Architecture and painting in the first half of the 19th century

Late XVIII - early XIX in. - the era of classicism in Russian architecture. Classicism - cultural direction focused on antique art, literature and mythology. In Russianliterature and music, classicism almost did not find reflection, and in painting, sculpture, and especially arthitektura created genuine masterpieces. Forbuildings in the style of classicism are characterized by strictproportions, balance, symmetry, harmonya perfect combination of the whole and the parts. Typical de- tal - the main entrance in the center, decorated in the form of a portico.

Even in the middle of the eighteenth century. Petersburg was a citysingle estates, in many ways similar to the oldMoscow. But then regular building beganalong straight avenues diverging from the centertra. The building of the Admiralty was erected in the centerstva according to the project of A. D. Zakharov. His solemnThis view set the tone for the whole look of the city. Petersburg- Classicismdeveloped as architecture not from-individual buildings, but whole avenues and ensembles,striking in their harmony. At the beginning of theka on the spit of Vasilyevsky Island according to the project To-ma de Thomon, the Exchange building was erected, very successfully fit into the system of "Peter and Paul fortress - spit of Vasilyevsky Island - Yard- tsovaya embankment”, united by the smooth surface of the river. The theme of dominance over the water element was emphasized and S. S. Pimenov, I. I. Terebenev, V. I. De mut-Malinovsky in monumental sculpture,decorating the rostral columns in front of the buildingExchanges. The main thoroughfare of the city, Nevsky pro-spectrum, acquired the form of an integral ensemble with erected niem in 1801-1811. Kazan Cathedral designed by A. N. Voronikhin. Monuments to Kutuzov and Barclay de Tolly by B. I. Orlovsky were erected in front of the cathedral building. In the 40-50s Nevskythe avenue was decorated with "Horse Tamers" by P. K. Claudethe one installed on the Anichkov bridge. From 1818 to 1858 was built Saint Isaac's Cathedral- the most painful shoe building erected in Russia in the first half not XIX in. It was intended to symbolize the power of the autocracy and a close alliance with the rightglorious church. The author of the project, O. Montferrand,also erected the Alexander Column on the Dvor- tsovaya square - a monument to Alexander I and Russian weapons, famous in the Patriotic war. The triumphal motifs of the Alexander Column were repeated in the sculptural decorationarches of the General Staff, built according to the projectK. I. Rossi. The completion of shaping work on the formation of St. Petersburg ensembles. Buildings were built according to his designs.of the Senate and the Synod, the Alexandria Theater, the Hail Palace. The famous architect built and redesigned streets and squares, turning the whole city into a work of art.

Moscow classicism, in contrast to Peterburgsky, characterized by separate buildings. By-after the fire of 1812, which did not change the traditional different styles of Moscow streets, were builtny Bolshoi Theatre, Manezh (architect O. I. Bove), Ope-Kuna Council on Solyanka (architect D.I. Gilardi).A monument was erected on Red SquareMinin and Pozharsky by I.P. Martos, Vin general, Moscow classicism is not so monumentalTalen. Moscow is characterized by mansionsof a different type, such as, for example, the Lopukhins' house on Pre-cleaning of the architect A. G. Grigoriev.

Provincial classicism was close toskovsky; in Siberia at the beginning of the century was widespreadStrange baroque, classicism came later.

In the 30s of XIX in. classicism has arrived crisis. Canonical features of classical buildings ny - the only entrance, indispensable columns - did not meet the new requirements of life: in St.burg, tenement houses were erected with manyentrances, on the lower floors there were shopszines with wide windows. creative thoughtarchitects came to the need for "smart you-boron ": combinations appearance buildings from itsvalue. Now everything was determined by the desire forthe treasurer and the predilections of the architect. Has comeperiod eclecticism(mixing styles). In 1839-1852. in St. Petersburg, the building of the New Hermitage was built according to the project of L. Klenze; Modern Greek the style of the building created an impressive image of the museum.Nicholas Palace designed by A. I. Shtakensh nader was built in 1853-1864. using motives Italian Renaissance. K. A. Tonin his work he tried to combine classicism with traditions of ancient Russian architecture. In 1839-1849. under his leadership, the Bolshoi Kremlin Palace was built; in 1839-1883 - temple Christ the Savior in honor of the victory of Russia in the Fatherland military war of 1812, talented Russian sculptors participated in its construction and decoration, artists, engineers. Few creations, Tona survived to this day, among them - the Petersburg station in Moscow and Moscow - in St. Petersburg.

Classicism in painting was called aka- demism.It was good at the Academy of Artstraining in painting and drawing was set up, but the plot line focused only on the ancient heritage, modern life was considered unworthy Images. For the works of academic artistscharacteristic landscape, theatricalitycompositions and an indispensable plot from antiquity.The talent of K. P. Bryullov made it possible to createacademicism, significant and living works niya. His painting "The Last Day of Pompeii" sewed a triumphant journey from Italy to Russiathis and made a deep impression on modernMennikov. Academic painting of its peakreached in the work of A. A. Ivanov and his works deniya "The appearance of Christ to the people." In the first half XIX in. portrait painters O. A. Kiprensky workedand V. A. Troshshin, who wrote lifetime port-Pushkin's reta. Does not fit into the framework of academicismmoose creativity P. A. Fedotov; his "Fresh Cava"ler", "Major's Matchmaking", "Aristocrat's Breakfast" - works of a clearly satirical nature.

In 1852in Russia began the creation general dos- dumb art museums. opened his doors Hermitage, which has become from the palace collectionartistic treasures (founded by CatherineNoah P) National Museum.

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 the 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 city 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, Theater Square with the Bolshoi Theater (), Triumphal Gates () was created.

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 in memory of the heroes began in Moscow. Patriotic War 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 largest works: the Mikhailovsky Palace in St. Petersburg (now the Russian Museum) with the entire area of ​​​​arts, an ensemble Palace Square with the building of the General Staff 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 relationship 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 did artistic culture Rossi 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.

As you know, the first half of the XIX century. in Russia it was marked by a general upsurge associated with the victory in the Patriotic War of 1812. The main tasks of the architecture of this time are the solution of urban planning issues: unique urban ensembles are being created in St. Petersburg, the planning of the main squares (Palace and Senate) is being completed, and Moscow is being intensively restored after the fires of 1812 .
In many ways, the Russian Empire relied on antiquity in the Greek version. The severe and laconic Doric (Tuscan) order was widely used. The main elements of the order are enlarged, the power of smooth walls, arches and colonnades is emphasized.
The main place in the construction of this time is occupied by public buildings. The largest architects of the first half of XIX in. were A.N. Voronikhin, F.I. Thomas de Thomon, A. D. Zakharov, K. I. Rossi, V. P. Stasov, O. Bove and others.

Andrei Nikiforovich Voronikhin (1759-1814)

Unknown artist. Portrait of A. Voronikhin
Russian architect and painter, representative of classicism, one of the founders of the Russian Empire style.
He was a serf of Count A. S. Stroganov, released in 1785. Together with the son of Count Stroganov, he visited France and Switzerland, where he studied architecture, mechanics and mathematics. Subsequently, he received the title of academician of painting, and then - academician of architecture for the design of the colonnades in Peterhof.
The first architectural experiments - interior decoration Stroganov Palace in 1793. The main building of Voronikhin is the cathedral in honor of the icon of Kazan Mother of God in St. Petersburg (completed in 1811).

Kazan Cathedral
After the Patriotic War of 1812, the cathedral was recognized as a monument of Russian military glory. In 1813, the commander Mikhail Illarionovich Kutuzov was buried here and the keys to the captured cities and other military trophies were placed.

Cathedral interior
Another major construction of Voronikhin in St. Petersburg is the building of the Mining Cadet Corps (later the Institute) on the banks of the Neva. Its architectural dominant was a powerful 12-column portico.

Mining Institute
Other works by Voronikhin: the house of the State Treasury, the colonnades and cascade in Peterhof, the interiors of palaces in Strelna, Gatchina and Pavlovsk, park structures in these palace and park ensembles.

Andreyan Dmitrievich Zakharov (1761-1811)

S. Schukin. Portrait of A.D. Zakharova
Worked in the Empire style. He studied at the Academy of Arts, as well as in Paris with J.F. Chalgrin, court architect of Napoleon I. He achieved the title of chief architect of the Maritime Department in St. Petersburg, chief architect of Gatchina.

Lutheran Church of St. Peter in Gatchina. Architect A.D. Zakharov
Zakharov prepared a draft architectural plan for the Nizhny Novgorod fair, according to which the architect A.A. Betancourt built it a few years later. But Zakharov's main achievement in architecture was the design and construction of the Admiralty building.

Main Admiralty in St. Petersburg
Initially, the St. Petersburg Admiralty was built as a shipyard according to drawings signed personally by Peter I. In 1732-1738. architect I.K. Korobov built the stone building of the Admiralty.
By the beginning of the XIX century. the architecture of the Admiralty no longer corresponded to its position as the "central" building in the city. There was a need to change the appearance of the building so that it would be in harmony with the nearby Winter Palace and other architectural ensembles located nearby.
In 1806-1823. architect A. Zakharov brilliantly solved this problem. He almost completely rebuilt the Admiralty, leaving only an elegant tower with a spire. On the site of fortifications near the shipyard, a boulevard was laid out (now here is the Alexander Garden). The new grandiose building had a majestic appearance and retained it central position in the city: the main highways converge to it in three rays.

The ship on the spire of the Admiralty building is one of the symbols of St. Petersburg.

Jean-Francois Thomas de Thomon (1760-1813)

French artist and architect who worked in Russia in the style of classicism.
He arrived in Russia in 1799 at the invitation of Prince A. M. Golitsyn.
In 1801-1805. at the request of Emperor Alexander I, he enlarged and refurbished the Bolshoi Theater in St. Petersburg, receiving the title of court architect for this.
Thomas de Thomon increased the volume of the building, added an 8-column Ionic portico with a pediment in the style of high classicism from the side of the main facade. The theater received a rich interior decoration. The royal box from the middle of the theater, at the request of Emperor Alexander I, was transferred to the 1st row of boxes and was no different from the rest of the boxes.
The Bolshoi Stone Theater has become a landmark of the capital along with the Admiralty and the Kazan Cathedral.

Big theater. Photo 1886
In 1805, Thomas de Thomon accepted from Quarenghi the unsuccessful project of the St. Petersburg Stock Exchange on Vasilyevsky Island and created a new one. According to his project, the majestic building of the Stock Exchange was built, covered by a double row of Doric columns on a granite base, to which wide grand staircases lead. Against the background of pediments with huge semicircular windows, there are sculptures by I. P. Prokofiev and F. F. Shchedrin.

Exchange building
Other works by Thomas de Thomon: the ensemble of the Spit of Vasilyevsky Island with two gentle slopes to the Neva and rostral columns; the project of the mausoleum to Paul I in Pavlovsk; old Odessa Opera House; military hospital in Odessa; Monument of Glory in Poltava in honor of the centenary of the Battle of Poltava; fountains along the road from St. Petersburg to Tsarskoe Selo, etc.

Glory monument in Poltava

Vasily Petrovich Stasov (1769-1848)

A. Varnek. Portrait of V.P. Stasova
Russian architect. From a family of poor nobles. Worked in the Expedition of Architectural Affairs. Academician of the St. Petersburg Academy of Arts. Its most important buildings are the Cathedral of the Transfiguration of the Savior, the Narva Triumphal Gates, the Trinity-Izmailovsky Cathedral in St. Petersburg.

Narva triumphal gates in St. Petersburg
The Transfiguration Cathedral was built in 1829 in the Empire style on the site of an earlier church.
The area of ​​the cathedral is 1180 m². The facades are decorated with 12-meter four-column porticos of the Ionic order.

Transfiguration Cathedral

The building is completed by a powerful light drum with a dome, in the corners there are four bell towers. There is a clock tower in the northwestern bell tower.

Capital of one of the columns
The walls of the cathedral are decorated with stucco panels with military attributes. During the reign of Emperor Paul I, the regimental Spaso-Preobrazhensky Cathedral received the honorary title "the cathedral of the entire guard."

Trinity-Izmailovsky Cathedral in St. Petersburg was built in 1828-1835. in the Empire style. During the time of Peter I, a wooden chapel stood on this site. In 1754, a new wooden 5-domed temple was laid on this site. After the flood of 1824, the architect V.P. Stasov was asked to develop a project for a new stone church, the old wooden church was supposed to remain a model.
The height of the cathedral is 80 m. It can accommodate more than 3,000 people.
The domes are painted with gold stars on a blue background on the personal instructions of Nicholas I, like the domes of the Archangel Cathedral in Moscow and Tver Cathedral in Tver.
The facades of the cathedral are decorated with 6-column porticos of the Corinthian order with a sculptural frieze. In the niches of the porticos there are bronze figures of angels by the sculptor S.I. Halberg.
The interior is decorated with 24 Corinthian columns. The pilasters are covered with white artificial marble. The painting of the cathedral - artists A. I. Travin and T. A. Medvedev.

Osip (Joseph; Giuseppe) Ivanovich Bove (1784-1834)

Unknown artist. Portrait of O. Bove

Russian architect, famous for the reconstruction of Moscow after the fire of 1812. He worked mainly in the style of classicism.
Born in St. Petersburg in the family of the Neapolitan artist Vincenzo Giovanni Bova, who came to Russia in 1782 to work in the Hermitage. He received his architectural education at the architectural school during the Expedition of the Kremlin Building under F. Camporesi.

Big theater. 19th century drawing
Under the leadership of Beauvais in the center of Moscow, the Classicist shopping arcade opposite the Kremlin was rebuilt (not preserved), the Red Square was reconstructed, the earthen fortifications around the Kremlin were demolished and the moat was filled in, the Kremlin (Alexandrovsky) garden was laid out, the Manege, Theater Square with the Bolshoi (Petrovsky ) theater (in 1821-1824 the project was revised by A. A. Mikhailov). Beauvais also built the Gradsky hospital behind the Kaluga outpost, the Triumphal Gates.
The State Academic Bolshoi Theater of Russia (GABT) is one of the largest in Russia and one of the most significant opera and ballet theaters in the world. The theater complex is located on Theater Square in the center of Moscow.

theatre square
In March 1853 the theater burned down; from the fire, which lasted several days, only the stone outer walls of the building and the colonnade of the portico survived. It was restored according to the project of A. Cavos.

Big theater. Modern look

Domenico Gilardi (1785-1845)

M. Bykovsky. Portrait of D. Gilardi
Swiss architect who worked in Moscow. Son of architect Giovanni Gilardi, cousin of Alessandro Gilardi. Personally and in collaboration with A. G. Grigoriev, he restored the public buildings of Moscow destroyed by fire in 1812: the University on Mokhovaya, the Sloboda Palace, the Catherine Institute, etc. The author of city estates, the buildings of the Board of Trustees and country estate Kuzminki. He worked on the restoration of the Ivan the Great Bell Tower and other buildings of the Kremlin.

The building of the Board of Trustees. Empire style
The 8-column portico is crowned with a frieze by the sculptor IP Vitali and a triangular pediment. The colonnade is raised to a high podium with a base cut through by entrance arches. A wide staircase leads to the entrance. The building is completed with a dome on a massive drum with semicircular windows. The purpose of the Board of Trustees is to take care of illegitimate children and orphans.
In 1847, according to the project of M. D. Bykovsky, the building was rebuilt, the central part of it was left unchanged, as were the interiors of the central halls.
Manor Kuzminki - former manor princes Golitsyn on the lands of the Kuzminsky park in the modern Moscow districts of Kuzminki and Vykhino-Zhulebino. The buildings are located on both banks of the Churilikha (Ponomarka) River, on which the Kuzminsky Ponds system is arranged.

Horse yard in winter
AT mid-nineteenth in. The architectural and park ensemble of the Kuzminki estate included a large number of residential and ancillary buildings, including the manor house, the Egyptian pavilion (kitchen), the pier and the "transport" raft, the gallery behind the pond, the greenhouse, the horse yard with the music pavilion, the smithy, the bathhouse , Blachernae Church, sacristy, outbuildings, outbuilding of the clergy, a hospital for peasants, etc.

Church of Blachernae Mother of God

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 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 architectural ensemble city, but 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.

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 spoke, passionate disputes were waged by Westerners 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 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.

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, 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, act. 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 semantic 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).

The largest architect of this time, Andrei Nikiforovich Voronikhin (1759–1814), began his independent path back in the 90s, following F.I. Demertsov of the interiors of the Stroganov Palace F.-B. Rastrelli in St. Petersburg (1793, Mineral Cabinet, picture gallery, corner room). Classical simplicity is also characteristic of the Stroganov dacha on the Black River (1795–1796, not preserved. For the oil landscape "Stroganov's Dacha on the Black River", 1797, Russian Museum, Voronikhin received the title of academician). In 1800, Voronikhin worked in Peterhof, completing the project of galleries near the bucket of the Samson fountain and taking part in the general reconstruction of the fountains of the Great Grotto, for which he was officially recognized as an architect by the Academy of Arts. Later, Voronikhin often worked in the suburbs of St. Petersburg: he designed a number of fountains for the Pulkovo road, finished the Flashlight office and the Egyptian lobby in the Pavlovsk Palace, Viskontiev Bridge and the Pink Pavilion in Pavlovsk Park. The main brainchild of Voronikhin is the Kazan Cathedral (1801–1811). The semicircular colonnade of the temple, which he erected not from the side of the main - western, but from the side - northern facade, formed a square in the center of the Nevsky prospect, turning the cathedral and the buildings around it into an important town-planning hub. Driveways, the colonnade ends second, connect the building with the surrounding streets. The proportionality of the side passages and the building of the cathedral, the design of the portico and fluted Corinthian columns testify to the excellent knowledge of ancient traditions and their skillful modification in the language of modern architecture. In the remaining unfinished project of 1811, a second colonnade was proposed near the southern facade and a large semicircular square near the western one. Only a wonderful cast-iron grating in front of the western facade turned out to be made from this plan. In 1813 M.I. was buried in the cathedral. Kutuzov, and the building became a kind of monument to the victories of Russian weapons. Banners and other relics recaptured from the Napoleonic troops were kept here. Later, monuments to M.I. Kutuzov and M.B. Barclay de Tolly, executed by the sculptor B. I. Orlovsky.

Voronikhin gave the Mining Cadet Corps (1806-1811, now the Mining Institute) an even more strict, antiquity character, in which everything is subordinated to a powerful Doric portico of 12 columns facing the Neva. Equally severe is the image of the sculpture that adorns it, perfectly combined with the smoothness of the side walls and Doric columns. I.E. Grabar correctly noted that if the classicism of the Catherine's era proceeded from the ideal of Roman architecture (Quarenghi), then the "Alexander" one, as it were, resembles the majestic style of Paestum.

Voronikhin, the architect of classicism, devoted a lot of energy to the creation of the urban ensemble, the synthesis of architecture and sculpture, the organic combination of sculptural elements with architectural divisions both in large structures and in small ones. The mountain cadet corps, as it were, opened up a view of Vasilsvsky Island from the sea. On the other side of the island, on its spit, during these years, Thomas de Thomon was building the Bourse Ensemble (1805–1810).

Thomas de Thomon (c. 1760–1813), Swiss by birth, came to Russia at the end XVIII century, having already worked in Italy, Austria, possibly taking a course at the Paris Academy. He did not receive a completed architectural education, however, he was entrusted with the construction of the Stock Exchange building, and he brilliantly coped with the task (1805-1810). Tomon changed the entire appearance of the spit of Vasilsvsky Island, shaping the banks of the two channels of the Neva in a semicircle, placing rostral columns-lighthouses along the edges, thereby forming a square near the Stock Exchange building. The Exchange itself has the appearance of a Greek temple - a peripter on a high plinth, intended for trading warehouses. Decor is almost non-existent. Simplicity and clarity of forms and proportions give the building a majestic, monumental character, make it the main one not only in the ensemble of arrows, but also influencing the perception of both embankments, both Universitetskaya and Dvortsovaya. Decorative allegorical sculpture of the Stock Exchange building and rostral columns emphasizes the purpose of the buildings. The central hall of the Stock Exchange with a laconic Doric entablature is covered with a coffered semicircular vault.

The Stock Exchange Ensemble was not the only construction of Thomas de Thomon in St. Petersburg. He also built in the royal suburban residences, using here the Greek type of construction. The artist's romantic moods were fully expressed in the mausoleum "To the Benefactor Spouse", erected by Empress Maria Feodorovna in memory of Pavel in the park of Pavlovsk (1805-1808, the memorial sculpture was made by Martos). The mausoleum resembles an archaic type of prostyle temple. Inside the hall is also covered with a coffered vault. Smooth walls are lined with artificial marble.

The new century was marked by the creation of the most important ensembles in St. Petersburg. A graduate of the St. Petersburg Academy and a student of the Parisian architect J.-F. Shalgren Andrey Dmitrievich Zakharov (1761–1811), since 1805 “the chief architect of the Admiralty”, begins the construction of the Admiralty (1806–1823). Having rebuilt the old Korobov building, he turned it into the main ensemble of St. Petersburg, which invariably rises in the imagination when talking about the city even today. Zakharov's compositional solution is extremely simple: the configuration of two volumes, and one volume is, as it were, nested in the other, of which the outer, U-shaped, is separated by a channel from two inner outbuildings, L-shaped in plan. The inner volume is ship and drawing workshops, warehouses, the outer one is departments, administrative institutions, a museum, a library, etc. The facade of the Admiralty stretches for 406 m. is the castle of the composition and through which the main entrance runs inside. Zakharov retained Korobov's ingenious design for the spire, showing tact and respect for tradition and managing to transform it into a new classicist image of the building as a whole. The monotony of the almost half a kilometer facade is broken by evenly spaced porticos. In striking unity with the architecture is the decorative plasticity of the building, which has both architectonic and semantic significance: the Admiralty is the maritime department of Russia, a powerful maritime power. The whole system of sculptural decoration was developed by Zakharov himself and brilliantly embodied by the best sculptors of the beginning of the century. Allegories of the Winds, Shipbuilding, etc. are depicted above the parapet of the upper platform of the tower pavilion, crowned with a dome. At the corners of the attic are four seated warriors in armor, leaning on shields, executed by F. Shchedrin, below is a huge, up to 22 m long, relief frieze " Establishment of the Fleet in Russia” by I. Terebenev, then in flat relief the image of Neptune, passing the trident to Peter as a symbol of dominance over the sea, and in high relief - winged Glories with banners - symbols of the victories of the Russian fleet, even lower are the sculptural groups of “nymphs holding globes” , as Zakharov himself called them, also performed by F. Shchedrin. This combination of round sculpture with high and low relief, statuary plasticity with relief and ornamental compositions, this ratio of sculpture with a smooth mass of the wall was also used in other works of Russian classicism of the first third of XIX centuries.

Exchange building in St. Petersburg

Zakharov died without seeing the Admiralty in its finished form. In the second half of the XIX century. the territory of the shipyard was built up with profitable houses, much of the sculptural decoration was destroyed, which distorted the original plan of the great architect.

The Zakharovsky Admiralty combines the best traditions of Russian architecture (it is no coincidence that its walls and the central tower remind many of the simple walls of ancient Russian monasteries with their gate bell towers) and the most modern urban planning tasks: the building is closely connected with the architecture of the city center. Three avenues originate from here: Voznesensky, Gorokhovaya st., Nevsky avenue (this ray system was conceived under Peter). The Admiralty Needle echoes the high spiers of the Peter and Paul Cathedral and the Mikhailovsky Castle.

Leading Petersburg architect of the first third of the 19th century. ("Russian Empire") was Karl Ivanovich Rossi (1777-1849). Rossi received his initial architectural education in the workshop of Brenna, then traveled to Italy, where he studied the monuments of antiquity. His independent work begins in Moscow, continues in Tver. One of the first works in St. Petersburg - buildings on Elagin Island (1818). It can be said about Rossi that he “thought in ensembles”. A palace or a theater turned into a town-planning hub of squares and new streets. So, creating the Mikhailovsky Palace (1819–1825, now the Russian Museum), he organizes the square in front of the palace and paves the street to Nevsky Prospekt, while commensurating his plan with other nearby buildings - the Mikhailovsky Castle and the space of the Field of Mars. The main entrance of the building, located in the depths of the front courtyard behind a cast-iron grate, looks solemn, monumental, which is facilitated by the Corinthian portico, to which a wide staircase and two ramps lead. Rossi did much of the decoration of the palace himself, and with impeccable taste - the design of the fence, the interiors of the vestibule and the White Hall, the color of which was dominated by white and gold, characteristic of the Empire, as well as grisaille painting.

In the design of Palace Square (1819-1829), Rossi faced the most difficult task - to combine the Baroque Rastrelli Palace and the monotonous classicist facade of the General Staff building and ministries into a single whole. The architect broke the dullness of the latter with the Arc de Triomphe, which opens the way to Bolshaya Morskaya Street, to Nevsky Prospekt, and gave the correct shape to the square - one of the largest among the squares of European capitals. The triumphal arch, crowned with the chariot of Glory, gives the entire ensemble a highly solemn character.

One of the most remarkable ensembles of Rossi was begun by him at the end of the 10s and completed only in the 30s and included the building of the Alexandria Theater, built according to last word techniques of that time and with rare artistic perfection, Alexandria Square adjacent to it, Teatralnaya Street behind the facade of the theater, which today has received the name of its architect, and completing its five-sided Chernyshev Square near the Fontanka embankment. In addition, the ensemble included the Sokolovsky building of the Public Library, modified by Rossi, and the pavilions of the Anichkov Palace, built by Rossi back in 1817–1818.

The last creation of Rossi in St. Petersburg is the building of the Senate and the Synod (1829–1834) on the famous Senate Square. Although it still amazes with the impudent scope of the architect’s creative thought, who connected two buildings separated by Galernaya Street with a triumphal arch, one cannot but note the appearance of new features characteristic of late creativity architect and the last period of the Empire as a whole: some fragmentation of architectural forms, congestion with sculptural elements, rigidity, coldness and pomposity.

In general, Rossi's work is a true example of urban planning. Like Rastrelli once, he himself composed the decor system, designing furniture, creating wallpaper patterns, and also led a huge team of wood and metal craftsmen, painters and sculptors. The integrity of his plans, a single will helped create immortal ensembles. Rossi constantly collaborated with sculptors S.S. Pimenov Senior and V.I. Demut-Malinovsky, the authors of the famous chariots on the Arc de Triomphe of the General Staff and sculptures at the Alexandria Theater.

Vasily Petrovich Stasov (1769–1848) was the “most rigorous” of all architects of late classicism – whether he built barracks (Pavlovsky barracks on the Field of Mars in St. Petersburg, 1817–1821), whether he rebuilt the Imperial stables (“Stable Department” on the Konyushennaya Square, 1817–1823), whether he built regimental cathedrals (the Cathedral of the Izmailovsky Regiment, 1828–1835) or triumphal arches (Narva and Moscow Gates), or designed interiors (for example. Winter Palace after the fire of 1837 or Ekaterininsky Tsarskoye Selo after the fire of 1820). Everywhere Stasov emphasizes the mass, its plastic heaviness: his cathedrals, their domes are heavy and static, the columns, usually of the Doric order, are just as impressive and heavy, the general appearance is devoid of grace. If Stasov resorts to decor, then it is most often heavy ornamental friezes.

Voronikhin, Zakharov, Thomas de Thomon, Rossi and Stasov are Petersburg architects. No less remarkable architects worked in Moscow at that time. During the war of 1812, more than 70% of the entire urban housing stock was destroyed - thousands of houses and more than a hundred churches. Immediately after the expulsion of the French, intensive restoration and construction of new buildings began. It reflected all the innovations of the era, but the national tradition remained alive and fruitful. This was the originality of the Moscow construction school.

Alexandria Theater in St. Petersburg

First of all, Red Square was cleared, and O.I. Beauvais (1784-1834) were rebuilt, and in fact, re-erected Trade Rows, the dome over the central part of which was located opposite the dome of the Kazakov Senate in the Kremlin. A little later, a monument to Minin and Pozharsky was erected on this axis by Martos.

Beauvais was also engaged in the reconstruction of the entire territory adjacent to the Kremlin, including a large garden near its walls with a gate from Mokhovaya Street, a grotto at the foot of the Kremlin wall and ramps at the Trinity Tower. Beauvais created the Theater Square ensemble (1816–1825), building the Bolshoi Theater and linking the new architecture to the ancient Kitai-Gorod wall. Unlike St. Petersburg squares, it is closed. Osip Ivanovich also owns the buildings of the First City Hospital (1828–1833) and the Triumphal Gates at the entrance to Moscow from St. late XVIII in. Bazhenov bell tower and refectory. This is a rotunda temple, the dome of which is supported by a colonnade inside the cathedral. The master worthily continued the work of his teacher Kazakov.

Almost always, Domenico (Dementiy Ivanovich) Gilardi (1788–1845) and Afanasy Grigorievich Grigoriev (1782–1868) worked fruitfully together. Gilardi rebuilt the Kazakov Moscow University (1817–1819), which burned down during the war. As a result of reconstructions, the dome and the portico become more monumental, from Ionic to Doric. Gilardi and Grigoriev worked a lot and successfully in estate architecture (Usachev's estate on the Yauza, 1829-1831, with its fine stucco decoration; Golitsyn's Kuzminki estate, 1920s, with its famous horse yard).

Moscow residential buildings of the first third of the 19th century conveyed to us the special charm of the Russian Empire: solemn allegorical figures on the facades peacefully coexist in them - with the motif of balconies and front gardens in the spirit of provincial estates. The end facade of the building is usually displayed on the red line, while the house itself is hidden in the depths of the courtyard or garden. In everything, compositional picturesqueness and dynamics reign, in contrast to the balance and orderliness of St. Petersburg (the Lunin house at the Nikitsky Gate, built by D. Gilardi, 1818–1823); Khrushchev's house, 1815–1817, now the museum of A.S. Pushkin, built by A. Grigoriev; his own house Stanitskaya, 1817–1822, now the museum of L.N. Tolstoy, both on Prechistenka.

Lunin House in Moscow, architect D.I. Gilardi

Gilardi and Grigoriev greatly contributed to the spread of the Moscow Empire, mostly wooden, throughout Russia, from Vologda to Taganrog.

By the 40s of the XIX century. classicism lost its harmony, became heavier, more complicated, we see this in the example of St. Isaac's Cathedral in St. Petersburg, built by Auguste Montferrand for forty years (1818–1858), one of the last outstanding monuments religious architecture in Europe of the 19th century, which united best forces architects, sculptors, painters, masons and foundry workers.

The paths of development of sculpture in the first half of the century are inseparable from the paths of development of architecture. In sculpture, such masters as I.P. Martos (1752–1835), in the 80–90s of the 18th century. famous for its tombstones, marked by grandeur and silence, wise acceptance of death, “like the ancients” (“My sorrow is bright ...”). By the 19th century there is a lot of change in his handwriting. Marble is replaced by bronze, the lyrical beginning - heroic, sensitive - strict (tombstone of E.I. Gagarina, 1803, GMGS). Greek antiquity becomes a direct role model.

Khrushchev House in Moscow

In 1804–1818 Martos is working on a monument to Minin and Pozharsky, funds for which were collected by public subscription. The creation of the monument and its installation took place during the years of the highest public upsurge and reflected the mood of these years. Martos embodied the ideas of the highest civic duty and feat in the name of the Motherland in simple and clear images, in a laconic artistic form. Minin's hand is extended to the Kremlin - the greatest shrine of the people. His clothes are a Russian shirt, not an antique toga. Prince Pozharsky is wearing old Russian armor, a pointed helmet and a shield with the image of the Savior. The monument is revealed in different ways from different viewpoints: if you look to the right, it seems that, leaning on a shield, Pozharsky stands up to meet Minin; from a frontal position, from the Kremlin, it seems that Minin convinced Pozharsky to take on the high mission of defending the Fatherland, and the prince is already taking up the sword. The sword becomes the link of the whole composition.

Together with F. Shchedrin, Martos also works on sculptures for the Kazan Cathedral. He executed the relief “The outflow of water by Moses” on the attic of the eastern wing of the colonnade. A clear articulation of figures against a smooth background of the wall, a strictly classical rhythm and harmony are characteristic of this work (the attic frieze of the western wing "The Copper Serpent", as mentioned above, was executed by Prokofiev).

In the first decades of the century, the best creation of F. Shchedrin was created - the sculpture of the Admiralty, as mentioned above.

The next generation of sculptors is represented by the names of Stepan Stepanovich Pimenov (1784–1833) and Vasily Ivanovich Demut-Malinovsky (1779–1846). They are like no other XIX century, achieved in their works an organic synthesis of sculpture with architecture - in sculptural groups from Pudost stone for the Voronikhinsky Mining Institute (1809–1811, Demut-Malinovsky - “The Abduction of Proserpina by Pluto”, Pimenov - “The Battle of Hercules with Antey”), the character of heavy figures of which is consonant with the Doric portico, or in the chariot of Glory and the chariot made of sheet copper Apollo for Russian creatures - Palace Arc de Triomphe and the Alexandria Theatre.

The Chariot of Glory of the Arc de Triomphe (or, as it is also called, the Victory composition) is designed to perceive silhouettes that are clearly drawn against the sky. If you look at them directly, it seems that the mighty six horses, where the foot warriors are led by the bridle, are presented in a calm and strict rhythm, reign over the entire square. On the side, the composition becomes more dynamic and compact.

One of the last examples of the synthesis of sculpture and architecture can be considered the statues of Barclay de Tolly and Kutuzov (1829–1836, erected in 1837) at the Kazan Cathedral by B.I. Orlovsky (1793–1837), who did not live a few days before the discovery of these monuments. Although both statues were executed two decades after the construction of the cathedral, they brilliantly fit into the passages of the colonnade, which gave them a beautiful architectural frame. Pushkin succinctly and vividly expressed the idea of ​​​​Orlovsky’s monuments: “Here is the initiator Barclay, and here is the performer Kutuzov”, that is, the figures personify the beginning and end of the Patriotic War of 1812. Hence the resilience, internal tension in the figure of Barclay are symbols of heroic resistance and a gesture calling forward Kutuzov's hands, Napoleonic banners and eagles under his feet.

Monument to Minin and Pozharsky in Moscow

Russian classicism also found expression in easel sculpture, in small-form sculpture, in medal art, for example, in the famous medallion reliefs of Fyodor Tolstoy (1783–1873) dedicated to the war of 1812. A connoisseur of antiquity, especially Homeric Greece, the finest plastic, the most elegant draftsman. Tolstoy managed to combine the heroic, the sublime with the intimate, deeply personal and lyrical, sometimes even romantic mood, which is so characteristic of Russian classicism. Tolstoy's reliefs were executed in wax, and then in the "old manner", as Rastrelli the Elder did in the time of Peter the Great, they were cast by the master himself in metal, and numerous plaster versions have been preserved, either translated into porcelain, or executed in mastic ("People's Militia", "Battle Borodino”, “Battle of Leipzig”, “Peace to Europe”, etc.).

It is impossible not to mention F. Tolstoy's illustrations for the poem "Darling" by I.F. Bogdanovich, made with ink and pen and engraved with a chisel, is an excellent example of Russian sketch graphics based on the plot of Ovid's Metamorphoses about the love of Cupid and Psyche, where the artist expressed his understanding of the harmony of the ancient world.

Russian sculpture of the 30-40s of the XIX century. becoming more democratic. It is no coincidence that such works as “The Guy Playing Money” by N.S. Pimenov (Pimenov the Younger, 1836), "A guy playing pile" by A.V. Loganovsky, warmly welcomed by Pushkin, who wrote famous poems about their exposure.

The work of the sculptor I.P. Vitali (1794–1855), who, among other works, made a sculpture for the Triumphal Gate in memory of the Patriotic War of 1812 near the Tverskaya Zastava in Moscow (architect O.I. Bove, now on Kutuzova Avenue); a bust of Pushkin, made shortly after the death of the poet (marble, 1837, VMP); colossal figures of angels at the lamps on the corners of St. Isaac's Cathedral - perhaps the best and most expressive elements of everything sculptural decoration this gigantic architectural structure. As for the portraits of Vitali (the bust of Pushkin is an exception), and especially the portraits of the sculptor S.I. Halberg, they bear the features of a direct stylization of antique herms, which, according to the right remark of researchers, does not get along well with an almost naturalistic elaboration of faces.

The genre stream is clearly seen in the works of early deceased students of S.I. Galberg - P.A. Stavasser ("The Fisherman", 1839, marble, Russian Museum) and Anton Ivanov ("Young Lomonosov on the Seashore", 1845, marble, Russian Museum).

In the sculpture of the middle of the century, there are two main directions: one, coming from the classics, but coming to dry academicism; the other reveals a desire for a more direct and multilateral reflection of reality, it becomes widespread in the second half of the century, but there is no doubt that both directions are gradually losing the features of the monumental style.

A sculptor who, in the years of the decline of monumental forms, managed to achieve significant success and in this area, as well as in "small forms", was Pyotr Karlovich Klodt (1805-1867), the author of horses for the Narva Triumphal Gates in St. Petersburg (architect V. Stasov), "Horse Tamers" for the Anichkov Bridge ( 1833–1850), a monument to Nicholas I on St. Isaac's Square (1850–1859), I.A. Krylov in the Summer Garden (1848-1855), as well as a large number of animal sculptures.

Decorative and applied art, which so powerfully expressed itself in the general single stream of interior decoration of the "Russian Empire" of the first third of the 19th century - the art of furniture, porcelain, fabric - also loses its integrity and purity of style by the middle of the century.