Russian Baroque is a joint research work of a teacher and a student on world artistic culture. Russian baroque through the prism of poetry and architecture Naryshkinskoye, or Moscow baroque

I am a man, I am in the middle of the world,
Behind me are myriads of ciliates,
Before me are myriads of stars.
Between them I lay down to my full height
- Two shores connecting the sea,
Two spaces connected by a bridge.

A.A. Tarkovsky

The departure from the historical stage of the great ancient Russian canonical tradition was captured in different ways by all types of art. The chapter will focus on the phenomenon of Russian baroque - a new, unusual, contradictory, like the "transitional" time itself, artistic style. What is baroque? In European art, this artistic style replaced the receded Renaissance. To Western thinkers, baroque forms seemed unnatural, bizarre. Hence, probably, the name: the word "baroque" in the terminology of Italian jewelers meant "pearl of irregular shape."

The “irregularity” of European Baroque art lay in its original duality. The creators of the Baroque tried to combine the humanistic ideals of the Renaissance (man is the measure of everything that exists!) With medieval religious knowledge (God is the root cause and goal of man's earthly existence!).

Therefore, the Renaissance understanding of a free creative personality and medieval imagery converged in Baroque works of art. Synthesis of secular and religious attitudes? You can say so. Since it is precisely in this paradoxical union that the reason for the successful “transplantation” of baroque ideas into the “rebellious” Russian culture of the 17th century lies.

Baroque came to Russia from Poland through the mediation of artists related to the Ukrainian-Belarusian circle of the educated public. This happened in the last third of the 17th century, when the unified foundations of ancient Russian "mystical realism" in art were greatly shaken. Baroque became for the Moscow court culture the personification of European thinking, a symbol of the new. A significant part of Moscow artists, oriented towards Western values, quickly learned the basics of baroque art. The essence of these foundations was to convey in a work of art the versatility, polyphony of the universe, its changeable essence.

In this art "in the middle of the world" there was a man - a creator, a thinker, capable of comprehending the secrets of life with his mind. The following lines of the poet Simeon of Polotsk, whose work we have yet to get to know more closely, can be considered a kind of manifesto of baroque art: This world is beautifully decorated - there is a great book, even with a word the master of all kinds has written. Five sheets of the most extensive in it, they acquire even more wonderful writings in themselves. The first sheet is the sky, on it the luminaries, like letters, God's fortress laid. The second leaf is a fire elemental high under the sky, in it, like writing, let the eye see the power. The third leaf of a very wide aer powerfully calls, it rains, snows on it. Clouds and birds read. The fourth sheet - the host of water finds itself in it, in that it is convenient to read a lot of animals. The last leaf is the earth with wood, with herbs, with crumbs and with animals, as if with letters ... It is no coincidence that many modern researchers, comparing the Russian Baroque with the European Renaissance, believe that the baroque "transitional" artistic tradition resembles the European Renaissance. However, the baroque in Russia remained the “wrong” style, freely interpreted in different types of art. Some masters saw in it an opportunity to get closer to secular Western culture - the poets of the Moscow school succeeded here. Others used baroque ideas to create a new, colorful and original art, the lush diversity of which has no analogues in foreign lands.

We will find these features, for example, in Russian baroque architecture, where the ever-increasing influence of folk art is felt. The ancestor of Russian poetic baroque was the Orthodox Belarusian Simeon Polotsky (S. E. Petrovsky-Sitnianovich) (1629-1680), a graduate of the Kiev-Mohyla Academy, who became a monk at the age of twenty-seven under the name Simeon. His fate was unusual. A poor man and a loser, a modest didascal (teacher) of the Polotsk "brotherly school", he made a brilliant career at the court of Alexei Mikhailovich and owed this only to himself, his mind, talent, broad European education. In the Moscow environment, Simeon was originally known as a foreigner: he spoke with an accent, he did not immediately learn to write in Cyrillic. From here came the nickname of Simeon - Polochanin, Polotsk (i.e., originally from Polotsk). The religious and literary opponent of Simeon, the frantic archpriest Avvakum, called him a nickname offensive at that time - "Roman".

Avvakum still had a reason to accuse Simeon of Catholicism: Polotsky was brought up on European cultural traditions and did not value the Old Russian word too highly. In Moscow, he also tried to create a humanitarian elite capable of perceiving European literature and the new Russian literature. In this field, he managed to do a lot. The guarantee was the patronage of the royal family of the Romanovs, where Polotsky was considered the educator of the heirs to the throne. The post of court poet was established for him. Energetic and ambitious Simeon managed to establish the first independent Upper Printing House (1678). He developed a project (“Academic Privilege”) of the first higher educational institution in Russia, which formed the basis of the Moscow Slavic-Greek-Latin Academy. But still the main business of his life was poetic creativity.

ESSAY

Features of the Russian Baroque, the work of V.V. Rastrelli

Introduction

In Russia, the processes of formation of a new style after the Renaissance unfolded most actively in Moscow and in the entire zone of its cultural influence. The decorative effect, freed from the restraining beginnings that the tradition of the 16th century carried in itself, has exhausted itself in Moscow architecture, being preserved in provincial variants that chronologically lagged behind. But the processes of forming a secular worldview developed and deepened. They were reflected by the established changes in the entire artistic culture, which could not bypass architecture. Within its boundaries, the search for new means began, allowing to unite, discipline the form, the search for style.

Stages of development of Russian baroque:

Moscow baroque (from the 1680s to the 1700s, previously inaccurately called the "Naryshkin baroque") - a transitional period from patterned to full-fledged baroque with the retention of many structural elements of ancient Russian architecture, reworked under the influence of Ukrainian baroque.

· Peter's baroque (from the 1700s to the 1720s) - a set of individual manners of Western European architects invited by Peter I to build the new capital, St. Petersburg.

· Elizabethan baroque (c 1730s to 1760s) - a hybrid of Petrine and Moscow baroque with northern Italian additions. Most fully embodied in the grandiose buildings of F.B. Rastrelli.

baroque moscow petrovsky art

1. Moscow Baroque

Moscow baroque- the conventional name of the style of Russian architecture of the last decades of the 17th - the first years of the 18th century, the main feature of which is the widespread use of elements of the architectural order and the use of centric compositions in temple architecture. The first stage in the development of Russian baroque. The outdated name is "Naryshkin baroque".

Prerequisites for the emergence of a new direction of art:

In the 17th century a new phenomenon appeared in Russian art and culture - their secularization, expressed in the spread of secular scientific knowledge, a departure from religious canons, in particular, in architecture. Approximately from the second third of the XVII century. the formation and development of a new, secular, culture begins.

· In architecture, secularism was expressed primarily in a gradual departure from medieval simplicity and austerity, in the pursuit of external picturesqueness and elegance.

· The combination of the features of different styles and cultures, as well as a certain “rethinking” of them by Russian masters, determined the specific nature of the new emerging architectural trend - the Naryshkin style.

Features of the Naryshkin baroque:

· a combination of features of Russian architecture with elements of Central European.

· The Grand Duchy of Lithuania located beyond the western borders of Russia served as the main source of borrowings.

Thus, a rather original style arose on Russian soil, which, being based to a large extent on the national traditions of architecture, at the same time brings new features to the building art of Russia. The style became a highly arbitrary adaptation of the Baroque for Russia, in contrast to the buildings of the Petrine Baroque.

· Buildings built in the Naryshkin style cannot be called truly baroque in the Western European sense. The Naryshkin style at its core - the architectural composition - remained Russian, and only separate, barely perceptible elements of decor were borrowed from Western European art.

The buildings:

Trinity Church in Trinity-Lykovo, 1698-1704

Assumption Church on Pokrovka (1696-99).

Church of John the Warrior on Yakimanka (1706-13).

2. Petrovsky baroque

This is an architectural style based on examples of Swedish, German and Dutch civil architecture.

Among the first builders of St. Petersburg are Jean-Baptiste Leblon, Domenico Trezzini, Andreas Schluter, J.M. Fontana, Nicolò Michetti and G. Mattarnovi. All of them arrived in Russia at the invitation of Peter I. Each of these architects brought into the appearance of the buildings under construction the traditions of their country, the architectural school that he represented. Supervising the implementation of their projects, Russian architects, such as Mikhail Zemtsov, assimilated the traditions of European baroque.

The buildings erected in Moscow before the start of the planned development of the new capital can be considered the prototype of the Petrine baroque. These are the Lefortovo Palace in Moscow (1697-1699, architect D.V. Aksamitov and the Church of the Archangel Gabriel, popularly nicknamed the Menshikov Tower (1701-1707, architect Ivan Zarudny). In these buildings, elements of the Moscow baroque were combined with order details in the design of facades.A whimsical combination of elements of the Moscow and Peter's baroque marks the Anninsk-Elizabeth baroque that came to replace it.

Kunstkamera

The building of the "Chambers" was founded in 1718. The construction was led by the architect Mattarnovi, who developed the design of the building. After him, other architects were engaged in the construction of the building until 1734: Gerbel, Chiaveri, Zemtsov. By the beginning of 1725, when Peter died, only the walls had been erected. In 1726, the collections were moved to the still unfinished building. The completed building was unique in its way: Europe had not yet known anything like it, but it was so comprehensively thought out that it has stood to this day without serious repairs.

The building was built in the Peter the Great Baroque style and consists of two 3-storey molded buildings connected by a baroque multi-tiered tower with a complex domed top. Museum collections occupied the eastern wing of the building, in the middle part there was the Anatomical Theatre, in the tower - the Gottorp Globe (since 1754 the Great Academic) and the observatory, in the western part - the institutions of the Academy of Sciences. M.V. worked here. Lomonosov.

In 1777-1779, the interiors were decorated with 4 sculptural allegorical groups, busts and medallions of prominent scientists, in 1819-1825 - with paintings (artist F. Richter). Due to the abundance of materials in the 1830s. The Kunstkamera was divided into a number of museums: Zoological, Ethnographic, Botanical, Mineralogical.

Kikin chambers

This is the only house of the admiral-counselor and one of the associates of Peter I, Alexander Kikin, that has survived to our time. It was built in 1714-1720. In 1718, Kikin was executed for organizing the escape from Russia of Tsarevich Alexei Petrovich, and his house was taken to the treasury. In 1719-1727, the collection of Peter's Kunstkamera and the personal library of Peter I were located here. In the 1720s, the Kikiny Chambers were rebuilt by an unknown architect. Since 1733, the office, the infirmary and the church of the Life Guards Cavalry Regiment have been located here.

In 1829, the building was rebuilt according to the design of the architect Alexander Staubert, and the baroque decor was destroyed.

During the Siege of Leningrad, the Kikin Chambers were badly damaged, but in 1952-1956 they were restored to their intended original form by the architect Irina Benois. Currently, the building houses a music lyceum.

3. Elizabethan Baroque

Elizabethan Baroque- a term for Russian baroque architecture of the era of Elizabeth Petrovna (1741-61). The largest representative of this direction was F.B. Rastrelli. Unlike the Petrine baroque that preceded it, the Elizabethan baroque knew and appreciated the achievements of the Moscow baroque of the late 17th and early 18th centuries, retaining the essential elements for the Russian temple tradition (the cross-domed scheme, onion or pear-shaped five-domes).

The Elizabethan baroque (sometimes separated from it by the “Anninsky”, but the difference between them is conditional) gravitated towards the creation of heroized images in order to glorify the might of the Russian Empire. Rastrelli designed majestic palace complexes in St. Petersburg and its environs - the Winter Palace, the Catherine Palace, Peterhof. Rastrelli is characterized by the gigantic scale of buildings, the splendor of decorative decoration, the two- or three-color color of the facades with the use of gold. The major, festive nature of Rastrelli's architecture left its mark on all Russian art in the middle of the 18th century.

The original page of the Elizabethan Baroque is represented by the work of Moscow architects of the middle of the 18th century - headed by D.V. Ukhtomsky and I.F. Michurin. In St. Petersburg, under Elizabeth Petrovna, a galaxy of domestic architects worked - S.I. Chevakinsky, A.V. Kvasov and others. The Italian P.A. Trezzini. The Elizabethan baroque remained the style of the capital and had little effect on the Russian provinces.

After the death of Elizaveta Petrovna, the main building orders were transferred to the Italian Antonio Rinaldi, who had previously worked for the "young court" in Oranienbaum. He abandoned the grandiosity of Rastrelli's undertakings and introduced elements of the chamber rococo style into court architecture. In the course of the 1760s, Rinaldi, like other leading architects, overcame the attraction of the obsolete baroque and began to master the aesthetics of classicism.

The buildings:

Church of the Hieromartyr Clement, Pope of Rome - an Orthodox church in honor of the Hieromartyr Clement (1932).

St. Nicholas Naval Cathedral (1753-1762).

Mariinsky Palace

The palace was built by the order of Empress Elizaveta Petrovna in 1744. The baroque project was designed by Bartolomeo Rastrelli.

4. Creativity V.V. Rastrelli (B. Rastrelli)

Bartolomeo Francesco Rastrelli, the famous Russian architect of Italian origin, was born in Paris in 1700. The brightest representative of Russian baroque. The son of the famous Russian sculptor and architect Bartolomeo Carlo Rastrelli (1675-1744), also of Italian origin.

Rastrelli combined elements of the European baroque with Russian architectural traditions, drawn by him primarily from the Naryshkin style, such as bell towers, roofs, and color scheme.

In 1716, Rastrelli came with his father to St. Petersburg, where his father was invited by Peter I to work on the construction of the imperial palace. From 1725 to 1730 he was trained, most likely in Italy.

The first independent work of the young architect was the house of the Moldavian ruler A. Cantemir in St. Petersburg (1721-1727). In 1730 he was appointed court architect to Empress Anna Ioannovna. The highest flowering of the master's creativity comes in the middle of the century in 1745-1757. With the coming to power of Catherine II, the fashion for baroque went away and, having ceased to receive orders, the master retired from the post of chief architect in 1763 and left for Switzerland.

Rastrelli died in Petersburg in 1771.

The greatest flowering of Bartolomeo Rastrelli's work was during the reign of Elizabeth Petrovna (1741-1761). The first order from the Empress was a wooden summer palace in St. Petersburg (1741-44, not preserved). Then followed the Vorontsov Palace (1749 - 52), the Stroganov Palace (1752 - 54). From 1747 to 1752, the architect devoted himself to work on the Grand Palace in Peterhof. In 1747 a sketch of St. Andrew's Cathedral in Kyiv was created, in 1752-57 - the reconstruction of the Catherine's Palace in Tsarskoye Selo. Two of his most famous works are the ensemble of the Smolny Monastery (1748 - 64) and the Winter Palace with its famous Jordan Stairs (1754 - 62).

Jordan Stairs in the Winter Palace

The ensemble of palaces and parks of Peterhof is a monument of architecture and gardening art. The construction of Peterhof was initiated by Peter I. The first opening was in 1723. After the death of Peter the construction stops and only in the reign of Elizabeth Petrovna begins anew. She instructs Rastrelli to rebuild a new main palace to replace the old Petrovsky one.

Work began in 1747, and already in 1756 lavish festivities took place here. The luxury and size of the premises, the brilliant skill of the architect and hundreds of first-class craftsmen made a stunning impression.

The luxurious gilded front staircase led to the no less magnificent Dance Hall, and behind it to the new Anteroom, also decorated with gilded carvings and picturesque ceiling lamps. Having passed it, the guests found themselves on the axis of the front suite of the palace chambers. It seemed to be endless. Moreover, in the depths of the perspective there was a window through which the gaze penetrated into the space of the park.

Grand Palace in Peterhof

Catherine Palace in Tsarskoye Selo

The history of construction begins in 171, when a country royal residence appeared on the site of the estate. Russian villages spring up around it. In 1719-1720. a settlement of palace servants appears on the territory of the future city, and measures are being taken to streamline its planning and development. From 1811 to 1843 Here was the Tsarskoye Selo Imperial Lyceum.

From the end of 1748 to 1756, the construction of the Tsarskoye Selo residence was headed by the chief architect of the court F. - B. Rastrelli. On May 10, 1752, Empress Elizaveta Petrovna signed a decree on the overhaul of the old building, and on July 30, 1756, F. - B. Rastrelli showed his creation to Elizaveta Petrovna and foreign ambassadors. With its size, powerful spatial dynamics and picturesque decor, the palace, built in the Russian Baroque style, made a strong impression. The wide azure ribbon of the palace with snow-white columns and gilded ornaments looked festive. Five gilded domes of the Palace Church towered above the northern building, and above the southern one, where the front porch was located, a gilded dome with a multi-pointed star on the spire.

Smolny Monastery

The construction of the Resurrection Novodevichy Convent, started according to the project of F.B. Rastrelli in 1748 (finished 1764). In the center of the monastery ensemble rises a five-domed cathedral. The final completion and interior decoration of the cathedral was carried out by V.P. Stasov in 1832-1835 The two-tiered main volume of the temple is crowned with five domes, closely adjacent to each other. The plasticity of the outer walls is exceptionally rich and picturesque. The ledges of the corners are decorated with bunches of columns in the first tier and pilasters in the second. The windows are framed with platbands with intricate pattern intercepts. The interior of the cathedral, completed already in the era of classicism, contrasts sharply with its rigor and simplicity with the festive and elegant exterior. The low blind stone fence (erected in the 1750s-1760s), which previously surrounded the entire ensemble, is far from being completely preserved (part of the northern and western walls were dismantled). The bell tower planned by Rastrelli on the western side of the ensemble was not realized.

Winter Palace

The Winter Palace in St. Petersburg is a monument of Russian baroque architecture. Built in 1754-1762 by B.F. Rastrelli. It was the residence of Russian emperors. The building is designed in the form of a powerful square with a courtyard; the facades face the Neva, the Admiralty and Palace Square. The ceremonial sound of the building is emphasized by the magnificent decoration of the facades and rooms. A huge fire in 1837 destroyed the interior decoration, which was only partially restored in 1838-1839. V.P. Stasov and A.P. Bryullov. Most of all, the imprint of Rastrelli's style was preserved by the Great Church with elegant gilded decor and the Main (Jordanian) staircase, the marble marches of which, bifurcating, lead to the second floor to the enfilade of ceremonial halls. In 1922 the entire building was transferred to the State Hermitage.

Conclusion

In this work, we examined the development of Russian baroque. Many of the most beautiful buildings of Russian architecture were created at this time. Many of the buildings have not survived. Also, we considered the work of B. Rastrelli. He was an excellent architect who made a significant contribution to the development of Russian baroque art. The highest point of the flowering of the style was Catherine's Baroque.

Bibliography

1. Allenov M.M., Evangulova O.S. Russian art of the 10th - early 20th centuries. - M.: Art. - 1989.

2. Balakina T.I. MHK: Russia IX-XIX centuries. - M.: AZ Publishing Center. - 1997.

3. Brazhnev I.A., Batashkova A.N. Russian interior of the XVIII-XIX centuries. - M.: Svarog IK. - 2000.

4. Goldstein A.F. Architecture. - M.: Art. - 1979.

5. Kashekova I.E. From Antiquity to Modern. - M.: Enlightenment. - 2000.

6. Malyuga Yu.A. Culturology. - M.: Enlightenment. - 1998.

Pilyavsky V.I. History of Russian architecture. - M.: Art. - 1984.

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//late feudalism is characterized in Russia in the 18th century. Attempts are being made to overcome Russia's lag behind the countries of Western Europe, and significant changes are taking place in all areas of life.

Their beginning is associated with the reforms of Peter I (1672-1725). In Russia, autocratic power is being established - an absolute monarchy.

In the XVIII century. external economic and cultural relations of Russia with Western countries are developing, contributing to its entry into the world historical and cultural process. In the second half of the XVIII century. in the depths of the feudal economy, a capitalist structure is being formed.

At the end of the XVIII century. the process of folding the Russian nation is completed. The formation of the Russian nation takes place on the basis of the already established Russian people with a high level of culture and a sense of national unity. The main content of the historical and cultural process in this period was the formation and development of national Russian culture. New spheres of culture appear - science, fiction, secular painting, theater, etc.

Peter's reforms contributed to the economic and political rise of the state. Enlightenment is advancing much, which has a great influence on the further development of culture. There was a sharp turning point in cultural life, which had a great influence on its further development.

Education From January 1, 1700, instead of the Byzantine chronology used, according to which the account was made from the "Creation of the World", a new chronology "from the Nativity of Christ" was introduced by decree of Peter I. In 1719, the first natural history museum in Russia, the Kunstkamera, was established.

For the first time under Peter I, education became a state policy, since educated people were needed to implement the reforms he had conceived. During this period, general and special schools were opened, conditions were prepared for the founding of the Academy of Sciences. Young people were sent abroad to study, mainly ship and maritime affairs.

In 1701, the Navigation School was opened in Moscow - the first secular state educational institution. School students studied mathematical and navigational sciences (arithmetic, geo-

trigonometry, navigation, astronomy.) Under the Ambassador's order, a school was established for teaching foreign languages-4, and later - a school for clerical workers. In Moscow and other cities, professional schools were created - Artillery, Engineering, Medical; in the Urals - mining schools. All vocational schools had preparatory departments, where they taught writing, reading, and mathematics. The sciences were studied sequentially: each science was a co-separate class. Pupils moved from class to class exams. At first, along with children, two and children of commoners were admitted to schools, but gradually the schools began to turn into closed educational institutions only for noble children. In the first quarter of the XVIII century. so-called these schools began to be created - state primary general education schools for teaching boys of all classes except for the cross. Those who did not have a certificate of completion of a digital school were not even allowed to marry. However, the number of these gradually decreased, and then they ceased to exist, at that time the parochial schools, in which the children of people of any class were admitted.

There were also spiritual seminaries and schools. In 1786, the Statute of Folk Schools was issued.

The first legislative act in the field of education. For the first time, unified curricula and a class-lesson system were introduced.

By the middle of the XVIII century. the level of education in Russia was still JCOK, but it became fashionable among the nobility. Noble children were educated in families, their teachers were mostly foreign and practitioners, school graduates. Closed class educational institutions for the children of the nobility began to be created: the 1st corps, where children of the nobility were prepared for court service; nourishing society of noble maidens at the Smolny Mona-

: In Petersburg; The gentry corps for the training of officers. The organization of secondary and higher education was closely connected with the creation of the Academy of Sciences (officially since 1724). It includes the Academy, the University and the gymnasium. The academy was divided into three mathematics, physics and humanities class. At first, there was not a single Russian among the coves. The first Russian academic

Mikhail Vasilyevich Lomonosov (1711-1765), scientist of world significance, scientist-encyclopedist. Many scientific discoveries

“Nosov anticipated a number of important scientific achievements of the 3rd-19th centuries. He is also the largest Russian poet, who laid the foundation for the modern Russian literary language. Lomonosov. did a lot for the development of Russian science and the organization of education in 1755 through the efforts and efforts of M. V. Lomonosov

Moscow University was created, which had philosophical, legal, medical faculties. The newspaper Moskovskie Vedomosti was published in the established university printing house (published until 1917).

Professional art educational institutions appeared: in St. Petersburg - the Dance School, in Moscow - the Ballet School and the Academy of Arts.

At the end of the XVIII century. Russia had 550 educational institutions and 62 thousand students. Book publishing. The book publishing business flourished. AT

Literature 1708-1710 a font reform was carried out, simplifying the complex Cyrillic alphabet. The introduction of the graokdan (unlike the church) alphabet and the civil press contributed to an increase in the publication of secular, civil books, including textbooks. For public schools, the ABC, F. Prokopovich’s “First Teaching for the Young”, L. Magnitsky’s “Arithmetic”, and M. Smotrytsky’s “Grammar”, hours and a psalter were published. From 1708 to 1725 about 300 civilian books were printed, but their circulation was still small.

A great merit in the development of Russian book publishing belongs to the Russian educator, writer, journalist N.I. No-wikbwu (1747-1818). About one third of the books published in the last quarter of the 18th century were printed in his printing houses. books (about a thousand titles). He published books on all branches of knowledge, as well as the satirical magazines Drone, Painter, Wallet, in which he acted as an ardent opponent of serfdom. Novikov is the organizer of libraries and schools in Moscow and bookstores in 16 Russian cities. He also published textbooks. In 1757, M. V. Lomonosov's "Russian Grammar" was published, which replaced the outdated "Grammar" by M. Smotritsky as the main textbook.

Since 1703, the first printed newspaper Vedomosti began to appear, in which a chronicle of domestic and foreign life was published.

Extensive book publishing activities greatly accelerated the development of literature. The introduction of the civil script contributed to the strengthening of the secular language, although Church Slavonic was still widely spoken.

Popular were satires, odes, fables, epigrams of the Russian poet and educator A Kantemir (1708-1744), one of the founders of Russian classicism in the genre of poetic satire.

Poet-philologist V.K. Trediakovsky (1703-1768) became a reformer of the Russian language and versification. In the work "A new short way to the addition of Russian poetry" he formulated the principles of Russian

paternal versification. This gave a powerful impetus to the very development of literature in Russia. The founder of Russian dramaturgy was A.P. Sumarokov 1717-1777), poet, author of the first Russian comedies and tragedies, da-or of the Russian theater in St. Petersburg. He wrote in different genres; lyrical songs, odes, epigrams, satires, fables. Russian manners and customs were expressed in his social comedies and "Undergrowth" by D.I. Fonvizin (1744/45-1792). His comedies, hairstyles depicting the mores of the nobility, exposing serfdom as the root of all evil in the country, polo-the beginning of the accusatory-realistic direction of Russian literature.

The last quarter of the 18th century was the heyday of the work of the statesman G.R. Derzhavin (1743-1816). Pre-n classicism, he argued in the beginning of literature main genre of his works - ode. In them, he gave a kind of picture of his contemporary life: landscape and everyday evks, philosophical reflections, a satire on the nobles. The knowledge “Felitsv” is imbued with the idea of a strong state. In it, he shows the image of an ideal monarch and the call - “to tell the truth to kings with a smile.” In his poems, Derzhavin combined "high" and "low" styles, introduced living elements into the Russian language. In the 80-90s of the XVIII century. were published philosophical pro-Russian thinker, writer of the Academy of Sciences. Radishcheva (1749-2). Ode "Liberty", story "The Life of F.V. Ushakov” and, most importantly, “Journey from St. Petersburg to Moscow” are permeated with the ideas of the Enlightenment, denunciation of serfdom and self-sympathetic depiction of the life of the people. Book i from St. Petersburg to Moscow” was confiscated and until 1905 was kept on the lists, the author was exiled to Siberia. The founder of Russian sentimentalism was N.M. Kazin (1766-1826), who reached the heights of sentimentalism in the rake, "Poor Pisa". Author of Letters from a Russian Traveler. Karamzin's main essay is "History of the Russian State" (in 12 volumes) "a new stage in the development of Russian historical science and, together with: a sample of Russian prose. ^ by the government: express in architecture

structures, the strength, power and greatness of the Russian Empire, financed large buildings.

i on the ordered arrangement of stressed and unstressed syllables in a verse. The main meters of Ionic versification are iambic, trochaic, dactyl, amphibrach, anapest.

With the political and economic development of the country, new requirements are imposed on civil engineering. The emergence of industrial manufactories, the establishment of the Senate, Colleges required a new type of buildings.

Construction in Moscow was distinguished by a variety of city buildings. Noble estates were also widespread, located spaciously, far from each other. The most interesting buildings of that time in Moscow were the Khamovny Yard, the Cloth Yard, the Bolshoy Kamenny Bridge, the Arsenal in the Kremlin, as well as the three-story building of the Main Pharmacy, where the first Russian university was located at first.

In the temple architecture of the early 18th century, the Church of the Archangel Gabriel (Menshikov Tower), built by the talented Russian architect I.P. Zarudny (? -1727), stands out in particular. The traditional composition of the church (an octagon on a quadrangle) brings it closer to the buildings of the 17th century, but its completion in the form of a 30-meter-high spire with a sculpture of an angel (the spire existed before the fire of 1723) and abundant stucco decorations in the European Baroque style speak of new trends in architecture that came along with the reforms of Peter. The Menshikov Tower is distinguished by the boldness of the high-rise composition, the originality of the decor. At the same time, this is an example of the transitional period between the tiered composition of the 17th century. and the Baroque style of the first half of the 18th century.

An outstanding architect of Moscow in the 50s of the XVIII century. was D. V. Ukhtomsky (1719-1774), a representative of the Russian Baroque style. According to his project, the wooden triumphal Red Gates in 17S3 were replaced by stone ones. They were decorated with sculptural figures, groups of columns, decorative vases.

The most significant creation of Ukhtomsky is the bell tower of the Trinity-Sergius Lavra, which is distinguished by its multi-tiered composition and richness of decorative decoration. The figurative head of the column, placed in its own way in each tier, decorative vases make up a wonderful outfit for this outstanding work.

In 1749 D.V. Ukhtomsky organized the School of Architecture in Moscow, where such outstanding Russian architects as V.P. Bazhenov, M.F. Kazakov, I.E. Starov and others.

V.P. Bazhenov (1737/38-1799) built a palace and park ensemble in Tsaritsyno, Pashkov's house in Moscow, Mikhailovsky Castle in St. Petersburg. His creations are distinguished by boldness of composition, variety of ideas, combination of Western and Russian styles.

According to the designs of M. F. Kazakov (1738-1812), the Senate of the Moscow Kremlin, Moscow University, Golitsyn Bolshoi

(now Pervaya Gradskaya), Petrovsky Palace, erected in the Tsogothic style, Nobility Assembly with magnificent Ko-! hall. Kazakov supervised the preparation of the master plan for the squat, organized an architectural school. I.E. Starov (1745-1808) - the author of a number of remarkable architectural creations in St. Petersburg - the Trinity Cathedral, the Alexander Lavra and the Tauride Palace - a monument to the victory in the Russian-Turkish war. The Petrine era is primarily the construction of a new city of St. Petersburg (1703), for which foreigners Trezzini and Rastrelli were invited. At the first stage, the construction of the hand-D. Trezzini (c. 1670-1734). The new capital was conceived as a regular (planned) city, with long radial pestles, with urban ensembles of quarters and streets, square-stone houses of uniform height. Trezzini is the author of new projects" of residential buildings of three categories: for eminent

1, for wealthy and simple ("mean") people. Trezzini's public buildings were distinguished by their simplicity of style. the early Admiralty, the building of the Twelve Collegia. Its most significant building is the Cathedral of the Peter and Paul Fortress (1712-3), distinguished by a bell tower with a high narrow spire. Simultaneously with St. Petersburg, country palaces with “enity park ensembles, as well as Kronstadt and Yekainburg in the Urals were built. Peterhof was conceived as a suburban resi-Peter I, which he wanted to liken to Versailles, especially the center with cascades of fountains and a sculptural figure of Samson. Decisive for the flourishing of Russian baroque was the work of the father of the 1st son Rastrelli. Italian sculptor B.K. Rastrelli (1675-?44) from 1716 worked in St. Petersburg, participated in the decoration of Peterhof. He is the author of the bronze bust of Peter I and

group "Empress Anna Ivanovna with a black child". His son, B. Rastrelli Jr. (1700-1771), was already of the Russian era, in whose work both Western and Chinese traditions were combined. According to his designs, the Smolny Monastery and the Winter Palace in St. Petersburg, the Grand Palace in Peterhof, the Oininsky Palace in Tsarskoye Selo, etc. were built. Rastrelli loved to, pomp, bright colors, used rich cheekbones-decoration, intricate ornament. In the 60s. 18th century Russian baroque was replaced by Russian icism, which reached its peak at the beginning of the 19th century. Oso-yao, it manifested itself in manor construction, which is a cozy and elegant house with columns, well fit into the Russian landscape.

The main achievement of classicism is the ensemble, the organization of space: strict symmetry, straight lines, straight rows of columns. A striking example is Palace Square in St. Petersburg, designed by the architect K.I. Rossi (1775-1849). She pre. It is a smooth arc with the double arch of the General Staff building closing it, with a high Alexander Column in the middle of the square and the baroque facade of the Winter Palace.

Architecture and construction of the XVIII century. in Russia are experiencing a true flourishing, the surviving buildings today are not only an adornment of Russian cities, but masterpieces of world significance. Fine In the XVIII century. the fine arts - painting, sculpture, etc. - are also undergoing changes. This is the heyday of portraiture. The artistic line of Russian portraiture retained its originality, but at the same time absorbed Western traditions.

The most famous artists of the Petrine era - A. Matveev (1701-1739) and I. Nikitin (c. 1690-1742) - the founders of Russian secular painting. They studied painting skills abroad. Portraits of Matveev are marked by ease of poses and truthfulness of characteristics. He owns the first self-portrait in Russian art - “Self-portrait with his wife *. I. Nikitin achieved in his portraits the transfer of the characteristic individual features of the model, the expressiveness of the depicted objects. In the portraits "The Floor Hetman" and The appearance of the portrait in the Petrine era was, according to academician I. E. Grabar, "one of the main factors that decided the fate of Russian painting."

By the end of the 20s. there has been a turning point towards the court direction in painting. It was a time of intensive development of the personality, which was reflected in the work of the best portrait painters of the 18th century. - Antropov, Rokotov, Levitsky, Borovikovsky, sculptors Shubin and Kozlovsky.

The portraits of A.P. Antropov (1716-1795), although they still retained a connection with the parsuna, are distinguished by the truthful characterization of the human personality (portrait of Peter III).

Subtle in painting and deeply poetic portraits of F. Rokotov (1735-1808) are imbued with an awareness of the spiritual and physical beauty of a person (“Unknown in a pink dress”, “Portrait of ft? Novosiltseva”).

The greatest portrait painter of that time D. T. Levitsky (1735-1822) created a magnificent series of ceremonial portraits - from a portrait of Catherine II to portraits of Moscow merchants. In his canvas

; solemnity is combined with colorful richness. His portraits of women are filled with life-charm, especially yaok - pupils of the Smolny Institute. Creativity V.L. Borovikovsky (1757-1825) is distinguished by a combination of orative subtlety and grace with a faithful transmission of character. [paints a portrait against a soft landscape. His lyric is wonderful: a portrait of a charming young woman M.I. Lopukhina. Famous sculptor F. Shubin (1740-1805), countryman M. V. Loeva, peasant from Kholmogory. At the age of 19, a talented young man is all in St. Petersburg. At first he was a stoker, and then a teacher at the Academy of Arts, improving his skills for the day. Shubin created a gallery of psychologically expressive portraits - busts of AM. Golitsyna, M.R. Panina, Orlova, M.V. Lomonosov. The classical direction was represented by the sculptor and drawing-M. Kozlovsky (1753-1802). His work is imbued with the idea of the Enlightenment, sublime humanism, vivid emotionality. This was especially clearly expressed in the sculptural group for. fountains in Peterhof "Samson tearing apart the mouth of a lion" - al-ei, personifying the victory of Russia over Sweden. The monument to A. V. Suvorov (in the image of Mars) in St. Petersburg is of interest. The famous French sculptor E.M. Falcone (1716 - I) came to Russia specifically for the construction of the monument ru I. He worked on the monument "The Bronze Horseman" for 12 years. The opening of the monument on Senate Square took place in 1782. The image of the creator, the reformer is embodied in the horseman: standing on its hind legs, it is pacified by the firm hand of the mighty

The monument has become a symbol of the city on the Neva. At the end of the XVIII century. one of the richest artistic collections in the world, the Hermitage, is being created. It was based on the private collections of Western European paintings acquired by Eka-Goy II. The Hermitage also hosted performances, musical evenings, roe the art of the 18th century. made a significant step forward in the development of the secular direction.

Theato Ballet ^ XVIII c. theater continued to grow. By Music at the behest of Peter in 1702, a Public

a theater designed for the mass public, for which the Comedy Temple was built for him on Red Square in Moscow, where the German I.Kh. Kunst, who later taught the "Russian robs". In the ertoire there were foreign plays, which did not succeed with the public, and the theater ceased to exist, since the subsidies of Peter I ceased.

At the beginning of the XVIII century. The school theater at the Slavic-Greek-Latin Academy continued its activities. Performances were staged glorifying the deeds of Peter I.

Petrovsky official theater broke up into several theaters. Theater troupes continued their activities in the capitals and provinces.

From the beginning of the 30s. 18th century An official theater reappeared in St. Petersburg. In the 40s. at the Shlyakhetsky Cadet Corps, a school theater was created, in which the students of the corps acted as actors. The soul of this theater was A. Sumarokov, who also staged Russian plays there. It was there that the first Russian tragedy "Xqpee", written by Sumarokov, was staged.

In the middle of the XVIII century. in many cities of the Russian Empire, foreign acting troupes - French, German, etc. - performed. But interest in the Russian theater grew among the public, associated with a general rise in national consciousness.

In 1730, the performances of the first provincial public theater began in Yaroslavl with Russian actors, artists, and musicians. His repertoire also included Russian plays. The theater was headed by the first famous Russian actor Fyodor Volkov (1729-1763). Tsarina Elizaveta Petrovna ordered Fyodor Volkov and the entire troupe to court, and in 1752 the theater moved to St. Petersburg. On the basis of this troupe, in 1756, by decree of the queen, a theater was created "for the presentation of tragedies and comedies." Sumarokov became its director, and F. Volkov became the first court actor. Thus, the first permanent professional state public theater was created under the name of the Russian Theater (since 1832 - Alexandria).

In 1779, a private theater was created on the Tsaritsyn meadow (Marsovo field), which was directed by the famous Russian actor I.L. Dmitrievsky (1734-1821). He began his acting career at the F. Volkov Theater in Yaroslavl, then he was an actor in the Russian Theater. Dmitrievsky was also a director and teacher, a full member of the Russian Academy. In his theater on the Tsaritsyn meadow, plays by D.I. Fonvizin. In 1783, by decree of Catherine II, the theater was closed.

In 1780, the Petrovsky Theater was opened in Moscow, where drama, opera and ballet performances were played.

At the end of the XVIII century. a serf theater arose - noble theaters with troupes of serfs. Basically, such theaters were created in Moscow and the Moscow region (the theaters of the Sheremetevs, Yusupovs, etc.). The history of Russian theatrical art included the names of serf actresses Praskovya Zhemchugova (1768-1803), T.V. Shlykova-Granatova. At the beginning of his creative activity, the

there was also the famous Russian dramatic actor Mikhail [Semenovich Shchepkin (1788-1863). Fortress theaters became the basis of the provincial stage.

Ballet in Russia originated as separate dance numbers during intermissions, first dramatic, then opera performances. [Gradually, ballet groups began to take shape. In 1738, the design of “Her Majesty’s Own Dance School” was approved for the preparation of dorov for the court ballet group. With the accession to the Russian throne in 1741, the daughter of Peter I, a decree was issued on the establishment of a Russian flying troupe in St. Petersburg. Since the staging of the separate ballet "Flora's Victory over Boreas" by the invited Austrian choreographer Hilferding in 1760, the plot ballet has firmly established itself in Russia. The first Russian ballet librettist was A7. Sumarokov.

Along with foreign dancers, the Russian art-Timofey Bublikov became famous, and became the first dancer in St. Petersburg, a court rank and the title of dance master of the court. In Moscow, ballet dancers were Ivan Eropkin, Vasily Bala-Gavrila Raikov. The first Russian choreographers Balashov and Kov staged comic ballets and divertissements in Moscow.

The first Moscow dancer was Arina Sobakina. In the XVIII century. secular music-art begins to spread widely - amateur music-making, home and concerts with the participation of Russian and foreign performers. In 1772, the Music Club * was founded in St.

Ancient and classical music.

In the last third of the XVIII century. the Russian composer-school is formed, the first Russian composers appear - authors of black, choral, instrumental, chamber music. A major achievement of Russian musical culture was the musical melodrama Orpheus by composer K I. Fo- (1761-1800), who also created a song opera based on the national-Russian plot * Boxes on a base, the opera Zhatrikantsy * and r. Opera becomes the leading musical genre. At the turn of the XVIII-XIX centuries. a new genre of chamber Lik song appeared - the Russian romance. One of the creators of the Russian ace was O.A. Kozlovsky (1754-1831), who wrote “Russian heroic-patriotic polonaises. One of them, to the words of G. R. Derzhavin - “Thunder of victory is heard” - for a long time was the Russian national anthem.

Church music at that time was represented by the composer G.S. Bortnyansky (1751-1825) - director of the imperial chorus

Results of the historical and cultural development of Russia in the XVIII century. are quite significant. The development of Russian national traditions in all types of art continued, at the same time, the growth of ties with foreign countries contributed to the penetration of Western influence on Russian culture.

The strengthening of the power of the Russian state, which became one of the largest states in the world, contributed to the formation of the Russian nation and the single Russian language, which became the greatest cultural wealth of the Russian people. All areas of culture were developed - education, printing, literature, architecture, fine arts.

There was a secularization, secularization of culture, the penetration of the ideas of the Enlightenment into Russia. This contributed to the emergence of new types of culture - the first literary magazines, fiction, public theater, secular music. The sphere of spiritual activity of the Russian people has significantly expanded.

The development of Russian culture in the 18th century. prepared the brilliant flourishing of Russian culture in the 19th century, which became an integral part of world culture.

Basic terms and concepts

Absolute monarchy

self-portrait

Ensemble

fortress theater

National Russian

culture

Russian composer

Russian nation Russian romance Russian sentimentalism Russian baroque

Syllabo-tonic versification Social comedy Manor construction Parish school Number scale School theater

This bizarre and sometimes strange style, which dominated the architecture and art of Europe from the late sixteenth to the middle of the eighteenth centuries, was established in an era of intensive creation of states along national lines. He was closely associated with the church and aristocratic circles. glorified and promoted their power. Therefore, for him, first of all, pomp, grandiosity and a pathetic predilection for spectacular spectacles are characteristic. This style combines illusion and reality, there are strong contrasts of scales and rhythms, as well as textures and materials, shadows and light.

Description of the Baroque

As soon as this style was not called at first: strange, prone to excesses, ridiculous, pretentious, unnatural ... These characteristics in the era of its inception sounded like ridicule. And all because the baroque did not correspond to the then canons of ancient art and architecture.

But gradually architecture began to acquire new priorities and quality. Baroque originated in Italy. It was this country that was at that time the center of culture, from where this style began its triumphal march through Europe. And in each state, the baroque acquired its own national features.

Baroque architecture, including in Russia, is primarily striking in its scope and complexity. It is characterized by an abundance of complex, as a rule, curvilinear forms, large-scale colonnades. There is an abundance of sculptures on the facades of buildings of that time and in their interiors. There are also multi-tiered domes with complex shapes. A prime example is the Cathedral of St. Peter in the Vatican. Distinctive details of the style are Atlantes, caryatids, supporting arches and playing the role of columns, as well as mascarons - sculptural decorations in the form of a human head or an animal's muzzle in full face.

It was in architecture, according to experts, that the Baroque was presented in all its diversity and completeness. It is difficult to list all the architects who create their works in this style. These are the Italians Bernini, Maderna and Borromini, the Pole Jan Glaubitz and many others. In Russia, the architect, whose creations can be classified as Baroque, is considered primarily B. Rastrelli. I must say that in our country it developed in a special way.

The origin of Russian baroque

The beginning of the eighteenth century in Russia was marked by major events. As a result of the successfully completed Northern War and numerous reforms of Peter the Great, the country began to develop both culturally and economically. The emergence of St. Petersburg was also an important event, it marked the beginning of a new stage in the history of not only ours, but also the world's architecture. It was from this that, in fact, the spread of baroque in the architecture of the 18th century began. In Russia, not only domestic, but also architects from Western Europe gathered to build the capital and its suburbs. The solution of the grandiose tasks of urban planning was carried out on the basis of the traditions of Russian architecture.

Western European trends

Nevertheless, Petersburg architecture of the time of Peter I, and this is the first quarter of the eighteenth century, although it developed as a truly national one, corresponding to local characteristics, at the same time reflected the results of the development of many styles of Western European construction. A certain monolithic and very organic fusion of our and foreign architectural styles arose. This is how it started in Russia.

At the same time, the process of assimilation and creative processing of Western European styles, in essence, originated in the fifteenth century, when Italians came to work in Moscow under Ivan III. In the second half of the seventeenth century, the influence of foreigners increased when entablature, pediments, platbands and sculptural motifs began to spread gradually in Russian architecture.

In our country, he could not establish himself for a long time. Despite the fact that critics subverted classicism in architecture, they nevertheless saw no alternative to "columns and domes". The merits of Neo-Gothic and Neo-Renaissance were fiercely discussed, but the term "Baroque" was avoided in Russia. Bryullov, during a trip to Italy, was outraged by the "perverted taste" and absurdity of Borromini's creations.

And only in the eighties of the nineteenth century, the term "Russian baroque" was introduced by the researcher of ancient Russian architecture N. Sultanov. In Russia, they denoted the pre-Petrine architecture of the seventeenth century. Since then, a stable concept has emerged, according to which the first phase of this style took shape in the 1640s.

According to Likhachev's definition, the baroque in Russia took on some features of the Renaissance, which could not fully manifest itself. Nevertheless, the term "Russian baroque" in Russia and in general in the world is not accepted by all specialists. Therefore, it is considered conditional, and the name is taken in quotation marks.

Formally, in its qualities, this style is close to mannerism. It distinguishes several stages: “Naryshkin”, “Golitsyn”, “Petrine baroque in Russia” (18th century, first quarter) and “mature”, referring to the Elizabethan time. The latter style is most clearly embodied in the work of F. Rastrelli the Younger in many buildings in St. Petersburg.

Naryshkinskoye, or Moscow Baroque

This style means a group of temples built by this famous boyar family. The Naryshkin baroque style in Russia is represented by such works of architecture of the late seventeenth and early eighteenth centuries as churches in Fili and Troitsky-Lykovo, in Ubory and Dubrovitsy, as well as the Assumption erected on Maroseyka.

Experts call it to some extent its subsequent stage, in which transformed forms from Western European architecture appeared, such as orders with and their elements, decorative motifs of Baroque origin, etc.

Features of the Naryshkin style in architecture

It arose at a turning point for our architecture. It was then that trends from Europe gradually began to penetrate into the Russian patriarchal style. What distinguishes it from sixteenth-century architecture is a vertical penetrating energy that glides along the edges on the walls and throws out lush patterned waves.

The buildings of this era of Russian architecture are characterized by a mixture of conflicting trends, in the buildings there is a heterogeneity of structures and decorative finishes. In the buildings of the "Naryshkin" baroque in Russia, especially in Moscow, there are clear features of European mannerism and echoes of the Gothic, there is a little from the Renaissance and Romanticism, and all this merges with the traditions of wooden and ancient Russian stone architecture.

Golitsyn style

Gradually began the development of baroque in Russia. The Naryshkin style in Moscow architecture was replaced by another style - the Golitsyn style, which is considered transitional. Its heyday came in the first decade of the eighteenth century, and its influence continued until the middle of the same century.

The first buildings erected in this Baroque style in Russia are the churches in Dubovitsy, in Perov, Volynsky, the Lavrentievsky Monastery in Kaluga. Unlike the "Naryshkin" ones, the decorative decoration of the "Golitsyn" buildings uses more purely baroque elements. However, their constructive solutions, compositions of isolated volumes and the closed nature of the arrays are closer to the European Renaissance. The clarity of the plan with the simplicity of forms, combined with rich interior decoration, makes many baroque monuments in Russia related to classical examples of ancient Russian architecture. This is especially evident in later buildings - the Church of Peter and Paul in Moscow, as well as in Troekurov and Yakimanka.

Stroganov style

This stylistic direction of Russian architecture of the late seventeenth and early eighteenth centuries is characteristic of buildings commissioned by the famous industrialist, after whom it is named.

From the more radical monuments of the Moscow Baroque era, the Stroganov ones differ in the preservation of the five-domed silhouette, traditional for Russian churches, on which a magnificent baroque decor is applied, as if fashioned by hand. These include Kazanskaya in Ustyuzhna, Smolenskaya in the village of Gordeevka, Rozhdestvenskaya in Nizhny Novgorod and many other churches, as well as the Vvedensky Cathedral built in Solvychegodsk.

Peter's Baroque

This term is applied by art historians to the architectural style that was approved by Peter I and was widely used in St. Petersburg. Limited by conditional limits, he was more guided by samples of Swedish, German and Dutch architects. Baroque architecture in Russia during the time of the Great Reformer was largely eclectic buildings, with a predilection for classicism and Gothic antiquity. It is possible to reduce the whole variety of solutions of Peter's architects to this style only with a certain degree of conventionality.

The architecture of this time is characterized by the simplicity of volumetric constructions, there are many clear articulations and restraint of decoration, and a flat interpretation of facades is often observed. Unlike the Naryshkin baroque in Russia, the Petrine baroque represents a decisive rejection of the Byzantine traditions that dominated our architects for almost seven centuries. At the same time, there is a difference from the Golitsyn style, inspired directly by Italian or Austrian models.

Outstanding Representatives

An invaluable role in the development of the Baroque in Russia was played not only by Russians, but also by many famous foreign architects. One of the representatives of the Western school who worked in our country is Francesco Bartolomeo Rastrelli, the son of an Italian sculptor who served at the court of King Louis XIV. Judging by the words of his biographers, he acquired his building experience in Russia. Being a very gifted artist, Rastrelli managed to prove himself a skillful architect and take a very high place at court, having received the position of "chief architect". His work in 1740-1750 reached its apogee.

Other prominent representatives of the Baroque in Russia are A. V. Kvasov, who designed and built the Grand Palace of Tsarskoye Selo before the reconstruction carried out by Rastrelli. The Church of the Assumption of the Blessed Virgin Mary, which has not been preserved on Sennaya Square, is also attributed to his work. No less famous architects of the Russian Baroque era are P. Trezzini, A. Vista and, of course, the bright foreign representative of this style who worked in Russia from 1760 to 1770. The latter, who in his early buildings was still under the influence of the “aging” Baroque, subsequently switched to classicism, which in our country was just emerging. However, it is impossible to say unequivocally that Rinaldi is a representative of this particular early style.

Buildings of the Russian Baroque era

A fairly well-known creation of Rastrelli is the Smolny Monastery, built in 1748-1764 in St. Petersburg. It was created in the Russian traditions of similar ensembles dating back to previous centuries. No less famous are the palaces of two Elizabethan nobles, S. Stroganov and M. Vorontsov, located in the Northern capital. However, in the first place among the works of Rastrelli is, of course, the Winter Palace, which was erected for eight years. It was completed in 1762. It was here that the talent of this architect was manifested to the highest degree. Other baroque masterpieces include the Grand Palace in Tsarskoye Selo and many others. All of them very clearly characterize the style that prevailed in the middle of the eighteenth century in Russia. The evolution of the work of the remarkable architect P. Trezzini is emphasized by the Fedorovskaya Church, located in the Alexander Nevsky Lavra. Today there is a lot of controversy over who owns the cathedral of the same name built on Vladimirskaya Square. However, many are inclined to believe that it was not an unknown master, namely P. Trezzini, who, as if competing with Rastrelli, created this church of amazing beauty at the end of 1760. I must say that, unfortunately, many buildings belonging to this architect were subsequently rebuilt or simply disappeared.

Rinaldi did not lag behind his colleagues, who created several Orthodox churches that combine many elements of the Baroque. In particular, these are St. Andrew's Cathedral with its five-domed domes and a high multi-tiered bell tower, the Boat House located in the Peter and Paul Fortress, the Chinese and Marble Palaces. The latter is considered a unique phenomenon in Russian architecture.

The Baroque era is one of the most interesting eras in the history of world culture. It is interesting for its drama, intensity, dynamics, contrast and, at the same time, harmony, integrity, unity. For our time - vague, indefinite, hyperdynamic, seeking stability and order - the Baroque era is unusually close in spirit. In Russia, the development of baroque art, which reflected the growth and strengthening of the absolute monarchy of the nobility, falls on the first half of the 18th century. The Baroque style in Russia had a number of national features.

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RUSSIAN BAROQUE

Joint research work

According to the world artistic culture.

Teacher MHK Klinova T.N.

Student 11 "B" class

Maryina Maria Olegovna

MBOU secondary school №117

Nizhny Novgorod 2 0 1 5

I. Introduction.

II. Russian Baroque.

II.1 Baroque in world architecture.

II.2 What is "Russian Baroque".

II.3 Styles of Russian Baroque.

3.1. Moscow baroque

3.2. Peter's Baroque

3.3. Stroganov Baroque

3.4. Golitsyn Baroque

3.5. Elizabethan Baroque

3.6. Siberian Baroque

3.7. Ukrainian baroque

3.8. temple architecture

3.9. palace architecture

III. Conclusion.

IV. Bibliography.

V. Applications.

I. INTRODUCTION

II.1 BAROQUE IN WORLD ARCHITECTURE.

There are several versions of the origin of the term "baroque":

1) from the Italian "baruecco" - an irregularly shaped pearl;

2) "baroco" - one of the forms of religious-dogmatic reasoning, in which two premises are united by a common term;

3) from the Italian "barocco" - rude, clumsy, fake.

In the XVIII century. the term takes on the meaning of a negative aesthetic evaluation. Baroque denoted everything unnatural, arbitrary, exaggerated.

In the 50s of the XIX century. - the consideration of the Baroque as a historical style, a natural stage in the development of the art of the late Renaissance begins.

In the 80s of the XIX century. - there is a real “discovery” of the baroque: the works of Gurlit, Wölfflin, Justi. The baroque was recognized as having the right to exist as a special artistic phenomenon.

In the 20s of the XX century. - there is a crisis of the capitalist worldview. Awakens interest in local, national variants of the Baroque. Periodization is given, historical boundaries are established.

In the history of almost every architectural style, its final stage is marked by the complexity of forms, congestion with details, and a tendency towards increased decorativeness. In the Renaissance, this trend acquired such a specific character that it led to the formation of a new style - baroque. The former restraint of architecture, characteristic of the Renaissance, was replaced by an underlined expression.

The beginning of the formation of a new style was laid by the sculptor, architect and painter Michelangelo Buonarotti (1475-1564). In 1520-1534. Michelangelo worked on the design of the Medici Chapel in Florence and at the same time completed the design of the lobby of the Laurenzian library, carried out somewhat later. He was also involved in the construction of the dome of St. Peter's Cathedral in Rome. These were the first baroque works.

The Baroque began as an expression of protest against repressed power, but soon turned to completely different motives. The plastic richness of baroque forms turned out to be to the taste of wealthy customers. In the history of art, it is not uncommon for forms in which certain ideas were originally invested, then were used as purely compositional techniques or expressed a different content. The architectural style of the Baroque is associated with the situation of feudal-serf reaction in Italy and other countries of Central Europe, which suppressed the first manifestations of freethinking and attempts by the bourgeoisie to achieve self-government. The inconsistency of this style lies in the fact that it reflected both the self-satisfied triumph of the victorious reaction, and the constrained protest of suppressed freedom, and the fermentation in the minds that replaced the transparent balance of the spiritual life of the Renaissance.

The whole Baroque aesthetic is based on exaggerated pathos, the desire to amaze the imagination. Baroque is characterized by the complexity of not only architectural plasticity, but also spatial constructions. If in the Renaissance the plans of the premises have a clear geometric shape - a circle, a square, in extreme cases a rectangle, then the favorite baroque figure is an oval, giving some uncertainty to the overall shape of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, bulges and concavities of the walls, complicated by additional adjunctions of adjacent subordinate volumes, adjacent interior divisions are not perceived separately, the boundaries between them are elusive. In the Renaissance, space is static and limited, in the Baroque it is dynamic and infinite, and its complexity and dynamics are complicated by the effects of chiaroscuro. In the Renaissance, the light is evenly scattered; in the Baroque, clumps of shaded areas contrast with those flooded with bright light; a favorite baroque technique is a sheaf of light cutting through the air of the interior, breaking through a half-open opening.

And yet, the main thing that caused the flourishing of baroque architecture was the desire of the feudal nobility and the Catholic Church to express their prestige; baroque style is ultimately the apotheosis of wealth. In the Middle Ages, strength was considered a virtue, in previous times - wealth, it evoked a feeling of reverence, was understood as greatness.

These funds were also used by the Catholic Church for the same purpose. Lush and solemn services were arranged, which were supposed to attract people to religion. The theatrical solemnity of the temple singled it out from the environment, elevated it above it and gave it significance. The rich facades of baroque temples were matched by even more luxurious interiors. The irrational world of baroque images evoked mystical sensations, intensified religious feelings, was in tune with the vague impulses of the soul, not satisfied with reality, and inspired thoughts about the unknown, otherworldly.

The creation of garden and park assemblies is one of the significant achievements of the Baroque, which included nature in the sphere of architecture. However, nature is not presented here in its natural form, but artificially created according to the tastes of the era. These are trimmed shrubs, regular planting of trees, symmetrical alleys with decorative vases located on them.

In the XVIII century. In different countries of Europe, baroque turns into the “rococo” style (from the French “rocaille”, which means “shell”; in the ornamentation of this style, sea shell motifs were favorite). And, despite the fact that the forms of rococo are crushed, in contrast to the plastic baroque forms, it is distinguished by the same immoderate, lush decorativeness.

II.2 WHAT IS "RUSSIAN BAROQUE".

"RUSSIAN BAROQUE" is the general name for the varieties of the Baroque style, which were formed in the Muscovite state and in the Russian Empire at the end of the 17th - 18th centuries.

In Russia, the development of baroque art, which reflected the growth and strengthening of the absolute monarchy of the nobility, falls on the first half of the 18th century. The Baroque style in Russia had a number of national features. The solution of plans and volumetric compositions of buildings is distinguished by great simplicity and structure, close closure of the internal and external volumes of structures. Decorative elements are mainly limited to the outer, facing "layer" of buildings. These elements include predominantly architectural motifs and ornamental molding.

The researcher of ancient Russian architecture Nikolai Sultanov introduced the term "Russian baroque", denoting the pre-Petrine architecture of Russia in the 17th century. In fact, this term was understood as the “Moscow pattern”, which developed in the 1640s. Modern art critics see patterning rather as an analogue of Mannerism, and the history of Russian Baroque is counted from the spread of octagon on a quadrangle in Moscow building practice (Church of Tsarevich Ioasaph, 1678). In the evolution of Russian baroque, the stages of the “Moscow baroque” of the late 17th century are distinguished (there are Naryshkin, Stroganov, Golitsyn styles), the “Petrine baroque” of the first quarter of the 18th century, and the “mature Russian baroque” of the Elizabethan time.

Russian baroque architecture, which reached majestic proportions in the city and estate ensembles of St. Petersburg, Peterhof, Tsarskoye Selo and others, is distinguished by solemn clarity and integrity of the composition of buildings and architectural complexes (architects M. G. Zemtsov, V. V. Rastrelli, D. V. Ukhtomsky). A relatively little-known page in the history of the Baroque is the temple architecture of the Ural factories and Siberia; in relation to it, there are such terms as "Ural baroque" and "Siberian baroque".

To know more exactly what the "Russian Baroque" is, let's get acquainted with its varieties (styles).

II.3 RUSSIAN BAROQUE STYLES.

3.1 MOSCOW, "NARYSHKINSKY" BAROQUE

In Russia, the processes of formation of a new style were most actively developed in Moscow and in the entire zone of its cultural influence. The decorative effect, freed from the restraining beginnings that the tradition of the 16th century carried in itself, has exhausted itself in Moscow architecture, being preserved in provincial variants that chronologically lagged behind. But the processes of forming a secular worldview developed and deepened. They were reflected by the established changes in the entire artistic culture, which could not bypass architecture. Within its boundaries, the search for new means began, allowing to unite, discipline the form - the search for style.

The main period in the development of the "Moscow Baroque" architecture can be considered the period from the beginning-x to first years -s. in Moscow. In the regions of Russia, spatial solutions and a characteristic design system (but in a somewhat simplified form) can be traced right up to the end.XVIII in. The term (as, indeed, almost all terms) is conditional. The detailed system of baroque definitions in architecture is not applicable to this phenomenon. Moscow architecture of the late 17th-early 18th century. was, of course, a phenomenon primarily Russian. Much of the medieval tradition was still preserved in it, but the new was asserted more and more confidently. The main innovation, which was of decisive importance for the future, was the appeal to the universal artistic language of architecture. In the works of Russian medieval architecture, the form of any element depended on its place in the structure of the whole, always individual. The Western Baroque, in contrast, was based on the rules of architectural orders, which had universal significance. Not only the elements of the building were subject to universal rules, but also its composition as a whole, rhythm, proportions. A similar use of the patterns of orders was also addressed in the Moscow Baroque. In accordance with them, the plans of buildings began to be subordinated to abstract geometric patterns, they were looking for the “correctness” of the rhythm in the placement of openings and decor. The carpeted character of the mid-century pattern was rejected; elements of the scenery were located against the background of the opened surface of the walls, which emphasized not only their rhythm, but also the picturesqueness. There were also such closeness in this new one as the spatial interconnectedness of the main premises of the building, the complexity of the plans, the emphasized attention to the center of the composition, the desire for contrasts, including the clash of softly curved and rigidly rectilinear outlines. Graphic motifs began to be introduced into architectural decoration.

At the end of the XVII century. buildings appeared in Moscow architecture that combined Russian and Western traditions, features of two eras: the Middle Ages and the New Age. In 1692-1695. at the intersection of the old Moscow street Sretenka and Zemlyanoy Val, which surrounded Zemlyanoy Gorod, the architect Mikhail Ivanovich Choglokov (circa 1650-1710) built a gate building near Streletskaya Sloboda, where the regiment of L.P. Sukharev stood. Soon, in honor of the colonel, it was named the Sukharev tower. The tower acquired an unusual appearance after the restructuring of 1698-1701. Like medieval Western European cathedrals and town halls, it was crowned with a clock tower. Inside, there is the School of Mathematical and Navigational Sciences, established by Peter I, as well as the first observatory in Russia. In 1934, the Sukharev Tower was dismantled, as it "interfered with traffic."

The Naryshkin group includes a group of churches. 1680 - late 1690, the appearance of which, with a high degree of probability, can be associated with the accession of Peter I. The churches of this group were built by order of one of the closest relatives of Peter I on the maternal side - the boyar Lev Kirillovich Naryshkin.

In a broader sense, the Naryshkin style refers to all the buildings of the "Moscow Baroque", built by order of the Naryshkins (by analogy with the "Stroganov style"). However, this group is stylistically heterogeneous. Naryshkin type churchesoctagon on quadruple "Created by first-class craftsmen who previously built the bell tower of the Novodevichy Convent by order of Princess Sophia. In these structures, an interesting technique is used to combine the church and the bell tower in one composition -" churches under the bells ". Of greatest interest is the Church of the Intercession in Fili. on the arches, connecting the building with the surrounding space through wide stairs.The tiered silhouette of the building is very expressive.The composition of individual volumes and their decorative decoration is subject to a lively rhythm, aspiration upward. the line of development of the Moscow Baroque, laid down during the reign of Princess Sophia and her closest associate, Prince V.V. Golitsyn.

For the architecture of the middle of the XVII century. the main driving force was the culture of the townspeople. The Moscow baroque, as well as the baroque in general, became a culture primarily aristocratic. The types of buildings where the main processes of stylistic education unfolded were the palace and the temple. A new type of boyar stone chambers, in which the features of future palaces of the 18th century were already outlined, took effect in the last quarter of the 17th century. The gradual fading of the metropolitan trend of "Moscow baroque" can be associated with the gradual transition of metropolitan life intoPetersburg and orientation towards Western European architecture and its masters, openly proclaimedPeter I .

3.2 PETER'S BAROQUE

Peter's Baroque (from the 1700s to the 1720s) - a set of individual manners of Western European architects invitedPeter I to build a new capital,Petersburg .

Limited by conditional framework 1697-1730. (the time of Peter and his immediate successors), it was an architectural style that was guided by examples of Swedish, German and Dutch civil architecture. Western European prototypes of the monuments of the Peter the Great Baroque - the buildings are largely eclectic, the influence of the "international"baroque Bernini they are softened by the French predilection forclassicism and legends gothic antiquity . It is possible to reduce the whole variety of architectural solutions of Peter's architects to baroque only with a certain degree of conventionality.

The etymology of this trend in architecture comes from the name of its creator, Peter I, who actively introduced this style during the construction of buildings in the city on the Neva. At the beginning of the 16th century, in the planning and construction in the cities of the Russian Empire, a trend towards a systematic approach began to be traced: a harmonious combination of buildings with landscape features; the facade comes to the fore as the face of the building - more attention is being paid to its design; the emergence of the concept of "development front" - all this required geometrically correct shapes and proportions. This prompted the unification of the one under construction with the one already built. In this regard, a problem arises: how to fix all the much-needed architectural innovations on paper in order to spread their effect throughout the Russian Empire. The solution to this issue helped to find a case. In 1701, a fire broke out in Pokrovsky, and a large number of houses were destroyed by fire, there was an urgent need to restore the buildings. In this village, Peter I decided to try out new architectural developments.

The architecture of the time of Peter the Great is characterized by simplicity of volumetric constructions, clarity of articulation and restraint of decoration, and a flat interpretation of facades. UnlikeNaryshkin baroque Popular at the time in Moscow, the Petrine Baroque represented a decisive break with the Byzantine tradition that had dominated Russian architecture for almost 700 years. However, there are also differences fromGolitsyn Baroque , inspired directly by Italian and Austrian models. In St. Petersburg, new architectural ideas found their embodiment in spacious, straight avenues; artificially organized sense of perspective and space; a large number of arcades, living yards. In the internal arrangement of buildings, isolation gives way to enfilades. It should be noted that all the innovations in the architecture of St. Petersburg of the era of Peter the Great were within the strict framework of the concept of "convenience and functionality", and not "external pomposity".

In the first decade XVIII in. in the architecture of the city on the Neva, a new type of building begins to appear, the so-called "mansard" house. It was a 2-storey, maximum 3-storey building, with noticeable risalits along its edges. Entering such a building, you first find yourself in a room with columns, which leads to a small garden behind the house; nearby is a staircase that leads to a hall for ceremonial events, on the sides of which there are rooms; Started as an attempt to give the official buildings of St. Petersburg a more unified look, the process moved to "simple buildings" such as the Admiralty.

According to researchers, elements of French, Italian, German baroque intertwined in this style. A distinctive feature of this style is: modesty in design (practicality, not external pathos comes first), clear transitions of shapes and lines, facades are made in a planar form; unlike its Moscow counterpart, "Peter's Baroque" abruptly breaks all ties with the foundations of Byzantine architecture.

The most famous representatives of this trend include: Leblon, Schluter, Fontana. All of them were directly involved in the planning and subsequent construction of architectural creations in the city on the Neva, while adding elements of their countries to the appearance of the capital of the Russian Empire. Some researchers notice: in the process of planning and building the city on the Neva, architects from different countries and, accordingly, different schools took part - why didn’t this lead to a complete confusion of styles and forms? The answer lies in the fact that Peter I personally studied the designs of all buildings before approving their construction.

The buildings erected in Moscow before the start of the planned development of the new capital can be considered the prototype of the Petrine baroque. This isLefortovo Palace in Moscow (1697-1699, architectD. V. Aksamitov , rebuilt 1707-1709 J. M. Fontana) and the Church of the Archangel Gabriel, popularly nicknamedMenshikov tower (1701-1707, architectIvan Zarudny ). In these structures, elementsMoscow baroque combined with order details in the design of facades. A whimsical combination of elements of the Moscow and Peter the Great baroque marked and replaced itElizabethan baroque .

3.3 STROGANOV BAROQUE

Stroganov style - the name of the stylistic direction of Russian architecture of the endXVII - start XVIII c., characteristic of buildings erected by order of the industrialistGrigory Dmitrievich Stroganov (- ). From the most radical monumentsMoscow baroque Stroganov's buildings are distinguished by the preservation of the five-domed silhouette, traditional for a Russian church, on which an extremely lush and fractional baroque decor is applied, as if fashioned by hand.

At the end of the 18th century, Grigory Andreevich Stroganov (1656-1715) became the sole owner of the Stroganov family estates. Under him, intensive stone construction began on the Stroganov lands. In a fairly short period of 13 years, five churches were built one by one at the expense of Grigory Stroganov: in Solvychegodsk , in Ustyuzhna Zhelezopolskaya, in the Trinity Sergius Lavra in Sergiev Posad, in the Gordeevka estate near Nizhny Novgorod and in Nizhny Novgorod in Posad. The sixth temple in the Stroganov Baroque style was built after the death of Grigory Stroganov by his son Sergei in Usolye on the Kama in 1724.

All the temples of the Stroganov baroque were built by one artel, since the temples were not built at the same time, but were erected sequentially (they finished one and started another). Apparently the artel moved from city to city, according to the will of the customer. The name of the architect who created these amazingly beautiful and original works of Russian early Baroque architecture of the 17th century remains unknown. Perhaps the creator of these wonderful buildings was one of the serf Stroganov masters who studied abroad, in Italy. There is information that at the end of the 17th century, the painter Stepan Dementievich Narykov worked for Grigory Stroganov, who for some time studied art in foreign lands. He created icons for the iconostasis of the Vvedensky Cathedral in Solvychegodsk. His works are also in Veliky Ustyug. It is possible that Stroganov's temples were built according to his drawings, in the form of which the features of Western European baroque architecture clearly appear. Perhaps this explains the unusual picturesqueness of the facades in Stroganov's buildings, as if descended from icons and frescoes of that time; then the fact of a relatively small number of such structures becomes clear, the appearance of which in Russian architecture fits within the framework of twenty years of the end of the 17th-beginning of the 18th century. This is just one version. It is hard to believe that the Stroganovs, the richest people of their time, entrusted such a responsible decision to create the external image of their temples to a simple serf. The wealth of the Stroganovs was enough to hire the best architects of their time to carry out such an order. But the mystery of the authorship of the temples of the Stroganov Baroque has not been solved so far.

If we consider these temples as a whole, then, perhaps, the following description, which I met in one of the textbooks on the history of Russian architecture, is most suitable for them: “... jewelry decoration becomes a hallmark of monuments. The eye is lost in the virtuoso carving, the architectural form is not perceived, because it is impossible to remember and understand it - it is possible to enjoy this very obviously manifested art. The carving covers the architraves, columns, pedestals with a continuous precious pattern, passes to the surfaces of the walls ... At the same time, the ensemble does not crumble - primarily due to the repetition of ornamental motifs.

The tripartite division of the facades of the Stroganov school is not only traditional, but also deliberately connected with the constructive system, in which a closed vault with cross-shaped formwork transfers the load to the piers between the wide bright windows. The architectural order has become a means of expressing the structure of the building; at the same time, according to I. Braitsev, a researcher of the Stroganov school, it was closer to the canonical one than on any other Russian buildings of that time, indicating a serious acquaintance with the architectural theory of the Italian Renaissance.

The discipline of the architectural order, the universal system, began to subjugate the composition of the temples of the late 17th century, its rhythmic structure. The liberation of the architectural form from the direct and rigid conditionality of semantic meaning, characteristic of medieval architecture, began. Along with the strengthening of the secular tendencies of culture, the role of the aesthetic value of the form, its own organization, increased. This trend was also reflected in the search for new types of volume-spatial composition of the temple, not associated with generally accepted patterns and their symbolism.

3.4 GOLITSYN BAROQUE

Golitsyn Baroque - the most radical trend in the depths of the Moscow baroque, consisting in the complete denial of connection with the ancient Russian tradition. Golitsyn baroque is one of the style variations (“poshibs”) within theRussian baroque associated with the name of the princeBoris Alekseevich Golitsyn , like-mindedPeter I and a supporter of the Europeanization of Russian culture. His pro-Western views were expressed, in particular, in the erection of buildings in the estates near Moscow, close to the Western European architectural tradition.

Golitsyns in the buildings of the time of Peter the Great, they finally abandoned the preservation of the traditional silhouette of the Russian church, borrowing from the arsenal of Western Europeanbaroque complex stucco decoration. New Style Manifesto -Church of the Sign of the Blessed Virgin Mary in Dubrovitsy (1690-1704). The creators of this marvel of architecture have not been identified. It is known that the drawing of the plan of the church was signed by a certain Tessing (the drawing has not been preserved). However, this name cannot be connected, as was first noted by I. Grabar, with the famous Swedish architect N. Tessin the Younger, a follower of J. L. Bernini, the genius of the Roman Baroque. At the same time, it is assumed that an artel of Italian masters who came to Russia in 1703 together with the architect D. Trezzini from the Tessinsky canton of Switzerland took part in the sculptural decoration of the temple: P. Jemmy, G. Quad-ro, D. Rusko, B Scala, C. Ferrara, J. M. Fontana. The same artel worked on the construction of the Menshikov Tower in Moscow.

The plan of the Dubrovitskaya church is original: four apses adjoin the central quadrangle - each of the three-lobed form. The plan "extends into the surrounding space" with a bizarre configuration of stairs. A high tower-shaped octagon instead of the traditional head is crowned with an amazingly beautiful openwork gilded crown. The general composition of the church of the centric type and, in particular, the plan are close to the churches of the "Naryshkin style": the Church of the Intercession in Fili (1690-1697), the Church of the Savior in Ubory (1694-1697) and the Church of the Holy Trinity in the village of Trinity-Lykovo (1698-1704; the last two are the work of the architect Y. Bukhvostov). These analogies speak of a steady trend towards a compact, symmetrical building plan. In the "Naryshkin" temples, such ideas are not Baroque, but rather Renaissance-Manneristic in nature. The architecture of the classical Western European Baroque is characterized by an active, dynamic interaction of volume with the external and internal space of the building. Only in the "Golitsyn style" of the churches in Dubrovitsy and Perov (1690-1705) is the "Baroque overflow of space", the plasticity and dynamism of forms, definitely expressed. The buildings of the "Golitsyn Circle" turned out to be a bright, but isolated phenomenon in the history of Russian architecture. The Dubrovitsky church made an unusual impression on contemporaries: “The whole thing is so amazing and carved ... and in such a model and translation that there has never been such an amazing thing in Moscow at the present time.” The architecture of the building is full of sculptural and carved ornamental decor.

Other characteristic buildings -Church of the Sign in Perovo (1705) and Nicholas Church in Poltevo (1706). All these buildings are not cross-domed in plan, but elliptical, more reminiscent ofrotundas .

The architects of the Golitsyn buildings are unknown, but we can assume the direct participation in their construction of Western European architects, who, unlike home-grown mastersMoscow baroque - not repulsedUkrainian-Belarusian baroque tradition . The difference between the Golitsyn buildings andpetrine baroque consisted in the fact that they were guided not by northern European (Swedish, Dutch), but by Austrian models (which, in turn, followed the Italian prototypes).

Since the Golitsyn baroque did not fit into the Moscow architectural space of that time, in sharp contrast with it, the style did not gain further distribution inRussia and could not have a noticeable impact on the art that developed throughout the 18th centuryRussian baroque .

3.4 ELIZABETHINE BAROQUE

Elizabethan baroque is a term for Russian baroque architecture of the era of Elizabeth Petrovna (1741-61). The largest representative of this trend was F. B. Rastrelli, whence the second name of this baroque version is “Rastrelli”. Unlike the Petrine Baroque that preceded it, the Elizabethan Baroque knew and appreciated the achievements of the Moscow Baroque of the late 17th and early 18th centuries, retaining the essential elements for the Russian temple tradition (the cross-domed scheme, onion or pear-shaped five-domes).

You should pay attention to another of the greatest buildings of the Elizabethan Baroque period - the Smolny Monastery. Resurrection Novodevichy Convent was built at the request of Empress Elizabeth Petrovna. The second name "Smolny" comes from the Smolny Yard, which was built on the banks of the Neva, opposite the Okhta, in the early years of the construction of St. Petersburg. The construction of the monastery was entrusted to the chief architect of the imperial court F. B. Rastelli.

On October 30, 1748, the solemn laying of the cathedral took place. By 1757 he was rough ready. The outbreak of the Seven Years' War suspended work; they were resumed only in 1762 under the leadership of Yu. M. Felten.

On August 4, 1764, on the second floor of the northeastern tower, a church was consecrated in the name of St. vmch. Catherine. In 1765, on the third floor of the northwestern tower, the church was consecrated in the name of St. rights. Zechariah and Elizabeth. At the same time, the abbess and staff were appointed to the monastery.

The cathedral is vast and bright, there are no columns inside. Five intricate domes are merged into a single architectural group. The height of the cathedral is 92 m. The project of building a majestic 140-meter bell tower remained unfulfilled. For many decades, the Smolny Cathedral remained unfinished and unconsecrated. Only in 1832, at the behest of the Dowager Empress Maria Feodorovna, the work on its completion was headed by the architect. V. P. Stasov.

At the same time, a number of works were carried out according to the project of V.P. Stasov. Between the porch of the cathedral and the western buildings of the cells, a cast-iron lattice of a strict classicistic pattern stretched. On the sides of the passage, arranged to the temple, two wings were erected from the side of the square, the facades of which were later finished in the Baroque style. In addition, the cathedral and cell buildings were surrounded by a low stone fence with slender pavilion towers at the corners. (Partially the fence was erected in the 1750s-1760s. The entrances were marked with porticos made of Tuscan columns, covered with arched pediments. The pulpit and steps were made of Ural marble, the walls and columns were finished in white marble and covered with stucco. To the right, under the canopy, the Royal Place was arranged on the other hand, a pulpit for reading sermons.Nicholas I presented the temple with a silver tabernacle in the form of a temple with 24 jasper columns.In the 1890s, Yu.S. a barrier of crystal and bronze.In 1922, all valuables were confiscated from the cathedral, and it was closed in 1923. In 1967, reconstruction began, after which the exposition of the Museum of the History of Leningrad "Leningrad Today and Tomorrow" was placed here. the restoration of the cathedral continues.During the restoration, the wall painting was discovered - soft and delicate grisaille in brown and bluish tones.The restorers fixed and conserved the painting. A copy of the icon "The Intercession of the Mother of God for the pupils of the Smolny Institute" will be installed in the cathedral, the original of which is now in the State Russian Museum.

The original page of the Elizabethan baroque is represented by the work of Moscow architects of the middle of the 18th century - headed by D. V. Ukhtomsky and I. F. Michurin. In St. Petersburg, under Elizabeth Petrovna, a galaxy of domestic architects worked - the serf architect F. S. Argunov, S. I. Chevakinsky, A. V. Kvasov and others. The Italian P. A. Trezzini specialized in temple architecture. With the exception of the Ukrainian buildings of A. V. Kvasov, A. Rinaldi, G. I. Shedel, the Elizabethan baroque remained a metropolitan style and little affected the Russian provinces.

After the death of Elizaveta Petrovna, the main construction orders were transferred to the Italian Antonio Rinaldi, who had previously worked for the "young court" in Oranienbaum. He abandoned the grandiosity of Rastrelli's undertakings and introduced elements of the chamber rococo style into court architecture. In the course of the 1760s, Rinaldi, like other leading architects, overcame the attraction of the obsolete baroque and began to master the aesthetics of classicism.

3.6 SIBERIAN BAROQUE

Siberian baroque - the most general designation of temple architectureSiberia XVIII century . As of 1803, there were 115 stone temples in Siberia. The vast majority of them belonged to the provincial variant.Russian baroque who has been influencedBaroque Ukrainian and (in some cases)lamaist decor. The largest number of monuments survived inIrkutsk , Tobolsk and Tomsk . The original interiors survived only inCross Church Irkutsk.

Siberian churches of the 18th century, like most monumentsMoscow pattern and baroque, - pillarless. On the western side they adjoinrefectory with bell towers . The baroque monuments of Siberia are characterized by a desire for a picturesque heap of successively decreasing volumes (in the words of A. Yu. Kaptikov - “baroque overcomplexity of forms”). The decorative system is marked by original additions, presumably of oriental origin (lancetsandriks in the form of a flame, mortar-like forms,wheel of dharma ).

In the 17th century, stone construction in Siberia was carried out only inTobolsk and Abalak . These were ancient Russian buildings with elements of the dominant Russian architecture of those years.patterned . in the spirit Naryshkin baroque the earliest stone building was sustainedTyumen - Church of the Annunciation (1700-1704, destroyed in Soviet times, being restored). built right next to itTrinity Monastery has much in common with Ukrainian baroque. This is explained by the Ukrainian origin of the Siberianhierarchs that time. Subsequent Siberian churches retained some of the structural elements of the Ukrainian Baroque, in particular, vertically vaulted architectural solutions. The literature notes the similarity of the first Tobolsk monuments with the Ural temples of the very beginning of the 18th century, such asDalmatov monastery and the cathedral Verkhoturye (the only one of its kindstroganoff circle ). Among the first stone structures in the east of Siberia areNerchinsk Dormition Monastery (1712), Ambassador's Spaso-Preobrazhensky Monastery (1718), Spasskaya and Church of the Epiphany in Irkutsk, the Church of the Epiphany and the voivodship house inYeniseisk , Spassky Monastery inYakutsk .

The most original monument of the Siberian baroque -Holy Cross Church of Irkutsk (1747-58) - with Buddhist elements of its decor, it attracted the attention of pre-revolutionary researchers of Russian architecture. They tried to connect the unique monument with the magnificent stone lace of the temples.Solikamsk and Solvychegodsk .

The term "Siberian Baroque" was introduced in 1924 by the Irkutsk local historian D. A. Boldyrev-Kazarin, who wrote about the Cross Church about the "orgiastic frenzy" that local craftsmen reached in processing the walls, "pouring a stream of patterns into the entire multi-planted field" . Assuming participation in the construction work of localBuryats , Boldyrev-Kazarin stated that in Siberia "some details of Mongolian and Chinese architecture take on familiar formskokoshnikov ”, while “Ostyak, Tatar and Bukhara” influences determine the specifics of the decoration of temples inIshim , Yalutorovsk and Tare .

The problem of Eastern and Ukrainian borrowings in the Siberian architecture of the 18th century also occupied researchers of the Soviet era. The “Buryat decor” of the Irkutsk temples and the similarity of their space-planning solutions to those used by the architects of the northern Russian cities were noted -Totma and Veliky Ustyug . From the point of view of T. S. Proskuryakova, it is legitimate to single out two “sub-regional types” of early Siberian temple architecture - Western Siberian (Tobolsk, Tyumen, Trans-Urals) and East Siberian (Irkutsk).A. Yu. Kaptikov also distinguishes between West and East Siberian baroque styles. He sees in the Siberian architecture of the XVIII century one of the provincial schools of Russian baroque - along with the Totem-Ustyug, Vyatka and Ural schools.

3.7 UKRAINIAN BAROQUE

Ukrainian or Cossackbaroque - common inLeft Bank and PrydniprovskaUkraine in XVII - XVIII centuries style variation baroque , which is characterized by a combination of decorative and plastic solutions of Western European Baroque andrenaissance with the creative processing of the heritage of Orthodox church architecture andancient Russian architecture .

The emergence of Ukrainian baroque is associated withnational liberation upsurge among the Cossacks, which gives the Ukrainian baroque the meaning of a truly national style. on the Left Bank andSloboda when designing temples, the traditions of folk wooden architecture were taken into account even more than the centuries-old tradition of Orthodox temple building.

The origin of the Ukrainian baroque is usually associated with the renovation of Kyiv and Chernihiv churches to the Mongolian time under the MetropolitanPetre Mogila and his successors. The collapsed or dilapidated vaults of temples were often rebuilt, the domes were given a characteristic pear-shaped or bud-shaped shape, and the facades received a new finish. Fractional baroque decor was superimposed on monumental cross-domed structures.

The Cathedral ofYelets Monastery in Chernihiv , Saint Sophia Cathedral in Kyiv , Assumption CathedralKievo-Pechersky monastery , cathedrals Vydubitsky and Mikhailovsky Golden-Domed Monastery in Kyiv . At the same time in the ancient Russian monasteries of Ukraine for the first time appearedbell towers . These tiered structures were built separately from the temples and were crowned with a massive pear-shaped dome. Many cloisters were surrounded by a stone fence for decorative purposes.

The builders of cathedrals in relatively new monasteries were also guided by ancient samples. In accordance with the Orthodox canon, these were cross-domed, three-apse, five-domed, four- or six-pillar churches. At the same time, they were decorated in the "Polish" (Baroque) manner, the facades were sometimes flanked by towers. The monuments of this group include "Mazepa" cathedrals -Trinity in Chernihiv (1679-95), Nicholas Military Cathedral (1690-96), Epiphany Cathedral inFraternal Monastery (1690-93).

Temples are very uniqueSloboda Ukraine . Five-tower Spaso-Preobrazhensky Cathedral inRaisins (1684) belongs to the type of the Cossack regimental cathedral, at the same time, its vaults resemble chopped ones. PeculiarityChurch of the Intercession in Kharkov (1689) - closely placed in a row three domes in the local tradition of a three-colored multi-room church. The same decorative scheme was used in the construction of the St. Nicholas ChurchSvyatogorsky Monastery (c. 1684). It is generally accepted that all three monuments were built by the same artel of craftsmen, undoubtedly under the strong influence of local wooden architecture and, possibly, under the guidance ofIvan Zarudny .

During the 18th century, the Ukrainian Baroque was modified under the influence of Western European and Russian architects working in Ukraine. In mid-century Kyiv, masters of foreign origin were building, such asG. I. Shedel (Big Lavra bell tower ) and Bartolomeo Rastrelli (Mariinsky Palace ). The traditions of national architecture continuedSemyan Demyanovich Kovnir (cathedral in Vasylkiv ) and Ivan Grigorovich-Barsky (reconstruction St. Cyril's Church ). The last of the hetmansK. G. Razumovsky , preferred local construction personnel to architects discharged fromPetersburg . On his estates, craftsmen who were far from the Ukrainian tradition were built, such asAntonio Rinaldi and A. V. Kvasov . The latter not only became interested in local architecture, but was also able to write a new page in it by erecting a nine-chamber cathedral with five tops in the city.Kozeltse in the Chernihiv region.

To the board Catherine II dominant trend in architectureclassicism . Nevertheless, the retrospective direction remained in demand, and throughout the 19th century, echoes of the Cossack baroque (pear-shaped domes) were heard in the temple architecture of Kyiv and the Left Bank. At the end of the 19th-beginning of the 20th century, separate temples were erected, deliberately stylized as buildings of the 17th-18th centuries. (Church of the Intercession in Pleshivets ).

After Ukraine gained independence (1991), not only the masterpieces of Ukrainian baroque destroyed in Soviet times were scrupulously restored (Mikhailovsky Golden-Domed Monastery in Kyiv), but the construction of new churches in the spirit of the modernized Baroque (Trinity Cathedral in Kyiv, St. Michael's Cathedral in Cherkasy ).

3.8. TEMPLE ARCHITECTURE

NOVODEVICH MONASTERY.

A striking example of temple architecture is one of the most amazing architectural ensembles in Moscow in terms of beauty and harmony - the Novodevichy Convent.

In terms of architecture, the Novodevichy Convent was built in the Moscow or Naryshkin baroque style, which took shape in Moscow towards the end of the 17th century. This style is characterized by a bright decorative combination of carved white stone details with a red brick wall. In the XVII century, under the leadership of Sophia, the monastery was reconstructed. What we can see today belongs to the 17th century.

The monastery has preserved 6 churches: the Smolensky Cathedral, the Assumption Church at the refectory, the Amvrosievskaya Church at the Irininsky Chambers, 2 gate churches (the Transfiguration of the Lord, above the northern gate, the Church of the Intercession of the Mother of God, above the southern gate) and the temple in the name of St. Varlaam and Iosaph in the lower tier of the bell tower. The Cathedral of the Smolensk Icon of the Mother of God is the oldest temple of the Novodevichy Convent. It was built in 1524-1525 and is similar in architecture to the Assumption Cathedral of the Moscow Kremlin, although it differs from it in a number of features. The cathedral is placed on a high white-stone basement and is built of large-sized bricks; its facades, divided by shoulder blades into 4 strands in length and 3 in width, are practically devoid of decorations. Only the three-part apse is decorated with a thin arcature belt. The vaults rest on cross pillars (an innovation introduced into Russian architecture by the Italians). The temple is surrounded by galleries with arched openings (some of which are now blocked) and small aisles on the south and north sides. The steps of the high porches lead to the entrance to the cathedral.

The murals preserved in the cathedral date back to 1526-1530. During the time of Boris Godunov, the frescoes were renovated, but not rewritten. They were painted over later, and only during the restoration in Soviet times, when the cathedral was given to the museum, the walls of the cathedral were returned to their original appearance. The paintings are located in several tiers on the walls and pillars and are mainly dedicated to the theme of holy warriors and Russian princes, the miracles of the Smolensk Icon of the Mother of God; the idea of Moscow as the third Rome can be traced in the paintings. This is fully explained by the time of their creation - the period of the formation of the Russian state. The vault paintings, judging by the style, were nevertheless made under Boris Godunov. The five-tier main iconostasis of the cathedral was commissioned by Princess Sophia in 1683-1686 by the masters of the Armory. The iconostasis, made by master Klim Mikhailov, invariably attracts the eyes of museum visitors. After the closing of the monastery, the cathedral was occupied by a museum, which remains in charge until now.

Dormition Church of the Novodevichy Convent. Saint Peter, transferring the residence of Russian metropolitans from Vladimir to Moscow in 1325, put the strength and piety of Moscow in close connection with the construction in this city of a church in honor of the Blessed Virgin Mary; he recommended to the Grand Duke Ivan Danilovich Kalita to erect here "a temple worthy of the Mother of God." According to this will of the saint, in 1326 the first stone church in the name of the Assumption of the Mother of God was laid in Moscow, and subsequently a significant part of the churches erected in Russia were named after this holiday, and among them is the old church in the Novodevichy Convent, revered by believers in Moscow. According to its original purpose, the temple of the Novodevichy Convent belongs to the type of special churches built only in monasteries - refectory churches. This is a construction of a semi-church, semi-civilian character: the temple itself occupies a small part here; everything else is adapted for needs that are not directly related to Divine services.

The combination of various parts into one whole created a characteristic type of building, called the temple - the refectory. The refectory of the Novodevichy Convent with the Assumption Church next to it is one of the most majestic and interesting structures of its kind. The monastery (founded in 1524) for a long time was a court, privileged monastery, and its refectory was built not only for the daily dining of monastics, but also for receiving kings and other dignitaries who often came here, arranging crowded holidays and memorial dinners. It is a vast (with an area of over 2,000 sq. m.) well-lit, built on a high basement building with a number of halls, three front porches and rich exterior and interior decoration. The refectory itself and the temple attached to it form a single structure, and the temple in relation to the refectory is greatly elevated and is equal to two cubes placed one on top of the other. The temple has 2 floors: at the bottom there is a "warm" church in the name of the Assumption of the Mother of God, at the top - a "cold" (unheated) church in honor of the Descent of the Holy Spirit. A narrow staircase in the southern wall leads to it. Both churches and the refectory were built in 1685 - 1686 by order of the sister of Peter I, Princess Sophia. The construction of the building was connected with the general reconstruction of the monastery. Almost the entire monastic settlement was then created anew, in the same style.

The nature of the architecture of the Assumption Church with a refectory is very typical of the Moscow (Naryshkin) Baroque. A tall, pillar-shaped temple has a lower altar adjoining it from the east and a refectory from the west; the shapes of windows and doors are rectangular, their dimensions are large; at the corners of the building there are columns, the windows are framed with platbands; all decoration is distinguished by elegance; coloristic effect - red (background) with white (decoration). In 1976, the building was badly damaged by fire, and was soon partly rebuilt. The changes affected the following: a wide, open gallery on the arches surrounding the chamber was dismantled, the kokoshniks that adorned the top of the church were destroyed, the five domes were replaced by one dome, and the porch was redone. But even with these alterations, the appearance of the building remained quite close to the former; its capital parts have not changed, and it remains one of the best monuments of Russian architecture of the late 17th century.

Gate churches - Protection of the Most Holy Theotokos (built in 1683 - 1688) - above the southern entrance, three-domed, with an open terrace; in the architectural style, the influence of the South Russian baroque and the Transfiguration of the Lord (Savior of the Transfiguration, 1687-1689) is felt - above the northern gate, five-domed, in the Naryshkin baroque style; 3 tiers of elegant windows, inside - an eight-tier carved gilded iconostasis made by the masters of the Armory under the direction of K. Zolotarev (1688).

The bell tower of the Novodevichy Convent is one of the best works of Russian architecture of the 17th century. Among the well-known bell towers of this type, it strikes with a special proportionality of proportions. An openwork pillar easily and freely rises to a 72-meter height. Exquisite harmony and lightness are achieved by skillful distribution of parts of the structure. Deaf tiers alternate with openwork, lightweight arches, and each has a kind of decorative solution that does not repeat in the pattern. Unusually placing the bell tower behind the altar apses of the cathedral, the architect thus completed and united all the buildings of the architectural ensemble and at the same time clearly defined the central position of the Smolensk Cathedral - the architectural dominant of the Novodevichy Convent.

3.9 PALACE ARCHITECTURE

WINTER PALACE.

In 1762, the current building of the palace appeared. At that time, the Winter Palace became the tallest residential building in St. Petersburg. The building included about 1500 rooms. The total area of the palace is about 60,000 sq.m. Elizaveta Petrovna did not live to see the completion of construction, Peter III took the job on April 6, 1762. By this time, the decoration of the facades was completed, but many of the interior spaces were not yet ready. In the summer of 1762, Peter III was overthrown from the throne, the construction of the Winter Palace was completed under Catherine II. First of all, the Empress removed Rastrelli from work. The interiors of the palace were decorated by the architects Chevakinsky, Yu. M. Felten, J. B. Vallin-Delamot and A. Rinaldi under the guidance of Betsky.

According to the original layout of the palace, made by Rastrelli, the largest front rooms were on the 2nd floor and overlooked the Neva, the Jordanian or, as it was formerly called, the embassy staircase led to them. There were five halls in total (of which three middle halls subsequently made up the current Nicholas Hall). They were called avant-halls, as they led to the sixth huge Throne Hall (which occupied the entire current space of the rooms of Nicholas II overlooking the Neva, that is, the Malachite Hall, two living rooms and the corner of the Neva and the Admiralty office of Alexandra Feodorovna). In 1763, the empress moved her chambers to the southwestern part of the palace; under her rooms, she ordered the chambers of her favorite G. G. Orlov to be placed. From the side of the Palace Square, the Throne Hall was equipped, in front of it a waiting room appeared - the White Hall. A dining room was placed behind the White Hall. The Light Room adjoined it. The dining room was followed by the Front Bedchamber, which a year later became the Diamond Chamber. Under Catherine, a winter garden and the Romanov Gallery were built in the Winter Palace. In 1764, in Berlin, through agents, Catherine purchased a collection of 225 works by Dutch and Flemish artists from the merchant I. Gotskovsky. Most of the paintings were placed in secluded apartments of the palace, which received the French name "Hermitage" (place of solitude).

The modern three-story building in plan has the shape of a square of 4 wings with a courtyard and facades facing the Neva, the Admiralty and Palace Square (the length of the facade from the Neva side is 137 meters, from the Admiralty side it is 106 meters, the height is 23.5 meters, about 1050 rooms ). The splendor of the building is given by the magnificent decoration of the facades and rooms. The main façade, facing the Palace Square, is cut through by the arch of the front passage. In the southeastern part of the second floor there was one of the Rococo monuments, the legacy of the fourth Winter Palace - the Great Church of the Winter Palace (1763; architect B. Rastrelli).

The facades and the roof of the palace changed their colors several times. The original color had a very light warm ocher coloration with the emphasis on the order system and the plastic decor with white lime paint. The minutes of the Chancellery from the buildings speak of the release of lime, chalk, ocher and blackling (red earth, which after processing was used as a pigment) for these works. In later documents, there are such names as “pale yellow with white”, “under the color of a wild stone”. The roof was tinned.

With the beginning of the Great Patriotic War, the palace was painted with reversible adhesive gray paint to camouflage it. In 1945-1947, a commission consisting of the chief architect of Leningrad N. V. Baranov, the head of the State Inspectorate for the Protection of Monuments N. N. Belekhov, representatives of the Leningrad Executive Committee, the State Construction Control, the State Hermitage Museum and scientific consultants decided to paint the walls of the palace with chromium oxide with adding emerald pigment; columns, cornices, interfloor rods and window frames - in white; stucco decoration, cartouches, capitals - with ocher, while it was decided to leave the sculpture black.

Since the 1960s, when painting the facade, synthetic dyes have been used instead of lime paints, which negatively affect stucco decoration, plaster and natural stone. In 1976, on the recommendation of the All-Union Central Research Laboratory, a decision was made to clear the surface of the sculptures from the paint coating to form a natural layer of patina, which at that time was considered a natural protection against aggressive environmental influences. Currently, the surface of copper is protected with a special paint composition containing a copper corrosion inhibitor.

For sixty-five years, the public and the authorities of the city have developed a certain stereotype in the perception of the color scheme of the palace, however, according to the Hermitage researchers, the currently existing color scheme of the facades does not correspond to the artistic image of the palace, in connection with which it is proposed to recreate the color scheme of the facades, as close as possible to the three-dimensional composition of the palace, created by Bartolomeo Rastrelli.

HALLS OF THE WINTER PALACE

Jordan Gallery.Located on the first floor of the Winter Palace. The decoration is carried out in the style of Russian baroque. At first, the gallery was called the Main Gallery, since guests of the palace followed it from the Main Vestibule to the Main Staircase. Later (like the entrance) it was renamed Jordanskaya, since on Baptism from the Great Church of the Winter Palace, a procession passed through it, heading to the Neva, where the so-called Jordan was installed over the hole - a pavilion for blessing water.

jordan stairs. In the 18th century, the staircase was called the Ambassadorial, then it was called the Jordanian, because during the feast of the Epiphany of the Lord, a procession to the Neva descended along it, where an ice hole was cut in the ice to illuminate the water - Jordan. It is here that the talent of the great Rastrelli is revealed in all its strength and expressiveness. Behind the majestic arched spans of the gallery of the first floor and the first, shaded flight of stairs, a huge space of stairs, shining with light, suddenly opens up. Located at almost a twenty-meter height, a picturesque ceiling depicting ancient Greek gods soaring in the sky enhances the baroque effect by illusoryly tearing the planes of the ceiling, and the light pouring from the windows, reflected in the mirrors, glides over gilded stucco ornaments, white marble statues of gods and muses. Destroyed by a fire in 1837, the staircase was recreated by V.P. Stasov, who, when restoring this half of the palace, managed to preserve the main plan of Rastrelli.

Field Marshal's Hall.The hall was created in 1833-1834. Auguste Montferrand. This austere white marble hall earned notoriety for the fact that it was here that on December 17, 1837 a fire broke out that destroyed the entire Winter Palace in 30 hours. After a fire in 1837, it was rebuilt by V. Stasov in the style of classicism. In 1854, on the southern wall of the hall, on either side of the entrance to the Small Throne Hall, were placed the battle canvases “The Capture of the Warsaw Suburbs by Russian Troops” by O. Vernet and “Surrender to the Russian Hungarian Army by General Gergei at Vilagos” by G. Villevalde. During the First World War, the hospital wards were located in the hall. After 1917, all the paintings were removed and transferred to the funds of other museums. A few years ago, it was decided to restore the design of the hall. The portrait of I. F. Paskevich by F. Kruger was returned to its place. In May 2005, portraits of A. V. Suvorov (N. S. Froste) and M. I. Golenishchev-Kutuzov (P. Basin) appeared in the Field Marshal's Hall.

Petrovsky (Small Throne) Hall. It was created in 1833 according to the project of O. Montferrand. Dedicated to the memory of Peter I. The interior of the hall is decorated with the emperor's monogram (two Latin letters "P"), double-headed eagles and crowns. The throne was made in St. Petersburg at the end of the 18th century. Behind the throne, in a niche decorated in the form of a triumphal arch, is the painting "Peter I with the goddess of wisdom Minerva" by Giuseppe Amiconi. In the upper part of the walls there are canvases depicting the famous battles of the Northern War - the Poltava battle and the battle of Lesnaya (P. Scotti and B. Medici). The hall is decorated with silver-embroidered Lyon velvet panels and silverware made in St. Petersburg. The hall also has royal crowns, state emblems in the form of double-headed eagles. After a fire in 1837, V.P. Stasov restored it without changes.

Armorial hall. From the end of the 18th century, the White Gallery, decorated according to the project of Yu. M. Felten, was located on the site of the Armorial Hall. In the reign of Catherine II, magnificent court balls were held here. In 1796, by decree of Emperor Paul I, the “Funeral Hall”, where a funeral ceremony was held to pay farewell to the deceased Empress Catherine the Great and her husband, Emperor Peter III, who was killed as a result of the coup of 1762. In the first third of the 19th century, the original purpose of the White Gallery returned. Palace masquerades, ceremonial receptions and balls were noisy again. However, in 1830, Emperor Nicholas I decided to give it a different meaning. The main idea of the new project is the glorification of the might of the Russian Empire. Recreated by V.P. Stasov after the fire of 1837 for solemn ceremonies in the style of late Russian classicism.

III. CONCLUSION

Thus, the baroque culture occupies a huge historical space: the turn of the XVI-XVII centuries-XVIII centuries. Its appearance was a historically natural process, prepared by all previous development. The style found its implementation differently in different countries, revealing their national characteristics. At the same time, time had common features typical of all European art and all European culture:

1. Church dogmatism, which led to an increase in religiosity;

2. Increasing the role of the state, secularism, the struggle of two principles;

3. Increased emotionality, theatricality, exaggeration of everything;

4. Dynamics, impulsiveness;

At the same time, baroque prepared a new era - the Age of Enlightenment. The art of this style lives and develops up to the present day (rococo art, “neoclassicism”, reviving primarily baroque forms, “New Viennese school” in music, appealing to masters of a strict style).

The baroque world is as boundless as the world of the human soul. The diversity of life that overwhelms the music of this time, according to the laws of baroque antinomy, coexists with intense spiritual quest. The sensual beauty of baroque art is the key to love for it. But it is addressed not only to the heart. Heart and mind, love and knowledge - these are a number of antinomies related to the sphere of perception of art.

An important place in the development of Russian architecture of the late XVII century. occupy the buildings of the monastery refectory, which formed a link between secular and church architecture. Much is connected with the monasteries of Russia in the life of a Russian person. After all, all the main events of a Christian took place in the church - there he was baptized, then married and, finally, buried. Now much is being done to revive the best Orthodox traditions and shrines, and, above all, this concerns the restoration of monasteries and churches. The fact is that they are not just institutions for the fulfillment of religious needs and needs of believers, but "spiritual-historical centers", they constituted, as it were, stones at the foundation of the building of the Russian state.

Russian Baroque of the late 17th - early 18th centuries is the first great European style that easily and organically fit into our national tradition. At the same time, this was the time of the first large-scale invasion of European culture into Russian life.

The heyday of Russian baroque is associated with the names of A.V. Kvasova (Great Tsarskoye Selo Palace before its reconstruction by Rastrelli, the Church of the Assumption of the Blessed Virgin on Sennaya Square, which has not survived), P.A. Trezzini (Fedorovskaya Church in the Alexander Nevsky Lavra), A.F. Vista (St. Andrew's Cathedral on the corner of the 6th line and Bolshoy Prospekt, the Boat House in the Peter and Paul Fortress) and other masters, but above all, with the name of Bartholomew Varfolomeevich Rastrelli (1700-1771) - the creator of the luxurious Smolny Monastery, the Winter, Vorontsovsky, Stroganov palaces, palaces and pavilions rebuilt by him in Tsarskoye Selo and Peterhof. Rastrelli set the tone and scale for the further development of Palace Square and Palace Embankment. In the years 1760-1770, during the “golden age of Catherine II”, architectural and artistic tastes change, the lush “Elizabethian baroque” is replaced by classicism.

Summing up, I would like to say that the originality of Russian baroque architecture manifested itself in an organic combination of a clear fundamentality and simplicity of planned solutions with picturesque silhouettes and facades, generosity and fantasy of decorative forms, their multicolor, traditionally developing majority and elegance inherent in Russian art. In the middle of the 18th century, the original Russian five-domed structure was revived during the construction of churches, and it was enriched with new independent solutions, everywhere replacing the type of church of the beginning of the century, crowned with domes in the Florentine spirit.

The desire by architectural means to express the dominance of man over nature and the elements, the inexhaustibility of his creative possibilities - finds a convincing expression in the contrasting combination of the geometrism of the regular gardens and parks surrounding the palaces with a huge length of plastic facades and magnificent amfilades of front rooms. In the interiors - an abundance of openings, mirrors, ornaments, completely covering the walls, picturesque plafonds. All this creates the illusion of infinity of space.

Unlike Western European architecture, the facades of monumental buildings were faced not with stone, but with plaster with plaster details, which contributed to the strengthening of the plastic principle, and also made it possible to apply color. Bright, contrasting colors: blue, azure-blue with white, yellow with white and others, with the simultaneous introduction of gilding and tinplate for roofing - all this gave the buildings a special bright, major, optimistic color and character that corresponded to the traditions of Russian national architecture.

IV. LITERATURE

1. Allenov M.M., Evangulova O.S. Russian art of the X-beginning of the XX century. – M.: Art. - 1989.

2. Architectural and construction terms / comp. Yu.N. Belov - St. Petersburg: Karo, 2006.

3. Balakina T.I. MHK: Russia IX-XIX centuries. - M.: AZ Publishing Center. – 1997.

4. Borisenko I.G. Novodevichy Convent. - Ed.2nd - M., Northern pilgrim, 2005.

5. Brazhnev I.A., Batashkova A.N. Russian interior of the XVIII-XIX centuries. – M.: Svarog IK. – 2000.

6. Goldstein A.F. Architecture. – M.: Art. - 1979.

7. Kashekova I.E. From Antiquity to Modern. – M.: Enlightenment. – 2000.

8. Malyuga Yu.A. Culturology. – M.: Enlightenment. – 1998.

9. Mironov O.V. Dictionary of religious terms. - Voronezh: VSU Publishing House, 2002.

10. Monasteries of the Russian Orthodox Church. Handbook-guide. -M.: Publishing House of the Moscow Patriarchate, 2001.

11. Palamarchuk P.G. Forty forties: a brief illustrated history of all Moscow churches: in 4 volumes. M.: "Publishing house AST", 2003-2005.

12. . Pilyavsky V.I. History of Russian architecture. - M.: Art. - 1984.

V. APPENDICES.

Anteroom - (from French avant - front part) - a room in front of the main hall in the palace.

allegory ( from the Greek allegoria) - the expression of an idea or concept allegorically, in the images of art.

Alcove (from French alcove) - a niche separated from the main space of the room by a curtain, arch or columns.

Canopy (from Latin baldacinus - expensive silk fabric from Baghdad) - drapery or decoration imitating it over a bed or throne.

Geridon (from French gueridon) - a table or a decorative stand on a column leg.

Garland - a pattern or ornament of flowers, ribbons, leaves, fruits, woven in the form of a chain.

desudeportes (from French dessus de porte - above the door) - a decorative panel above a door or window opening. As a rule, desudeportes had bizarre outlines.

jardinière - in furniture art - a stand, a bookcase or a basket for indoor or balcony flowers.

Cabriole (from French cabri - goat and cabriole - jump) - gracefully curved legs of furniture, sometimes ending with images of animal paws. A very characteristic form for Baroque and Rococo.

canape (from French canapé) - a small sofa with a raised headboard, as if made up of several chairs.

Cartouche - stucco or graphic decoration in the form of an incompletely unfolded scroll or leaf with curls. Inscriptions, coats of arms, emblems were placed in cartouches.

Ormusl (from German Ohrmuschel - auricle) - a baroque ornament that combines a cartouche with interlacing and grotesques.

Paduga - in the interior of baroque and rococo - a curvilinear concave surface that forms the transition from the vertical wall to the ceiling, to the ceiling.