Russian architecture of the first half of the 19th century. Architecture of the first half of the 19th century

The architecture of the 19th century is a rich heritage of the entire world society. Which great value have such buildings as the Cathedral of Christ the Savior in the capital or the General Staff in St. Petersburg! Without these structures, we can no longer imagine the architectural cities.

Russian architecture of the 19th century is characterized by such trends as classicism, empire - final stage development of classicism, as well as What belongs to each of these areas? Now let's figure it out. Classicism is an appeal to antiquity, which means that these are majestic buildings, most often with columns.

The architecture of the 19th century in this direction was represented by the following buildings.

St. Petersburg:

• The Smolny Institute and the building of the Academy of Sciences were built by Quarenghi. Perhaps these are the only buildings of the 19th century in this style.

• here it is impossible not to mention the Triumphal Gates, the building of the Bolshoi Theater, the Manege and the Alexander Garden - these are the buildings without which our capital will not be the same. Classical architecture of Moscow in the 19th century was represented by such prominent architects as Beauvais and Gilardi. The Bolshoi Theater is a symbol of Russian art and cultural life people until now, and the Triumphal Gates, erected in honor of the victory over Napoleon, create an image of the greatness and power of our Motherland. The work of Gilardi should include the Board of Trustees and the Kuzminki estate.

Empire - next direction in 19th century architecture. This is the last stage in the development of classicism. The style is presented in large numbers on the streets:

• Zakharov rebuilt the Admiralty, whose spire is one of the symbols of the city; The Kazan Cathedral of Voronikhin is a symbol of Nevsky Prospekt, and the Mining Institute is the pinnacle of development in this direction.
• K. Rossi - one of the greatest architects of Old Palmyra, his Mikhailovsky Palace became the Russian Museum - the repository of all the artistic traditions of our country. The building of the General Staff - all this is not just an architectural ensemble of the city, but is also an integral part of history.
• The great brainchild of Montferrand is St. Isaac's Cathedral. It is simply impossible not to fall in love with this large, majestic building: all the details and decorations of the cathedral make you freeze with delight. Another work of art of this architect was the Alexander Column.

The architecture of the 19th century was also represented by the Russian-Byzantine style, which was widespread mainly in Moscow. The most famous are the following buildings:

• The Cathedral of Christ the Savior, the Grand and the well-known Armory completed the Kremlin (architect Ton).
• The Sherwood Historical Museum made Red Square an even more significant place.

Thus, the architecture of the 19th century in Russia is more than structures. These buildings left a mark in history, great things were done in their premises and important issues were resolved. Without these, we cannot imagine our country.

The architecture of the 19th century in Russia was characterized by great diversity. She had not one, but several styles. As a rule, art critics divide it into two stages - classical and Russian. Particularly pronounced styles of architecture of the 19th century were reflected in such cities as Moscow and St. Petersburg. Many brilliant architects of that era worked in them. Let's get acquainted with the history of architecture of the 19th century closer.

Departure from the baroque

Before talking about Russian architecture of the 19th century, let's consider one of the styles from which it began. Baroque architecture in Russia at the end of the 18th century was replaced by classicism. This term comes from the Latin word for "exemplary". Classicism is artistic (including architectural) European style developed in France in the 17th century.

It is based on the ideas of rationalism. From the point of view of the adherents of this style, a work of art, a structure should be based on strict canons, thereby emphasizing the logic and harmony of the entire universe. Interesting for classicism is only the eternal, unshakable. In any phenomenon, he seeks to highlight its typological, essential features and discard individual, random features.

architectural classicism

For architectural classicism the main feature is the appeal to the forms characteristic of ancient architecture, considered as a standard of simplicity, rigor, harmony, logic. In general, it is distinguished by a regular layout, clarity of form, which is voluminous. It is based on an order that is close to antiquity in terms of shapes and proportions. And also classicism is characterized by symmetrical compositions, restraint of decor, regularity in urban planning.

The centers of classicism in Russia were Moscow and St. Petersburg. His prominent representatives- Giacomo Quarenghi and Ivan Starov. Typical classicist buildings are the Tauride Palace in St. Petersburg, the Trinity Cathedral, located in the Alexander Nevsky Lavra, the architect of which was Starov. According to Quarenghi's project, the Alexander Palace, the Smolny Institute, and the Academy of Sciences were built. The creations of this architect are a symbol of St. Petersburg classicism.

Empire transformation

The architecture of the first half of the 19th century in Russia is characterized by a gradual transition from classicism to empire. Empire (French for "imperial") is a style related to late, or high, classicism. It also appeared in France during the years when Napoleon I was in power, and developed during the first thirty years of the 19th century, after which it was replaced by historicism.

In Russia, this style arose during the reign of Emperor Alexander I. As you know, since the 19th century, Russia has been fascinated by the culture of France. As Russian monarchs often did, Alexander I sent the novice architect Auguste Montferrand from France. The tsar entrusted him with the construction of St. Isaac's Cathedral in St. Petersburg. Later Montferrand became one of the fathers of the so-called Russian Empire style.

Petersburg and Moscow directions

Russian Empire was divided into two areas: Moscow and St. Petersburg. This division was not so much territorial as characterized by the degree of its departure from classicism. This gap was the largest among St. Petersburg architects. Its most prominent representatives were:

• Andrey Voronikhin.
• Andrey Zakharov.
• Vasily Stasov.
• Jean Thomon.
• Carl Rossi.

Among the architects of Moscow to the largest masters period under review include:

• Osip Bove.
• Domenico Gilardi.
• Afanasy Grigoriev.

Among the sculptors, Feodosy Shchedrin and Ivan Matros can be distinguished. Empire was the leading style in Russian architecture until the 1830s and 40s. Interestingly, its revival, albeit in slightly different forms, took place in the USSR. This direction, which fell on the 1930-50s. XX century, became known as "Stalin's Empire".

royal style

Empire style is often referred to as the so-called royal styles, due to its theatricality in the design of both interior and exterior decoration. Its feature is the obligatory presence of columns, stucco cornices, pilasters, and other classical elements. Added to this are motifs that reflect, almost unchanged, such examples of details of ancient sculpture as sphinxes, griffins, lion paws.

In the Empire style, the elements are arranged in a strict order in the presence of symmetry and balance. This style has:

• massive, monumental forms;
• military symbols;
• rich decor;
• the influence of ancient Roman and ancient Greek art forms.

Artistic intent this style was to emphasize and embody the ideas of the power of autocratic power, the state, military force.

Coryphaeus of St. Petersburg

The appearance and development of the Empire style in the architecture of the 19th century in Russia is closely connected with the name of the architect Andrei Nikiforovich Voronikhin. One of his the best works- This is the Kazan Cathedral in St. Petersburg. Its powerful semi-oval colonnades frame the square facing Nevsky Prospekt. Another famous creation of his is the building of the Mining Institute. It is distinguished by a huge portico with a Doric colonnade that juts out against the backdrop of the brutal walls of the façade. On the sides of the portico are decorated with sculptural groups.

Famous creations in the Empire style by Jean de Thomon, a French architect, are the Bolshoi Theater in St. Petersburg and the stock exchange building. Directly in front of the building, the master installed two rostral columns, which symbolize the four great Russian rivers, such as the Volga, Volkhov, Dnieper and Neva. A rostral column is a column decorated with rosters - sculptural images of ship prows.

A recognized masterpiece of architecture of the 19th century in the Empire style is a complex of buildings belonging to the Admiralty, architect Zakharov Andrey Dmitrievich. The already existing building was renovated to reflect the theme of maritime glory and the might of the fleet. It turned into a grandiose building with a facade of about 400 meters long, with a majestic architectural appearance and emphasized central position in the town.

Russian style

In the architecture of the second half of the 19th century, there is a surge of interest directed to the works of ancient Russian architecture. The result is a complex consisting of several architectural styles, which is defined in several ways. Its main name is "Russian style", but it is also called "pseudo-Russian", and "neo-Russian", and "Russian-Byzantine". In this direction, there is a borrowing of some architectural forms characteristic of ancient Russian and Byzantine architecture, but already at a new technological level.

Art historians consider Konstantin Andreevich Ton as the founder of the "Russian-Byzantine style". His main creations are the Cathedral of Christ the Savior, as well as the Grand Kremlin Palace. The motifs of the Terem Palace are embodied in the exterior decoration of the last building. Its windows are made in the traditions of Russian architecture, they are decorated with carved architraves, equipped with double arches and a weight in their middle.

In addition to these structures, Ton's works include the Moscow Armory, cathedrals in Yelets, Tomsk, Krasnoyarsk, Rostov-on-Don.

Features of the Russian-Byzantine style

In the architecture of the 19th century, the Russian-Byzantine direction developed with the active support of Russian government. After all, this style was the embodiment of the idea of ​​official Orthodoxy. Russian-Byzantine architecture is characterized by the borrowing of certain compositional techniques and motifs used in Byzantine churches.

Byzantium borrowed architectural forms from antiquity, but gradually changed them, developing a type of church buildings that was very different from the basilicas of ancient Christians. Its main feature is the use of a dome covering the middle part of the building, using the technique of the so-called sails.

The interior design of Byzantine churches did not shine with wealth and did not differ in the complexity of details. But at the same time, their walls in the lower part were lined with marble of expensive varieties, and in the upper part they were decorated with gilding. The vaults were covered with mosaics and frescoes.

Outside, the building consisted of two tiers of elongated windows with rounded tops. Windows in some cases were grouped in twos or threes, and each of the groups was separated from the others by a column and framed by a false arch. In addition to windows in the walls, holes were made at the base of the dome for better lighting.

Pseudo-Russian style

In the architecture of the 19th century, there is a period of enthusiasm for such small decorative forms characteristic of the 16th century as a porch, a tent, a kokoshnik, a brick ornament. Architects Gornostaev, Rezanov and others work in a similar style.

In the 70s years XIX century, the ideas of the populists awaken in artistic circles a great interest in the culture of the Russian people, in the architecture of the peasants and the architecture of the 16th-17th centuries. One of the most striking buildings, made in the pseudo-Russian style of this period, is the Terem of the architect Ivan Ropet, located in Abramtsevo near Moscow, and the Mamontov printing house built by Viktor Hartman in Moscow.

AT late XIX- the beginning of the 20th century, the development of the neo-Russian style takes place. In search of simplicity and monumentality, the architects turned to ancient monuments Novgorod and Pskov, as well as the traditions of the Russian North. This style in St. Petersburg was embodied mainly in buildings for church purposes, made by:

• Vladimir Pokrovsky.
• Stepan Krichinsky.
• Andrey Aplaksin.
• Herman Grimm.

But houses were also built in the neo-Russian style, for example, the Kuperman tenement house, built according to the project of the architect Lishnevsky A. L. on Plutalova Street.

At the beginning of the 19th century, public interest in works of art increased significantly, which contributed to the development of artistic culture. An important feature development of art of this period was a rapid change artistic directions and the simultaneous existence of different artistic styles.

In the architecture of the first half of the century, classicism lingered longer than in other areas. artistic creativity. He dominated almost until the 40s. Its pinnacle at the beginning of the 19th century was the Empire style, expressed in massive forms, rich decorations, and the severity of lines inherited from imperial Rome. An important element There were also sculptures that complemented the architectural design of buildings. Palaces and mansions of the nobility, buildings of higher government institutions, noble assemblies, theaters and even temples were built in the Empire style. Empire was the embodiment of the ideas of state power and military strength.

Early 19th century was a time of rapid development of the capitals - St. Petersburg and Moscow. As well as the central part of large provincial cities. A feature of the construction of this period was the creation of architectural ensembles - a number of buildings and structures united into a single whole. In St. Petersburg during this period, Palace, Admiralteyskaya and Senatskaya squares were formed. in Moscow - Teatralnaya. Provincial cities were rebuilt according to special plans. Their central part now consisted not only of cathedrals, palaces of governors and mansions of the nobility, buildings of noble assemblies, but also new institutions - museums, schools, libraries, theaters.

The largest representatives ZAKHAROV Andreyan (Adrian) Dmitrievich, Russian architect. Empire representative. The creator of one of the masterpieces of Russian architecture of the Admiralty building in St. Petersburg ().

Zakharov created a monumental building in strict forms of the Russian Empire according to the traditional three-axis scheme: a tower surrounded by a colonnade at the top and crowned with a dome with a spire, and two wings, each of which has a central portico and two side six-columned loggias. Numerous statues (allegorical figures) and reliefs of facades and interiors by V. I. Demut-Malinovsky, F. F. Shchedrin, I. I. Terebenev and S. S. Pimenov are organically connected with the architectural forms of the building. The Admiralty, to the tower of which three highways of the city converge, is the center of the architectural composition of St. Petersburg.

VORONIKHIN Andrey Nikiforovich (), Russian architect, representative of the Empire style. His works in St. Petersburg Kazan Cathedral (), which laid the foundation for a large urban ensemble on Nevsky Prospekt, the Mining Institute () are marked by monumental and strict solemnity. Participated in the creation of architectural ensembles of Pavlovsk and Peterhof.

BOVE Osip Ivanovich (), Russian architect. Empire representative. Chief Architect of the Commission for the Restoration of Moscow after the Fire With the participation of Beauvais, Red Square was reconstructed, theatre square with the Bolshoi Theater (), Triumphal Gates ().

MONFERRAN August Augustovich () - Russian architect, decorator and draftsman. A representative of late classicism, his work marks the transition from classicism to eclecticism. French by origin. From 1816 he worked in Russia. Such buildings of Montferrand as St. Isaac's Cathedral and the Alexander Column played a significant role in shaping the ensembles of the center of St. Petersburg.

Ton Konstantin Andreevich - (), Russian architect, "Russian-Byzantine" style in Russian architecture. In under his leadership, the Grand Kremlin Palace was erected. In 1837, according to his project, the construction of the grandiose Cathedral of Christ the Savior began in Moscow in memory of the heroes of the Patriotic War of 1812. In 1839, the architect designs the Grand Kremlin Palace and the Armory of the Moscow Kremlin () and becomes their main builder. In Moscow, Ton also built the first railway station in Russia, the Nikolaevskaya Road (now Leningradsky Station, 1849; in St. Petersburg, now Moscow).

Karl Ivanovich Rossi - () Russian architect. He made a new contribution to the history of Russian classicism. His major works: the Mikhailovsky Palace in St. Petersburg (now the Russian Museum) with the entire area of ​​arts, the Palace Square ensemble with the General Staff Building and the arch, etc.

First half of the 19th century went down in history as the beginning of the "golden age" of Russian artistic culture. It was distinguished by: the rapid change of artistic styles and trends, the mutual enrichment and close interconnection of literature and other areas of art, the strengthening of public sound created works, organic unity and complementarity of the best examples of Western European and Russian folk culture. All this made the artistic culture of Russia diverse and polyphonic, led to an increase in its influence on the life of not only the enlightened strata of society, but also millions of ordinary people. First half of the 19th century went down in history as the beginning of the "golden age" of Russian artistic culture. It was distinguished by: the rapid change of artistic styles and trends, the mutual enrichment and close interconnection of literature and other areas of art, the strengthening of the public sound of the created works, the organic unity and complementarity of the best examples of Western European and Russian folk culture. All this made the artistic culture of Russia diverse and polyphonic, led to an increase in its influence on the life of not only the enlightened strata of society, but also millions of ordinary people.

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. It was then that the revolutionary activity of 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 determined the conditional division of the history of Russian art in the first half of XIX in. as if into two stages, the watershed of which was the 1930s.

Much has changed since the 18th century. in fine and 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.

The growth of interest in the artistic life of Russia was expressed 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, such as the school of A. V. Stupin 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 Russian Empire.

The architecture of the first third of the century is, first of all, the solution of large urban planning problems. In St. Petersburg, the layout 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 establishments, palaces and temples are built much less often (with the exception of regimental cathedrals at the barracks).

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

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

By the beginning of the XIX century. Russia was a country of special cultural life. The upper strata of society (the nobility, bureaucracy, the richest merchants) built their lives in accordance with the norms common in the West. Being fluent in foreign languages ​​(mainly French and German), representatives of these social groups had the opportunity to get acquainted with the latest European achievements.

A huge number of various books and magazines from France, Germany and Great Britain were imported into Russia, which gave an idea of ​​the political and social life of these countries, of the latest scientific discoveries and the most important technical inventions. In the middle of the XIX century. subjects of the Russian Tsar could often be found in the largest cities of Europe. At times, the state of affairs in France, England and Germany was much more known to them than the state of affairs in their homeland, which they saw less often than Europe. Part of the aristocracy became so Europeanized that for them the French language, at that time the language of international communication, became their native language. A considerable number of nobles used the Russian word and letter with great difficulty.

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

Russian Orthodox Church, its rituals, symbols of faith and sacraments raised people above everyday worldly concerns, taught to look at the world as God's creation. Unlike the nobility, many of whose representatives actually broke with the Church, simple people retained both adherence to faith in the teachings of Jesus Christ, and faith in the king, the anointed of God. No doubts and discontent inherent in the nobility on this score penetrated into their souls.

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

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

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

The poet's mother was the granddaughter of Ibrahim Gannibal, a native of Northern Abyssinia, who was one of the closest associates of Peter I. Pushkin immortalized him in the story Arap of Peter the Great. Alexander's childhood passed partly in Moscow, partly in the Pushkin estates near Moscow. They brought him up, like many other noble children, under the guidance of foreign tutors. AT early years he knew French incomparably better than Russian. A great influence on the development in him of love for everything Russian and understanding folk life and culture was provided by his nanny, a peasant woman Arina Rodionovna, who doted on her pupil. She told him folk tales, legends, sang Russian songs. Much of what the poet heard from the nanny Arina later sounded in his wonderful works. Written in verse The Tale of the Priest and his worker Balda, The Tale of Tsar Saltan, The Tale of the Fisherman and the Fish, The Tale of dead princess and about the seven heroes, The Tale of the Golden Cockerel became a favorite for many generations of Russian people.

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

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

Will I see a people unoppressed And slavery fallen to the mania of the king...

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

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

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

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

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

The play "The Government Inspector" made a strong impression on his contemporaries. Haven't seen anything like it yet theater stage. Russian reality was depicted in it with such talented force and brightness that although, as Gogol himself said, it was only about six provincial officials who turned out to be rogues, many were indignant. The comedy met with a lively and sympathetic response among those who advocated a change in general political conditions and public exposure of the shortcomings of public administration.

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

In the 1840s there have been major changes in the writer's worldview. Gogol was in the grip of a spiritual crisis, a serious reassessment of values, deep reflections on the experience. The book is full of these moods of spiritual disorder, humility in the face of life's adversities, dissatisfaction with what he created in literature. 4 Selected places from correspondence with friends.

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

These attacks had a depressing effect on Gogol. There are signs of a new aggravation of his mental illness, Gogol was tormented by premonitions of imminent death.

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

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

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

M. Yu. Lermontov became known to all reading Russia by giving his works Poets death and Borodino Voldanny in 1837.

The poem “The Death of a Poet”, written immediately after the death of A. S. Pushkin, sold out in the lists. This is a lyrical monologue of the young Lermontov about tragic fate Pushkin the Poet.

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

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

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

Poems and poems of Lermontov are filled with his spiritual quest, dreams, impulses, moods, and at the same time sober, fearless introspection, self-knowledge. These are thoughts about eternal questions human existence. Such are the poems Mtsyri and Demon, poems Sail, I go out alone on the road ..., “And boring and sad ..., Stanzas, Duma, Prophet and etc.

Most significant work M.Yu. Lermontov - novel Hero of our time, the plot of which was the vicissitudes of life of a young nobleman, officer Grigory Aleksandrovich Pechorin, a gifted, thinking person, with strong will. The writer is interested in this rich, deep human personality, which cannot find application for its mighty forces, its violent passions.

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

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

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

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

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

made by the sculptor B. I. Orlovsky statues of M. I. Kutuzov and M. B. Barclay de Tolly, in which psychologism, concreteness of images were organically combined with the severity and majesty inherent in classicism. In 1813, the commander-in-chief of the Russian troops in Patriotic war 1812 Field Marshal M. I. Kutuzov. B. I. Orlovsky also owns the project of the building Mountain Cadet Corps(Mining Institute), marked by monumental and strict solemnity.

Among the most significant architectural monuments of St. Petersburg of that time is the building Imperial Hermitage(architect L. von Klenze, 1784-1864), which has become the main Russian museum, which has concentrated the richest art collections. But the will of Emperor Nicholas I in 1852, the meeting works of art was open for free viewing by all comers. The Hermitage became the first public museum in Russia.

Creations amaze with the scale of the idea K. I. Ross (1775-1849). His first major work in St. Petersburg was the construction of the Grand Duke's Mikhailovsky Palace, now the building State Russian Museum. Rossi's ideas were also embodied in the construction of the ensemble Alexandrinsky Theater and Palace Square with buildings and arch of the General Staff Building, whose colossal arc surrounds Palace Square. Triumphal Arch became the culmination of the entire architectural composition, conceived as a monument to the heroic glory of the Russian people who won the war of 1812.

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

Remarkable buildings are also appearing in the capital of Russia, Moscow.

Designed by an eminent architect O. I. Bove (1784-1834) in 1814 was reconstructed The Red Square. The old building of the mall opposite the Kremlin wall has acquired a new architectural look. It turned into horizontally elongated buildings, creating an expressive contrast with the soaring Kremlin towers.

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

The space of the squares was organized, which included Kraspuya, Theater, Manezhnaya squares. All this testified that the architects of the first half of the XIX century. I thought big - they saw a single building or a group of buildings! in the spatial scope of the street, I square, the city as a whole. This predetermined the length of facades characteristic of Empire architecture. | In 1817, a huge building was opened arena, designed for military reviews, parades and exercises. It could freely accommodate an infantry regiment (2 thousand people). The project was carried out under the supervision of an engineer A. A. Betancourt, and the decoration of the facade belonged to O. I. Bove. By project O. I. Bove was broken Alexander Garden at the Kremlin wall, he created a plan 1st City Hospital. beauvais was the author of those erected in 1834. triumphal gate in honor of the victory in the Patriotic War of 1812. The gate was located at the Tverskaya Zastava at the entrance to Moscow from St. Petersburg, from where the main thoroughfare of the city began.

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

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

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

A bizarre combination of classicism with decorative motifs Old Russian architecture marked by the creativity of the architect K. A. Tona (1794-1881), creator The Grand Kremlin Palace, the building of the Armory. Moscow Kremlin, as well as Cathedral of Christ the Savior.

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

In other cities of the Russian Empire, a lot was also built during this period, but the buildings there did not differ in metropolitan grandiosity.

Theater and dramaturgy

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

They looked at the theater as fun, it was believed that the audience at the performances should only have fun, have fun. That's why theatrical repertoire consisted mainly of merry vaudevilles, light plays, indispensable music and dancing.

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

In the 19th century the position is changing. Theater becomes social phenomenon, appear modern theaters. In them, domestic plays are staged that affect major social problems (for example, N.V. Gogol's play "The Government Inspector"),

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

Huge popularity in the 1830s and 1840s. enjoyed V. A. Karatygin (1802-1853), who became generally recognized as the first tragedian of the Russian drama theater. He worked a lot at the Alexandrinsky Theatre. His acting skills revealed to the domestic audience the depth and grandeur of W. Shakespeare's plays. His performance of the roles of Hamlet, King Lear and Othello was recognized by the public and theater critics as the pinnacle of acting.

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

Actor P. M. Sadovsky (1818-1872) also became famous on the stage of the Maly Theater. His work contributed to the establishment of the plays of the Russian writer-dramatist in the repertoire of the theater BUT. I. Ostrovsky (1823-1886). P. M. Sadovsky participated in the productions of all Ostrovsky's plays. The first time Ostrovsky's comedy "Don't get into your sleigh" was played here in 1852. Soon the Maly Theater began to be called Ostrovsky's house, since his plays began to dominate the theater repertoire.

art

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

Democratic tendencies new era express themselves clearly in art V.L. Tropinin (1776-1857).

V. A. Tropinin. Lacemakers":

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

K. P. Brullon. Self-portrait:

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

Another line of Bryullov's creativity - the so-called italian genre, the most striking examples of which are paintings Italian morning and Italian afternoon.

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

Ancestor of the Russian household paintings is A.G. Venetsianov (1780-1847). The viewer opened a somewhat idealized artist peasant world. This painting is a masterpiece of the master recognized Portrait of A.S. Pushkin. Kiprensky also owns a series of images of the military - participants in the Patriotic War of 1812.

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

A. A. Ivanov (1806-1858) gave Russian history painting hitherto unheard-of psychological precision.

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

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

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

Fedotov's picturesque works are distinguished by expressive poses, gestures and facial expressions of characters, humor, and thoroughness of writing. A wide democratic audience was intended for such works of his as The Fresh Cavalier, The Picky Bride, The Major's Courtship, The Aristocrat's Breakfast, The Widow and etc.

Music

In the field of musical culture at the beginning of the XIX century. in Russia, the works of foreign authors reigned supreme. But since the 1830s the situation begins to change, and there are large musical works, in which domestic composers widely used national motifs.

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

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

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

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

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

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

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

God save the king! Glorious long days Give on the earth, give on the earth! Proud humbler. Weak keeper. To the comforter of all - Send everything down!

Primary Orthodox Russia. God save the king, save the king! Her kingdom is harmonious, In strength, calm. All the unworthy

Oh providence. Blessing

Send us down, send us down! To the good desire. Happiness, humility, In sorrow Give patience on earth!