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MHC General lesson with a form of control in the form of an electronic test School No. 283 of the Kirov district of St. Petersburg Teacher: Gubar Marina Dmitrievna Rome, Paris, St. Petersburg. From Baroque to Empire style.

Baroque Era and artistic style Circumnavigation of the world, the latest discoveries in astronomy, the invention of the telescope and microscope showed the relativity, variability and incomprehensibility of space and time, which led to the tragic feeling of life as a continuous movement, the purpose of which is unknown to man and is reflected in the images of the Baroque. Francesco Borromini. Church of San Carlo alle Cuatro Fontane. Rome.

Baroque Giacomo della Porta. Church of Il Gesu. Rome. Italian Baroque gravitated towards facades, and facades, especially of church buildings, became a symbol of the era. The balance and harmony of the Renaissance was replaced by the picturesque, illusory-moving appearance of the building.

Baroque ceiling painting Church of Il Gesù. Rome. The illusory blurring of the clear boundary between architecture, sculpture and painting contributes to the loss of ideas about the real extent of space in interiors.

Mystical moods The place of Renaissance Harmony was taken by Contradiction. Take the reins into your holy hand, my Lord, stand at our helm to overcome the waves. Set your sails straighter And in this menacing hour, guide us on a reliable path And cast an anchor for us George Wheater (translation by O. Rumer)

The sorcerer of the Baroque - Lorenzo Bernini The architect and sculptor Lorenzo Bernini created his ensembles with an external “theatrical” effect in mind. The square in front of St. Peter's Basilica in Rome is designed as a continuation of the temple. The square and the temple are connected into an inextricable whole. Bernini compared the sleeves of the colonnade with the embrace of the Church, ready to accept all those who suffer into its bosom. Obelisks and fountains in Baroque Rome became the most active elements in ordering the architectural environment. St. Peter's Square. Rome.

Urban ensemble Baroque was primarily the art of the ensemble, of the overall impression. His attraction to vibrating surfaces and complex curved shapes demanded open skies and vast spaces. Fountains became one of the most important components of urban ensembles, because the dynamics of the water element inherently corresponds to the spirit of the Baroque. Lorenzo Bernini. Piazza Navona.

Russian Baroque. St. Petersburg All major architectural ensembles were grouped around the Neva. The specifics of Russian Baroque were determined by the specifics of the development of St. Petersburg, which meant a complete break with the traditions of national Russian urban planning. The main “prospect” and main “square” of the new capital was the Neva

Rastrelli's Baroque Francesco Bartolomeo Rastrelli transformed St. Petersburg from a fortified city and a port city into a city of palaces. This style combined the orderly severity of classicism, the dynamics of baroque, rococo ornamentation and the major character of polychrome. Winter Palace. Saint Petersburg.

Winter Palace Rastrelli's favorite color combinations - white with gold order elements and azure-blue - go back to the gilded carvings of the iconostasis of ancient Russian churches with their rich colorfulness and cheerfulness. Winter Palace. Main staircase.

Catherine Palace Amber Room. A through suite of rooms from the main staircase in both directions allows you to see the perspective of the halls through the doorways from one end of the palace to the other. Francesco Bartolomeo Rastrelli. Catherine Palace. View from the northeast. Tsarskoye Selo.

Smolny Monastery The Smolny Monastery in its magnificent splendor is not inferior to palace estates and is considered the most Baroque work of Francesco Bartolomeo Rastrelli. The ensemble of the Smolny Monastery is a creative reworking of the techniques of Russian architecture of the pre-Petrine era and the architecture of European monastic complexes.

Classicism The ideals of statehood in France required artistic forms that would be associated with the greatness of the rulers of the ancient Greeks and Romans. Versailles. Favorite country residence of King Louis XIV of France.

Grand Royal Style Since strict, rational classicism did not seem lush enough to glorify Louis XIV, the “Sun King,” the architects turned to the whimsical, sophisticated forms of the Italian Baroque. As a result, the “Great Royal Style” emerged, combining the severity of classical forms in architecture and landscape art with the pomp of Baroque in interior decoration. Central Alley and Grand Canal. Versailles.

Versailles Flat bodies of water serve as giant mirrors duplicating space. Mandatory elements of a regular park are grass lawns and flower beds. The large mirrors of the gallery reflect the park ensemble, which gives the illusion of endless space.

Rococo The center of the formation of the new style, with its predilection for the theatricalization of life and masquerade, was the salons of aristocrats, who turned life into a festive extravaganza. Instead of a cornice separating the wall plane from the ceiling, a smooth, semicircular transition appeared, decorated with a gilded plaster pattern.

Neoclassicism is the image of the “ideal city” in the classicist ensembles of Paris... The Enlightenment movement in the second half of the 18th century led to the emergence of new social ideas, new morality and new aesthetics. The embodiment of naturalness, simplicity and clarity was the classicist architecture that re-established itself in France. Jacques Ange Gabriel. Place de la Concorde. Paris.

... and St. Petersburg The pathos of simplicity and linearity is palpable in the buildings of Giacomo Quarenghi. Being a convinced admirer of Roman antiquity, he built buildings distinguished by symmetry, perfect proportions and laconic decor. Giacomo Quarenghi. Academy of Sciences. Ensemble of the Strelka of Vasilyevsky Island. Giacomo Quarenghi. Horse Guards Manege.

Urban ensembles The desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired decisive significance in the first decades of the 19th century. Karl Ivanovich Rossi. Senate and Synod buildings. The Admiralty and the “trident of prospects.” Andreyan Dmitrievich Zakharov. Admiralty.

Empire The Empire style established itself in Russia thanks to Karl Ivanovich Rossi. His ensembles realized a seemingly impossible idea - to turn an entire city into a work of art, into an open-air museum. The first work of the Russian Empire style was Palace Square with the buildings of the General Staff, ministries and the Winter Palace. When decorating Empire interiors, the combination of yellow and white prevailed. Bolshaya Morskaya Street and the arch of the General Staff building. The buildings of the ministries and the General Staff, connected by the Arc de Triomphe.

Mikhailovsky Palace The greatness of the ensemble of the Mikhailovsky Palace is perceived not from the facade, but in movement. The palace, while maintaining its architectural independence, includes in its orbit a chain of streets, squares and waterways. The special “sovereign” mythology underlying the St. Petersburg Empire architecture and complex imperial symbols is expressed in the pale yellow color of the walls and the white color of the architectural decor. Karl Ivanovich Rossi. Mikhailovsky Palace. Front facade.

Sources of information World artistic culture. L.G.Emokhonova, textbook for grade 11 (basic level), M. Publishing center "Academy", 2009. Unified collection of digital educational resources www.school.edu.ru Collection of images at http://yandex.ru

Preview:

General lesson on the topic “Rome, Paris, St. Petersburg. From Baroque to Empire style", 11th grade,

Goals: Expanding the horizons of students; repetition of the main stages of formation, development and change of artistic styles in different historical periods in various European countries, generalization of the features of historical style using examples of national masterpieces, development of imaginative thinking and the formation of the emotional sphere of the individual.

Tasks: Repetition and generalization of previously acquired knowledge about the architectural styles of Europe in the 17th - early 19th centuries centuries Performing an electronic test.

1. Conversation using presentation slides

Slide 2		Circumnavigation of the world, the latest discoveries in astronomy, the invention of the telescope and microscope showed the relativity, variability and incomprehensibility of space and time, which led to the tragic feeling of life as a continuous movement, the purpose of which is unknown to man and was reflected in the images of the Baroque.
Slide 3		Italian Baroque gravitated towards facades, and facades, especially of church buildings, became a symbol of the era. The balance and harmony of the Renaissance was replaced by the picturesque, illusory-moving appearance of the building.
Slide 4		The illusory blurring of the clear boundary between architecture, sculpture and painting contributes to the loss of ideas about the real extent of space in interiors.
Slide 5		The place of Renaissance Harmony was taken by Contradiction. The Catholic Church decisively extended power to all spheres of spiritual and social life. A similar spiritual mood found a specific refraction in the images of the Baroque. Baroque - (from Italian - strange, bizarre) - began to be called both an era and an artistic style that developed primarily in the architecture of Italy.
Slide 6		Bernini compared the sleeves of the colonnade with the embrace of the Church, ready to accept all those who suffer into its bosom. Obelisks and fountains in Baroque Rome became the most active elements in ordering the architectural environment. The architect and sculptor Lorenzo Bernini created his ensembles with an external “theatrical” effect in mind. The square in front of St. Peter's Basilica in Rome is designed as a continuation of the temple. The square and the temple are connected into an inextricable whole.
Slide 7		Baroque was primarily the art of the ensemble, of the overall impression. His attraction to vibrating surfaces and complex curved shapes demanded open skies and vast spaces. Fountains became one of the most important components of urban ensembles, because the dynamics of the water element inherently corresponds to the spirit of the Baroque.
Slide 8		The specifics of Russian Baroque were determined by the specifics of the development of St. Petersburg, which meant a complete break with the traditions of national Russian urban planning. The main “avenue” and main “square” of the new capital was the Neva.
Slide 9		Francesco Bartolomeo Rastrelli transformed St. Petersburg from a fortified city and a port city into a city of palaces. The ensembles he created - the Winter Palace and the Smolny Monastery in St. Petersburg, the Catherine Palace in Tsarskoe Selo - belong to a unique style that has no analogues in the West - Rastrelli's Baroque. This style combined the orderly severity of classicism, the dynamics of baroque, rococo ornamentation and the major character of polychrome.
Slide 10		Rastrelli's favorite color combinations - white with gold order elements and azure-blue - go back to the gilded carvings of the iconostasis of ancient Russian churches with their rich colorfulness and cheerfulness.
Slide 11		A through suite of rooms from the main staircase in both directions allows you to see the perspective of the halls through the doorways from one end of the palace to the other. The visual destruction of the monotony of an excessively long facade is facilitated by the plastic alternation of columns, pilasters and rustication, the luxurious variety of platbands and windows, a rich color scheme based on a combination of azure walls, white architectural details and gilding of sculptures.
Slide 12		The Smolny Monastery in its magnificent splendor is not inferior to the palace estates and is considered the most Baroque work of Francesco Bartolomeo Rastrelli. The ensemble of the Smolny Monastery is a creative reworking of the techniques of Russian architecture of the pre-Petrine era and the architecture of European monastic complexes.
Slide 13		The ideals of statehood in France required artistic forms that would be associated with the greatness of the rulers of the ancient Greeks and Romans.
Slide 14		Since strict, rational classicism seemed insufficiently lush to glorify Louis XIV, the “Sun King,” the architects turned to the whimsical, sophisticated forms of the Italian Baroque. As a result, the “Great Royal Style” emerged, combining the severity of classical forms in architecture and landscape art with the pomp of Baroque in interior decoration.
Slide 15		Flat bodies of water serve as giant mirrors duplicating space. Mandatory elements of a regular park are grass lawns and flower beds. The large mirrors of the gallery reflect the park ensemble, which gives the illusion of endless space. The history of the creation of the park in Versailles is closely connected with the garden life of classicism, which was characterized by lush parades and open-air entertainment with many guests.
Slide 16		The center of the formation of a new style with its predilection for the theatricalization of life and masquerade became the salons of aristocrats, who turned life into a festive extravaganza. Instead of a cornice separating the wall plane from the ceiling, a smooth, semicircular transition appeared, decorated with a gilded plaster pattern.
Slide 17		The Enlightenment movement in the second half of the 18th century led to the emergence of new social ideas, new morality and new aesthetics. The embodiment of naturalness, simplicity and clarity was the classicist architecture that re-established itself in France.
Slide 18		The pathos of simplicity and linearity is palpable in the buildings of Giacomo Quarenghi. Being a convinced admirer of Roman antiquity, he built buildings distinguished by symmetry, perfect proportions and laconic decor.
Slide 19		In the first decades of the 19th century, the desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired decisive significance.
Slide 20		The Empire style established itself in Russia thanks to Karl Ivanovich Rossi. His ensembles realized a seemingly impossible idea - to turn an entire city into a work of art, into an open-air museum. The first work of the Russian Empire style was Palace Square with the buildings of the General Staff, ministries and the Winter Palace. Without changing the strict regulations of the French Empire style - symmetry, the Corinthian order, linear relief from elements of Egyptian and ancient Roman ornamentation, Rossi introduced elements of ancient Russian military symbols into the architectural decor and received a national version of the Empire style.
Slide 21		The greatness of the ensemble of the Mikhailovsky Palace is perceived not from the facade, but in movement. The palace, while maintaining its architectural independence, includes in its orbit a chain of streets, squares and waterways. The special “sovereign” mythology underlying the St. Petersburg Empire architecture and complex imperial symbols is expressed in the pale yellow color of the walls and the white color of the architectural decor.

Preview:

General lesson on the topic “Ideas of ancient people about the world”, grade 11,

GBOU secondary school No. 283. Teacher: Gubar Marina Dmitrievna – MHC.

II. Taking an electronic test based on the material covered.

The difficulty of the test lies in the fact that for each of the 15 questions there is a choiceseveral options answer. The test is graded on a five-point system.

Option 1

	Baroque appeared as a result of...
		affirmation of the image of a closed space with a person at the center of the universe.
		excessive growth of mystical moods, hyperbolization of feelings, exaltation.
		the latest discoveries in the field of science and technology.
	Russian Baroque is due to...
		the development of the building as a three-dimensional volume according to the ancient Russian tradition.
		focusing on the facade of the building.
		specifics of the development of St. Petersburg.
	The Smolny Monastery Cathedral is…
		the most baroque work of F-B Rastrelli.
		creative reworking of the architecture of ancient Rus' and European monasteries.
		a typical example of ancient Russian architecture.
	Rococo…
	The presented interior belongs to the style….
		rococo
		baroque
		empire style
		became Palace Square.
	Neoclassicism in architecture is...
		smooth ornaments and curls.
		straight, clear geometric shapes.
		continuation of the feudal chaos of urban development
	Giacomo Quarenghi...
		was the court architect of Peter I.
		exquisitely combined straight and rounded lines of the transition from Rococo to Neoclassicism.
		was a convinced admirer of Roman antiquity.
	The history of the creation of the palace and park ensemble of Versailles is connected with...
		"garden life" of classicism.
		symbolism of Apollo and an appeal to the theme of antiquity in planning and decor.
		the idea of ​​glorifying the greatness of Rome.
	This picture shows a garden and park ensemble...
		Catherine Palace
		Peterhof
		Versailles
	Place de la Concorde in Paris...
		has no access to water.
		created by the architect J-A Gabriel.
		looks huge thanks to the wide panorama of parks and embankments
	Empire style...
		appeared in Russia earlier than in France.
		in Russia did not differ in ornamentation from the imperial style of France in the set of military attributes.
	Karl Ivanovich Rossi...
		changed the regulations of the French Empire - symmetry, Corinthian order, military ornaments.
		solved urban planning problems in dynamics, calculated the perception of the building in the process of movement.
		created the formula: “Every ensemble is an architectural landscape, every house is a function of the imperial capital”
	The ensemble of the Mikhailovsky Palace includes…
		Spit of Vasilyevsky Island
		buildings of the musical theater, the museum of ethnography, the Catherine Canal, the Moika and the Neva.
		building of the Russian Museum.

Option 2

	Baroque is characterized by...
		calmness of planes, balance and harmony of verticals and horizontals.
		the flow of one volume into another, the art of an architectural ensemble.
		illusion, mobility, curvilinearity, play of light and shadow, water dynamics.
	Rastrelli's Baroque is characterized by...
		passion for abundance, polychrome, festive solemnity.
		monotony of facades, monochrome, severity, static.
		the reinforcement of the entablature, the special rhythm of the columns, the whimsicality of the pediments.
	"Big Royal Style" is
		the severity of classical forms in architecture combined with the pomp of baroque in the interior
		prototype of the garden and park ensemble in Petrodvorets
		the splendor of Baroque architecture combined with the rigor of classical interiors
	Rococo…
		proclaimed picturesqueness and ornamentation as criteria of beauty.
		arose as a decorative style and spread its influence to architecture.
		formed in the salons of aristocrats, boudoirs and bedrooms, turned everyday life into an extravaganza.
	A feature of Rococo interiors…
		there was a clear, richly ornamented separation of the wall plane from the ceiling plane.
		was the use of large paintings on biblical subjects.
		there were a large number of mirrors on the walls and trinkets on the mantelpieces, tables and stands.
	This building built in the style...
		baroque
		classicism
		empire style
	A manifesto of classicism can be called...
		The building of the Senate and Synod.
		General Staff Building.
		Building of the Academy of Sciences.
	Neoclassicism...
		inherited the feudal chaos of urban development.
		made many dreams of an “ideal city” come true.
		gardens and parks were moved outside the urban area.
	The building created by Andreyan Zakharov...
		has no sculptural decoration.
		is a typical example of the Baroque style.
		included in the ensembles: Trident of Perspectives, Palace Square, Neva, Strelka V.O. and Senate Square
	Layout of the park at Versailles...
		reflects the idea of ​​the greatness of the “sun king” and the cyclical nature of nature
		symmetrical and regular, includes large planes of ponds
		picturesque and dynamic
	The presented interior belongs to the style…
		baroque
		rococo
		empire style
	Empire style...
		reproduced architectural images of Ancient Greece
		was created for Emperor Napoleon Bonaparte and reproduced the architectural images of Ancient Rome.
		established itself in Russia after the successes of Alexander I in military campaigns and European politics.
	The first work of the Russian Empire style...
		became the ensemble of the Mikhailovsky Palace.
		became the Admiralty ensemble.
		became Palace Square.
	The ensemble of Palace Square…
		not connected with Nevsky Prospekt.
		combines buildings of Baroque, Classicism and Empire style
		connects with the ensemble of the water area in front of the Spit of Vasilyevsky Island
	At the heart of the St. Petersburg Empire style...
		lay the aesthetic ideals of F.B. Rastrelli
		lay “sovereign” mythological and imperial symbols, expressed by a combination of pale yellow walls and white decorative elements.
		there was a masterful combination of architectural details with sculptural and pictorial decoration.

Information sources

1. World Art. L.G.Emokhonova, textbook for grade 11 (basic level), M. Publishing center "Academy", 2009.
2. Unified collection of digital educational resourceswww.school.edu.ru
3. Collection of images onhttp://yandex.ru

Classicism in the architecture of Western Europe

Let's leave it to the Italians

Empty tinsel with its false gloss.

The most important thing is the meaning, but in order to get to it,

We'll have to overcome obstacles and paths,

Follow the designated path strictly:

Sometimes the mind has only one path...

You need to think about the meaning and only then write!

N. Boileau. "Poetic Art".

Translation by V. Lipetskaya

This is how one of the main ideologists of classicism, poet Nicolas Boileau (1636-1711), taught his contemporaries. The strict rules of classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satires of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris...

Classicism was most clearly manifested in works of architecture focused on the best achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan. The “strict style” of classicism architecture seemed designed to visually embody its ideal formula of “noble simplicity and calm grandeur.” Simple and clear forms and calm harmony of proportions dominated in the architectural structures of classicism. Preference was given to straight lines and unobtrusive decor that followed the outline of the object. Simplicity and nobility of decoration, practicality and expediency were evident in everything.

Based on the ideas of Renaissance architects about the “ideal city,” the architects of classicism created a new type of grandiose palace and park ensemble, strictly subordinated to a single geometric plan. One of the outstanding architectural structures of this time was the residence of the French kings on the outskirts of Paris - the Palace of Versailles.

Fairytale Dream of Versailles

Mark Twain, who visited Versailles in the mid-19th century.

“I scolded Louis XIV, who spent 200 million dollars on Versailles when people did not have enough for bread, but now I have forgiven him. It's incredibly beautiful! You look, stare and try to understand that you are on earth and not in the Gardens of Eden. And you are almost ready to believe that this is a hoax, just a fairytale dream.”

Indeed, the “fairytale dream” of Versailles still amazes today with the scale of its regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors. Versailles became the visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world.

One hundred hectares of land in an extremely short time (1666-1680) were turned into a paradise intended for the French aristocracy. The architects Louis Levo (1612-1670), Jules Hardouin-Mansart (1646-1708) and Andre Le Nôtre(1613-1700). Over the course of a number of years, they rebuilt and changed a lot in its architecture, so that currently it is a complex fusion of several architectural layers, absorbing the characteristic features of classicism.

The center of Versailles is the Grand Palace, to which three converging access avenues lead. Situated on some elevation, the palace occupies a dominant position over the area. Its creators divided the almost half-kilometer length of the facade into a central part and two side wings - risalit, giving it a special solemnity. The facade is represented by three floors. The first, serving as a massive base, is decorated with rustication following the example of Italian palazzo palaces of the Renaissance. On the second, front, there are high arched windows, between which there are Ionic columns and pilasters. The tier crowning the building imparts a monumental appearance to the palace: it is shortened and ends with sculptural groups, giving the building a special elegance and lightness. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and splendor. It is no coincidence that Moliere said about the Grand Palace of Versailles:

“The artistic decoration of the palace is so in harmony with the perfection that nature gives it that it can well be called a magic castle.”

The interiors of the Grand Palace are decorated in Baroque style: they are replete with sculptural decorations, rich decor in the form of gilded stucco moldings and carvings, many mirrors and exquisite furniture. The walls and ceilings are covered with colored marble slabs with clear geometric patterns: squares, rectangles and circles. Picturesque panels and tapestries on mythological themes glorify King Louis XIV. Massive bronze chandeliers with gilding complete the impression of wealth and luxury.

The halls of the palace (there are about 700 of them) form endless enfilades and are intended for ceremonial processions, magnificent celebrations and masquerade balls. In the largest main hall of the palace - the Mirror Gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the hall corresponded with mirrors on the other. In sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

The decorative compositions of Charles Lebrun (1619-1690) in Versailles and the Louvre were striking in their ceremonial pomp. The “method of depicting passions” he proclaimed, which involved pompous praise of high-ranking persons, brought the artist dizzying success. In 1662, he became the king's first painter, and then director of the royal manufactory of tapestries (hand-woven carpet-pictures, or tapestries) and director of all decorative work at the Palace of Versailles. In the Mirror Gallery of the palace, Lebrun painted

a gilded ceiling with many allegorical compositions on mythological themes glorifying the reign of the “Sun King” Louis XIV. The piled-up pictorial allegories and attributes, bright colors and decorative effects of Baroque clearly contrasted with the architecture of classicism.

The king's bedroom is located in the central part of the palace and faces the rising sun. It was from here that there was a view of three highways diverging from one point, which symbolically reminded of the main focus of state power. From the balcony, the king could see all the beauty of Versailles Park. Its main creator, Andre Le Nôtre, managed to combine elements of architecture and landscape art. Unlike landscape (English) parks, which expressed the idea of ​​unity with nature, regular (French) parks subordinated nature to the will and plans of the artist. The Park of Versailles amazes with its clarity and rational organization of space; its drawing was precisely verified by the architect using a compass and ruler.

The alleys of the park are perceived as a continuation of the halls of the palace, each of them ends with a pond. Many pools have a regular geometric shape. In the pre-sunset hours, the smooth water mirrors reflect the rays of the sun and the bizarre shadows cast by bushes and trees trimmed in the shape of a cube, cone, cylinder or ball. The greenery forms either solid, impenetrable walls or wide galleries, in artificial niches of which sculptural compositions, herms (tetrahedral pillars topped with a head or bust) and numerous vases with cascades of thin streams of water are placed. The allegorical sculpture of the fountains, made by famous masters, is intended to glorify the reign of the absolute monarch. The “Sun King” appeared in them either in the guise of the god Apollo or Neptune, riding out of the water in a chariot or resting among the nymphs in a cool grotto.

The smooth carpets of lawns amaze with their bright and variegated colors with intricate patterns of flowers. The vases (there were about 150 thousand of them) contained fresh flowers, which were changed in such a way that Versailles was in constant bloom at any time of the year. The paths of the park are sprinkled with colored sand. Some of them were lined with porcelain chips sparkling in the sun. All this splendor and lushness of nature was complemented by the smells of almond, jasmine, pomegranate and lemon, spreading from the greenhouses.

There was nature in this park

As if lifeless;

As if with a pompous sonnet,

We were fiddling with the grass there.

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In the gardens and dances of disorder

They couldn't stand it.

The yew trees froze, as if in a trance,

The bushes leveled the line,

And they curtsied

Memorized flowers.

V. Hugo Translation by E. L. Lipetskaya

N. M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in “Letters of a Russian Traveler”:

“Enormousness, perfect harmony of parts, the action of the whole: this is what even a painter cannot depict with a brush!

Let's go to the gardens, the creation of Le Nôtre, whose bold genius everywhere placed proud Art on the throne, and threw humble Nature, like a poor slave, at his feet...

So, do not look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes...”

Architectural ensembles of Paris. Empire style

After the completion of the main construction work in Versailles, at the turn of the 17th-18th centuries, Andre Le Nôtre began active work on the redevelopment of Paris. He laid out the layout of the Tuileries Park, clearly fixing the central axis on the continuation of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt and the Place de la Concorde was created. The major axis of Paris gave a completely different interpretation of the city, meeting the requirements of greatness, grandeur and pomp. The composition of open urban spaces and the system of architecturally designed streets and squares became the determining factor in the planning of Paris. The clarity of the geometric pattern of streets and squares linked into a single whole will for many years become a criterion for assessing the perfection of the city plan and the skill of the city planner. Many cities around the world will subsequently experience the influence of the classic Parisian model.

A new understanding of the city as an object of architectural influence on humans finds clear expression in the work on urban ensembles. In the process of their construction, the main and fundamental principles of classicism urban planning were outlined - free development in space and an organic connection with the environment. Overcoming the chaos of urban development, architects sought to create ensembles designed for free and unobstructed views.

Renaissance dreams of creating an “ideal city” were embodied in the formation of a new type of square, the boundaries of which were no longer the facades of certain buildings, but the space of adjacent streets and neighborhoods, parks or gardens, and the river embankment. Architecture strives to connect in a certain ensemble unity not only buildings directly adjacent to each other, but also very distant points of the city.

Second half of the 18th century. and the first third of the 19th century. in France mark a new stage in the development of classicism and its spread in European countries - neoclassicism. After the Great French Revolution and the Patriotic War of 1812, new priorities appeared in urban planning, in tune with the spirit of their time. They found their most vivid expression in the Empire style. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, appeal to the art of imperial Rome and Ancient Egypt, and the use of attributes of Roman military history as the main decorative motifs.

The essence of the new artistic style was very accurately conveyed in the significant words of Napoleon Bonaparte:

“I love power, but as an artist... I love it to extract sounds, chords, harmony from it.”

Empire style became the personification of the political power and military glory of Napoleon, and served as a unique manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new time. Large architectural ensembles of open squares, wide streets and avenues were created everywhere, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.

For example, the Austerlitz Bridge commemorated Napoleon's great battle and was built from Bastille stones. At Place Carrousel was built triumphal arch in honor of the victory at Austerlitz. Two squares (Concord and Stars), located at a considerable distance from each other, were connected by architectural perspectives.

Church of Saint Genevieve, erected by J. J. Soufflot, became the Pantheon - the resting place of the great people of France. One of the most spectacular monuments of that time is the column of the Grand Army on Place Vendôme. Likened to the ancient Roman column of Trajan, it was supposed, according to the plans of the architects J. Gondoin and J. B. Leper, to express the spirit of the New Empire and Napoleon’s thirst for greatness.

In the bright interior decoration of palaces and public buildings, solemnity and stately pomp were especially highly valued; their decor was often overloaded with military paraphernalia. The dominant motifs were contrasting combinations of colors, elements of Roman and Egyptian ornaments: eagles, griffins, urns, wreaths, torches, grotesques. The Empire style manifested itself most clearly in the interiors of the imperial residences of the Louvre and Malmaison.

The era of Napoleon Bonaparte ended by 1815, and very soon they began to actively eradicate its ideology and tastes. From the “disappeared like a dream” Empire, all that remained were works of art in the Empire style, clearly demonstrating its former greatness.

Questions and tasks

1.Why can Versailles be considered an outstanding work?

How the urban planning ideas of 18th century classicism found their practical embodiment in the architectural ensembles of Paris, for example the Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, such as Piazza del Popolo (see p. 74)?

2. What is the expression of the connection between Baroque and classicism architecture? What ideas did classicism inherit from Baroque?

3. What are the historical background for the emergence of the Empire style? What new ideas of his time did he strive to express in works of art? What artistic principles does he rely on?

Creative workshop

1. Give your classmates a correspondence tour of Versailles. To prepare it, you can use video materials from the Internet. The parks of Versailles and Peterhof are often compared. What do you think are the grounds for such comparisons?

Description of the presentation by individual slides:

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IMPERIAL STYLE IN ARCHITECTURE SPECIFICS OF THE RUSSIAN EMPIRE Karl Ivanovich Rossi. Palace Square White Hall of the Mikhailovsky Palace in St. Petersburg Empire interior

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Empire style is a style created for Napoleon Bonaparte, which turned St. Petersburg into an imperial city. Successes in European politics and the military campaign of 1812 surrounded the image of Alexander I with the halo of the arbiter of the destinies of not only Russia, but all of Europe. Alexander I turns St. Petersburg into an imperial city, the “world capital.” The historical paradox was that the national pride of the victorious king was embodied in the forms of the style of defeated France - the Empire style, created for Emperor Napoleon Bonaparte. The French Empire style reproduced the architectural images of imperial Ancient Rome and Ancient Egypt. Napoleon Bonaparte Alexander I

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The national version of the Empire style and Karl Ivanovich Rossi The Empire style in Russia was established thanks to Karl Ivanovich Rossi (1775-1849). Rossi introduced elements of ancient Russian military symbols into the architectural decor and obtained a national version of the Empire style, distinguished by the boldness of its spatial solutions. Urban ensembles of Russia are similar to the scenery of a theatrical performance, the beauty and grandeur of which can only be comprehended in motion, from different angles. K. I. Rossi Portrait by B. Sh. Mituar Palace Square 1819-1834 Mikhailovsky Palace 1819-1825

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A brilliant solution to an urban planning problem The first work of the Russian Empire style was Palace Square (1819-1834) with the buildings of the General Staff, ministries and the Winter Palace. Rossi brilliantly solved the urban planning problem, creating a composition within the framework of a complex site plan, a given arched line of the square's border and an acute angle of the square with the Moika River.

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Palace Square is a kind of counterpoint to the various architectural melodies of the city. Palace Square is a kind of counterpoint to the various architectural melodies of the city. On the eastern side, through Razvodnaya Square, it leads to the Neva and the Peter and Paul Fortress on the opposite bank. From the west – to Admiralteyskaya Square. Through Admiralteysky Boulevard it smoothly flows into Senate Square, bounded by the elegant buildings of the Senate and Synod from the west, the austere building of the Admiralty from the east and infinitely expanded by the expanses of the Neva from the north. Nicholas I, under whom the construction of the arch was completed, expressed displeasure at the modesty of the decor. A high-relief composition of military armor and ancient Russian weapons appeared at the foot. Above them, between the columns, rise figures of warriors, personifying the peasantry and clergy - the main forces of the Patriotic War of 1812. The tympanum of the arch is decorated with relief images of Glory with laurel wreaths in their hands. The attic is crowned by a magnificent chariot of Victory, drawn by six horses, standing out sharply against the sky and seeming to be flying over the city.

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The image of the “ideal city” in the classical ensembles of Paris and St. Petersburg Jacques Ange Gabriel. Place Louis XV in Paris by Giacomo Quarenghi. Academy of Sciences in St. Petersburg Andreyan Dmitrievich Zakharov. Admiralty in St. Petersburg

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The emergence of new social ideas, new morality, new aesthetics The Enlightenment movement, started by Voltaire, taken up by Denis Diderot, J.J. Rousseau, led to the emergence of new social ideas, new morality, new aesthetics. Architecture became the embodiment of educational utopias and new values ​​- naturalness, simplicity, clarity. In classical architecture, the capricious curls of the ornament and smooth silhouettes of Rococo were replaced by straight lines, clear geometric shapes, and undivided volumes of Neoclassicism. Voltaire (1694-1778) D. Diderot (1713-1784) J.J. Rousseau (1712-1778)

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Jacques Ange Gabriel Place Louis XV in Paris Utopian dreams of an “ideal city”, where houses stand among trees, wide streets form regular plots, and spacious squares offer views of city blocks, were brilliantly realized in the ensemble of Place Louis XV in Paris. The creator was one of the first architects of neoclassicism, Jacques Ange Gabriel (1698-1782). Place Louis XV (Place de la Concorde) - 1757-1779 Jacques Ange Gabriel (1698-1782) Having located the square on the right bank of the Seine (one natural border of the embankment), Gabriel included in the space of the square and living nature - the water surface of the river and the vegetation of parks.

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Place de la Concorde. Paris A small square looks huge thanks to the wide panorama. The Champs Elysees, like an endless green ribbon, leads the eye to the Arc de Triomphe on Place des Stars (Place Charles le Gaulle). On the opposite side, behind the park, rises the Arc de Triomphe on Place Carrousel, and then the bulk of the Louvre.

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Giacomo Quarenghi Academy of Sciences. 1783 - 1789. St. Petersburg The building of the Academy of Sciences, built by Quarenghi next to Peter's Kunstkamera in 1783 - 1785, is distinguished by its simplicity and severity. Russian art developed similarly to French. The pathos of simplicity and linearity is palpable in the buildings of the architect of “Catherine classicism” Giacomo Quarenghi (1744-1817). The ideas of the Enlightenment were in tune with the aesthetics of classicism and were adopted in Russia by Empress Catherine II. A fan of Roman antiquity, Giacomo Quarenghi built buildings distinguished by symmetry, perfect proportions and laconic decor. D. Quarenghi (1748-1817) Catherine II (1729-1796)

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The desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired in the first decades of the 19th century. defining value. The building in which the whole city recognizes itself was the Admiralty building built by A.D. Zakharov (1761-1811). The Admiralty is the first building on the left bank of the Neva in St. Petersburg / Initially, the Admiralty was conceived by Peter I only as a shipyard; according to his design, it was founded on November 5, 1704. In 1806–1823, by decree of Alexander I, the building was rebuilt by A.D. Zakharov. Zakharov built the third building of the Admiralty, which became a symbol of Russia's maritime power. Andreyan Dmitrievich Zakharov Admiralty. 1806-1823. St. Petersburg A.D. Zakharov (1761-1811) Alexander I (1777-1825)

Empire –
(from the French empire - empire)
style in architecture
and the art of the first three
decades of the 19th century,
finalizing evolution
classicism.

Empire style originated in interior design, architecture and
art at the beginning of the 19th century, during the empire
Napoleon. From France Empire style quickly
spread throughout Europe - noble and
wealthy people did not want to lag behind
Parisian fashion in nothing.

Ceremonial, solemn, monumental style,
imitating the chic and luxury of the Roman Empire.
First of all, this imitation reflected
in furnishing rooms in an antique style.

The Empire style is characterized by greater staticity, pomp, brilliance and pomp.

EMPIRE IS DIFFERENTIATE BY MORE STATICITY,
PLENTIFICITY, BRILLIANCE AND POMPOSE.

Luxury in the Empire style always stands out
first plan, sometimes even to the detriment
convenience.
.

The Empire style in architecture involves wide rectangular windows that let in a lot of light. The illusion of additional lighting

THE EMPIRE STYLE IN ARCHITECTURE IMPLYS WIDE
RECTANGULAR WINDOWS LET LOTS OF LIGHT IN.
THE ILLUSION OF ADDITIONAL LIGHTING IN THE EMPIRE STYLE
THEY CREATE MIRRORS IN THIN, ALMOST IMPOSSIBLE FRAMES.

Characteristic features of the Empire style

CHARACTERISTIC FEATURES OF THE EMPIRE TYPE

Using the order system
The column with all its details, as well as parts,
located above and below the column,
form a single whole
and its construction is subject to a certain rule and order.
The order is named by the Latin word "ORDO".
Hence the name "ORDER SYSTEM", an architectural order.

The presence of porticoes, colonnades, loggias, galleries

Strict symmetry of plans and compositions

Decor depicting military attributes