19th century styles in architecture. School encyclopedia

In the architecture of the first half of the 19th century century, the Empire style dominated, which continued late classicism. Like the latter, it is based on the forms and techniques of antiquity, but above all on the traditions of imperial Rome. The creator of the Empire style can be considered Napoleonic France and the emperor’s desire for the splendor and greatness of the Roman rulers. The softness and clarity of forms gave way to solemn and pathetic motifs and an abundance of heavy columns.

However, the Empire style is not the only style of architecture in the first half of the 19th century. In England at that time, the Regency flourished as a continuation of the Georgian style, and after it Romanticism and Neo-Gothicism.

In the second quarter of the 19th century, the Empire style was replaced by the Art Deco style. Art Deco is a combination of monumental forms and elegant decorative elements, these are clear vertical lines and smooth rounded corners. Art Deco creations are not perceived as whole, but appear to be assembled from various elements.

In Russia in early XIX century, construction in the Baroque style is still ongoing (the ensemble of the Smolny Cathedral), which is being replaced by classicism. However, fashion trends of that time did not pass by St. Petersburg, and at the beginning of the 19th century, the architect Voronikhin created the magnificent Kazan Cathedral in the Empire style. The Russian Empire style reached its peak after the victory over Napoleon.

In the middle of the 19th century, classicism and its consequences fell into decline everywhere, while art deco continued to develop into a style called “modern”. It should also be noted that general industrialization also had an impact on the architecture of the first half of the 19th century.

Leading style of XX architecture century becomes postmodernism, as well as the so-called “ free style" The reformers of the new century abandoned all previous architectural traditions in favor of practicality and functionality. Already in 1851, the Crystal Palace - a high-rise, strictly functional greenhouse-type building - amazed everyone with its revolutionary nature. The walls no longer served as support, at the disposal of the builders new era turned out to be steel, reinforced concrete and much more, which made it possible to build skyscrapers that soared tens of hundreds of floors. The birthplace of skyscrapers is Chicago; they began to be built there after the devastating fire of 1871, and a few years after that, electric elevators appeared, which allowed free movement between floors. And it was in Chicago that the first radical architectural school was founded, which greatly influenced all areas of architecture of the 20th century.

Louis Sullivan, the founder of this school, was not a supporter of strict functionalism; he loved to use decorative elements in the Art Nouveau style, in particular flowers, lines, both ornate and sharp. Later, his style was picked up by such masters as the French architect Victor Horta and the Belgian architect Hector Guimard. Whose names remain forever in the history of architecture of the 20th century. The Scot Mackintosh and the Spaniard Gaudi developed their own style, also close to Art Nouveau. Geometric shapes of buildings are most often found in 20th century architecture. It was believed that people needed comfortable living quarters and business centers, and therefore elegance would be unnecessary here, the color scheme was also not too rich - plain white and other primary colors predominated.

Paying more attention to height than to building area also plays a very special role in 20th-century architecture, since the population of cities has increased significantly compared to the 19th century and architects were seriously concerned about the problem of saving space.

What was the 19th century like in Russia?— a time of state anxiety and upheaval? A rickety autocracy, uprisings of peasants and intellectuals, wars depleting the Russian land... And still the same claim to power throughout the world.

The greatness of the empire could only be reflected in one style - Russian (empire) with its restrained pomp, pretentiousness in details and overload of architectural elements. It was this architectural direction that dominated in the 19th century.

At this time, the most famous masters create their architectural masterpieces:

• A.N. ;
• HELL. ;
• K.I. ;
• V.P. .

Changes Moscow architecture of the 19th century: a fire in 1812 destroyed many buildings. Rolling up his sleeves, O.I. took up the task of restoring the modern capital. . Thanks to him, today Moscow can boast of its attractions to tourists:

• Red Square Ensemble;
• Theater Square Ensemble;
• Manege building;
• Kremlin (Alexandrovsky) Garden;
• Triumphal Gate.

Almost in parallel with Bove, D.I. worked. . This one immortalized his name in the following projects:

• Moscow University;
• Board of Trustees;
• The Lunins' house on Nikitsky Boulevard.

Russian architecture in the first third of the 19th century. reaches its peak. Period 1810-1830s - a brilliant and at the same time the final stage of Russian classicism.

After the end of the war of 1812 - 1814. extensive construction is underway in the country and, under the control of the state, large urban planning tasks are being successfully solved, majestic ensembles of streets and squares are being created, in the architecture of which the architects sought to express the triumph of the victory of the Russian people.

Features of the last stage of classicism architecture, which were felt at the beginning of the 19th century. only on individual buildings in St. Petersburg and Moscow, they are now manifested throughout the country in the field of civil, industrial and rural construction. This was facilitated by new forms of organization of construction, in particular the widespread use of uniform norms and rules for the planning and development of cities, exemplary designs for administrative buildings and facades of residential buildings. They were now created in a new way architectural ensembles. If previously they developed around a large, central building, now the main thing became the square or street space, equipped with simultaneously designed public, administrative and residential buildings.

The dominant type in the architecture of Russian classicism of the previous period noble estate is giving way to new types of buildings - residential mansions in Moscow and provincial cities, apartment buildings apartment building In Petersburg. Palace and estate forms of architecture are gradually dying out public buildings late XVIII- beginning of the 19th century.

Construction technology continues to develop, metal structures are being developed and used in public and industrial buildings.

The achievements of Russian architecture of this period are associated with the work of outstanding architects of late classicism, such as Rossi, Stasov, Mikhailov - in St. Petersburg, Beauvais, Gilardi, Grigoriev - in Moscow, Sviyazev, Komarov and others in the mining regions and cities of Russia.

Since the 30s. XIX century the first signs of the collapse of classicism architecture, the disunity of its technical, utilitarian and artistic principles appear. In the 1830-1840s. a division of architecture into “high” and “low” arises. Civil architecture is beginning to be seen as a "fine art". This was alien to the progressive principles of Russian classicism architecture. Such trends led to a decrease in artistic requirements in the architecture of mass buildings.

Russian classicism with its hundred years of progressive development by the end of the first half of the 19th century. has exhausted its possibilities. The canonization of the principles of classicism architecture and at the same time the unprincipled use of forms and styles of architecture from antiquity, the Middle Ages and the Renaissance led in the 1840-1850s. to the spread of stylization and eclecticism.

Since the mid-nineteenth century, the trend has changed. Ancient traditions in art and architecture come to the fore. The result is a “Russian-Byzantine” style. One of the founders of the direction was K.A. Tone. It was he who created the Cathedral of Christ the Savior, which is still considered an architectural masterpiece. And the architect K.A. Tone gained fame as the founder of the movement.

Based on the mixture of Old Russian and Byzantine traditions, numerous branches appear:

• "Pseudo-Russian style";
• "Russian style";
• "Neo-Russian style".

The active work of the Narodniks and their desire to revive Russian culture led to the widespread use of:

• Windows in the traditions of Russian architecture;
• Small brick ornamentation;
• Tents, kokoshniks, porches.

The following masters worked on the revival of culture:

• Rezanov;
• Gornostaev;
• Ropet.

Last years of the 19th century. marked the rapid development of the “neo-Russian style”.

The 19th century turned out to be eventful for the Russian land: wars, uprisings and riots, the undermining of autocratic power... All this could not but affect the architecture of this era, which became a strict continuation of the classics and was filled with ancient Russian motifs.

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

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

By the beginning of the 19th century. Russia was a country with a special cultural life. The upper strata of society (nobility, bureaucrats, rich merchants) built their lives in accordance with the norms common in the West. Having an excellent command of foreign languages ​​(mainly French and German), representatives of these social groups had the opportunity to become acquainted with the latest European achievements.

A huge number of different books and magazines from France, Germany and Great Britain were imported into Russia, which gave an idea of ​​the political and public life these countries, about the latest scientific discoveries and the most important technical inventions. In the middle of the 19th century. Subjects of the Russian Tsar could often be found in the largest cities of Europe. Sometimes the state of affairs in France, England and Germany was much better known to them than the state of affairs in their homeland, which they saw less often than Europe. Part of the aristocracy became so Europeanized that for them French, at that time the language of international communication, became their native language. A considerable number of nobles used the Russian word and writing with great difficulty.

The bulk of the population of Russia - the Russian peasantry - in the first half of the 19th century. did not experience any influence of European morals, fashions and habits. For him, there was a traditional Russian world that lived according to its own laws. Most of the population Russian Empire At that time I could neither read nor write. But this did not mean that ordinary Russian people were outside the culture. They had their own specific culture, a primordial system of ideas and spiritual values ​​developed over centuries.

The Russian Orthodox Church, its rituals, creeds and sacraments raised people above everyday worldly concerns and taught them to look at the world as God's creation. Unlike the nobility, many of whose representatives actually broke with the Church, ordinary people retained both their adherence to faith in the teachings of Jesus Christ and faith in the king, God’s anointed. None of the doubts and discontent inherent in the nobility on this score penetrated their souls.

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

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

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

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

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

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

Will I see an unoppressed people And slavery, fallen to the king’s mania...

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

N.V. Gogol (1809-1852) born in the town of Sorochintsy in the Poltava province into a poor noble family. The childhood years spent in Ukraine, folk life, and the culture of the Ukrainian people were forever imprinted in Gogol’s memory and later reflected in vivid literary works - collections of stories Evenings on a Farm Near Dikanka And Mirgorod.

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

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

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

The play “The Inspector General” made a strong impression on his contemporaries. The theater stage has never seen anything like it. Russian reality was portrayed in it with such talented strength and brightness that although, as Gogol himself said, it was only about six provincial officials who turned out to be rogues, many were indignant. The comedy met with a lively and sympathetic response among those who advocated a change in general political conditions and for publicly exposing the shortcomings of public administration.

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

In the 1840s. serious changes occurred in the writer’s worldview. Gogol found himself in the grip of a mental crisis, a serious reassessment of values, and deep reflections on his experiences. The book is full of these moods of spiritual unsettlement, humility in the face of life’s adversities, dissatisfaction with what he created in literature. 4 Selected passages from correspondence with friends.

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

These attacks had a depressing effect on Gogol. Signs of a new exacerbation of his mental illness appeared; Gogol was tormented by premonitions of imminent death.

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

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

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

Throughout reading Russia, M. Yu. Lermontov became known for his works Death of poet And Borodino Voldanny in 1837

The poem “The Death of a Poet,” written immediately after the death of A. S. Pushkin, has gone viral. This is a lyrical monologue of young Lermontov about the tragic fate of Pushkin the Poet.

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

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

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

Lermontov's poems and poems are filled with his spiritual quests, dreams, impulses, moods and at the same time sober, fearless introspection, self-knowledge. These are reflections on the eternal questions of human existence. Such are the poems Mtsyri And Daemon, poems Parus, I go out alone on the road..., “And it’s boring and sad..., Stanzas, Duma, Prophet and etc.

The most significant work of M.Yu. Lermontov - novel Hero of our time, the plot of which was the life vicissitudes of a young nobleman, officer Grigory Aleksandrovich Pechorin, a gifted, thoughtful man with a strong will. The writer is interested in this rich, deep human personality who cannot find application for her powerful powers, her violent passions.

Maintained its position in architecture and sculpture classicism with his close attention to the ancient heritage as the norm and ideal model. In architecture, its pinnacle was the style empire style which was expressed in massive forms with the presence of sculptures that complemented the architectural design of the buildings. Urban planning fantasy in architecture has acquired unprecedented scope. First third of the 19th century. became the highest phase in the almost century-long development of Russian classicism architecture. The biggest achievements are related to creativity O. Montferrand, A. N. Voronikhin, A.D. Zakharova And K. Rossi.

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

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

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

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

made by a sculptor B. I. Orlovsky statues of M. I. Kutuzov and M. B. Barclay de Tolly, which organically combined psychologism, concrete images with the rigor and majesty inherent in classicism. In 1813, the commander-in-chief of the Russian troops was buried in the cathedral. Patriotic War 1812 Field Marshal M.I. Kutuzov. B. I. Orlovsky also owned the building design Mountain Cadet Corps(Mining Institute), marked by monumental and strict solemnity.

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

The scale of the concept amazes the creations K. I. Ross (1775-1849). His first major work in St. Petersburg was the construction of the Grand Duke Mikhailovsky Palace, now the building State Russian Museum. Rossi's ideas were also embodied in the construction of the ensemble Alexandrinsky Theater And Palace Square with buildings and arch of the General Staff building, the colossal arc of which borders Palace Square. Triumphal Arch became the culmination of the entire architectural composition, conceived as a monument to the heroic glory of the Russian people, victorious in the War of 1812.

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

In the capital of Russia, Moscow, remarkable buildings are also appearing.

Designed by an outstanding architect O. I. Bove (1784-1834) in 1814 it was reconstructed Red Square. The old shopping arcade building opposite the Kremlin wall has acquired a new architectural appearance. It turned into horizontally elongated buildings, creating an expressive contrast with the skyward Kremlin towers.

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

A space of squares was organized, which included Kraspaja, Teatralnaya, and Manezhnaya squares. All this indicated that the architects of the first half of the 19th century. I thought big - they saw a single building or a group of buildings! in the spatial scope of the street, square, and city as a whole. This predetermined the length of the facades characteristic of Empire architecture. | In 1817, the opening of a huge building took place Manege, intended for military reviews, parades and exercises. It could easily accommodate an infantry regiment (2 thousand people). The project was carried out under the guidance of an engineer A. A. Betancourt, and the decoration of the facade belonged to O. I. Bove. According to the project O. I. Bove was broken Alexander Garden at the Kremlin wall, he created a plan 1st City Hospital. Beauvais was the author of those erected in 1834. Triumphal Gate in honor of the victory in the Patriotic War of 1812. The gate was located at the Tverskaya Zastava at the entrance to Moscow from St. Petersburg, where the main highway of the city began.

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

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

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

The architect’s creativity is marked by a bizarre combination of classicism with decorative motifs of ancient Russian architecture K. A. Tona (1794-1881), creator The Grand Kremlin Palace, the building of the Armory Chamber. Moscow Kremlin, and Cathedral of Christ the Savior.

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

In other cities of the Russian Empire, a lot was also built during this period, but the buildings there were not distinguished by the grandeur of the capital.

Theater and dramaturgy

In the first half of the 19th century. The formation of the national theater is taking place. Previously, theater groups existed either in the estates of wealthy nobles, or at the royal court. Urban, or, as they said then, public there were few theaters. They were located, as a rule, in poorly equipped, dark rooms, and the auditoriums were not designed for a large number of public.

The theater was looked at as entertainment; it was believed that the viewer at performances should only have fun and have fun. Therefore, the theatrical repertoire consisted mainly of cheerful vaudevilles, lightweight plays, and always music and dance.

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

In the 19th century the situation is changing. The theater becomes social phenomenon appear modern theaters. They stage domestic plays that touch on major social problems (for example, N.V. Gogol’s play “The Inspector General”),

In the first half of the 19th century. on the stage Alexandria Theater a wonderful actress shone V.N. Asenkova (181 7-1841). She was equally successful in both funny roles in vaudeville and significant roles in such performances as “The Inspector General” (Marya Antonovna) and “Woe from Wit” (Sofya).

Hugely popular in the 1830s and 1840s. enjoyed V. A. Karatygin (1802-1853), who became the generally recognized first tragedian of the Russian dramatic theater. He worked a lot at the Alexandria Theater. His acting skills revealed to the domestic audience the depth and greatness of William Shakespeare's plays. His performances of the roles of Hamlet, King Lear and Othello were recognized by the public and theater critics as the pinnacle of acting.

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

Actor P. M. Sadovsky (1818-1872) also became famous on the stage of the Maly Theater. His work contributed to the establishment of plays by the Russian writer-playwright in the theater’s repertoire A. I. Ostrovsky (1823-1886). P. M. Sadovsky participated in the productions of all Ostrovsky's plays. The first time Ostrovsky’s comedy “Don’t Get in Your Own Sleigh” was performed here in 1852. Soon the Maly Theater began to be called Ostrovsky's house, because his plays began to dominate the theater's repertoire.

art

Gradually in Russian painting of the first half of the 19th century. the universal style of classicism gives way to a romantic attitude. Paintings are created that become phenomena of the spiritual life of society.

The democratic tendencies of the new era are clearly expressed in creativity V.L. Tropinin (1776-1857).

V. A. Tropinin. Lacemakers":

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

K. P. Brullon. Self-portrait:

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

Another line of Bryullov’s creativity is the so-called Italian genre, the most striking examples of which are the paintings Italian morning And Italian afternoon.

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

The ancestor of the Russian household painting is A.G. Venetsianov (1780-1847). The viewer was exposed to a peasant world somewhat idealized by the artist. This painting is recognized as a masterpiece of the master Portrait of A.S. Pushkin. Kiprensky also owns a series of images of military personnel who took part in the Patriotic War of 1812.

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

A. A. Ivanov (1806-1858) gave Russian historical painting hitherto unprecedented psychological precision.

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

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

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

Fedotov's pictorial works are distinguished by the expressiveness of the characters' poses, gestures and facial expressions, humor, and careful writing. His works were intended for a wide democratic audience, such as Fresh Cavalier, Discriminating Bride, Major's Matchmaking, Aristocrat's Breakfast, Widow and etc.

Music

In area musical culture at the beginning of the 19th century in Russia the works of foreign authors reigned supreme. But already from the 1830s. the situation begins to change, and major musical works appear in which domestic composers widely use national motifs.

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

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

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

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

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

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

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

God save the king! Long are the days of the glorious one Give to the earth, give to the earth! Proud to the humbler. Weak guardian. Comforter of all - Send everything down!

Primitive Rus', Orthodox. God save the king, save the king! Her kingdom is harmonious, calm in strength. Anything unworthy, get rid of it!

Oh providence. Blessing

It was sent down to us, it was sent down to us! Striving for good. Happiness, humility, patience in sorrow Give to the earth!

March 2nd, 2017 , 03:00 pm

Of course, today there are many books where everything is described in detail. historical periods, the entire history of Russian architecture, all styles and trends.
But the specifics of the Internet are such that many people want to understand common problems in one short note.
This is exactly the review I offer to the readers of the Architectural Style magazine -

Briefly about the periods and styles of Russian architecture

1. Old Russian architecture
X - XVII centuries
The history of Old Russian architecture goes back seven centuries. Even a simple listing of all periods of development of Old Russian architecture is a huge research work. This path was so complex and diverse.
Architecture of Kyiv and Chernigov, architecture of Novgorod the Great and Pskov, Smolensk and Polotsk. Independent and very bright Vladimir-Suzdal architecture developed in the North-Eastern part of Rus', in the Zalessk land. TO end of XII V. In Rus', several architectural trends are emerging, although the general principles were the same throughout Rus'. In the 13th century The Vladimir-Suzdal school was divided into two independent ones, one was built in Suzdal, Nizhny Novgorod and Yuryev-Polsky, the other - in Vladimir, Rostov and Yaroslavl. And finally, the era of the centralized Russian state, in the XV - 16th centuries uniting individual Russian lands around Moscow. The process of unification of Russian lands around Moscow, the formation of a single Russian state, influenced the formation of an all-Russian architectural tradition. The architecture of the 17th century was characterized by complexity and picturesque compositions, diversity and richness of architectural details.
Among the works of Old Russian architecture there are no copies of foreign buildings, no mechanical imitation of the architecture of neighboring countries.

2. “Naryshkinskoe” baroque
End of the 17th century
The first stage of the development of Russian Baroque dates back to the era of the Russian Empire, from the 1680s to the 1700s, called the Moscow, or “Naryshkin” Baroque. A feature of this style (?) is its close connection with pre-existing Russian traditions. Striving for patterns, picturesqueness and elegance, a kind of connecting link between ancient Russian architecture and the new Baroque style.

Church of the Intercession in Fili, Moscow, 1694

3. Style Baroque
1st half of the 18th century
The founding of St. Petersburg gave a powerful impetus to the development of Russian architecture, begins new stage in the development of Russian baroque - Peter's baroque. It was an architectural style based on Western models. The largest building of this time is Peter and Paul Cathedral. And despite the abundance of foreign architects, Russia is beginning to form its own architectural school. The architecture of Peter the Great's time is characterized by simplicity of volumetric constructions, clarity of divisions and restraint of decoration, and a planar interpretation of facades. Later, a new direction developed in Russia - Elizabethan Baroque. Its appearance is most often associated with the name of the outstanding architect Rastrelli. The difference between this style and Peter’s is its close connection with the traditions of the Moscow Baroque. Rastrelli designed majestic palace complexes in St. Petersburg and its environs - the Winter Palace, Catherine Palace, Peterhof. The architect is characterized by the gigantic scale of buildings, the splendor of decorative decoration, and the decoration of facades using gold. The majestic, festive character of Rastrelli’s architecture left its mark on everything Russian art mid-18th century. An original page of Elizabethan baroque is represented by the work of Moscow architects of the mid-18th century - led by D.V. Ukhtomsky and I.F. Michurin. The main idea of ​​Baroque is beauty, solemnity, pomp, exaggerated pathos and theatricality.

The Great Palace in Tsarskoe Selo, 1752-1757, architect. V.V.Rastrelli

4. Style Classicism
2nd half of the XVIII - beginning. XIX century

Classicism is an appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity and monumentality. The basis of the architectural language of classicism was the order. Classicism is characterized by symmetrical axial compositions and restraint of decorative decoration. Russian classicism is a style of art that arose in Russia under Catherine II, who in a certain way sought to Europeanize Russia. The emergence of a new style was preceded by more than half a century of development of Russian art of the New Age, characterized by the predominance of the Baroque. Since the 60s of the 18th century, Russian architects have been designing and constructing buildings in the style of noble simplicity of classicism.

Pashkov's house in Moscow, 1784-1788. arch. V.I. Bazhenov (?).

5. « National romantic» stage
1780 - 1800
In the second half of the 18th century, along with the leading classical movement, there was a short-lived stage, which was later most often called the “Gothic style.” This is the time of active creativity of V.I. Bazhenov and M.F. Kazakov, and their most famous building is the Tsaritsyn ensemble. Despite Catherine’s instructions, our architects took as their starting point not Gothic, but ancient Russian forms. Tsaritsyn is characterized by an intricate colorful play of white stone details against the background of red brick walls, reminiscent of the details and motifs of Russian architecture XVII century. In general, the works of this stage in the classical architectural school are called the time of National Romantic quest.

Palace in Tsaritsyno, in Moscow, 1775 - 1785, architect. V.I.Bazhenov and M.F.Kazakov

6. Style Empire style
1800 - 1840
“Imperial style” Empire is the final stage of classicism, with massive and monumental forms, rich decoration, and elements of military symbols.

Main headquarters in St. Petersburg, 1819-1829, architect. K.I.Rossi

7. Eclecticism
1830 - 1890
A direction in architecture that focuses on the use of any form of the past in any combination in one building. Eclecticism rebelled against academic dogma, which demanded that we follow the “eternal” laws of ancient architecture. Eclecticism in itself cannot be a style, as it is a mixture of stages and styles of past years.
A few words about eclecticism

Assumption Church in St. Petersburg, 1896-1898, architect. G. Kosyakov

8. Style Modern
End of the 19th century - 1917
The style direction is associated with the use of new technical and constructive means, free planning to create distinctly individualized buildings. The term "Modern" defines architecture that sharply rebelled against imitation. The slogan of modernity is modernity and novelty. Systems artistic forms, in any way related to the order or “styles” of eclecticism, does not exist at all in modernity.
The principle of designing a building “from the outside to the inside”, characteristic of past styles, from the shape of the plan and volume to the internal arrangement of the premises, is opposed in modernity by the opposite principle: “from the inside to the outside”. The shape of the plan and facade is not specified initially; it follows from the features of the internal planning structure.
About Art Nouveau - http://odintsovgrigori.ucoz.ru/index/mod ern/0-255

Ryabushinsky's mansion in Moscow, 1900, architect F.O. Shekhtel

9. Retrospectiveism
1905 - 1917
A very complex direction, a kind of parallel to late modernity. A direction based on the development of the architectural heritage of past eras, from ancient Russian architecture to classicism. The distinction between late modernity and retrospectivism is extremely difficult to draw. Examples of the three main movements in retrospectivism -

9.1 - Neoclassicism
The building of the Kievsky railway station in Moscow is reminiscent of the famous buildings of Russian classicism and empire style. The symmetry of this solemn composition is enlivened by the square clock tower placed on the right corner. With sufficient severity of architectural forms, the decorative decoration of the building is very diverse, with rich “antique” motifs.

Kyiv railway station. 1914-1924, Arch. I.I. Rerberg, V.K. Oltarzhevsky, with the participation of V.G. Shukhov.

9.2 - Neo-Russian style
Architectural researchers expressed the opinion that the neo-Russian style is closer to modernism than to eclecticism, and this differs from “ pseudo-Russian style"in its traditional sense.
The building of the Loan Treasury combines business representativeness with the plasticity of chambers of the 17th century. The shape of the front porch against the background of the diamond rustication of the wall enhances the decorative effect of the building. The decor is dominated by “Naryshkin Baroque” motifs. However, the complete symmetry of the facade violates the “principles of modernism” and gives the building some eclecticism....

Loan treasury in Nastasinsky lane. in Moscow. 1913-1916, Arch. V.A. Pokrovsky and B.M. Nilus

9.3 - Neo-Gothic
The Catholic Cathedral on Malaya Gruzinskaya Street in Moscow is a three-nave cruciform pseudo-basilica. The main volume of the temple was built in 1901-1911, finishing work inside continued until 1917. According to various testimonies, for the architect the prototype of the facade was some European gothic cathedrals. This Catholic cathedral houses the largest organ in Russia and you can listen to organ music concerts.

Catholic Cathedral on M. Gruzinskaya Street. 1901-1911, Arch. F.O. Bogdanovich-Dvorzhetsky.

Styles......
It is impossible to fit the entire centuries-old history of Russian architecture onto one sheet of paper.
My task is more specific - to give a general, very schematic idea of ​​how architectural styles changed from the second half of the 17th century until 1917.

And an important clarification about “Styles”:
- In the history of architecture, the very concept "Architectural style" appeared relatively recently, and refers only to periods from the 18th century, from the Baroque style. Sometimes the “Naryshkinskoye” baroque of the second half of the 17th century is also classified as a style.
- The concept of “Style” is generally inapplicable to Old Russian architecture, and an expression like “church in the Novgorod style” refers to the colloquial genre, and nothing more!
........................................ ........................................ .................

Literature:
- History of Russian architecture. - M.: Academy of Architecture of the USSR, Institute of History and Theory of Architecture, 1956.
- E.I. Kirichenko. Russian architecture of the 1830s-1910s. - M.: Art, 1982.