The 18th century for Russia is an era of changes associated with the reforms of Peter I. These reforms affected almost all spheres of the country's life:
economy, state structure, military affairs, education, social thought, science and culture. From the "window to Europe" that Peter the Great cut through, all the achievements of our time literally poured into Russia.
Russian art assimilated and processed the Western European experience in various ways: finished works of art were bought abroad, their own works were created by domestic and foreign specialists, who were very actively involved in Russia at that time. Talented people were sent to Europe to study at public expense.
Features of the artistic creation of the 18th century
The new time also created a new culture that replaced the Middle Ages. The idea of \u200b\u200bbeauty and the forms of its embodiment was changing.
At the same time, we must not forget that the art of Peter's time was not yet fully established, foreign was not filtered, but also did not have a predominant significance in Russian art. Life itself put everything in its place, and in Russian culture there was only that which took root on Russian soil and met national interests. It was this process that brought Russian art out of the confined space of the Middle Ages and connected it with the common European, while giving samples of world-class masterpieces.
We must not forget that the social outlook was changing - Russia embarked on the path of absolutism. Science and education developed. The Academy of Sciences was created, book printing was actively developing, culture entered the secular path of development. These changes were especially evident in fine arts and architecture.
The principles of urban planning have changed - they related to the layout, certain types of buildings, compositions of facades, decor, interior, etc.
In the second half of the 18th century. the baroque was replaced by classicism, based on the principles of antiquity. But in Russian architecture, the features of classicism became noticeable already in the first half of the 18th century: simplicity, balance and severity of forms. In connection with the development of industry and trade, it became necessary to construct buildings of industrial, state and public importance: banks, stock exchanges, markets, living rooms, public places. And the development of culture and education led to the construction of buildings for libraries, theaters, universities, academies. The privileges of the nobility expanded, and this led to the growth of noble estates in the countryside.
Painting
In the first half of the 18th century. the genre of secular portrait was formed. This era is called "the portrait of Peter the Great." The portrait genre becomes dominant in painting. It already differs greatly from the Parsuna of the late 17th century. composition, color, individualization of the person depicted.
I. G. Tannauer. Portrait of Peter I
Artists began to use direct perspective, which creates depth and three-dimensional image on a plane. The art of the Petrine era is characterized by a high pathos of affirmation, which is why the person becomes its central theme, and the portrait is its main genre.
But the question of authorship in the Peter the Great's era remained a difficult problem. Artists sometimes did not sign their works. In addition, there was also a problem of model identification, since custom portraits were usually created with a high degree of embellishment of the person being portrayed, especially since these were usually the emperor and members of his family and their entourage.
I. Nikitin. Portrait of Chancellor Golovkin
Parsuna is gradually supplanted, but for some time it continues to exist even in the work of the leading artists of the era: I. Nikitina, I. Vishnyakova, A. Antropova, A. Matveeva, I. Argunova and other artists, which testifies to the not yet completed transition from the medieval to the new style. Traces of parsunism are also found in the second half of the 18th century, especially in the works of serfs and provincial masters, self-taught.
I. Vishnyakov. Portrait of Ksenia Ivanovna Tishinina (1755)
In Russian painting the second half of the XVIII in. dominated by two artistic styles: classicism and sentimentalism.
The portrait genre was further developed. Artists V. Borovikovsky and F. Rokotov worked in the style of sentimentalism and created a number of lyrical and soulful portraits.
V. Borovikovsky. Portrait of E.N. Arsenyeva (1796)
A whole gallery of images of outstanding people was created by the portraitist D. Levitsky.
Architecture
First half of the 18th century marked in architecture by the Baroque style. The first stage in the development of Russian baroque dates back to the era of the Russian kingdom, and from the 1680s to the 1700s, the Moscow baroque developed, the main feature of which is the widespread use of elements of architectural order and the use of centric compositions in temple architecture.
The founding of St. Petersburg gave a powerful impetus to the development of architecture in Russia, with the activities of Peter I a new stage in the development of Russian baroque begins, this stage was called "Peter's Baroque", which was guided by samples of Swedish, German and Dutch civil architecture. But only the first architectural monuments of this period (for example, the Peter and Paul Cathedral in St. Petersburg) practically escaped Russian influence. Despite the abundance of foreign architects, a new own architectural school begins to form in Russia.
The architecture of Peter's time was distinguished by the simplicity of volumetric constructions, clear articulation and restraint of decoration, and a planar interpretation of facades. The first architects of St. Petersburg: Jean-Baptiste Leblond, Domenico Trezzini, Andreas Schlüter, J.M. Fontana, Nicolo Michetti and G. Mattarnovi... All of them worked in Russia at the invitation of Peter I. Each of them brought the traditions of the architectural school he represented to the look of the buildings being constructed. The traditions of the European Baroque were also adopted by Russian architects, for example, Mikhail Zemtsov.
The Winter Palace is one of the most famous monuments of the Elizabethan Baroque
During the reign of Elizabeth Petrovna, a new Elizabethan baroque was developed. It is associated with the name of the outstanding architect Francesco Bartolomeo Rastrelli. But this style is more associated not with Peter's, but with the Moscow baroque. Rastrelli designed palace complexes in St. Petersburg and its environs: the Winter Palace, the Catherine Palace, Peterhof. His creations are characterized by a huge scale, splendor of decorative decoration, two-three-color facades with the use of gold. The festive nature of Rastrelli's architecture left an imprint on all Russian art of the mid-18th century.
In the Elizabethan Baroque, an important place belongs to the work of Moscow architects of the mid-18th century. headed by D. V. Ukhtomsky and I. F. Michurin.
In the 1760s, classicism gradually replaced the baroque in Russian architecture.
The flourishing of strict classicism is associated with creativity M.F. Kazakova (1738-1812). Almost all the monumental buildings of Moscow at the end of the 18th century. created by him: the Senate Palace in the Kremlin, the Petrovsky Travel Palace, the Great Tsaritsyn Palace, Butyrka, etc.
Old buildings of Moscow University on Mokhovaya Street. Architect M.F. Kazakov
In 1812, during a fire in Moscow, the building was almost completely burned down. All floors that were made of wood have been lost. The library, which contained many exclusive materials, has been destroyed. The collection of museums, archives have disappeared. Until 1819 Domenico Gilardi worked on the reconstruction of the old building.
Now it houses the Institute of Asian and African Countries at Moscow State University.
The masters of early classicism were A.F. Kokorinov (1726-1772) and French J. B. Valen Delamot (1729-1800). Kokorinov's works mark the transition from baroque to classicism. They are the authors of the project for the building of the Imperial Academy of Arts in St. Petersburg. And Valen-Delamot also owns the building of the Small Hermitage.
I.E. Starov (1745-1808) - the largest architect of the second half of the 18th century. Among his works is the Tauride Palace in St. Petersburg (1783-1789). This is a huge city estate of G.A. Potemkin, who bore the title of Prince of Tavrichesky.
In the 80s-90s, the championship passed to the architects Quarenghi and Cameron. D. Quarenghi (1744-1817), Italian by birth, mainly worked in St. Petersburg. A typical building for Quarenghi is a building of three parts: a central building and two wings connected to it by galleries. The center of the composition stood out with a portico. Quarenghi built the building of the Academy of Sciences, the building of the Assignation Bank. Then he creates the Hermitage Theater, the Alexander Palace in Tsarskoe Selo. The buildings of the Smolny Institute are also the work of Quarenghi.
Cameron - the author of the palace-estate in Pavlovsk.
Smolny Institute building. Architect D. Quarenghi
Sculpture
In the second half of the 18th century. the highest achievements in the field of sculpture are associated with creativity F.I. Shubina (1740-1805). Shubin is a master of Russian sculptural portrait. He had no predecessors in this genre in Russia. The gallery of sculptural portraits created by him (A.M. Golitsyn, P.A.Rumyantsev, M.V. Lomonosov, Paul I, etc.) is notable for its realism and expressiveness.
Monumental sculpture of the second half of the 18th century. represented by many works, the largest of which is "The Bronze Horseman" EM. Falcone - equestrian monument to Peter I.
A striking representative of classicism in sculpture was M.I. Kozlovsky... He embodied the image of a modern hero in the monument to A. Suvorov, although without a portrait resemblance. Rather, it is a generalized image of a hero-general. M.I. Kozlovsky is the author of the famous sculptural group "Samson Rending the Lion's Jaws" in Peterhof.
Monument to Suvorov in St. Petersburg (1801). The inscription under the monument: Prince of Italy, Count Suvorov of Rymnik
Plan:
1. Introduction
2.) The main part.
I.) Architecture of the first half of the 18th century: baroque
II.) Baroque architecture of the mid-18th century
III.) Prerequisites for the emergence and development of classicism
IV.) Early Classicism Architecture (1760-1780)
V.) The architecture of strict classicism (1780-1800)
3.) Conclusion
4.) List of used literature
1. Introduction.
For many centuries of Russian history, wood remained the main material in the construction of buildings and structures. It was in wooden architecture that many construction and compositional techniques were developed that meet the climatic conditions and artistic tastes of the people, which later influenced the formation of stone architecture.
Frequent fires have accelerated the replacement of wood with stone in critical urban structures like city walls, towers and temples. The wooden walls of the Novgorod brainchild with an earthen rampart and a ditch are mentioned around 1044, and the first information about the stone fence dates back to 1302. The first data on the stone fence in Kiev date back to 1037, Staraya Ladoga-1116, Moscow - 1367. Some architectural differences in certain parts of Russia, it had a number of common features, determined by the same conditions of development. This allows us to talk about Russian architecture in general and its artistic manifestation in different regions of the country throughout the history of the people.
Architecture is a phenomenon derived from a specific functional necessity, depending both on building and technical capabilities (building materials and structures), and on aesthetic ideas, determined by the artistic views and tastes of the people, their creative ideas.
When perceiving works of Russian architecture, regardless of the time of their construction and size, the proportionality of the relationship between man and building is clearly traced. A peasant hut, a city dwelling house, a church or other building - all of them are of a human scale, which gives Russian architecture a humanistic character.
2.) The main part.
I.) Architecture of the first half of the 18th century: baroque.
The seventeenth century ends the 700-year period of ancient Russian stone construction, which has written more than one remarkable page in the chronicle of world architecture. The sprouts of new monetary and trade relations and a rational worldview are making their way through the ossified forms of domestic life and scholastic * dogmas of theology. The sane views of the serving nobility and the economically prosperous merchants affect many aspects of social life and its material shell - architecture. Trade is expanding, especially at the end of the 17th century, with Germany, Flanders, and England. Cultural ties with Poland and Holland are becoming closer. The joint creative work of Russian, Ukrainian and Belarusian craftsmen contributed to the broadening of horizons and the penetration of elements of Western European artistic culture into art and architecture. The historical unity of the three fraternal peoples, largely based on common architectural trends, mutually enriched their skills. Life insistently demanded the construction of hospitality yards, administrative buildings, industrial enterprises, set new practical tasks, obliged architects to seek technical and artistic solutions. The centralization of state power was accompanied by regulation in the field of construction. The architectural and technical documentation is being normalized. Design and reporting materials are being improved, scale drawings are being mastered, architectural and construction details are unified.
The end of the 17th century is a connecting link between Old Russian architecture and architecture XVII century, a time that paved the way for a new artistic worldview, contributing to the creative perception of the order tectonic system and the formation of masters of architecture for the transition to regular civil construction.
At the beginning of the 17th century, St. Petersburg became the main construction center. In 1700, Russia launched the Northern War against Sweden in order to liberate Russian lands and return the Neva coast to Russia. On May 1, 1703, Russian troops entered the Nyenskans fortress (at the confluence of the Okhta and Neva rivers). The main task of the Northern War was solved by the capture of the fortress. Access to the Baltic Sea was opened for Russia. It was only necessary to secure and secure it. At the fork of the Neva into three branches, on a small Zayachy Island about 750 by 350 meters long and wide, on May 27, 1703, according to the drawing of Peter I and military engineers, a new bastion-type fortress was laid - the Peter and Paul Fortress. To cover the mouth of the Neva from the sea in 1703, the construction of the Kronshlot naval base (Kronstadt) began on Kotlin Island. On the southern bank of the Neva, almost opposite the Peter and Paul Fortress, in 1704, according to the drawing of Peter I, a shipyard-fortress was laid - the Admiralty. Under the protection of three interacting fortresses, the construction of St. Petersburg began, which in 1712 became the new capital of Russia, proclaimed an empire in 1721.
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* Scholasticism (from the Greek scholastikos - school, scientist), a type of religious philosophy characterized by the combination of theological and dogmatic premises with rationalistic methods and an interest in formal logical problems.
State and cultural and everyday transformations in the Petrine period gave rise to industrial and public buildings and structures - fortifications, shipyards, factories, industrial and hotel courtyards, colleges, hospitals, educational and museum premises, theaters and residential buildings. The development of St. Petersburg was carried out mainly along the banks of the Neva, its branches and canals, due to the strong swampiness of the soil and access to waterways.
The placement of city-forming structures was carried out according to the instructions of Peter I. Initially, the settlements were grouped according to tradition by the settlements. They were built in the form of peasant huts or urban choir with facades, sometimes
painted for brickwork. The only example of the early period is the later reconstructed log house of Peter I on the banks of the Neva on the Petrogradskaya side, painted "like a brick" on the outside.
From 1710 only brick houses were built. Despite the forced relocation to St. Petersburg, construction was proceeding slowly. The ideological and political importance of the rapid construction of the capital has put forward important tasks for architecture. The city had to be created on the basis of advanced urban planning principles that ensure its prestigious and representative character not only in the external architectural and artistic appearance, but also in the planning structure. There was a shortage of qualified architects. And in 1709 the Chancellery was established, in charge of all construction matters. Under her, a school was created for the initial study of architecture. It was calculated that the students of this school should have received deeper knowledge in architectural teams in the process of practical cooperation of experienced architects. However, the school and teams were unable to support the expanding capital construction. Peter I invites experienced architects from Western countries, which made it possible to involve them in the construction of the city almost immediately. They also select talented young people and send them to study engineering and architectural arts in Western European countries.
The following were invited to the new capital in 1710: Italians N. Miketti, G. Chiaveri, K.B. Rastrelli, Frenchman J. B. Leblond, Germans G. Matornovi, I. Schendel, A. Schlüter, Dutchman G. Van Boles. They had to not only build, but also prepare Russian architects from the students who worked with them. Italians arrived from Moscow - M. Fontana and the fortifier engineer and architect Domenico Trezzini. Gifted Russian architects I.P. Zarudny, D.V.Aksamitov, P.Potapov, M.I.Chochlakov, Ya.G. Bukhvostov, G. Ustinov and others worked successfully in Moscow. At the same time, the art of architecture was comprehended by those sent abroad who later became major architects: Ivan Korobov, Mordvinov and Ivan Michurin, Pyotr Eropkin, Timofey Usov and others. Thus, architects of different national schools worked in the new capital, but they worked differently than in their homeland, obeying the tastes and requirements of customers, as well as adapting to the specific conditions of the city under construction. As a result of their activities, the architecture of St. Petersburg at that time became a kind of fusion of primordially Russian artistic traditions and formal elements brought in from Western European countries.
Russian, Italian, Dutch, German and French architects erected mansions, palaces, temples and state buildings in the Russian capital, the architecture of which had common artistic features that define the architectural style, usually called the Russian baroque of the 18th century or the Peter's baroque.
The whole variety of individual creative views of various architects in practice was softened under the influence of two main factors: firstly, the influence of Russian centuries-old traditions, the carriers and guides of which were the executors of architectural ideas - numerous carpenters, masons, plasterers, molders and other construction masters. Secondly, the role of customers, and above all of Peter I himself, who extremely carefully and demandingly considered all the project proposals of the architects, rejecting those that did not correspond from his point of view to the appearance of the capital, or making significant and sometimes decisive changes. Often he himself indicated where, what and how to build, becoming an architect. On his initiative, master plans for St. Petersburg were developed. The artistic commonality of the Petersburg buildings of Peter the Great's time is also explained by the peculiarities of building materials. Houses in the capital were built of a hut-type and brick, plastered in two colors (the walls were red, light brown or green, and the blades, pilasters, platbands, rusty corners were white). To attract bricklayers to Petersburg, Peter I issued a decree in 1714 prohibiting construction of stone and brick throughout Russia, except for the capital. The peculiarities of the architectural style can be clearly traced when examining the surviving architectural works of that time, such as the Monplaisir and the Hermitage in Petehof, the buildings of the Kunstkamera and the Twelve Collegia in St. Petersburg, etc.
At the direction of Peter I, Domenico Trezzini (1670-1734), for the first time in Russian architecture, developed in 1714 exemplary projects of residential buildings intended for developers of different incomes: small one-story ones for the poorest population, more for the noble. French architect J.B. Leblond (1679-1719) developed a project for a two-storey house “for the famous.” The “exemplary project” resembles the well-preserved summer palace of Peter I, which was built by D. Trezzini in 1710-1714 in a summer garden.
For all the simplicity of the "exemplary" projects of residential buildings, they all differ in the nature of the facades with rhythmically placed openings, framed by platbands of restrained outlines and curly gates on the side. Unlike medieval buildings in Russian cities, where residential buildings stood behind fences in the depths of the plots, all houses in the capital had to face the red lines * of streets and embankments, forming the front of their building and thereby giving the city an organized look. This urban planning innovation is reflected in the development of Moscow. Along with residential buildings in St. Petersburg and its suburbs, palaces with representative facades and vast, richly decorated ceremonial rooms were built.
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* Conventional boundary in urban planning, separating the carriageway of the street from the building area
In combination with architecture, decorative sculptures began to be used, and in interiors - picturesque decoration. Country and suburban residences with gardens are being created. The largest public buildings that have survived to this day, created by D. Trezzini, are the Peter and Paul Cathedral and the building of the Twelve Collegia. The Peter and Paul Cathedral (1712-1733) clearly looms from under the vault of the Peter and Paul Gates. The dynamic silhouette of the cathedral bell tower, crowned with a high gilded spire and a weather vane in the shape of an angel, rises from behind the walls of the fortress by 122 meters, becoming one of the most expressive dominants in the panorama of the city on the Neva. The cathedral marked a complete departure from the compositional tradition of Russian temple building. The cathedral was an innovative phenomenon for Russia. In terms of its plan and appearance, it does not look like Orthodox, cross-domed five-domed or hipped-roof churches. The cathedral is a rectangular building elongated from west to east. The interior of the cathedral is divided by powerful pylons * into three almost equal and equal in height (16 meters) spans. This type is called a hall, in contrast to temples, which, with the same plan, have an average span higher and often wider than the lateral ones. The planned and silhouette composition of the cathedral proceeded from the structure of the Baltic Lutheran hall-type temples with a bell tower topped with a spire. It was he who was supposed to become a symbol of the establishment of Russia at the mouth of the Neva and a symbol of the creative power of the Russian people. The spire, the prominent completion of the church bell towers for Peter's Petersburg was a typical phenomenon that determined the silhouette character of the city's development in the first third of the 18th century. The interior decoration should also be noted - a wooden carved gilded iconostasis in the Baroque style. The iconostasis was made under the guidance of the architect and artist I.P. Zarudny (1722-1727) by an artel of Moscow masters.
The political center of the capital was formed on Vasilievsky Island, and the building of twelve collegia (10 collegiums - government bodies; senate and synod) is being erected according to the project of D. Trezzini. The three-storey building, 400 meters long, consists of twelve identical buildings with separate roofs and porticoes, connected by ends. All buildings are united by an open arcade ** with a long corridor on the second floor. According to the tradition of Peter the Great, the building was painted in two colors: brick red and white. The original decoration of the interiors in the form of stucco decoration was preserved only in the Petrovsky Hall. The architectural value of that time should be noted the palace of A.D. Menshikov (1710-1720). The three-tiered order system of the facade with rhythmic rows of pilasters was based on the artistic principles of the architecture of the Italian Renaissance. The most remarkable architectural heritage are the ceremonial rooms, lined with Dutch tiles and the grand staircase with columns and baroque pilasters.
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* Pylon (from the Greek pylon, literally-gate, entrance), massive pillars that serve as a support for floors or stand on the sides of entrances or entrances.
** Arcade (French arcade), a series of identical arches resting on columns or pillars.
The use of orders in the architecture of St. Petersburg was a continuation of the traditions embodied in many buildings of Moscow earlier. The original silhouette of the Kunstkamera building occupies a special place in the panorama of the banks of the Neva. The two wings of the three-storey building on the ground floor are united by a four-level tower. The corners of the risalits * and the fractures of the tower walls, in combination with the two-tone color of the facade, give the building an elegant look. The silhouette of the tower clearly shows the continuity of the traditional stepped multi-tiered buildings in Moscow at the beginning of the 18th century. After the fire, the facade was simplified during the restoration.
In 1710, Peter I issued a decree obliging the development of the southern coast of the Gulf of Finland. Palace and park ensembles are being built in Peterhof. By 1725, a two-story Upland Palace was erected. Later, the palace was rebuilt and expanded in the middle of the 18th century. Architect Rastrelli.
In the same period, a small palace was built near the bay itself, consisting of several rooms for Peter I and the ceremonial hall - the Monplaisir palace. The Hermitage seclusion pavilion and the small two-story Marly palace were built.
In addition to St. Petersburg, construction was carried out in Moscow and other cities of the Russian Empire. As a result of a fire in Moscow in 1699, it was forbidden to erect wooden buildings on fires.
At the same time, the formal artistic convergence of the architecture of stone buildings in Moscow with Western European architecture, which began at the end of the 17th century, became even more noticeable at the beginning of the 18th century. An example of this are: F.Ya. Lefort's palace on the Yauza (1697-1699); Old Mint (1697); the Church of the Assumption on Pokrovka (1695-1699); Church of the Sign in Dubrovitsy (1690-1704). This indicates that domestic architects knew the order tectonic system and could skillfully combine order and other elements with Russian traditional techniques. An example of such a combination is the Lefortovo Palace in the Nemetskaya Sloboda, built by one of the Moscow architects. The facades of the palaces are separated by the measured rhythm of the pilasters of the great Corinthian order. On the sides of the entrance arch, their rhythm changes and they form a pilaster portico with a pediment. The planning system at the same time is a composition of a closed square, adopted in Russia for trading and other courtyards.
In the 18th century, the order system became a common decorative technique for giving a variety of buildings an elegant look.
This is evidenced by the artistic solution of the main entrance to the courtyard.
Arsenal (1702-1736) in the Kremlin, which is a skillful transformation of orders combined with an abundance of decorative relief details. The Church of Archangel Gabriel (1701-1707), created by the architect I.P. Zarudny (1670-1727), is remarkable in terms of architecture and artistic significance in Moscow architecture. The architect has shown excellent skill in the use of order systems. The load-bearing part of the volume of the church is designed using a large order, which combines elegant compositions of porticoes at the entrance of two light columns
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* Risalit (from Italian risalita - protrusion), part of the building protruding from the main. facade line; usually arranged symmetrically in rel. to the central axis of the facade.
Corinthian order supporting a decoratively designed entablature with a balustrade. The warrant in the building expresses the tectonics of the exposition.
A new trend in church architecture in Moscow, clearly expressed in the architecture of the Church of the Archangel Gabriel (Menshikov Tower), which consists in a harmonious combination of traditional Russian volumetric-spatial composition with formal elements of a new style, left an interesting example in Moscow - the Church of John the Warrior (1709-1713) on Yakimanka.
Architects I.A. Mordvinov and I.F. Michurin (1700-1763) were sent from St. Petersburg to Moscow to draw up plans for the Kremlin, Kitai-Gorod and partly the White City in connection with the relocation of the royal court to Moscow and construction along the banks of the Yauza palaces of the court nobility. Michurin in 1734-1739 drew up a plan of Moscow, representing a significant urban planning document of Moscow in the 18th century. It captured the building of the city at that time. Other cities of Russia continued to develop. An interesting example of the longevity of national architectural traditions in the province is the Peter and Paul Cathedral in Kazan (1726).
II.) Baroque architecture of the mid-18th century.
During the described period, V.N. Tatishchev and M.V. Lomonosov laid the foundations of Russian historical science. Russian science and culture of a high level, not inferior to the European one. Thanks to this, in 1755, the first university was opened in Russia, and the Academy of Arts in St. Petersburg, which played an important role in the development of the art and architecture of classicism.
Russia in the middle of the 18th century became one of the most developed European countries. All this led to the solemn and decorative appearance of palaces and temples, the main types of monumental buildings in Russia during this period. Among the most prominent architects of that time are the pupils of I.K.Korobov-S.I. Chevakinsky and D.V. Ukhtomsky. The largest architect of the middle of the 18th century is F.B. Passtrelli. At the same time, many obscure serf architects, painters, molders, carvers and other masters of applied art worked.
In the middle of the 18th century, the Baroque style in Russia had pronounced distinctive features due to the continuity of decorative compositional techniques of Russian architecture of the early 18th century. It is impossible not to emphasize the specific national feature of Baroque architecture in the middle of the 18th century - the polychromy of the facades, the walls of which are painted in blue, red, yellow and green colors. This is complemented by beams of columns, pilasters, framed windows. A characteristic feature of architectural works is that groups of buildings or buildings often form a closed architectural ensemble that opens only upon penetration into it. In the palace and church premises, along with the stucco picturesque decoration of the walls and ceilings, multicolored patterned floors of various types of wood were made. Plafond painting creates the illusion of the infinity of the hall rising upward, which is emphasized by the figures of different proportions floating in the sky, clearly separating them from the viewer. The walls of the ceremonial rooms were framed with complex profiled gilded rods. The techniques for planning the halls are interesting. In palaces, they are located according to the principle that the doors of the passage halls are on a common axis, and their width increases illusoryly.
The imperial and manor palaces were created in unity with gardens and parks, which are characterized by a regular planning system with rectilinear avenues, trimmed tree vegetation and ornamental flower beds. In this section, it should be especially noted about the creations of the chief architect Rastrelli Francesco Bartolomeo (1700-1771), whose work reached its zenith in 1740-1750. The main works include: the ensemble of the Smolny Monastery in St. Petersburg; palaces in Courland (Latvia), in Rundava and Mitava (Jelgava); the palaces of the Elizabethan nobles M.I. Vorontsov and S.G. Stroganov in St. Petersburg; imperial palaces - the Winter Palace in the capital, the Bolshoi (Catherine) Palace in Tsarskoe Selo (Pushkin), the Grand Palace in Peterhof, the St. Andrew's Church and the Mariinsky Palace in Kiev. All of them characterize the Baroque style of the middle of the 18th century in Russia. Simultaneously with F.B. Rastrelli, the architect S.I. Chevakinsky worked. (1713-1770). The most remarkable creation of S.I. preserved to this day, was the design and construction of a huge two-story St. Nicholas Naval Cathedral (1753-1762) in St. Petersburg. The future architect V.I.Bazhenov was a student of Chevakinsky.
The largest representative of the Moscow Baroque of the mid-18th century was the architect D.V. Ukhtomsky. (1719-1774). His work developed under the influence of the artistic views and works of F.B. Rastrelli, in particular in Moscow and the Moscow region: palaces in the Kremlin, Annogofe and Perov. Only one work of Ukhtomsky has survived to this day - a five-tiered bell tower in the Trinity-Sergius Lavra in Zagorsk.
III.) Prerequisites for the emergence and development of classicism.
In the 1760s, a change in the architectural and artistic style took place in Russia. The decorative baroque, which reached its apogee in the work of the greatest representative of this trend - the architect F.B. Rastrelli, gave way to classicism, which quickly established itself in St. Petersburg and Moscow, and then spread throughout the country. Classicism (from Latin - exemplary) is an artistic style that develops through the creative borrowing of forms, compositions and samples of art from the ancient world and the era of the Italian Renaissance.
The architecture of classicism is characterized by geometrically correct plans, consistency and balance of symmetrical compositions, strict harmony of proportions and widespread use of the order tectonic system. The decorative style of the Baroque ceased to correspond to the economic possibilities of the circle of customers, which was constantly expanding due to the small landed nobility and merchants. He also ceased to respond to the changed aesthetic views.
The development of architecture is driven by economic and social factors. The country's economy led to the formation of an extensive internal market and the intensification of foreign trade, which contributed to the productivity of landlords, handicraft and industrial production. As a result, it became necessary to erect state and private structures, often of national importance. These included commercial buildings: sitting yards, markets, fairgrounds, contract houses, shops, and various storage facilities. As well as unique public buildings - stock exchanges and banks.
Many state administrative buildings began to be built in the cities: governor's houses, hospitals, prison castles, barracks for military garrisons. Culture and education developed intensively, which necessitated the construction of many buildings, educational institutions, various academies, institutes - boarding houses for noble and philistine children, theaters and libraries. Cities grew rapidly, primarily due to manor-type residential buildings. In the conditions of huge construction, unfolding in cities and landowners' estates, increased building needs, architectural techniques and busy baroque forms, exquisitely complex and magnificent, turned out to be unacceptable, since the decorativeness of this style required significant material costs and a large number of qualified craftsmen of various specialties. Based on the foregoing, there was an urgent need to revise the foundations of architecture. Thus, deep domestic preconditions of a material and ideological nature led to the crisis of the Baroque style, its withering away, and led to the search for economic and realistic architecture in Russia. Therefore, it was the classical architecture of antiquity, purposeful, simple and clear and at the same time expressive, which served as a standard of beauty, became a kind of ideal, the basis of classicism that was developing in Russia.
IV.) The architecture of early classicism (1760-1780).
To guide the widespread urban planning activities in December 1762, a commission was established on the stone structure of St. Petersburg and Moscow. Created to regulate the development of both capitals, she soon began to manage all urban planning in the country. The commission functioned until 1796. During this period, it was consistently led by prominent architects: A.V. Kvasov (1763-1772); I.E. Starov (1772-1774); I. Lem (1775-1796). In addition to regulating the planning of St. Petersburg and Moscow, the commission for 34 years has created master plans for 24 cities (Arkhangelsk, Astrakhan, Tver, Nizhny Novgorod, Kazan, Novgorod, Yaroslavl, Kostroma, Tomsk, Pskov, Voronezh, Vitebsk and others). The main city-forming factors were considered to be water and land highways, established administrative and commercial areas, clear boundaries of cities. Streamlining urban planning based on a geometrically correct rectangular system. The building of streets and squares of cities was regulated by height. The main streets and squares were to be built up with model houses, placed close to each other. This contributed to the unity of the organization of the streets. The architectural appearance of the houses was determined by several approved model facade designs. They were distinguished by the simplicity of architectural solutions, their planes were enlivened only by the figured repeating frames of the window openings.
In the cities of Russia, residential buildings usually had one or two floors, only in St. Petersburg the number of floors rose to three or four. During this period, A.V. Kvasov developed a project for the improvement of the embankment of the Fontanka River. The formation of through-pass embankments and bridgehead squares turned the Fontanka into an important arcing highway. For Moscow in 1775 a new general plan was drawn up, which retained the radial-ring structure and outlined the system of squares in a half-ring that covered the Kremlin and Kitai-Gorod. For consideration and approval of projects of private development in 1775-1778. a special Stone Order functioned. In the 1760s, features of classicism began to appear more and more in Russian architecture. The earliest manifestation of classicism was the project of the "Pleasure House" in Oranienbaum (now it does not exist). Designed by the architect A.F. Kokorin and the so-called Botny House of A.F. Vista (1761-1762) in the Peter and Paul Fortress.
During this period, famous architects worked in Russia: Yu.M., Felten and K.M. Blank, the Italian A. Rinaldi, the Frenchman T.B. Wallen-Delamont. Considering this period in the chronological sequence of the construction of buildings, it should be noted that classical forms and clear compositional techniques increasingly displaced excessive decorativeness. Here it is necessary to consider the main creations of architects that have survived to this day. Antonio Rinaldi (1710-1794) - Chinese Palace (1762-1768) in Oranienbaum. The interior of the palace testifies to the high artistic skill of the architect. The whimsical outline of the palace was in harmony with the surrounding park composition, with an artificial reservoir and beautifully decorated vegetation. The environment of the ceremonial premises of the one-story palace is especially distinguished by its stately beauty - the Great Hall, the Oval Hall, the Hall of the Muses. Chinese cabinet with elements of decoration, Glass bead cabinet. Roller Coaster Pavilion (1762-1774) is a well-preserved three-storey pavilion with colonnades of bypass galleries on the second and third floors. The pavilion in Lomonosov is the only surviving reminder of folk entertainment. The Marble Palace (1768-1785) belongs to the unique phenomena of St. Petersburg and Russia, thanks to the multi-colored facing of the facades. The three-story building is located between the Neva and the Champ de Mars and has a U-shaped composition with wings forming a rather deep front yard. The palace in Gatchina (1766-1781) is a three-storey palace with a walk-through galleries, at the bottom the main building is supplemented by pentahedral six-tiered view towers and arched two-storey wings covering the front yard. After the palace was handed over to Tsarevich Pavel (1783), it was rebuilt inside and supplemented with closed squares at the ends of the original composition by V.F.Brenn.
The restrained plastic of the facades is combined with the nobility of the local stone - light gray Pudost limestone. The ceremonial interiors are located on the second floor, the most significant of which are the White Hall, the Entrance Hall, the marble dining room and others. The palace was destroyed during the Nazi occupation. It has now been restored. In addition to the above, A. Rinaldi built several Orthodox churches, the peculiarity of which is the combination in one composition of the five-domed five-domed re-established in the Baroque period and a high multi-tiered bell tower. The artificial use of classical orders, their tiered arrangement on the bell towers and the delicate layout of the facades testifies to the stylistic reality of artistic images, which corresponds to early classicism. In addition to the monumental buildings, A. Rinaldi created a number of memorial structures. These include the Oryol Gate (1777-1782); Chesme column (171-1778) in Pushkin; Chesme obelisk in Gatchina (1755-1778). The establishment of the Academy of Arts in 1757 brought about new architects, both Russian and foreign. These include A.F.Kokorinov who came from Moscow (1726-1772) and J.I. Shuvalov invited from France Zh.B. Vallen-Delamont (1729-1800). The palace of G.A. Demidov should be referred to the creations of these architects. The peculiarity of the Demidov's palace is the cast-iron outer terrace and cast-iron stairs with arcuate diverging marches connecting the palace with the garden. The building of the Academy of Arts (1764-1788) on the University Embankment of Vasilievsky Island. The buildings show the distinctness of the early classicism style. This should include the main building of the Herzen Pedagogical Institute. North facade of the Small Hermitage; Construction of a large Gostiny Dvor built on the foundations laid along the contour of an entire block. A.F. Kokorinov and J.B. Vallen-Delamont created palace ensembles in Russia that reflected the architecture of Parisian mansions and hotels with a closed ceremonial courtyard. An example of this could be the palace of I.G. Chernyshev, which has not survived to this day. In the middle of the 19th century, the Mariinsky Palace was erected in its place near the Blue Bridge by the architect A.I.Shtakenshneider. In the same period, the architect Felton Yu.M. His work was formed under the influence of F.B. Rastrelli, and then he began to create within the framework of early classicism. The most significant creations of Felten are: the building of the Great Hermitage, the Alexander Institute, located next to the ensemble of the Smolny monastery. The building of the institute with three courtyards has well preserved its original appearance, corresponding to the early classicism. The most perfect work of YM Felten is the fence of the Summer Garden from the side of the Neva embankment (1770-1784). It was created with the creative participation of P.E. Egorov (1731-1789); iron links were forged by Tula blacksmiths, and granite pillars with figured vases and a granite base were made by the Putilov masons. The fence is distinguished by simplicity, amazing proportionality and harmony of parts and the whole. The turn of Russian architecture towards classicism in Moscow was most clearly manifested in the huge ensemble of the Orphanage, erected in (1764-1770), not far from the Kremlin on the banks of the Moskva River, according to the design of the architect K.I. Blank (1728-1793). In the Kuskovo estate near Moscow, KI Blank erected an imposing Hermitage pavilion in 1860. In accordance with the emergence and development of classicism, the regular French system of gardening art is replaced by the landscape (English system), which spread to Western Europe and above all in England.
V.) The architecture of strict classicism (1780-1800)
The last quarter of the eighteenth century was marked by major socio-historical events (Crimea and the northern coast of the Black Sea are assigned to Russia). The economy of the state developed rapidly. An all-Russian market, fairs and shopping centers were formed. The metallurgical industry developed significantly. Trade with Central Asia and China expanded. The intensification of economic life contributed to the quantitative and qualitative growth of cities and manor estates. All these phenomena are reflected in urban planning and architecture. The architecture of the Russian province was characterized by two features: most of the cities received new master plans. The architecture of cities, especially urban centers, was formed on the basis of the techniques of strict classicism. Along with the types of buildings previously known, new structures began to be built in cities. In the cities that still retained traces of defensive structures, as a result of the implementation of new plans, they disappeared more and more, and these cities acquired town planning features characteristic of most Russian cities. Estate construction expanded, especially in southern Russia and the Volga region. At the same time, a system was developed for the placement of various economic buildings, depending on natural conditions. In the provincial estates of noble owners, manor houses were stone structures of the palace type. The ceremonial architecture of classicism with porticoes became the personification of social and economic prestige. During the period under review, the outstanding architects of Russia created architectural creations that are the property of not only Russia, but the whole world. Some of them, namely: Bazhenov Vasily Ivanovich (1737-1799) - the construction of the Grand Kremlin Palace and the building of colleges on the territory of the Moscow Kremlin. Despite the fact that the outstanding plan was realized, its significance for the fate of Russian architecture was not great, first of all, for the final approval of classicism as the main stylistic direction in the development of Russian architecture. Creation of a suburban royal palace and park residence in the village of Tsaritsyno near Moscow. All buildings of the ensemble are located on rough terrain, parts of which are connected by two figured bridges, due to which a single, unusually beautiful panorama has been formed, which has no analogues in the history of architecture. Pashkov's house (1784-1786), now the old building of the Lenin Library. Consisting of three different parts, the silhouette composition of a house crowning a green hillock is still one of the most perfect works of all Russian classicism of the late 18th century. The completion of Bazhenov's work was the project of the Mikhailovsky Castle in St. Petersburg (1797-1800). The castle was built without the participation of the architect, the building manager was V.F.Brenna, who made significant changes in the interpretation of the main facade. Kazakov M.F .: Petrovsky Palace - he gave the palace a pronounced national character, the ensemble of the Petrovsky Palace is an outstanding example of a harmonious architectural synthesis of classical principles and Russian national painting. The Senate building in the Moscow Kremlin - the Senate rotunda is recognized in the architecture of Russian classicism as the best ceremonial round hall and is the first example of a composition of this type in Russia. This hall is an important link in the development of Russian classicism. Church of Philip Metropolitan (1777-1788). A classic Russian composition was used in relation to an Orthodox church. In the second half of the 18th century, the rotunda began to be embodied in the architecture of Russian classicism when creating religious buildings, it was also used in the construction of the Baryshnikov mausoleum near Smolensk (1784-1802). Golitsyn hospital (now the first city hospital of Pirogov). University building (1786-1793). The building of the University was damaged in 1812 and was rebuilt with changes in 1817-1819.
The approval of a new master plan for Moscow in 1775 stimulated private residential development, which expanded widely in 1780-1800. By this time, two space-planning types of urban estates were finally developed - the first main residential building and outbuildings located along the red line of the street, forming a system of three parts, which forms the building front; the second is a residential estate with an open front yard, covered with wings and wings. Since the 1770s, the development of classicism on the basis of the ancient Roman principles of the Renaissance has been clearly traced in Petersburg construction. Some of them, namely: the architect I.E. (1745-1808) builds the Tauride Palace (1883-1789) as a landscape garden; Trinity Cathedral (1778-1790) in the Alexander Nevsky Lavra. The construction of the cathedral was of great ideological and patriotic significance, since under the arches of the temple is the tomb of Alexander Nevsky. In addition to the above-mentioned greatest buildings, Starov was engaged in designing for the southern provinces, developed plans for new cities in Nikolaev and Yekaterinoslavl; in the latter, the architect built the palace of the governor of the region - G.A. Potemkin.
Architect Volkov F.I. (1755-1803). By 1790 he had developed exemplary designs of barracks buildings, subordinating their appearance to the principles of classicism. The largest works are the building of the Naval Cadet Corps (1796-1798) on the embankment of the Neva. Ensemble of the Main Post Office (1782-1789).
Architect Quarenghi and Giacomo (1744-1817). The features of strict classicism are clearly embodied in Quarenghi's creations. Some of them: A.A. Bezborodko's dacha (1783-1788). The building of the Academy of Sciences (1783-1789), the Hermitage Theater (1783-1787), the building of the Assignation Bank (1783-1790), the Alexander Palace (1792-1796) in Tsarskoye Selo, the Triumphal Arch in 1814 - Narva Gate.
Important landscaping work continued in St. Petersburg. Granite embankments of the Neva, small rivers and canals were created. Wonderful architectural monuments were erected, which became important city-forming elements. On the banks of the Neva, before the unfinished construction of St. Isaac's Cathedral in 1782, one of the best equestrian elements in Europe was unveiled - a monument to Peter I (sculptor E.M. Falcone and M.A. Collo; the snake was made by sculptor F.G. Gordeev). Wonderful bronze hollow sculptural composition on natural granite rock. The size of the rock (10.1 meters high, 14.5 meters long, 5.5 meters wide) corresponded to a spacious coastal area. Another monument to Peter I was erected in the ensemble of the Mikhailovsky Castle (1800). A bronze equestrian statue was used (sculptor K.B. Rastreli - father, architect F.I. Volkov, bas-reliefs - sculptors V.I.Demunt-Malinovsky, I.I.Terebinov, I.Moiseev under the leadership of M.I. Kozlovsky) ... In 1799, on Tsaritsyno Meadow (Field of Mars), a 14-meter obelisk "Rumyantsev" (architect VF Brenna) was erected in 1818, it was moved to Vasilievsky Island to the First Cadet Corps, where the outstanding military leader PA Rumyantsev studied. In 1801, on Tsaritsyno Meadow there was
a monument to the great Russian commander A.V. Suvorov was opened (sculptor M.I. Kozlovsky, moved closer to the bank of the Neva.
3.)
Conclusion.
The most important progressive traditions of Russian architecture, which are of great importance for the practice of late architecture, are ensemble and town planning art. If the desire to form architectural ensembles was initially intuitive, later on it became conscious.
Architecture was transformed in time, but nevertheless, some of the features of Russian architecture existed and developed over the centuries, maintaining their traditional stability until the 20th century, when the cosmopolitan essence of imperialism did not gradually wear them out.
4.) List of used literature .
Arkin D.E. Russian architectural codex of the 18th century. Position of an architectural expedition. - In the book: Architectural archive. M., 1946.
Belekhov N.N., Petrov A.N. Ivan Starov. M., 1950.
Pilyavsky V.I. History of Russian architecture. L., 1984.
EARLY (PETROVKOE) BAROQUEstrict geometry and "regularity" of plans, modest decor and decoration, combination of individual order elements with baroque details.
Domenico Trezzini. OK. 1670 - 1734. Civil engineer and architect.
Domenico was an Italian, originally from Switzerland.
From 1699 he worked in Denmark, from where in 1703 the Russian ambassador A.P. Izmailov invited him to the Russian service as a fortifier. This determined the fate of the architect: until the end of his days he will live and work in St. Petersburg.
Being the closest aide of Peter I, Trezzini actually headed all construction in St. Petersburg. According to his projects, Kronstadt and the Alexander Nevsky Lavra were laid; in 1706, the reconstruction of the Peter and Paul Fortress in stone began.
Peter and Paul Fortress in St. Petersburg. 1703-1740 Peter and Paul Fortress - the oldest of the architectural monuments of St. Petersburg. The date of the foundation stone of the fortress on Hare Island - May 16 (27), 1703 - is considered the date of the foundation of the city.
The fortress of "bastion outline" has 6 bastions, the flanks of which are connected by curtains (fortress fences).
Since 1706, the construction of new fortifications in brick and stone began. On May 3, 1706, Peter I personally laid the Menshikov bastion. Work continued until 1734, when the Tsar's Bastion was completed.
Domenico Andrea Trezzini
Peter and Paul Fortress
On June 29, 1703, a wooden cathedral in the name of Saints Peter and Paul was solemnly laid in the fortress in the presence of Peter I. In 1712-1733, the stone Peter and Paul Cathedral was built. It became the Imperial Tomb - Emperor Peter I was the first to be buried in the still unfinished building.
The silhouette of the Peter and Paul Fortress plays a key role in the architectural image of the Neva water area. The bastions and curtain walls of the fortress, towering over the narrow coastal strip, form the panorama of the city center. Their geometrically correct outlines are dominated by horizontal articulations, over which the Peter and Paul Cathedral rises.
In 1716, Peter I decided to turn Vasilievsky Island into the central district of the capital and concentrate the main state institutions on it. The island's planning project, made by Leblond, did not receive approval, and the layout of the residential quarters was carried out by the architect D. Trezzini according to his own design.
Trezzini completed part of the regular planning of Vasilievsky Island, built the Summer Palace of Peter I in the Summer Garden.
Building of the Twelve Colleges. Arch. D.A. Trezzini. 1722-1742. General form
Another monument of the Petrovsky Baroque is the building of the Twelve Collegia. The architect Trezzini originally solved the task set by Peter "on the equality of all colleges." The building represents twelve identical buildings, placed close to each other in one line, stretching for 383 meters, united by their common through corridor.
Twelve Collegiums building in St. Petersburg. Arch. YES. Trezzini. 1722-1742. General form
The collegiums are located with their end facing the embankment of the Neva, but this is not a design mistake or an accident: the building was located along the red line of one of the canals, now filled up, but in Peter's time cut through the entire island. Thus, the eastern façade, now facing the park, faced the main square of Vasilievsky Island, which was supposed to be turned into the central part of the city.
The collegiums set the urban scale and determine the pinnacle of the successive "descent" of Trezzinian types of buildings in the new regular capital: from the exemplary building of the highest bodies of the empire to blocks of typical "houses for the famous", "houses for the well-off" and, finally, "houses for the mean". But all of them will be placed along the red line - no matter which one: a canal, a river embankment or a street.
The first ceremonial palace of St. Petersburg is also located on Vasilievsky Island - the residence of the Governor-General. Menshikov's apartments, where receptions and assemblies were held, are a typical example of a rich St. Petersburg palace with its main facade facing the embankment. On the side of the Neva, a small harbor was built, to which boats with guests moored. Behind the main house was a vast garden and endless rows of outbuildings - a typical Russian estate with subsistence farming.
The zeal with which Tsar Peter replenished his collection of all sorts of rarities and "freaks" led to the need to erect a special building. The design of the future Kunstkamera was entrusted to the German architect Mattarnovi, according to whose project an original compositional solution was built on the embankment of Vasilievsky Island. A characteristic silhouette of two symmetrical buildings with a tower in the middle, in which the observatory was located, was crowned with a globe. Badly damaged by a fire and restored only in 1948, the Kunstkamera tower is still one of the main components of the Neva landscape.
Painting of the first 18th century
Nikitin, Ivan Nikitich (about 1680 - not earlier than 1742) - painter, portraitist. He is rightly called the founder of Russian portrait painting of the 18th century. Peter I, who was proud of his talent and success in portrait painting, took part in the fate of the artist. One of the first Russian artists, Nikitin was sent to study in Italy. Nikitin's work is an example of the evolution of pictorial thinking at the beginning of the 18th century: from the medieval artistic tradition to the development of the European pictorial language.Nothing is known about the artist's early years of study. He received his initial artistic skills, probably under the guidance of the Dutchman A. Shkhonebek in the engraving workshop at the Moscow Armory. In 1711, together with the engraving workshop, Nikitin was transferred to St. Petersburg. Apparently, he learned to paint portraits on his own, studying and copying the works of foreign masters available in Russia. Thanks to relatives who served in the court churches, Nikitin quickly took a strong position in the circle of Peter I. He painted portraits of rulers.
In the early portraits, there is a clear connection with the Parsuns of the late 17th century. They are distinguished by hard writing, dull dark backgrounds, flatness of the image, lack of deep space and conventionality of cut-off modeling.
A trip to Italy changed little in Nikitin's creative principles. It has retained its main features: general realism painting and the directness of pictorial characteristics.
One of the artist's best works, not without reason, is considered "Portrait of the Floor Hetman".
The psychological brightness of the appearance, the expressiveness of facial features are impressive in him. All the components that shape the perception of the viewer play their role: contrasts of light and shade, warm, somewhat gloomy coloring, combining brown, gold and pink, plastic molding of the head, details and folds of clothing, and finally, the general character of the portrait, devoid of any signs of splendor and representativeness.
The features of intimacy give the image a special psychological convincingness, and this, above all, is the innovation of Nikitin, who anticipated the path of further development of the Russian portrait genre.
1720s. Timing
The image of Peter I on his deathbed is full of personal grief and a sense of the solemnity of the moment. The artist grieves over the loss and is full of deep respect for the deceased. Under the master's brush, a piece of painting sounds like a requiem.
Nikitin's portrait was created as if in one session, like an etude, almost a la prima. It gives a visual idea of \u200b\u200bthe painting style of the painter, who worked with light liquid strokes, through which the red-brown soil shines through. It was this kind of soil that Nikitin almost always used.
Matveev, Andrey(between 1701 and 1704 - 1739) - painter, portraitist, icon painter, author of allegorical, decorative and monumental compositions. The first Russian artist to receive a Western European art education.
In 1716, by order of Peter I, a talented boy of non-nobility origin was sent to study painting in Holland. From September 1717 to September 1723 he studied in Amsterdam under A. Boonen. The aspiring painter spent eleven years in Holland and Flanders.
The most interesting of the remaining legacy of Andrei Matveev is his portraits. Very few of them have survived to our times, among them: "Allegory of Painting" (1725)
Self-portrait with his wife. 1729 (?) This is the only family portrait in Russian painting of the first half of the 18th century.
Portrait of A.P. Golitsyna. 1728
Sculpture
Rastrelli, Bartolomeo Carlo (1675-1744) - Italian sculptor and architect. He worked in 1715-1744 in Russia, in St. Petersburg. Developed the type of ceremonial baroque portrait. The founder of the Baroque style in Russian sculpture.Rastrelli actually concentrated his work in the field of portrait sculpture. Baroque splendor and the desire to convey the texture of the material are combined in Rastrell's works with the credible convincing characterization of the model.
The sculptor worked a lot and fruitfully on the image of Peter I. Back in 1719 he made a mask of Peter I (GE), which served as the prototype for the famous bronze sculpture of Peter I (1723-1729. RM, GE).
One of the best works of B.K. Rastrelli. In the guise of the king, mind, will and energy are visibly demonstrated. Before the viewer appears not just a significant person, but a statesman of exceptional scale.
The vitality in the transmission of details in a baroque manner is combined in the work with lush decorativeness, with sophisticated skill in conveying the texture and details of clothing, as well as images on the carapace shields, which depict episodes of the Battle of Poltava and an allegorical composition representing the king himself, "with a hammer and a chisel" carving from a stone block the figure of a new Russia.
For many years the maestro worked on the equestrian monument to Peter I, cast after the death of the master in 1747 under the direction of FB Rastrelli, the son of the sculptor and later a renowned architect. The monument was erected only in 1800 in front of the Mikhailovsky Castle.
K.B. Rastrelli presented Peter as observing the new capital, his favorite brainchild. Eyes under large arches of eyebrows penetrate the city with "all-seeing" gaze. The figure of the emperor is striking with hypertrophied forms - powerful shoulders, wide chest, overly large palms. Peter wears a heavy forged shell of knightly times, on his head a magnificent laurel wreath. With his left hand he holds the horse's reins, and with his right he grasps the commander's rod.
B.K. Rastrelli created a number of portrait busts, which by no means all have survived to our time. Of particular note is the bust of A.D. Menshikov (State Russian Museum), made in marble by I.P. Vitali in 1849 from an undone wax original. The ceremonial sculpture historically accurately conveys the individual features of the faithful companion of Peter I.
Architecture
Peterhof. Arch. F.B. Rastrelli. 1747-1755. The Grand Palace and the Grand Cascade. Engraving by C. Nike after a drawing by C. de Lespinas. II half of the 18th century GNIMA
One of the best works by Francesco Bartolomeo Rastrelli is the Smolny Monastery - a wonderful example of Russian baroque of the 18th century. The capital's monastery ensemble was designed by the architect with exceptional splendor and scope.
Smolny Convent Cathedral in St. Petersburg. Arch. F.B. Rastrelli. 1748-1764. Design model of the Smolny Monastery. 1750-1756
The design model of the Smolny Monastery was made according to the drawings of F.B. Rastrelli in 1:62 scale by a group of craftsmen led by Jacob Lorenz. The model represents the design of the great baroque master in all its perfection. However, in practice, the project was not fully implemented, moreover, a number of changes were made during construction. The culmination point of the entire ensemble was supposed to be the bell tower above the entrance gate from the city side. Its design height was 140 meters, which is 18 meters higher than the spire of the Peter and Paul Fortress. Due to the high cost and technical difficulties, the construction of the bell tower was eventually abandoned, although it was laid in 1761.
From 1752 to 1756 during the reign of Empress Elizabeth Petrovna FB Rastrelli headed the construction of the country residence of the Russian tsars in Tsarskoe Selo. During this period, he rebuilt the entire Grand (Catherine) Palace.
The Winter Palace is one of the most famous Baroque monuments in Russia, built by Francesco Bartolomeo Rastrelli during the reign of Elizabeth Petrovna.
It belongs to the highest achievements of Russian architecture of the 18th century. The palace was conceived and implemented in the form of a closed quadrangle with an extensive courtyard. Its facades face the Neva, the Admiralty and the square, in the center of which F.B. Rastrelli planned to erect an equestrian statue of Peter I. The complex rhythm of the columns, the richness and variety of forms of platbands, an abundance of stucco details, many decorative vases and statues located over the parapet and over numerous pediments, create a decorative decoration of the building that is exceptional in its splendor and splendor. The southern facade is cut through by three entrance arches that lead to the front yard, where in the center of the northern building was the central entrance to the palace.
The front Jordan Staircase is located in the northeast corner of the building.
The main building of the Mariinsky Theater (Teatralnaya Square, house No. 1) was built by the architect A. K. Kavos in 1847-1848 and then restored after a fire in 1860.
The Mariinsky Theater itself, named after the wife of Alexander II, Empress Maria Alexandrovna, opened on 2 October 1860 with Mikhail Glinka's opera Life for the Tsar.
Painting of the second half of the 18th century
The development of art in Europe prompted Count II Shuvalov to present to Empress Elizaveta Petrovna a proposal on the need to establish "a special three noble arts academy". Ivan Ivanovich intended to open it in Moscow, at the university he had conceived, but as a result the Academy of Arts was established in 1757 in St. Petersburg, although for the first 6 years it was listed at Moscow University.In St. Petersburg, the Academy was originally housed in Shuvalov's mansion on Sadovaya. In 1758, studies began here. The training course lasted 9 years and included the study of the art of engraving, portrait, sculpture, architecture, etc. Since 1760, the best graduates were sent for internships abroad at the expense of the Academy. In 1764 - 1788 a special building was built for the Academy (17 Universitetskaya Embankment; architects A. F. Kokorinov and J. B. Wallen-Delamot). Now this building houses the St. Petersburg State Institute of Painting, Sculpture and Architecture named after I.E.Repin, as well as the Research Museum of the Russian Academy of Arts, an archive, library, laboratories and workshops.
Anton Pavlovich Losenko (1737-1773) - Russian artist, representative of classicist art, founder of the historical genre in Russian painting.
I.I.Shuvalov, president of the newly opened Academy of the three most notable arts, drew attention to the talent of the young artist, and in 1758 Losenko was credited as her pupil.
Sacrifice of Abraham (Abraham sacrifices his son Isaac). 1765. RM
It was the result of studying in Paris.
The plot is borrowed from the Old Testament (Gen. 22: 2-12).
The painting received the first gold medal of the Paris Academy of Arts. In it, Losenko strove to avoid unnecessary decorativeness and demonstrated the basic principles of his painting credo: the transfer of the "beauty of nature" and the construction of an emotionally rich composition.
The painting became the first canvas in the history of Russian art dedicated to ancient Russian history.
For the work on a plot from the ancient Russian history "Vladimir and Rogneda" A.P. Losenko received the title of academician in 1770 and was appointed professor of painting.
The heyday of the portrait genre in the second half of the 18th century. Interest in the intimate world of man.
Rokotov, Fedor Stepanovich (1735 [?] - 1808) - the largest Russian portrait painter. His works are among the best achievements of Russian portrait painting of the 18th century. The artist's career was long: when he first took a brush in his hands, I.Ya. Vishnyakov, in last years Rokotov's life, his first works were already created by O.A. Kiprensky.
was completely forgotten by descendants. His memory barely flickered in the 19th century. His works had to be rediscovered by the artists of the World of Art at their famous exhibitions: 1902 and Tavricheskaya in 1905.
Portrait of Grand Duke Pavel Petrovich as a Child. 1761. GRM What a glorious boy's face! What an open and kind man - and F.S. Rokotov managed to convey this. But what does the Russian environment do to a person, not necessarily even the imperial court ... What kind of neurasthenic with painful pride Pavel Petrovich, at forty-two years old, will ascend to the royal throne - embittered and intolerant of people, his environment, those who in a few years will kill him.
F.S. Rokotov used the profile construction of the portrait to emphasize the ritual significance of the image. Profile portraits are rare in Russian art XVIII centuries. A certain idealization of the model was introduced into them; they evoked associations among contemporaries with antique cameos, Roman medals and coins on which the profiles of emperors' faces were minted.
The portrait gave rise to numerous copies in engraving and miniature, and also served as an occasion for the creation of poetic descriptions-ekphrases.
Portrait of Princess E.B. Yusupova. Late 1750s - early 1760s State Russian Museum By the mid-1760s, Rokotov became, as G. Reimers writes, a highly valued portrait painter. He creates a portrait gallery of representatives of the most noble families
In the portrait she is depicted very young, still almost a girl. In this early Rokotov work, one can feel the influence of L. Toque, one of the artist's teachers. Bluish cold tones prevail, as in pastel painting, which is characteristic of Toque and the Rococo style. The type of face is also characteristic of the creative manner of the French portrait painter. But the eyes are painted in a different way: with light shadows and glazes, which preceded the Rokotov letter of the 1770s - 1780s.
Portrait of Princess A.A. Kurakina. Con. 1760s - early. 1770s Tver Picture Gallery.
Princess Agrafena (Agrippina?) Alexandrovna Kurakina (1734-1791) is depicted in all the splendor of her precious jewelry. On her neck there is a long black velvet cloth with a diamond cross, fastened with a large diamond. Round diamond earrings in the ears.
Despite the fact that the duplicated canvas is not signed, the composition, color, strokes and elaboration of the entire portrait testify to the authorship of F.S. Rokotov.
Moving to Moscow ends the early period of Fyodor Rokotov's life and work.
In his hometown, the artist mainly works on private orders, although he had to carry out separate assignments from the Academy of Arts. Thus, Rokotov became one of the first "free artists" in Russia, independent of the state service.
During the Moscow period, Rokotov created whole family galleries.
Of the Moscow works, the portrait of V.I. Maikova. 1775. Tretyakov Gallery
Portrait of V.I. Maikova is distinguished by natural accuracy and objectivity of the model's characteristics.
Levitsky, Dmitry Grigorievich(1735-1822) - an outstanding Russian painter, portraitist. He painted ceremonial and chamber portraits, in which he captured the appearance of many of his contemporaries.
The life and work of the painter fell on the Catherine era, the spirit of which was most vividly expressed by his ceremonial and chamber portraits of his contemporaries.
In the second half of the 18th century, among his contemporaries, with the possible exception of only F.S. Rokotov, Levitsky had no equal in chamber portraiture. With unsurpassed subtlety, he was able to penetrate the individuality of a person. The master creates a whole gallery of portraits Portrait of Denis Diderot. 1773-1774 Museum of Art and History. Geneva The artistic properties of the portrait of the French philosopher are determined by the desire to convey the individual qualities of a person and, at the same time, to give her an ethical assessment. The fusion of these two sides of the portrait image is a characteristic feature of the Russian chamber portrait of the 18th century.
A series of portraits of the Smolyan women - nurses of the Educational Society for Noble Maidens at the Smolny Monastery (later - the Smolny Institute) - became the generally recognized success of the painter. Levitsky began work in the early 1770s, apparently ordered by I.I.Betsky. In the famous portrait suite of Smolyankas, the artist had to make obvious the fruits of an enlightened upbringing, for which Catherine II so stood up.
The portrait of E.N. Molchanova. The artist is delighted with the unique charm of an eighteen-year-old girl - beautiful, a little sad and barely smiling. Molchanov in a smart white silk dress, set for older pupils of the Smolny Institute. A physical device, an antlya-vacuum pump, used as a teaching aid, and a French volume are intended to indicate Molchanova's broad education, who graduated from the course with a large gold medal.
Researchers have no information that D.G. Levitsky ever wrote to Catherine II from nature, but in this case it was not so important. On the huge front canvas, the image of the monarch is allegorical. The wise and beautiful Legislator, portrayed by Levitsky, and then sung by Derzhavin as Felitsa - a virtuous empress who sacrifices peace for the welfare of her subjects - is not at all like the real Catherine II. Striving for the greatness of the expressed idea and the monumentality of the form, predetermined by a complex literary program, the painter deliberately moved away from portrait resemblance.
Borovikovsky, Vladimir Lukich(1757-1825) - an outstanding Russian portrait painter. Master of religious painting. Numerous portraits of the highest persons and the St. Petersburg nobility brought glory to the artist. Many of them are made in the spirit of sentimentalism.
Sentimental moods in the work of Borovikovsky also affected the image of the monarch. Catherine II on a walk in Tsarskoye Selo Park (with the Chesme Column in the background). 1794. 
Borovikovsky's chamber portraits opened a new page in Russian art. The images are interpreted as individuals with their own deeply individual spiritual world.
Attributes and entourage are called upon to play a new role: to reveal not the social position of the depicted person, but his personal qualities.
The landscape is the environment of the portrait, and the fusion of man with nature becomes the leitmotif of the composition. For the aesthetics of the late 18th century, this theme is especially characteristic. True, there is still a lot of conditional in the landscape - rural nature under the artist's brush is decorative and resembles a theatrical backdrop. But Borovikovsky is already attracted by the peculiarities of Russian nature: white trunks of birches, cornflowers, ears of rye.
State Tretyakov Gallery
Daughter of Empress Catherine II and His Serene Highness Prince G.A. Potemkin-Tavrichesky. She is 23 years old in the portrait. Contemporaries found that she looked like her father.
Household genre
Sculpture of the second half of the 18th century
Falconet, Etienne Maurice (1716-1791) - an outstanding master of French sculpture of the Age of Enlightenment.
The author of the famous monument to Emperor Peter I on Senate Square in St. Petersburg.
Shubin, Fedot Ivanovich (1740-1805) - the largest Russian sculptor of the 18th century, who worked in the portrait genre. Representative of educational classicism in art. Professor of the Academy of Arts.
His sculpture contains the acuteness of social characteristics. 
Shubin's first work after returning to Russia in 1773 was a bust of Catherine's diplomat, vice-chancellor, Prince A.M. Golitsyn. This is one of the most brilliant works of the sculptor (plaster casting - at the State Russian Museum; marble - State Tretyakov Gallery). In the guise of an enlightened nobleman, the feeling of superiority over others and the nobility are combined with secular gloss, a subtle mind and, at the same time, with the tiredness of an aging person. The image of Golitsyn is multifaceted: through the arrogance and greatness of the prince, the skepticism and disappointment of the Russian Voltairian are visible.
Portrait of M.V. Lomonosov. 1792. RM
In 1792 Shubin created a portrait of M.V. Lomonosov. The sculptor gives an expressive, truthful and apt description of the outstanding Russian scientist, the first Russian academician. Unlike others, this Shuba work is compositionally simple. In the interpretation of the form, there are no elements of pomp and semi-officiality. The portrait is full of deep intelligence and democracy. It clearly shows the features of realistic style.
The Portrait of Paul I, created by the sculptor, is multifaceted and contradictory in this versatility. 1800. RM
The masterpiece of Shubin's portrait art is the bust of Paul I. The portrait, executed in the ceremonial genre, is traditionally replete with stars, orders and other insignia. However, Shubin, which is much more important, always tenaciously grasped the unique features of a person's appearance, trying to express his spiritual properties. The sculptor reveals in Paul I the complexity of his character: arrogance, cold pride, painful pride and at the same time the hidden suffering and insecurity of his "I".
Strange as it may seem, the emperor liked his portrait in Shuba's performance.
Samson tearing apart the lion's mouth. Fountain in Peterhof. The sculptor M.I. Kozlovsky. 1800-1802. Heroic pathos.
At the very end of the 18th century. the best Russian sculptors were involved in the renovation of the sculptures of the Grand Cascade in Peterhof. In 1800-1802 M.I. Kozlovsky (1753 - 1802) created a statue of Samson for the Peterhof cascade. The sculpture is placed in the center of the Big Bucket of Fountains. It was an allegory of the victory of Peter I over Sweden.
The statue disappeared without a trace during the Second World War. After the war, a new model of sculpture was made on the model.
Architecture of the second half of the 18th century
The building of the Academy of Arts (1765-88) belongs to the early classicism in Russian architecture. After the death of A.F. Kokorinov, construction was completed under the leadership of Felten and E. Sokolov.
Academy of Arts (1764-1788). Architects Alexander Filippovich Kokorinov (1726 - 1772), J.B.M. Wallen-Delamot. The stucco decorations of the interiors are sculpted by V.I.Demut-Malinovsky.
The Pashkov House was erected in 1784-1786 for the captain-lieutenant of the Semenovsky Life Guards Regiment P.E. Pashkov. Presumably, the largest Russian architect V.I. Bazhenov. In 1812 the house was destroyed by fire and then rebuilt. The architects tried to restore the house from the images of the 18th century the way it was originally created.
In 1775, Bazhenov received a new order from Catherine - to draw up a project for a royal estate near Moscow in the form of a series of separate pavilions, similar to Khodyn's "entertainment buildings".
Not far from Kolomenskoye, famous for its beauty of the landscape and ancient buildings, a small estate was bought from the relatives of the writer of the early 18th century Kantemir, which was called Black Mud. It was here that the construction of the royal residence near Moscow began, which soon received the new name "Tsaritsyno".
Associated with the work of the architect Francesco Bartolomeo Rastrelli (1700-1771).
Buildings built in this style are characterized by extraordinary splendor and elegance. The walls of palaces and temples are richly decorated with fancy stucco moldings, sculptures, and columns that support nothing. There are practically no horizontal lines in architecture. The ideal of ba-rocco is a smoothly curved curve. The line of the facade is dynamic: the protrusions of buildings are now and then replaced by recesses. The multicolored coloring gave a unique charm to the Baroque buildings: the ends of the columns and the sculpture shone with gilding, and the snow-white columns stood out clearly against the blue, turquoise, yellow or pink surfaces of the walls.
The interiors of baroque palaces were especially splendid. The walls of the halls were covered with silk fabric, decorated with mirrors, carved gilded stucco. The floors were finished with parquet flooring with a complex pattern. The ceilings were painted by skilled painters. Crystal chandeliers, exquisite door handles, intricate fireplaces, clocks, vases, luxurious furniture complemented all this splendor. The palace premises were lined up in a long row of passage rooms and halls so that the doorways were located along the same axis. Such a layout responded to the theme of parade processions, which certainly manifested itself not only in the famous "monarch's exits", but also in all rituals, even dances.
Urban planning
During the reign of Catherine, a grandiose city-building program was carried out. New cities were built and old cities were rebuilt. Settlements were based in the Urals, Siberia, and Novorossiya. St. Petersburg with its regular planning served as an example of urban planning.
In 1762 was created Commission on the stone building of St. Petersburg and Moscow... She was supposed not only to deal with the urban development problems of the two Russian capitals, but also to develop master plans for the provincial and district cities. By 1775, the Stone Construction Commission had approved plans for 216 cities. It should be noted that, rebuilding the old cities, the architects tried to preserve the monuments of ancient Russian architecture: temples, bell towers, fortifications.
In the second half of the 18th century. the number of public (non-residential) buildings erected in cities has significantly increased. Buildings are being built for institutions of city self-government (city dumas, assemblies of nobility, etc.), hospitals, schools, guesthouses, public baths, warehouses. In large cities, in addition to palaces and mansions, the first profitable houses appear, in which apartments are rented out.
Classicism
The architectural style is changing: classicism is replacing the magnificent baroque. "Noble simplicity and calm greatness" - this is how the new style that was established in Russia at the end of the 18th century is characterized. It is dominated by straight horizontal and vertical lines. All parts of the buildings are symmetrical, proportional, and balanced. The columns not only serve as decoration, but also have a constructive purpose - they support the floors. The roofs are made flat. Architects prefer to paint the facades of buildings in restrained colors - yellow, coffee, gray, fawn ... Material from the site
Representatives in St. Petersburg
The largest architects of classicism in St. Petersburg were Jean-Baptiste Vallin-Delamot (Academy of Arts, Gostiny Dvor on Nevsky Prospect), Ivan Egorovich Old (Trinity Cathedral of the Alexander Nevsky Lavra, Tauride Palace), Charles Cameron (Pavlovsk Palace, Cameron Gallery of Tsarskoe Selo), Giacomo Quarenghi (Hermitage Theater, Assignation Bank), Nikolay Alexandrovich Lvov (St. Petersburg Post Office, Nevsky Gate of the Peter and Paul Fortress, Kulich and Easter Church).
N. A. Lvov (1751 - 1803) was known not only as a talented architect, but also as an outstanding scientist, writer, graphic artist, musicologist. He created the first art salon (circle), which included prominent writers, composers, and artists. Lvov was revered as a genius of taste.
Representatives in Moscow
Vasily Ivanovich Bazhenov (1737 / 1738-1799) (Pashkov's house, Tsaritsyno palace complex) and Matvey Fedorovich Kazakov (1738-1812 / 1813) (buildings of the Senate in the Kremlin, the Noble Assembly - now the Column Hall of the House of Unions, Golitsyn Hospital - now 1st Gradskaya).
Pictures (photos, drawings)
Winter Palace in St. Petersburg. Architect F.-B. Rastrelli. 1750-1762
Cathedral of the Smolny Monastery in St. Petersburg. Architect F.-B. Rastrelli. 1748-1764
The Great Catherine Palace in Tsarskoe Selo near St. Petersburg. Architect F.-B. Rastrelli. 1752-1756
The Picture Hall in the Great Peterhof Palace. Watercolor L.O. Premazzi. 1855 g.
A suite of state rooms in the Catherine Palace in Tsarskoe Selo. Architect F.-B. Rastrelli. 1750s
The main staircase in the Winter Palace. Architect F.-B. Rastrelli. Watercolor K.A. Ukhtomsky. XIX century.
Petersburg plan 1776
The building of the Academy of Arts in St. Petersburg. Architects A.F. Kokorinov and Jean-Baptiste Wallen-Delamot
Tauride Palace in St. Petersburg. Architect I. E. Staroe
The 18th century in the architecture and urban planning of Russia is considered important and significant. It is characterized by three directions - baroque, rococo and classicism, which manifested themselves consistently over the century. During this period, newer cities appear, objects are created, which in our time are considered recognized historical and architectural monuments.
First third of the 18th century. Baroque
In the first third of the century, all architectural transformations are inextricably linked with the name of Peter the Great. During this period, Russian cities have undergone significant changes both in socio-economic terms and in architectural planning. It was at this time that industry developed, which led to the construction of many industrial cities and towns. The political situation in the country and abroad created the prerequisites for the fact that the nobility and merchants that dominated this period were drawn into the construction of public facilities. If before this period the most magnificent and beautiful were mainly churches and royal residences (chambers), then at the beginning of the 18th century in the cities great importance is attached to the appearance of ordinary residential buildings, as well as emerging theaters, embankments, there is a massive construction of town halls, schools, hospitals (so-called hospitals), orphanages. Since 1710, brick has been actively used in construction instead of wooden buildings. True, initially this innovation concerned, first of all, the capitals, while for the periphery stone and brick remained banned for a long time.
Peter I created a special commission, which in the future will become the main body of state design of both the capital and other cities. Civil construction already prevails over church construction. Great importance is attached not only to the facades, but also to the appearance of the entire city - houses are being built with facades along the streets, buildings are being decompressed for fire-prevention purposes, streets are being improved, roads are being paved, the issue of street lighting is being resolved, trees are being planted on the sides. In all this, one can feel the visible influence of the West and the firm hand of Peter, who, by his decrees, practically revolutionized urban planning in those years. Therefore, it is not surprising that in a short time Russia manages to practically catch up with Europe, reaching a decent level in terms of urban planning and urban improvement.
The main architectural event of the beginning of the century is the construction of St. Petersburg. It is from this city and the Moscow Lefortovo Sloboda that serious transformations in the architectural appearance of other cities begin. West-oriented Peter the Great invites foreign architects and sends Russian specialists to study in Europe.
Trezzini, Leblon, Michetti, Schedel, Rastrelli (father) and other eminent architects who are destined to make a great contribution to Russian architecture in the first quarter of the 18th century come to Russia. Interestingly, if at the beginning of their creative career in Russia they clearly followed their principles and Western architectural thinking, then after a certain period of time, historians note the influence of our culture and identity, which can be traced in their later works.
In the first third of the 18th century, the predominant direction in architecture and construction was the baroque. This direction is characterized by a combination of reality and illusion, pomp and contrast. The construction of St. Petersburg begins with the founding of the Peter and Paul Fortress in 1703 and the Admiralty in 1704. Peter set serious tasks for the architects of that period in terms of compliance of the new city with the advanced European principles of urban planning. Thanks to the well-coordinated work of Russian architects and their foreign colleagues, the northern capital has acquired formally western features in merging with traditionally Russians. The style in which numerous pompous palaces, churches, government institutions, museums and theaters were created is now often called the Russian baroque or the baroque of the Peter the Great era.
During this period, the Peter and Paul Cathedral, the summer palace of Peter the Great, the Kunstkamera, the Menshikov palace, the building of the Twelve Collegia in St. Petersburg were created. The ensembles of the Winter Palace, Tsarskoye Selo, Peterhof, Smolny Monastery, and the Stroganovs' palace are decorated in the Baroque style, created in this and later period. In Moscow, these are the churches of the Archangel Gabriel and John the Warrior on Yakimanka, the main entrance to the Kremlin's Arsenal yard is decorated with characteristic elements characteristic of this period. Among the important objects of provincial cities is the Peter and Paul Cathedral in Kazan.
Mid 18th century. Baroque and Rococo
Despite the fact that the death of Peter I was a great loss for the state, it no longer had a significant impact on the development of urban planning and architecture of that period. Russian architects working in St. Petersburg under the supervision of foreigners adopted their experience, returned to their homeland and those who were sent to study abroad. The country at that time had a strong staff. The leading Russian architects of that period were Eropkin, Usov, Korobov, Zemtsov, Michurin, Blank and others.
The style characteristic of this period is called rococo and is a combination of baroque and emerging classicism. Gallantry and confidence are manifested in him. Rococo is more typical for interior solutions of that time. In the construction of buildings, the splendor and pomp of the Baroque is still noted, and the strict and simple features of classicism are beginning to appear.
This period, which coincided with the reign of Peter's daughter Elizabeth, was marked by the work of Rastrelli the son. Brought up in Russian culture, in his works he demonstrated not only the brilliance and luxury of palace architecture, but also an understanding of the Russian character, Russian nature. His projects, together with the works of contemporaries Kvasov, Chevakinsky, Ukhtomsky, organically fit into the history of Russian architecture of the 18th century. With the light hand of Rastrelli, domed compositions began to appear not only in the capital, but also in other Russian cities, gradually replacing the spire-like ones. The pomp and scale of its palace ensembles are unparalleled in Russian history. But with all the recognition and luxury, the art of Rastrelli and his contemporaries did not last long, and in the second half of the 18th century a wave of classicism came to replace it. During this period, the most ambitious projects were created - a new master plan for St. Petersburg and a redevelopment project for Moscow.
End of the 18th century. Classicism
In Russian architecture in the last third of the 18th century, the features of a new direction began to appear, which was later called Russian classicism. By the end of the century, classicism was firmly established as the main direction of art and architecture. This trend is characterized by the severity of antique forms, simplicity and rationality of designs. Unlike the baroque buildings that filled St. Petersburg and its environs, classicism manifested itself most in the Moscow buildings of that time. Among many, it is worth noting the Pashkov house, the Senate building, the Tsaritsyno complex, the Golitsyn house, the Razumovsky palace, which are considered the most striking examples of the manifestation of classicism in architecture. In St. Petersburg at this time, the Tauride Palace, the Alexander Nevsky Lavra, the Marble Palace, the Hermitage, the Hermitage Theater, and the Academy of Sciences were being built. Kazakov, Bazhenov, Ukhtomsky and many others are considered to be outstanding architects of that time.
The period of the 18th century also includes changes that affected many provincial cities of that time - Yaroslavl, Kostroma, Nizhny Novgorod, Arkhangelsk, Odoev Bogoroditsk, Oranienbaum, now Lomonosov, Tsarskoye Selo, now Pushkin and so on. Petrozavodsk, Taganrog, Yekaterinburg and many other cities, which at that time and subsequently became important industrial and economic centers of the Russian state, originated from the 18th century.
