home Facebook Architectural ensembles of Paris. Empire style. Presentation - Architectural style "Empire style Presentation on the theme of Empire style in the interior

Architectural ensembles of Paris. Empire style. Presentation - Architectural style "Empire style Presentation on the theme of Empire style in the interior

Classicism in architecture Western Europe

Let's leave the Italians

Empty tinsel with its false gloss.

The meaning is most important, but in order to come to it,

We'll have to overcome obstacles and paths,

Strictly adhere to the planned path:

Sometimes the mind has only one road ...

You need to think about the meaning and only then write!

N. Boileau. "Poetic Art".

Translated by V. Lipetskaya

This is how one of the main ideologists of classicism, the poet Nicolas Boileau (1636-1711), taught his contemporaries. The strict rules of classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satire of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris ...

Classicism was most clearly manifested in works of architecture focused on best achievements ancient culture - order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan. The "austere style" of classicism architecture, it seemed, was called upon to visually embody its ideal formula of "noble simplicity and calm grandeur." Simple and clear forms, calm harmony of proportions prevailed in the architectural structures of classicism. Preference was given to straight lines, unobtrusive decor, repeating the outline of the object. The simplicity and nobility of decoration, practicality and expediency affected everything.

Based on the ideas of the architects of the Renaissance about the "ideal city", the architects of classicism created a new type of grandiose palace and park ensemble, strictly subordinated to a single geometric plan. One of the outstanding architectural structures of this time was the residence of the French kings on the outskirts of Paris - the Palace of Versailles.

Fabulous dream "Versailles

Mark Twain, who visited Versailles in the middle of the 19th century.

“I scolded Louis XIV, who spent 200 million dollars on Versailles, when people did not have enough bread, but now I have forgiven him. It is incredibly beautiful! You look, stare your eyes and try to understand that you are on earth and not in the gardens of Eden. And you are almost ready to believe that this is a lie, just a fabulous dream. "

Indeed, the "fabulous dream" of Versailles today amazes with the scale of the regular layout, the magnificent splendor of the facades and the brilliance of the decorative furnishings of the interiors. Versailles became the visible embodiment of the ceremonial-official architecture of classicism, expressing the idea of a rationally arranged model of the world.

One hundred hectares of land in an extremely short time (1666-1680) were turned into a piece of paradise intended for the French aristocracy. Architects Louis Leveaux (1612-1670), Jules Hardouin-Mansart (1646-1708) and André Le Nôtre(1613-1700). Over the years, they have rebuilt and changed a lot in its architecture, so that at present it is a complex fusion of several architectural layers, absorbing the characteristic features of classicism.

The focus of Versailles is the Grand Palace, to which three avenues converging with rays lead. Located on a certain elevation, the palace occupies a dominant position over the area. Its creators divided the almost half-kilometer length of the facade into a central part and two side wings - a projection, giving it a special solemnity. The facade is represented by three floors. The first one, which serves as a massive foundation, is decorated with rustic materials after the model of the Italian Renaissance palaces-palazzo. On the second, front door, there are high arched windows, between which there are Ionic columns and pilasters. The tier crowning the building imparts monumentality to the appearance of the palace: it is shortened and ends with sculptural groups, which give the building a special elegance and lightness. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and splendor. It is no coincidence that Moliere said about the Grand Palace of Versailles:

"The artistic decoration of the palace is so in harmony with the perfection that nature gives it that it can be called a magic castle."

The interiors of the Grand Palace are decorated in a Baroque style: they are replete with sculptural decorations, rich decor in the form of gilded stucco and carvings, many mirrors and exquisite furniture. The walls and ceilings are covered with colored marble slabs with clear geometric patterns: squares, rectangles and circles. Picturesque panels and tapestries on mythological themes glorify King Louis XIV. Massive gilded bronze chandeliers complete the impression of wealth and luxury.

The halls of the palace (there are about 700 of them) form endless suites and are intended for ceremonial processions, magnificent festivals and masquerade balls. In the largest ceremonial hall of the palace - the Mirror Gallery (length 73 m) - the search for new spatial and light effects is clearly demonstrated. The windows on one side of the room were matched by mirrors on the other. Under sunlight or artificial lighting, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

The decorative compositions of Charles Lebrun (1619-1690) in Versailles and the Louvre were striking in their ceremonial splendor. The "method of depicting passions" proclaimed by him, which assumed the pompous praise of high-ranking persons, brought the artist a dizzying success. In 1662 he became the king's first painter, and then director of the royal tapestry manufactory (hand-woven picture carpets, or tapestries) and director of all decorative work at the Palace of Versailles. In the Mirror Gallery of the Palace, Lebrun painted

a gilded plafond with many allegorical compositions on mythological themes that glorified the reign of the "Sun King" of Louis XIV. The piled up pictorial allegories and attributes, bright colors and decorative effects of the Baroque clearly contrasted with the architecture of Classicism.

The king's bedroom is located in the central part of the palace and faces the rising sun. It was from here that a view of three highways was opened, diverging from one point, which symbolically reminded of the main focus of state power. From the balcony, the king could see the whole beauty of the Versailles Park. Its main creator André Le Nôtre managed to connect together the elements of architecture and landscape art. Unlike landscape (English) parks, which expressed the idea of unity with nature, regular (French) parks subordinated nature to the will and intentions of the artist. The Versailles Park amazes with its clarity and rational organization of space, its drawing is precisely verified by the architect using a compass and a ruler.

The alleys of the park are perceived as a continuation of the halls of the palace, each of which ends with a reservoir. Many pools have the correct geometric shape. The sun's rays and bizarre shadows cast by bushes and trees, trimmed in the form of a cube, cone, cylinder or ball, are reflected in the smooth water mirrors at sunset hours. Greenery forms either solid, impenetrable walls, or wide galleries, in the artificial niches of which are placed sculptural compositions, herms (tetrahedral pillars topped with a head or a bust) and numerous vases with cascades of thin streams of water. The allegorical sculpture of the fountains, made by famous masters, is intended to glorify the reign of the absolute monarch. The "sun king" appeared in them in the guise of the god Apollo, then Neptune, leaving the water in a chariot or resting among the nymphs in a cool grotto.

Smooth lawn carpets amaze with bright and variegated colors with bizarre flower patterns. In vases (there were about 150 thousand of them) there were fresh flowers, which were changed in such a way that Versailles was in constant color at any time of the year. The park paths are strewn with colored sand. Some of them were lined with porcelain chips sparkling in the sun. All this splendor and splendor of nature was complemented by the smells of almonds, jasmine, pomegranate and lemon, spreading from greenhouses.

There was nature in this park

As if lifeless;

As if with a lofty sonnet,

We were busy with the grass there.

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In gardens and dances of disorder

We could not stand it.

The yews are frozen, as if in a trance,

Equaled build bushes,

And squatted in curtsy

Memorized flowers.

V. Hugo Translated by E. L. Lipetskaya

N. M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in the "Letters of a Russian Traveler":

“Hugeness, perfect harmony of parts, action of the whole: this is what a painter cannot depict with a brush!

Let's go to the gardens, the creation of Le Nôtre, whom the brave genius everywhere seated on the throne proud Art, and the humble Nature, like a poor slave, threw at his feet ...

So, don't look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes ... "

Architectural ensembles of Paris. Empire style

After the end of the main construction works at Versailles, at the turn of the XVII-XVIII centuries, André Le Nôtre launched an active work on the redevelopment of Paris. He carried out a breakdown of the Tuileries Park, clearly fixing the central axis on the continuation of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt, the Place de la Concorde was created. The major axis of Paris gave a completely different interpretation of the city, meeting the requirements of grandeur, grandeur and splendor. The composition of open urban spaces, the system of architecturally designed streets and squares became a determining factor in the planning of Paris. The clarity of the geometric pattern of streets and squares linked into a single whole will become a criterion for assessing the perfection of the city plan and the skill of the city planner for many years. Many cities in the world will later experience the influence of the classic Parisian style.

The new understanding of the city as an object of architectural influence on a person finds clear expression in the work on urban ensembles. In the process of their construction, the main and fundamental principles of urban planning of classicism were outlined - free development in space and an organic connection with environment... Overcoming the chaos of urban development, the architects sought to create ensembles designed for a free and unobstructed view.

Renaissance dreams of creating an "ideal city" were embodied in the formation of a new type of square, the boundaries of which were no longer the facades of certain buildings, but the space of the adjacent streets and quarters, parks or gardens, and a river embankment. Architecture strives to connect in a certain ensemble unity not only structures directly adjacent to each other, but also very distant points of the city.

Second half of the 18th century and the first third of the 19th century. in France mark new stage development of classicism and its spread in European countries - neoclassicism... After the Great French Revolution and the Patriotic War of 1812, new priorities appeared in urban planning, consonant with the spirit of their time. They found the most vivid expression in the Empire style. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, an appeal to the art of imperial Rome and Ancient Egypt, the use of the attributes of Roman military history as the main decorative motives.

The essence of the new artistic style was very accurately conveyed in the significant words of Napoleon Bonaparte:

"I love power, but as an artist ... I love it in order to extract sounds, chords, harmony from it."

Empire style became the personification of the political power and military glory of Napoleon, served as a kind of manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new era. Large architectural ensembles of open squares, wide streets and avenues were created everywhere, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.

For example, the Austerlitz Bridge reminded of the great battle of Napoleon and was built from the stones of the Bastille. At Carrusel Square was built triumphal arch in honor of the victory at Austerlitz... Two squares (Concord and Stars), separated from each other at a considerable distance, were connected by architectural perspectives.

Church of Saint Genevieve, erected by J.J. Soufflot, became the Pantheon - the resting place of the great people of France. One of the most spectacular monuments of that time is the column of the Great Army on the Place Vendome. Similar to the ancient Roman column of Trajan, it was supposed, according to the architects J. Honduin and J. B. Leper, to express the spirit of the New Empire and the thirst for greatness of Napoleon.

In the bright interior decoration of palaces and public buildings, solemnity and stately pomp were especially highly valued, their decor was often overloaded with military paraphernalia. The dominant motives were contrasting color combinations, elements of Roman and Egyptian ornaments: eagles, griffins, urns, wreaths, torches, grotesques. The Empire style was most clearly manifested in the interiors of the imperial residences of the Louvre and Malmaison.

The era of Napoleon Bonaparte ended by 1815, and very soon they began to actively eradicate its ideology and tastes. From the Empire that disappeared like a dream, there are still works of art in the Empire style, which clearly testify to its former greatness.

Questions and tasks

1. Why is Versailles one of the greatest works of art?

As urban planning ideas classicism XVIII v. found their practical embodiment in the architectural ensembles of Paris, for example, Place de la Concorde? What distinguishes it from the Italian Baroque squares of Rome in the 17th century, for example, Piazza del Popolo (see p. 74)?

2. How is the connection between the architecture of the Baroque and Classicism found expression? What ideas did classicism inherit from the baroque?

3. What are the historical prerequisites for the emergence of the Empire style? What new ideas of his time did he seek to express in works of art? What artistic principles does he rely on?

Creative workshop

1. Give your classmates a distance tour of Versailles. To prepare it, you can use video materials from the Internet. The parks of Versailles and Peterhof are often compared. What do you think are the grounds for such comparisons?

Late 18th - early 19th century The era of neoclassicism in Russian architecture.

Classicism - European cultural - aesthetic trend, which was guided by antique (ancient Greek and ancient Roman art) (XVII-XIX centuries).

Neoclassicism - is a term that is used in art to refer to artistic phenomena of the second half Xviii - first third XIX centuries.

Empire - (imperial style), the style of late (high) classicism in architecture and applied arts.

In Russian classicism, 2 stages can be distinguished:

first - catherine's (the end XVIII century) or early Russian classicism,

second - alexandrovsky (beginning of the 19th century), turning into the Empire style (was only in France and Russia)

Characteristic features of classicism:

1) Balance, clear and calm rhythm, strict proportions.

2) Symmetry, center emphasis.

3) The main entrance was located in the center and was designed in the form of a portico (a part of the building protruding forward with columns and a pediment).

4) The columns were different in color from the walls. (the columns were usually painted white, and the walls yellow).

Smolny. St. Petersburg.

Paris

In the middle of the 18th century. classicism in France is experiencing its rebirth. The surge of heightened interest in antiquity is supported by the discovery of remarkable monuments of artistic culture during excavations of ancient cities that were once buried during a volcanic eruption.

Place des Vosges in Paris (1605-1612), general view.

A striking representative of the "new" classicism in architecture is Jacques-Anzhi Gabriel (1698 – 1782)

His views on classicism found expression in Little Trianon- the country palace of the French king in Versailles, reminiscent, rather, of a small mansion.

Small Trianon Palace 1762-1764, Versailles

Gazebo in Trianon

New urban planning tasks put forward by the time are being brilliantly implemented in the ensemble of the Place de ludovic Xv (now Concorde Square; 1757-1779).

The square, rectangular in plan, is connected with the city by rays of three alleys. On both sides it is surrounded by green areas of the Tuileries Gardens and Champs Elysees, on the third - by the river. The ensemble is closed by two buildings, wings covering the square from the fourth side.

The whole city is in smooth turns

And only emphasizes the distance

In avenues, arches and gates

Classic vertical.

And all the palaces, fences, buildings,

And these lions and this horse

Are visible, as if for admiration

Placed in the palm of your hand.

And the waters fit smoothly

To the gray granites of the city -

Great designs of nature

To great human designs ...

D. Samoilov. "Over the Neva"

The joint creative activity of Russian and foreign masters was distinguished by high professionalism and adherence to the principles of classicism.

Petersburg classicism is not the architecture of individual buildings, but of entire ensembles.

Starov Ivan Egorovich (1745-1808)

Russian architect, one of the founders of Russian classicism.
The most important of its structures:

- Trinity Cathedral in the Alexander Nevsky Lavra;

- Tauride Palace;

- Prince Vladimir Cathedral (reconstruction after the fire);

- St. Sophia Cathedral, near Tsarskoe Selo,

- and country palaces in the estates of Taitsy, Sivoritsa and Pella of the St. Petersburg province,

- Catherine's Cathedral in Kherson.

Holy Trinity Cathedral in the Alexander Nevsky Lavra.

Manor of Sivoritsy.

Catherine's Cathedral in Kherson.

Prince - Vladimirsky Cathedral.

Tauride Palace (1783 - 1789)

Large city estate of G.A. Potemkin-Tavrichesky - favorite of Catherine II
The building consists of three main volumes, connected by low galleries - in the depths of the section crowned with a central dome and two wings pushed forward on the red line of the street.

Giacomo Antonio

Domenico Quarenghi

(1744 – 1817)

An architect of Italian descent, perhaps the most prolific representative of Palladianism in Russian architecture. Honorary free associate of the Imperial Academy of Arts.

At the age of 35, in January 1780, Quarenghi arrived in St. Petersburg at the invitation of Catherine II as "the architect of the court of Her Majesty." In the first decade of his stay in Russia, he built the English Palace at Peterhof (1780-1787), the pavilion in Tsarskoe Selo (1782). In St. Petersburg, Quarenghi built the buildings of the Hermitage Theater (1783-1787), the Academy of Sciences (1783-1785), the Assignation Bank (1783-1789), and the Foreign College.

English palace.

The palace in the English Park in the south of Peterhof, built by order of Catherine II in 1781-1789. During the Great Patriotic War, it was destroyed by artillery fire from the 291st German infantry division.

Palace on the lithograph of K. Schulz (XIX century)

Memorial stone at the site of the palace (2011)

Andreyan Dmitrievich

Zakharov (1761 - 1811)

Russian architect, representative of the Empire style. Creator of the complex of buildings of the Admiralty in St. Petersburg.

Portrait by S. Shchukin.

Around 1804.

At the end of 1799, by the decree of Paul I, Zakharov was appointed chief architect of Gatchina, where he worked for almost two years:

completed the Lutheran Church of St. Peter,
erected the Humpbacked Bridge.

St. Peter's Lutheran Church (1799 - 1800)

Humpbacked bridge. 1800.

Zakharov performed a number of works that were quite significant in terms of volume and content:

St. Andrew's Cathedral in Kronstadt (1805 - 1817),
the project of the maritime hospital for Kherson,
development projects for Proviantsky Island and Galerny Port.

St. Andrew's Cathedral project

architect A.D. Zakharov. 1806 g.

Church of the Obukhov Plant (demolished in the 20th century)

However, the outstanding significance of Zakharov's creative activity is primarily due to the creation of a new Admiralty.

Admiralty. 1806 - 1823

Architectural and planning center of St. Petersburg. The first building of the Admiralty, erected back in 1704 according to the design of Peter I himself, was a one-storey hut building in the shape of the letter "P", topped with a turret. It was here that ships were built and the Russian fleet was born.

Zakharov was faced with a difficult task - the need to change the appearance of the building so that it would be in harmony with the nearby Winter Palace and other majestic architectural ensembles located next to the Admiralty.

In 1806-1823, the architect Zakharov brilliantly solved this problem. The idea of the building's new look was the theme of Russia's naval glory and the power of the Russian fleet.

Voronikhin Andrey Nikiforovich

(1759 – 1814)

Russian architect and painter, representative of classicism, one of the founders of the Russian Empire style.

He designed not only the structure of the buildings themselves, but also the decor of interiors, the design of furniture, lighting devices, achieving a special integrity of images.

According to his sketches, the interiors of the Stroganov Palace on Nevsky were rebuilt (1793), as well as the palace in Pavlovsk was restored after a fire (from 1803).

The main creations of the master were the St. Petersburg Kazan Cathedral and the Mining Institute.

Built in 1801-1811 in honor of the ancient icon of Our Lady of Kazan, after which it was named (by the decision of Paul I).
The cross-domed building faces Nevsky Prospekt with an elongated side facade. A powerful semicircular colonnade with a 6-column portico forms a solemn square.

Saint-Petersburg, Russia. Nevsky Prospect. Kazan Cathedral.

Kazan Cathedral, 1821.

In 1813, M.I.Kutuzov was buried in the Kazan Cathedral.

In 1837, monuments to Kutuzov and M.B. Barclay de Tolly were erected in front of the cathedral.

On December 6, 1876, the first revolutionary demonstration of students and workers in Russia took place in front of the Kazan Cathedral.

In 1932, the Museum of the History of Religion and Atheism was opened in the Kazan Cathedral.

Monument to Field Marshal Prince Kutuzov

Smolensky. 1812

National Mineral Resources University "Mining" - one of the leading and largest universities in St. Petersburg, the first higher technical educational institution Russia.

Interior.

The sculptural group in front of the portico.

The era of neoclassicism and the period of the emergence of the imperial style marked the beginning of work to streamline the ensembles of St. Petersburg.

V new architecture steps were taken to overcome the feudal chaotic urban development and create ensembles designed for a free view.

After the completion of the main construction work in Versailles, at the turn of the XVII-XVIII centuries, André Le Nôtre launched an active work on the redevelopment of Paris. He carried out a breakdown of the Tuileries Park, clearly fixing the central axis on the continuation of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt, the Place de la Concorde was created. The major axis of Paris gave a completely different interpretation of the city, meeting the requirements of grandeur, grandeur and splendor. The composition of open urban spaces, the system of architecturally designed streets and squares became a determining factor in the planning of Paris. The clarity of the geometric pattern of streets and squares linked into a single whole will become a criterion for assessing the perfection of the city plan and the skill of the city planner for many years. Many cities in the world will later experience the influence of the classic Parisian style.

The new understanding of the city as an object of architectural influence on a person finds clear expression in the work on urban ensembles. In the process of their construction, the main and fundamental principles of urban planning of classicism were outlined - free development in space and an organic connection with the environment. Overcoming the chaos of urban development, the architects sought to create ensembles designed for a free and unobstructed view.

Renaissance dreams of creating an "ideal city" were embodied in the formation of a new type of square, the boundaries of which were not the facades of certain buildings, but the space of adjacent streets and quarters, parks or gardens, and a river embankment. Architecture strives to connect in a certain ensemble unity not only structures directly adjacent to each other, but also very distant points of the city.

Second half of the 18th century and the first third of the 19th century, in France, mark a new stage in the development of classicism and its spread in European countries - neoclassicism. After the Great French Revolution and the Patriotic War of 1812, new priorities appeared in urban planning, consonant with the spirit of their time. They found the most vivid expression in the Empire style. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, an appeal to the art of imperial Rome and Ancient Egypt, the use of the attributes of Roman military history as the main decorative motives.

The essence of the new artistic style was very accurately conveyed in the significant words of Napoleon Bonaparte: "I love power, but as an artist ... I love it in order to extract sounds, chords, harmony from it."

The Empire style became the personification of the political power and military glory of Napoleon, served as a kind of manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new era. Large architectural ensembles of open squares, wide streets and avenues were created everywhere, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.

For example, the Austerlitz Bridge reminded of the great battle of Napoleon and was built from the stones of the Bastille. A triumphal arch was erected on Carrousel Square in honor of the victory at Austerlitz. Two squares (Concord and Stars), separated from each other at a considerable distance, were connected by architectural perspectives.

Church of Saint Genevieve, erected by J.J. Soufflot, became the Pantheon - the resting place of the great people of France. One of the most spectacular monuments of that time is the column of the Great Army on the Place Vendome. Similar to the ancient Roman column of Trajan, it should have been, according to the architects J. Honduin and J. B. Leper, to express the spirit of the New Empire and the thirst for greatness of Napoleon.

The era of Napoleon Bonaparte ended by 1815, and very soon they began to actively eradicate its ideology and tastes. From the "disappeared like a dream" Empire, there are still works of art in the Empire style, which clearly testify to its former greatness.

MHK, grade 11

Lesson number 7

Classicism

D.Z .: Chapter 7, ?? (p. 72-73), tv. assignments (pp. 73-75)

LESSON OBJECTIVES

To acquaint students with the characteristic features of the architecture of classicism and form an idea of the ceremonial-official architecture of Versailles;
Develop skill independently study the material and prepare it for the presentation; continue to develop the ability to analyze a work of art;
Bring up culture of perception of works of art.

CONCEPTS, IDEAS

Testing students' knowledge

1 . What is the aesthetic program of the art of classicism? How were the connections and differences between the art of classicism and baroque expressed?

2. What examples of Antiquity and Renaissance did the art of classicism follow? What ideals of the past and why did he have to give up?

3. Why is Rococo considered a style of aristocracy? What features of it met the tastes and moods of their time? Why was there no room in it for the expression of civic ideals? Why do you think the Rococo style reached its peak in arts and crafts?

4. Compare the basic principles of Baroque and Rococo. Is it possible

5*. What ideas of enlightenment was sentimentalism based on? What are its main accents? Is it legitimate to view sentimentalism within the grand style of classicism?

Universal learning activities

generalize and systematize knowledge   describe and analyze        prepare an extramural excursion  comparative analysis 
generalize and systematize knowledge about the ways of development and artistic principles of classicism architecture;
 comparative analysis architectural structures of classicism and baroque;
 describe and analyze architectural monuments of classicism in the unity of form and content;
 develop an individual creative project an architectural structure in the tradition of classicism;
 evaluate the value of creativity individual architect in the history of Western European art;
 list characteristics individual author's style;
 talk about prominent Western European figures architecture of the era of classicism;
 make your own reasoned judgments about the artistic merits of specific works of architecture of the era of classicism;
 identify historical background the emergence of the Empire style in Western European art;
 prepare an extramural excursion Versailles (architectural ensembles of Paris);
 comparative analysis interior decoration of Fontainebleau and the Mirror Gallery of Versailles;
 establish associative links between the works of architecture of classicism and their pictorial interpretation in the works of A.N. Benois

STUDYING NEW MATERIAL

"Fabulous Dream" of Versailles.

Assignment for the lesson. What is the significance of classicism in the architecture of Western Europe for World civilization and culture?

sub-questions

"Fabulous Dream" of Versailles. Typical features of classicism architecture. Creation of a new type of palace ensemble. Versailles as a visible embodiment of the ceremonial-official architecture of classicism.
Architectural ensembles of Paris. Empire style. Commencement of work on the redevelopment of Paris. Neoclassicism is a new stage in the development of classicism and its spread in European countries. Characteristic features of the Empire style (on the example of famous architectural monuments)

On the question of classicism

in the architecture of Western Europe

... ... ... Let's leave the Italians

Empty tinsel with its false gloss.

The meaning is most important, but in order to come to it,

We'll have to overcome obstacles and paths,

Strictly adhere to the planned path:

Sometimes the mind has only one road ...

You need to think about the meaning and only then write!

N. Boileau. Poetic Art (Translated by E.L. Linetskaya)

This is how one of the main ideologues taught his contemporaries

classicism poet Nicolas Boileau (1636-1711). Strict rules

classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satire of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris ...

On the question of classicism

in the architecture of Western Europe

Classicism was most clearly manifested in works of architecture focused on the main achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan .

"Strict style" of classicism architecture, it seemed, was called upon to visually embody his ideal formula of "noble simplicity and calm greatness."

In the architectural structures of classicism dominated and simple and clear forms, calm harmony of proportions ... Preference was given to straight lines, unobtrusive decor, repeating the outlines of the subject ... Affected in everything simplicity and nobility of decoration, practicality and expediency .

On the question of classicism

in the architecture of Western Europe

"Fairy dream"

Versailles.

Mark Twain, who visited Versailles in the middle of the 19th century, wrote:

Indeed, Versailles' “fairytale dream” still amazes

the scale of the regular planning, the magnificent splendor of the facades and the splendor of the decoration of the interiors.

Palace and park of Versailles. General

view. 1666-1680

One hundred hectares of land in an extremely short time (1666-1680) were turned into a piece of paradise intended for the French aristocracy.

"Fairy dream"

Versailles.

Louis Leveaux

Jules Hardouin-Mansart

In creating the architectural appearance of Versailles

architects participated Louis Leveaux (1612-1670),

Jules Hardouin-Mansart (1646-1708) and André Le Nôtre

(1613-1700). For a number of years they have been

rebuilt and changed in its architecture, so

that at present it is a complex fusion of several architectural styles that preserve

characteristic features of classicism.

André Le Nôtre

"Fairy dream"

Versailles.

city of Versailles

Grand Palace

First decorated in rustic style after the model of the Italian palazzo of the era

Renaissance. On the second , front door, are high

arched windows, between which there are Ionic columns and pilasters. Tier crowning the building gives the appearance of the palace monumentality: it is shortened and ends with sculptural

groups. The rhythm of windows, pilasters and columns on the facade emphasizes

its classic severity and splendor.

It occupies a dominant position over the area. Facade (almost 500 m) is divided into a central part and two side wings - risalit a, giving it a special solemnity. 3 floors.

"Fairy dream"

Versailles.

Interiors of the Grand Palace of Versailles

Interiors Of the Grand Palace are decorated in a Baroque style: they are replete with sculptural decorations, rich decor om in the form of gilded stucco and carvings, many mirrors and exquisite furniture. Walls and ceilings are covered with colored

marble slabs with clear geometric patterns: squares, rectangles and circles. Scenic

panels and tapestries on mythological themes glorify the king

Louis XIV.

Massive gilded bronze chandeliers complete

an impression of wealth and luxury.

"Fairy dream"

Versailles.

Palace of Versailles

The halls of the palace (their about 700 ) form infinite suites and are intended for ceremonial processions, lavish celebrations and masquerade balls. In the largest ceremonial hall of the palace - Mirror gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the room were matched by mirrors on the other. Under sunlight or artificial lighting, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

Mirror gallery

"Fairy dream"

Versailles.

Versailles park

In vases (there were

about 150 thous. ) there were fresh flowers that were changed like this

so that Versailles is in constant color at all times

of the year.

Decorative compositions amazed with their ceremonial splendor Charles Lebrun (1619-1690) at Versailles and Louvre. Proclaimed by him "Method of depicting passions", suggesting pompous praise of dignitaries, brought the artist a dizzying success. In 1662 he became the king's first painter and then director of the royal manufactory tapestry s (hand-woven carpet paintings, or trellis ) and the head of all decorative work at the Palace of Versailles.

"Fairy dream"

Versailles.

Basin n Latona.

Fountains of Versailles

palace. 1689 g.

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In gardens and dances of disorder

We could not stand it.

The yews are frozen, as if in a trance,

The bushes equalized the formation,

And squatted in curtsy

Memorized flowers.

V. Hugo

(Translated by E.L. Lipetskaya)

N.M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in "Letters of a Russian Traveler":“Hugeness, perfect harmony of parts, action of the whole: this is what a painter cannot depict with a brush! Let's go to the gardens, the creation of Le Nôtre, whom the brave genius everywhere seated on the throne proud Art, and the humble Nature, like a poor slave, threw at his feet ... So, do not look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes ... "

Architectural

ensembles

Paris. Empire style.

Concorde Square.

After the completion of the main construction work in Versailles, at the turn of the 17th-18th centuries, Le nôtre launched an active work on the redevelopment of Paris. He carried out a breakdown a park a Tuileries, clearly fixing the central axis on the extension of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt, Concord square .

The major axis of Paris gave a completely different interpretation of the city that met the requirements of grandeur, grandeur and splendor. The composition of open urban spaces, the system of architecturally designed streets and squares became a determining factor in the planning of Paris.

Architectural

ensembles

Paris. Empire style.

Second half of the 18th century and the first third of the 19th century. in France mark a new stage in the development of classicism - neoclassicism - and its distribution in European countries.

After the French Revolution and the Patriotic War of 1812, new priorities appeared in urban planning, consonant with the spirit of their time.

They found the most vivid expression in empire e. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, appeal to art

Imperial Rome and Ancient Egypt, the use of attributes of Roman military history as the main decorative motifs .

Place de la Bastille.

Architectural

ensembles

Paris. Empire style.

Style empire became the personification of the political power and military glory of Napoleon, served as a kind of manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new era. Large architectural ensembles of open

squares, wide streets and avenues, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.

Versailles, Grand Palace

Architectural

ensembles

Paris. Empire style.

Church of Saint Genevieve , erected J.J. Soufflot , became Pantheon om - the resting place of the great people of France.

One of the most spectacular monuments of that time - the column

The great army on Place Vendome ... Similar to the ancient Roman column of Trajan, it should, according to the architects J. Honduin and J. B. Leper , express the spirit of the New Empire and the thirst for greatness of Napoleon.

J. J. Soufflot. Church of Saint Genevieve (Pantheon). 1758-1790 Paris

Architectural

ensembles

Paris. Empire style.

Vendome

square.

Paris

The decor of the palaces was often overloaded with military paraphernalia. The dominant motifs were contrasting color combinations, elements of Roman and Egyptian ornaments:

eagles, griffins, urns, wreaths, torches, grotesques. The Empire style was most clearly manifested in the interiors of the imperial residences of the Louvre and Malmaison.

In the bright interior decoration of palaces and public buildings, solemnity and stately pomp were especially highly valued

Architectural

ensembles

Paris. Empire style.

Interiors

Louvre

The era of Napoleon Bonaparte ended by 1815, and very soon he began to actively eradicate its ideology and tastes. The Empire, which disappeared like a dream, left works of art in the Empire style, clearly testifying to its former greatness.

"I love power, but as an artist ... I love it in order to extract sounds, chords, harmony from it."

Peculiarities

classicism

in architecture

Late classicism - empire - style in architecture, decorative and applied and the fine arts of the first third of the 19th century in European countries, which completed the development of classicism

Peculiarities

classicism

in architecture

Risalit (ledge) - part of a building that extends beyond the main line of the façade

Bosquet (forest, grove) - a row of closely-planted, evenly trimmed trees or shrubs forming a wall

herms (tetrahedral pillars topped with a head or bust)

Peculiarities

classicism

in architecture

Desudeport (top)- a picturesque sculptural or carved composition of a decorative nature located above the door and being an organic part of the interior

Pergola (canopy, extension) - a gazebo or structure consisting of arches or paired pillars placed one after another, connected on top of each other with a wooden crate, cased

climbing plants along the paths of parks and gardens.

Peculiarities

classicism

in architecture

Gazebo - round superstructure in the form of a pavilion or gazebo

Enfilade (string on a thread) - a series of sequentially placed one after another premises, the doorways of which are located on the same axis

Control questions

1. Why Versailles can be attributed to the outstanding works? Explain your answer.

2. As urban planning ideas of classicism of the XVIII century. found their practical embodiment in the architectural ensembles of Paris, for example, Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, for example, Piazza del Popolo (see p. 74)?

3. How is the connection between the architecture of the Baroque and Classicism found expression? What ideas did classicism inherit from the baroque?

4. What are the historical prerequisites for the emergence of the Empire style? What new ideas of his time did he seek to express in works of art? What artistic principles does he rely on?

Creative workshop

1 . Take your classmates on a distance tour of Versailles. To prepare it, you can use video materials from the Internet. The parks of Versailles and Peterhof are often compared. What do you think are the grounds for such comparisons?

2. Try to compare the image of the "Ideal City" of the Renaissance with the classicist ensembles of Paris (St. Petersburg or its suburbs).

3. Compare the design of the interior decoration (interiors) of the gallery of Francis 1 in Fontainebleau and the Gallery of Mirrors of Versailles.

4. Get acquainted with the paintings of the Russian artist A. N. Benois (1870-1960) from the cycle “Versailles. The King's Walk ”(see p. 74). How do they convey the general atmosphere of the court life of the French king Louis XIV? Why can they be considered as a kind of picture-symbols?

Themes of presentations, projects

"Formation of classicism in French architecture of the 17th-18th centuries";
"Versailles as a model of harmony and beauty of the world";
"A walk around Versailles: the connection between the composition of the palace and the layout of the park";
"Masterpieces of Western European Classicism Architecture";
"Napoleonic Empire style in French architecture";
Versailles and Peterhof: Comparative Experience;
"Artistic discoveries in the architectural ensembles of Paris";
"Places of Paris and the development of the principles of regular city planning";
"Clarity of composition and balance of volumes of the cathedral of the House of Invalids in Paris";
"Concorde Square - a new stage in the development of urban planning ideas of classicism";
“The severe expressiveness of the volumes and the parsimony of the decor of the Church of Saint Genevieve (Pantheon) J.J. Soufflot ";
“Features of classicism in the architecture of Western European countries;
"Outstanding architects of Western European classicism."

Literature:

Programs for educational institutions. Danilova G. I. Mirovaya art culture... - M .: Bustard, 2011
Danilova, G.I. Art / MHC. 11 cl. Basic level: textbook / G.I. Danilov. M .: Bustard, 2014.
Moroz Irina Vasilievna, http://infourok.ru/prezentaciya_po_mhk_klassicizm_v_arhitekture_zapadnoy_evropy_11_klass-163619.htm

Slide 1

Architectural style
Empire style

Slide 2

The Empire style was created in France after the bourgeois revolution. The political upheaval brought with it new trends in art. The creators of the 19th century were inspired by Greco-Roman culture and in many ways imitated it. First of all, this imitation was reflected in the furnishing of the rooms in an antique manner. This new movement arose in Paris after the revolution, in the era of the directory - about 1795, developed at the consulate and reached its full bloom under Napoleon I, between 1804 and 1813, and lasted for 20-25 years.

Slide 3

New style received the name empire (empare), which literally means empire. The creator of the Empire architectural style can rightfully be considered the artist David, and its exponents - the architects Charles Percier and Pierre Fontaine. The projects they created were implemented in the decoration of the Parisian courtyards and mansions of Napoleon. Their work was a role model for artists of all countries, who flooded into Paris around 1800, after the recession of the revolutionary wave. The new style of furniture became popular in other countries after the publication of a published collection of home furnishing projects in 1801 by Percier and Fontaine. This edition was repeated in 1812.

Slide 4

The production of furniture in the Empire style differs from the previous Louis XVI style in that the furniture design itself uses antique, especially Roman architectural forms: columns, pilasters, consoles, cornices and friezes used to divide the front sides of cabinets and dressers. The supporting parts of tables, armchairs, chairs, sofas are made in the form of antique herms, sphinxes, griffons, columns and lion's paws borrowed from the ruins ancient rome and the excavations of Pompeii. In the form of furniture, rectangular, massive, closed forms are used, profiles and protrusions on it are rare.

Slide 5

For the first time in the history of furniture, the texture of the material began to play an important role. In previous styles, it was hidden behind heaps of carvings and various patterns. On cabinets, secretaries, dressers and other pieces of furniture, large planes of panels, framed by a weakly protruding frame tie, remain.

Slide 6

Sometimes one whole plank was used for the front of the dresser. To do this, it was sawn along the line of boxes, due to which the general pattern and arrangement of jets and layers of wood were preserved. The quality of the wood species now plays an important role. For the manufacture of furniture, preference was given to dark mahogany. Its smooth surface is adorned with fire-gilded bronze with strictly symmetrical patterns. Individual parts are covered with carvings. The legs, following the antique style, are often shaped like animal paws. Sometimes, on top of these paws, figures of swans, lions or sphinxes are unexpectedly placed. On the corners of cabinets and dressers, doorposts are antique columns with a gilded bronze base and a capital, or individual figures of winged victories ("Nika"). The armchairs take the form of the ancient Roman ones. The front legs often go straight from the armrests and represent the herms; if they end near the seat, then the armrests are supported by carved figures of lions, griffons, swans and other animals, or by fluted columns or massive curls.

Slide 7

Slide 8

Both armchairs and all other seating furniture are rigid. Empire style furniture, prefers splendor, to the detriment of ease of use. Chairs are somewhat simpler than armchairs, and their backs are often given the shape of a lyre, which is one of the most common motifs in decorating furniture in the Empire style.

Slide 9

Both in French furniture and in furniture from other countries, one can notice a direct connection between the traditions of the carpenters of the Empire era and the traditions of the previous era of Louis XVI. The most convincing proof of this can be found in the furniture of Jacob Delmatra, who, having begun working in the style of Louis XVI before the revolution itself, was the main executor of furniture based on drawings by Persier and Fontaine for Napoleon and many foreign sovereigns. Jacob's employee was the famous bronzer Tomir, who took a great part in the decoration of all the palaces erected at that time. A fairly significant number of new types of furniture created in this era indicate that the art of carpentry, without prejudice to the antique ideal, retained its creative depiction in relation to the practical needs of the era. At this time, bookcases with lattices, dressing tables, porcelain cabinets, open sideboards, display cases for jewelry, round flower stands (jardinieres), clavichords, standing mirrors - "psiche", etc. come into use.