Mhk classicism in the architecture of Western Europe. How does Russian classicism in architecture differ from European classicism? In creating the architectural appearance of Versailles

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for the MHC lesson in the 11th grade. The presentation was prepared by the teacher of Russian language and literature MBU "Mstera secondary school of the Vyaznikovsky district Yusova Irina Viktorovna

The main features of the architecture of classicism "Fairytale Dream" of Versailles Empire

Greek order system Strict symmetry Clear proportionality of the parts of the composition and their subordination to the overall design Simple and clear forms Calm harmony of proportions Straight lines Unobtrusive decor that follows the outline of the object Simplicity and nobility of decoration Practicality and expediency

Versailles is a fairy-tale dream, striking with its splendor of facades and the brilliance of the decorative decoration of the interiors. It became a visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world. "Fairytale Dream"

Historical information The oldest village of Ile-de-France, Versailles, has been mentioned in historical documents since the 11th century. This is not even a village, but a very modest hamlet nestled against a hill. There were many of these scattered around the capital. Versailles was crossed by the road leading from Normandy to Paris, which was 18 km from here. The village went down in history at the end of the 16th century, when Henry IV, the future king of France, stopped at the local castle in 1570 on his way to meet Catherine de Medici. Having already become king, it was here that he came to hunt.

Louis XIII In 1606, Henry IV's son, the future King Louis XIII, was on his first hunt at Versailles, and enjoyed retiring there with a few close friends. In these places he wanted to build a modest hunting lodge, where he could furnish his short hours of entertainment with great comfort.

The fate of the Small Castle In 1624, the king bought marshy land surrounded by fields. At that time, only a windmill stood on the site of the future palace. Soon, hasty construction began, but the castle being built was so small and modest that it did not even have rooms for the Queen Mother and Queen Wife. After the death of Louis XIII, the castle was empty for a long time: Louis XIV, the heir and future king, was only 5 years old. But in 1661, as soon as the new king proclaimed “I am the State,” the “age of Louis the Great” began.

Louis XIV Realizing himself as a king, Louis XIV immediately began to dream of his own palace. After much thought and doubt, the king’s choice fell on the castle of Vincennes, but suddenly, unexpectedly, the king chose Versailles with its small hunting lodge. The castle of Louis XIII was not destroyed; Louis the son decided that the builders should keep the Small Castle intact. Louis XIV often visited Versailles, where he forgot about his royal rank and frolicked like a child.

Architects of Versailles A competition was announced among the kingdom's architects for the best renovation project for a small hunting castle. Soon L. Levo was appointed architect of Versailles, and in general Louis XIV (at his own expense) hired Levo - “the first architect of the king”, C. Le Brun - “the first painter of the king” and A. Le Nôtre - “the first royal gardener”. Soon this creative team got to work. The following architects participated in the creation of the architectural appearance of Versailles: - Louis Levo (1612-1670) - Jules Hardouin Mansart (1646-1708) - Andre Le Nôtre (1613-1700)

The focal point is a palace, to which 3 converging access avenues lead. The façade is represented by 3 floors.

An abundance of sculptural decorations Rich decor in the form of gilded moldings and carvings Many mirrors Exquisite furniture Marble tiles with clear geometric patterns Bronze chandeliers Mirror gallery Park

Mirror gallery

Mirror Gallery The most ceremonial room of the Grand Palace of Versailles is the Mirror Gallery. The king's birthdays were celebrated in this hall, marriages took place, balls were held, and foreign ambassadors were received here. The Mirror Gallery is called the miracle of Versailles. The view of this salon is simply breathtaking: the gallery stuns with its size, color, lavish luxury of decoration, and on fine sunny days with an excess of light and air. When decorating the Mirror Gallery, the calculation was deliberately made to stun with luxury and splendor. The mirror gallery is not just a hall. This is a huge avenue, 73 meters long and 10.5 meters wide.

Bedroom interior

Regular (French) parks subordinated nature to the will and intention of the artist. Versailles Park amazes with its clarity and rational organization of space, its drawing was precisely verified by the architect (A. Le Nôtre) using a compass and ruler

Versailles is the wealth of France, which is increasing over time. France is proud of this treasure; it is its glory. In 1830, the Versailles ensemble was turned into the National Museum of France, and our century has ranked it among the phenomena of world artistic culture.

Empire Empire, or “Empire Style” (French Empire - empire from Latin imperium - command, power) is a historical artistic style that first developed in France at the beginning of the 19th century.

Empire style refers to the so-called “royal styles”, which can be characterized by theatricality in the design of architectural buildings and interior interiors. The peculiarity of the architectural Empire style lies in the obligatory presence of columns, pilasters, stucco cornices and other classical elements, as well as motifs that reproduce almost unchanged ancient examples of sculpture, such as griffins, sphinxes, lion paws and similar sculptural structures. These elements are arranged in an orderly manner in the Empire style, maintaining balance and symmetry. The artistic concept of the style with its massive lapidary and monumental forms, as well as rich decoration, the content of elements of military symbolism, the direct influence of artistic forms primarily of the Roman Empire, as well as Ancient Greece and even Ancient Egypt, was designed to emphasize and embody the ideas of the power of government and the state, the presence of a strong army [Vendome Column. Paris

Thank you for your attention!

Resources used: http://ru.wikipedia.org/wiki/%C0%EC%EF%E8%F0 http://arkhi.net/?p=31 http://genaistoriya.ucoz.ru/load/mirovaja_khudozhestvennaja_kultura_11_klass /klassicizm_v_arkhitekture_zapadnoj_evropy/5-1-0-207 http://moruss.ucoz.ru/load/mkhk/prezentacii/klassicizm_v_arkhitekture_zapadnoj_evropy/20-1-0-102 http://www.myshared.ru/slide/86247/

LESSON DEVELOPMENT ON WORLD ARTISTIC CULTURE IN 11TH GRADE

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

Lesson type : lesson introduction to new material

Lesson format: travel lesson using computer technology

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

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

During the classes

I Organizing time

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

II Setting a lesson goal

The ceremonial splendor and “empty tinsel” of the Baroque gave way to classicism - a new artistic style. Having studied ancient art and taking it as a model, the followers of classicism came to the conclusion that the true basis of human life is the mind.
... Let's leave it to the Italians
Empty tinsel with its false gloss.
The most important thing is the meaning, but in order to get to it,
We'll have to overcome obstacles and paths,
Follow the designated path strictly:
Sometimes the mind has only one path...
You need to think about the meaning and only then write!
N. Boileau
This is how one of the ideologists of classicism, poet N. Boileau, taught his contemporaries.
Today we have a travel lesson and we will take a virtual tour of the grandiose palace and park ensemble of Versailles, get acquainted with the ceremonial official architecture and the characteristic features of classicism in architecture.
And today you will all help me, as you prepared a short message for the lesson.
III Learning new material

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

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

What patterns do you think this style followed?

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

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

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

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

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

The lesson is over.

Queen's House - Queen's House, 1616-1636) in Greenwich. Architect Inigo Jones

The time has come, and the high mysticism of Gothic, having gone through the trials of the Renaissance, gives way to new ideas based on the traditions of ancient democracies. The desire for imperial greatness and democratic ideals was transformed into a retrospection of imitation of the ancients - this is how classicism appeared in Europe.

At the beginning of the 17th century, many European countries became trading empires, a middle class emerged, and democratic transformations took place. Religion was increasingly subordinated to secular power. There were many gods again, and the ancient hierarchy of divine and worldly power came in handy. Undoubtedly, this could not but affect trends in architecture.

In the 17th century in France and England, a new style arose almost independently - classicism. Just like the contemporary Baroque, it became a natural result of the development of Renaissance architecture and its transformation in different cultural, historical and geographical conditions.

Classicism(French classicisme, from Latin classicus - exemplary) - artistic style and aesthetic direction in European art of the late 17th - early 19th centuries.

Classicism is based on ideas rationalism emanating from philosophy Descartes. A work of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the harmony and logic of the universe itself. Of interest to classicism is only the eternal, the unchangeable - in each phenomenon it strives to recognize only essential, typological features, discarding random individual characteristics. The aesthetics of classicism attaches great importance to the social and educational function of art. Classicism takes many rules and canons from ancient art (Aristotle, Plato, Horace...).

Baroque was closely associated with the Catholic Church. Classicism, or the restrained forms of the Baroque, proved more acceptable in Protestant countries such as England, the Netherlands, Northern Germany, and also in Catholic France, where the king was much more important than the Pope. The possessions of an ideal king should have ideal architecture, emphasizing the true greatness of the monarch and his real power. “France is I,” proclaimed Louis XIV.

In architecture, classicism is understood as an architectural style common in Europe in the 18th - early 19th centuries, the main feature of which was an appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity, monumentality and reasonableness of filling space. The architecture of classicism as a whole is characterized by regularity of layout and clarity of volumetric form. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity, symmetrical axial compositions, restraint of decorative decoration, and a regular system of city planning.

Usually divided two periods in the development of classicism. Classicism developed in the 17th century in France, reflecting the rise of absolutism. The 18th century is considered a new stage in its development, since at that time it reflected other civic ideals based on the ideas of the philosophical rationalism of the Enlightenment. What unites both periods is the idea of ​​a reasonable pattern of the world, of a beautiful, ennobled nature, the desire to express great social content, sublime heroic and moral ideals.

The architecture of classicism is characterized by rigor of form, clarity of spatial design, geometric interiors, softness of colors and laconicism of external and internal decoration of buildings. Unlike Baroque buildings, the masters of classicism never created spatial illusions that distorted the proportions of the building. And in park architecture the so-called regular style, where all lawns and flower beds have the correct shape, and green spaces are placed strictly in a straight line and carefully trimmed. ( Garden and park ensemble of Versailles)

Classicism is characteristic of the 17th century. for countries in which there was an active process of formation of national states and the strength of capitalist development was growing (Holland, England, France). Classicism in these countries carried new features of the ideology of the rising bourgeoisie, fighting for a stable market and expanding the productive forces, interested in centralization and national unification of states. Being an opponent of class inequalities that infringed on the interests of the bourgeoisie, its ideologists put forward the theory of a rationally organized state based on the subordination of the interests of classes. The recognition of reason as the basis for the organization of state and social life is supported by the arguments of scientific progress, which the bourgeoisie promotes by all means. This rationalistic approach to assessing reality was transferred to the field of art, where the ideal of citizenship and the triumph of reason over elemental forces became an important theme. Religious ideology is increasingly subordinate to secular power, and in a number of countries it is being reformed. The adherents of classicism saw an example of a harmonious social order in the ancient world, and therefore, to express their socio-ethical and aesthetic ideals, they turned to examples of ancient classics (hence the term classicism). Developing traditions Renaissance, classicism took a lot from the heritage baroque.

Architectural classicism of the 17th century developed in two main directions:

• the first was based on the development of the traditions of the late Renaissance classical school (England, Holland);
• the second - reviving classical traditions, developed the Roman Baroque traditions (France) to a greater extent.

English classicism

The creative and theoretical heritage of Palladio, who revived the ancient heritage in all its breadth and tectonic integrity, especially appealed to the classicists. It had a great impact on the architecture of those countries that took the path earlier than others architectural rationalism. Already from the first half of the 17th century. in the architecture of England and Holland, which were relatively weakly influenced by the Baroque, new features were determined under the influence Palladian classicism. The English architect played a particularly important role in the development of the new style. Inigo Jones (Inigo Jones) (1573-1652) - the first bright creative individual and the first truly new phenomenon in English architecture of the 17th century. He owns the most outstanding works of English classicism of the 17th century.

In 1613 Jones went to Italy. Along the way he visited France, where he was able to see many of the most significant buildings. This trip, apparently, became a decisive impetus in the movement of the architect Jones in the direction indicated by Palladio. It was to this time that his notes on the margins of Palladio’s treatise and in the album date back.

It is characteristic that the only general judgment about architecture among them is devoted to a reasoned criticism of certain trends in the late Renaissance architecture of Italy: Jones reproaches Michelangelo and his followers that they initiated the excessive use of complex decoration, and argues that monumental architecture, c. unlike scenography and short-lived light buildings, it must be serious, free from affectation and based on rules.

In 1615, Jones returned to his homeland. He is appointed inspector general of the Ministry of Royal Works. Next year he begins to build one of his best works Queen's House - Queen's House, 1616-1636) in Greenwich.

In the Queens House, the architect consistently develops the Palladian principles of clarity and classical clarity of order divisions, visible constructiveness of forms, balance of proportional structure. The general combinations and individual forms of the building are classically geometric and rational. The composition is dominated by a calm, metrically dissected wall, built in accordance with an order commensurate with the scale of a person. Balance and harmony reign in everything. The plan shows the same clarity of division of the interior into simple, balanced spaces.

This was Jones's first building that has come down to us, which had no precedents in its severity and naked simplicity, and also contrasted sharply with previous buildings. However, the building should not (as is often done) be assessed by its current condition. At the whim of the customer (Queen Anne, wife of James I Stuart), the house was built directly on the old Dover Road (its position is now marked by long colonnades adjacent to the building on both sides) and originally consisted of two buildings separated by the road, connected over it by a covered bridge. The complexity of the composition once gave the building a more picturesque, “English” character, emphasized by the vertical stacks of chimneys arranged in traditional clusters. After the death of the master, in 1662, the gap between the buildings was built up. This is how the resulting volume was square in plan, compact and dry in architecture, with a loggia decorated with columns on the Greenwich Hill side, and a terrace and staircase leading to a two-story hall on the Thames side.

All this hardly justifies the far-reaching comparisons between the Queenhouse and the square, centric villa at Poggio a Caiano near Florence, built by Giuliano da Sangallo the Elder, although the similarities in the drawing of the final plan are undeniable. Jones himself mentions only the Villa Molini, built by Scamozzi near Padua, as the prototype of the façade on the river side. The proportions - the equality of the width of the risalits and the loggia, the greater height of the second floor compared to the first, rustication without breaking into individual stones, a balustrade over the cornice and a curvilinear double staircase at the entrance - are not in the character of Palladio, and are slightly reminiscent of Italian mannerism, and at the same time rationally ordered compositions of classicism.

Famous Banqueting House in London (Banqueting House - Banquet Hall, 1619-1622) in appearance it is much closer to the Palladian prototypes. Due to its noble solemnity and consistent order structure throughout the entire composition, it had no predecessors in England. At the same time, in terms of its social content, this is an original type of structure, passing through English architecture since the 11th century. Behind the two-tiered order façade (at the bottom - Ionic, at the top - composite) there is a single two-light hall, along the perimeter of which there is a balcony, which provides a logical connection between the exterior and the interior. Despite all the similarity to the Palladian facades, there are significant differences here: both tiers are the same in height, which is never found in the Vincentian master, and the large glazing area with small recessed windows (an echo of local half-timbered construction) deprives the wall of the plasticity characteristic of the Italian prototypes, giving it a clearly national look. English features. The luxurious ceiling of the hall, with deep coffers ( later painted by Rubens), differs significantly from the flat ceilings of English palaces of that time, decorated with light reliefs of decorative panels.

With name Inigo Jones, a member of the Royal Building Commission since 1618, is associated with the most important urban planning event for the 17th century - laying out of the first London square created according to a regular plan. Already its common name is Piazza Covent Garden- speaks about the Italian origins of the idea. Placed along the axis of the western side of the square, the Church of St. Paul (1631), with its high pediment and two-columned Tuscan portico in the antes, is an obvious, naive in its literalness, imitation of the Etruscan temple in the image of Serlio. Open arcades in the first floors of the three-story buildings that framed the square from the north and south are presumably echoes of the square in Livorno. But at the same time, the homogeneous, classicist design of the urban space could have been inspired by the Parisian Place des Vosges, built just thirty years earlier.

St. Paul's Cathedral on the square Covent Garden (Covent Garden), the first temple built line by line in London after the Reformation, reflects in its simplicity not only the desire of the customer, the Duke of Bedford, to fulfill cheaply his obligations to the members of his parish, but also the essential requirements of the Protestant religion. Jones promised the customer to build “the most beautiful barn in England.” Nevertheless, the facade of the church, restored after the fire of 1795, is large-scale, majestic despite its small size, and its simplicity undoubtedly has a special charm. It is curious that the high doorway under the portico is false, since on this side of the church there is an altar

The Jones ensemble, unfortunately, has been completely lost, the space of the square has been built up, the buildings have been destroyed, only the building erected later, in 1878, in the northwestern corner allows us to judge the scale and nature of the original plan.

If Jones's first works suffer from a dry rigorism, then his later, estate buildings are less constrained by the ties of classical formalism. With their freedom and plasticity, they partly anticipate the English Palladianism of the 18th century. This is, for example, Wilton House (Wilton House, Wiltshire), burned down in 1647 and rebuilt John Webb, Jones's longtime assistant.

I. Jones’s ideas were continued in subsequent projects, of which the architect’s London reconstruction project should be highlighted Christopher Wren (Christopher Wren) (1632-1723) being the first grandiose reconstruction project of a medieval city after Rome (1666), which was almost two centuries ahead of the grandiose reconstruction of Paris. The plan was not implemented, but the architect contributed to the general process of the emergence and construction of individual nodes of the city, completing, in particular, the ensemble conceived by Inigo Jones hospital in greenwich(1698-1729). Ren's other major building is Cathedral of St. Paul's in London- London Cathedral of the Church of England. Cathedral of St. Pavel is the main urban development focus in the area of ​​the reconstructed City. Since the consecration of the first Bishop of London, St. Augustine (604), according to sources, several Christian churches were erected on this site. The immediate predecessor of the current cathedral, the old cathedral of St. St. Paul's, consecrated in 1240, was 175 m long, 7 m longer than Winchester Cathedral. In 1633–1642 Inigo Jones carried out extensive renovations to the old cathedral and added a west façade in classical Palladian style. However, this old cathedral was completely destroyed during the Great Fire of London in 1666. The present building was built by Christopher Wren in 1675-1710; The first service took place in the unfinished church in December 1697.

From an architectural point of view, the Cathedral of St. Paul's is one of the largest domed buildings in the Christian world, ranking on a par with the Florence Cathedral, the Cathedrals of St. Sophia in Constantinople and St. Peter's in Rome. The cathedral has the shape of a Latin cross, its length is 157 m, width 31 m; transept length 75 m; total area 155,000 sq. m. In the middle cross at a height of 30 m, the foundation of a dome with a diameter of 34 m was laid, which rises to 111 m. When designing the dome, Ren used a unique solution. Directly above the middle cross, he erected the first dome in brick with a 6-meter round hole at the top (oculus), completely commensurate with the proportions of the interior. Above the first dome, the architect built a brick cone that serves as a support for a massive stone lantern, the weight of which reaches 700 tons, and above the cone is a second dome covered with lead sheets on a wooden frame, proportionally correlated with the external volumes of the building. An iron chain is placed at the base of the cone, which takes on the lateral thrust. A slightly pointed dome, supported by a massive circular colonnade, dominates the appearance of the cathedral.

The interior is mainly finished with marble cladding, and since there is little color, it looks austere. Along the walls there are numerous tombs of famous generals and naval commanders. The glass mosaics of the vaults and walls of the choir were completed in 1897.

Huge scope for construction activities opened up after the fire of London in 1666. The architect presented his city ​​reconstruction plan and received an order to restore 52 parish churches. Ren proposed various spatial solutions; some buildings are built with truly baroque pomp (for example, St. Stephen's Church in Walbrook). Their spiers along with the towers of St. Paul form a spectacular panorama of the city. Among these are the churches of Christ in Newgate Street, St. Bride's in Fleet Street, St. James's in Garlick Hill and St. Vedast in Foster Lane. If special circumstances required it, as in the construction of St Mary Aldermary or Christ Church College in Oxford (Tom's Tower), Wren could use late Gothic elements, although, in his own words, he did not like to “deviate from the best style”.

In addition to the construction of churches, Ren carried out private orders, one of which was the creation of a new library Trinity College(1676–1684) in Cambridge. In 1669 he was appointed chief warden of the royal buildings. In this position he received a number of important government contracts, such as the construction of hospitals in the Chelsea and Greenwich areas ( Greenwich Hospital) and several buildings included in Kensington Palace complexes And Hampton Court Palace.

During his long life, Wren was in the service of five successive kings on the English throne and left his position only in 1718. Wren died at Hampton Court on February 26, 1723 and was buried in St. John's Cathedral. Pavel. His ideas were picked up and developed by the next generation of architects, in particular N. Hawksmore and J. Gibbs. He had a significant influence on the development of church architecture in Europe and the USA.

Among the English nobility, a real fashion arose for Palladian mansions, which coincided with the philosophy of the early Enlightenment in England, which preached the ideals of rationality and orderliness, most fully expressed in ancient art.

Palladian English villa was a compact volume, most often three-story. The first one was rusticated, the main one was the front floor, there was a second floor, it was combined on the facade with a large order with the third - the residential floor. The simplicity and clarity of Palladian buildings, the ease of reproducing their forms, made similar ones very common both in suburban private architecture and in the architecture of urban public and residential buildings.

The English Palladians made a great contribution to the development of park art. In place of fashionable, geometrically correct " regular"The gardens have arrived" landscape parks, later called “English”. Picturesque groves with foliage of different shades alternate with lawns, natural ponds, and islands. The paths of the parks do not provide an open perspective, and behind each bend they prepare an unexpected view. Statues, gazebos, and ruins hide in the shade of trees. Their main creator in the first half of the 18th century was William Kent

Landscape or landscape parks were perceived as the beauty of natural nature intelligently corrected, but the corrections did not have to be noticeable.

French classicism

Classicism in France was formed in more complex and contradictory conditions, local traditions and the influence of the Baroque had a stronger impact. The emergence of French classicism in the first half of the 17th century. took place against the backdrop of a peculiar refraction in architecture of Renaissance forms, late Gothic traditions and techniques borrowed from the emerging Italian Baroque. This process was accompanied by typological changes: a shift in emphasis from the non-urban castle construction of the feudal nobility to the urban and suburban construction of housing for the official nobility.

The basic principles and ideals of classicism were laid in France. We can say that everything started from the words of two famous people, the Sun King (i.e. Louis XIV), who said “ The state is me!” and the famous philosopher Rene Descartes, who said: “ I think, therefore I exist"(in addition and counterbalance to Plato's saying - " I exist therefore I think"). It is in these phrases that the main ideas of classicism lie: loyalty to the king, i.e. to the fatherland, and the triumph of reason over feeling.

The new philosophy demanded its expression not only in the mouth of the monarch and philosophical works, but also in art accessible to society. Heroic images were needed, aimed at instilling patriotism and rationality in the thinking of citizens. Thus began the reform of all facets of culture. Architecture created strictly symmetrical forms, subjugating not only space, but also nature itself, trying to get at least a little closer to the created Claude Ledoux utopian ideal city of the future. Which, by the way, remained exclusively in the architect’s drawings (it is worth noting that the project was so significant that its motifs are still used in various movements of architecture).

The most prominent figure in the architecture of early French classicism was Nicolas Francois Mansart(Nicolas François Mansart) (1598-1666) - one of the founders of French classicism. His merit, in addition to the direct construction of buildings, is 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. The Gothic-style vertical sections of the facades have large rectangular windows, a clear division into floors and rich order plasticity. A special feature of the Mansar hotels are the high roofs, under which additional living space was located - the attic, named after its creator. An excellent example of such a roof is a palace Maison-Laffite(Maisons-Laffitte, 1642–1651). Mansar's other works include: Hotel de Toulouse, Hotel Mazarin and Paris Cathedral Val de Grace(Val-de-Grace), completed according to his design Lemerce And Le Muet.

The heyday of the first period of classicism dates back to the second half of the 17th century. The concepts of philosophical rationalism and classicism put forward by bourgeois ideology represented by absolutism Louis XIV takes as official state doctrine. These concepts are completely subordinate to the will of the king and serve as a means of glorifying him as the highest personification of the nation, united on the principles of reasonable autocracy. In architecture, this has a twofold expression: on the one hand, the desire for rational order compositions, tectonically clear and monumental, freed from the fractional “multi-obscurity” of the previous period; on the other hand, an ever-increasing tendency towards a single volitional principle in the composition, towards the dominance of an axis that subordinates the building and adjacent spaces, to the subordination to the will of man not only of the principles of organizing urban spaces, but also of nature itself, transformed according to the laws of reason, geometry, “ideal” beauty . Both trends are illustrated by two major events in the architectural life of France in the second half of the 17th century: the first - the design and construction of the eastern facade of the royal palace in Paris - Louvre (Louvre); the second - the creation of a new residence of Louis XIV, the most grandiose architectural and landscape ensemble in Versailles.

The eastern façade of the Louvre was created as a result of a comparison of two projects - one that came to Paris from Italy Lorenzo Bernini(Gian Lorenzo Bernini) (1598-1680) and Frenchman Claude Perrault(Claude Perrault) (1613-1688). Preference was given to Perrault's project (implemented in 1667), where, in contrast to the baroque restlessness and tectonic duality of Bernini's project, the extended façade (length 170.5 m) has a clear order structure with a huge two-story gallery, interrupted in the center and on the sides by symmetrical risalits . The paired columns of the Corinthian order (height 12.32 meters) carry a large, classically designed entablature, completed with an attic and balustrade. The base is interpreted in the form of a smooth basement floor, the design of which, as in the elements of the order, emphasizes the structural functions of the main load-bearing support of the building. A clear, rhythmic and proportional structure is based on simple relationships and modularity, and the lower diameter of the columns is taken as the initial value (module), as in the classical canons. The height dimensions of the building (27.7 meters) and the overall large scale of the composition, designed to create a front square in front of the facade, give the building the majesty and representativeness necessary for a royal palace. At the same time, the entire structure of the composition is distinguished by architectural logic, geometricity, and artistic rationalism.

Ensemble of Versailles(Château de Versailles, 1661-1708) - the pinnacle of architectural activity of the time of Louis XIV. The desire to combine the attractive aspects of city life and life in the lap of nature led to the creation of a grandiose complex, including a royal palace with buildings for the royal family and government, a huge park and a city adjacent to the palace. The palace is a focal point in which the axis of the park converges - on one side, and on the other - three rays of the city's highways, of which the central one serves as the road connecting Versailles with the Louvre. The palace, the length of which from the side of the park is more than half a kilometer (580 m), with its middle part is sharply pushed forward, and in height it has a clear division into the basement part, the main floor and the attic. Against the background of order pilasters, Ionic porticos play the role of rhythmic accents that unite the facades into a coherent axial composition.

The axis of the palace serves as the main disciplinary factor in the transformation of the landscape. Symbolizing the boundless will of the reigning owner of the country, it subjugates elements of geometric nature, alternating in strict order with architectural elements for park purposes: stairs, pools, fountains, and various small architectural forms.

The principle of axial space inherent in Baroque and Ancient Rome is realized here in the grandiose axial perspective of green parterres and alleys descending in terraces, leading the observer’s gaze deeper into the canal located in the distance, cruciform in plan, and further to infinity. Bushes and trees trimmed in the shape of pyramids emphasized the linear depth and artificiality of the created landscape, turning into natural only beyond the border of the main perspective.

Idea " transformed nature" corresponded to the new way of life of the monarch and the nobility. It also led to new urban planning plans - a departure from the chaotic medieval city, and ultimately to a decisive transformation of the city based on the principles of regularity and the introduction of landscape elements into it. The consequence was the spread of the principles and techniques developed in the planning of Versailles to the reconstruction of cities, especially Paris.

André Le Nôtre(André Le Nôtre) (1613-1700) - creator of the garden and park ensemble Versailles- came up with the idea of ​​regulating the layout of the central area of ​​Paris, adjacent to the Louvre and Tuileries palaces from the west and east. Louvre - Tuileries axis, coinciding with the direction of the road to Versailles, determined the meaning of the famous “ Parisian diameter", which later became the main thoroughfare of the capital. The Tuileries Garden and part of the avenue - the avenues of the Champs Elysees - were laid out on this axis. In the second half of the 18th century, the Place de la Concorde was created, uniting the Tuileries with the Avenue des Champs-Élysées, and in the first half of the 19th century. The monumental Arch of the Star, placed at the end of the Champs Elysees in the center of the round square, completed the formation of the ensemble, the length of which is about 3 km. Author Palace of Versailles Jules Hardouin-Mansart(Jules Hardouin-Mansart) (1646-1708) also created a number of outstanding ensembles in Paris at the end of the 17th and beginning of the 18th centuries. These include round Victory Square(Place des Victoires), rectangular Place Vendôme(Place Vendome), complex of the Invalides hospital with a domed cathedral. French classicism of the second half of the 17th century. adopted the urban development achievements of the Renaissance and especially the Baroque, developing and applying them on a more grandiose scale.

In the 18th century, during the reign of Louis XV (1715-1774), the Rococo style developed in French architecture, as in other forms of art, which was a formal continuation of the pictorial trends of the Baroque. The originality of this style, close to baroque and elaborate in its forms, was manifested mainly in the interior decoration, which corresponded to the luxurious and wasteful life of the royal court. The state rooms acquired a more comfortable, but also more ornate character. In the architectural decoration of premises, mirrors and stucco decorations made of intricately curved lines, flower garlands, shells, etc. were widely used. This style was also greatly reflected in furniture. However, already in the middle of the 18th century there was a move away from the elaborate forms of Rococo towards greater rigor, simplicity and clarity. This period in France coincides with a broad social movement directed against the monarchical socio-political system and which received its resolution in the French bourgeois revolution of 1789. The second half of the 18th and the first third of the 19th centuries in France mark a new stage in the development of classicism and its wide spread in European countries.

CLASSICISM OF THE SECOND HALF OF THE XVIII century in many ways developed the principles of architecture of the previous century. However, the new bourgeois-rationalist ideals - simplicity and classical clarity of forms - are now understood as a symbol of a certain democratization of art, promoted within the framework of the bourgeois enlightenment. The relationship between architecture and nature is changing. Symmetry and axis, which remain the fundamental principles of composition, no longer have the same importance in the organization of the natural landscape. Increasingly, the French regular park is giving way to the so-called English park with a picturesque landscape composition imitating the natural landscape.

The architecture of buildings is becoming somewhat more humane and rational, although the huge urban scale still determines a broad ensemble approach to architectural tasks. The city with all its medieval buildings is considered as an object of architectural influence as a whole. Ideas for an architectural plan for the entire city are put forward; At the same time, the interests of transport, issues of sanitary improvement, location of trade and industrial facilities, and other economic issues begin to occupy a significant place. In work on new types of urban buildings, much attention is paid to multi-story residential buildings. Despite the fact that the practical implementation of these urban planning ideas was very limited, increased interest in the problems of the city influenced the formation of ensembles. In a large city, new ensembles try to include large spaces in their “sphere of influence” and often acquire an open character.

The largest and most characteristic architectural ensemble of French classicism of the 18th century - Place de la Concorde in Paris, created according to the project Ange-Jacques Gabriel (Ange-Jacque Gabriel(1698 - 1782) in the 50-60s of the 18th century, and received its final completion during the second half of the 18th - first half of the 19th century. The huge square serves as a distribution space on the banks of the Seine between the Tuileries Garden adjacent to the Louvre and the wide boulevards of the Champs Elysees. Pre-existing dry ditches served as the boundary of a rectangular area (dimensions 245 x 140 m). The “graphic” layout of the square with the help of dry ditches, balustrades, and sculptural groups bears the imprint of the planar layout of the Versailles Park. In contrast to the closed squares of Paris in the 17th century. (Place Vendôme, etc.), Place de la Concorde is an example of an open square, limited only on one side by two symmetrical buildings built by Gabriel, which formed a transverse axis passing through the square and the Rue Royale formed by them. The axis is fixed in the square by two fountains, and at the intersection of the main axes a monument to King Louis XV was erected, and later a high obelisk). The Champs Elysees, the Tuileries Garden, the space of the Seine and its embankments are, as it were, a continuation of this architectural ensemble, enormous in scope, in a direction perpendicular to the transverse axis.

Partial reconstruction of centers with the establishment of regular “royal squares” also covers other cities of France (Rennes, Reims, Rouen, etc.). The Royal Square in Nancy (Place Royalle de Nancy, 1722-1755) especially stands out. Urban planning theory is developing. In particular, it is worth noting the theoretical work on city squares by the architect Patt, who processed and published the results of the competition for Place Louis XV in Paris, held in the mid-18th century.

The space-planning development of buildings of French classicism of the 18th century cannot be conceived in isolation from the urban ensemble. The leading motif remains a large order that correlates well with the adjacent urban spaces. The constructive function is returned to the order; it is more often used in the form of porticoes and galleries, its scale is enlarged, covering the height of the entire main volume of the building. Theorist of French classicism M. A. Laugier M. A. fundamentally rejects the classical column where it really does not bear the load, and criticizes placing one order on top of another if it is really possible to get by with one support. Practical rationalism receives broad theoretical justification.

The development of theory has become a typical phenomenon in the art of France since the 17th century, since the establishment of the French Academy (1634), the formation of the Royal Academy of Painting and Sculpture (1648) and the Academy of Architecture (1671). Particular attention in theory is paid to orders and proportions. Developing the doctrine of proportions Jacques Francois Blondel(1705-1774) - a French theorist of the second half of the 17th century, Laugier creates a whole system of logically substantiated proportions, based on the rationally meaningful principle of their absolute perfection. At the same time, in proportions, as in architecture in general, the element of rationality, based on speculatively derived mathematical rules of composition, is enhanced. Interest in the heritage of antiquity and the Renaissance is growing, and in specific examples of these eras they strive to see a logical confirmation of the principles put forward. The Roman Pantheon is often cited as an ideal example of the unity of utilitarian and artistic functions, and the most popular examples of Renaissance classics are the buildings of Palladio and Bramante, in particular the Tempietto. These samples are not only carefully studied, but also often serve as direct prototypes of the buildings being erected.

Built in the 1750s-1780s according to the design Jacques Germain Soufflot(Jacques-Germain Soufflot) (1713 - 1780) Church of St. Genevieve in Paris, which later became the national French Pantheon, one can see the return to the artistic ideal of antiquity and the most mature examples of the Renaissance inherent in this time. The composition, cruciform in plan, is distinguished by the consistency of the overall scheme, the balance of the architectural parts, and the clarity and clarity of construction. The portico goes back in its forms to the Roman to the Pantheon, a drum with a dome (span 21.5 meters) resembles a composition Tempietto. The main façade completes the vista of a short, straight street and serves as one of the most prominent architectural landmarks in Paris.

Interesting material illustrating the development of architectural thought in the second half of the 18th - early 19th centuries is the publication in Paris of competitive academic projects awarded the highest award (Grand prix). A common thread running through all these projects is reverence for antiquity. Endless colonnades, huge domes, repeated porticos, etc., speak, on the one hand, of a break with the aristocratic effeminacy of Rococo, on the other, of the flowering of a unique architectural romance, for the implementation of which, however, there was no basis in social reality.

The eve of the Great French Revolution (1789-94) gave rise in architecture to a desire for austere simplicity, a bold search for monumental geometricism, and a new, orderless architecture (C. N. Ledoux, E. L. Bullet, J. J. Lequeu). These searches (also marked by the influence of the architectural etchings of G.B. Piranesi) served as the starting point for the later phase of classicism - Empire style.

During the years of the revolution, almost no construction was carried out, but a large number of projects were born. The general tendency towards overcoming canonical forms and traditional classical schemes is determined.

Culturological thought, having gone through another round, ended in the same place. The painting of the revolutionary direction of French classicism is represented by the courageous drama of historical and portrait images of J. L. David. During the years of the empire of Napoleon I, magnificent representativeness in architecture increases (C. Percier, L. Fontaine, J. F. Chalgrin)

The international center of classicism of the 18th century - early 19th century was Rome, where the academic tradition dominated in art, with a combination of nobility of forms and cold, abstract idealization, not uncommon for academicism (German painter A. R. Mengs, Austrian landscape painter J. A. Koch, sculptors - Italian A. Canova, Dane B. Thorvaldsen).

In the 17th and early 18th centuries, classicism was formed in Dutch architecture- architect Jacob van Kampen(Jacob van Campen, 1595-165), which gave rise to a particularly restrained version of it. Cross-connections with French and Dutch classicism, as well as with the early Baroque, resulted in a short brilliant flowering classicism in Swedish architecture late 17th - early 18th century - architect Nicodemus Tessin the Younger(Nicodemus Tessin Younger 1654-1728).

In the middle of the 18th century, the principles of classicism were transformed in the spirit of Enlightenment aesthetics. In architecture, the appeal to “naturalness” put forward the requirement for constructive justification of order elements of the composition, in the interior - the development of a flexible layout for a comfortable residential building. The ideal setting for the house was the landscape of an “English” park. The rapid development of archaeological knowledge about Greek and Roman antiquity (excavations of Herculaneum, Pompeii, etc.) had a huge influence on the classicism of the 18th century; The works of I. I. Winkelman, I. V. Goethe, and F. Militsiya made their contribution to the theory of classicism. In French classicism of the 18th century, new architectural types were defined: an exquisitely intimate mansion, a ceremonial public building, an open city square.

In Russia classicism went through several stages in its development and reached an unprecedented scale during the reign of Catherine II, who considered herself an “enlightened monarch,” corresponded with Voltaire and supported the ideas of the French Enlightenment.

The ideas of significance, grandeur, and powerful pathos were close to the classical architecture of St. Petersburg.

At the end of the 17th century in France, during the reign of Louis XIV, a new style arose in the field of art - classicism, which translated from Latin means “exemplary”. Soon, under the influence of the ideas of the Enlightenment, it spread throughout almost all of Western Europe and dominated in the first third of the 19th century. Classicism became most widespread in France, England, Germany and Russia, where it covered literally all spheres of art, but left its brightest mark in architecture.

This appeal to the art of the past was due to the fact that in European countries, starting from the 17th century, there was a rapid development and formation of capitalist relations. And as you know, the life of the state is always reflected in art and even influences its directions.

In art, a need arose in such a direction that would help reflect the new trends of the century. This is what classicism became. Now the architecture was supposed to convey not ceremonial solemnity and pomp, but greatness and significance: to evoke in people associations with the greatness of the rulers of the ancient Greeks and Romans. During this era, the central provisions and theories of urban planning of previous centuries continued to develop, and completely new ones arose, based on the latest achievements of the exact sciences and architecture. Their implementation took place at the end of the 18th century - the first half of the 19th century, during a period of rapid urban growth in Europe. Naturally, classicism, which flourished precisely during this period, left its mark on the appearance of most new buildings. Entire neighborhoods with features characteristic of this style have survived to this day. Classical forms and details were used as the main elements in architectural compositions, in which the relationships of the component parts were strictly defined. Outwardly, they complemented the emphasized correctness and severity of the entire house. More often, architects used an order composition, because colonnades, like nothing else, conveyed the idea of ​​grandeur and orderliness (order translated means “order”). Important elements were porticoes, small pilasters, and cornices. At the beginning of the 19th century in France, during the reign of Napoleon I, classicism moved into its final stage - Empire (which means “empire”). It was characterized by monumentality, special laconicism, an emphasized contrast of the smoothness of the wall and the columns attached to it, a wealth of stucco, cast and carved decor, symbolizing the power and military strength of the state.

15. discovery of tone and value in Barbizon painting

Valer - A hue that determines the ratio of light and shadow within the same color.

Tone is the quality of color that makes a given color different from other colors. B. sh. systematically developed a method of tonal painting, restrained and often almost monochrome, rich in subtle values, light and color nuances; calm brown, brown, green tones are enlivened by individual ringing accents.

Striving to individualize landscape motifs, to depict the diverse states of nature, light and air, Valeur, according to Delacroix’s definition, is the “primary color” of an object, a true coloristic quality that is destroyed by chiaroscuro: it becomes whiter in the light and changes greatly in the shadow due to reflexes. Therefore, the “primary color” exists only in light divisions, at the border of light and shadow; it also serves as the basis for the harmonization of tones in the color of the picture, while preserving the qualities of “objectivity”, the materiality of the depicted objects. This is exactly how the Barbizonians painted their wonderful landscapes,

16. German romanticism in painting

Outstanding representatives of romanticism in German painting include Philipp Otto Runge (1777-1810) and Caspar David Friedrich (1774-1840). Throughout his life, the artist turned to portraits, which became a favorite genre of romantics. In the canvas “The Three of Us” (1805) and two self-portraits of the artist (1805, 1806, all are in the Kunsthalle, Hamburg), the concept of a European romantic portrait is clearly expressed. O. Runge depicts himself in moments of various emotional movements: excitement, melancholy, immersed in thought. In line with the romantic aspirations of the era, the artist’s appeal to national tradition and themes from national history. For German churches he created the paintings "Rest on the Flight into Egypt" (1805-1806) and "Christ Walking on the Waters" (1806-1807; both are in the Kunsthalle, Hamburg). The programmatic work of European romanticism was the canvas “Cross in the Mountains” by K. Friedrich. One of the first oil paintings was “Cross in the Mountains” (1808). The painting depicts a mountain rocky outcrop surrounded by forest, with a cross against a crimson sky. This altar composition was commissioned for the chapel of Tetchen Castle. The artist suggested accepting nature as it is. He seemed to make it clear that the Divine essence was present in her; he was looking for a new mythology, new types of symbols. (1808, Picture Gallery, Dresden). The theme of the Crucifixion, characteristic of the old German masters, takes on a new meaning in the painting of the romantic artist: notes of nostalgic attitude towards the world of classical art, towards the originality of the national tradition, faith in the power of religion. The same feelings give rise to paintings depicting the ruins of old cathedrals, abandoned abbeys, monasteries ("Winter", Neue Pinakothek, Munich; "Cathedral", 1818, private collection, Schweinfurt; "Abbey among oak trees", 1810, Charlottenburg, Berlin). In the paintings "Chalk cliffs on the island of Rügen" (circa 1820, Reinhardt collection, Winterthur), "Moonrise over the sea" (1821-1822, National Gallery, Berlin), "On a sailboat. Sunset" and "Harbor at night" (both 1821, Hermitage) K. Friedrich gives a look at an infinitely distant space from a fixed point of view - figures of people placed in the foreground, contemplating the opening view in poetic silence. The juxtaposition of small and large, finite and infinite in his views of mountain and sea landscapes enhances the feeling of the cosmic nature of nature. His views always contain the greatness of a natural, almost mystical feeling and an individual specific vision of a given landscape motif.

Symbolism is also inherent in other works of Friedrich,

Friedrich was particularly influenced by Runge, which was expressed primarily in a predilection for the contrasting delineation of different parts of the composition, starting from a darkened foreground to a light background, following through a brightly colored middle one, as, for example, in Moonrise over the Sea (1822).

Biedermeier is alive in it

Biedermeier (Biedermeier; German Biedermeier) - artistic style, direction in German and Austrian art. Representatives of Biedermeier in painting: German artists G. F. Kersting, Ludwig Richter, Karl Spitzweg The main feature of Biedermeier is idealism. Therefore, everyday scenes predominate in painting. One of the largest representatives of Biedermeier painting, Carl Spitzweg, painted eccentric philistines, as they were called in Germany, philistines, as he himself was. Of course, his heroes are limited, these are small people of the province, watering roses on the balcony, postmen, cooks, clerks. There is humor in Spitzweg's paintings; he laughs at his characters, but without malice

Realism.courbet

Courbet, Gustave (1819-1877)

French painter and graphic artist, founder of realism. In the early period, marked by the influence of romanticism, the artist painted landscapes, self-portraits, and compositions based on literary subjects. A turning point in his life was a trip to Holland and his acquaintance with the works of Hals and Rembrandt. Painted at the same time and presented at the Paris Salon of 1850-51, Courbet’s paintings “Funeral in Ornans”, “Stone Crusher”, “Afternoon Rest in Ornans” declared him as a bright master of the realistic school. The artist's realism caused sharp rejection from official circles, because... opposed the accepted academicism and was socially dangerous. Courbet's realism was more a revolution in the choice of subject than a revolution of style. Nevertheless, the rage of conservatives who accused him of dangerous radicalism is understandable. Courbet depicted everyday life with the monumentality and seriousness that was traditionally used in painting on historical themes. He completely rejected all traditional subjects borrowed from religion, mythology and history, thereby expressing his protest. During the Paris exhibition of 1855, at which the works of Ingres and Delacroix were successfully demonstrated, Courbet drew attention to his paintings by staging a personal exhibition in a large wooden barn , where he distributed the “Manifesto of Realism.” At the center of the exhibition was a huge canvas, the most ambitious of all Courbet's paintings, entitled: "The Artist's Studio: However, in Courbet's painting the artist is placed in the center, and those gathered around him are not royalty, who are free to visit the studio whenever they please, but invited they have guests. The artist collected them on purpose, and why becomes clear only after some reflection. The meaning of the painting can be fully comprehended only if you seriously think about its title and the artist’s attitude towards the people he depicts. And they are divided into two main groups. On the left are the people, and these are types rather than individual individuals: hunters, peasants, workers, a priest, a Jew, a young mother with a child - the artist made sketches of them in his hometown of Ornance. On the right, on the contrary, we see people who have a portrait resemblance to those who surrounded Courbet in Paris - these are his customers, critics, intellectuals (for example, a person reading a newspaper - Baudelaire). Everyone present is strangely passive, as if they are waiting for something. Some of them are talking calmly, some are deep in thought; almost no one looks at Courbet. All of them, in essence, are not spectators; rather, they represent the social environment in which Courbet moves. although even before him, artists of the Barbizon school worked in a realistic manner (Theodore Rousseau, Jean-François Millet, Jules Breton)

• Novotroitsk secondary school.

• Completed by: 11th grade student
• Lamonova Svetlana.
• Head: MHC teacher:
• Cherkasova R.A.

• year 2009.

• Classicism, as a movement, was first mentioned by Italian thinkers, but it received its development in France, which is considered its ancestor. French classicism, while remaining faithful to all the basic principles of this movement, was no less luxurious and magnificent than everything else that the hand of French masters touched.
• In contrast, classicism in Germany became a much more ascetic movement, promoting freedom of space, tightly fitted forms and clear, strict silhouettes. This is the true kingdom of reason, reason in everything, especially in architecture.

• It must be said that Russian classicism managed to combine the features of all the above-mentioned trends, adding to them its own unique features. Like everything that passes through the prism of perception of Russian figures of art and culture, classicism has become more “vital” and less static in Russian architecture and sculpture. In addition, it was with classicism that the rise of Russian science and enlightenment began. That is why we can say that in no other European country has classical ideology left such a clear trace as in Russia. Here, the emergence of educational institutions, the development of archeology, history, and translation activities are associated with this direction.

• The heyday of Russian classicism dates back to the last third of the 18th-1st third of the 19th centuries, although already at the beginning of the 18th century. marked by a creative appeal (in the architecture of St. Petersburg) to the urban planning experience of French classicism of the 17th century. (the principle of symmetrical-axial planning systems). Russian classicism embodied a new historical stage in the flowering of Russian secular culture, unprecedented for Russia in scope, national pathos and ideological content.

• Early Russian classicism in architecture (1760-70s; J. B. Vallin-Delamot, A. F. Kokorinov, Yu. M. Felten, K. I. Blank, A. Rinaldi) still retains plasticity, richness and the dynamics of forms inherent in Baroque and Rococo. Architects of the mature era of classicism (1770-90s; V.I. Bazhenov, M.F. Kazakov, I.E. Starov) created classical types of capital palace-estate and large comfortable residential building, which became models in the widespread construction of suburban noble estates and in the new, ceremonial buildings of cities.

• A feature of Russian classicism in architecture is the unprecedented scale of organized state urban planning: regulatory plans for more than 400 cities were developed, ensembles of the centers of Kostroma, Poltava, Tver, Yaroslavl and other cities were formed; the practice of “regulating” urban plans, as a rule, consistently combined the principles of classicism with the historically established planning structure of the old Russian city.

• The works of Russian classicism constitute not only the most important chapter in the history of Russian and European architecture, but also our living artistic heritage. This legacy lives on not as a museum treasure, but as an essential element of a modern city. It is almost impossible to attach the name of architectural monuments to buildings and ensembles created in the 18th and early 19th centuries - they so firmly retain creative freshness, free from signs of old age.

• After 1932 in Russian architecture there was
• only one direction is allowed, one
• style, later nicknamed “Stalinist”
• Empire style." Built in this style
• huge buildings with columns, stucco and
• sculptures could and should have
• glorify the triumph for centuries
• communist empire. This official style lasted in the Soviet Union for almost a quarter of a century. Until 1955. The top of it can be considered the seven high-rise buildings of Moscow. They began to be built three years after the end of World War II, when most of the cities and villages of the European part of the USSR were still in ruins. But the Soviet government needed to demonstrate to the West its strength, its inexhaustible capabilities.
• Let's remember these seven “high-rise buildings”:
• – a complex of buildings of Moscow University on the Sparrow (then Lenin) Hills; Hotel "Ukraine" on Kutuzovsky Prospekt; the building of the Ministry of Foreign Affairs on Smolenskaya Square; administrative and residential building at the Red Gate; Hotel "Leningradskaya" near Three Stations Square; residential building on Kotelnicheskaya embankment; residential building on Vosstaniya Square.

• These are architectural milestones of the new, state space of the capital. The new scale is intended to make Moscow, along with the transformed nature: rivers turned back and deserts that have become blooming gardens, a new natural-geographical phenomenon, comparable in scale with the mountains and seas of the socialist homeland. Since that time, any new building, be it a library (Lenin Library, now the State Russian Library), a theater (Red Army Theater, now the Russian Army Theater), an educational institution (MSU, MSTU), publishing house (Pravda, since 1992 year "Press") strives to appear as the architectural embodiment of the state; any institution, through architecture, tries to look like an integral part of the state system, to declare its presence in the hierarchy of power.

• The name of Matvey Kazakov is firmly connected with all
• classical (pre-fire) Moscow, because
• it was his main, best buildings that gave
• then the face of the city. Almost all of them were
• built in the style of mature classicism.
• Kazakov is perhaps the only major
• artists of the Enlightenment in Russia created
• what is called school. With full
• basis we can talk about Russian
• classicism of the Cossack school. By the way,
• even the architect’s house in Zlatoustovsky Lane was not just a family home, but also a kind of home university of the arts. Here, under the leadership of Kazakov, an architectural school operated for many years. Among his students are the architects Rodion Kazakov, Egotov, Sokolov, Bove, Tyurin, Bakarev.
• Through the labors of many of them, Moscow, the Cossack Moscow, which was burned in 1812, was restored. The architect himself did not survive those disastrous events. Before the French entered Moscow, the family took the old master to Ryazan. There he met the news of the death of the city, to which the work of his whole life had been devoted.

• Kazakov Matvey Fedorovich.

• In Russia in the 18th century, architecture was perhaps the most prosperous form of art, which was especially vividly embodied in the work of Vasily Ivanovich Bazhenov, although he managed to realize a negligible part of his grandiose plans. Bazhenov was also one of the best practical builders of his time. The buildings he designed were distinguished by their convenient layout and elegance of form.

• Bazhenov Vasily Ivanovich.