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Baroque style Baroque means “strange” and “bizarre”. In the Baroque, the following were noted: - the complexity of volumes and space, the mutual intersection of various geometric shapes, - the predominance of complex curvilinear forms in determining the plans and facades of buildings, - the alternation of convex and concave lines and planes - the active use of sculptural and architectural and decorative motifs; - uneven distribution of architectural means; - creation of a rich play of chiaroscuro, color contrasts - dynamism of architectural masses.

Francesco Bartolomeo Rastrelli Francesco Bartolomeo Rastrelli was born in 1700 in Paris. His father, Bartolomeo Carlo Rastrelli, an architect and sculptor, moved with his family to Russia in 1715 at the invitation of Peter I.

In 1748, Empress Elizabeth issued a decree to begin construction of the Smolny Monastery and entrusted it to Rastrelli. Construction began in 1749; in 1751, due to the Seven Years' War, the project had to be stopped. Smolny Monastery

Smolny Monastery

Masterpieces of the Italian Baroque. Lorenzo Bernini The characteristic features of the Italian Baroque were most vividly embodied in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. In creating curvilinear, bending surfaces and whimsical geometric combinations, Francesco Borromini had no equal. The Church of Sant'Agnese in Piazza Navona in Rome is one of the best creations of the architect. The smoothly curving facade of the church is decorated with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in the ledges and openings. Francesco Barromini. Church of Sant'Agnese. 1653 Rome.

Borromini, if possible, avoids straight lines - vertical or horizontal, as well as right angles. Preference is given to the complex curved plans of Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-67, Sant'Ivo, 1642-60, in Rome).

The interior of the cathedral is no less effective, distinguished by the sophistication of stucco decorations, multi-colored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome).

Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome). Fragment, facade.

Lorenzo Bernini. Rome. Fountain of Neptune in Piazza Navona.

Stroganov Palace In 1742, it was acquired by Baron Sergei Grigorievich Stroganov. He used his own money to build a two-story house. Construction of the palace was carried out at a rapid pace. Already on December 15, 1753, a housewarming ball was held here, which was attended by Empress Elizaveta Petrovna herself.

Winter Palace

Winter Palace

Catherine Palace

Grand Palace Peterhof

Lion Cascade Peterhof

Fountains-crackers Peterhof

In 1718, Domenico Trezzini won the first architectural competition in Russia for the construction of a building. This structure is the Building of the Twelve Colleges - the first stone government building in St. Petersburg. Domenico Andrea Trezzini Building of the Twelve Colleges

Domenico Andrea Trezzini Summer Palace of Peter I

“Wonderful pattern” of the Moscow Baroque The desire for pomp and richness in the external decoration of architectural structures was extremely characteristic of Russia. “Wonderful pattern” became the leitmotif of Russian architecture of the late 17th – early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of Western European Baroque. The most vivid and original features of Russian Baroque appeared in the so-called Naryshkin, or Moscow, style. It received its name thanks to the construction customers, among whom were the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions.

Unique Moscow Baroque buildings include the Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl. The temple, located on a high hill in the center of the city, dominated the surrounding buildings, standing out for its complexity of silhouette. The bright colors of the facades, the rich plasticity of the white stone and brick decor, multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki. 1631-1634 Moscow.

Church of the Mother of God of the Sign in Dubrovitsy. 1690-1704. Moscow.

St. Nicholas Church in Khamovniki. XVII century Moscow.

Architectural creations of V.V. Rastrelli In the middle of the 18th century, Baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush Baroque architecture spread throughout Russia. The most striking creations of architecture were concentrated in the new capital of the Russian state - St. Petersburg. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli (1700-1771), the son of the sculptor B.K. Rastrelli, an Italian by birth, born in France. Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir (1708-1744) wrote about the works of the outstanding architect: “Count Rastrelli... a skillful architect. His innovations in decoration are magnificent, the appearance of his building is magnificent, in a word, the eye can rejoice in what he built.”

The best works of Rastrelli are St. Andrew's Church in Kyiv, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoye Selo, the palaces of Stroganov and Vorontsov, the Smolny Monastery Cathedral and the Winter Palace in St. Petersburg. V.V. Rastrelli. St. Andrew's Church. 1749-1759 Kyiv.

V.V. Rastrelli. Ambassadorial staircase in the Winter Palace. 1754 – 1762 Saint Petersburg. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery they climbed the dazzlingly beautiful Ambassadorial Staircase, from the top platform of which the entrance to the state rooms of the palace opened.

V.V. Rastrelli. Catherine Palace. (Main entrance).

V.V. Rastrelli. Catherine Palace. (Facade)

Conclusion The Baroque style expressed progressive ideas about the unity, boundlessness and diversity of the world, about its complexity, variability, constant movement; The Baroque reflected an interest in the natural elements, the environment, and the human environment, which began to be perceived as part of the world. Man in Baroque art appears as a complex, multifaceted personality with his own world of experiences, involved in dramatic conflicts. Baroque art is characterized by a pathetic elation of images, their tension, dynamism, passion, bold contrasts of scale, colors, light and shadow, a combination of reality and fantasy, the desire to merge various arts in a single ensemble that amazes the imagination.

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Baroque

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Baroque (Italian barocco, literally - bizarre, strange), one of the dominant styles in the architecture and art of Europe and Latin America in the late 16th - mid-18th centuries. Baroque was associated with the noble-church culture of the heyday of absolutism. It was called upon to glorify the power of the church and the secular aristocracy, and gravitated towards ceremonial solemnity and pomp.
Baroque became widespread in Flanders (famous representatives of the Baroque in Flanders - P. P. Rubens, F. Snyders, J. Jordaens, A. van Dyck), in Spain, Portugal, southern Germany, Austria, the Czech Republic, Slovakia, Croatia, in western Ukraine, in Lithuania. In France, Baroque merged with classicism into a single lush style.

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Coronation of the Virgin Mary, 1595-1598
At the origins of the tradition of Baroque art in painting are two great Italian artists - Caravaggio and Annibale Carracci, who created the most significant works in the last decade of the 16th century - the first decade of the 17th century. Italian painting of the late 16th century is characterized by unnaturalness and stylistic uncertainty. Caravaggio and Carracci, with their art, restored its integrity and expressiveness.

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One of the dominant styles in European architecture and art of the late 16th to mid-18th centuries, Baroque established itself in an era of intensive formation of nations and nation-states (mainly absolute monarchies). Baroque embodied new ideas about the unity, boundlessness and diversity of the world, about its dramatic complexity and eternal variability; interest in the real environment, in the natural elements surrounding man, Baroque replaced humanistic artistic culture

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Caravaggio Michelangelo (1573-1610), Italian painter. Studied in Milan (1584-1588); worked in Rome (until 1606), Naples (1607 and 1609-1610), on the islands of Malta and Sicily (1608-1609). Caravaggio, who did not belong to a specific art school, already in his early works contrasted the individual expressiveness of the model, simple everyday motifs (“Little Sick Bacchus”, “Young Man with a Basket of Fruit” - both in the Borghese Gallery, Rome) with the idealization of images and the allegorical interpretation of the plot characteristic of the art of mannerism and academicism.

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Reni Guido (November 4, 1575, Bologna - August 18, 1642, ibid.), Italian painter, master of the Baroque. Reni was a graduate of the Bologna Academy of Arts, a guide and heir to its painting tradition and pedagogical system. He directly studied with Annibale Carracci and was, like him, a fan of antiquity and Raphael.

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Baroque embodied new ideas about the unity, boundlessness and diversity of the world, about its dramatic complexity and eternal variability; his aesthetics was built on the collision of man and the world, ideal and sensual principles, reason and irrationalism.

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Baroque art is characterized by grandeur, splendor and dynamics, pathetic elation, intensity of feelings, a passion for spectacular spectacle, a combination of the illusory and the real, strong contrasts of scale and rhythm, materials and textures, light and shadow.

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Baroque art is characterized by an abundance of external effects and elements. The figures in the picture and their groups are depicted solemnly, their facial expressions are sensual. In the 17th century, painting occupied an exceptional place in art. The Baroque era expanded the range of depicted objects and enriched this area of ​​art with new genres. Artists loved warm tones and gentle transitions of color, they were attracted by the play of light and shadow, contrasts of light and dark, and paid great attention to materialistic images.

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The most characteristic features of the Baroque - flashy floweriness and dynamism - corresponded to the self-confidence and aplomb of the newly powerful Roman Catholic Church. Outside of Italy, the Baroque style took its deepest roots in Catholic countries, and, for example, in Britain its influence was insignificant.

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Baroque art developed and flourished in Italy, where the largest architect and sculptor L. Bernini, the painter, the head of democratic realism Caravaggio, the followers of academicism, the Carracci brothers, and others worked.
"Susanna and the Elders" 1647

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The visual arts of this period were dominated by subjects based on dramatic conflict - religious, mythological or allegorical in nature.

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Man in Baroque art appears as a multifaceted personality, with a complex inner world, involved in the cycle and conflicts of the environment.

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Ceremonial portraits are created to decorate interiors.

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"The Blinding of Samson" 1636

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"Night Watch" 1642 Rijks Museum, Amsterdam

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"Danae" 1636 Hermitage, St. Petersburg

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"The Triumph of Belshazzar" 1635

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Maria Magdalena Ok. 1600

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St. Jerome and the Angel 1635

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The Rape of Europa 1630-1640

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Baroque architecture

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Carlo Maderna Church of Saint Susanna, Rome
Baroque architecture (L. Bernini, F. Borromini in Italy, B. F. Rastrelli in Russia) is characterized by spatial scope, unity, and fluidity of complex, usually curvilinear forms. Often there are large-scale colonnades, an abundance of sculpture on the facades and in the interiors, volutes, a large number of braces, arched facades with bracing in the middle, rusticated columns and pilasters. Domes take on complex shapes, often multi-tiered, like those of St. Peter's Cathedral in Rome. Characteristic Baroque details - telamon (Atlas), caryatid, mascaron.
The quintessence of Baroque, an impressive fusion of painting, sculpture and architecture, is considered the Coranaro Chapel in the Church of Santa Maria della Vittoria (1645-1652).

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In Russia, the development of Baroque art, which reflected the growth and strengthening of the aristocratic absolute monarchy, dates back to the 1st half of the 18th century. The Baroque style in Russia was free from exaltation and mysticism (characteristic of the art of Catholic countries) and had a number of national characteristics. Russian Baroque architecture, which reached a majestic scale in the city and estate ensembles of St. Petersburg, Peterhof (Petrodvorets), Tsarskoe Selo (Pushkin), etc., is distinguished by the solemn clarity and integrity of the composition of buildings and architectural complexes (architects M. G. Zemtsov, V. V. . Rastrelli, D. V. Ukhtomsky); The fine arts turned to secular, social themes, and portraiture was developed (sculptures by B. K. Rastrelli and others). The Baroque era was marked everywhere by the rise of monumental art and decorative and applied art, closely interconnected with architecture. In the 1st half. 18th century Baroque evolves to the graceful lightness of the Rococo style, coexists and intertwines with it, and from the 1770s. everywhere being replaced by classicism.

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A city ensemble, a street, a square, a park, an estate - began to be understood as an organized artistic whole, developing in space, unfolding before the viewer in a variety of ways. Baroque palaces and churches, thanks to the luxurious, bizarre plasticity of the facades, the restless play of chiaroscuro, complex curvilinear plans and outlines, acquired picturesqueness and dynamism and seemed to blend into the surrounding space. The ceremonial interiors of Baroque buildings were decorated with multicolor sculpture, modeling, and carvings; mirrors and paintings illusorily expanded the space, and the painting of ceiling lamps created the illusion of open vaults.
Architect: Vist A.F. Year of construction: 1764-1768 Style: Baroque
Cathedral of St. Andrew the First-Called

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Architect: Quarenghi D. Year of construction: 1761-1769, 1783 Style: Baroque
Cathedral of the Vladimir Icon of the Mother of God with a bell tower

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Architects: Chevakinsky S.I. Year of construction: 1753-1755 Style: Baroque
Palace of I. I. Shuvalov

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Cathedral of St. Equal to the Apostles Prince Vladimir - Prince Vladimir Cathedral
Architects: Zemtsov M. G. Rinaldi A. Starov I. E. Year of construction: 1789 Style: Baroque

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Architects: Trezzini G. Year of construction: 1730-1740 Style: Baroque
Building of the First Cadet Corps

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Summer Palace of Peter I in the Summer Garden
Lattice of the Summer Garden. Arch. Yuri Matveevich Felten (1770-1784).

Baroque embodies new ideas about the eternal variability of the world. It is distinguished by grandeur, splendor and dynamics, a passion for spectacular spectacles, strong contrasts of scales and rhythms, materials and textures, light and shadow, a combination of the illusory and the real. Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, Baroque palaces and churches acquire picturesqueness and dynamism. They seem to blend into the surrounding space. Baroque interiors are decorated with multicolor sculpture, modeling, and carvings; mirrors and paintings illusorily expand the space, and the painting of lampshades creates the illusion of open vaults. Painting and sculpture are dominated by decorative multifaceted compositions of a religious, mythological or allegorical nature, and ceremonial portraits. When depicting a person, states of tension, exaltation, and heightened drama are preferred. In painting, the emotional, rhythmic and coloristic unity of the whole, often the unconstrained freedom of strokes, acquires great importance; in sculpture there is a picturesque fluidity of form, a richness of aspects and impressions.

Characteristic features of Baroque architecture... But before the beauty of both the building and the facade, the fountain, the marble, and the fence have faded... In the twisted ornament you will see here and there a Victorious helmet and vases of incense, Columns, capitals, pilasters and arcades You will see everywhere, wherever you throw glances, Cupids, monograms, woven secretly, And the heads of lambs, entwined with cord, And you will find a statue in a magnificent niche, In patterns and carvings there is a cornice under the very roof... Translation by E. Tarkhanovskaya Translation by E. Tarkhanovskaya This is how the French poet XVII described his impressions of Baroque architecture V. Georges de Sudery. The abundance of lush decorative decorations, emphasized theatricality, distortion of classical proportions, optical illusion, and the predominance of complex curvilinear forms really created a special, unique appearance of Baroque architectural structures. This is how the French poet of the 17th century described his impressions of Baroque architecture. Georges de Sudery. The abundance of lush decorative decorations, emphasized theatricality, distortion of classical proportions, optical illusion, and the predominance of complex curvilinear forms really created a special, unique appearance of Baroque architectural structures. BAROQUE (Italian: Barocco, literally fanciful, pretentious), a style that dominated the art of Europe from the late 16th to the mid-18th century and embraced all types of creativity, manifesting itself most monumentally and powerfully in architecture and the fine arts. BAROQUE (Italian: Barocco, literally fanciful, pretentious), a style that dominated the art of Europe from the late 16th to the mid-18th century and embraced all types of creativity, manifesting itself most monumentally and powerfully in architecture and the fine arts.

The most significant changes affected the design of building facades. Consistency and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you cease to understand where the wall is located - the main support of the building. Flat pilasters give way to columns and half-columns. Installed on high pedestals, they either gather in groups, forming bunches, or “scatter” along the facade, lifting to the sky the statues frozen in restless movement on the roof balustrade. The sizes of portals, doors and windows began to exceed all reasonable limits. The pediments and platbands acquired rich decorations in the form of fancy curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace left of the calm clarity of the Renaissance. The most significant changes affected the design of building facades. Consistency and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you cease to understand where the wall is located - the main support of the building. Flat pilasters give way to columns and half-columns. Installed on high pedestals, they either gather in groups, forming bunches, or “scatter” along the facade, lifting to the sky the statues frozen in restless movement on the roof balustrade. The sizes of portals, doors and windows began to exceed all reasonable limits. The pediments and platbands acquired rich decorations in the form of fancy curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace left of the calm clarity of the Renaissance. “Baroque is characterized by complexity not only of architectural plasticity, but also of spatial structures. If in the Renaissance room plans have a clear geometric shape - a circle, square, rectangle, then the favorite shape of the Baroque is an oval, which gives some uncertainty to the overall shape of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, convex and concave walls, complicated by additional connections of neighboring subordinate volumes... In Baroque architecture, immoderate decorativeness and heavy luxury prevailed. Bizarre forms, an abundance of sculpture, the use of rich colors and gilding were supposed to enhance the expressiveness of the architecture, giving the impression of wealth and splendor” (A.F. Goldstein). “Baroque is characterized by complexity not only of architectural plasticity, but also of spatial structures. If in the Renaissance room plans have a clear geometric shape - a circle, square, rectangle, then the favorite shape of the Baroque is an oval, which gives some uncertainty to the overall shape of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, convex and concave walls, complicated by additional connections of neighboring subordinate volumes... In Baroque architecture, immoderate decorativeness and heavy luxury prevailed. Bizarre forms, an abundance of sculpture, the use of rich colors and gilding were supposed to enhance the expressiveness of the architecture, giving the impression of wealth and splendor” (A.F. Goldstein). Pilasters are a flat vertical protrusion of rectangular cross-section on the surface of a wall or pillar. The pilaster has the same parts (trunk, capital, base) and proportions as the column; serves to divide the plane of the wall. Cartouches - decoration in the form of a shield or half-unfolded scroll, which depicts a coat of arms, emblem, inscription Pediment - the completion (usually triangular) of the facade of a building, portico, colonnade, limited by two roof slopes on the sides and a cornice at the base.

Masterpieces of the Italian Baroque. Lorenzo Bernini The characteristic features of the Italian Baroque were most vividly embodied in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. The characteristic features of the Italian Baroque found their most vivid embodiment in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. In creating curvilinear, bending surfaces and whimsical geometric combinations, Francesco Borromini had no equal. The Church of Sant'Agnese in Piazza Navona in Rome is one of the best creations of the architect. The smoothly curving facade of the church is decorated with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in the ledges and openings. In creating curvilinear, bending surfaces and whimsical geometric combinations, Francesco Borromini had no equal. The Church of Sant'Agnese in Piazza Navona in Rome is one of the best creations of the architect. The smoothly curving facade of the church is decorated with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in the ledges and openings. Francesco Barromini. Church of Sant'Agnese, Rome.

Borromini avoids, whenever possible, straight lines, vertical or horizontal, as well as right angles. Preference is given to complex curved plans. Borromini avoids straight vertical or horizontal lines as much as possible, as well as right angles. Preference is given to the complex curved plans of Francesco Borromini for the Church of San Carlo alle Cuatro Fontane, (Sant Ivo, in Rome). Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant'Ivo, in Rome).

The interior of the cathedral is no less effective, distinguished by the sophistication of stucco decorations, multi-colored decorative paintings, and colored marble columns. The interior of the cathedral is no less effective, distinguished by the sophistication of stucco decorations, multi-colored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (, Sant'Ivo, in Rome). Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (Sant'Ivo, Rome).

Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant'Ivo, in Rome). Fragment, facade. Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant'Ivo, in Rome). Fragment, facade.

The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Basilica. The architect had to solve several problems at once: to create a solemn approach to the main temple of the Catholic world, to achieve the impression of unity between the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the shape of a trapezoid, and the second is in the favorite Baroque shape - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully embraces the square. The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Basilica. The architect had to solve several problems at once: to create a solemn approach to the main temple of the Catholic world, to achieve the impression of unity between the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the shape of a trapezoid, and the second is in the favorite Baroque shape - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully embraces the square.

Lorenzo Bernini. Fountain of the Four Rivers in Piazza Navona Allegorical figures depict the largest rivers of the continents, the Nile, Danube, Ganges and Rio de la Plata (the Amazon was then unknown). The veil on the Nile's head symbolizes the mystery of its source, which at that time had not yet been discovered. The arrangement of the fountain figures gave rise to a legend about a duel between the Baroque geniuses Bernini and Borromini: as if Bernini’s La Plata was blocked by his hand so as not to see Borromini’s “terrible” creation in the church. In fact, the fountain was built much earlier than the church facade. The Moor Fountain, one of two fountains located along the edges of the square, was also created according to Bernini's design. Another fountain in the original consisted of only one pool, to which at the end of the 19th century. They added a sculpture and the Neptune fountain appeared. The allegorical figures depict the largest rivers of the continents, the Nile, Danube, Ganges and Rio de la Plata (the Amazon was then unknown). The veil on the Nile's head symbolizes the mystery of its source, which at that time had not yet been discovered. The arrangement of the fountain figures gave rise to a legend about a duel between the Baroque geniuses Bernini and Borromini: as if Bernini’s La Plata was blocked by his hand so as not to see Borromini’s “terrible” creation in the church. In fact, the fountain was built much earlier than the church facade. The Moor Fountain, one of two fountains located along the edges of the square, was also created according to Bernini's design. Another fountain in the original consisted of only one pool, to which at the end of the 19th century. They added a sculpture and the Neptune fountain appeared.

From the 2nd half of the 1650s. Bernini again works in St. Peter's Basilica, creating here the bronze “Cathedra of St. Peter" (), decorated with statues of the Church Fathers and angels, From the 2nd half of the 1650s. Bernini again works in St. Peter's Basilica, creating here the bronze “Cathedra of St. Peter" (), decorated with statues of the Church Fathers and angels,

“Wonderful pattern” of the Moscow Baroque The desire for pomp and richness in the external decoration of architectural structures was extremely characteristic of Russia. “Wonderful pattern” became the leitmotif of Russian architecture of the late 17th – early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of Western European Baroque. The most vivid and original features of Russian Baroque appeared in the so-called Naryshkin, or Moscow, style. It received its name thanks to the construction customers, among whom were the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions. The desire for pomp and richness in the external decoration of architectural structures was extremely characteristic of Russia. “Wonderful pattern” became the leitmotif of Russian architecture of the late 17th – early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of Western European Baroque. The most vivid and original features of Russian Baroque appeared in the so-called Naryshkin, or Moscow, style. It received its name thanks to the construction customers, among whom were the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions.

Church of the Intercession in Fili, Moscow. A brilliant example of Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself as a bizarre reflection in the water. The temple has a high and spacious basement (PODKLET, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and economic purpose), on the arches of which there is a terrace with three smooth flights of stairs. The main volume of the building is surrounded by semicircular boundaries, each of which is topped with a golden chapter. The transition from a quadruple to an octagon is made so smoothly and skillfully that the viewer does not immediately notice the change in architectural divisions. The cornice and carved white stone decorations naturally continue the triple capitals of the corner columns. A brilliant example of Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself as a bizarre reflection in the water. The temple has a high and spacious basement (PODKLET, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and economic purpose), on the arches of which there is a terrace with three smooth flights of stairs. The main volume of the building is surrounded by semicircular boundaries, each of which is topped with a golden chapter. The transition from a quadruple to an octagon is made so smoothly and skillfully that the viewer does not immediately notice the change in architectural divisions. The cornice and carved white stone decorations naturally continue the triple capitals of the corner columns.

Unique Moscow Baroque buildings include the Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl. The temple, located on a high hill in the center of the city, dominated the surrounding buildings, standing out for its complexity of silhouette. The bright colors of the facades, the rich plasticity of the white stone and brick decor, multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Unique Moscow Baroque buildings include the Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl. The temple, located on a high hill in the center of the city, dominated the surrounding buildings, standing out for its complexity of silhouette. The bright colors of the facades, the rich plasticity of the white stone and brick decor, multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki. Moscow.

The flatness of the wall almost disappeared behind the abundance of cornices, pilasters, half-columns, platbands and portals. The temple was crowned with a decorative five-domed dome and three rows of kokoshniks, giving a special festive solemnity. The flatness of the wall almost disappeared behind the abundance of cornices, pilasters, half-columns, platbands and portals. The temple was crowned with a decorative five-domed dome and three rows of kokoshniks, giving a special festive solemnity.

The Church of the Sign of the Mother of God in Dubrovitsy is considered the pinnacle of Moscow Baroque. The semicircular walls end with a triangular carved pediment, decorated with columns and volutes. The octagonal three-tiered tower has been turned into stone lace. The church is crowned with a dome with an openwork gilded crown and a through cross. The Church of the Sign of the Mother of God in Dubrovitsy is considered the pinnacle of Moscow Baroque. The semicircular walls end with a triangular carved pediment, decorated with columns and volutes. The octagonal three-tiered tower has been turned into stone lace. The church is crowned with a dome with an openwork gilded crown and a through cross. Church of the Sign of the Mother of God in Dubrovitsy, Moscow.

Church of the Sign of the Mother of God in Dubrovitsy, Moscow. Church of the Sign of the Mother of God in Dubrovitsy, Moscow.

St. Nicholas Church in Khamovniki. XVII century Moscow. St. Nicholas Church in Khamovniki. XVII century Moscow. The church in the name of St. Nicholas was erected in one of the truly Moscow ancient areas: here in the 17th century. Khamovniks, palace weavers, settled on the water meadows, who gave the name to the district. They built this unusually painted temple. To enhance the ringing of bells, it is cut through with rows of openings, the so-called rumors. The church building is a characteristic type of posad temple, one of the brightest and perfectly preserved examples of the “Naryshkin baroque”

Architectural creations of V.V. Rastrelli In the middle of the 18th century, Baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush Baroque architecture spread throughout Russia. The most striking creations of architecture were concentrated in the new capital of the Russian state - St. Petersburg. In the middle of the 18th century, Baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush Baroque architecture spread throughout Russia. The most striking creations of architecture were concentrated in the new capital of the Russian state - St. Petersburg. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, an Italian by birth, born in France. Having received his education abroad, he then worked only in Russia, which became his second homeland. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, an Italian by birth, born in France. Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir () wrote about the works of the outstanding architect: Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir () wrote about the works of the outstanding architect: “Count Rastrelli... a skillful architect. His innovations in decoration are magnificent, the appearance of his building is magnificent, in a word, the eye can rejoice in what he built.” “Count Rastrelli... a skilled architect. His innovations in decoration are magnificent, the appearance of his building is magnificent, in a word, the eye can rejoice in what he built.”

The best works of Rastrelli are St. Andrew's Church in Kyiv, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoye Selo, the palaces of Stroganov and Vorontsov, the Smolny Monastery Cathedral and the Winter Palace in St. Petersburg. The best works of Rastrelli are St. Andrew's Church in Kyiv, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoye Selo, the palaces of Stroganov and Vorontsov, the Smolny Monastery Cathedral and the Winter Palace in St. Petersburg. V.V. Rastrelli. St. Andrew's Church Kyiv. V.V. Rastrelli. St. Andrew's Church Kyiv.

The Smolny Monastery Cathedral was commissioned from the master by Empress Elizaveta Petrovna. The traditional Russian five-domed structure, embodied in elaborate Baroque forms, here organically merged with the main volume of the building. The middle dome of the cathedral is a high double-height dome, topped with a bulbous dome on a light drum. The four corners in the form of high two-story towers, almost closely pressed to the central dome, give the five-domed building an amazing solidity and power. After Rastrelli’s death, another outstanding architect, a representative of early classicism Giacomo Quarenghi, every time passing by the Smolny Cathedral, respectfully took off his hat and exclaimed: “This is a church!” The Smolny Monastery Cathedral was commissioned from the master by Empress Elizaveta Petrovna. The traditional Russian five-domed structure, embodied in elaborate Baroque forms, here organically merged with the main volume of the building. The middle dome of the cathedral is a high double-height dome, topped with a bulbous dome on a light drum. The four corners in the form of high two-story towers, almost closely pressed to the central dome, give the five-domed building an amazing solidity and power. After Rastrelli’s death, another outstanding architect, a representative of early classicism Giacomo Quarenghi, every time passing by the Smolny Cathedral, respectfully took off his hat and exclaimed: “This is a church!” V.V. Rastrelli. Cathedral of the Smolny Monastery. Saint Petersburg. V.V. Rastrelli. Cathedral of the Smolny Monastery. Saint Petersburg.

Rastrelli's most brilliant creation, decorating the city center on the Neva, is the Winter Palace, which now houses the world-famous Hermitage art museum. The architecture of the Winter Palace is a real hymn to the Russian Baroque era. The façade facing the Neva embankment was designed to be viewed from afar. The facade facing the Admiralty is oriented towards the front Palace Square, facing the city. The palace had more than 1050 rooms and rooms, 1886 doors, 1945 windows and 177 staircases. The total length of the palace facades is 210 m! Rastrelli's most brilliant creation, decorating the city center on the Neva, is the Winter Palace, which now houses the world-famous Hermitage art museum. The architecture of the Winter Palace is a real hymn to the Russian Baroque era. The façade facing the Neva embankment was designed to be viewed from a distance. The façade facing the Admiralty is oriented towards the front Palace Square facing the city. The palace had more than 1050 rooms and rooms, 1886 doors, 1945 windows and 177 staircases. The total length of the palace facades is 210 m!

V.V. Rastrelli. Ambassadorial staircase in the Winter Palace - 1762. Saint Petersburg. V.V. Rastrelli. Ambassadorial staircase in the Winter Palace - 1762. Saint Petersburg. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery they climbed the dazzlingly beautiful Ambassadorial Staircase, from the top platform of which the entrance to the state rooms of the palace opened. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery they climbed the dazzlingly beautiful Ambassadorial Staircase, from the top platform of which the entrance to the state rooms of the palace opened. Questions and tasks 1. What are the characteristic features of Western European Baroque architecture? 2.What, in your opinion, distinguished Baroque buildings from the creations of Renaissance architects? 3.What masterpieces of the Naryshkin Baroque could you tell us in more detail? Prepare messages on the topic: 1. “Lorenzo Bernini - “genius of the Baroque”; 2. “Naryshkin Baroque in Moscow”; 3. “Petersburg V.V. Rastrelli”

Theme of the program. Russian culture in the era of Enlightenment.

Lesson topic: “Russian Baroque Architecture”

Target : development of students’ ability to emotionally and personally perceive Baroque art and think about the features of Baroque architecture in Russia.

Tasks:

Expanding students' knowledge about Russian architecture of the 17th-18th centuries, updating previously obtained information about the Baroque style as a cultural phenomenon of the 17th-18th centuries. in its main manifestations.

Developing in students the ability to emotionally and personally experience the work of art in question, the ability to analyze and critically comprehend the material.

Understanding the ideological accents of Baroque art, embodied in architectural monuments.

Formation of taste and value attitude towards cultural phenomena of the past.

Lesson form : combined: a combination of group and individual creative activities.

Teaching methods: 1) emotional-figurative immersion; b) activation of the perception of imagination, creative thinking; c) creating a problematic situation.

Concepts and terms: baroque, volute, pilasters, telamons, mascarons, risalit, enfilade, cartouche, rocaille.

Materials and equipment:

World artistic culture. 10th grade: [textbook] L.A. Rapatskaya. – M.: Humanitarian. ed. VLADOS Center. 2010 (pp. 218 - 219, 352 – 355);

Literature and art. Universal encyclopedia for schoolchildren. / Minsk. Harvest LLP. 1995.

We read, study, play. Magazine-collection of scripts for libraries. No. 1 2005. Section to help the teacher. “Baroque and Rococo. Architecture and sculpture".

computer, projector, screen.

Visual range: works by D. Trezzini, L. Bernini, V.V. Rastrelli.

Musical series: works by A. Vivaldi.

I .Exposition of the lesson.

Epigraph. Music by A. Vivaldi sounds. A trained student reads poetry.

…But before the beauty of both the building and the facade
The fountain, the marble, and the fence have faded.
In the twisted ornament you will see here and there
Victorious helmet and vases of incense,
Columns, capitals, pilasters and arcades
You will see everywhere you look,
Cupids, monograms, woven secretly,
And the heads of the lambs, entwined with cord,
And you will find the statue in a magnificent niche,
In the patterns, in the carvings there is a cornice under the roof itself...

Slide 1.

Teacher. This is how the 17th century French poet Georges de Sudery described his impressions of the architecture of this style.What style of art do you think these poetic lines are about? What is this style that strives to surprise, delight and even stun the viewer?

Students' answers.

Teacher. Baroque - this word in Portugal was used to describe irregularly shaped pearls. Literally it means “pretentious, whimsical.” Why was such an unusual word used to name an artistic style born at the end of XVI century.

Teacher. What architectural details of the Baroque style did Georges de Sudern capture in his poetic lines?

Students' answers.

What changes were brought to Baroque architecture?

Student message . Baroque architecture (L. Bernini, F. Borromini in Italy, B.F. Rastrelli in Russia) is characterized by spatial scope, unity, fluidity of complex, usually curvilinear forms, dynamism, pomp, and whimsicality.

Often there are expanded large-scalecolonnades , an abundance of sculpture on facades and interiors,volutes , a large number of braces, arched facades with bracing in the middle, rusticated columns andpilasters .

Domes take on complex shapes, often multi-tiered, like those of St. Peter's Cathedral in Rome.

Characteristic details of Baroque -Telamons , caryatids, mascarons .

Predominant and fashionable colors:muted pastel colors; red, pink, white, blue with a yellow accent.

Lines: fancy convex-concave asymmetrical pattern; in shapes semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.

Shapes: vaulted, domed, rectangular; towers, balconies, bay windows.

Designs: contrasting, intense, dynamic; pretentious on the facade and at the same time massive and stable.

Characteristic interior elements:desire for grandeur and splendor; massive grand staircases; columns, pilasters, sculptures, stucco and painting, carved ornaments; interrelation of design elements.

Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, Baroque palaces and churches acquire picturesqueness and dynamism. They seem to blend into the surrounding space.

Slide2.

Group work. 1 group. Using a dictionary of basic concepts, find and label the main Baroque architectural elements on the cards.

2nd group. Describe the architectural decoration of the building in the Baroque style.

Representations of group work.

II. The beginning. Lesson topic message. Baroque art is international. But there are different variations of Baroque. In Protestant countries Baroque is restrained, a little harsh, not yet losing the features of the Renaissance. Peter I liked this kind of baroque. And its echoes were preserved in the first buildings of St. Petersburg by the architect Domenico Teresini. This is the so-called “Petrine Baroque”.Slide 3.

In Catholic countries, baroque is magnificent, decorative, solemn. During the reign of Elizabeth Petrovna, it was precisely this kind of baroque that came to Russia, and Bartolomeo Rastrelli embodied it, adding scale, monumentality and, at the same time, cheerfulness coming from the tower tradition of coloring.Slide 4. In Russia there was also a national variety of Baroque, the so-called “Naryshkin style” in the architecture of Moscow.

So, Today in class we will talk about Russian Baroque architecture.

III . Development

Student message. The first signs of Baroque appeared in Russia in the 17th century. Tents lose their monumentality, turning into a decorative element, forcing the viewer's eye to move along a curve, running from one element to another.

The building cannot be viewed from one point; it is different from different sides.

Asymmetry prevails in the church architecture of the “wonderful pattern”: the bell tower is extended to the north-west, the porch to the south. With galleries, loggias, and porches, the building seems to grow into the landscape.

The colors are bright and contrasting. At the end, the Cross of Salvation rests on onion heads (candle - prayer), and they rest on tiers of kokoshniks (tongues of flame - angels).

There is not a single Western European order feature yet in the marvelous pattern.Slide 5.

Teacher. What features of the Baroque style can be seen in the architectural monuments of the “Russian pattern”?

Student message. The next stage comes with the “Naryshkin” baroque. A revolution in the decoration of facades was made by the Church of St. Nicholas the Great Cross (1684-1688). Traditionally five-domed, but the large and small orders of the facade make the architecture commensurate with human scale. But the Naryshkin Baroque is most famous for its centric-tiered bell tower churches, in which a striking effect is achieved due to the “flowing” of one form into another. The name “Naryshkin” is conditional, but this Church of the Intercession in Fili was also commissioned by K. Naryshkin.Slide 6. The sonorous tradition of Russian patterning lives in its details, but the columns and cornices are not only decorations, they clearly organize the space.

Teacher. What are the features of the Naryshkin Baroque? Why is it called that?

Student.

…Along the busy shores

Slender communities crowd together

Palaces and towers; ships

A crowd from all over the world

They strive for rich marinas;

The Neva is dressed in granite;

Bridges hung over the waters

Dark green gardens

Islands covered her,

And in front of the younger capital

Old Moscow has faded...

A. Pushkin

Teacher. The flourishing of Baroque in Russia is associated with the construction of the new capital of the state - St. Petersburg.

For Peter I, who founded St. Petersburg, it was important to establish a strong foothold on the shores of the Baltic Sea, and therefore the city began with a fortress. A person knowledgeable in fortification was invited as the city's architect.

It was Domenico Trezzini. His portraits have not survived, many plans and models have not survived, but it was he who laid the foundation of the city.

Under Peter I, Amsterdam was adopted as a city-planning model. It was, firstly, the first large port city that Peter saw. And secondly, the Puritan Baroque, being not very luxurious, and therefore not too expensive, was practical and at the same time representative. This fully corresponded to the soul of the steward of the Russian land, the working Tsar.

During this period, mostly simple (rectangular in plan) and outwardly unpretentious buildings were built in the city. Stucco molding, colonnades, and porticos were practically not used. Sometimes elements of architectural orders were only indicated on the facade, highlighted in white on an intense red, pink and blue background. Slide 6.

Facades were often equipped with pediments, pilasters, volutes, roofs with spiers, and vertical and horizontal elements were emphasized. The interior spaces were often arranged in an enfilade. European architects also brought with them experience in installing indoor plumbing and flush toilets,small devitrification.

Slide 7.

Fortification and temple architecture were distinguished by simplicity and naive grace (the bell tower of the Peter and Paul Cathedral, the Church of St. Panteleimon, the Peter and Paul Gate of the Peter and Paul Fortress, etc.).

Student message.

Petrovsky Gate, built in the form of a triumphal arch.Slide 8.

On the 15-meter-thick fortress wall, Trezzini applied decorations of niches, pilasters, volutes and rusticated stone. And the sharply protruding cornice seems to continue the upper edge of the wall and divides the decoration into two unequal parts.

The lower one is massive, covered with roughly chipped stone (a hundred years later it was covered with plaster).

Powerful pilasters along the edges of the structure and on both sides of the entrance arch restrain its expansion in width.

Between the pilasters there are niches for the statues of Pallas Athena, the victorious warrior, and Pallas Athena, the patroness of the city.

The upper part, above the cornice, consists of a rectangle - an attic, topped with a rounded arched pediment.

Massive volutes support it and connect it with the horizontal of the fortress wall.

The attic is decorated with a symbolic bas-relief “The Overthrow of Simon by the Apostle Peter.” On the arched pediment there is a high relief "Blessing God of Hosts".

For a person of the 18th century, the allegory was perceived simply - Tsar Peter, who defeated the foolish Swedes.

On the volutes there are relief compositions of helmets, armor, and fanfares. There is a feeling of strength and military triumph in everything.

A large black double-headed eagle is installed above the entrance arch. In his right paw he has an orb, in his left - a scepter.

Teacher. Trezzini also rebuilt the stone Peter and Paul Cathedral in the Peter and Paul Fortress on the site of the first wooden one in the name of the Apostles Peter and Paul.Slide 9.

Student message.

By order of Peter I, the cathedral should have a bell tower with an unusual Russian spitz (spire). Trezzini based the design of the cathedral on the western temples that were well known to him and built a three-nave basilica, unusual in Russia. Large, not church at all, but palace windows cut through the northern and southern walls of the temple. Their strict frames with triangular pediments emphasize the solemnity of the entire building. There are pilasters between the windows. Their upward tendency is restrained by a double cornice. A kind of pause between the wall and the high roof with a fracture.

It is crowned with an octagonal drum - a large, fire-smooth dome. (After the fire, lucarnes in lush frames and intricate garlands appeared in the dome.)

There are no roundings of traditional apses - the eastern wall is flat and straight. She looks at the main fortress gate. And a person who steps onto the ground of the fortification immediately sees this wall. And from it one begins to judge the greatness and purpose of the cathedral. That's why Trezzini made it completely unusual.

Smooth straight wall. In the center, a majestic portal frames a false door. On the sides of the portal there are niches for statues. Above it is a round window in a magnificent frame - lucarne. And above the wall, covering half the drum of the dome, there is an almost square attic - the wall above the cornice.

Powerful complicated volutes seem to connect it with the temple and restrain upward movement. (This desire is emphasized by the semicircular end of the attic, which rests on sharply projecting cornices.)

The attic was decorated with statues and bas-reliefs (they were destroyed in a fire, and a fresco took the place of the old bas-relief).

Everything repeats the composition of the gate, giving rise to the unity of the ensemble: the triumphal arch of the gate and the cathedral - a monument to the victory over the Swedes. And all together - a memorial of glory, which has never happened in Rus'.

And the bell tower of the cathedral with its shining spire, topped with an apple, on which rests a weather vane in the form of a cross with a soaring angel, is the main distinctive feature of St. Petersburg.

The powerful rectangular base seems to emphasize the unimaginable heaviness of the entire structure. And only the pilasters slightly enliven its gloomy severity.

Yes, in front of the entrance there is a small portico with eight columns, as if artificially attached to the western wall. And two niches at the edges of the facade emphasize the thickness of the masonry.

Resting on a massive base, a three-tiered quadrangular tower rises upward. Its first, lower floor seemed to expand in width under the weight of the upper two. But it is restrained on the sides by powerful volutes. With their curls they rest on the outer pilasters of the western side of the base.

The same volutes restrain the expansion of the second tier, which is possible under the weight of the third. Once again, large stone scrolls lie on the outermost pilasters of the first tier.

The third tier of the tower rushes upward. It is crowned with a gilded octagonal roof with four round windows in massive white stone frames. In the windows there are black clock dials - the main clock of Russia, Peter I.

Above the roof is a slender, graceful octagon, cut by narrow vertical openings. Above him is a tall, also octagonal, golden crown. And on it, instead of a traditional cross, there is a thin, slender turret - the base of a sparkling needle-spire. And at the very top is an angel with a cross in his hand. From the ground to the top of the cross 112 m.

Teacher.

Since St. Petersburg was conceived as the capital, it was possible to build Trezzini and buildings of state institutions. In 1722, the foundation of the Twelve Colleges building was laid on Vasilyevsky Island. It stretches for almost 400 m from north to south.Slide 10.

However, not one building, but twelve. Ten for collegiums - ministries. Eleventh - Senate. Twelfth - Synod. The country's highest institutions must act in concert and interconnection with each other. And the houses also stood up, nestling tightly to one another. Wall to wall. That is why they were nicknamed without divisions as one building: “Twelve Colleges.” And to this day they call it that way.

One of the buildings of the Twelve Colleges building (now the university).

Of the buildings of Peter's time, the Kunstkamera (the first Russian museum) has survived (withlead 11), Peter's house ( slide12), Menshikov Palace(slide 13), as well as palaces and pavilions of the suburbs adjacent to the Gulf of Finland (slides 14-16).

Among the numerous architects who enthusiastically worked on projects of palaces, parks, and administrative buildings, we will highlight three names - M.G. Zemtsov, I.K. Korobov and P.M. Eropkin.

Mikhail Grigorievich Zemtsov took part in the construction of the building of the Twelve Colleges and coordinated the construction of the Alexander Nevsky Lavra. One of his magnificent works is the Anichkov Palace on the Fontanka. Ivan Kuzmich Korobov studied in Holland and Flanders. He's the one

He became the creator of the original design of the Admiralty tower, topped with a golden spire-weathervane in the form of a three-masted ship. Pyotr Mikhailovich Eropkin developed the idea of ​​the famous trident of streets converging in the center of St. Petersburg to the Admiralty.

"Elizabethan Baroque"

Teacher. By the early 40s of the 18th century, the development of industry, science and technology was accompanied by the flourishing of culture and, in particular, architecture, which testified to the increased power of the Russian Empire. In Russia, the Baroque blossomed in full force.

In monarchies, as a rule, architectural preferences are determined by the tastes and desires of the ruler. Thus, under Peter I, solidity and almost puritanical simplicity were valued in architecture, and women in power allowed the development of baroque, as magnificent as the frills and ruffles of their dresses. The time has come for the genius of the jubilant Baroque - Bartolomeo Rastrelli.Slide 17.

We will consider only the most significant of his creations.

Rastrelli's ancestors are from the famous Florence. Father Francesco Bartolomeo Rastrelli, sculptor and architect Bartolomeo Carlo Rastrelli, came to St. Petersburg in 1716 with his fifteen-year-old son, who retained memories of the splendor of Versailles he saw.

The sculptures of Peter and Menshikov created by his father have survived to this day. The Russian Museum houses a large statue of Empress Anna Ivanovna with a small little black girl. And in front of the Mikhailovsky (Engineering) Castle stands the solemn equestrian figure of Peter, full of majestic calm.

From his father, Rastrelli Jr. inherited the ability to see the plasticity of forms and love for sculptural decoration, and this perception of architecture in direct synthesis with sculpture will never leave him.

The daughter of Peter I, Elizaveta Petrovna, having come to power, ordered Rastrelli to rebuild the Peterhof country pleasure palace.

The palace and park were founded under Peter I, which means that everything here is subordinated to the sea. Slide 18. From the sea to the central bucket-pool with the figure of Samson tearing the mouth of a lion - a symbol of the victory of the Russian hero over the Swedish lion (the lion on the coat of arms of Sweden), there was a straight channel like an arrow, on the sides of which small fountains, alternating with dark spruce trees, formed the central alley.

Here it is - the main axis of the entire Peterhof ensemble; it divides the park in two. A large cascade, cascading down three ledges - terraces, starts from the middle of the palace, crowning a natural ridge.

When Rastrelli was commissioned to rebuild the palace, there were buildings in Peterhof by various architects who added outbuildings and galleries to the Peter's Palace. Rastrelli was faced with the task of preserving the relic associated with the life of Peter I (preserving the central building of the palace, including it in the volume of the Grand Palace), and rebuilding a new three-story palace.Slide 19.

Therefore, the facade of the central volume is rather modest - Rastrelli used mainly those elements that were inherent in the architecture of the beginning of the century: a flat treatment of the wall with pilasters barely protruding from its thickness, connecting the two upper floors;

rusticated corners and lower floor;

roof of smooth outlines with a characteristic fracture.

Only the window frames he allowed himself to somewhat enrich and diversify.

But the side buildings - the church (eastern) and “under the coat of arms” (western) - the architect decided differently.

These compact, slender pavilions, especially elegant due to their high sparkling roofs, give a clear completeness to the silhouette of the entire building, which is strongly stretched horizontally, soften the somewhat heavy simplicity of the central volume and wonderfully echo the boiling streams of the fountains gushing at the foot of the palace.

In the decoration of these buildings, the architect gave free rein to his passion for decorativeness, as if compensating himself for restraint in the design of the middle part.

The tetrahedral domes rise with fanciful grace, decorated with gilded garlands of palm leaves and rocaille curls.

From them grow bulbous domes on light faceted drums - so Russian and at the same time completely Rastrelliian.

Both in the smooth curve of the lead roof of the main house and in the edges of the domes one can notice some similarity with the Baltic wave.

Rastrelli created not only the outer shell of the building, but also its interior decoration. Interiors of rooms and even stairs.

Take a look at the main staircase of the Peterhof Palace.

Captures the abundance of light, the shine of gilding on the dynamic forms of sculptures, vases, carved and painted garlands and cartouches covering the walls.

The picturesque ceiling depicts the empress in the form of the goddess of spring, who rushes among the clouds in a chariot and scatters flowers.

On the upper platform, from where the doors led to the main halls, the shine of gold becomes especially strong: on the railing tables and in the niches on the sides of the doors, designed like a triumphal arch, there are four gilded sculptures - the personification of the seasons;

double columns support a beamed pediment above the doors, on the slopes of which sit allegorical figures of “Fidelity” and “Justice”; gilded carving frames niches and windows; even on a cloudy day, it seems that the staircase is illuminated by the sun.

Rastrelli is a great master of creating buildings in the Baroque style, as if life were a continuous holiday, and palaces were erected with the wave of a magic wand. Just looking at the details, you can see how much work has gone into each carved wood and gilded scroll.

The genius of Rastrelli as a decorator manifested itself most clearly in Tsarskoe Selo. There, with a truly Russian scale, he showed what his amazing imagination, coupled with the virtuoso skill of hundreds of performers, can produce.

Unlike Peterhof, which was primarily a pleasure palace, the palace in Tsarskoe Selo was destined to become the empress’s ceremonial country residence.

By the spring of 1756, Elizabeth Petrovna’s new palace was ready.Slide 19.

The huge central gate made of wrought iron lace swung wide open. The carriages rolled into them and immediately turned left along a one-story semicircular building - a circumference.

Two such wings on the western side of the palace, like giant arms, clasped the front yard with elegant flower beds.

The movement of carriages along the left circumference was a clever plan of the architect.

At that time it was impossible to drive straight to the front entrance.

The road was deliberately curved at first in order to then pass along the entire building, stretching 325 m from south to north. From the carriage windows, guests could see the front facade in all its splendor and grandeur.

First, the palace church with its five-domed structure sparkling in the sun. Then a long gallery connecting the church with a large outbuilding.

Then the next gallery - from the wing to the central part of the building - the former house of Tsar Peter, built on, expanded and remodeled inside.

Powerful columns separate the wide windows and glazed doors of the galleries or are grouped on the facades of the wings, highlighting their centers.

The mighty Atlanteans, bent over from tension, hold the exorbitant weight of the columns on their shoulders.

The capitals of columns, pilasters, sculptural details of the facade, countless statues and vases on the roof of the palace shine with gilding.

The shine of gold, the whiteness of columns and pilasters against the background of light azure walls, the endless play of highlights and shadows - absolutely everything gives the palace the character of a precious decoration of unimaginable proportions.

It is no coincidence that after inspecting the palace, the French ambassador to the Elizabethan court assessed this creation of Rastrelli in the following way: “... I did not see here the most important thing... a worthy case for such a great jewel.”

The interiors of the palace are also striking - a unique suite of rooms with

a never-repeating decor, huge, filled with light pouring from the windows or the light of candles repeated many times by mirrors, creating the illusion of endless space. Dance hall.

And finally, one of the eighth wonders of the world is the Amber Room, presented to Peter 1 in 1716 by the Prussian king Frederick William.

Rastrelli created not only palaces.

Pious Elizabeth said that in her old age she would go to a monastery, and ordered the Resurrection Novodevichy Convent to be rebuilt for this purpose. It is now known as Smolny. Considering the love of life of the customer, Rastrelli planned to build a monastery as magnificent as a palace. With all this, the monastery temple should have traditionally had five domes.

Unfortunately, the entire development project was not implemented.

Rastrelli fulfilled Elizabeth Petrovna's wish to have a five-domed cathedral.Slide 20. But what did he do with the traditional Russian five-chapter?

In the model, the small cupolas are still at some distance from the central dome, but during construction the architect changed the design and attached these cupolas to the drum of the main, parabolic dome.

The cathedral is decorated with special splendor. According to the author, it should have sparkled all over: white details on the blue, azure background of the walls, an abundance of gilding on the capitals, cartouches and garlands, on the domes and domes.

The cathedral, which has the same plan of an equal-pointed cross, looks equally good from all sides.

And another creation by Rastrelli entered the treasury of world culture. This is the former Winter Palace, now the building of the State Hermitage.Slide 21.

The grandiose palace was supposed to personify the greatness and strength of Russia. Rastrelli skillfully connected the volume of the palace with the entire adjacent part of the city.

He treated the southern facade as the main one and designed a large front square in front of it (instead of the meadow that was there). In the center it is preferable

It was supposed to erect an equestrian monument to Peter I, designed by the architect’s father, and along a large diameter circle - a double colonnade “in the image of light galleries” instead of a fence. This plan was not realized, but the square in front of the southern facade of the palace still remains the main square of the city.

Rastrelli designed the palace itself as a purely urban structure - a colossal closed volume with an inner courtyard and free facades not adjacent to any other buildings.

The main one, facing Palace Square, has three mighty projections. The widest of them, the middle one, is cut through by three arched entrance openings leading to a huge front courtyard.

The carriages of the Empress or her guests, having passed the sentries, rolled up to the main entrance, located in the northern building. Here, through the ceremonial gallery, they approached the dazzlingly beautiful Ambassadorial, or Jordan, staircase, from the upper platform of which the entrance to the state rooms opened.

All facades are designed differently, and the decorations emphasize the unusual height of the building that dominated the city at that time.

In addition to the fact that the palace itself was tall, the architect visually increased its height by placing the columns on the facade, sometimes in groups, sometimes in pairs, sometimes alone, but certainly in two tiers, exactly above each other. Crowning the palace, at the roof level there is a balustrade with decorative stone sculptures and vases, arranged in such a way that they continue the vertical of the columns.

An important place in the appearance of the palace belongs to the windows: they are large and there are a lot of them - one thousand nine hundred and forty-five. And so, in the design of the window frames, the imagination of the architect-decorator plays out. It is not enough for him to give as many types of platbands as there are floors. You can, for example, take three windows in a row, and each will be decorated differently.

The interiors were also designed by Rastrelli, but not all of them were decorated according to his designs.

Moreover, all the original decorative decoration of the palace, both external and internal, was destroyed by a terrible fire in December 1837.

They rebuilt it in just a year, but each part was no longer cut from crushed brick mixed with lime mortar, but was cast according to a template. And the facades, although restored according to Rastrelli’s models, became drier.

The interiors have been completely changed in many ways.

The Winter Palace was the last monumental building built in Russia in the Baroque style.

In the early 1760s. aesthetic tastes have changed. Baroque in Russia was replaced by classicism.

Climax.

“Wonderful pattern”, “Naryshkin” baroque. Where did these varieties of Russian Baroque develop?

What is the difference between Moscow Baroque architecture and St. Petersburg?

Compare the architecture of Peter the Great and Elizabethan Baroque.

The appearance of the “city of Petrov” personifies the state greatness of Russia, its invincibility. Was the city “European”?

A.S. Pushkin believed that “before the new capital, old Moscow faded.” Do you agree with his words?

Which architects contributed to the construction of St. Petersburg?

Student statements.

Tests on the topic.

Final.

Teacher.

Russian Baroque was filled with the pathos of powerful statehood. Russia “cut a window to Europe” and became the strongest European state. The northern capital with its palaces and fountains personified the state greatness of Russia and its invincibility. Its creators were guided by the innovative principles of European architecture and the aesthetics of regular architecture.

VI. Homework:

textbook pp. 346-347; 350-355; questions 5, 8 on page 373.

Write a miniature essay about an architectural monument of the Russian Baroque.

APPLICATIONS.

Glossary of concepts and terms.

Baroque.

Acanthus – stucco image of a plant with openwork leaves.

Enfilades – rows of interconnecting rooms located on the same axis one behind the other, like a corridor blocked by doors.

Atticus - a wall above the cornice, decorated with relief or inscription.

Volutes - an architectural detail in the shape of a curl or spiral.

Lucarna - a round or oval window in a lush frame in a dome or high roof.

Cartouche - decoration in the form of a shield or scroll, not completely unfolded, with the image of a coat of arms, monogram or emblem.

Mascarons – molded, carved or cast masks in the form of a human face or the head of an animal. Placed above windows, doors, arches, on fountains, vases, furniture.

Risalits - parts of the building protruding beyond the main line of the facade - were built in the center of the building, thereby highlighting its front part.

Rocaille – stylized shell – curl.

Rust – deliberate distortion of the wall surface.

Pilasters – columns not completely separated from the walls.

Task 2. Describe the architectural decoration of a Baroque building based on this example.

F. Borromini. Church of San Carlo alle Cuatro Fontane. 1638–1677. Rome

Screening test.
I .Select words related to Russian Baroque.

Kikin's chambers, lucarna, pearl, Rastrelli, Stroganov Palace, pilasters, classicism, St. Nicholas Cathedral, windows with small glazing, atlases, severity, splendor, lampshades, abundance of decor, order, Winter Palace, Menshikov Palace

II .Choose an answer.

Russian Baroque dominated during:

Catherine the Great

Peter the Great

Elizaveta Petrovna

Pavle Petrovich

III . Choose an answer.

Baroque is

Imitation of antiquity

Artsy, whimsical

Strict, slender

Irregularly shaped pearl

IV. Choose an answer.

Russian Baroque dominated in:

1741-1761

1730-1740

1703-1730

V. The most famous architects of Russian Baroque and their creations.

Domenico Teresini:

Bartolomeo Rastrelli:

Peter and Paul Cathedral, Catherine's Palace in Tsarskoe Selo, the building of the Twelve Colleges, Peter's Gate in the Peter and Paul Fortress, Palace in Peterhof, Smolny Monastery.

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