19th century architecture in Russia. Russian architecture in the first half of the 19th century Presentation prepared by: Zhenya Romanova Zhenya Tanacheva

Back forward

Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested this work please download the full version.

The presented material is intended for use in the study of the course of the History of Russia in grades 8 and 10 on the topic “Russian culture of the first half of the 19th century”. Additionally, it can be used in the lesson on World Artistic Culture when studying the architectural style of late classicism-Empire.

The purpose of the lesson: form a holistic view of the development of architecture in the first half of the 19th century.

Tasks:

• level up cognitive abilities students;
• active development of the material;
• to cultivate a sense of pride in the great Russian culture, patriotism, to raise the level of general culture;

New terms: Empire, “Moscow Empire”, “Petersburg Empire”

New names: A. Voronikhin, A. Zakharov, Thomas de Thomon, C. Rossi, O. Bove, Gilardi, A. Grigoriev.

Form of conducting: Combined lesson for obtaining new knowledge using a training presentation, input and final control of knowledge with elements of developing thinking technology. The lesson is conducted in a computer class .

During the classes

Stage 1. Motivation

The theme of the work is Russian architecture I half of XIX century, Empire architecture. This style was a bright but short page in the history of Russian and Western European architecture.

In Russia, he established himself after the victory in the war of 1812, when Russian society experienced an upsurge, the unity of all the inhabitants of the state, therefore architectural style carried with him the pathos of heroism, the assertion of the strength of the human mind, the power of the state. He was imbued with a life-affirming, victorious spirit, that is, he contained a creative principle.

learning task

The majestic and harmonious architecture of the Empire style of the first half of the 19th century does not lose its attractiveness even today, what is the secret of its eternal youth? Can the first half of the 19th century be called the “golden age” of Russian architecture?

Stage 2. Activation of knowledge

And we will start with a repetition, with the solution of an introductory test, in order to recall the historical conditions under which Russian culture developed in the first half of the 19th century.

Stage 3. Main part of the lesson

Working with a tutorial presentation

Today we will learn how architecture developed in the first half of the 19th century in the Russian state.

The study of this topic will be on schedule.

1. Empire: origin and features.

2. Petersburg Empire:

A.N. Voronikhin,

J.Thomas de Thomon,

A. K. Rossi,

O. Montferrand.

3. Moscow Empire: O. Bove, D. Gilardi, A. G. Grigoriev.

4. Conclusion, verification test.

You will work in the lesson, each independently, in front of each student on the computer screen, a training presentation. Carefully study it at the end of the study - proceed to the implementation control questions test

Test questions

If the results of the final test are not satisfactory, then the students turn to the memo material, after studying which, they repeat the attempt to solve the test.

4. Final stage

Students briefly formulate the features of the development of architecture learned in the lesson in the first half of the 19th century

In architecture, classicism was transformed into "Empire", combining the severity of lines and the richness of decorations.

After the war of 1812, Moscow and St. Petersburg underwent a detailed restructuring. In St. Petersburg, Palace and Senate squares were formed, in Moscow - Teatralnaya.

A significant contribution to the architecture of St. Petersburg was made by A. Zakharov (Admiralty), A. Voronikhin (Kazan Cathedral, the building of the Mining Institute, K. Rossi (Russian Museum, Palace Square and the General Staff, the ensemble of the Mariinsky Theater, the building of the Senate and Synod O.. Montferrand (Issakievsky Cathedral, Alexander Column)

In Moscow, in the Empire style, O. Beauvais worked (the reconstructed Red Square, the Bolshoi Theater Triumphal Arch,) D. Gilardi (the building of Moscow University, the Lunin House.)

In the 30s, a single style breaks up, eclecticism or historicism appears.

After that, we return to the learning task and try to answer the question posed at the beginning of the lesson.

What is the secret of the eternal youth of the architecture of the 1st half of the 19th century? Can the first half of the 19th century be called the “golden age” of Russian architecture?

A journey into the world of architecture of the first half of the 19th century convinces that talented works created in any architectural style exist outside of time and continue to excite modern man. Empire architecture is a living source of creative ideas!

These magnificent works of architecture go to Russia to look at just like the masters of the Renaissance go to Italy.

First decades of the 19th century in Russia took place in an atmosphere of popular upsurge associated with the Patriotic War of 1812. The ideals of this time found expression in poetry young Pushkin. The war of 1812 and the Decembrist uprising largely determined the character of Russian culture in the first third of the century.

The contradictions of the time became especially acute in the 1940s. That's when it started revolutionary activity A.I. Herzen, with brilliant critical articles V.G. Belinsky, passionate disputes were waged by Westernizers and Slavophiles.

Romantic motifs appear in literature and art, which is natural for Russia, which has been involved in the pan-European cultural process for more than a century. The path from classicism to critical realism through romanticism, he determined the conditional division of the history of Russian art in the first half of the 19th century. as if into two stages, the watershed of which was the 1930s.

Much has changed since the 18th century. in pictorial, plastic arts. The social role of the artist, the significance of his personality, his right to freedom of creativity, in which social and moral problems were now more and more acute, increased.

Growing interest in artistic life Russia put it in the building of certain art societies and the publication of special journals: "The Free Society of Lovers of Literature, Sciences and Arts" (1801), "Journal fine arts"first in Moscow (1807), and then in St. Petersburg (1823 and 1825), the Society for the Encouragement of Artists" (1820), the "Russian Museum." P. Svinin (1810s) and the "Russian Gallery" in the Hermitage (1825 ), provincial art schools, like the school of A.V. Stupina in Arzamas or A.G. Venetsianov in St. Petersburg and the village of Safonkovo.

The humanistic ideals of Russian society were reflected in the highly civic examples of architecture of that time and monumental and decorative sculpture, in synthesis with which decorative painting and applied art which often ends up in the hands of the architects themselves. The dominant style of this time is mature, or high, classicism, in scientific literature, especially at the beginning of the 20th century, often referred to as the Russian Empire style.

The architecture of the first third of the century is, first of all, the solution of large urban planning problems. In St. Petersburg, the planning of the main squares of the capital is being completed: the Palace and the Senate. The best ensembles of the city are being created. Moscow was built especially intensively after the fire of 1812. Antiquity in its Greek (and even archaic) form becomes the ideal; the civic heroism of antiquity inspires Russian architects. The Doric (or Tuscan) order is used, which attracts with its severity and conciseness. Some elements of the order are enlarged, especially colonnades and arches, the power of smooth walls is emphasized. The architectural image strikes with grandeur and monumentality. A huge role in the overall appearance of the building is played by sculpture, which has a certain meaning. Color decides a lot, usually the architecture of high classicism is two-tone: columns and stucco statues are white, the background is yellow or gray. Among the buildings, the main place is occupied by public buildings: theaters, departments, educational institutions, palaces and temples are built much less often (with the exception of regimental cathedrals at the barracks).

M. Kozlovsky. Monument to A. Suvorov on the Field of Mars. 1801
Suvorov appeared in the guise of Mars, dressed in armor, a helmet and a cloak.
On the pedestal of the monument are allegorical figures of the geniuses of Glory and Peace. On the shield is the inscription: "Prince of Italy, Count Suvorov
Rymniksky"

Russian architecture of the first half of the 19th century

First quarter XIX in. in Russia - the time of the scope of urban planning. In architecture, the construction of civil and administrative buildings becomes the main thing. Architecture is inextricably linked with sculpture. The synthesis of arts is one of the manifestations of a single stylistic principle, which for Russian art was high classicism, otherwise called Russian Empire, whose masters were A.N. Voronikhin, A.D. Zakharov, K.I. Rossi, V.P. Stasov.
Andrei Nikiforovich Voronikhin (1759-1814), the son of a serf, studied painting in Moscow. After his owner A.S. Stroganov gave him freedom, Voronikhin independently studies architecture.

The main creation of Voronikhin is the Kazan Cathedral in St. Petersburg. The task facing the architect was difficult. Cathedral Petersburg was supposed to have a colonnade, as in front of the Cathedral of St. Peter in Rome. Voronikhin placed the colonnade on the side of the side facade facing Nevsky Prospekt, it was assumed that on the other side there would be the same colonnade, but this plan was not carried out.
The cathedral was decorated with various sculptural compositions, on which the largest Russian sculptors of that time worked - Prokofiev, Martos, Shchedrin. After the war with Napoleon, the temple became a monument of military prowess: Kutuzov was buried here, in the 30s. monuments to Kutuzov and Barclay de Tolly were erected in front of the cathedral.

Andrey Dmitrievich Zakharov (1761-1811), after graduating from the Academy of Arts and a boarding trip to France, taught at the Academy. In 1805 Zakharov was appointed "chief architect of the Admiralty". In 1806, he began the reconstruction of the Admiralty, which combined administrative buildings, docks and production buildings. Main facade 406 m long is divided into five main parts: the central tower, two wings and two buildings between them. Zakharov preserved the gilded spire of the tower, enriching its decorative frame. The sculptural decoration in an allegorical form reflects the idea of ​​Russia as a maritime power. Thus, the relief frieze of the attic is dedicated to the “Establishment of the Fleet in Russia”, above the entrance arch there are figures crossed banners - allegories of the victories of the Russian fleet. On high pedestals, paired groups of nymphs holding spheres are allegories of sea voyages around the world. The composition of the building uses a Doric order, and an Ionic order in the tower.

At the beginning of the century, a number of buildings that determined the architectural appearance of St. Petersburg were created by the Swiss Thomas de
Thomon (1760-1813). One of them was the Exchange on the spit of Vasilyevsky Island. The body of the building is raised on a high plinth.
After the victorious war with Napoleon, active construction began in Moscow, which was burned down by the occupiers, large-scale construction work was carried out at that time in St. Petersburg. Under the leadership of O.I. Beauvais (1784-1834) in the Kremlin, the towers and parts of the wall, blown up by the French during the retreat, were restored. Solemnity and triumphalism intensified in architecture. Unfolded ensemble building, the use of monumental sculpture.

The largest representative of the Empire was Karl Ivanovich Rossi (1775-1849), who erected the building of the General Staff, the center of which was Triumphal Arch. At the same time, the architect began to create an ensemble of the Mikhailovsky Palace. Rossi proceeded from the planning scheme traditional for Russian architecture: main building and service wings form a single whole with the front yard. Behind was a vast park. The palace blocked the prospect with a street leading to Nevsky Prospekt. In the second half of the 20s. Rossi created the ensemble of the Alexandrinsky Theater, finding good location theater in relation to Nevsky Prospekt. The last large ensemble of Rossi was the buildings of the Synod and the Senate united by an arch thrown over Galernaya Street, corresponding to the composition of the Admiralty, located on the other side of the square.

V.P. Stasov (1769-1848) rebuilt the Stable Yard on the Moika embankment in St. Petersburg, created the Barracks of the Pavlovsky Regiment on the Field of Mars. The center of the new façade facing the Champ de Mars was adorned with a solemn Doric colonnade. In the 30s. Stasov participated in the restoration of the interiors of the Winter Palace after the fire.
Auguste Ricard de Montferrand (1786-1858). major event was the erection St. Isaac's Cathedral designed by O. Montferrand, which lasted from 1818 to 1842. The height of the building is 101.5 m, the length with porticos is 111 m, the diameter of the dome is 21.8 m. Outside, the building is surrounded by 112 granite columns 17 m high. The cathedral was built in style of classicism with elements of baroque and renaissance, which manifested itself in the sculptural decoration. The pediments of the temple are decorated with high reliefs, on the corners of the roof of the building there are figures of kneeling angels, on the pediments - evangelists. In total, the cathedral is decorated with 350 statues and reliefs cast in bronze. The mighty bell, weighing 29.8 tons, made a sound heard on the outskirts of the city. The interior of the cathedral was striking in its splendor. The walls are lined with white Italian marble, the panels are made of green, red marble, multi-colored jasper, red porphyry. The interior contains mosaic and
picturesque paintings by K.P. Bryullov, F.A. Bruni, V.K. Shebuev and other Russian and foreign artists. The shrine of the cathedral was the icon of the miraculous Image of the Savior, which belonged to Peter I.

Sculpture of classicism

The heyday of sculpture was associated with the socio-political upsurge in Russia. The largest master, representative of classicism, whose works were in Arkhangelsk, Odessa, Taganrog, was Ivan Petrovich Martos (1754-1835). An outstanding work of Martos was the monument to Minin and Pozharsky, on which the sculptor began work in 1804. The monument erected on Red Square represents Kuzma Minin, pointing to Moscow, and the wounded Prince Pozharsky rising from his bed. For the Kazan Cathedral in St. Petersburg, Martos created the monumental high relief “Moses Draining Water in the Desert” on the attic of the cathedral colonnade, as well as the figure of the archangel and the statue of John the Baptist. In the late period of creativity, Martos performed the monument to Richelieu in Odessa and M.V. Lomonosov in Arkhangelsk.

Among the sculptors who communicated with architecture are V.I. Demut-Malinovsky (1779-1846) and S.S. Pimenov (1784-1833), who worked on sculptures for the Kazan Cathedral together with Voronikhin. Pimenov made a sculpture of Alexander Nevsky, and Demut-Malinovsky - a statue of St. Andrew the First-Called. For the Admiralty, the sculptors created three colossal figures that personified the countries of the world. Since 1817, sculptors began to cooperate with K.I. Rossi, creating sculptures of the arch General Staff. The arch was crowned with the composition “Victory” made of sheet copper, the central figure of which was the winged Glory, standing in a chariot with a raised emblem of the state. I.I. Terebenev (1780-1815) made sculptures for the Admiralty, including the 22-meter high relief "Establishment of the Fleet in Russia", placed on the attic of the lower cube of the Admiralty tower.

B.I. Orlovsky (1796-1837) created monuments to Field Marshal Kutuzov and Barclay de Tolly in front of the Kazan Cathedral.
F.P. worked in small forms of sculpture. Tolstoy (1783-1873), who created a series of medallions made of plaster, porcelain, bronze, cast iron, events Patriotic War 1812 and the military operations of 1813-1814. Most of medallions represents allegorical compositions. In 1814-1816. Tolstoy made four bas-reliefs with scenes from Homer's Odyssey.

F.P. Tolstoy. People's militia 1812 Medallion. 1816
A woman is depicted sitting on a throne, personifying Russia. She hands swords to nobleman, merchant and peasant

The architecture of Russian classicism in the first half of the 19th century

The beginning of the 19th century was marked by new trends in art and a new brilliant stage in the architecture of Russian classicism. In art, the search for more majestic and simple shapes.

Architects are looking for laconic and powerful compositions, trying to avoid decoration and reveal the mighty trunks of columns against the background of the calm surface of the walls. Only in places they decorate the wall with a rich and strong stain, stucco and other details, thus emphasizing the simplicity of the whole more sharply.

Petersburg architecture

A new stage in the development of classicism (the so-called Empire style) was opened by the architect A. N. Voronikhin. His best work - the Kazan Cathedral in St. Petersburg (1801 - 1811) - is still close to classicism in its architecture. The mighty colonnades of the cathedral cover the semi-oval square, open to Nevsky Prospekt. The second planned colonnade on the other side of the building was not implemented.

Another work by Voronikhin - the Mining Institute (1806-1811) - in its forms already fully refers to XIX century. Remarkable is the powerful Doric colonnade of the huge portico against the background of the severe walls of the facade, with sculptural groups on the sides of the portico.

An outstanding work of this period is the Stock Exchange (1805-1816) by Thomas de Thomon on the spit of Vasilyevsky Island. Strict Doric colonnade of the main building of the Stock Exchange in the spirit ancient Greek temple and the mighty rostral columns in front of it are perfectly combined with the harsh expanse of the Neva.

The ingenious work of the architecture of Russian classicism of this era is Admiralty (1806-1817)- a monument dedicated to the sea power of Russia. Its builder was A. D. Zakharov. The style and ideals of the era are fully reflected in artistic image and perfect forms this piece... more>>>

A major architect after Zakharov was Stasov, a student of Bazhenov and Kazakov. His best works were: a slender bell tower in the village of Gruzino (1815), sustained in strict forms, the Triumphal Gates in St. Petersburg (1833-1838), whose heavy and severe Doric order gives the impression of power and strength, and the barracks of the Pavlovsky regiment (1817-1819) . Something new is already felt in this building: there is less severity in it, more pomp, especially in its attic decorated with sculpture.

After the decisive victory of the Russian people over the Napoleonic armies, in architecture there is a tendency towards solemnity, triumphal forms.
The last major figure, completing the era of Russian classicism, was K.I. Russia. His works were, as it were, a synthesis of the previous stages of the architecture of Russian classicism. Rossi's statement in an explanatory note to one of the unrealized projects is characteristic: "The dimensions of the project I propose exceed those that the Romans considered sufficient for their monuments. Shall we be afraid to equal them in splendor?"

Rossi created a large number of individual structures and a number of ensembles. The best of his early Petersburg works is the Mikhailovsky Palace, now the Russian Museum (1819-1823). A magnificent building, well placed in the park, with a huge front courtyard, a beautiful Corinthian portico of the main facade and a huge loggia of the park facade. The interior decoration of the premises is luxurious, the front staircase of the vestibule with paintings and the internal colonnade of the Ionic order is especially good.

An outstanding work of Rossi is the building and the arch of the General Staff. The headquarters building encloses Palace Square in a semicircle. The famous double arch connects the square with the street. This ensemble is one of the best creations of the master due to the boldness of the idea and the perfection of execution. Unsurpassed is the Rossi ensemble, which includes two squares - Chernyshev and them. A. N. Ostrovsky - and the Theater Street connecting them, now the street of the architect Rossi (1827-1832). The center of the whole composition is the building of the former Alexandria Theatre. It was here that the idea of ​​the ensemble, which was born during the construction of the General Staff building (the connection of two architectural spaces through a passage), received its final completion.

Doric colonnade upper floors buildings of Rossi Street leads from Chernyshev Square to the Alexandrinsky Theater Square. The stern doric of Rossi Street is replaced in the square by the splendor of the Corinthian porticos and loggias of the Alexandria Theater, located in the center of the buildings surrounding it: public library and graceful pavilions of the Anichkov Palace, created by the same architect. In front of the theater there is a square with a monument to Catherine. The ensemble of the square with the main facade of the theater opens onto Nevsky Prospekt. Chernyshev Square was not completed by Rossi, which somewhat violates the integrity of the entire composition of the ensemble. The left wing of the building covering the square and the rotunda church in the center were not built.

The last major building of Rossi was the building of the Senate and Synod (1829-1834). The colossal arch in the center was conceived as a compositional center uniting two separate buildings (the Senate and Si Noda), designed grandly and solemnly in a magnificent Corinthian order. The arch is crowned with a sculptural attic.

Rossi completes the heyday of the architecture of Russian classicism. After him comes the "sunset", the slow disintegration of the style, in the coming twilight there is a search for new ways in architecture.

Moscow Empire

Moscow architecture of classicism early XIX century, like the architecture of St. Petersburg, experiences a brilliant flowering during this period, is inspired by the same ideals and creates a number of great works, the so-called "Moscow Empire".

The majestic style of St. Petersburg architecture, with its scale, grandeur and cold harmony of lines, is modified in Moscow, acquiring an intimate interpretation - warmth, elegance of lines, shapes and decorations. Such is the Moscow manor building, for which Naydenov's house is typical. But in official buildings, the architecture of the Moscow Empire is imbued with the same cold severity and power (Provision warehouses, Manege).

Architect O.I. beauvais

First major master The Moscow Empire was the architect O. I. Bove, who came out of the Kazakov school. The best building of Beauvais - the mansion of Prince Gagarin (1813) - was destroyed as a result of a Nazi air raid in 1941. In this building with wide-spread wings, the center was especially remarkable with its arch-loggia, groups of columns on the sides and a bas-relief of flying "glories" at the top. The architecture of the house was strongly influenced by Kazakov's classicism.

In the Manezh (1817), with its powerful and simple volume, the calm rhythm of the Doric semi-columns encircling the entire huge building, is already clearly expressed new character architecture. The seal of cold and official severity lies on the architecture of this building, emphasizing its purpose.

The building of the Gradskaya Hospital (1823) by the same master, located next to Kazakov's Golitsynskaya Hospital, is a variant of a manor with a front yard in terms of type, and differs in architecture by some heaviness of forms.

In 1821-1824 Beauvais created an ensemble Theater Square(subsequently rebuilt), including big theater in the center, the Maly Theater on the right and a number of buildings along the entire perimeter. The whole ensemble was tied together by an arcade that encircled the entire square. Traces of this arcature have been preserved on the lower floor of the Maly Theatre. Between the buildings, it turned into connecting galleries. The center of the square was decorated with a fountain group by the sculptor Vitali, which has survived to this day.

D. Gilardi and A.S. Grigoriev

Simultaneously with Beauvais, two great masters of the Moscow Empire style, D. Gilardi and A. S. Grigoriev, worked. Among huge amount works of these architects there are a number of first-class monuments of Russian architecture.

Burned down during the Napoleonic invasion, the old building of the University, built by Kazakov, was restored in the style of the Moscow Empire in 1817 by Gilardi with the preservation overall composition- the type of the estate given by the Kazakovs. The semicircular hall of the University is beautiful with a wonderful Empire style painting and an elegant white colonnade supporting the balcony. Outside, it is met by a majestic Doric portico of strict proportions, emphasizing the center of the building and the calm surface of the walls of the facades, touched in places by rich spots of bas-reliefs and rosettes, typical of the entire Moscow Empire style.

Naydenov's estate, built by Gilardi and Grigoriev in 1821, is also one of the the best works this period in Moscow. It consists of a house with an elegant Ionic portico to the street, a monumental open staircase leading from the garden to the second floor, and a garden with pavilions and pavilions, among which the musical pavilion is especially elegant. The halls of the main building are decorated with beautiful Empire paintings. The whole ensemble as a whole is full of charm and nobility.

A significant monument of this period is the building of the Board of Trustees (1823-1825) on Solyanka. The building is somewhat distorted by later development. In its original form, it was an ensemble of three separate volumes: a central building with a beautiful Ionic portico, reminiscent of the portico of Naydenov's house, and two side pavilions. A monumental fence with gates decorated with lions connected these links. Later, these gaps were built up to the same height as the side pavilions.

The house of the former State Bank (1819) on Nikitsky Boulevard stands out in composition and architecture. It also consists of a central building adorned with a beautiful loggia colonnade and two unequal side pavilions, of which the right one is especially beautiful in the form of a small elegant Palladian villa.

Gilardi created one of the best estates near Moscow - Kuzminki. The first place among the buildings of Kuzminok is occupied by the Horse Yard. The central part of the Horse Yard is especially good. This is a simple pavilion with a huge arch-exedra, which contains an elegant colonnade with a crowning sculptural group. The impression of this contrasting combination is huge. It is reinforced by Klodt's equestrian groups, placed later on the sides of the pavilion.

Wonderful creations of the architect were scattered in the picturesque park near the pond - propylaea, the preserved left wing of the palace, a cast-iron fence, an Egyptian-style service pavilion and a pier with lions.

In addition to Kuzminki, Gilardi and Grigoriev built the small estates of Sukhanovo and Otrada. Provision warehouses in Moscow are an outstanding work of the Moscow Empire style. Enormous power emanates from these seemingly simple volumes placed side by side. The cold splendor and austerity of the architectural forms of this complex, as it were, foreshadow the official style of classicism of the 30s of the 18th century.

One of the last monuments of the Moscow Empire is the university church built by E. D. Tyurin, a semi-rotunda (1837), in which the heaviness of forms and the oncoming decline of classicism architecture are already felt.

Russian classicism in the 19th century gives way to eclecticism or historicism. New style was in imitation of Gothic, Baroque, Renaissance and ancient Russian art. The Grand Kremlin Palace and the Cathedral of Christ the Savior, built in the Russian-Byzantine style by the architect K. Ton, were the most significant architectural structures of that era.

Remark 1

A new direction has opened up for architects - functional buildings: factories and factories, railway stations, huge shops.

The buildings are striking in their novelty, replete with glass and metal, the use of concrete has begun.

Russian architecture of the first half of the 19th century

The Patriotic War of 1812 and the general upsurge that followed it largely determined the development of Russian architecture in the first half of the 19th century. Moscow is recovering to the fullest after the fire of 1812, in St. Petersburg the construction of the Senate and Palace Square. Antiquity becomes an ideal for many architects of that era, the elements of buildings are enlarged, the power of colonnades, arches and walls is especially emphasized.

Architecture in the first half of the 19th century surprised with color schemes, the background of buildings was mostly yellow or gray, columns and statues were white. theater buildings, educational institutions, still occupied a dominant position among architectural structures. Palaces and temples were built much less frequently.

Major architects of the first half of the 19th century:

• Jean Francois Thomas de Thomon
• K.I. Russia
• V.P. Stasov
• A.N. Voronikhin
• HELL. Zakharov

In 1799 he arrived in St. Petersburg at the invitation of Prince A.M. Golitsyn, where he taught at the Academy of Arts. Emperor Alexander I in 1801 wished to increase the St. Petersburg Bolshoi Theater. The task was successfully implemented by Tom de Thomon in 1805, for which he received the title of court architect. Also in the works of Jean-Francois are the design and construction of the ensemble of the Spit of Vasilyevsky Island and the building of the Stock Exchange on Vasilyevsky Island.

Figure 1. Construction of the Exchange building. Author24 - online exchange of student papers

In 1809, he rebuilt the Travel Palace of Princess Ekaterina Pavlovna in Tver. Upon his return to St. Petersburg in 1815, he reconstructed the Anichkov Palace, the library and pavilions in the Pavlovsk Palace in St. Petersburg. Thanks to Rossi, St. Petersburg has acquired a new look, creating unique urban ensembles.

The embodiment of Rossi's skill is realized in the ensembles of the Mikhailovsky Palace, Senate Square with the buildings of the Synod and the Senate, Alexandria Square with the building of the theater of the same name and much more.

In 1819, the building of the Academy of Sciences was built on Vasilevsky Island, the Yamskaya market on Razyezzhaya Street, in 1821 the Pavlovsky barracks on the Field of Mars, the Spaso-Preobrazhensky and Trinity-Izmailovsky cathedrals in 1829 and 1835, respectively. The solemnity and grandeur of forms distinguished Stasov from his contemporaries.

The academician of architecture, who received the title in 1800 for the design of the colonnades in Peterhof, became the author of one of the largest churches in Russia - the cathedral in honor of the icon of Kazan Mother of God In Petersburg. The building of the Mining Institute, the house of the State Treasury are also the merit of a talented architect.

Figure 2. The building of the Mining Institute in St. Petersburg. Author24 - online exchange of student papers

In addition to the implementation of various projects in Gatchina and the restructuring of Vasilyevsky Island, Zakharov was appointed chief architect of the Admiralty building. Performing work from 1806 to 1811, Zakharov managed, while maintaining the existing plan, to create a new, majestic building with a total length of 407 meters.

Russian architecture of the second half of the 19th century

In the second half of the 19th century, the architecture of Russia experienced severe upheavals. The architects could not offer bold and truly worthwhile ideas. Elements various styles and eras began to mix in the same buildings. A new direction began to develop - eclecticism or imitation of past eras. In foreign terminology, the direction was called romanticism, or historicism.

Eclecticism is divided into two stages of development:

• Nikolaevsky (1830-1860),
• Aleksandrovsky (1870-1890).

Remark 2

Nikolaev eclecticism entirely consisted of the styles that preceded it - rococo and baroque. Alexandrovskaya was defined by the graceful and lively Art Nouveau style.

Stages shared by one of the most important reforms in Russia - the abolition of serfdom.

Free modeling of the facade, the creation of concave and protruding planes - neo-baroque, another direction in eclecticism in architecture. AT this direction the symmetry of the elements with respect to the central axes was preserved.

The largest architects of Russia in the second half of the 19th century:

• K.A. Tone
• I.A. Moneghetti
• N. Shokhin
• A.I. Rezanov

The founder of the Russian-Byzantine style and temple architecture. Among the most famous creations of the architect are the Grand Kremlin Palace and the Cathedral of Christ the Savior. Cathedral of Christ the Savior a prime example application of eclecticism in architecture, with 36 columns along the outer contour, 60 windows, 20 arches and 12 external doors. Domes with gilding, tapering upwards.

Completed projects on the embankments of the Moika River - the mansion of M.V. Vorontsova and Obvodny Canal - T. Dylev's mansion.

He mainly designed the reconstruction of existing buildings in Moscow.

He worked on the project of the palace of Prince Vladimir Alexandrovich in St. Petersburg, the Holy Trinity Cathedral of the Seraphim-Diveevsky Monastery, the park of Mikhailovskaya Dacha in Peterhof.

Remark 3

The beginning of the 20th century changed the era of electism with the development of the "neo-Russian style", modernism and neoclassicism.