Vbulletin style of architecture of the 19th century. Russian architecture of the late XIX - early XX centuries

Concept "culture" derived from Latin word cultura, meaning “cultivation”, “processing”. IN in a broad sense By culture we mean what is created by the physical and mental labor of people. In a narrower sense, culture is the sum of the achievements of society, its material, ideological and moral conditions of life, manifested in everyday life, ideology, education, upbringing, in the phenomena of science, art, and literature. But often the concept of “culture” is used to refer primarily to artistic creativity.

Russia, located at the junction of East and West, in contact with different peoples, beliefs, traditions, has always been under the influence of various, often very dissimilar cultural influences. Some things took root on Russian soil, but many things were rejected. The same, it remained in Russia (Christianity, writing, some forms of government, methods of organizing scientific activity, etc.), adapted to domestic conditions and ultimately acquired truly national features.

By the beginning of the 19th century. Russia was a country with a special cultural life. The upper strata of society (nobility, bureaucrats, rich merchants) built their lives in accordance with the norms common in the West. Having an excellent command of foreign languages ​​(mainly French and German), representatives of these community groups had the opportunity to get acquainted with the latest European achievements.

It was imported to Russia great amount a variety of books and magazines from France, Germany and Great Britain, which gave an idea of ​​the political and public life these countries, about the latest scientific discoveries and the most important technical inventions. IN mid-19th V. Subjects of the Russian Tsar could often be found in the largest cities of Europe. Sometimes the state of affairs in France, England and Germany was much better known to them than the state of affairs in their homeland, which they saw less often than Europe. Part of the aristocracy became so Europeanized that for them French, at that time the language of international communication, became their native language. A considerable number of nobles used the Russian word and writing with great difficulty.

The bulk of the population of Russia - the Russian peasantry - in the first half of the 19th century. did not experience any influence of European morals, fashions and habits. For him, there was a traditional Russian world that lived according to its own laws. Most of the population of the Russian Empire at that time could neither read nor write. But this did not mean that ordinary Russian people were outside the culture. They had their own specific culture, a primordial system of ideas and spiritual values ​​developed over centuries.

The Russian Orthodox Church, its rituals, creeds and sacraments raised people above everyday worldly concerns and taught them to look at the world as God's creation. Unlike the nobility, many of whose representatives actually broke with the Church, simple people They maintained their commitment to faith in the teachings of Jesus Christ and faith in the king, God’s anointed. None of the doubts and discontent inherent in the nobility on this score penetrated their souls.

The people created their own wonderful fairy tales, epics, songs, and made a wide variety of products from leather, wood, flax, stone, and metals. And he put his soul into these creations. This was the culture of life of the Russian people, their spiritual world. And when, during the reign of Nicholas I, the Slavophile nobles began to study and promote this colorful, unknown world to many, a considerable number of people were surprised to learn that, it turns out, there were completely original, unique examples of cultural wealth next to them. Golden age of Russian culture. In the first half of the 19th century. so-called educated society began to realize the importance of Russia's cultural identity. This period was marked by the emergence of creators who bridged the old cultural gap between the top and bottom of society. Their work has become a truly national phenomenon. This time will later be called golden age of Russian culture. The names of A: S. Pushkin, N.V. Gogol, M. Yu. Lermontov forever became a symbol of the stork achievements of Russian culture.

Literary critic and poet A. Grigoriev wrote: Pushkin-G- our everything. And there was no exaggeration in this statement. Pushkin is the pinnacle of human talent. He is a poet, a writer, a thinker, and a historian. He actually became the founder of the modern Russian literary language. Everything he touched, everything he wrote and thought about, turned under his pen into a true masterpiece. Pushkin was a Russian genius who raised Russian culture to universal heights and forever established it as one of the most important components of the world cultural heritage of mankind.

Academician D.S. Likhachev wrote: Pushkin is a genius who managed to create the ideal of a nation. Don't just "display" national peculiarity Russian character, but to break the ideal of Russian nationality, the ideal of culture. A. S. Pushkin (1799-1837) born in Moscow. The Pushkin family of nobles was old and eminent.

The poet's mother was the granddaughter of Ibrahim Hannibal, a native of Northern Abyssinia, who was one of the closest associates of Peter I. Pushkin immortalized him in the story Moor of Peter the Great. Alexander's childhood was spent partly in Moscow, partly on the Pushkin estates near Moscow. He was raised, like many other noble children, under the guidance of foreign tutors. IN early years he knew French incomparably better than Russian. Big influence to develop in him a love for everything Russian and an understanding folk life and the culture was provided by his nanny, the peasant woman Arina Rodionovna, who doted on her pupil. She told him folk tales, legends, and sang Russian songs. Much of what the poet heard from nanny Arina later sounded in his wonderful works. Written in verse The Tale of the Priest and his Worker Balda, The Tale of Tsar Saltan, The Tale of the Fisherman and the Fish, The Tale of the Dead Princess and the Seven Knights, The Tale of the Golden Cockerel have become favorites for many generations of Russian people.

The works of A. S. Pushkin reflect all the most significant events of Russian life. Pushkin's philosophy of history, his thoughts about its progressive development, about the life of Russian society and many pressing issues of our time found their most vivid embodiment in the tragedy Boris Godunov, in poems Bronze Horseman And Poltava, novel in verse Eugene Onegin, in the novel Arab of Peter the Great, stories Dubrovsky, The Captain's Daughter and others. The poet also proved himself as a historian-researcher. His Pugachev's story And History of Peter I- serious scientific work.

The works of A. S. Pushkin are imbued with deep love for the Motherland. The poet responded vividly to the most important social and state problems of contemporary life, and showed himself to be a resolute opponent of serfdom:

Will I see an unoppressed people And slavery, fallen to the king’s mania...

He was a great Russian patriotic poet who knew the culture of his people well and valued the honor and glory of his Motherland. In the fall of 1836, in a letter to P. Ya. Chaadaev, A. S. Pushkin wrote: Although personally I am heartily attached to the sovereign, I am far from admiring everything that I see around me; As a writer - I am irritated, as a person with prejudices - I am offended - but I swear on my honor that for nothing in the world I would not want to change the Fatherland or have a different history other than the history of our ancestors, the way God gave it to us.

N.V. Gogol (1809-1852) born in the town of Sorochintsy in the Poltava province in a poor noble family. The childhood years spent in Ukraine, folk life, and the culture of the Ukrainian people were forever imprinted in Gogol’s memory and later reflected in vivid literary works - collections of stories Evenings on a Farm Near Dikanka And Mirgorod.

The first part of the book “Evenings on a farm near Dikanka” immediately attracted the attention of the capital’s writers. Having moved to St. Petersburg in 1828, Gogol met V. A. Zhukovsky, A. S. Pushkin and other writers. Gogol's undoubted talent received universal recognition. After the second part of “Evenings on a Farm near Dikanka” was published in 1632, Gogol’s name gained wide popularity. In St. Petersburg, Gogol was formed as great master, became a real Russian writer.

In the 1830s. Gogol came up with the idea of ​​two of their works. They will later become a comedy Auditor and poem Dead Souls, the plots of which were suggested to Gogol by L. S. Pushkin.

The writer finished working on the comedy “The Inspector General” in 1836. The author dreamed of staging it on stage for the general public. But the influential metropolitan bureaucratic world saw in Gogol’s play attacks on government the author was accused of slander against Russia. If the emperor had not intervened, the play would not have reached the audience. Having familiarized himself with The Inspector General, Nicholas I authorized the theatrical production. The king saw and knew that in public administration the country has many shortcomings, and considered it necessary to fight this evil, including publicly ridiculing it.

The play "The Inspector General" produced strong impression on contemporaries. I've never seen anything like it before theater stage. Russian reality was portrayed in it with such talented strength and brightness that although, as Gogol himself said, it was only about six provincial officials who turned out to be rogues, many were indignant. The comedy met with a lively and sympathetic response among those who advocated a change in general political conditions and for publicly exposing the shortcomings of public administration.

In 1836, N.V. Gogol went abroad, where he stayed with short breaks almost until his death. He lived mainly in Italy, where he worked on his largest work - the poem “Dead Souls”, in which he put his most cherished thoughts about historical destinies Russia. In 1841 he completed the first volume, which was published under the title The Adventures of Chichikov, or Dead Souls.

In the 1840s. serious changes occurred in the writer’s worldview. Gogol found himself in the grip of a mental crisis, a serious reassessment of values, and deep reflections on his experiences. These moods of spiritual unsettlement, humility before life's adversities, the book is full of dissatisfaction with what he created in literature 4 Selected passages from correspondence with friends.

As soon as this essay appeared, there was a sharp reaction from those who imagined themselves as “a fighter for progress, for bright ideals.” This indignation was reflected in an aggressive letter from V.G. Belinsky, who mercilessly branded Gogol as an apostate. The writer’s thoughts are that everything that happens in life should be accepted. Belinsky perceived Lermontov with humility as reactionary, believing that the great writer “got lost” and “betrayed.”

These attacks had a depressing effect on Gogol. Signs of a new exacerbation of his mental illness appeared; Gogol was tormented by premonitions of imminent death.

N.V. died Gogol in Moscow and was buried in the cemetery of the Danilov Monastery. The words of the prophet Jeremiah were placed on the tombstone: They will laugh at my bitter words. In 1931, Gogol's remains were transferred to the Novodevichy cemetery.

Among the remarkable talents of the golden age of Russian culture is the name M.Yu.Lermontov (2814-1841). He lived a short life, but immortalized himself with poetic and prose works that became true classics of Russian literature.

Nature endowed M. Yu. Lermontov with various talents. He possessed rare musicality - he played the violin and piano masterfully, sang arias from Italian operas, and composed music. He drew and painted in oils, and if he had devoted himself to painting, he could have become a famous artist. He easily solved complex mathematical problems and was known as a strong chess player. He was well educated, knew several foreign languages. Everything came quite easily to him, but poetry and literature became the need of his soul.

Throughout reading Russia, M. Yu. Lermontov became known for his works Death of poet And Borodino Voldanny in 1837

The poem “The Death of a Poet,” written immediately after the death of A. S. Pushkin, has gone viral. This is a lyrical monologue of young Lermontov about tragic fate Pushkin the Poet.

The poem "Borodino" was published. An old soldier, an honored warrior, a participant in the Battle of Borodino, on whose behalf the story is told, recalls one of the most heroic pages in the history of the Motherland.

The work of M. Yu. Lermontov determined the post-Pushkin stage in the development of Russian poetry.

The fate of the Motherland and the poet’s thoughts about them are reflected in many of the poet’s works (Again folk twists... Farewell, unwashed Russia... Motherland o Leaf and etc.).

Lermontov's poems and poems are filled with his spiritual quests, dreams, impulses, moods and at the same time sober, fearless introspection, self-knowledge. These are reflections on eternal questions human existence. These are the poems Mtsyri And Daemon, poems Parus, I go out alone on the road..., “And it’s boring and sad..., Stanzas, Duma, Prophet and etc.

The most significant work of M.Yu. Lermontov - novel Hero of our time, the plot of which was the vicissitudes of life young nobleman, officer Grigory Aleksandrovich Pechorin, a gifted, thoughtful man with a strong will. The writer is interested in this rich, deep human personality, which cannot find application for its powerful powers, its stormy passions.

Maintained its position in architecture and sculpture classicism with his close attention to the ancient heritage as the norm and ideal model. In architecture, its pinnacle was the style empire style which was expressed in massive forms with the presence of sculptures that complemented the architectural design of the buildings. Urban planning fantasy in architecture has acquired unprecedented scope. First third XIX V. became the highest phase in the almost century-long development of Russian classicism architecture. The biggest achievements are related to creativity O. Montferrand, A. N. Voronikhin, A.D. Zakharova And K. Rossi.

Through their efforts, the center of St. Petersburg acquired its unique appearance, formed not as a sum of individual buildings, but as a cycle of spaces. Communicating with each other Palace, Admiralteyskaya, Senate squares along with the area Exchanges, of which he was the architect J. Thomon (1760-1813), formed a unique, grandiose system of architectural and spatial complexes.

Among the most outstanding architectural monuments of the first half of the 19th century. relates huge Saint Isaac's Cathedral in St. Petersburg, built from 1818 to 1858 according to the design of a French architect O. Montferrand (1786-1858), The cathedral personified the power and greatness of Orthodoxy, the strength of Russia, which, according to the ideas of the Russian Church, became, after the fall of Byzantium, the bearer of the true (Orthodox) faith of Christ.

In 1834, an unusual monument was opened in the center of St. Petersburg - Alexander Column, created according to the project of O. Montferrand. The monument is dedicated to the victories of Russian weapons in the war with Napoleon. The colossal granite monolith was 25.6 m in height and weighed over 600 tons with a total height of the structure of 47.5 m. The figure of an angel crowning the column was made by a sculptor B.I. Orlovsky (1796-1837).

Even earlier, in 1811, on the main thoroughfare of St. Petersburg, Nevsky Prospekt, the architect A. N. Voronikhin (1759-1814) completed construction Kazan Cathedral. On the square in front of the Kazan Cathedral there are

made by a sculptor B. I. Orlovsky statues of M. I. Kutuzov and M. B. Barclay de Tolly, which organically combined psychologism, concrete images with the rigor and majesty inherent in classicism. In 1813, the commander-in-chief of the Russian troops was buried in the cathedral. Patriotic War 1812 Field Marshal M.I. Kutuzov. B. I. Orlovsky also owned the building design Mountain Cadet Corps(Mining Institute), marked by monumental and strict solemnity.

Among the most significant architectural monuments Petersburg of that time there is also a building Imperial Hermitage(architect L. von Klenze, 1784-1864), which became the main Russian museum, containing the richest art collections. But by the will of Emperor Nicholas I in 1852, the collection of works of art was opened for free viewing by everyone. The Hermitage became the first publicly accessible museum in Russia.

The scale of the concept amazes the creations K. I. Ross (1775-1849). His first major work in St. Petersburg was the construction of the Grand Duke Mikhailovsky Palace, now the building State Russian Museum. Rossi's ideas were also embodied in the construction of the ensemble Alexandrinsky Theater And Palace Square with buildings and arch of the General Staff building, the colossal arc of which borders Palace Square. The triumphal arch became the culmination of the entire architectural composition, conceived as a monument to the heroic glory of the Russian people, victorious in the War of 1812.

The building was a masterpiece of Russian architecture Admiralty. During its construction, the solution to a complex set of urban planning problems, proposed by the architect A. D. Zakharov (1761 -1811), turned out to be amazingly accurate.

In the capital of Russia, Moscow, remarkable buildings are also appearing.

Designed by an outstanding architect O. I. Bove (1784-1834) in 1814 it was reconstructed Red Square. The old shopping arcade building opposite the Kremlin wall has acquired a new architectural appearance. It turned into horizontally elongated buildings, creating an expressive contrast with the skyward Kremlin towers.

In 1816, Beauvais created a plan for a classical ensemble Theater Square. Here in 1825 it opened its doors to the public Big theater, built according to the design of O.I. Bove and became one of the largest theater buildings in the world.

A space of squares was organized, which included Kraspaya, Teatralnaya, Manezhnaya Square. All this indicated that the architects of the first half of the 19th century. I thought big - they saw a single building or a group of buildings! in the spatial scope of the street, square, and city as a whole. This predetermined the length of the facades characteristic of Empire architecture. | In 1817, the opening of a huge building took place Manege, intended for military reviews, parades and exercises. It could easily accommodate an infantry regiment (2 thousand people). The project was carried out under the guidance of an engineer A. A. Betancourt, and the decoration of the facade belonged to O. I. Bove. According to the project O. I. Bove was broken Alexander Garden at the Kremlin wall, he created a plan 1st City Hospital. Beauvais was the author of those erected in 1834. Triumphal Gate in honor of the victory in the Patriotic War of 1812. The gate was located at the Tverskaya Zastava at the entrance to Moscow from St. Petersburg, where the main highway of the city began.

The first Moscow monument was erected on Red Square in 1818 Kuzma Minina And Dmitry Pozharsky, made by a sculptor I.P.Map then catfish (1754-1835). Minin's gesture pointed to the Kremlin - altar of Russia, according to M. Yu. Lermontov.

On Sukharevskaya Square at the beginning of the 19th century. The construction of a large hospital and shelter, called A welcoming home. This complex of buildings was created at the expense of Count N.P. Sheremetev by architects E.S. Nazarov (1747-1822) And G. Quarenghi (1744-1817).

The largest master of the Moscow Empire style was D.I. Gilardi (1788-1845). His best creations are the building reconstructed after a fire Moscow University, built in the 18th century. M. F. Kazakov, and building Board of Trustees on Solyanka (now the Academy of Medical Sciences of Russia).

The architect’s creativity is marked by a bizarre combination of classicism with decorative motifs of ancient Russian architecture K. A. Tona (1794-1881), creator The Grand Kremlin Palace, the building of the Armory Chamber. Moscow Kremlin, and Cathedral of Christ the Savior.

Strictness, severity, asceticism are inherent in the architect’s creation V. II. Stasova (1769-1848)- building Provision warehouses with their effect of the unshakable power of the walls.

In other cities of the Russian Empire, a lot was also built during this period, but the buildings there were not distinguished by the grandeur of the capital.

Theater and dramaturgy

In the first half of the 19th century. formation is taking place national theater. Previously, theater groups existed either in the estates of wealthy nobles, or at the royal court. Urban, or, as they said then, public there were few theaters. They were located, as a rule, in poorly equipped, dark rooms, and the auditoriums were not designed for a large number of public.

The theater was looked at as entertainment; it was believed that the viewer at performances should only have fun and have fun. Therefore, the theatrical repertoire consisted mainly of cheerful vaudevilles, lightweight plays, and always music and dance.

There were French and German theaters in St. Petersburg, and Italian opera artists constantly performed. On the stages of two largest Russian theaters - Bolshoi in Moscow and Maria has no one In St. Petersburg, mainly Italian or French opera and ballet performances were performed.

In the 19th century the situation is changing. The theater becomes social phenomenon modern theaters appear. They stage domestic plays that touch on major social problems (for example, N.V. Gogol’s play “The Inspector General”),

In the first half of the 19th century. on the stage Alexandria Theater a wonderful actress shone V.N. Asenkova (181 7-1841). She was equally successful in both funny roles in vaudeville and significant roles in such performances as “The Inspector General” (Marya Antonovna) and “Woe from Wit” (Sofya).

Hugely popular in the 1830s and 1840s. enjoyed V. A. Karatygin (1802-1853), who became the generally recognized first tragedian of the Russian dramatic theater. He worked a lot at the Alexandria Theater. His acting revealed to the domestic audience the depth and greatness of William Shakespeare's plays. His performances of the roles of Hamlet, King Lear and Othello were recognized by the public and theater critics as the pinnacle of acting.

In Moscow the largest drama theater was founded back in the 18th century. Maly Theater(so it was called in contrast to the nearby Bolshoi Theater). The talent of outstanding Russian actors was revealed in the plays of Russian and European authors on the stage of the Maly Theater. Among them was a remarkable reformer of the Russian theater, in particular, who developed the principles of the art of acting impersonation, M. S. Shchepkin (1788-1863). The roles of Famusov in “Woe from Wit” (first production in 1831) and the mayor in “The Inspector General” (first production in 1836) made the name of this former serf (he received his freedom in 1822) known throughout Russia. Shchepkin affirmed the educational significance of the theater; he largely determined the ideological and artistic positions of the Maly Theater.

Actor P. M. Sadovsky (1818-1872) also became famous on the stage of the Maly Theater. His work contributed to the establishment of plays by the Russian writer-playwright in the theater’s repertoire A. I. Ostrovsky (1823-1886). P. M. Sadovsky participated in the productions of all Ostrovsky's plays. The first time Ostrovsky’s comedy “Don’t Get in Your Own Sleigh” was performed here in 1852. Soon the Maly Theater began to be called Ostrovsky's house, because his plays began to dominate the theater repertoire.

art

Gradually in Russian painting of the first half of the 19th century. the universal style of classicism gives way to a romantic attitude. Paintings are created that become phenomena of the spiritual life of society.

The democratic tendencies of the new era are clearly expressed in creativity V.L. Tropinin (1776-1857).

V. A. Tropinin. Lacemakers":

A talented serf artist of Count I. I. Morkov, he had the opportunity to attend classes for some time St. Petersburg Academy arts, where he carefully copied the works of Western European masters. In 1823, Tropinin received his freedom and in the same year was awarded the title of academician. By that time he had created several first-class paintings. Tropinin, the portrait painter, is characterized by romantic elation, his pictorial language is free and bold. The masterpieces of his work are Portrait of A. S. Pushkin, Lacemaker, “Old Beggar” And "Spinner".

K. P. Brullon. Self-portrait:

Brilliant draftsman, watercolorist, portrait painter, history painter K. P. Bryullov (1799-1852) While still a student at the St. Petersburg Academy of Arts, he gained universal fame. He graduated from the Academy with a gold medal. Then, at the expense of the state, he was sent to improve his skills in Italy. Here he spent several years and painted a series of paintings from Roman life. Central work K. P. Bryullov’s painting was created in Italy "The last day of Pompeii with its extraordinary picturesque effect of cold lightning lighting against the backdrop of fiery lava erupting from the depths of Vesuvius.

Another line of Bryullov’s creativity is the so-called Italian genre, the most striking examples of which are the paintings Italian morning And Italian afternoon.

The world of ceremonial portraits of the artist (Portrait of Yu. P. Samoilova with Amatsilia Paccini, Portrait of N. V. Kukolnik, Self-portrait etc.) with its decorativeness and bright picturesqueness recreates the appearance of a person in moments of dreamy solitude.

The ancestor of the Russian household painting is A.G. Venetsianov (1780-1847). The viewer was shown a somewhat idealized by the artist peasant world. This painting is recognized as a masterpiece of the master Portrait of A.S. Pushkin. Kiprensky also owns a series of images of military personnel who took part in the Patriotic War of 1812.

S. F. Shchedrina (1791 - 1830) can be considered the founder of Russian landscape painting. His canvases are characterized by romanticism, an attempt to convey the state of joy and happiness in the human soul. This is a series of works by the artist Harbors in Sorrento with harbors, grottoes, terraces and verandas entwined with grapes.

A. A. Ivanov (1806-1858) gave Russian historical painting a hitherto unprecedented psychological precision.

The artist's father, A. M. Ivanov, was a professor of painting, and the boy became addicted to drawing from an early age. At the age of 11 he entered the Academy of Arts, from which he graduated with a gold medal. Then he went to improve his painting technique in Italy. The artist took the plot of his canvas from the Gospel of John - Jesus first appears before the people receiving baptism from John the Baptist. For several years Ivanov prepared for this work, made dozens of sketches, wrote a series of preparatory canvases, including - Appearance of Christ to Mary Magdalene, for which he was awarded the title of academician.

For more than 20 years, the artist worked on this largest canvas of his life. And in 1858 he presented it to critics and the public. Huge painting The Appearance of Christ to the People made a strong impression on her contemporaries. Alexander II acquired it and a few years later donated it to the newly emerged Moscow Public Museum and Rumyantsev Museum. The name of the artist and his grandiose work was on everyone’s lips. But the author himself did not have time to enjoy the fame: in the summer of 1858 he died suddenly of cholera.

A whole series of canvases depicting various genre scenes reflecting the life and customs of Russia at that time was created by Ya. A. Fedotov (1815-1852).

Fedotov's pictorial works are distinguished by the expressiveness of the characters' poses, gestures and facial expressions, humor, and careful writing. His works were intended for a wide democratic audience, such as Fresh Cavalier, Discriminating Bride, Major's Matchmaking, Aristocrat's Breakfast, Widow and etc.

Music

In area musical culture at the beginning of the 19th century in Russia the works of foreign authors reigned supreme. But already from the 1830s. the situation begins to change, and major musical works appear in which domestic composers widely use national motifs.

The representative of romanticism in Russian music was A. N. Verstovsky (1799-1862). The composer is considered one of the founders of Russian opera-vaudeville. His opera Askold's grave built on the basis of Russian folklore and folk tunes. It was the first such work in Russian music.

M. I. Glinka (1804-1857) - generally recognized as the founder of Russian classical music. His two operas (“Life for the Tsar* And "Ruslan and Ludmila*) laid the foundation for two directions in the development of Russian opera - folk musical drama and fairy tale opera, epic opera. Musical fantasy Kamarinskaya consists of orchestral arrangements of Russian folk songs. Russian melodies also permeate Glinka’s operatic works. He is a classic of Russian romance.

Contemporaries of M. I. Glinka were composers A. S. Dargomyzhsky (1813-1869). A. A. Alyabyev (1787-1851).A. E. Varlamov (1801-1848) and A.L. Gurilev (1803-1858).

Opera by Dargomyzhsky Mermaid marked the birth of a new genre of Russian opera - folk psychological drama.

Alyabyev, Gurilev and Varlamov were the founders Russian romance - an original vocal and musical work, sensual and melodic.

To the wonderful poet V. A. Zhukovsky (1783-1852) and the composer A. F. Lvov (1798-1870) belongs to the honor of creation National Anthem Russian Empire. On December 11, 1833, its first public performance took place at the Bolshoi Theater. The anthem reflected the strength of spirit of the Russian people, their high spiritual values, great devotion to the Motherland, enthusiasm for victory and the Patriotic War of 1812. The second name of the anthem is Prayer of the Russian People.

God save the king! Strong, sovereign, Reign for glory, for our glory! Reign to the fear of your enemies. Orthodox Tsar, God save the Tsar, save the Tsar!

God save the king! Long are the days of the glorious one Give to the earth, give to the earth! Proud to the humbler. Weak guardian. Comforter of all - Send everything down!

Primitive Rus', Orthodox. God save the king, save the king! Her kingdom is harmonious, calm in strength. Anything unworthy, get rid of it!

Oh providence. Blessing

It was sent down to us, it was sent down to us! Striving for good. Happiness, humility, patience in sorrow Give to the earth!

Former confectionery factory "Bolshevik"

Lofts (English “loft” - attic, dovecote) are a type of housing that appeared in the USA in the 40s of the 20th century. Then the price of land in the factory districts of Manhattan began to rise, and it was decided to move many industries outside the city. Empty workshops were willingly occupied creative people, who liked the high ceilings, large windows and low rents. There was a fashion for such real estate, which reached its peak by the 1950s. People not only lived and worked in the former factories, but also held exhibitions, concerts, and fashion shows. Gradually, such housing became elite, and office centers began to appear in former large factories. After the collapse of the USSR, there was a similar situation in Moscow, with the only difference being that enterprises most often fell into disrepair due to the economic crisis. Today no one is surprised that in the building former workshops there are offices, but the history of the factories themselves is gradually forgotten. AiF.ru talks about the five largest business centers in Moscow and the enterprises that used to be in their place.

"Flacon Factory": Russian packaging for French perfumes :

The history of the plant began in 1841: Alphonse Rallet and Frederic Dutfoy came to Moscow and founded the A. Ralle and Co." It became the first perfume production in Russia. Soon the new perfume gained enormous popularity. Businessmen came to the conclusion that in order to further successfully promote their products on the Russian market, they would need their own bottle production.

In 1864, Frederic Dutfoy bought a plot of land on Bolshaya Panskaya Street and built a crystal and glass factory. By the beginning of the 20th century, 145 women and 57 men worked at the plant, and there were gutting (glass blowing), glass melting, pottery and grinding shops. The working day at the factory was surprisingly short for those times - only 9.5 hours (the average working day, taking into account overtime work, was turn of the 19th century and XX centuries about 12 hours).

After the revolution, the enterprise was renamed “Moscow Crystal Factory named after M.I. Kalinin” - and continued producing glass products. By 1977, the plant reached a capacity of 100 tons of products per day.

After 1991, when government funding ceased, the Comptoir de Parfum company and JSC "Perfumflacon" created an enterprise with mixed capital "Flacon: Moscow-Paris" and tried to continue the production of bottles, but nothing came of it: the crisis of the 2000s finally put an end to cross at the factory.

Design factory "Flacon".

In the mid-2000s, the territory was reorganized into the exhibition, trade and office complex “Design Factory Flacon”. When it was created, it was decided to preserve the workshop buildings that were occupied by “creative companies.” According to the idea of ​​the project creators, “Flacon” is not just an office center, but a creative cluster in which people of creative professions can engage in creativity and, if desired, collaborate with each other. Film screenings, festivals, exhibitions and other cultural events also take place here. Since its opening in 2009, Flacon has become a center of attraction for Muscovites and has been recognized by city residents as a successful project.

Danilovskaya Manufactory: 20 million per year .

The Danilovskaya manufactory is named after the monastery, in the vicinity of which the enterprise was built in the 19th century. From the first half XVII I centuries, weaving and craft workshops were located in this area, which gradually increased production. In 1867, a small dyeing factory was acquired by the merchant of the first guild Vasily Meshcherin, and from that moment the rapid development of the plant began. Meshcherin expanded production to a full cycle - spinning, weaving and dyeing fabrics.

Construction of a workshop at the Danilovskaya manufactory, 1903.

By 1914, the factory introduced the production of weaving machines, and its annual turnover amounted to a fantastic 20 million rubles at that time. Like many other enterprises, after the revolution the manufactory was nationalized and continued to operate, remaining one of the leading enterprises in the cotton industry in Russia and the world.

Today Danilovskaya Manufactory is a prestigious business center. One of its buildings is named after Meshcherin ("Meshcherin building"), and the other is named after the war hero Nikolai Gastello, who worked at the factory from 1930 to 1932 ("Gastello building"). Other buildings were named after the workshops located here: “Flannel”, “Satin”, “Cintz” and “Cambric”. The combination of modern design solutions with the desire to preserve the architectural appearance of buildings of the 19th century was awarded several awards.

You can also purchase apartments at Danilovskaya Manufactory, and some sites are rented out for fashion shows, parties and other cultural events. The presentation of the Audi Q7 took place here, Dima Bilan’s “Baby” video was filmed, Zemfira’s photo shoot for Hello magazine took place, and the film “Shadowboxing” was filmed.

“Stanislavsky Factory”: the gold mine of the great director.

The history of the factory begins in 1785, when Semyon Alekseev founded the enterprise of “drawn and cloaked gold and silver,” which produced wire, sequins and gimp for gold items and precious jewelry. Since then, the Alekseev dynasty owned the enterprise and developed it. By the beginning of the 19th century, the factory had become the largest in Moscow, and it needed new, more spacious premises. It was found in Alekseevskaya Sloboda, where a renovated plant opened its doors in 1850.

The building of the former factory theater, 1965.

At the end of the 19th century, a full-scale modernization of the plant began, in which the great actor and director Konstantin Alekseev-Stanislavsky, who led the enterprise from 1892 to 1917, took part. Previously, special cast iron dies were used to draw thin wire, and this process was very long (it was not for nothing that it was called “gimp production”). After modernization, diamond tools began to be used in production for the first time in Russia, which made it possible to significantly speed up production. At the beginning of the 20th century, the plant began making electrical cables.

The Alekseev family, like most wealthy families (Morozovs, Tretyakovs), patronized art. Performances were constantly taking place in the Alekseevs’ home theater group, and at the plant, on Stanislavsky’s initiative, there was an amateur theater for which a special building was built, there was an orchestra, a reading room, and evening courses for workers.

Business center "Stanislavsky Factory".

After the revolution, the plant was renamed Elektroprovod. The country's first plastic compounds and polyethylenes were developed here, and radio frequency and optical cables were produced. In the 1980s, the production of fiber optic products began.

In 2003, the factory's production was moved to the city of Ivanteevka, Moscow region, and the building was converted into offices of the Stanislavsky Factory business center. Continues and cultural tradition: “Studio” has been operating here since 2008 theatrical arts» Sergei Zhenovach.

"Lefort": a meeting room in a water tower.

Weaving craft settlements on the banks of the Yauza have been known since the time of Peter I, who spent his childhood here and created “amusing regiments”. Later, in the area of ​​what is now Preobrazhenskaya Square, sails were sewn for Peter’s fleet. Therefore, it is not surprising that it was here at the beginning of the 19th century that weaving enterprises appeared and gradually expanded.

One of the largest, the Moscow Silk Manufactory Partnership, was created on the basis of two factories already operating here in 1881. Within ten years, the rapidly growing production was one of the ten largest Moscow textile enterprises, employing more than a thousand people. In the period from 1890 to 1914. The plant was built up with brick buildings.

Lefort Business Center

After the revolution, the factory was nationalized, and in 1926 it was named after the revolutionary P.P. Shcherbakov, who died during the capture of the Alekseevsky Palace, to whom a monument was erected on the territory of the plant in 1957. The plant continued to operate until its collapse Soviet Union, producing more than one hundred types of silk fabrics.

In the 1990s, the plant experienced interruptions in government funding, production was actually stopped, and in 2006 it was decided to move its remains to the region. The vacated workshops were occupied by the Lefort business center.

During the reconstruction of the factory, some of the one-story buildings were demolished to make way for parking, and the facades of the main red brick buildings were sandblasted. The former water tower houses a large meeting room.

“Red Rose 1875”: Yandex horse and an old estate.

On the site of the future Red Rose plant, the Vsevolzhsky estate was located, which was acquired in 1875 by a citizen of Lyon, merchant Claude-Marie Giraud. He decided to build a factory on the site of the estate, which in the future became one of the largest in the Russian Empire. Already in 1879, 1,700 looms and 4 thousand workers were working at full capacity here.

The factory produced mainly lining fabrics, processing foreign raw materials. The quality of the products is evidenced by the fact that the company was awarded the right to depict the state emblem on its advertising and signboards. In 1919, the nationalized factory was named after Rosa Luxemburg, and people began to call it “Red Rose”.

Horse sculpture near the Red Rose 1875 business center.

In Soviet times, the plant continued to operate, and produced not only civilian products: for example, during the Second World War, it supplied troops with parachute fabrics. In 2003, production was moved outside the city, and a business center called “Red Rose 1875” was located on the premises of the plant.
Today, “Red Rose” is experiencing a rebirth, now in the form of a modern business district, where the offices of companies such as the Kalashnikov concern and the leader of the Russian IT industry, Yandex, are located.
The reconstruction of the “Red Rose” is the first experience in Moscow of creating a modern business center on the site of a former factory. When designing it, it was decided to preserve historical objects (the Vsevolzhsky estate and the Giraud Gallery) and at the same time introduce modern solutions into the architecture of some buildings. This is how panoramic glazing appeared on the red brick facades. The horse sculpture at the main entrance to the building is the mascot of the Yandex company, whose office is located in the business center.

“Winzavod”: the birthplace of “Iskorka” and a place of power for contemporary art.

Center for Contemporary Art "Winzavod"

Initially, the place where the Winzavod contemporary art center is now located belonged to Princess Ekaterina Volkonskaya. She was a woman with a stern disposition, and her friends called her “Auntie Warrior.” Her house has survived to this day: it stands to the left of the entrance to Winzavod.

In 1810, the estate was bought by the merchant Nikifor Prokofiev, who converted it into a brewery. After this, the company was sold several times, first to the merchant Friedrich Danielson, then to William Watson and Peter Dreyer. In 1855, it was purchased by the famous merchant and philanthropist Vasily Kokorev. For some time, on the site of Winzavod there was a sealing wax factory, and in the seventies and eighties the Moscow Bavaria company began producing beer here, including the famous Black Velvet.

Center for Contemporary Art "Winzavod".

At that time, the enterprise was one of the most modern in the world, it was equipped with three steam engines with a capacity of 45 horsepower, and 70 workers worked on it. In 1909, part of the estate was purchased with funds honorary citizen Christopher Ledentsov, who bequeathed his fortune for development Russian education. A four-year school was organized in the main house of the estate.

After the revolution, the enterprise was renamed the Mosvinkombinat wine factory, which operated until 2002. Its products were glorified by Venedikt Erofeev in his poem “Moscow-Petushki”: port wines “777”, “Dallyar”, wine “Iskorka” were produced here.

"Mosvinkombinat", 1929.

IN Soviet time the plant expanded - it produced up to 170 types of ordinary and vintage wines per year, but already in beginning of XXI century, the Mosvinkombinat had to curtail its activities, and the surviving red brick buildings became a container for all kinds of art projects. Now on the territory of Winzavod there are seven industrial buildings, monuments of industrial architecture of the 19th century. Galleries are constantly open here, showrooms, original shops and cafes are open, large photo exhibitions, lectures and master classes are held.

It was decided to transform the former enterprise into a cultural center in 2007. After reconstruction on an area of ​​20 thousand square meters. m there are art galleries, design studios, artist workshops, the largest photography studio, bars, cafes, book and music stores. All buildings of the Winzavod have retained their old names: “White Workshop”, “Red Workshop”, “Big Wine Storage”, “Fermentation Workshop” and “Hangar”.

Soon "Winzavod" became widely known and became a "place of power" of modern Russian art. Today, exhibitions, festivals, film screenings, concerts and performances are held here.

Not far from Winzavod there is the ArtPlay design center, known as one of the first creative clusters in Moscow. It is located on the territory of the former Moscow instrument-making plant "Manometer", in the area of ​​​​the Kursky railway station.
Its history began back in 1886, but the plant received the name “Manometer” already at Soviet power. In the 1930s, the plant was the only enterprise in the USSR that produced equipment for the Moscow metro.
In the 1990s, the plant was considered ineffective and was evicted from Moscow. And in 2009, ArtPlay moved into the reconstructed workshops. Industrial quarter with an area of ​​75 thousand square meters occupied by architectural bureaus, galleries, artists' workshops, showrooms, cafes, bookstores, cinemas and much more. Contemporary art exhibitions, video art festivals, and concerts are regularly held here. alternative music, performances and film screenings. In September 2011, the IV Moscow international biennale contemporary art.

One of the most famous Moscow examples of the degeneration of an industrial zone into cultural cluster- the territory of “Red October” on Bersenevskaya embankment. In the former factory space there are workshops built in the late 19th - early 20th centuries for the Einem partnership (named after the founder Theodor Einem). In 1917, the factory was nationalized and received the name "Red October", which remains to this day.

The legendary confectionery factory with more than a century of history changed its purpose in the 2000s, when chocolate production was moved to the north-east of Moscow . “Red October” today is the epicenter of the cultural life of the Russian capital. There are architectural bureaus, design studios, advertising agencies, cafes, clubs, shops, galleries and exhibition halls, hotels and hostels. In memory of the past, a factory museum and a workshop for the production of handmade chocolate remain in the building.

A new life has also begun for the Bolshevik confectionery factory, which has been producing “Yubileinoe” cookies since pre-revolutionary times, one of the most beloved by Russians. The historic red brick factory building was built in 1884 and was considered a true architectural marvel. In 2012, confectionery production was transferred to Vladimir region, and a business center was opened in the factory building and in the surrounding areas.
Having filled Moscow with new cultural venues and business centers, developers decided to engage in gentrification in the more traditional sense of the word.
Thus, among the plans is the reconstruction of the former tea-packing factory, built in 1914 in the Art Nouveau style according to the design of the architect Roman Klein. Loft apartments should appear here in 2017.

THE FORMER TEA FACTORY WILL BE PART OF A WHOLE CONCEPT.

The reconstructed building of a former tea-packing factory in the Basmanny district will be the first phase of the Klein House loft apartment complex with an area of ​​12,000 square meters, the general contractor of which is Krays Development. This should happen in the third quarter of 2017.

“The multifunctional quarter in the Basmanny district will include real estate units united by a holistic concept, but different in architecture and functional purpose - apartments, office real estate and street retail,” the developer company said in a press release.

But at the same time, the historical appearance of the buildings located here will be preserved, and all objects on the territory of the block will be designed in an industrial style, typical of a loft.

The six-story complex of the former tea-packing factory, built back in 1914 in the Art Nouveau style according to the design of the architect Roman Klein at the intersection of Olkhovskaya and Nizhnyaya Krasnoselskaya streets, is planned to be reconstructed using the latest technology.

Gentrification (from the English “gentrification”) - this is a complex change in the urban environment that occurs as a result of the relocation of wealthy citizens to those areas of the city that were previously either inhabited by representatives of the lower classes, or were in a state of decline and represented an abandoned industrial zone. Most often, this process is accompanied by reconstruction and renovation of old buildings.
Gentrification is clearly visible in the United States and in almost all Western European countries. There, the process is predominantly associated with the return of wealthy “white” populations to neglected urban areas inhabited by ethnic minorities.
Also, the term “gentrification” is often used in relation to the process of reviving old industrial city neighborhoods founded in the last century by the industrial economy (this process is sometimes called urban recycling - the reconstruction of factory districts into residential ones, with the creation of all the necessary infrastructure).
“Gentrification is the transformation of a dirty, dysfunctional and cheap place into an elegant, fashionable and expensive one” (Gorbachev P.A.)

And it pleases. 19th century industrial architecture is our heritage. If these buildings
maintained in good condition, they will last for centuries.

In connection with the general crisis of the Russian Empire and the development of capitalism since the 40s of the 19th century. in Russian architecture there is a noticeable departure from the ensemble in composition, the development of eclecticism. In the architecture of St. Petersburg, a departure from the Russian classical school is visible in St. Isaac's Cathedral (1817-1857, A. Montferrand, Fig. 42), in which the architectural scale is disrupted due to generalized detailing, large sculptures, etc.; in the architecture of Moscow - in the Cathedral of the Epiphany in Elokhov (1835-1845, E. Tyurin), where different styles were mixed.

A reactionary-monarchist official direction appeared in palace architecture, proclaiming the “Russian-Byzantine” style. For example, in the facades of the Grand Kremlin Palace in Moscow (1839-1849, K. Thon), the compositional techniques of that time are mechanically combined with details of Old Russian and Byzantine architecture.

Another direction in architecture used stylization of rustic decor of huts, ornaments of folk applied art, embroidery (the central part of the facade of the Moscow Polytechnic Museum, 1875-1877, I. Monighetti, N. Shokhin).

The third direction was based on imitation of the elegant Moscow architecture of the mid-17th century, but created dry, pretentious architecture, for example, in Moscow, the building of the Historical Museum (1873-1883, V. Sherwood, A. Semenov) with a symmetrical, complicated composition of the facade, in the architectural divisions of which 17th century decorative motifs were mechanically introduced.

An important factor that influenced the development of architecture was the need for the construction of new types of buildings (large factory buildings, factories, large apartment buildings) and, accordingly, for new building materials, structures (cast iron, rolled iron, and later reinforced concrete) and new construction equipment.

From the beginning of the 19th century. Instead of brick and stone pillars, cast iron ones began to be used; instead of wooden beams, stone and brick vaults, rolled iron beams were used as ceilings for stairs, load-bearing parts of balconies, trusses for bridges and long-span rooms. When constructing industrial, large commercial and office buildings, frame walls, flat ribbed reinforced concrete floors were used, and since 1910 - beamless ones. An example of the use of iron and reinforced concrete structures for floors, internal passages, and bridges is the building of the Upper Trading Rows (1889-1893, A. Pomerantsev), now GUM. New types of stone-like plasters, facing bricks and tiles have appeared.

Another factor that influenced the architecture was the bourgeois taste of the customer. The cosmopolitan nature of capitalism led to the partial loss of Russian architecture of its national identity, to a mechanical mixture of forms and principles of architectural construction of different historical styles. In the second half of the 19th - early 20th centuries. everyone was allowed to build and improve their own house without fitting it into the existing architectural environment.

The emerging new architectural style of Art Nouveau arose as a reaction to eclectic borrowings from the architectural heritage of the past. Character traits Art Nouveau style: the desire for comprehensive solution architectural, planning and decorative tasks, pretentiousness, brokenness of “fluid” forms and lines, as if reproducing the rhythms of living nature; the predominance of stylized plant patterns and decor (lilies, irises, orchids); faded colors of facades and interiors.

Among the most characteristic Art Nouveau buildings in St. Petersburg are apartment buildings (F. Lidval) on Kamennoostrovsky Prospekt with flowing lines of cornices and pediments, with windows of different shapes and sizes. The features of the Art Nouveau style in Moscow architecture were most clearly manifested in the works of F. Shekhtel (1859-1926): the former mansion of Ryabushinsky (1900), now the museum-apartment of M. Gorky (Fig. 43) - an asymmetrical building with creeping entrance arches, multifaceted, complete tragic harmony. The composition of the mansion is dynamic; it is perceived as it moves around the building. The fence bars and window frames are sharply contrasted with the hard line of the flat metal cornice.

Along with the search for new architectural forms The study of the architecture of past eras continued. Early 20th century characterized by interest in the deep sources of Russian culture - its pagan past. Supporters national romanticism turned to the neo-Russian style in retrospect, using the forms and details of ancient Russian architecture (for example, Kazansky railway station in Moscow, 1914-1919, A. Shchusev). Other retrospectiveists expressed their ideas in the forms of order styles, resorting either to the Italian Renaissance (Tarasov's mansion in Moscow, 1912, I. Zholtovsky), or to the traditions of Russian classical architecture XVII I-XIX centuries (Abamelek-Lazarev mansion in St. Petersburg, 1912, I. Fomin).

Diversity and inconsistency of architecture of the 20th century. are explained by the existence of orientations towards models of the future, which presuppose, on the one hand, the continuity and stability of cultural development processes, on the other - the intrinsic value of novelty, breaking with the known and familiar.

At the end of the 19th - beginning of the 20th centuries. In Russian architecture, and in all construction technology, new phenomena are emerging in the range of building materials. They were associated with general changes in Russian socio-economic reality. Architecture fulfills a social order more directly and openly than other forms of art. New phenomena in Russian architecture were associated with a strong increase in urban population, the emergence of huge industrial enterprises, the concentration of the proletariat, the growth of financial capital, a general change in the social composition of the city, and, finally, the very spirit of the city, the way of urban life.

Large-scale machine production brought with it an increase in the level of engineering knowledge, construction equipment, and the development of new building materials and structures. At the end of the 19th century. Reinforced concrete, metal frames, facing ceramic tiles, granite chips and other construction and technical innovations are beginning to be used in architecture. Revealing the aesthetics of these materials, creating according to the needs of the new capitalist city of the early 20th century. indoor markets, department stores, power plants, factories, huge printing houses, people's houses and apartment buildings, multi-story residential buildings with elevators, telephones, railway stations, bridges, stock exchanges, trading houses, etc. mansions of millionaires, architects are trying to speak a different architectural language.

The end of the 19th - beginning of the 20th centuries was the time of the emergence of new architectural styles: modernism, new Russian style, neoclassicism. Architects see the architectural truth of their time in the organic connection between building material, structure and form. The architecture refuses the facade of the previous eclecticism, strict axial compositions, symmetry and traditional harmony.

Freedom, looseness in the composition of buildings, subordination to functional purposes determine the plan, decor, and color scheme.

More than one engineering and technological idea acted in close alliance with architecture. Throughout all architecture, the desire for a synthesis of arts was noticeably evident; Elements of painting and sculpture are generously introduced into architecture.

No wonder in architecture late XIX- beginning of the 20th century such major painters and sculptors as V.M., M.A., A.N., I.E., S.V., A.S. begin to work.
The most talented representatives of Russian architecture of that time were F. O. (1859-1926), A. V. (1879-1949).

In urban planning, for the first time, questions were raised about the organization of public transport, about the development and implementation of rules for regulating street traffic. Already in 1885, a Technical and Construction Committee was created under the Ministry of Internal Affairs, which made weak and clearly beyond its strength attempts to control the development and planning of cities throughout Russia. Nevertheless, in 1910, a plan for the transformation of St. Petersburg appeared (architects L. N. Benois and F. E. Enakiev), a project for the redevelopment of Fr. Hungry in St. Petersburg (“New Petersburg”) (architects I. A. Fomin and F. I. Lidval). IN major cities Cooperative partnerships and house-building societies arise in connection with the new concept of “housing problem”. These societies and partnerships, like the “problem” itself, stimulate further searches for architects. The main type of building becomes not a private house or a religious building, but a public building.

Among the most interesting buildings of that time: Tretyakov Gallery(1900-1905) V. M. Vasnetsov; apartment building Pertsov (1903-1905, Moscow) - S. Malyutin, N. Zhukov; Yaroslavl Station (1902-1904) F. O. Shekhtel; Marfo-Maryinskaya Convent (1908-1912, Moscow) - A. V. Shchusev; State Bank building in Nizhny Novgorod(1910s) - V. V. Pokrovsky (1871-1931).

All these buildings were created in the national-romantic, New Russian style, which aimed to revive the spirit of Old Russian architecture, its plasticity, colorfulness and freedom of form, on a new construction basis, in connection with new functional tasks, and to freely and creatively develop the national tradition.
In the new style, F. O. Shekhtel built the building of the printing house of the newspaper “Morning of Russia” (Moscow, 1900s); Hotel "Metropol" (Moscow, 1899-1903) - V. F. Walcott; Art Theater(Moscow, 1902) - F. O. Shekhtel, high relief above the entrance of A. S. Golubkina; house of S. P. Ryabushinsky (Moscow, 1900-1902) - F. O. Shekhtel; mansion of M. F. Kshesinskaya (St. Petersburg, 1904-1906) - A. I. Von Gauguin; “The Artist’s Villa” (Crimea, 1906) - L. M. Brailovsky; Pfeffer dacha in Sokolniki (1910s) - A. U. Zelenko.

Almost all of these works of architecture included elements of painting and sculpture. National motifs of ceramics have been developed in the Abramtsevo workshop by M. A. Vrubel, A. Ya. Golovin, K. A. Korovin, E. D. Polenova since 1889. Later, a similar workshop appeared in the Smolensk province in Talashkino on the estate of Princess M. K Tenisheva. It is led by artist S.V. Malyutin.

Architects also turn to the powerful sources of antiquity and the Renaissance, reinterpreting classical designs in accordance with the requirements of the new era. There is a kind of ennoblement of modernity with classics. The magazine "World of Art" represented by artists A. N. Benois, M. V. Dobuzhinsky, A. P. Ostroumova-Lebedeva acts as a promoter of neoclassicism.

In this manner, the Moscow merchant club A. I. Ivanov-Shits (1907-1908) and I. A. Fomin (1872-1936) built the mansion of A. A. Polovtsev on Kamenny Island in St. Petersburg (1911 - 1913); S. Solovyov (1859-1912) - Higher courses for women in Moscow (1910-1913, now the building of the Moscow Pedagogical Institute named after V. I. Lenin); R.I. Klein (1858-1924) – Museum of Fine Arts in Moscow (1912).

So, the best works of architecture of the late 19th - early 20th centuries. were characterized by a new figurative expressiveness, a free combination of architectural masses, dynamics and expression, and the elimination of the gap between the functional purpose and the decorative and artistic form of the building. However, the typical development of the outskirts remained dull, miserable, and familiar; This clearly reflected the glaring social contrasts of Russian capitalism at the beginning of the 20th century.

The revival and noticeable rise of architectural creativity and construction at the beginning of the 20th century. had a beneficial effect on the fate of Russian sculpture. Architects often began to include modeling, bas-reliefs, high reliefs, majolica in projects for new buildings - both for public purposes (hotels, people's houses, so-called “business courtyards”, train stations, banks, cinemas), and residential buildings (small personal, apartment buildings) , and a few religious buildings erected (monastery complexes, individual churches, chapels).

March 2nd, 2017 , 03:00 pm

Of course, today there are many books where everything is described in detail. historical periods, the entire history of Russian architecture, all styles and trends.
But the specifics of the Internet are such that many people want to understand common problems in one short note.
This is exactly the review I offer to the readers of the Architectural Style magazine -

Briefly about the periods and styles of Russian architecture

1. Old Russian architecture
X - XVII centuries
The history of Old Russian architecture goes back seven centuries. Even a simple listing of all periods of development of Old Russian architecture is a huge research work. This path was so complex and diverse.
Architecture of Kyiv and Chernigov, architecture of Novgorod the Great and Pskov, Smolensk and Polotsk. Independent and very bright Vladimir-Suzdal architecture developed in the North-Eastern part of Rus', in the Zalessk land. By the end of the 12th century. in Rus' there are several architectural directions, Although general principles were the same throughout the entire territory of Rus'. In the 13th century The Vladimir-Suzdal school was divided into two independent ones, one built in Suzdal, Nizhny Novgorod and Yuryev-Polsky, the other in Vladimir, Rostov and Yaroslavl. And finally, the era of the centralized Russian state, which in the 15th - 16th centuries united individual Russian lands around Moscow. The process of unification of Russian lands around Moscow, the formation of a single Russian state, influenced the formation of an all-Russian architectural tradition. The architecture of the 17th century was characterized by complexity and picturesque compositions, diversity and richness of architectural details.
Among the works of Old Russian architecture there are no copies of foreign buildings, no mechanical imitation of the architecture of neighboring countries.

2. “Naryshkinskoe” baroque
End of the 17th century
The first stage of the development of Russian Baroque dates back to the era of the Russian Empire, from the 1680s to the 1700s, called the Moscow, or “Naryshkin” Baroque. A feature of this style (?) is its close connection with pre-existing Russian traditions. Striving for patterns, picturesqueness and elegance, a kind of connecting link between ancient Russian architecture and the new Baroque style.

Church of the Intercession in Fili, Moscow, 1694

3. Style Baroque
1st half of the 18th century
The founding of St. Petersburg gave a powerful impetus to the development of Russian architecture, begins new stage in the development of Russian baroque - Peter's baroque. It was an architectural style focused on Western samples. The largest building of this time is the Peter and Paul Cathedral. And despite the abundance of foreign architects, Russia is beginning to form its own architectural school. The architecture of Peter the Great's time is characterized by simplicity of volumetric constructions, clarity of divisions and restraint of decoration, and a planar interpretation of facades. Later, a new direction developed in Russia - Elizabethan Baroque. Its appearance is most often associated with the name of the outstanding architect Rastrelli. The difference between this style and Peter’s is its close connection with the traditions of the Moscow Baroque. Rastrelli designed the majestic palace complexes in St. Petersburg and its environs - Winter Palace, Catherine Palace, Peterhof. The architect is characterized by the gigantic scale of buildings, the splendor of decorative decoration, and the decoration of facades using gold. The majestic, festive character of Rastrelli’s architecture left its mark on all Russian art of the mid-18th century. An original page of Elizabethan baroque is represented by the work of Moscow architects of the mid-18th century - led by D.V. Ukhtomsky and I.F. Michurin. The main idea of ​​Baroque is beauty, solemnity, pomp, exaggerated pathos and theatricality.

The Great Palace in Tsarskoe Selo, 1752-1757, architect. V.V.Rastrelli

4. Style Classicism
2nd half of the XVIII - beginning. XIX century

Classicism is an appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity and monumentality. The basis of the architectural language of classicism was the order. Classicism is characterized by symmetrical axial compositions and restraint of decorative decoration. Russian classicism is a style of art that arose in Russia under Catherine II, who in a certain way sought to Europeanize Russia. The emergence of a new style was preceded by more than half a century of development Russian art New times, characterized by the predominance of Baroque. Since the 60s of the 18th century, Russian architects have been designing and constructing buildings in the style noble simplicity classicism.

Pashkov's house in Moscow, 1784-1788. arch. V.I. Bazhenov (?).

5. « National romantic» stage
1780 - 1800
In the second half of the 18th century, along with the leading classical direction, there was a short stage, which was later most often called “ gothic style" This is the time of active creativity of V.I. Bazhenov and M.F. Kazakov, and their most famous building is the Tsaritsyn ensemble. Despite Catherine’s instructions, our architects took as their starting point not Gothic, but ancient Russian forms. Tsaritsyn is characterized by an intricate colorful play of white stone details against the background of red brick walls, reminiscent of the details and motifs of Russian architecture of the 17th century. In general, the works of this stage in the classical architectural school are called the time of National Romantic quest.

Palace in Tsaritsyno, in Moscow, 1775 - 1785, architect. V.I.Bazhenov and M.F.Kazakov

6. Style Empire style
1800 - 1840
“Imperial style” Empire is the final stage of classicism, with massive and monumental forms, rich decoration, and elements of military symbols.

Main headquarters in St. Petersburg, 1819-1829, architect. K.I.Rossi

7. Eclecticism
1830 - 1890
A direction in architecture that focuses on the use of any form of the past in any combination in one building. Eclecticism rebelled against academic dogma, which demanded that we follow the “eternal” laws of ancient architecture. Eclecticism in itself cannot be a style, as it is a mixture of stages and styles of past years.
A few words about eclecticism

Assumption Church in St. Petersburg, 1896-1898, architect. G. Kosyakov

8. Style Modern
End of the 19th century - 1917
The style direction is associated with the use of new technical and constructive means, free planning to create distinctly individualized buildings. The term "Modern" defines architecture that sharply rebelled against imitation. The slogan of modernity is modernity and novelty. A system of artistic forms that is in any way related to the order or “styles” of eclecticism does not exist at all in modernity.
The principle of designing a building “from the outside to the inside”, characteristic of past styles, from the shape of the plan and volume to the internal arrangement of the premises, is opposed in modernity by the opposite principle: “from the inside to the outside”. The shape of the plan and facade is not specified initially; it follows from the features of the internal planning structure.
About Art Nouveau - http://odintsovgrigori.ucoz.ru/index/mod ern/0-255

Ryabushinsky's mansion in Moscow, 1900, architect F.O. Shekhtel

9. Retrospectiveism
1905 - 1917
A very complex direction, a kind of parallel to late modernity. A direction based on the development of the architectural heritage of past eras, from ancient Russian architecture to classicism. The distinction between late modernity and retrospectivism is extremely difficult to draw. Examples of the three main movements in retrospectivism -

9.1 - Neoclassicism
The building of the Kievsky railway station in Moscow is reminiscent of the famous buildings of Russian classicism and empire style. The symmetry of this solemn composition is enlivened by the square clock tower placed on the right corner. With sufficient severity of architectural forms, the decorative decoration of the building is very diverse, with rich “antique” motifs.

Kyiv railway station. 1914-1924, Arch. I.I. Rerberg, V.K. Oltarzhevsky, with the participation of V.G. Shukhov.

9.2 - Neo-Russian style
Architectural researchers expressed the opinion that the neo-Russian style is closer to modernism than to eclecticism, and this differs from the “pseudo-Russian style” in its traditional sense.
The building of the Loan Treasury combines business representativeness with the plasticity of chambers of the 17th century. The shape of the front porch against the background of the diamond rustication of the wall enhances the decorative effect of the building. The decor is dominated by “Naryshkin Baroque” motifs. However, the complete symmetry of the facade violates the “principles of modernism” and gives the building some eclecticism....

Loan treasury in Nastasinsky lane. in Moscow. 1913-1916, Arch. V.A. Pokrovsky and B.M. Nilus

9.3 - Neo-Gothic
Catholic Cathedral on Malaya Gruzinskaya street in Moscow - a three-nave cruciform pseudo-basilica. The main volume of the temple was built in 1901-1911, finishing work inside continued until 1917. According to various testimonies, for the architect the prototype of the facade was some European Gothic cathedrals. In that catholic cathedral There is the largest organ in Russia and you can listen to concerts of organ music.

Catholic Cathedral on M. Gruzinskaya Street. 1901-1911, Arch. F.O. Bogdanovich-Dvorzhetsky.

Styles......
Place everything on one sheet centuries-old history domestic architecture is impossible.
My task is more specific - to give a general, very schematic idea of ​​how architectural styles changed from the second half of the 17th century until 1917.

And an important clarification about “Styles”:
- In the history of architecture, the very concept "Architectural style" appeared relatively recently, and refers only to periods from the 18th century, from the Baroque style. Sometimes the “Naryshkinskoye” baroque of the second half of the 17th century is also classified as a style.
- TO Old Russian architecture the concept of “Style” is generally inapplicable, and an expression like “church in the Novgorod style” refers to the colloquial genre, and nothing more!
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Literature:
- History of Russian architecture. - M.: Academy of Architecture of the USSR, Institute of History and Theory of Architecture, 1956.
- E.I. Kirichenko. Russian architecture of the 1830s-1910s. - M.: Art, 1982.