Mhk classicism in the architecture of Western Europe. Baroque and Classical Architecture in Western Europe

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.

Baroque is associated with the Catholic Church, even the early name of this architecture sounded like “Jesuit style”. More restrained classicism was more suitable for Protestant countries, although France, along with England, was one of the countries where the style was born.

If Gothic expressed mysticism, Baroque - expression, then classicism is the embodiment of rationalism. Andrea di Pietro, who received the pseudonym Palladio(1508-1580), wrote four books about architecture, where he outlined the principles of architectural composition that he himself formulated. Appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity and monumentality was the dictate of the time and attracted many Italian architects, just remember Brunelleschi. But Palladio turned out to be faithful to the principles of antiquity to a much greater extent.

The architecture of classicism as a whole is characterized by regularity of layout and clarity of volumetric form. The harmony of the building is based on high stylobates and large orders. A stylobate in ancient architecture is the lower part of a building, the base on which a colonnade stands. Palladio called the order, symmetrical axial compositions and restraint of decoration the main features of the classical structure.

Classicism had national characteristics. Inigo Jones in England was closer to Palladio's models. In France, the influence of Italian Baroque and local Gothic traditions turned out to be stronger in the work of Nicolas François Mansart.

Inigo Jones(1573-1652) built the royal palace at Greenwich, decorated with a spiral "tulip-shaped" staircase rising directly to the oculus, covered with a glass frame. The Wilton estate gives the most complete idea of ​​Jones's style. A number of Jones's architectural finds were copied by J. Cameron at Tsarskoe Selo in Russia. Another follower of Palladio Christopher Wren(1632-1723) studied the orientation of the pillars of Stonehenge and formulated the idea of ​​strict orientation of city streets according to the cardinal directions. He is the author of the current version of St. Paul's Cathedral in Covent Garden. William Kent(1684-1748) laid the foundations of the English landscape park.

French architect Nicolas Francois Mansarou(1598-1666) was responsible for the development of a new type of urban dwelling for the nobility - a “hotel” - with a cozy and comfortable layout, including a vestibule, a main staircase, and a number of enfiladed rooms, often enclosed around a courtyard. A special feature of Mansar hotels is their high roofs, under which additional living space was located. The Maisons-Laffite Palace near Paris is an exemplary creation of the architect.

Mansart's innovation went hand in hand with his unceremonious attitude towards the construction budget. Over time, even the king of France found it unaffordable. Therefore, the design competition for the construction of Versailles was won by Louis Levo. He came up with the idea of ​​a freely formed living space of enfilade rooms due to numerous interior doors that can be opened or closed at the will of the owners (first used in the Lambert Hotel project), which became a characteristic feature of urban buildings of the 18th-20th centuries. Levo is the chief architect of Versailles.

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 Regency. 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!

At the forefront of the development of classicism was Napoleonic France, followed by Germany, England and Italy. Later this trend came to Russia. Classicism in architecture became a kind of expression of rationalistic philosophy and, accordingly, was characterized by the desire for a harmonious, reasonable order of life.

Classicism style in architecture

The era of classicism came at a very important period in European urban planning. At that time, not only residential units were built en masse, but also non-residential facilities and public places requiring architectural design: hospitals, museums, schools, parks, etc.

The emergence of classicism

Although classicism originated in the Renaissance, it began to actively develop in the 17th century, and by the 18th century it was already quite firmly entrenched in European architecture. The concept of classicism was to form all architectural forms in the likeness of ancient ones. The architecture of the era of classicism is characterized by a return to such ancient standards as monumentality, severity, simplicity and harmony.

Classicism in architecture appeared thanks to the bourgeoisie - it became its art and ideology, since it was antiquity that bourgeois society associated with the correct order of things and the structure of the universe. The bourgeoisie opposed itself to the aristocracy of the Renaissance and, as a result, opposed classicism to “decadent art.” She attributed such styles of architecture as Rococo and Baroque to such art - they were considered too intricate, lax, and nonlinear.

The ancestor and inspirer of the aesthetics of the classicism style is considered to be Johann Winckelmann, a German art critic who is the founder of the history of art as a science, as well as current ideas about the art of antiquity. The theory of classicism is confirmed and strengthened in his work “Laocoon” by the German critic-educator Gotthold Lessing.

Classicism in the architecture of Western Europe

French classicism developed much later than English. The rapid development of this style was hampered by adherence to the architectural forms of the Renaissance, in particular, the late Gothic Baroque, but soon the French architects surrendered to the onset of reforms in architecture, opening the way to classicism.

The development of classicism in Germany occurred rather undulatingly: it was characterized either by strict adherence to the architectural forms of antiquity, or by their mixing with the forms of the Baroque style. With all this, German classicism was very similar to classicism in France, so quite soon the leading role in the spread of this style in Western Europe went to Germany and its architectural school.

Due to the difficult political situation, classicism came to Italy even later, but soon after that it was Rome that became the international center of classicist architecture. Classicism also reached a high level in England as a design style for country houses.

Features of classicism in architecture

The main features of the classicism style in architecture are:

• simple and geometric shapes and volumes;
• alternating horizontal and vertical lines;
• balanced room layout;
• restrained proportions;
• symmetrical home decoration;
• monumental arched and rectangular structures.

Following the order system of antiquity, elements such as colonnades, rotundas, porticos, reliefs on the walls, and statues on the roof are used in the design of houses and plots in the classicist style. The main color scheme for the design of buildings in the classicist style is light, pastel colors.

Windows in the classicist style are usually elongated upward, rectangular in shape, without flashy design. The doors are most often paneled, sometimes decorated with statues in the form of lions, sphinxes, etc. The roof of the house, on the contrary, is of a rather intricate shape, covered with tiles.

The materials most often used to create houses in the classicist style are wood, brick, and natural stone. When decorating, gilding, bronze, carving, mother-of-pearl and inlay are used.

Russian classicism

Classicism in architecture Russia of the 18th century differs quite significantly from European classicism, since it abandoned the models of France and followed its own path of development. Although Russian architects relied on the knowledge of Renaissance architects, they still sought to apply traditional techniques and motifs to the architecture of Russian classicism. Unlike European classicism, Russian classicism of the 19th century, and later Russian Empire style, used military and patriotic themes in their design (wall decor, stucco molding, choice of statues) against the backdrop of the War of 1812.

The founders of classicism in Russia are considered to be Russian architects Ivan Starov, Matvey Kazakov and Vasily Bazhenov. Russian classicism is conventionally divided into three periods:

• early - the period when the features of Baroque and Rococo had not yet been completely supplanted from Russian architecture;
• mature - strict imitation of the architecture of antiquity;
• late, or high (Russian Empire style) - characterized by the influence of romanticism.

Russian classicism is also distinguished from European classicism by the scale of construction: it was planned to create entire districts and cities in this style, while new classical buildings had to be combined with the old Russian architecture of the city.

A striking example of Russian classicism is the famous Pashkov House, or Pashkov House - now the Russian State Library. The building follows the balanced, U-shaped layout of classicism: it consists of a central building and side wings (outbuildings). The wings are designed as a portico with a pediment. On the roof of the house there is a belvedere in the shape of a cylinder.

Other examples of buildings in the classicist style in Russian architecture are the Main Admiralty, Anichkov Palace, Kazan Cathedral in St. Petersburg, St. Sophia Cathedral in Pushkin and others.

You can find out all the secrets of the classicism style in architecture and interior in the following video:

MHC, 11th grade

Lesson #7

Classicism

D.Z.: Chapter 7, ?? (p.72-73), TV. assignments (p.73-75)

© A.I. Kolmakov

LESSON OBJECTIVES

• Introduce students with the characteristic features of classicism architecture and form an idea of ​​the ceremonial and official architecture of Versailles;
• Develop skill independently study the material and prepare it for presentation; continue to develop the ability to analyze a work of art;
• Bring up culture of perception of works of art.

CONCEPTS, IDEAS

• architect;
• classicism architecture;
• Louis Levo;
• Jules Hardouin-Mansart;
• André Le Nôtre;
• Grand Palace of Versailles;
• Charles Lebrun;
• Mirror Gallery;
• tapestry;
• landscape parks;
• Empire;
• neoclassicism;
• Church of Saint Genevieve

Testing students' knowledge

1 . What is the aesthetic program of the art of classicism? What are the connections and differences between the art of classicism and baroque?

2. What examples of Antiquity and the Renaissance did the art of classicism follow? What ideals of the past and why did he have to give up?

3. Why is Rococo considered the style of the aristocracy? What features of it corresponded to the tastes and moods of its time? Why was there no place in it for the expression of civic ideals? Why do you think the Rococo style reached its peak in the decorative and applied arts?

4. Compare the basic principles of Baroque and Rococo. Is it possible

5*. On what ideas of the Enlightenment was sentimentalism based? What are its main focuses? Is it right to consider sentimentalism within the framework of the great style of classicism?

Universal learning activities

• summarize and systematize knowledge   describe and analyze        prepare a correspondence excursion  carry out comparative analysis 
• summarize and systematize knowledge about the development paths and artistic principles of classicism architecture;
•  carry out comparative analysis architectural structures of classicism and baroque;
•  describe and analyze architectural monuments of classicism in the unity of form and content;
•  develop an individual creative project architectural structure in the traditions of classicism;
•  appreciate the value of creativity an individual architect in the history of Western European art;
•  list characteristics individual author's style;
•  talk about prominent Western European figures architecture of the era of classicism;
•  express your own reasoned opinions about the artistic merits of specific works of architecture from the era of classicism;
•  identify historical background the emergence of the Empire style in Western European art;
•  prepare a correspondence excursion on Versailles (architectural ensembles of Paris);
•  carry out comparative analysis interior design of Fontainebleau and the Mirror Gallery of Versailles;
•  establish associative connections between the works of classicism architecture and their pictorial interpretation in the works of A. N. Benois

LEARNING NEW MATERIAL

• "Fairytale Dream" of Versailles.

Lesson assignment. What is the significance of classicism in the architecture of Western Europe for World civilization and culture?

sub-questions

• "Fairytale Dream" of Versailles. Characteristic features of classicism architecture. Creation of a new type of palace ensemble. Versailles as a visible embodiment of the ceremonial official architecture of classicism.
• Architectural ensembles of Paris. Empire style The beginning of work on the redevelopment of Paris. Neoclassicism is a new stage in the development of classicism and its spread in European countries. Characteristic features of the Empire style (based on the example of famous architectural monuments)

On the issue of 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 E. L. Linetskaya)

This is how one of the main ideologists taught his contemporaries

classicist poet Nicolas Boileau (1636-1711). Strict rules

classicism was 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 palaces and ensembles of Paris...

On the issue of classicism

in the architecture of Western Europe

Classicism was most clearly manifested in works of architecture focused on the main achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the overall plan .

"Strict style" of classicism architecture, it seemed, was intended to visually embody his ideal formula of “noble simplicity and calm grandeur.”

The architectural structures of classicism were dominated by simple and clear forms, calm harmony of proportions . Preference was given straight lines, unobtrusive decor, repeating the outline of the object . Affected everything simplicity and nobility of decoration, practicality and expediency .

On the issue of classicism

in the architecture of Western Europe

"Fairytale Dream"

Versailles.

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

“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

the scale of the regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors.

Palace and park of Versailles. General

view. 1666-1680

One hundred hectares of land in an extremely short time (1666-1680) were turned into a paradise intended for the French aristocracy.

"Fairytale Dream"

Versailles.

Louis Levo

Jules Hardouin-Mansart

In creating the architectural appearance of Versailles

architects participated Louis Levo (1612-1670),

Jules Hardouin-Mansart (1646-1708) and Andre Le Nôtre

(1613-1700). Over the years they have done a lot

rebuilt and changed its architecture, so

that at present it is a complex fusion of several architectural styles, preserving

characteristic features of classicism.

Andre Le Nôtre

"Fairytale Dream"

Versailles.

Versailles

Grand Palace

First decorated with rustication on the model of Italian palaces-palazzos of the era

Renaissance. On the second , front, are high

arched windows flanked by Ionic columns and pilasters. The building's crowning tier imparts monumentality to the appearance of the palace: it is shortened and ends with sculptural

groups. The rhythm of windows, pilasters and columns on the facade emphasizes

its classical severity and splendor.

Occupies a dominant position over the area. Facade (almost 500 m) is divided into a central part and two side wings - risalit and, giving it a special solemnity. 3 floors.

"Fairytale Dream"

Versailles.

Interiors of the Grand Palace of Versailles

Interiors The Great Palace is decorated in Baroque style: they abound in sculptural decorations, rich decor om in the form of gilded stucco 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 the king

Louis XIV.

Massive bronze chandeliers with gilding complete the

impression of wealth and luxury.

"Fairytale Dream"

Versailles.

Palace of Versailles

The halls of the palace (their about 700 ) form infinite enfilades and are intended for ceremonial processions, magnificent celebrations and masquerade balls. In the largest main hall of the palace - 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.

Mirror gallery

"Fairytale Dream"

Versailles.

Versailles Park

In vases (there were

near 150 thousand ) there were fresh flowers that changed like this

so that Versailles is in constant bloom at all times

of the year.

The decorative compositions amazed us with their ceremonial splendor Charles Lebrun (1619-1690) at Versailles and the Louvre. Proclaimed by him "method of depicting passions" 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 tapestry ov (hand-woven carpets, pictures, or trellis ) and the head of all decorative work at the Palace of Versailles.

"Fairytale Dream"

Versailles.

Pool n Latona.

Fountains of Versailles

palace 1689

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 brave 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

Paris. Empire style

Place de la Concorde.

After the completion of the main construction work in Versailles, at the turn of the 17th-18th centuries, Lenotre launched active efforts to redevelop Paris. He carried out the breakdown a park A Tuileries, 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 Place de la Concorde .

The major axis of Paris gave a completely different interpretation of the city that met 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.

Architectural

ensembles

Paris. Empire style

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 - neoclassicism - and its distribution in European countries.

After the 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 striking expression in empire style e. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, appeal to art

Imperial Rome and Ancient Egypt, using attributes of Roman military history as the main decorative motifs .

Place de la Bastille.

Architectural

ensembles

Paris. Empire style

Style 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 spaces were created everywhere

squares, wide streets and avenues, bridges, monuments and public buildings were erected, demonstrating imperial grandeur and power.

Versailles, Grand Palace

Architectural

ensembles

Paris. Empire style

Church of Saint Genevieve , erected J.J. Soufflot , has become Pantheon om - the resting place of the great people of France.

One of the most spectacular monuments of that time is the column

Great Army on Place Vendôme . Likened to the ancient Roman column of Trajan, it should have been, according to the architects' plans J. Gondoin and J. B. Leper , to express the spirit of the New Empire and Napoleon's thirst for greatness.

J. J. Soufflot. Church of Saint Genevieve (Pantheon). 1758-1790 Paris

Architectural

ensembles

Paris. Empire style

Vendôme

square.

Paris

The decor of palaces was often overloaded with military paraphernalia. The dominant motifs were contrasting color combinations and 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.

In the bright interior decoration of palaces and public buildings, solemnity and majestic pomp were especially highly valued.

Architectural

ensembles

Paris. Empire style

Interiors

Louvre

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

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

Peculiarities

classicism

in architecture

Late classicism – empire style - style in architecture, decorative, applied and fine arts of the first third of the 19th century in European countries, which completed the development of classicism

Peculiarities

classicism

in architecture

Rizalit (projection) - part of a building protruding beyond the main line of the facade

Bosquet (forest, grove) - a row of wall-forming, closely planted, evenly trimmed trees or shrubs

herms (tetrahedral pillars topped with a head or bust)

Peculiarities

classicism

in architecture

Desudeport (top)- a picturesque sculptural or carved composition of a decorative nature, located above the door and being an organic part of the interior

Pergola (canopy, extension) - a gazebo or structure consisting of arches or paired pillars placed one behind the other, connected at the top with a wooden sheathing, lined

climbing plants along the paths of parks and gardens.

Peculiarities

classicism

in architecture

Gazebo - round superstructure in the form of a pavilion or gazebo

Enfilade (string on a thread) - a series of rooms located sequentially one after another, the doorways of which are located on the same axis

Control questions

1. Why can Versailles be considered an outstanding work? Explain your answer.

2. How the urban planning ideas of classicism of the 18th century. 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, for example Piazza del Popolo (see p. 74)?

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

4. 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?

2. Try to compare the image of the “Ideal City” of the Renaissance with the classic ensembles of Paris (St. Petersburg or its suburbs).

3. Compare the design of the interior decoration (interiors) of the Francis 1 Gallery in Fontainebleau and the Gallery of Mirrors at Versailles.

4. Get acquainted with the paintings of the Russian artist A. N. Benois (1870-1960) from the series “Versailles. The King's Walk" (see p. 74). How do they convey the general atmosphere of the court life of the French king Louis XIV? Why can they be considered as unique paintings-symbols?

Topics of presentations, projects

• “The formation of classicism in French architecture of the 17th-18th centuries”;
• “Versailles as a model of harmony and beauty of the world”;
• “A walk through Versailles: the connection between the composition of the palace and the layout of the park”;
• “Masterpieces of Western European Classicism Architecture”;
• “Napoleonic Empire in the architecture of France”;
• “Versailles and Peterhof: comparative experience”;
• “Artistic discoveries in the architectural ensembles of Paris”;
• “The squares of Paris and the development of the principles of regular city planning”;
• “Clarity of composition and balance of volumes of the Cathedral of the Invalides in Paris”;
• “Place de la Concorde is a new stage in the development of urban planning ideas of classicism”;
• “The harsh expressiveness of the volumes and the sparse decor of the Church of Saint Genevieve (Pantheon) by J.J. Soufflot";
• “Features of classicism in the architecture of Western European countries;
• "Outstanding architects of Western European classicism."

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Literature:

• Programs for general education institutions. Danilova G.I. World artistic culture. – M.: Bustard, 2011
• Danilova, G.I. Art / MHC. 11th grade Basic level: textbook / G.I. Danilova. M.: Bustard, 2014.
• Moroz Irina Vasilievna, http://infourok.ru/prezentaciya_po_mhk_klassicizm_v_arhitekture_zapadnoy_evropy_11_klass-163619.htm