Classicism in the architecture of Russia and Europe. Baroque and classicism architecture in Western Europe Classicism in the architecture of Western Europe lesson

The architectural principles of Baroque and Classicism were universal for all countries of Western and Eastern Europe, including Russia. However, in each region, architects interpreted the universal principles slightly differently. Today's material is devoted to the differences between buildings of the 17th and 18th centuries in different countries of Western Europe.

Renaissance architecture gave birth to two opposite directions at once, Baroque and Palladianism, early classicism. The creators of the Baroque era rejected the classical ideas of rigor and obligatory adherence to order. Buildings in this style are characterized by rich decoration, curvilinear forms, and distorted perspectives. Architects sought to merge different spheres of art: thus, sculpture, architecture and landscape art merged in Baroque ensembles.

Baroque originated in Italy, and from there spread throughout Western Europe. It is worth highlighting two main figures who adopted the legacy of the late Renaissance style of mannerism - these are Giovanni Lorenzo Bernini and Francesco Borromini.

Bernini not only designed churches, chapels and secular buildings, he also worked on large objects that combined architecture and sculpture, such as fountains and funerary monuments. His most famous works are the design of St. Peter's Square in the Vatican, as well as the decoration of St. Peter's Basilica and the pulpit there. Bernini worked on the appearance of Rome: he connected the streets and central squares. The oval-shaped arena, formed from two massive semicircular colonnades in Peter's Square, where the city's residents could welcome the pope, is a true Baroque masterpiece. He also designed several fountains, which were always subjects of his interest, in particular the Fountain of Triton and the Fountain of the Four Rivers in Rome.

The second creator of the Italian Baroque era, Franceschi Borromini, completely departed from the classical canons and previous rules. He designed rooms of incredible complexity, and it is he who is considered the heir to the traditions of Michelangelo Buonarotti. It was characterized by a complex interior layout, including differences in levels, as well as the absence of straight lines and an abundance of fancy architectural details. He designed the Palazzo Barberini and also certain elements of St. Peter's Basilica.

In France, Baroque naturally merges with Classicism, using the best of two architectural styles: the harmony of the layout of Classicism and the rich decoration of Baroque. An example of this is the famous Versailles courtyard and its luxurious interior decoration.

The Baroque style is also found in Austria. At first, the Italian architect Santino Solari, who built the palace in Salzburg, worked there, and the Schönbrunn Palace was built by the Austrian architect von Erlarch. In Germany, the Baroque style was most fully represented in Dresden by the works of the architect Matthaus Peppelmann - the buildings of the Zwinger (a complex for open-air celebrations) and the Frauenkirche.

Before we move on to the history of the development of classicism in Europe, let us recall the basic principles by which the architecture of this style was built. She was characterized by rigor of form and geometric interiors, soft colors and laconicism of external and internal decoration of buildings. Classical architecture is characterized by a symmetrical axial composition of buildings. The houses were decorated with characteristic elements: colonnades, rotundas, porticos, reliefs on the walls and statues on the roofs. The windows were made rectangular, elongated upward without flashy design. The houses were painted in light pastel colors.

The history of classicism in Western Europe began with the Italian architect Andrea Palladio, already familiar to us from past materials. He studied ancient Greek and Roman temples and wrote several treatises on diagrams of architectural orders. Let us remember that an order is a clear sequence of vertical and horizontal elements. The order includes a system of proportions and prescribes the composition and relative position of elements. In the early classical style (later called Palladian), the secular mansions of noble citizens of Venice were built, in particular the Villa Rotunda and Villa Capra. It was Palladio who formulated the basic principles of classicism for the architecture of Western Europe.

The second famous theorist of early classicism is Vincenzo Scamozzi, a student of Palladio. His work “The Idea of ​​Universal Architecture” had a great influence on the English architect Inigo Jones, from whose suggestion Palladianism (and classicism) became the dominant style in English architecture. Jones's work is credited with the beginning of regular urban planning in London according to Italian models: he created the first modern square in Covent Garden. Jones is best known for designing Queens House in Greenwich and St Paul's Cathedral.

The Scottish architect Robert Adam contributed to the further development of classicist architecture in Britain. He developed his own, “Adam’s style,” adding elegant interior design to the classical canons.

At the same time, the French architect Jean-Germain Soufflot proposed using the classicist style as the basis for urban development. His most famous project is the Pantheon building in Paris. Among other figures of classicism in France, it is worth noting Francois Mansart, who, although he built many buildings in the Baroque style, nevertheless adhered to a regular layout. By the way, in his projects he used a steep roof with a break, traditional for French houses, which made it possible to make the rooms under the roof habitable. This is where the name of such spaces comes from - mansar roof, attic.

The most famous monument of classicism (and at the same time baroque) in France, the palace and park complex of Versailles, was designed by the architects Louis Leveau and Jules Arden-Mansart, the grandson of Francois.

In Germany, they also studied the heritage of ancient masters and the experience of Italian colleagues. Berlin and Munich became centers for the spread of classicism. On the one hand, German classicism also gravitated towards ancient canons. On the other hand, he tried to find harmony between form and content, for example, to emphasize the significance and grandeur of architectural monuments. A striking example is the Brandenburg Gate in Berlin by the architect Langhans.

The classicist style evolved: at the beginning of the 19th century, French architects drew inspiration from Roman examples of military glory. This is how the Empire style, the imperial style, appeared. The buildings and monuments were monumental and were supposed to demonstrate the greatness of the French Empire and the power of the army. These objects include the famous Arc de Triomphe, built in honor of Napoleon's victories by the architect Jean Chalgrin, as well as the arch on Place Carrousel.

Late classicism in Germany is represented by the works of the famous architect Leo von Klenze. It is to him that the city of Munich owes its classic appearance. In particular, he designed a square with several galleries: among them were the Pinakothek (art gallery), the Glyptotek (museum of ancient sculpture) and the Propylaea. Von Klenz also worked abroad: in St. Petersburg he built the building of the New Hermitage. Later, the German Empire style became the Biedermeier style, closer to ordinary townspeople, with many interior and exterior decorations.

In Britain the Empire style was also introduced and is known as the Regency style. It received its name from the reign of Prince Regent George III. The most important representative of this style is the architect John Nash. he is the author of many objects. In particular, this is the urban layout of Regent Street and the landscaped Regent Park, as well as the Trafalgar Square complex in London.

In the following materials we will move on to the architecture of the nineteenth century. Stay with us!

Classical architecture appears to have emerged from distinct but interrelated developments that radically changed the relationship between man and nature. The first was an unexpected increase in man's ability to control nature: by the middle of the 17th century. this ability went far beyond the technical capabilities of the Renaissance.

The second was a fundamental revolution in the nature of human consciousness, which occurred as a result of changes in the structure of society, which led to the emergence of a new cultural formation, equally satisfying the lifestyles of both the fading aristocracy and the growing bourgeoisie. While technological advances created new infrastructure and increased productivity, changes in human consciousness brought new categories of knowledge and a historical way of thinking that was so reflective that it questioned its own authenticity.

Classicism was an expression of philosophical rationalism, the ideology and art of a new class - the bourgeoisie. The concept of classicism was the use of ancient form-formation systems in architecture, which, however, were filled with new content. The aesthetics of simple ancient forms and a strict order were put in contrast to the randomness and lack of rigor of the architectural and artistic manifestations of the worldview of the moribund aristocracy.

Classicism stimulated archaeological research, which led to amazing discoveries and new knowledge about advanced ancient civilizations. The results of the archaeological expeditions, summarized in extensive scientific research, laid the theoretical foundations of the movement, whose participants considered ancient culture to be the pinnacle of perfection in the art of construction, an example of absolute and eternal beauty. The popularization of ancient forms was facilitated by numerous albums containing images of architectural monuments.

Art history understands the term "classic" in the narrowest sense, Greek art in the period between the archaic style and Hellenism, i.e. approximately V-IV centuries. BC e. In a somewhat less narrow sense, this concept includes the art of Greek and Roman antiquity, which worked according to strict rules. The personification of classicist architecture is the front side of a Greek or Roman temple with a triangular pediment or portico with columns; the block-shaped body of the structure is divided only by pilasters and cornices. Orders of columns not only decorate the wall, but also support a system of beams. Along with garlands, urns and rosettes, classic palmettes and meanders, beads and ionics are also used as simple decoration. The character of architecture in most cases remained dependent on the tectonics of the load-bearing wall and the vault, which became flatter. The portico becomes an important plastic element, while the walls outside and inside are divided by small pilasters and cornices. In the composition of the whole and details, volumes and plans, symmetry prevails. The color scheme is characterized by light pastel tones. White color, as a rule, serves to identify architectural elements that are a symbol of active tectonics. The interior becomes lighter, more restrained, the furniture is simple and light, while the designers used Egyptian, Greek or Roman motifs.

At the forefront of the development of classicist architecture was primarily France during the Napoleonic period. Then Protestant Germany and England, as well as Russia, influenced by European movements. Rome became one of the main theoretical centers of classicism.

The emergence of classicism

The emergence of classicism is associated with Italy, which was the center of ideological and theoretical research in the field of the formation of new principles in architecture and art. It was in Italy and mainly in Rome that the main monuments of antiquity were concentrated, which over the centuries have not ceased to influence architects. At the same time, it would be wrong to consider in isolation from other European countries the ideological processes that emerged in Italy. At this time, in the middle of the 18th century, in all European countries, and especially strongly in France and England, there was a strengthening of the elements of capitalism in the economy and, accordingly, a strengthening of the bourgeoisie in the political life of states. The growing bourgeoisie is fighting in the ideological sphere. The ideological basis of the bourgeois class was the philosophy of enlightenment, and in the field of art there was a search for a new style that was supposed to reflect its goals and ideals.

Naturally, the bourgeoisie, when creating its own culture, sought to rely on the past and use the culture of past eras. The forms of ancient art most closely corresponded to bourgeois ideas about the new style being created; The latter was based on antiquity. Ancient art and ancient architecture became the subject of study, borrowing, and imitation. The growing interest in antiquity strengthened the negative attitude towards the Baroque.

A second “circle” of studying and mastering the ancient heritage was taking place: the first was associated with the Renaissance - the time of the first awakening of bourgeois self-awareness, the period of struggle against medieval ideas about the world, when the humanistic intelligentsia turned to ancient culture.

To create a new - classicist style, many philosophical works of this time, publications of research results in the field of ancient culture, as well as the excavations of Pompeii that began in 1748, which expanded the understanding of Roman art, were of great importance. Among the general theoretical works, it should be noted “Speeches on Art” (1750) by J.-J. Rousseau, who preached naturalism and naturalness in art.

The ideological leader of classicism was Winkelmann- founder of art history as a science, author of the works “Thoughts on Imitating Greek Art” and “History of the Arts of Antiquity,” published in the 1750-1760s and gaining all-European fame. He is considered the founder of scientific archaeology. His interpretation of the essence of Greek art as " noble simplicity and calm majesty" defines the ideal of beauty of “archaeological classicism”.

The largest representative of European enlightenment, Lessing, with his treatise “Laocoon” (1766), also contributed to strengthening the position of classicism. All their activities were largely connected with Rome. For the dissemination of ideas and forms of classicism, perspective painting (paintings by Pannini, later compositions by Hubert Robert), as well as famous etchings on ancient themes by the famous Italian architect and engraver D.-B. Piranesi, which began to be published in series starting in the 1740s, and became widely known in Europe.

The expansion of technical knowledge based on the achievements of science in the 17th and 18th centuries immediately gave impetus to numerous projects for the construction of roads and canals, as well as to the establishment of new technical educational institutions, such as the School of Bridges and Roads, founded in 1747. Change way of thinking contributed to the flourishing of the humanities during the Enlightenment. The first works on modern sociology, aesthetics, history and archeology appeared: “On the Spirit of Laws” by Montesquieu (1748), “Aesthetics” by Baumgarten (1750), “The Age of Louis XIV” by Voltaire (1751), “History of Ancient Art” by I. I. Winkelman (1764).

Urban planning and classicism architecture

The most significant urban planning concepts and their implementation in nature at the end of the 18th and first half of the 19th centuries are associated with classicism. During this period, new cities, parks, and resorts were founded. A new organization of settlement, aimed at overcoming social inequality and creating a new social harmony, was proposed at the end of the 19th century by utopian socialists. Projects of residential communes and phalansteries (implemented, however, in very small numbers) retained the image and spatial features characteristic of classicism.

The result of the architectural theories of the Enlightenment, outlined and repeated in many treatises of the late 18th century, can be succinctly defined as follows: the scope of urban planning in the complete absence of architectural masterpieces. Our judgment may seem superficial. Indeed, there were architects who did not want to create masterpieces. Architecture for them was not an expression and statement of a certain concept of the world, religious or political ideals. Her mission is to serve the community. Construction, decorum, and typology are necessarily subordinated to this task. Since the life of society is changing very quickly, it is necessary to meet new requirements and new types of buildings, that is, to build not only a church or a palace, but a middle-income residential building, a hospital, a school, a museum, a port, a market, and so on.

From a monument building they come to a building that expresses a certain social function; the unity of such functions creates an urban organism, and its structure is the coordination of these functions. Since social coordination is based on the principles of rationality, urban plans become more rational, that is, they follow clear rectangular or radial geometric patterns that consist of wide and straight streets, large square or circular areas. The idea of ​​the relationship between human society and nature is expressed in the city by the introduction of wide areas of greenery, most often parks near palaces or gardens of former monasteries that became state-owned after the revolution.

Reducing architecture only to the fulfillment of urban planning tasks entails simplification and typification of its forms.

Classicism is a movement in European art that replaced the pompous Baroque in the mid-17th century. His aesthetics were based on the ideas of rationalism. Classicism in architecture is an appeal to examples of ancient architecture. It originated in Italy and quickly found followers in other European countries.

Andrea Palladio and Vincenzo Scamozzi

Andrea Palladio (1508-1580) was the son of a stonemason. He himself had to continue the hard work of his father. But fate turned out to be favorable to him. A meeting with the poet and humanist J. J. Trissino, who recognized great talent in young Andrea and helped him get an education, was the first step on the path to his fame.

Palladio had excellent instincts. He realized that the customers were tired of the splendor of the Baroque, they no longer wanted to add luxury to the show, and he offered them what they were striving for, but could not describe. The architect turned to the heritage of antiquity, but did not focus on physicality and sensuality, as the masters of the Renaissance did. His attention was attracted by the rationalism, symmetry and restrained elegance of the buildings of Ancient Greece and Rome. The new direction was named after its author - Palladianism; it became a transition to the classicism style in architecture.

Vicenzo Scamozzi (1552-1616) is considered Palladio's most talented student. He is called the "father of classicism." He completed many projects designed by his teacher. The most famous of them are the Teatro Olimpico, which for many years became a model for the construction of theaters around the world, and Villa Capra, the first private house in the history of architecture, created according to the rules of an ancient temple.

Canons of classicism

Palladio and Scamozzi, who worked at the end of the 16th and beginning of the 17th centuries, anticipated the emergence of a new style. Classicism in architecture finally took shape in France. Its characteristic features are easier to understand by comparing them with the features of the Baroque style.

Classicism in Western European architecture

The Latin word classicus ("exemplary") gave the name to the new style - classicism. In European architecture, this direction took a leading position for more than 100 years. It supplanted the Baroque style and paved the way for the emergence of the Art Nouveau style.

English classicism

Italy was the birthplace of classicism. From there it spread to England, where Palladio's ideas found widespread support. Indigo Jones, William Kent, Christopher Wren became adherents and continuers of the new direction in art.

Christopher Wren (1632-1723) taught mathematics at Oxford, but turned to architecture quite late, at 32 years old. His first buildings were Sheldonian University in Oxford and Pembroke Chapel in Cambridge. When designing these buildings, the architect deviated from some of the canons of classicism, giving preference to Baroque freedom.

A visit to Paris and communication with French followers of the new art gave his work a new impetus. After the great fire in 1666, it was he who was tasked with rebuilding the center of London. After this, he earned fame as the founder of national English classicism.

French classicism

Masterpieces of classicism occupy a significant place in French architecture. One of the earliest examples of this style is the Luxembourg Palace, built according to de Brosse's design especially for Marie de' Medici. The tendencies of classicism were fully manifested during the construction of the palace and park ensembles of Versailles.

Classicism made significant adjustments to the planning structure of French cities. Architects did not design individual buildings, but entire architectural ensembles. Parisian Rivoli Street is a striking example of development principles that were new for that time.

A galaxy of talented craftsmen made a significant contribution to the theory and practice of the classicism style in French architecture. Here are just a few names: Nicolas François Mansart (Mazarin Hotel, Val-de-Grâce Cathedral, Maisons-Laffite Palace), François Blondel (Saint-Denis Gate), Jules Hardouin-Mansart (Place des Victories and Louis the Great ensembles).

Features of the classicism style in Russian architecture

It should be noted that in Russia classicism became widespread almost 100 years later than in Western Europe, during the reign of Catherine II. Its specific national features in our country are connected with this:

1. At first he had a pronounced imitative character. Some masterpieces of classicism in Russian architecture are a kind of “hidden quote” from Western architectural ensembles.

2. Russian classicism consisted of several very different movements. At its origins were foreign masters, representatives of different schools. Thus, Giacomo Quarenghi was a Palladian, Wallen-Delamot was a supporter of French academic classicism. Russian architects also had a special understanding of this direction.

3. In different cities, the ideas of classicism were perceived differently. He established himself easily in St. Petersburg. Entire architectural ensembles were built in this style, and it also influenced the planning structure of the city. In Moscow, which consisted entirely of urban estates, it did not become so widespread and had relatively little impact on the general appearance of the city. In provincial cities, only a few buildings were built in the classicist style, mainly cathedrals and administrative buildings.

4. In general, classicism in Russian architecture took root painlessly. There were objective reasons for this. The recent abolition of serfdom, the development of industry and the rapid growth of the urban population posed new challenges for architects. Classicism offered cheaper and more practical development projects compared to Baroque.

Classicism style in the architecture of St. Petersburg

The first St. Petersburg buildings in the classicist style were designed by foreign masters invited by Catherine II. Special contributions were made by Giacomo Quarenghi and Jean Baptiste Vallin-Delamot.

Giacomo Quarenghi (1744 -1817) was a representative of Italian classicism. He is the author of more than a dozen beautiful buildings, which today are inextricably linked with the image of St. Petersburg and its environs. The Academy of Sciences, the Hermitage Theater, the English Palace in Peterhof, the Catherine Institute of Noble Maidens, the pavilion in Tsarskoe Selo - this is not a complete list of his creations.

Jean Baptiste Vallin-Delamott (1729-1800), French by birth, lived and worked in Russia for 16 years. Gostiny Dvor, the Small Hermitage, the Catholic Church of Catherine, the building of the Academy of Arts and many others were built according to his designs.

The originality of Moscow classicism

St. Petersburg in the 18th century was a young, rapidly growing city. Here there was a place for the inspiration of architects to roam. General plans for its development were drawn up, with clear, level streets decorated in the same style, which later became harmonious architectural ensembles.

With Moscow the situation was different. Before the fire of 1812, she was scolded for the disorder of the streets, characteristic of medieval cities, for the multi-styled style, for the predominance of wooden buildings, for the “barbaric”, in the opinion of the enlightened public, vegetable gardens and other liberties. “It was a city not of houses, but of fences,” historians say. Residential buildings were located in the depths of households and were hidden from the eyes of people walking along the street.

Of course, neither Catherine II nor her descendants dared to demolish all this to the ground and begin to build the city according to new urban planning rules. A soft redevelopment option was chosen. Architects were tasked with constructing individual buildings that organized large urban spaces. They were to become the architectural dominants of the city.

Founders of Russian classicism

Matvey Fedorovich Kazakov (1738-1812) made a great contribution to the architectural appearance of the city. He never studied abroad, we can say that he created the actual Russian classicism in architecture. With their buildings with colonnades, pediments, porticos, domes, and restrained decor, Kazakov and his students sought, to the best of their ability, to streamline the chaos of Moscow streets, to even them out a little. His most significant buildings include: the Senate building in the Kremlin, the house of the Assembly of the Nobility on Bolshaya Dmitrovka, the first building of Moscow University.

An equally significant contribution was made by Kazakov’s friend and like-minded person, Vasily Ivanovich Bazhenov (1735-1799). Its most famous building is the Pashkov House. The architect brilliantly played with its location (on Vagankovsky Hill) in the layout of the building, resulting in an impressive example of classicism architecture.

The classicism style maintained its leading position for more than a century, and enriched the architectural appearance of the capitals of all European states.

Classicism is a stylistic trend in European art, the most important feature of which was the appeal to ancient art as a standard and reliance on the traditions of the harmonious ideal of the High Renaissance. “…. . Let's leave the Italians the empty tinsel with its false gloss. What matters most is the meaning; but in order to come to it, you will have to overcome obstacles and paths, strictly adhere to the intended path: Sometimes the mind has only one road... “The theorist of early classicism was the poet Nicolas Boileau (1636 -1711) “love thought in poetry,” that is, emotions are subordinate to reason. "Poetic art. » Nicola Boileau

Architecture of classicism - “Strict style” Characteristic features: Appeal to the forms of ancient architecture - the Greek order system, strict symmetry, clear proportionality of parts and their subordination to the general plan. Simplicity and clarity of forms. Calm harmony of proportions. Preference for straight lines. Unobtrusive decor that follows the outline of the object. Simplicity and nobility of finishing. Practicality and expediency. Bolshoi Theater in Warsaw.

XVII century - XVII century France. Urban planning. - creation of a large urban ensemble with development carried out according to a single plan. New cities arise as settlements near the palaces of the rulers of France. - cities are designed in the form of a square or rectangle in plan. Inside them, a strictly regular rectangular or radial ring system of streets with a city square in the center is planned. - old medieval cities are being rebuilt on the basis of new principles of regular planning. - Large palace complexes are being built in Paris - the Luxembourg Palace and the Palais Royal (1624, architect J. Lemercier). Salomon de Bros Luxembourg Palace in Paris 1615 -1621 Jacques Lemercier Palais Royal Paris 1624 -1645

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. Versailles was built under the leadership of Louis XIV in 1661. France. The main creators were the architects Louis Levo and Jules Hardouin-Mansart, the master of landscape art Andre Le Nôtre (1613 -1700) and the artist Charles Lebrun, who participated in the creation of the interiors of the palace.

Versailles is a village 24 kilometers from Paris. It was originally chosen by King Louis XIII to build a modest hunting castle. The king wanted to indulge here in his favorite passion - hunting. His son, Louis XIV, was also an avid hunter, but he had much more ambitious plans for this place. Dissatisfied with his other palaces (including the Louvre and the Tuileries), in 1660 he decided to rebuild Versailles into a luxurious palace and park ensemble. Everything here had to amaze with its splendor and scale - after all, the king wanted, in the end, the entire royal court to be located here.

Features of the ensemble construction are a strictly ordered centralized system. The ensemble of the royal palace at Versailles was built in several stages, starting from the first half of the 17th century. , and it received its completion in 1679. Three wide straight radial avenues of the city converge on the Palace of Versailles, located on a hill (dominance), forming a trident. The middle trident avenue leads to the center of Paris (Avenue de Paris), the other two lead to the royal palaces of Saint-Cloud (Avenue de Saint-Cloud) and Sceaux (Avenue de Saux), as if connecting the main country residence with the regions of the country.

the plan of Versailles includes an extended main palace; two front yards; one-story Grand Trianon Palace; three avenues radiating from the main palace; alleys; swimming pools; channels; fountains. The center of the entire architectural layout of Versailles is the royal palace.

Interiors of the Grand Palace Mirror Gallery Theater of Versailles Queen's Staircase The premises of the palace were distinguished by luxury and variety of decoration. Expensive finishing materials (mirrors, hammered bronze, precious woods), widespread use of decorative painting and sculpture - all this is designed to create the impression of stunning splendor. In the Mirror Gallery, thousands of candles were lit in shining silver chandeliers and a noisy, colorful crowd of courtiers filled the palace enfilades, reflected in the tall mirrors.

Allegorical compositions on mythological themes glorifying the reign of the “Sun King” Louis XIV Golden lampshade in the mirror gallery. Charles Lebrun.

The King's Bedroom The Queen's Bedroom The King's bedroom is located in the central part of the palace and faces the rising sun with its windows. The balcony overlooked the Park of Versailles.

The Park of Versailles served as a magnificent “stage area” for colorful and magnificent spectacles - fireworks, illuminations, balls, performances, masquerades. From the palace the terraces of the Versailles Park go down and the alleys move away towards the Grand Canal. Fountains, sculptural groups, and relief compositions complete the decoration of the park. Sculptural groups form complex and beautiful combinations with a variety of fountains and pools.

Andre Le Nôtre, from the family of royal gardeners, will forever go down in history as one of the best masters of landscape art. In addition to Versailles, he created, for example, the Tuileries Park in Paris, the gardens of the Chantilly Castle, Marly near London and Vaux-le-Vicomte, which was commissioned by the Minister of Finance Fouquet. Seeing this park, Louis XIV was delighted and offended that his subject had a garden that even the king did not have. Therefore, Fouquet was soon arrested, and Le Nôtre received an order to create a truly royal park, like no other in the world.

“Fountain of Latona” - decorated with sculptures of the goddess Latona with Apollo and Diana, seated on concentrically placed pools in the form of a pyramid.

An example of mature French classicism of the 17th century. is the Louvre - a royal palace in Paris. Stretching 173 m in length, decorated on two floors with a massive colonnade and risalits protruding in the middle and at the corners of the façade in the form of classical porticoes, it gives the impression of power and stern grandeur, expressing the idea of ​​​​the inviolability of law and order.

In the middle of the 18th century. classicism in France is experiencing its rebirth. The surge of increased interest in antiquity is reinforced by the discovery of remarkable monuments of artistic culture during excavations of ancient cities that were once buried during a volcanic eruption. Neoclassicism A prominent representative of his views on classicism found a “new” classicism in architecture is Jacques-Angie's expression in the Petit Trianon - the country palace of the French king in Gabriel. Versailles, which rather resembles a small mansion. Gazebo in Petit Trianon. Tall columns of the Corinthian order, placed on the plinth, unite the two floors. The building has a flat roof ending in a balustrade. Strict harmony and simplicity are combined in it with a feeling of calm dignity.

Place de la Concorde. Jean Ange Gabriel. Place Louis XV 1759 -1779. Paris. New urban planning tasks put forward by time are embodied in Gabriel’s work. The square, rectangular in plan, is connected to the city by the rays of three alleys. It is surrounded on two sides by the green areas of the Tuileries Gardens and the Champs Elysees, and on the third by the river. The ensemble is closed by two buildings, with wings covering the square on the fourth side.

Empire (from the French empire - empire) is a style in architecture and art that completes the evolution of classicism. Empire is a monumental style that developed in France during the heyday of Napoleon's empire (1799 -1815). The main trend of that time was total imitation of the art forms of late Rome. The Empire style is solemn, official, and sometimes theatrical. It manifested itself most clearly in the design of the residences of Napoleon and his retinue, from where it quickly penetrated into the aristocratic environment of France and the courts of the largest European monarchs. Pierre Francois Monard, Charles Percier. Throne room (fragment). 1807. Fontainebleau Castle

Jacob Desmalter. Bedroom of Empress Josephine. 1804. Malmaison Palace by Francois Moens. Napoleon's bedroom / 1808/ Fontainebleau Castle

Austerlitz Bridge. The length of the bridge is 200 m, width - 32 m. Named in honor of the victory won by the army of Napoleon I over Russian and Austrian troops on December 2, 1805 near the village of Austerlitz. The ornaments decorating the bridge are engraved with the names of French military leaders killed at the Battle of Austerlitz. Paris is divided into two parts by the Seine River. 38 bridges are thrown across it, the distance between them is about half a kilometer.

Jules Hardouin-Mansart Place des Invalides in Paris Started in 1684 Place Vendôme 1687 -1720 Jules Hardouin-Mansart, Liberal Bruant Ensemble of the Invalides in Paris Jules Hardouin-Mansart Cathedral of the Invalides 1679 -1706 Question: In residential architecture, the name of Mansart is immortalized by an element he invented. Which one?

In 1630, François Mansart introduced into the practice of building urban housing a high, broken roof shape using an attic for housing. The device, which received the name “attic” after the author’s name.

Homework Ch. 7, creative workshop pr3 p73 Compare the design of the interior decoration (interiors) of the Francisco I gallery in Fontainebleau and the Mirror Gallery of Versailles.

LESSON DEVELOPMENT ON WORLD ARTISTIC CULTURE IN 11TH GRADE

Lesson topic: “Classicism in the architecture of Western Europe”

Lesson type : lesson introduction to new material

Lesson format: travel lesson using computer technology

Target : 1.Create conditions for students to become acquainted with the characteristic features of classicism architecture and form an idea of ​​the ceremonial official architecture of Versailles;
2. Contribute to the development of the ability to independently study the material and prepare it for presentation; continue to develop the ability to analyze a work of art;
3. Promote the cultivation of a culture of perception of works of art.

Equipment: “The Palace of Versailles” - a tour of the museum CD, audio recording of W.A. Mozart “Sonata No. 40”

During the classes

I Organizing time

Smile at each other and give your smiles to me and your friends. Thank you. Your smiles encourage pleasant communication and create a good mood.

II Setting a lesson goal

The ceremonial splendor and “empty tinsel” of the Baroque gave way to classicism - a new artistic style. Having studied ancient art and taking it as a model, the followers of classicism came to the conclusion that the true basis of human life is the mind.
... 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
This is how one of the ideologists of classicism, poet N. Boileau, taught his contemporaries.
Today we have a travel lesson and we will take a virtual tour of the grandiose palace and park ensemble of Versailles, get acquainted with the ceremonial official architecture and the characteristic features of classicism in architecture.
And today you will all help me, as you prepared a short message for the lesson.
III Learning new material

Write down the topic of the lesson.
Classicism manifested itself most clearly in works of architecture.

Classicism (Latin Classicus - exemplary) is an artistic style and aesthetic direction in European art of the 17th-19th centuries.

What patterns do you think this style followed?

Classicism was guided by the best achievements of ancient culture - the Greek order system, standards of harmony, simplicity, rigor, logical clarity and monumentality. Based on the ideas of Renaissance architects about the “ideal city,” the architects created a new type of palace and park ensemble, strictly subordinated to a geometric plan.
Characteristic of classicism compositions, restraint of decorative decoration, regular planning system and clarity of volumetric form.
Classicism is based on the ideas of rationalism and strict canons.

Our walk through Versailles has ended.
1) Why can Versailles be considered an outstanding work of classicism?
What are the main features of classicism?
What, in your opinion, distinguishes the buildings of classicism from the Baroque and Renaissance styles?
2) Work in pairs
Let's look at the paintings of the Russian artist A.N. Benois from the Versailles cycle. The King's Walk.
- How did Benoit convey the atmosphere of the court life of King Louis XIV in his paintings?
- Why can they be considered as symbolic paintings?

VLesson summary
Summing up the lesson, assessments
Was it interesting for you and that you learned something new for yourself, were you surprised by something?

VI.House. Exercise : 7.1, message “The history of one masterpiece (using the example of architectural monuments of Moscow and St. Petersburg)
In conclusion, let's take another look at the beauty of Versailles.
VII Reflection.

Suitcase. Continue the sentence. When leaving this lesson I will take with me...

The lesson is over.