on real events, but also mythological, biblical and evangelical paintings. Depicts events of the past that are important for an individual nation or all of humanity.

A. P. Losenko (1737 -1773) Founder of Russian historical painting. From 1753 he studied painting with I.P. Argunov, and from 1759 at the St. Petersburg Academy of Arts. He continued his studies in Paris and the French Academy in Rome.

Vladimir in front of Rogneda, 1770 Wonderful catch,

Literature The main trend in the literature of the 18th century was classicism. Russian classicism attached special importance to “high” genres: Epic poem Tragedy Solemn ode Since the 70s of the 18th century, a new direction has emerged - sentimentalism. New genres appear with it: Travel Sensitive story

D. I. Fonvizin (1745 - 1792) Fonvizin was not only a major and talented playwright of the 18th century. He is one of the founders of Russian prose, a wonderful political writer, a truly great Russian educator, who fearlessly fought against tyranny for a quarter of a century.

G. R. Derzhavin (1743 – 1816) The main object of Derzhavin’s poetics is man as a unique individual in all the richness of personal tastes and preferences. Many of his odes are of a philosophical nature; they discuss the place and purpose of man on earth, the problems of life and death.

Writers and poets of the 18th century. A. D. Kantemir 1708 -1744 V. K. Trediakovsky 1703 -1769 M. V. Lomonosov 1711 -1765 A. P. Sumarokov 1717 -1777 D. I. Fonvizin 1744-1792 G. R. Derzhavin 1743 -1816 N. M. Karamzin 1766 -1826 A. N. Radishchev 1749 —

Theater German Johann Gregory is the creator of theater in Russia. Theater in Russia in the 18th century developed not only in Moscow, but also in St. Petersburg. An establishment with Russian actors opened at the court of Anna Ioannovna. The famous playwright Alexander Sumarokov wrote plays for him. Under Elizabeth Petrovna, the so-called imperial theaters appeared. These government agencies existed at the expense of the treasury. Director of the Imperial Theater Vasilyevsky Island was Sumarokov. The first professional theater was opened in Yaroslavl by F. G. Volkov. The 18th century theater in Russia continued its development during the reign of Catherine II. Several professional troupes worked at her court. Italian opera singers occupied a special position. A Russian drama troupe also worked. During this period, the theater ceased to be a purely palace entertainment. Public entertainment establishments opened in the city, in which both Russian and foreign artists worked.

Theater. Creation. Ivan Dmitrievsky Theater of the 18th century in Russia knows the names of famous entrepreneurs: Titov, Belmonti, Medox. At this time, landowner troupes continue to exist in the provinces, where serf artists perform. Ivan Dmitrevsky was a wonderful actor. Later he became the main actor of the Imperial Theater on Vasilyevsky Island. To improve his skills, Catherine the Second sent Dmitrevsky abroad. In Paris, he studied the play of the famous tragedian Lequesne, and in London he watched performances with the participation of the great Garrick. Returning to St. Petersburg, Dmitrevsky opened a theater school. He later became the chief inspector of imperial entertainment establishments.

Gottlieb Siegfried Bayer (1694 -1738). He began by studying the tribes that inhabited Russia in ancient times, especially the Varangians, but did not go further than that. Bayer left behind many works, of which two rather major works were written in Latin. Much more fruitful were the works of Gerard Friedrich Miller (1705 -1783), who lived in Russia under Empresses Anna, Elizabeth and Catherine II and was already so fluent in the Russian language that he wrote his works in Russian. Miller's main merit was collecting materials on Russian history. Among the academicians of the 18th century. M.V. Lomonosov also occupied a prominent place in his works on Russian history, writing an educational book on Russian history and one volume of “Ancient Russian History” (1766). Story.

History His works on history were determined by polemics with academicians - the Germans. The latter separated Varangian Rus' from the Normans and attributed to Norman influence the origin of citizenship in Rus', which before the arrival of the Varangians was represented as a wild country; Lomonosov recognized the Varangians as Slavs and thus considered Russian culture to be original. Attempts to provide such an overview have emerged outside the academic environment. The first attempt belongs to V.N. Tatishchev (1686 -1750). In these 5 volumes, Tatishchev brought his history to the troubled era of the 17th century. The first popular book on Russian history belonged to the pen of Catherine II, but her work “Notes on Russian History” was much more important in scientific terms “Russian History” by Prince Shcherbatov (1733 -1790)

A.I.Venediktov

The most significant phenomena of English architecture of the period under review date back to the last thirty years of the 17th century. The successor to the classic of English architecture, Inigo Jones, was Christopher Wren (1632-1723), who remained a leading master of English architecture throughout the first quarter of the 18th century.

Ren received a very broad education: before he turned entirely to architecture, he studied mathematics and astronomy. Having made a trip to France in 1665, he met Jules Hardouin-Mansart and other French architects and their works, as well as Bernini, who brought the Louvre project to Paris.

After the “Great Fire” of 1666, which destroyed most of London, Wren created a project for a radical redevelopment of the city, which, however, was rejected by the reactionary authorities. At the same time, Wren received the largest order for the construction of the new Cathedral of St. Paul and to draw up designs for one hundred burnt parish churches, of which he built more than fifty.

Cathedral of St. Paul's in London, built by Wren over thirty-six years (1675-1710), became the greatest religious building Protestant world (in length it surpasses the Cologne Cathedral, in the height of the dome part - the Florentine Cathedral of Sanga Maria del Fiore). Roman Catholic Cathedral of St. Peter's, built by many architects over more than a century and a half, was, as it were, deliberately contrasted with the London Protestant Cathedral, built by one master in one construction period, in just three and a half decades. The first project drawn up by Wren with a centric plan in the form of an equilateral cross with a vestibule was rejected by the conservative clergy. The second, completed project had a more traditional elongated shape with a main room divided by pillars and arches into three naves and a spacious under-dome space at the intersection of the naves with the transept.

Ren's mathematical knowledge came in handy in the difficult task of constructing a dome, which he solved brilliantly, with subtle and deep calculations. The design of the triple dome resting on eight pillars is complex and unusual: above the hemispherical inner brick shell there is a brick truncated cone, which carries the lantern and cross crowning the cathedral, as well as a third, wooden, lead-covered outer shell of the dome.

The appearance of the cathedral is spectacular. Two flights of wide steps lead from the west to six pairs of Corinthian columns of the entrance portico, above which there are four more pairs of columns with composite capitals, bearing a pediment with a sculptural group in the tympanum. More modest semicircular porticoes are placed at both ends of the transept. On the sides of the main façade, slender towers were erected (one for bells, the other for clocks), behind them, above the central cross of the cathedral, rises a huge, majestic dome. The drum of the dome, surrounded by columns, seems especially powerful because every fourth intercolumnium of the colonnade (the so-called Stone Gallery) is laid with stone. Above the hemisphere of the dome itself, the second, so-called Golden Gallery forms a circuit around a lantern with a cross. The towering group of domes and towers overlooking London is undoubtedly the most successful part of the cathedral, the main body of which was difficult to perceive in its entirety as it remained hidden by the clutter of urban development (heavily damaged by bombing during the Second World War).

Ren's creative individuality is revealed no less clearly in his own works. works, such as London parish churches. The variety and wit of the square, rectangular, oval plans of these buildings, usually small in size, the very configuration of which was often explained by the masterful use of cramped, inconvenient sites allocated for their construction, is amazing. The architecture of the churches themselves and their bell towers is extremely diverse, sometimes close in form to Gothic, sometimes strictly classical. It is enough to name the domed church of St. Stephen (1672-1679), original in the composition of its interior space, or the church of St. Mary le Bow (1671-1680) with its slender bell tower, remarkable for the beauty of its silhouette.

Of Wren's civil works one of the most brilliant is the new parts of Hampton Court Palace. In 1689-1694. they built buildings around the so-called courtyard with a fountain and a façade facing the park. In this original work, the architect showed high skill, strict taste and the ability to effectively use materials - brick and white Portland stone.

A prolific craftsman, Ren built more than just palaces and churches. He finally developed the plan for Greenwich Hospital (the original plan of which, apparently, belongs to Inigo Jones), and also built another hospital in Chelsea. He developed the Temple district in London and built the town hall in Windsor. In Cambridge, he owns the building of the library of Trinity College (Trinity College), the prototype of which was the library of St. Stamp in Venice. In Oxford, where Wren taught astronomy in his youth, he built the so-called Sheldon Theater - a large round room for lectures and reports, which uses architectural motifs from the ancient Roman Theater of Marcellus; there he built the library at Queens College and the courtyard at Trinity College. The motifs of Venetian and Roman architecture used in these buildings received an original interpretation from Wren and went down in the history of English architecture as the creation of a national genius.

In residential country and city houses at this time, a type of brick building with white stone trim was created, which became a model for later English construction. Examples include the estates attributed to Wren at Groombridge Place in Kent and Swan House in Chichester.

Unlike Inigo Jones, Wren managed to realize almost all of his plans during his long and fruitful career. As a true humanist, Ren worked for education and the people; he built not only churches, but also hospitals, libraries, not only palaces, but also modest residential buildings. Wren followed the path indicated by Jones, but, unlike Jones, who absorbed the spirit of the Renaissance in Italy, the rational principle was more clearly expressed in the classicism of Wren, who survived the era of Puritanism.

In English architecture of the 18th century. The newly awakened passion for the work of Palladio was of great importance. By 1742, three editions of Palladio's architectural treatise had already been published. From the middle of the century, the publication of independent research on ancient architecture began. Robert Wood in 1753-1757 published a book dedicated to the ruins of Palmyra and Baalbek, Robert Adam published sketches and measurements of Diocletian's palace in Split in Dalmatia in 1764. All these publications contributed to the development of architectural theory and influenced the architectural practice of that time. New ideas were reflected in major urban planning events, for example, in the planning and development of the city of Bath (1725-1780), whose areas represent the most complete classicist ensembles in England. Architects of the 18th century were, in most cases, professionals and theorists.

John Vanbrugh (1664-1726) occupies an intermediate position between the multi-talented and educated masters of the 17th century and the narrow specialists of the 18th century. A brilliant officer, a court wit, a fashionable playwright, he remained a gifted amateur in architecture.

His main and largest works were built in the first years of the 18th century. palaces of Howard (1699-1712) and Blenheim (1705-1724).

Already in the first of them, trying to combine the Versailles scale with English comfort, he amazed his contemporaries primarily with the size of his building, the length of which was 200 m, the depth was almost 130 m, the height of the central dome exceeded 70 m. In the even more grandiose Blenheim Palace , built for the famous commander Duke of Marlborough (259 X 155 m), the architect tried to improve the somewhat awkward plan of the first building. Maintaining strict symmetry, he placed two more courtyards on both sides of the huge courtyard, which are connected to the main building by galleries decorated with a colonnade. In the external architecture of Blenheim Palace, neither the heavy portico of the main entrance, nor the triumphal arch of the park façade, nor the angular, seemingly built-on towers please the eye: the forms here are heavy and rough. The interior of the palace is uncomfortable and uncomfortable. The desire for strict pomp characteristic of classicism is rather mechanically combined in Vanbrugh with a superficial pomp dating back to the Baroque. In his architecture, as one of his contemporaries put it, “heavy in form and light in essence,” it is not difficult to detect obvious signs of eclecticism.

Nicholas Hawksmoor (1661-1736) was a more modest but more worthy successor to Wren. He led the construction of London churches, of which the most interesting is the Church of St. Mary Wulnos (1716-1719) with a facade decorated with rustication and a rectangular bell tower surrounded by columns, completed by two turrets with a balustrade. Hawksmoor worked after his teacher at Oxford, where he built new building Queens College with a monumental courtyard façade and distinctive entrance (1710-1719). Finally, during Wren’s lifetime and after his death, Hawksmoor in 1705-1715. continued construction of Greenwich Hospital. Situated on the banks of the Thames, this one of the most significant monuments of English architecture both in size and artistic merit took its final form under Hawksmoor.

The large hospital complex, where the naval school is now located, consists of four buildings forming rectangular courtyards with a spacious area between the front buildings, porticoes of the facades facing the river. Wide steps, flanked by majestic domed buildings, lead to a second square between a second pair of courtyards. Hawksmoor worthily completed the construction begun by Jones and continued by Wren.

William Kent (1684-1748) was the most prominent English Palladian of the first half of the 18th century. Together with Lord Burlington, who fancied himself an architect, he designed and built a villa in Chiswick (1729), the most successful of the many English versions of Palladian Villa Rotunda. Kent felt more free during the construction of Holkham Hall Castle (1734), where four wings (with a chapel, library, kitchen and guest rooms) organically connected to the central building open onto the surrounding park. Kent's merits are especially great in landscape gardening, where he is known as the “father of the modern garden.”

The architect's most mature work is the sparsely shaped, orderless façade of the barracks of the Horse Guards Regiment (Horse Guards, 1742-1751) in London.

Architect and architectural theorist James Gibbs (1682-1765) is the most striking individual in English architecture of the first half of the 18th century. Having studied with Philippe Juvara in Turin, he also mastered Palladio's order and proportional systems. The most significant of his buildings, both in scale and in artistic merit, is the so-called Redcliffe Library in Oxford (1737-1749), a centric structure of exceptional originality, consisting of a sixteen-sided plinth, a cylindrical main part and a dome. The massive rusticated plinth is cut through by large arched door and window openings; the round part is divided by paired three-quarter columns into sixteen piers with two tiers of alternating windows and niches. Above the balustrade that completes the main cylindrical volume, a dome topped with a lantern rises. Fully expressing its purpose, the austere and monumental university library undoubtedly occupies one of the first places among the best monuments of English architecture.

Gibbs's London churches, the construction of which he continued following Wren and Hawksmoor, are also unique - the two-story church of St. Mary le Strand (1714-1717) with a semicircular portico of the entrance and a slender bell tower and the church of St. Martin in the Fields (1721-1726) with an impressive Corinthian portico.

William Chambers (1723-1796) was a consistent representative of Palladianism in England in the second half of the 18th century, when lesser English architects had already abandoned unsuccessful attempts to adapt the plans of Palladian villas to the conditions of the English climate and the requirements of English comfort.

Chambers summed up the past stage of English architecture in his architectural treatise and his largest building, known as Somerset House in London (1776-1786). This monumental building, built on arcades of substructures, overlooks the Strand and the Thames embankment with its rusticated facades (the façade facing the river was added later, in the 19th century). The Royal Academy was located on the premises of Somerset House in 1780.

The last Palladian, Chambers was the first representative of the academic movement in English architecture.

But Somerset House, especially the facade with its three-arched entrance from the Strand and the majestic courtyard of the building, worthily concludes a large and brilliant era in the history of English architecture.

Chambers's merits in the field of landscape architecture, where he promoted English landscape park. After Kent, he worked in Kew Park, where, in addition to classical pavilions, he built a Chinese pagoda as a tribute to the European fashion for “Chineseness” and as a memory of his trip to the Far East in his youth.

Robert Adam (1728-1792), another prominent English architect of the second half of the 18th century, is often contrasted with Chambers. While the conservative Chambers was a strict guardian of Palladian traditions in architecture, Adam, a preacher of “new tastes,” was to a certain extent an innovator in English art. Taking antiquity in a new way, while paying special attention to decorative motifs, he, in his own words, “revolutionized ornament.” The leading English architects of that time, led by him, did a lot to ensure that the new artistic trends he pursued spread from interior decoration (their example can be the vestibule of Wardour Castle in Wiltshire, created by the architect James Payne, see illustration) to furniture, fabrics, and porcelain.

A typical example of Adam's work is Kedleston Hall Castle (1765-1770), built and decorated inside according to a Palladian plan drawn up by other architects (with semicircular wings adjacent to the central building). But the largest ceremonial rooms of the castle, located along the main axis, undoubtedly belong to Adam. The design of the large hall, where behind the Corinthian columns made of artificial marble supporting the stucco ceiling, there are antique statues in the niches of the walls, and the domed salon, the walls of which are dissected by niches and tabernacles, was probably inspired by the ancient monuments that Adam became acquainted with during a trip to Dalmatia, where he studied Diocletian's palace in Split. The finishing techniques of other, smaller rooms - stucco ceilings and walls, decoration of fireplaces - were even more in line with the new refined tastes. The graceful facade of the Boodle Club in London (1765) gives an idea of ​​how Adam decided on the appearance of the building.

Robert Adam's architectural activity was exceptionally wide. Together with the brothers James, John and William, his permanent employees, he built entire streets, squares, and quarters of London. Having overcome the previous Palladian isolation and isolation of architectural volume, the Adam brothers developed methods for forming integral city blocks (mainly residential buildings) on the basis of a single architectural ensemble. This is Fitzroy Square, the Adelphi quarter, named after the Adam brothers themselves (“adelphos” is Greek for “brother”). As a result of later redevelopment and rebuilding of the city (and also after aerial bombing during the Second World War), little survived from the extensive building activities of the Adam brothers. But the traditions of their art retained their importance in English architecture for a long time. The already strongly Hellenized style of the Adam brothers found its continuation in the so-called “Greek Revival”, the beginning of which dates back to the end of the 18th century, a direction that was not creatively original enough and was largely eclectic. This direction reached its full development in English architecture in the first decades of the next, 19th century.

I.M.Schmidt

The eighteenth century is a time of remarkable flowering of Russian architecture. Continuing; on the one hand, their national traditions, Russian masters during this period began to actively master the experience of contemporary Western European architecture, reworking its principles in relation to the specific historical needs and conditions of their country. They have greatly enriched world architecture, introducing unique features into its development.

For Russian architecture of the 18th century. Characterized by the decisive predominance of secular architecture over religious architecture, the breadth of urban plans and solutions. A new capital was being built - St. Petersburg, and as the state strengthened, old cities were expanded and rebuilt.

The decrees of Peter I contained specific orders relating to architecture and construction. Thus, his special order prescribed that the facades of newly constructed buildings should be placed on the red line of the streets, while in ancient Russian cities houses were often located deep in courtyards, behind various outbuildings.

According to a number of its stylistic features, Russian architecture of the first half of the 18th century. can undoubtedly be compared with the Baroque style dominant in Europe.

Nevertheless, a direct analogy cannot be drawn here. Russian architecture - especially from the time of Peter the Great - had a much greater simplicity of form than was characteristic of the late Baroque style in the West. In its ideological content, it affirmed the patriotic ideas of the greatness of the Russian state.

One of the most remarkable buildings of the early 18th century is the Arsenal building in the Moscow Kremlin (1702-1736; architects Dmitry Ivanov, Mikhail Choglokov and Christoph Conrad). Long length buildings, the calm surface of the walls with sparsely spaced windows and the solemn and monumental design of the main gate clearly indicate a new direction in architecture. A completely unique solution is the Arsenal's small paired windows, which have a semi-circular finish and huge external slopes like deep niches.

New trends also penetrated into religious architecture. A striking example of this is the Church of the Archangel Gabriel, better known as the Menshikov Tower. It was built in 1704-1707. in Moscow, on the territory of the estate of A. D. Menshikov at Chistye Prudy, architect Ivan Petrovich Zarudny (died 1727). Before the fire of 1723 (caused by a lightning strike), the Menshikov Tower - like the bell tower of the Peter and Paul Cathedral in St. Petersburg, which was built shortly after - was crowned with a high wooden spire, at the end of which was a gilded copper figure of the archangel. The height of this church exceeded the bell tower of Ivan the Great in the Kremlin ( The light, elongated dome of this church, which now has a unique shape, was made already at the beginning of the 19th century. The restoration of the church dates back to 1780.).

The Menshikov Tower is characteristic of Russian church architecture of the late 17th century. a composition of several tiers - “octagons” on a “quadruple”. At the same time, compared to the 17th century. here new trends are clearly outlined and new architectural techniques are used. Particularly bold and innovative was the use of a high spire in a church building, which was then so successfully used by St. Petersburg architects. Zarudny's appeal to the classical methods of the order system is characteristic. In particular, columns with Corinthian capitals, unusual for ancient Russian architecture, were introduced with great artistic tact. And quite boldly - powerful volutes flanking the main entrance to the temple and giving it a special monumentality, originality and solemnity.

Zarudny also created wooden triumphal gates in Moscow - in honor of the Poltava victory (1709) and the conclusion of the Nystadt Peace (1721). Since the time of Peter the Great, the erection of triumphal arches has become a frequent phenomenon in the history of Russian architecture. Both wooden and permanent (stone) triumphal gates were usually richly decorated with sculpture. These buildings were monuments to the military glory of the Russian people and largely contributed to the decorative design of the city.

With the greatest clarity and completeness, the new qualities of Russian architecture of the 18th century. manifested themselves in the architecture of St. Petersburg. The new Russian capital was founded in 1703 and was built unusually quickly.

From an architectural point of view, St. Petersburg is of particular interest. It is the only capital city in Europe that emerged entirely in the 18th century. Its appearance vividly reflected not only the unique directions, styles and individual talents of the architects of the 18th century, but also the progressive principles of urban planning of that time, in particular planning. In addition to the brilliantly designed “three-beam” layout of the center of St. Petersburg, high urban planning art was manifested in the creation of complete ensembles and in the magnificent development of the embankments. From the very beginning, the indissoluble architectural and artistic unity of the city and its waterways represented one of the most important advantages and unique beauty of St. Petersburg. The formation of the architectural appearance of St. Petersburg in the first half of the 18th century. associated mainly with the activities of architects D. Trezzini, M. Zemtsov, I. Korobov and P. Eropkin.

Domenico Trezzini (c. 1670-1734) was one of those foreign architects who, having arrived in Russia at the invitation of Peter I, remained here for many years, or even until the end of their lives. The name Trezzini is associated with many buildings of early St. Petersburg; he owns “exemplary”, that is, standard designs of residential buildings, palaces, temples, and various civil structures.

Trezzini did not work alone. A group of Russian architects worked with him, whose role in the creation of a number of buildings was extremely responsible. Trezzini's best and most significant creation is the famous Peter and Paul Cathedral, built in 1712-1733. The construction is based on the plan of a three-nave basilica. The most remarkable part of the cathedral is its upward-facing bell tower. Just like Zarudny's Menshikov Tower in its original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, topped with the figure of an angel. The proud, easy rise of the spire is prepared by all the proportions and architectural forms of the bell tower; a gradual transition from the bell tower itself to the “needle” of the cathedral was thought out. The bell tower of the Peter and Paul Cathedral was conceived and implemented as an architectural dominant in the ensemble of St. Petersburg under construction, as the personification of the greatness of the Russian state, which established on the banks of Gulf of Finland its new capital.

In 1722-1733 Another well-known Trezzini building is being created - the building of the Twelve Colleges. Strongly elongated in length, the building has twelve sections, each of which is designed as a relatively small but independent house with its own ceiling, pediment and entrance. Trezzini's favorite strict pilasters in in this case are used to unite the two upper floors of the building and emphasize the measured, calm rhythm of the divisions of the facade. The proud, rapid rise of the cathedral bell tower Peter and Paul Fortress and the tranquil extent of the Twelve Collegia building - these wonderful architectural contrasts were realized by Trezzini with the impeccable tact of an outstanding master.

Most of Trezzini's works are characterized by restraint and even rigor in the architectural design of buildings. This is especially noticeable next to the decorative pomp and rich design of buildings of the mid-18th century.

The activities of Mikhail Grigorievich Zemtsov (1686-1743), who initially worked for Trezzini and attracted the attention of Peter I with his talent, were varied. Zemtsov participated, apparently, in all of Trezzini’s major works. He completed the construction of the Kunstkamera building, begun by the architects Georg Johann Mattarnovi and Gaetano Chiaveri, built the churches of Simeon and Anna, Isaac of Dalmatia and a number of other buildings in St. Petersburg.

Peter I attached great importance to the regular development of the city. The famous French architect Jean Baptiste Leblond was invited to Russia to develop a master plan for St. Petersburg. However, the master plan of St. Petersburg drawn up by Leblon had a number of very significant shortcomings. The architect did not take into account the natural development of the city, and his plan suffered largely from abstraction. Leblon's project was only partially implemented in the layout of the streets of Vasilyevsky Island. Russian architects made many significant adjustments to its layout of St. Petersburg.

A prominent urban planner of the early 18th century was the architect Pyotr Mikhailovich Eropkin (c. 1698-1740), who gave a remarkable solution to the three-ray layout of the Admiralty part of St. Petersburg (including Nevsky Prospekt). Carrying out a lot of work in the “Commission on St. Petersburg Building” formed in 1737, Eropkin was in charge of the development of other areas of the city. His work ended in the most tragic way. The architect was associated with the Volynsky group, which opposed Biron. Among other prominent members of this group, Eropkin was arrested and executed in 1740.

Eropkin is known not only as a practicing architect, but also as a theorist. He translated the works of Palladio into Russian, and also began work on the scientific treatise “The Position of an Architectural Expedition.” The last work concerning the main issues of Russian architecture was not completed by him; after his execution, this work was completed by Zemtsov and I.K. Korobov (1700-1747), the creator of the first stone building of the Admiralty. Topped with a tall thin spire, echoing the spire of the Peter and Paul Cathedral, the Admiralty Tower, built by Korobov in 1732-1738, became one of the most important architectural landmarks of St. Petersburg.

Definition of the architectural style of the first half of the 18th century. usually causes a lot of controversy among researchers of Russian art. Indeed, the style of the first decades of the 18th century. was complex and often very contradictory. The Western European Baroque style, somewhat modified and more restrained in form, participated in its formation; The influence of Dutch architecture also had an effect. To one degree or another, the influence of the traditions of ancient Russian architecture also made itself felt. A distinctive feature of many of the first buildings of St. Petersburg was the harsh utilitarianism and simplicity of architectural forms. The unique originality of Russian architecture in the first decades of the 18th century. lies, however, not in the complex and sometimes contradictory interweaving of architectural styles, but primarily in the urban planning scope, in the life-affirming power and grandeur of the structures erected during this most important period for the Russian nation.

After the death of Peter I (1725), the extensive civil and industrial construction undertaken on his instructions faded into the background. A new period begins in the development of Russian architecture. The best forces of architects were now directed to palace construction, which assumed an extraordinary scale. From about the 1740s. a distinct Russian Baroque style is established.

In the mid-18th century, the broad career of Bartholomew Varfolomeevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. The work of Rastrelli the son belongs entirely to Russian art. His work reflected the increased power of the Russian Empire, the wealth of the highest court circles, who were the main customers of the magnificent palaces created by Rastrelli and the team he led.

Rastrelli's activities in rebuilding the palace and park ensemble of Peterhof were of great importance. The site for the palace and an extensive garden and park ensemble, which later received the name Peterhof (now Petrodvorets), was planned in 1704 by Peter I himself. In 1714-1717. Monplaisir and the stone Peterhof Palace were built according to the designs of Andreas Schlüter. Subsequently, several architects were involved in the work, including Jean Baptiste Leblond, the main author of the layout of the park and fountains of Peterhof, and I. Braunstein, builder of the Marly and Hermitage pavilions.

From the very beginning, the Peterhof ensemble was conceived as one of the world's largest ensembles of garden structures, sculptures and fountains, rivaling Versailles. The plan, magnificent in its integrity, united the Grand Cascade and the grandiose staircase descents framing it into one inextricable whole. Big grotto in the center and towering above the entire palace.

Without touching in this case complex issue authorship and history of the construction, which was carried out after the sudden death of Leblon, it should be noted the installation in 1735 of the sculptural group “Samson Tearing the Lion’s Jaw”, central in its compositional role and ideological concept (the authorship has not been precisely established), which completed the first stage of the creation of the largest of regular park ensembles 18th century.

In the 1740s. The second stage of construction in Peterhof began, when a grandiose reconstruction of the Great Peterhof Palace was undertaken by the architect Rastrelli. While maintaining some restraint in the design of the old Peterhof Palace, characteristic of the style of Peter the Great's time, Rastrelli nevertheless significantly enhanced its decorative design in the Baroque style. This was especially evident in the design of the left wing with the church and the right wing (the so-called Corps under the coat of arms) that were newly added to the palace. The final of the main stages of the construction of Peterhof dates back to the end of the 18th - the very beginning of the 19th century, when the architect A. N. Voronikhin and a whole galaxy of outstanding masters of Russian sculpture, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev, were involved in the work.

In general, Rastrelli’s first projects, dating back to the 1730s, are still largely close to the style of Peter the Great’s time and do not amaze with that luxury

and pomp, which are manifested in his most famous creations - the Great (Catherine) Palace in Tsarskoye Selo (now the city of Pushkin), the Winter Palace and the Smolny Monastery in St. Petersburg.

Having started to create the Catherine Palace (1752-1756), Rastrelli did not rebuild it entirely. In the composition of his grandiose building, he skillfully included the already existing palace buildings of the architects Kvasov and Chevakinsky. Rastrelli combined these relatively small buildings, interconnected by one-story galleries, into one majestic building of a new palace, the facade of which reached three hundred meters in length. Low one-story galleries were built on and thereby raised to the overall height of the horizontal divisions of the palace; the old side buildings were included in the new building as protruding projections.

Both inside and outside, Rastrelli's Catherine Palace was distinguished by its exceptional richness of decorative design, inexhaustible imagination and variety of motifs. The roof of the palace was gilded, and sculptural (also gilded) figures and decorative compositions rose above the balustrade surrounding it. The façade was decorated with mighty figures of Atlanteans and intricate stucco moldings depicting garlands of flowers. The white color of the columns stood out clearly against the blue color of the walls of the building.

The interior space of the Tsarskoye Selo Palace was designed by Rastrelli along the longitudinal axis. The numerous halls of the palace, intended for ceremonial receptions, formed a solemn, beautiful enfilade. The main color combination of interior decoration is gold and white. Abundant gold carvings, images of frolicking cupids, exquisite forms of cartouches and volutes - all this was reflected in the mirrors, and in the evenings, especially on the days of receptions and ceremonies, it was brightly lit by countless candles ( This palace of rare beauty was barbarically looted and set on fire by Nazi troops during the Great Patriotic War. Patriotic War 1941-1945 Thanks to the efforts of masters of Soviet art, the Great Tsarskoye Selo Palace has now been restored, as far as possible.).

In 1754-1762 Rastrelli is building another large structure - the Winter Palace in St. Petersburg, which became the basis of the future ensemble of Palace Square.

In contrast to the very elongated Tsarskoye Selo Palace, the Winter Palace is designed in the form of a huge closed rectangle. Main entrance At that time, the palace was located in a spacious internal front courtyard.

Considering the location of the Winter Palace, Rastrelli designed the facades of the building differently. Thus, the facade facing south, onto the subsequently formed Palace Square, was designed with a strong plastic accentuation of the central part (where the main entrance to the courtyard is located). On the contrary, the facade of the Winter Palace, facing the Neva, is maintained in a calmer rhythm of volumes and colonnade, thanks to which the length of the building is better perceived.

Rastrelli's activities were mainly aimed at creating palace buildings. But even in church architecture he left an extremely valuable work - the design of the ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, which began in 1748, lasted for many decades and was completed by the architect V. P. Stasov in the first third of the 19th century. In addition, such an important part of the entire ensemble as the nine-tiered bell tower of the cathedral was never realized. In the composition of the five-domed cathedral and a number of general principles for the design of the ensemble of the monastery, Rastrelli directly proceeded from the traditions of ancient Russian architecture. At the same time, we see here character traits architecture of the mid-18th century: the splendor of architectural forms, the inexhaustible wealth of decor.

Among Rastrelli’s outstanding creations are the wonderful Stroganov Palace in St. Petersburg (1750-1754), St. Andrew’s Cathedral in Kyiv, the Resurrection Cathedral of the New Jerusalem Monastery near Moscow, rebuilt according to his design, the wooden two-story Annenhof Palace in Moscow, which has not survived to this day, and others.

If Rastrelli's activities took place mainly in St. Petersburg, then another outstanding Russian architect, Korobov's student Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two remarkable monuments of Russian architecture of the mid-18th century are associated with his name: the bell tower of the Trinity-Sergius Lavra (1740-1770) and the stone Red Gate in Moscow (1753-1757).

By the nature of his work, Ukhtomsky is quite close to Rastrelli. Both the bell tower of the Lavra and the triumphal gates are rich in external design, monumental and festive. Ukhtomsky’s valuable quality is his desire to develop ensemble solutions. And although his most significant plans were not realized (the project of the ensemble of the Invalid and Hospital Houses in Moscow), the progressive trends in Ukhtomsky’s work were picked up and developed by his great students - Bazhenov and Kazakov.

A prominent place in the architecture of this period was occupied by the work of Savva Ivanovich Chevakinsky (1713-1774/80). A student and successor of Korobov, Chevakinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and Tsarskoe Selo. Chevakinsky's talent was especially fully manifested in the St. Nicholas Naval Cathedral he created (St. Petersburg, 1753 - 1762). The slender four-tiered bell tower of the cathedral is wonderfully designed, enchanting with its festive elegance and impeccable proportions.

Second half of the 18th century. marks a new stage in the history of architecture. Just like other types of art, Russian architecture testifies to the strengthening of the Russian state and the growth of culture, and reflects a new, more elevated idea of ​​​​man. The ideas of citizenship proclaimed by the Enlightenment, the ideas of an ideal noble state built on reasonable principles find a unique expression in the aesthetics of classicism of the 18th century, and are reflected in increasingly clear, classically restrained forms of architecture.

Since the 18th century. and until the mid-19th century, Russian architecture occupied one of the leading places in world architecture. Moscow, St. Petersburg and a number of other Russian cities are enriched at this time with first-class ensembles.

The formation of early Russian classicism in architecture is inextricably linked with the names of A. F. Kokorinov, Wallen Delamot, A. Rinaldi, Yu. M. Felten.

Alexander Filippovich Kokorinov (1726-1772) was among the direct assistants of one of the most prominent Russian architects of the mid-18th century. Ukhtomsky. As the latest research shows, the young Kokorinov built the palace ensemble in Petrovsky-Razumovsky (1752-1753), glorified by his contemporaries, which has survived to this day modified and rebuilt. From the point of view of architectural style, this ensemble was undoubtedly close to the magnificent palace buildings of the mid-18th century, erected by Rastrelli and Ukhtomsky. New, foreshadowing the style of Russian classicism, was, in particular, the use of the severe Doric order in the design of the entrance gates of Razumovsky's palace.

Around 1760, Kokorinov began many years of joint work with Wallen Delamoth (1729-1800), who came to Russia. Originally from France, Delamott came from a family of famous architects, the Blondels. The name of Wallen Delamoth is associated with such significant buildings in St. Petersburg as the Great Gostiny Dvor (1761 - 1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767). The Delamot building, known as New Holland, is a building of Admiralty warehouses, where the arch made of simple dark red brick with decorative use of white stone, spanning the canal, attracts special attention with a subtle harmony of architectural forms and solemn and majestic simplicity.

Wallen Delamoth participated in the creation of one of the most unique structures of the 18th century. - Academy of Arts in St. Petersburg (1764-1788). The austere, monumental building of the Academy, built on Vasilyevsky Island, acquired important significance in the city ensemble. The main façade facing the Neva is majestically and calmly designed. The general design of this building indicates the predominance of the style of early classicism over baroque elements.

What is most striking is the plan of this structure, which was apparently mainly developed by Kokorinov. Behind the outwardly calm facades of the building, which occupies an entire city block, hides a complex internal system of educational, residential and utility rooms, stairs and corridors, courtyards and passages. Particularly noteworthy is the layout of the Academy's courtyards, which included one huge round courtyard in the center and four smaller courtyards, rectangular in plan, with two corners rounded in each.

A building close to the art of early classicism is the Marble Palace (1768-1785). Its author was the Yang architect Antonio Rinaldi (c. 1710-1794), who was invited to Russia. In Rinaldi's earlier buildings, the features of the late Baroque and Rococo style were clearly visible (the latter is especially noticeable in the refined decoration of the apartments Chinese palace in Oranienbaum).

Along with large palace and park ensembles, estate architecture is becoming increasingly developed in Russia. Particularly active construction of estates began in the second half of the 18th century, when Peter III issued a decree exempting nobles from compulsory public service. The Russian nobles, who had dispersed to their ancestral and newly acquired estates, began to intensively build and improve their landscaping, inviting the most prominent architects for this, as well as making extensive use of the labor of talented serf architects. Estate construction reached its greatest prosperity at the end of the 18th - beginning of the 19th century.

The master of early classicism was Yuri Matveevich Felten (1730-1801), one of the creators of the remarkable Neva embankments associated with the implementation of urban planning work in the 1760-1770s. The construction of the lattice, striking in the nobility of its forms, is also closely connected with the ensemble of Neva embankments. Summer Garden, in the design of which Felten participated. Among the buildings of Velten, the building of the Old Hermitage should be mentioned.

In the second half of the 18th century. one of the greatest Russian architects, Vasily Ivanovich Bazhenov (1738-1799), lived and worked. Bazhenov was born into the family of a sexton near Moscow, near Maloyaroslavets. At the age of fifteen, Bazhenov was part of a team of painters during the construction of one of the palaces, where he was noticed by the architect Ukhtomsky, who accepted the gifted young man into his “architectural team.” After the organization of the Academy of Arts in St. Petersburg, Bazhenov was sent there from Moscow, where he studied at the gymnasium at Moscow University. In 1760, Bazhenov went abroad as a pensioner of the Academy, to France and Italy. The outstanding natural talent of the young architect already in those years received high recognition. Twenty-eight-year-old Bazhenov came from abroad with the title of professor of the Roman Academy and the title of academician of the Florence and Bologna Academies.

Bazhenov’s exceptional talent as an architect and his great creative scope were especially clearly manifested in the project of the Kremlin Palace in Moscow, on which he began working in 1767, actually planning the creation of a new Kremlin ensemble.

According to Bazhenov’s project, the Kremlin was to become, in the full sense of the word, the new center of the ancient Russian capital, and moreover, it would be most directly connected with the city. Based on this project, Bazhenov even intended to tear down part of the Kremlin wall from the Moscow River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would no longer be separated from the city.

The façade of Bazhenov’s Kremlin Palace was supposed to be facing the Moscow River, to which ceremonial staircase descents, decorated with monumental and decorative sculpture, led from above, from the Kremlin hill.

The palace building was designed to have four floors, with the first two floors having service purposes, and the third and fourth floors housing the palace apartments themselves with large double-height halls.

In the architectural design of the Kremlin Palace, new squares, as well as the most significant interior spaces, an exceptionally large role was given to colonnades (mainly of the Ionic and Corinthian orders). In particular, a whole system of colonnades surrounded the main square in the Kremlin designed by Bazhenov. The architect intended to surround this square, which had an oval shape, with buildings with strongly protruding basement parts, forming, as it were, stepped stands to accommodate the people.

Extensive preparatory work began; in a specially built house, a wonderful (preserved to this day) model of the future structure was made; Bazhenov carefully developed and designed the interior decoration and decoration of the palace...

The unsuspecting architect was in for a cruel blow: as it turned out later, Catherine II did not intend to complete this grandiose construction; she started it mainly with the aim of demonstrating the power and wealth of the state during the Russian-Turkish war. Already in 1775, construction stopped completely.

In subsequent years, Bazhenov’s largest work was the design and construction of an ensemble in Tsaritsyn near Moscow, which was supposed to be summer residence Catherine II. The ensemble in Tsaritsyn is a country estate with an asymmetrical arrangement of buildings, executed in a distinctive style, sometimes called “Russian Gothic,” but to a certain extent based on the use of motifs from Russian architecture of the 17th century.

It is in the traditions of ancient Russian architecture that Bazhenov combines the red brick walls of Tsaritsyn buildings with details made of white stone.

The surviving Bazhenov buildings in Tsaritsyn - the Opera House, the Figured Gate, the bridge across the road - give only a partial idea of ​​the general plan. Not only was Bazhenov’s project not implemented, but even the palace he had almost completed was rejected by the visiting empress and, on her orders, demolished.

Bazhenov paid tribute to the emerging pre-romantic tendencies in the project of the Mikhailovsky (Engineering) Castle, which, with some changes, was carried out by the architect V. F. Brenna. Built by order of Paul I in St. Petersburg, Mikhailovsky Castle (1797-1800) was at that time a structure surrounded, like a fortress, by ditches; drawbridges were thrown across them. The tectonic clarity of the general architectural design and at the same time the complexity of the layout were combined here in a unique way.

In most of his projects and structures, Bazhenov acted as the greatest master of early Russian classicism. A remarkable creation of Bazhenov is the Pashkov House in Moscow (now the old building of the State Library named after V. I. Lenin). This building was built in 1784-1787. A palace-type structure, the Pashkov House (named after the first owner) turned out to be so perfect that both from the point of view of the urban ensemble and in terms of its high artistic merits, it took one of the first places among the monuments of Russian architecture.

The main entrance to the building was located from the front yard, where several service buildings of the palace-estate were located. Situated on a hill rising from Mokhovaya Street, Pashkov’s house faces its main façade towards the Kremlin. The main architectural mass of the palace is its central three-story building, topped with a light belvedere. There are two side two-story buildings on both sides of the building. The central building of Pashkov's house is decorated with a Corinthian order colonnade, connecting the second and third floors. The side pavilions have smooth columns of the Ionic order. The subtle thoughtfulness of the overall composition and all the details gives this structure extraordinary lightness and at the same time significance and monumentality. The true harmony of the whole, the grace of the elaboration of details eloquently testify to the genius of its creator.

Another great Russian architect who worked at one time with Bazhenov was Matvey Fedorovich Kazakov (1738-1812). A native of Moscow, Kazakov linked his creative activity even more closely than Bazhenov with Moscow architecture. Having entered the Ukhtomsky school at the age of thirteen, Kazakov learned the art of architecture in practice. He was neither at the Academy of Arts nor abroad. From the first half of the 1760s. young Kazakov was already working in Tver, where a number of buildings for both residential and public purposes were built according to his design.

In 1767, Kazakov was invited by Bazhenov as his direct assistant to design the ensemble of the new Kremlin Palace.

One of the earliest and at the same time the most significant and famous buildings of Kazakov is the Senate building in Moscow (1776-1787). The Senate building (currently the Supreme Soviet of the USSR is located here) is located inside the Kremlin not far from the Arsenal. Triangular in plan (with courtyards), one of its facades faces Red Square. The central compositional unit of the building is the Senate hall, which has a huge domed ceiling for that time, the diameter of which reaches almost 25 m. The relatively modest design of the building from the outside is contrasted with the magnificent design of the round main hall, which has three tiers of windows, a Corinthian order colonnade, a coffered dome and a rich stucco.

The next widely known creation of Kazakov is the building of Moscow University (1786-1793). This time, Kazakov turned to the common plan of a city estate in the form of the letter P. In the center of the building there is an assembly hall in the shape of a semi-rotunda with a domed ceiling. The original appearance of the university, built by Kazakov, differs significantly from the external design given to it by D.I. Gilardi, who restored the university after the fire of Moscow in 1812. The Doric colonnade, reliefs and pediment above the portico, aedicules at the ends of the side wings, etc. - all this was not in Kazakov’s building. It looked taller and less spread out along the façade. The main facade of the university in the 18th century. had a more slender and lighter colonnade of the portico (Ionic order), the walls of the building were divided by blades and panels, the ends of the side wings of the building had Ionic porticoes with four pilasters and a pediment.

Just like Bazhenov, Kazakov sometimes turned to architectural traditions in his work Ancient Rus', for example in the Petrovsky Palace, built in 1775-1782. Jug-shaped columns, arches, window decorations, hanging weights, etc. along with red brick walls and decorations made of white stone clearly echoed pre-Petrine architecture.

However, most of Kazakov’s church buildings - the Church of Philip Metropolitan, the Church of the Ascension on Gorokhovskaya Street (now Kazakova Street) in Moscow, the church-mausoleum of Baryshnikov (in the village of Nikolo-Pogoreloye, Smolensk region) - were designed not so much in terms of ancient Russian churches, but in the spirit classically ceremonial secular buildings - rotundas. A special place among Kazakov’s church buildings is occupied by the unique plan of the Church of Cosmas and Damian in Moscow.

Sculptural decoration plays an important role in Kazakov’s works. A variety of stucco decorations, thematic bas-reliefs, round statues, etc. largely contributed to the high degree of artistic decoration of the buildings, their festive solemnity and monumentality. Interest in the synthesis of architecture and sculpture was manifested in Kazakov’s last significant building - the building of the Golitsyn Hospital (now the 1st City Hospital) in Moscow, the construction of which dates back to 1796-1801. Here Kazakov is already close to the architectural principles of classicism of the first third of the 19th century, as evidenced by the calm smooth surfaces of the wall planes, the composition of the building and its outbuildings stretched along the street, the severity and restraint of the overall architectural design.

Kazakov made a great contribution to the development of estate architecture and the architecture of urban residential mansions. Such are the house in Petrovsky-Alabino (completed in 1785) and the beautiful Gubin house in Moscow (1790s), distinguished by its clear simplicity of composition.

One of the most gifted and renowned masters of architecture of the second half of the 18th century was Ivan Yegorovich Staroy (1745-1808), whose name is associated with many buildings in St. Petersburg and the province. Starov's largest work, if we talk about the master's buildings that have reached us, is the Tauride Palace, built in 1783-1789. In Petersburg.

Even Starov's contemporaries highly valued this palace as meeting the high requirements of true art - it is as simple and clear in its design as it is majestic and solemn. According to the design of the interior, this is not only a residential palace-estate, but also a residence intended for ceremonial receptions, celebrations and entertainment. The central part of the palace is highlighted by a dome and a six-column Roman Doric portico, located in the depths of the front courtyard, wide open to the outside. The significance of the central part of the building is set off by the low one-story side wings of the palace, the design of which, like the side buildings, is very strict. The interior of the palace was solemnly completed. Granite and jasper columns located directly opposite the entrance make up the overall resemblance of an internal triumphal arch. From the vestibule, those who entered entered the monumentally decorated domed hall of the palace, and then into the so-called Great Gallery with a solemn colonnade consisting of thirty-six columns of the Ionic order, placed in two rows on both sides of the hall.

Even after repeated reconstructions and changes inside the Tauride Palace, made in subsequent times, the grandeur of the architect’s plan leaves an indelible impression. In the early 1770s. Starov is appointed chief architect of the “Commission on the Stone Construction of St. Petersburg and Moscow.” Under his leadership, planning projects for many Russian cities were also developed.

In addition to Bazhenov, Kazakov and Starov, at the same time many other outstanding architects are working in Russia - both Russian and those who came from abroad. The wide construction opportunities available in Russia attracted major foreign masters who did not find such opportunities in their homeland.

An outstanding master of architecture, especially palace and park structures, was a Scotsman by birth, Charles Cameron (1740s -1812).

In 1780-1786. Cameron is building a complex of garden and park structures in Tsarskoye Selo, which includes a two-story building of Cold Baths with Agate Rooms, hanging garden and finally, a magnificent open gallery that bears the name of its creator. The Cameron Gallery is one of the architect's most accomplished works. Its extraordinary lightness and grace of proportions amazes; The staircase descent is majestically and uniquely designed, flanked by copies of the ancient statues of Hercules and Flora.

Cameron was a master of interior design. With impeccable taste and sophistication, he designs the decoration of several rooms of the Great Catherine Palace (the bedroom of Catherine II, see illustration, the “Snuff Box” office), the “Agate Rooms” pavilion, as well as the Pavlovsk Palace (1782-1786) (Italian and Greek halls, billiard room and others).

Not only the palace in Pavlovsk created by Cameron, but also the entire garden and park ensemble is of great value. In contrast to the more regular planning and development of the famous Peterhof Park, the ensemble in Pavlovsk is the best example of a “natural” park with freely scattered pavilions. IN the most picturesque landscape, among the groves and clearings, near the Slavyanka River bending around the hills, there is a pavilion - the Temple of Friendship, an open rotunda - the Colonnade of Apollo, the pavilion of the Three Graces, an obelisk, bridges, etc.

Late 18th century in Russian architecture already in many ways precedes the next stage of development - mature classicism of the first third of the 19th century, also known as the “Russian Empire style”. New trends are noticeable in the work of Giacomo Quarenghi (1744-1817). Even in his homeland, Italy, Quarenghi became interested in Palladianism and became a zealous champion of classicism. Not finding proper use for his powers in Italy, Quarenghi came to Russia (1780), where he remained for the rest of his life.

Having started his activities with work in Peterhof and Tsarskoe Selo, Quarenghi moved on to the construction of the largest capital buildings. The Hermitage Theater (1783-1787), the building of the Academy of Sciences (1783-1789) and the Assignation Bank (1783-1790) in St. Petersburg, as well as the Alexander Palace in Tsarskoe Selo (1792-1796) created by him are strict, classical buildings in their design. , which in many ways already foreshadow the next stage in the development of Russian architecture. As a matter of fact, Quarenghi’s creative activity in Russia is almost equally divided in time between the 18th and 19th centuries. Of the most famous buildings of Quarenghi at the beginning of the 19th century. The hospital building on Liteiny Prospekt, the Anichkov Palace, the Horse Guards Manege and the wooden Narva triumphal gates of 1814 stand out.

Quarenghi's most outstanding creation of the early 19th century. is the Smolny Institute (1806-1808). This work shows the characteristic features of Quarenghi as a representative of mature classicism in architecture: the desire for large and laconic architectural forms, the use of monumental porticoes, the emphasis on the powerful basement of the building, treated with large rustication, extreme clarity and simplicity of planning.

In Western European art of the 17th-18th centuries. the main artistic directions and movements were baroque and classicism. Academies of arts and architecture were created in many European countries. But none of these styles existed in the art of England in the 17th-18th centuries. in its pure form, because they came to English soil much later than to other countries.

English art of this period is characterized by attention to the emotional life of people, especially portraiture. In addition, the English Enlightenment paid special attention to the ideas of moral education of the individual, problems of ethics and morality. Another leading genre of English painting of this period was the everyday genre. We talked about the most famous artists (T. Gainsborough, D. Reynolds, W. Hogarth) on our website.

Architecture

In the 17th and 18th centuries. England was one of the largest centers of European architecture. But different architectural styles and trends sometimes existed here simultaneously.
At the origins of the British architectural tradition stood Inigo Jones(1573-1652), English architect, designer and artist.

Posthumous portrait of Inigo Jones by William Hogarth (based on Van Dyck's lifetime portrait)

Inigo Jones was born in 1573 in London into the family of a clothier. In 1603-1605. Jones studied drawing and design in Italy. Returning to his homeland, he was engaged in creating scenery for theatrical performances; he played a significant role in the development of European theater.
In 1613-1615 Jones is back in Italy, studying the works of Andrea Palladio, ancient and Renaissance architecture. In 1615, Jones became the chief caretaker of the royal buildings, and in Greenwich he soon began construction of the country mansion of Queen Anne, wife of James I.

Queens House

The two-storey Queens House is a monolithic cube, completely white and almost without architectural decoration. There is a loggia in the center of the park façade. Queens House was the first English building in the classicist style.

Tulip staircase at Queens House, Greenwich

The architect's next work was the Banqueting House in London (1619-1622). Its two-story facade is almost entirely covered with architectural decoration. In the interior, a two-tier colonnade reproduces the appearance of an ancient temple. Jones's buildings were in keeping with the tastes of the English court of the time. But Jones's work was appreciated only in the 18th century: it was rediscovered by fans of Palladio, and his works became models for the buildings of English Palladianism.

Banqueting house

At the end of the 16th and beginning of the 17th centuries. Theatrical performances (“masks”) played an important role in the history of the palace. Particularly famous were the sets and costumes created by Inigo Jones, a talented theater designer.
The banqueting house is 34 m long, 17 m wide and the same in height. Two floors rise above the high base. Wide windows are arranged rhythmically along the façade. The center of the building is highlighted by 8 columns of the Ionic order in the bottom row, Corinthian - in the top. Above the windows of the upper floor there is a frieze in the form of garlands carved in stone. An elegant balustrade completes the entire composition. The only hall of this building was decorated by Rubens.
IN late XIX V. The building housed an exposition of the military history museum.

A new stage in the history of English architecture began in the second half of the 17th century, when the first buildings appeared Sir Christopher Wren(1632-1723), one of the most famous and revered English architects.

Gottfried Kneller "Portrait of Christopher Wren" (1711)

Sir Christopher Wren, an architect and mathematician, rebuilt the center of London after the great fire of 1666. He created the national style of English architecture - Wren classicism.
Ren was a scientist, studied mathematics and astronomy, and turned to architecture when he was already over thirty. Over the course of a long and fruitful career, he managed to realize almost all of his plans. He built palaces and temples, libraries and theaters, hospitals and town halls, and developed residential areas of London. Taken together, Ren's many buildings could form a medium-sized city. After the “great fire” of 1666, Wren took an active part in the restoration of London: he rebuilt over 50 of the 87 burned churches. The crowning achievement of this activity was the grandiose and majestic Cathedral of St. Paul, which became the greatest religious building of the Protestant world.

Located on the banks of the Thames, the Royal Hospital in Greenwich is the last major building of Christopher Wren. The large hospital complex consists of 4 buildings, forming rectangular courtyards with a spacious area between the front buildings, porticoes of the facades facing the river. Wide steps, flanked by majestic domed buildings, lead to a second square between a second pair of courtyards. The colonnade of twin columns framing the square forms a very impressive vista ending with Inigo Jones's Queens House. The architect also took part in the construction of Greenwich Hospital Nicholas Hawksmoor(1661-1736). He began work during Ren's lifetime and continued it after the death of the architect.
Wren followed the path of Inigo Jones. But Jones absorbed the spirit of the Italian Renaissance, and Wren created in the style of classicism.
The traditions of Christopher Wren continued James Gibbs(1682-1754) - the most striking and original figure of English architecture of the first half of the 18th century, one of the few representatives of the Baroque style in British architecture. He also built in the Palladian style, borrowing individual elements from it.

A. Soldi “Portrait of James Gibbs”

Gibbs's greatest influence was the work of Christopher Wren, but Gibbs gradually developed his own style. His famous Radcliffe Library at Oxford, austere and monumental, ranks high among the finest monuments of English architecture.

The library is the most significant of Gibbs's buildings in scale and artistic merit. This peculiar centric structure consists of a 16-sided base, a cylindrical main part and a dome. The plinth is cut through by large arched door and window openings; the round main part is divided by paired columns into 16 piers, in which windows and niches arranged in two tiers alternate. A dome topped with a lantern rises above the balustrade.
The library is one of the best monuments of English architecture.
Another masterpiece of Gibbs is the Church of St. Martin in the Fields.

Church of St Martin in the Fields

It adorns Trafalgar Square in London. In St. Martin in the Fields, the influence of Christopher Wren can be seen, but the bell tower is not a separate building, it forms a single whole with the church building. Initially, contemporaries criticized this decision of the architect, but later the church became a model for numerous Anglican churches in England itself and beyond its borders.

English Palladianism

English Palladianism is associated with the name William Kent(c. 1684-1748), architect, archaeologist, painter and publisher.

Villa at Chiswick (1723-1729)

The villa was built by Lord Burlington with the direct participation William Kent. This is the most famous building of English Palladianism. It almost literally repeats the Villa Rotunda by Andrea Palladio, with the exception of the facades.

Villa park in Chiswick

The park facade is decorated with a portico with a pediment; a complex and elegant staircase leads to the portico. The villa was not intended for living, there are no bedrooms or a kitchen, there are only rooms for Burlington's art collections.
Thanks to the patronage of Lord Burlington, Kent received orders for the construction of public buildings in London, for example, Horse Guards.

Horse Guards

Horse Guards are the barracks of the Horse Guards in London. This is William Kent's most mature work.
William Kent built several palaces in London. He carried out orders for interior design of country residences of the English nobility. Kent's main work was the Holkham Hall estate in Norfolk.

Holkham Hall in Norfolk

It was intended for Lord Leicester's art collection. Particularly famous are the interiors of Holkham Hall, full of silk, velvet and gilding. Furniture was also made according to Kent's drawings.

English park

Landscape English park is an important achievement of English architecture of the 18th century. The landscape park created the illusion of reality, untouched nature, the presence of man and modern civilization was not felt here.
The first landscape park was built in the Palladian era at the estate of the poet Alexander Pope in Twickenham (a suburb of London). The French regular park seemed to him the personification of state tyranny, which even subjugated nature (Versailles Park). The poet considered England a free country. An innovator in the landscape art of England was William Kent. He created the best landscape parks of that era: the park of the Chiswick House villa, the Champs Elysees park in Stowe in Central England.

Champs Elysees Park

Particularly impressive were the artificial, specially built ruins called the Temple of Modern Virtue. Apparently, the ruins symbolized the decline of morals in modern society and were contrasted with the luxurious Temple of Ancient Virtue, built by W. Kent in the ancient style.

The Temple of Ancient Virtue, built by W. Kent in the ancient style, is a round domed building surrounded by a colonnade of 16 smooth Ionic columns mounted on a low podium. The temple has two entrances in the form of arched openings, each of which is reached by a 12-step staircase. Inside the temple there are 4 niches in which human-sized statues of ancient Greek celebrities are installed.
Already in the middle of the 18th century. landscape parks were common in England, France, Germany, and Russia.

The last major representative of Palladianism in English architecture was William Chambers(1723-1796) - Scottish architect, representative of classicism in architecture.

F. Kotes “Portrait of W. Chambers”

Chambers made significant contributions to the development landscape art. Thanks to Chambers, exotic (Chinese) motifs appeared in the traditional English landscape park.

Big pagoda- the first building in the spirit of Chinese architecture in Europe. It was built in Kew Gardens in Richmond in 1761-1762. designed by court architect William Chambers in accordance with the wishes of King George III's mother, Augusta. The height is 50 m, the diameter of the lower tier is 15 m. Inside the pagoda there is a staircase of 243 steps, the roof is tiled.
Imitations of the pagoda at Kew appeared in the English Garden in Munich and other parts of Europe. At the whim of Catherine II, Chambers' compatriot, Charles Cameron, designed a similar structure in the center of the Chinese village of Tsarskoe Selo, but the project was not brought to life. But the Chinese houses were still built.

Chinese houses. Chinese village in Alexander Park of Tsarskoye Selo

Neoclassical architecture

When in the middle of the 18th century. The first archaeological excavations of ancient monuments began in Italy; all the major representatives of English neoclassicism went to Rome to see the ruins of ancient buildings. Other English architects traveled to Greece to study ancient Greek buildings. In England, neoclassicism was distinguished by the fact that it adopted lightness and elegance from antiquity, especially in English neoclassical interiors. on the contrary, all the buildings were lighter and more elegant.

G. Wilson "Portrait of Robert Adam"

Played a special role in the architecture of English neoclassicism Robert Adam(1728-1792), Scottish architect from the Palladian Adam dynasty, the largest representative of British classicism of the 18th century. Adam relied on the study of ancient architecture and used strict classical forms. Adam's architectural activity was very wide. Together with his brothers James, John and William, he erected manor houses and public buildings, built up entire streets, squares, and city blocks of London. His creative method is rationalism, dressed in the forms of Greek antiquity.

House in the Syon House estate in London. Arch. R. Adam (1762-1764). Reception. London, Great Britain)

The reception room at Syon House is one of Adam's most famous interiors. The room is decorated with twelve blue marble columns with gilded capitals and sculptures on top. The trunks of these columns are truly antique - they were found at the bottom of the Tiber River in Rome, while the capitals and sculptures were made according to the drawings of Adam himself. The columns here do not support the ceiling, but are simply placed against the wall, but they give the room a majestic appearance.

Even during the master’s lifetime, Adam’s interiors were considered by many to be the highest achievement of English architecture. The traditions of their art retained their importance in English architecture for a long time.
But in neoclassicism of the 18th century. There were two architects whose style differed from the “Adam style”: George Dance the Younger(1741-1825) and Sir John Soane(1753-1837). Dance's most famous building was Newgate Prison in London (not preserved). John Soane largely followed Dance's style, was the chief architect of the Bank of England building (1795-1827) and devoted a significant part of his life to its construction.

"Gothic Revival" (neo-Gothic)

In the middle of the 18th century. In England, buildings appeared that used motifs of Gothic architecture: pointed arches, high roofs with steep slopes, stained glass windows. This period of fascination with the Gothic is usually called the “Gothic Revival” (neo-Gothic). It continued until the beginning of the 20th century. and has become a popular style to this day: in England buildings are often built in the Gothic style).
The founder of the Gothic Revival was Count Horace Walpole(1717-1797) – writer, author of the first horror novel “The Castle of Otranto”. In 1746-1790 he rebuilt his villa in the Strawberry Hill estate (Twickenham, a suburb of London) in the Gothic style.

Villa

Font Hill Abbey in Central England was built between 1796 and 1807. architect James Wyeth (1746-1813).

Font Hill Abbey (not extant)

Already in the 19th century. Gothic style became the state style. In this style in the middle of the 19th century. The Houses of Parliament were under construction in London (architect Charles Barry) - one of the main buildings of English architecture of that time.