German architects of the Renaissance. School encyclopedia
1 - German Renaissance
From the beginning of the century until the end of the Thirty Years' War, the German Renaissance style dominated the architecture of German cities, with frequent Gothic elements and a strong Italian influence. The most outstanding German architects of this era are considered to be Paul Franke, Heinrich Schickhardt and Elias Goll
Among the horrors of the Thirty Years' War, economic, spiritual and artistic life German Empire. Change trade routes, which now, after the great discoveries on the other side of the ocean, bypassed their former hubs, the art-rich Upper German cities, and directed towards the coastal cities of northwestern Europe, contributed to the economic and artistic impoverishment of the German states. In the middle of the 17th century, Germany in all areas higher culture was likened to a desert, in the sands of which only isolated springs, fed from afar, made their way. The few skilled artists whom Germany produced at this time became foreigners in the foreign lands whither their earnings attracted them. But even before the end of the Thirty Years' War, crowds of foreigners were summoned to Germany by spiritual and secular princes, who only partially took the interests of art to heart; in the Catholic south it was mainly Italians, in the Protestant north the Dutch, and in the end both there and here mainly French. With the help of these foreign masters, their artists again rose to creative power and independent results only on the transition to XVIII century. If German art of the first decades of the 17th century still belongs to the German Renaissance, grasping at its shoots, then history German art the end of the 17th century cannot be separated from its history in the 18th century, since both constitute one historical whole. To trace the artistic successes of our fatherland throughout the seventeenth century is not so gratifying as it is instructive, although there will still be no shortage of comforting old memories or hope for the future.
In all areas of church and secular architecture at the beginning of the 17th century, only a few buildings appeared that represented the brilliant successes of the “German Renaissance”. They constantly mix together Gothic experiences with individual motifs Italian Renaissance, even Italian Baroque, independently reworked in northern taste. Nordic scrollwork and wrought iron still occupy a significant place in the decoration of the building, if they are not outweighed by the Italian sense of form. In the second decade, these forms of jewelry, based on the shapes of volutes in the form of the auricle, used in different positions, begin to turn into fleshy, as if muscular, somewhat shapeless formations, called “cartilage.” They are most clearly shown in the book of samples by Rutger Kassmann (1659). Posterity reacted, perhaps, too negatively to the aesthetic dignity of these “cartilages”, which took over the frames and narrow fields of the walls and turned inclined forms into outgrowths in the grotesque style. Yet they dominated as German uniform decorations for about a generation, only to disappear again after the Thirty Years' War.
Rice. 181 - Cartilaginous ornament from the "Book of Designs" by Rutger Kassmann
The works of three skilled German architects, who stood at the height of their creative power around 1600, best introduce us to the German late Renaissance. The oldest of them, Paul Franke (circa 1538-1615), a gifted architect for Duke Henry Julius of Brunswick-Wolfenbüttel, still essentially belongs to XVI century; Even in this century, his university building (Uleum) in Helmstedt (1592-1597) arose - a tall building, decorated in both main floors only on the portals and windows, the three-story roof pediment of which is all the more richly decorated with pilasters, niches and statues on the narrow and long sides His second main building, the Church of Mary in Wolfenbüttel (from 1608), was built in the 17th century and is essentially a three-nave Gothic hall church, some of whose forms are borrowed from the Renaissance and Baroque. How unique are the capitals of the octagonal pillars! How free and luxurious the openwork of the windows is! How tense are the “cartilages” of the frames of the longitudinal sides of the pediment, completed, however, after the death of the master.
Second famous architect of this era, Heinrich Schickhardt (1558-1634), architect to Duke Frederick of Württemberg, with whom he visited in 1599-1600. Italy, in his diaries and projects stored in the Stuttgart library, is more vital than in the surviving buildings; but we know that he, a student of Georg Behr, built many useful and art buildings, churches, castles and simple houses. Upon his return from Italy, he developed to artistic independence. Unfortunately, his main work - "New Building" ("Neue Bau"; 1600-1609) of the Stuttgart castle - has survived only in images. The high basement floor of this building carried three more floors under a steep roof. Only the four corner towers and the middle risalit (ledge) with a high pediment were decorated with pilasters. But all the windows and doors are topped with baroque flat pediments with volutes. In general, it gives almost the same impression as a modern city house with apartments.
Another main job Schickhardt founded the “City of Friendship” (“Freudenstadt”) at the height of the Black Forest, intended to shelter Protestant fugitives from Austria. The houses of the large market square (1602), facing the street with a pediment, rest on Doric colonnades. Four corner buildings cut off at right angles - the town hall, Gostiny Dvor, hospital and church - rest on arcades with Ionic columns. Opposite the narrow side of both wings of this peculiar church is a bell tower with a raised dome and a narrowed lantern. Emporas rest on arcades visible from the outside; the mesh vault and the openwork decorations of the balustrades also give a Gothic impression.
Only the third of these architects, Elias Goll of Augsburg (1573-1646), completely abandoned the Gothic language of forms. His autobiography, published by Christian Meier, already ensured his fame in posterity. His art was critically illuminated by Julius Baum. Gaul returned from Italy to Augsburg in 1601, a year later than Schickhardt, and built here in strict style semi-baroque Italian late Renaissance, without abandoning its basic Germanic mood. In the art of dismembering and reviving the general masses, he surpassed all his German contemporaries. Gaulle's buildings gave Augsburg a new imprint, which it still retains to this day. His "Beckenhaus" (1602) carries, like a corner building, above classical facades with pilasters, and on both the narrow and long sides, Germanic high pediments. The magnificent armory (1602-1607) rises to the flat arch of its broken crowning pediment in five richly dissected floors. Strong impression produces Doric, columned, with rustic finishing, portal. Fantastic are the broken pediment frames, in a Baroque style, connecting the round windows on the first upper floor with the square ones placed below them. The butcher shop building (Fleischhaus; 1609), which is only vertically dissected, looks massive and solid, a strong building characteristic of Gaulle’s style, which rejects any borrowing from foreign models. The elongated living room at the wine market (1611) even refuses any added pediments and, dissected only by windows like dormer windows, is concentrated, complete and complete in itself. But my full force Elias Gaulle deployed the town hall (1614-1620). The completed project has the advantage over the earlier, abundant Upper Italian colonnades that it is a true work of the Germanized late Renaissance. With a width of fourteen windows, it has seven rows of windows one above the other in the middle risalit, topped with a half-barred triangular pediment. Pilasters adorn only the two octagonal towers on either side of this pedimented superstructure. Apart from the latter, the massive building is divided in powerful proportions into three parts, both vertically and horizontally.
TEST
in the discipline “History of Architecture and Construction Technology”
FULL NAME. student: Shcherbinin Sergey Andreevich
Grade book no.
Direction
Teacher: Danielyan Arthur Surenovich
Krasnodar 2013
1. Introduction 3
2. “Renaissance” architecture 4
3Renaissance architecture in Germany 5-20
4. Literature 21
Introduction.
Architecture is the art of constructing buildings and structures, as well as their complexes, creating a materially organized environment, necessary for people for their life and activities in accordance with their purpose, modern technical capabilities and the ethical view of society.
At each stage of the development of human experience, architecture has developed depending on material, social and climatic conditions, as well as in direct connection with national characteristics everyday life and artistic traditions, highly valued by all the people.
Since ancient times, functional, technical and architectural-artistic requirements have been applied to architecture, so more than 2 thousand years ago the ancient Roman theorist Vetruvius said that architectural structures must have 3 qualities:
1 – benefit;
2 – strength;
3 – beauty.
However, in architecture, the defining requirement in all cases must be complete, i.e., in accordance with the functional process occurring in the useful buildings, while the structures and the entire technical structure of the building must be selected taking into account functional and architectural-artistic terms.
Artistic merits structures consist not only in its decoration, modeling, ornament, sculpture and the like, but first of all in the expressiveness of the entire composition, i.e., the general interconnected grouping of the external, internal volumes of the building and the environment.
IN test work I want to talk about the Renaissance in the Netherlands. Show and briefly talk about architectural buildings of the selected period, name outstanding architects.
"Renaissance" architecture:
Renaissance architecture - the period of development of architecture in European countries from the beginning of the 15th century to early XVII century, in the general course of the Renaissance and the development of the foundations of spiritual and material culture Ancient Greece and Rome. This period is turning point in the History of Architecture, especially in relation to the previous architectural style, Gothic. Gothic, unlike Renaissance architecture, sought inspiration in its own interpretation of Classical art.
Special meaning in this direction is given shape ancient architecture: symmetry, proportion, geometry and order components, as is clearly evidenced by surviving examples of Roman architecture. The complex proportions of medieval buildings are replaced by an orderly arrangement of columns, pilasters and lintels; asymmetrical outlines are replaced by a semicircle of an arch, a hemisphere of a dome, niches, and aedicules. Architecture is becoming order-based again.
The development of Renaissance Architecture led to innovations in the use of construction techniques and materials, and to the development of architectural vocabulary. It is important to note that the revival movement was characterized by a move away from the anonymity of artisans and the emergence of a personal style among architects. There are few known masters who built works in romanesque style, as well as the architects who built the magnificent Gothic cathedrals. While the works of the Renaissance, even small buildings or just projects were carefully documented from their very appearance.
The first representative this direction One can name Filippo Brunelleschi, who worked in Florence, a city, along with Venice, considered a monument of the Renaissance. Then it spread to others Italian cities, to France, Germany, England, Russia and other countries.
Renaissance architecture in Germany.
Controversies social development Germany are reflected in German architecture 15th century. As in the Netherlands, there was not that decisive turn to new figurative content and a new language of architectural forms that characterizes the architecture of Italy. Although Gothic as dominant architectural style was already on its way out, its traditions were still very strong; the vast majority of buildings are from the 15th century. to one degree or another bears the imprint of its influence. The sprouts of the new were forced to break through a difficult struggle through the thickness of conservative layers.
The share of monuments of religious architecture in Germany in the 15th century. was larger than in the Netherlands. The construction of grandiose Gothic cathedrals, begun in previous centuries (for example, the cathedral in Ulm), was still ongoing and completed. The new temple buildings, however, were no longer distinguished by such a scale. These were simpler churches, mostly of the hall type; naves of the same height in the absence of a transept (which is typical for this period) contributed to the merging of their internal space into a single visible whole. Special attention was given to the decorative design of vaults: mesh and other vaults predominated complex drawings. Examples of such structures are the Church of Our Lady in Ingolstadt (1425 - 1536) and the Church in Annaberg (1499-1520). The extensions to old churches are also characterized by a single hall space - the choir of the Church of St. Lawrence in Nuremberg and the choir of the Church of Our Lady in Esslingen. Sami architectural forms acquired greater complexity and whimsicality in the spirit of “flaming” Gothic. An example of the decorative richness of forms, already far from the previous strict spiritualism, can be considered the cloister of the Cathedral in Eichstätt (second half of the 15th century).
