Outstanding architects of the 18th century were. Culture of Russia of the 18th century Architecture V

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architecture is divided

• Narshkin (Russian) baroque.
• Classicism
• Baroque

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Architecture

Classicism

Artistic style in European art of the 17th century. Considered antiquity as an ethical and artistic norm. It is characterized by heroic pathos, plastic harmony and clarity.

One of the artistic styles of the end of the 16th and the middle of the 18th centuries, which gravitated towards ceremonial solemnity, decorativeness, tension and dynamism of images. Baroque is characterized by a tendency to the ensemble and the synthesis of arts.

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Rastrelli F.B.

Russian architect of Italian origin (1700 - 1771)

Born presumably in Paris. He received his primary education under the guidance of his father, the sculptor Charles Bartholomew Rastrelli.

Helped him in fulfilling orders.

Invited to Russia in 1830.

Several outstanding ensembles were built in St. Petersburg, including the Smolny Monastery, as well as the Peterhof (1747-1752) and Tsarskoye Selo Palaces (1752-1757), the building Winter Palace, Cathedral of St. Andrew in Kyiv (1774-1748) and Smolny Monastery (1748-1755)

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Smolny Monastery Rastrelli F. B.

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Mariinsky Palace (Kyiv), 1744-1752 Rastrelli F. B.

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Charles Cameron (1746 - 1812)

Born in London, the son of a building contractor. Initially worked as an artist who created sketches of objects of decorative art, then he was an architectural draftsman and engraver.

In 1779 he was invited to Russia to build a bath in Tsarskoye Selo as the most famous researcher of this type of buildings in Europe. In 1779 he was appointed architect of the imperial court, responsible for the "buildings" of Tsarskoe Selo.

His most outstanding works in this ensemble are the thermal baths, including the Cold Baths, the Agate Rooms (1779-1785), the Cameron Gallery and the Hanging Garden (1783-1786), as well as the ramp.

From 1779 until 1786 Cameron worked in Pavlovsk for the Grand Dukes.

After the accession of Paul I, Cameron was dismissed from the post of court architect, but in 1800 he was again taken to serve in the Imperial Cabinet. In 1803-1806 he was the chief architect of the Admiralty.

He played a significant role in the development of mature classicism in Russian architecture, combining Palladian ideas with the desire for an archaeologically accurate "revival" of antiquity.

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Charles Cameron English architect who worked most of his life in Russia (1746 - 1812)

Cameron Gallery. Staircase 1782 - 1785 Russia, Tsarskoye Selo

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Charles Cameron English architect who worked most of his life in Russia (1746 - 1812)

Palace in Pavlovsk 1779 - 1786
Russia, Pavlovsk

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G. Quarenghi Italian architect, worked in Russia, a prominent representative of the classicism of the XVIII century (1744 - 1817)

Born near Bergamo in a family of artists. By family tradition was supposed to become a clergyman, but, seeing his son's craving for drawing, his father sent him to Rome, where he became interested in architecture.

While traveling in Italy, he met Baron Grimm, who invited the architect to Russia (1780), where Quarenghi became the court architect of Catherine II. He built many buildings for the court and courtiers, mainly in St. Petersburg, Peterhof and Tsarskoye Selo; the building of the Academy of Sciences in St. Petersburg, the Smolny Institute (1806-1808).

Along with buildings, he left a significant graphic legacy. He was engaged in engravings and etchings, prepared and published engraved albums "The Hermitage Theater" (1787), "Assignment Bank" (1791), "Georgievsky Hall of the Winter Palace" (1791), "Countess Sheremeteva Hospice House" (1800s).

The buildings of Quarenghi are distinguished by the clarity of planning solutions, the simplicity and clarity of compositions, the monumental plasticity of forms, which is achieved by the introduction of solemn colonnades that stand out against the background of smooth wall surfaces. Quarenghi brought to Russian architecture the highest achievements of Western, Italian architecture and his ardent adherence to the methods of A. Palladio.

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Bazhenov is the first international name in the history of Russian architecture. He raised Russian architecture to European mastery and introduced distinctive national features, thanks to which one can speak of "Russian classicism". The generosity of his talent, the breadth of his creative scope were closely intertwined with the failures of his personal destiny. unrecognized by contemporaries. But the great architectural plans of Bazhenov, such as the Grand Kremlin Palace, the ensemble in Tsaritsyn, were not realized.

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Bazhenov V.I. great Russian architect of the 18th century, draftsman, architectural theorist (1738 - 1799)

In 1767, Bazhenov, on behalf of Catherine II, began the reconstruction of the Kremlin. According to Bazhenov's project, the Kremlin was turning into the new center of Moscow. The main part of the palace occupied the space from the Spassky Gate along the Moscow embankment to the Vodovzvodnaya Tower. The Kremlin wall remained only from the side of Red Square. The center of the whole composition was to be the Oval Square - the square of public gatherings. It was connected through huge arches by three beams of avenues going from Troitsky, Nikolsky to Spassky Gates with smaller squares. However, the colossal size of the proposed palace made the construction economically unrealistic. The Empress soon cooled down to this gate, and in 1775 the construction was stopped.

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Bazhenov V.I.

Pashkov's house in all descriptions of the city published after the 80s of the 18th century is called "the most beautiful building in Moscow", "the pearl of Russian architecture". It crowns the Vagankovsky hill opposite the Kremlin. In the 1780s and 1790s, after the failures that befell Bazhenov, he took private orders for the construction of mansions. Among the customers are Guards Captain-Lieutenant P.E. Pashkov, the grandson of Denshik Peter 1. That is why this building is still called the Pashkov House. The palace was the center of a city estate, which included outbuildings, outbuildings, a garden with ponds, fountains, and outlandish birds. The building was decorated with statues of ancient gods - Mars, Flora, Minerva.

Pashkov Palace 1784 - 1786

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Bazhenov V.I. great Russian architect of the 18th century, draftsman, architectural theorist (1738 - 1799)

Frequently visiting Moscow, Empress Catherine II was captivated by the beauty of the location of the Chernaya Gryaz estate near Moscow, which belonged to the Kantemirov family in the 18th century. Chernaya Mud, after being acquired by Catherine in 1775, was renamed Tsaritsino. The construction of the palace complex began, which was entrusted to V.I. Bazhenov. All buildings were to be erected in the “Moorish-Gothic style”. Construction lasted 10 years.

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Rastrelli F.B.

Cathedral of the Resurrection Novodevichy Convent, which arose on the site where the Smolny Yard used to be located, is the center of the composition. This is a baroque five-domed building. The final completion and interior decoration of the cathedral was carried out by the architect V.P. Stasov in 1832-1835 The low blind stone fence (erected in the 1750-1760s), which used to surround the entire ensemble, is far from being completely preserved.

The bell tower planned by Rastrelli on the western side of the ensemble was not realized.

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Conclusion:

In the eighteenth century thanks to the reorientation of the culture of the upper classes to the West, Russia joins the common European culture and becomes one of its important centers

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In this article I will talk about the masterpieces of foreign 18th architecture century.

You probably know the names of such remarkable masters as V.I. Bazhenov, M.F. Kazakov, A.F. Kokorinov. Bazhenov, F.I.

The 18th century is the century of the Enlightenment, the century of Voltaire and D. Diderot, J.-J. Rousseau and Ch. Montesquieu. In the 18th century, two completely new styles appeared in art, rococo and baroque. The ROCOCO style originated in France, at the beginning of the 18th century .Translated from French rococo means "STONE" or "SHELL". Characteristic features of rococo include sophistication, a large number of different ornaments, avoidance of the real world, immersion in fantasy, a tendency to depict mythological scenes.

ITALY is considered the birthplace of the BAROQUE style. This style appeared at the end of the 17th and beginning of the 18th centuries. Translated from Italian, Baroque means "STRANGE", "FANCY". Baroque is characterized by a tendency to excesses, contrast, a desire for pomp and grandeur, a combination of reality and illusion. Baroque is opposed to classicism and rationalism.

A. Rinaldi, C. I. Rossi, B. F. Rastrelli, D. Trezzini are considered the largest architects of the 18th century.

ITALIAN and ENGLISH ARCHITECTURE of the 18th century.

Baroque appeared in Italy after the Renaissance. The Italian Baroque was characterized by the fluidity of complex forms, an abundance of sculptures on the facades of buildings, the complexity of domed forms. Baroque prevailed in art only until the middle of the 18th century. F. Yuvara is considered an architect, a representative of the late Baroque. It was he who created the famous Superga Church and the Madama Palace in Turin. Later he was invited to work in Portugal. In Lisbon, F. Yuvara built the Ajuda Palace. residence of the Spanish kings) and the country summer residence of the Spanish king Philip V-Palace of La Granja. Another Italian architect L. Vanvitelli created the famous palace in Caserta. This palace was built in 1752 in the neoclassical style. The architect N. Salvi created the famous fountain di Trevi is the largest in Rome. The fountain was built from 1732 to 1762. Font style Ana-Baroque. The Italian architect A. Galilei built the church of San Giovanni Lateran Cathedral in Rome.

In England, the baroque was not as widespread as in Italy. The key figures in the baroque architecture of England were J. Vanbrugh and N. Hawksmoor.

FRENCH AND PORTUGUESE ARCHITECTURE OF THE 18TH CENTURY.

The Rococo style appeared in France during the time of Philip of Orleans. But Rococo flourished most during the reign of King Louis XV. The most prominent architects of that time were J.-A. Gabriel and J.-J. Soufflot. The most famous creation of the First Royal Architect Gabriel is the Square Concords in Paris. The same square was named after Louis XV. J.-J. Soufflot built the Lyon Opera, the Paris Pantheon and the treasury of the Notre Dame Cathedral. A vivid example of the Rococo is the Soubise Hotel in Paris. 1705. In the 1780s. in France, CLASSICISM became widespread. In the middle of the 18th century, theater mania swept Paris. in Paris, the theater "ODEON" was built according to the project of the architects Ch. de Vailly and M.-J. Peyra.

Rococo appeared in Portugal around 1726. One of the most significant buildings in the Portuguese Rococo style is the Queluz Palace, the so-called "Portuguese Versailles." The building of the San Carlos Theater in Lisbon was built in 1793.

GERMAN AND AUSTRIAN ARCHITECTURE OF THE XVIII CENTURY.

Baroque in German architecture began to develop a hundred years later than in Italy and France. Since 1725, the French architect F. Cuvillier worked in Munich. The architect worked in the style of a flourishing, juicy and lush rococo. , a representative of the Baroque and Rococo J.B. Neumann created such masterpieces as the Basilica in Gosweinstein, the residence palace in Würzburg, the Catholic Church in Gaibach. The founder of the Dresden Baroque, M.D. Zwinger Palace ("Citadel"). The master of Rococo interiors, the German architect of the XVIII century G. Knobelsdorf built the building of the Opera House in Berlin (1750). Garden of Potsdam (1745-1747)

The Austrian architect I.B. Fischer von Erlach, the founder of the Habsburg Baroque, worked for two countries: Germany and Austria. Fischer's prominent projects are Schönbrunn Palace, the Catholic Church of Karlskirche and the Winter Palace of Eugene of Savoy. Fischer's younger contemporary was the Austrian architect I.L. von Hildebrandt , who worked in Vienna and Salzburg. Its main buildings are the Mirabell Castle, the Belvedere Palace, the Vienna Palace of Eugene of Savoy.

World artistic culture and art are beautiful and multifaceted. They always fascinate and amaze, with the same force and at all times, whether it be antiquity or pop art.

RUSSIAN ARCHITECTS XVIII-XX centuries. (Biographical notes)

(1733-1768)

From the family of serfs Count Sheremetev, who gave several talented representatives of Russian art. Son of a palace manager. Apprentice and later assistant. Participated in the construction of the St. Petersburg estate of the Sheremetevs on the Fontanka (the so-called Fountain House). From the mid 1750s. until 1767 he worked at the Sheremetev Kuskovo estate, created a park and park pavilions, most of them have not survived.

Son of a village priest. Initially, he studied in the "team", then at Moscow University. Since 1755 in St. Petersburg - a student and assistant in the construction of St. Nicholas Cathedral. Studied at the Academy of Arts since its foundation. After graduating from the Academy, he was sent as a pensioner to France and Italy for further education. He studied at the Paris Academy with Ch. de Vailly. Lived and worked in Italy. He had the title of professor at the Roman Academy, a member of the academies in Florence and Bologna. In 1765 he returned to St. Petersburg. Participated in the competition for the Yekateringof project, for which he received the title of academician. He served as an architect of the artillery department. In 1767 he was sent to Moscow to put the buildings in the Kremlin in order.

The grandiose project of the Grand Kremlin Palace he created was not implemented, but had a huge impact on the formation of the classic principles of urban planning in Russia. During the work in the Kremlin, a school of young classicist architects (,) developed around Bazhenov, who developed Bazhenov's ideas in their further independent work.

With another grandiose work - the palace complex in Tsaritsyn - the architect also failed. Built in fantastic Russian-Gothic forms, Catherine II did not like the palace and was not finished, and Bazhenov himself fell out of favor. Upon the accession of Paul I, with whom Bazhenov was associated with Masonic activities, the architect was invited to St. Petersburg and appointed vice-president of the Academy of Arts with the rank of state councilor. However, Bazhenov's last project, the Mikhailovsky Castle, was completely redesigned by V. Brenna.

The founder and passionate propagandist of classicism in Russia, a master with a bright personality and a tragic creative fate.

Known for his works in the field of architectural theory, most of which were created jointly with F. Karzhavin. The graphic heritage of the master is very large, but the question of his authorship in many cases remains open.

Main works: in Moscow - the Pashkov estate, the houses of Yushkov and Prozorovsky, the refectory and the bell tower of the Church of the Sorrowful Mother of God; palace complex Tsaritsyno near Moscow, churches in the village. Bykovo near Moscow and in the village. Znamenka (Tambov province); Petersburg until the middle of the 20th century. he was credited with the guards of the Mikhailovsky Castle, the building of the District Court on Liteiny Prospekt (not preserved).

(I860-between 1918 and 1923)

Born in Odessa. Educated at the Chisinau gymnasium. In 1885 he graduated from the Institute of Civil Engineers. He worked as an assistant at and, in the Construction Committee of the Ministry of Internal Affairs, the Main Palace Administration. He carried out private orders, mainly for the Eliseev family. Designed for St. Petersburg, Moscow, Nizhny Novgorod, Revel. Modernist representative. Baranovsky's publishing activity is of great importance: he compiled the multi-volume "Architectural Encyclopedia of the Second Half of the 19th Century". Published the magazine "Builder". He published the "Anniversary Collection of Activities of Former Pupils of the Institute of Civil Engineers".

One of the most talented and prolific representatives of eclecticism, he worked mainly in the Renaissance style.

Main works: mansions of Buturlina, Kochubey, Pashkov (later the Department of Appanages) in St. Petersburg, palace and park ensembles in Mikhailovka and Znamenka in the vicinity of the city; project of a reformed church on the Moika in St. Petersburg (built by D. Grimm, rebuilt in the 20th century); Orthodox churches in Helsingfors and Dresden.

Brenna Vincenzo (Vikenty Frantsevich) (1747-1820)

Italian in the Russian service. Born in Florence. In 1766-1768. studied drawing and painting with Pozzi in Rome, then architecture in Paris. He was engaged in excavations and research of ancient monuments in Rome. Published an album of antique cameos. In 1776, he met the Polish magnate S. Potocki and, as a decorator, performed his orders, first in Rome, and from 1780 in Poland. In 1772 he met Tsarevich Pavel Petrovich, who was traveling around Europe, and at his invitation in 1783 came to Russia. Initially he worked in Pavlovsk as a decorator, and from 1789 as an architect. After the accession of Paul I to the throne - the court architect with the rank of state councilor. Favorite Architect

Paul, participated in all its buildings. After the murder of Paul in 1802, he left for Saxony. Died in Dresden.

Brenna is romantic in nature. His buildings are completely individual. The architect paid much attention to the interiors. As a favorite of Pavel Brenna, he shared the fate of most people associated with his name, and was almost forgotten in the 19th century. Only in the XX century. Brenna's name took its place among the largest architects in Russia. Among the students and assistants of Brenna was.

Main works: restructuring and interior decoration of the Pavlovsk Palace and the layout of the park; restructuring and interior decoration of the Gatchina Palace and the planning of the park with the construction of pavilions; the obelisk "Rumyantsev to victories", the Mikhailovsky castle with pavilions and the layout of the adjacent part of the city.

(1798-1877)

Born in St. Petersburg in the family of a professor at the Academy of Arts, a sculptor. From 1810 to 1820 studied at the Academy with the Mikhailov brothers. After graduating from the Academy, he worked on the commission for the construction of St. Isaac's Cathedral. He painted architectural landscapes for publications of the Society for the Encouragement of the Arts. In 1822, together with his brother, a painter, he was sent by the Society as a pensioner to Italy. In 1826-1829. lived in Paris, where he published his measurements of ancient thermae. In 1829 he returned to Russia. From 1830 he was an academician, and from 1832 until the end of his life he was a professor at the Academy of Arts in the class of architecture.

One of the leading masters of early eclecticism; He worked in different styles, with an invariable sense of proportion and good taste. A prominent teacher, one of the participants in the reform of the Academy of Arts, carried out. Outstanding painter, master of watercolor portrait.

Main works: in St. Petersburg - the Mikhailovsky Theater (rebuilt by A. Kavos), the Lutheran Church of St. Peter and Paul on Nevsky Prospekt, the building of the Headquarters of the Guards Corps on Palace Square, the reconstruction and interiors of the Marble Palace and the office building attached to it, restoration The Winter Palace after the fire of 1837, the Pulkovo Observatory, the church in Pargolovo, buildings in the estate of Samoilova "Count Slavyanka", the mausoleum church in the estate of Wittgenstein in Druzhnoselye.

(1801 -1885)

Born in Moscow in the family of a carpenter. In 1816 he was apprenticed to D. Gilardi. Participated in all its constructions. On the recommendation of Gilardi, he was admitted to the competition for the title of academician, received it in 1830. From 1828 he worked at the Moscow Architectural School, from 1836 - its director. In 1834, he was appointed an official for special assignments under the Moscow governor-general and, in fact, became the chief architect of Moscow, replacing. In 1838-1839. traveled abroad. One of the founders of the art class, which was later transformed into the Moscow

School of Painting, Sculpture and Architecture. Founder and first chairman - 1869) of the Moscow Architectural Society. In 1880, he retired from design and social activities. Died in Moscow.

Possessing a modest talent, Bykovsky was a passionate and consistent reformer in architecture. Seeing that classicism had become obsolete, he strove to create a new style, calling for the use of the architectural heritage of all times and peoples, thereby contributing to the spread of eclecticism.

Main works: Marfino estate near Moscow; in Moscow, the Golitsyn passage, the building of the Moscow Stock Exchange (does not exist), the Loris-Melikov house in Milyutinsky per. and gr. Sheremetev on Vozdvizhenka, Gorikhvostovsky and Khamovnichesky hospitable houses, Trinity Church on Pokrovka, Ivanovsky Monastery, bell towers of Strastnoy and Nikolsky monasteries; house of the Vonlyarlyarskys in St. Petersburg near the Nikolaevsky bridge.

Valen- (1729-1800)

Frenchman in Russian service. Nephew and student of the famous architect. Studied in Paris. In 1750-1752. lived in Italy. In 1759, Mr.. invited gr. to Russia as a professor of architecture at the newly founded Academy of Arts. He worked a lot and fruitfully in St. Petersburg (alone and with). He also worked in Moscow and on the estate in Pechera. In 1766-1767. went to France for treatment. Upon his return to Russia, he built little, mainly teaching at the Academy of Arts. In 1775 he retired and left for his homeland.

A brilliant representative of early classicism, skillfully combining the large scale of buildings with the subtlety of elaboration and proportionality of details.

Main works: in St. Petersburg - the Academy of Arts (apparently, only the main facade to the Neva), the warehouses of the New Holland ship timber (the facade, the building itself was built by Chevakinsky), St. Catherine's Church on Nevsky Prospect, the Small Hermitage (the so-called Lamottov pavilion, built on), Gostiny Dvor (completion after Rinaldi), the palace of Count Chernyshev on the Moika (on the site of the Mariinsky Palace), the church and palace in Pochep (Bryansk region).

(1759-1814)

From a family of serfs of the count (according to some assumptions, his illegitimate son). Initially, he studied under the icon painter G. Yushkov in the icon painting workshop of the Tyskor Monastery. In 1777 he was transferred to Moscow, where he worked for. From 1779 he lived in St. Petersburg in the house of the Stroganovs. In 1781, together with Pavel Stroganov and his teacher Romm, he traveled around Russia. In 1785 he received a "free". From 1786 he lived abroad in Switzerland and France with Stroganov in Romm. In 1790 he returned to Russia, worked for. In 1794 he was "appointed" to the Academy of Arts. Since 1797 - in the rank of academician of perspective painting, since 1800 he taught at the Academy. Since 1803 - professor. A brilliant representative of classicism. Having won the competition for the design of the Kazan Cathedral, he created an ingenious building, which has no precedents in taste, proportionality, grace and grandeur. The main works in St. Petersburg and its environs: the restructuring of the interiors of the Stroganovs' palace, the Stroganovs' dacha in Novaya Derevnya (not preserved), the Kazan Cathedral and the grating enclosing the square in front of it, the Mining Institute, the interiors of the Pavlovsk Palace, the Pink Pavilion in Pavlovsk, the fountain on Pulkovo Hill.

(1834-1873)

Born in St. Petersburg. He was educated in the Corps of Pages. In 1852 he entered the Academy of Arts, from which he graduated in 1861 with a gold medal. Improved in the construction business under P. Gemilian. In 1863-1868. was on a retirement trip abroad. Visited Germany, France and Italy. Was in Paris during the World Exhibition. Upon his return to St. Petersburg, he participated in the construction of the All-Russian Manufactory Exhibition in the Salt Town. From 1871 he worked in Moscow. He designed a lot for S. Mamontov.

Despite his short life and few buildings (most of which have not survived), Hartmann occupies a special place in the history of Russian architecture. The man is undoubtedly talented, an excellent draftsman, he gained notoriety for the embodiment of pseudo-Russian (“leavened”) ideas in architecture (who wrote an apologetic article about him).

Geste William (Vasily Ivanovich) (1763-1832)

Scot in Russian service. He was the city architect of Tsarskoye Selo. In 1808 he drew up its master plan. Since 1810, he actually headed all urban planning in Russia. Under his leadership, master plans for the development of Moscow, Kyiv, Vilna, Smolensk, Vyatka, Yekaterinoslav, Saratov, Penza, Krasnoyarsk, Shlisselburg, Tomsk, Ufa, Zhitomir were drawn up. He was one of the first to work on the sub-base compiled by local surveyors.

(1808- 1862)

Born in the city of Patashov, Nizhny Novgorod province, in the family of a factory manager. From 1823 he served as an official in Nizhny Novgorod, and since 1826 in St. Petersburg. In 1827 he retired and was engaged in artistic handicrafts (coloring signs and labels). Collaborated in the publications of Svinin and traveled with him to the Northern and Central Russia sketching monuments of ancient architecture. Then he studied with Gilardi in Moscow, and from 1829 he worked for the construction of the Mikhailovsky Theater in St. Petersburg. From 1834 to 1837 he traveled at his own expense in Germany, Italy and Switzerland. Since 1838 - academician. Participated in the restoration of the Winter Palace after the fire. From 1843 until the end of his life - the architect of the Ministry of the Interior. In 1845-1847 he was the architect of the Chapter of Russian Orders. Professor of the Academy of Arts in the class of perspective. Died in St. Petersburg.

An architect who enjoyed great popularity during his lifetime as the founder of the "Russian style" of the second half of the 19th century.

Main works: a number of buildings of the Valaam Spaso-Preobrazhensky Monastery (churches, hotel, water supply house, etc.); church, chapels and cells of the Trinity-Sergius desert; in St. Petersburg - a number of residential buildings, the courtyard of the Trinity-Sergius Desert on the Fontanka (rebuilt); the tomb of Prince Pozharsky in Suzdal; churches and cathedrals in Staraya Ladoga, Helsingfors, Suzdal, Nice.

(1782-1868)

From the serfs of the landowner. In 1804, he received a "free" and was given as an apprentice to, in whose family he was brought up. Then he studied at the school during the expedition of the Kremlin building with F. Camporesi. Together with D. Gilardi, he was engaged in the restoration of Moscow after the fire of 1812. From 1808 until the end of his life he was an architect in the department of the Moscow Orphanage.

The representative of classicism, who was influenced by the work of G. Quarenghi, paid tribute to eclecticism at the end of his life.

The main buildings, except for those made jointly with D. Gilardi: the houses of Lopukhin and the Khrushchev-Seleznevs on Prechistenka; the Church of the Trinity in the Olsufievs' estate Ershovo near Moscow (not preserved), the churches at the Vagankovsky and Pyatnitsky cemeteries (presumably).

(1823-1898)

Born in St. Petersburg. He studied at the school at the Reformed Church of St. Peter. In 1842-1846. studied at the Academy of Arts. In 1849 he studied the architectural monuments of the Transcaucasus, from where in 1852 he went on a pensioner's trip to Europe through Constantinople and Greece. In 1855 he returned to St. Petersburg. Since 1855 - professor at the Academy of Arts and rector of the architectural department. He also taught at the Institute of Civil Engineers; member of the Military Engineering Committee, chief architect of the imperial court. and grandson German Germanovich - well-known architects, theorists and historians of architecture.

The largest specialist in Byzantine architecture and the architecture of the Transcaucasian Middle Ages. He built mainly in St. Petersburg, as well as in Tiflis, Chersonese, Nice, Copenhagen, Lugano, Geneva.

(1762-1823)

Serf, son of a gardener Prince. Trubetskoy, in whose house he received a first-class education. Apparently, then he studied at the art school of the Artillery and Engineering Cadet Corps. From 1782 he taught a course of civil architecture in the same building. In 1784 he received the "free", in 1790 - the title of architect. Since 1785 - academician of architecture. In 1796 he was transferred to the Engineering Department, and in 1798 to the Artillery Department. He worked as an architect and military engineer.

Since 1812, due to deterioration of his eyesight, he moved to work as the head of the archive of the Artillery Department. Since 1814 - professor at the Academy of Arts. In 1816, finally blind, Demertsov retired.

The main works in St. Petersburg: the building of the Engineering (later the second) Cadet Corps on Vasilevsky Island, the complex of the barracks of the Semenovsky and Izmailovsky regiments (together with), the barracks of the Preobrazhensky regiment, the church of St. Sergius the Wonderworker at the corner of Liteiny pr. and st. Tchaikovsky and the Church of the Sign of the Lord opposite the Moscow railway station (both have not been preserved).

(1766-1815)

Born and lived in Moscow. In 1733 he entered the architectural school during the expedition of the Kremlin building to, and two years later to. In 1787, he became Kazakov's assistant on the expedition of the Kremlin building. From 1804, he directed the school at the Kremlin building expedition, from 1814 he was the director of the Kremlin drawing room.

Main works: Military hospital in Lefortovo, the main house in the Lyublino estate near Moscow, the building of the Museum of the Armory in the Kremlin (not preserved), construction management of Gostiny Dvor (designed by Quarenghi), St. Nicholas Church in the village. Tsarevo near Moscow.

(circa 1698-1740)

From noble children. Sent by Peter I to study in Italy. From 1716 to 1723 he studied with Seb. Cipriani and Fr. Borromini. Upon his return, he took part in the competition for the design of the palace in Preobrazhensky near Moscow. Eropkin's project was accepted and implemented (with changes). In 1737, he was the chief architect of the "Commission on the St. Petersburg Building" with the rank of Hof-Bauintendant and Colonel. Head of the first real master plan of St. Petersburg. He was engaged in draining the territory of the city and strengthening its embankments. Compiled together with and the first Russian architectural and construction treatise "The Position of the Architectural Expedition". He translated individual chapters of A. Palladio's treatise "Four Books on Architecture". He spoke with a group of the cabinet secretary against the "Bironism" and was executed.

Eropkin's buildings have not been preserved. He is credited with Bruce's manor house in Glinka near Moscow.

(1799-1851)

Born in the Kursk province in the family of a landowner. From 1806 to 1821 he studied painting at the Academy of Arts, and architecture for the last six years. He graduated with a gold medal, taught at the Academy and was engaged in excavations in Kyiv. From 1827 he lived as a pensioner in Rome. In 1835 he traveled through Greece and Asia Minor, visited Constantinople. In 1840 he returned to St. Petersburg. From 1840 he was an academician, from 1842 he was an honorary free general of the Academy (honorary academician), from 1844 he was a professor at the Academy. Architect of the "Cabinet of His Imperial Majesty".

A characteristic representative of early eclecticism. One of the most educated Russian architects. Excellent chart.

Main works: construction together with the New Hermitage according to the project of Leo von Klenze, the building of the Ministry of State Property on St. Isaac's Highway, the City Council on the Duma Line opposite Gostiny Dvor, St. George's Hall in the Winter Palace. Most of the church buildings built by Yefimov have not survived.

Gilardi (Giliardi) Domenico (Dementiy Ivanovich) (1785-1845)

Italian from Switzerland. One of the brightest and most prolific masters of the Moscow Empire style. Eight architects and stone craftsmen from the Gilardi family worked in Moscow. - the son of the architect I. "D. Gilardi; was born in Montagnola. From 1796 he lived in Moscow, from 1799 - in St. Petersburg, studied painting at the Academy of Arts at Skopi. In 1803 he left for Italy, where Graduated from the Milan Academy. Studied architectural monuments in Italy. Returned to Moscow in 1810. He built a lot in Moscow and estates near Moscow. The heyday of Gilardi's activity is connected with the restoration of Moscow after the fire of 1812. In 1835 he left for Italy. He died in Milan .

The main works are the restoration of the university after the fire, the building of the Board of Trustees on Solyanka, Khrushchev's house on Prechistenka, the Widow's house on Kudrin, the Catherine's School on Catherine's Square. (all together with), the estate of the Usachevy Naydenovs on Zemlyanoy Val, the Lunins' house on Suvorovsky Boulevard, Gagarin's house on Povarskaya Street, the Horse Yard complex in the estate of Prince. Golitsyn Kuzminki.

(1867-1959)

Born in Pinsk (Belarus). In 1887-1898. studied at the Academy of Arts in the workshop, in the same years he worked a lot as an assistant architect at construction sites. From 1900 he taught at the Stroganov School in Moscow. Repeatedly traveled to Italy, where he studied the architecture of the Renaissance, and to England. He studied Russian architecture. In his work, he consistently implemented the theory of architectural harmony he created.

A prominent architect, an outstanding researcher of classical architecture, a theorist, an exceptionally talented teacher who created a school of followers of the idea of ​​mastering the classical heritage in modern architecture. His main activity belongs to the post-revolutionary era.

The main works before the revolution: the house of the Race Society, the Tarasov mansion on Spiridonovka, the Nosov mansion on Vvedenskaya Square in Moscow.

(1821-1891)

Born in the Kursk province. In 1842 he graduated from the Institute of the Corps of Railway Engineers. Conducted research and design of the Nikolaev railway. Author of many works on structural mechanics. He was engaged in the theory and calculation of lattice structures.

Since 1877 - Director of the Department of Railways of the Ministry of Railways, Head of the Technical Inspection Committee, which oversaw engineering and technical design: Member of a number of international congresses. Winner of the Demidov Prize. A real state councilor, a major engineer, the founder of the national school of bridge building, who influenced the introduction of new structures into architecture.

Main works: reconstruction of the spire of the Peter and Paul Cathedral in St. Petersburg (in metal structures); all bridges on the Nikolaev railway, including the famous Verebiysky bridge, the bridge across the Oka on the Moscow-Kursk railway; reconstruction of the waterway of the Mariinsky system.

(? - 1727)

Arrived in Moscow, apparently from Ukraine. There is no information about the doctrine and early works. He had a wood carving workshop. From 1707 - superintendent of all Russian church painting. The first representative of the Baroque in Russia. Zarudny's workshop owns a number of iconostases in the forms of the "southern baroque", of which the iconostasis of the Peter and Paul Cathedral in St. Petersburg is the most famous.

In Moscow, only one work by Zarudny is reliable - the Church of the Archangel Gabriel on Chistye Prudy, the so-called "Menshnkov Tower"; he is credited with a number of works similar in style to the Menshikov Tower: the Church of Peter and Paul on Novobasmannaya Street, the Church of John the Warrior on Yakimanka, the chambers of the clerk Averky Kirillov on Bersenevskaya Embankment.

Zakharov Andreyan Dmitrievich (1761-1811)

Born in St. Petersburg in the family of an officer. In 1767, he was appointed as a student at the art school at the Academy of Arts. In 1776 he moved to the architectural class. He apparently studied at In 1782 he graduated from the Academy with a large gold medal and was sent as a pensioner to Paris, where he studied with. Creativity had a great influence on Zakharov. In 1786 he returned to St. Petersburg and taught at the Academy of Arts until the end of his life. Associate professor. He was the largest building authority in Russia, most of the projects in the capitals and provinces passed through his expertise. Being the chief architect of the Admiralty department, he created planning solutions for a number of districts of St. Petersburg. He went down in history as the creator of the Admiralty (the third) - a remarkable architectural monument of classicism. Apart from the Admiralty and the Civil Governor's House in Chernigov, Zakharov's works have not been preserved. The main ones are: St. Andrew's Cathedral in Kronstadt; development of the Galernaya Harbor (not completed), Proviantsky Island and the territory of the marine hospital on the Vyborg side in St. Petersburg.

(1688-1743)

Born in Moscow. He studied at the Armory Chamber. In St. Petersburg since 1709; studied Italian at the provincial office. Since 1710, by order of Peter I, he was appointed assistant and student of D. Trezzini. Since 1719, he directed the development of Moscow in connection with the abolition of the ban on building stone structures. In 1720 he was transferred from students to gezels. In 1720-1722. worked in Revel as an assistant to N. Michetti on the construction of Yekaterinenthal (Kadriorg). In 1723 he went on a business trip to Stockholm. From 1723 he worked in St. Petersburg on orders from the court. In 1724 he received the title of architect. After the execution of P. Yeropkin in 1740, he was seconded to the “Commission on the St. ”, “On the positions of various art masters who apply at buildings”, “On the Academy of Architecture”. Since 1741, he served as the court architect of Elizaveta Petrovna. The first Russian architect of St. Petersburg, who, along with Trezzini, embodied the main architectural plans of Peter I. He worked in St. Petersburg, Tsarskoye Selo and Moscow. In 1742 he received the rank of colonel. Had an architectural "team". Of the works of Zemtsov, the St. Petersburg church of St. Simeon and Anna has been preserved (partially rebuilt).

Ivanov- (1865-1937)

Born in Voronezh. He was brought up in the Voronezh real school. In 1883-1888. studied at the Institute of Civil Engineers in St. Petersburg. Graduated with a gold medal. Traveled in Germany, Austria and Switzerland. Upon his return, he was assigned to the technical construction committee of the Ministry of the Interior. From 1889 he lived and worked in Moscow, from 1890 he was the city architect of Moscow. Modernist representative.

Main works: Moscow Merchant Club (now the Lenin Komsomol Theatre), the building of the Eye Hospital. Botkin, 2nd city hospital on the Kaluga highway, hospital. Helmholtz on Sadovaya, children's exemplary hospital, the building of the city orphanage.

(1738-1812)

Born in Moscow. He studied at the architectural school. In 1763-1767. worked in Tver. He was an assistant in the design of the Grand Kremlin Palace.

For the first time in Russia, he created structures for domes and ceilings of large spans. Since 1792, he headed the architectural school during the expedition of the Kremlin building. Pupils:, F. Sokolov, and others. Drafted a project for the organization of a construction trade school (“School of Stone and Carpentry”). He supervised the drawing up of the general and facade plan of Moscow, in connection with which he completed with his assistants thirty graphic albums of particular and civil buildings containing drawings of most Moscow houses of the late 18th century. One of the founders and greatest masters of classicism. The author of most of the buildings that define the appearance of classical Moscow.

Main works: Petrovsky (Travel) Palace, the Senate building in the Kremlin with the famous domed hall, the Church of Philip the Metropolitan, the Golitsyn hospital, the university building, the house of the Noble Assembly, the houses of Rubin, Baryshnikov, Demidov in Moscow, the church and mausoleum in the estate of Nikolsko Pogorely in the Smolensk province .

Cameron Charles (1743-1812)

Scot in Russian service. Born into a wealthy family of a master builder. He studied with his father and on his own. Since 1767 he lived in Rome, where he studied and measured the monuments of antiquity. Returning to England, he worked on the book The Baths of the Romans, published in London in 1772. In 1779 he arrived in Russia. He was the architect of Tsarskoye Selo and Pavlovsk. Since 1796, he was retired. Worked for gr. in Baturin. From 1802 he was the chief architect of the Admiralty Colleges. Retired since 1805. Cameron was listed as a free artist and had no ranks, although he received a pension from the court. In addition to the aforementioned "Thermes of the Romans" released several albums of engravings. Cameron's attempts to become an academician of the Academy of Arts, thanks to the intrigues of Felten, were unsuccessful.

A brightly individual representative of classicism, the finest master of interiors and one of the most brilliant draftsmen in the history of Russian architecture.

Main works: Cold baths, Agate rooms, Cameron Gallery, ceremonial apartments and private rooms of Catherine II in the Grand Palace in Tsarskoe Selo; palace c. in Baturin (destroyed); palace and park in Pavlovsk.

Quarenghi (Gvarengi) Giacomo (1744-1817)

Born in Italy near Bergamo in an old noble family. He studied painting in Bergamo with J. Reggie, a student of Tiepolo. Traveling in Italy. In Rome, he first studied painting with, and then architecture with St. Poudv et al. Was influenced by A. Palladio. Imm noble friends and patrons. He worked a lot in Italy and in England. In 1799 he was invited by Catherine II to St. Petersburg. Started working as a court architect first in

Peterhof, then in the capital. One of the most famous architects XVIII in. Brilliant painter. He left sketches of the main monuments of St. Petersburg. Worked under three emperors. He built a lot in Moscow and the provinces. From 1805 he was a free member of the Academy of Arts. In 1788-1800 he was the architect of the chapter of the Order of St. John of Jerusalem (Maltese). In 1810 he visited his homeland, where he was greeted with triumph.

In 1814 he received hereditary Russian nobility and the Order of St. Vladimir 1st degree. He was associated with many representatives of Russian culture.

Died in Saint Petersburg. In 1967, his ashes were transferred from the Volkonsky cemetery to the necropolis of the Alexander Nevsky Lavra, and against the building of the former Assignation Bank on Sadovaya Street. bust installed.

Brilliant master of the era of classicism. One of the creators of the appearance of the capital. Most of Quarenghi's work has survived. He had a great influence on contemporary Russian architecture.

Main works in Russia: The English Palace in Peterhof (destroyed during the Great Patriotic War), the Mariinsky Hospital in Pavlovsk, the Academy of Sciences on the University Embankment, the Hermitage Theater, the Raphael Loggias in the Hermitage, the reconstruction of the front halls of the Winter Palace (rebuilt by Stasov after the fire), the Collegium Building Foreign Affairs on the English Embankment, Assignation Bank on Sadovaya St., Silver Rows on Nevsky Prospekt, Palace gr. Bezborodko on Pochtamtskaya st. (rebuilt), restructuring of the dacha c. Bezborodko on Polyustrovskaya Embankment, Saltykov's house on the Field of Mars, Fitingof's house on Admiralteysky Prospekt, Yusupov's house on Sadovaya St., Maltese Chapel at the Page Corps on Sadovaya St., Building of the Main Pharmacy on Millionnaya St., Mariinsky Hospital for the Poor on Liteiny pr., the Catherine Institute on the Fontanka, the building of the "Cabinet of His Majesty" on Nevsky Prospekt, the Smolny Institute, the Horse Guards Manege, the Narva Triumphal Gates (rebuilt by Stasov), the Anglican Church on Angliyskaya Embankment, the Alexander Palace and Concert hall in Tsarskoye Selo, the Zavadovsky estate in Lyalichi.

He left a huge graphic heritage (about 1,500 sheets in the storage of the CIS and Europe).

(1720- after 1770)

In 1734 he was accepted as an "architectural student" in the Moscow "Chancery of Buildings". First he worked as an assistant in Moscow during the design of the coronation celebrations at the coronation of Elizabeth Petrovna and in the Annengof and Lefortovo palaces, and from 1743 as an “architectural apprentice” in St. Petersburg to expand the Tsarskoye Selo Palace. After Zemtsov's death, he worked independently in Tsarskoye Selo. At the same time, Kvasov began working for Hetman K. G. Razumovsky in Ukraine: in Kozeltse, Glukhov and Baturyn. The main activity of Kvasov as an architect is connected with Ukraine. Since 1770, Kvasov held the position of "Little Russian architect".

Of the numerous buildings of Kvasov in Ukraine, the cathedral in Kozeltsa, partially rebuilt by Rastrelli, and, presumably, the basement of the hetman's palace in Baturin, built mainly by J. Quarenghi (destroyed in the 20th century), have been preserved.

(1863- after 1907)

Born in Vilna. He graduated from the Vilna real school. In 1883-1888. studied at the Institute of Civil Engineers. Assigned to the technical construction committee of the Ministry of Internal Affairs. He worked in St. Petersburg, mainly in the construction of industrial facilities. Since 1890 - in Moscow, he retired and until the end of his life was engaged in private practice. The largest representative of the Moscow Art Nouveau. He built a lot, designed interiors, made drawings of applied products for Moscow art factories.

Major works in Moscow: Nosov's mansion on Prechistenka, Isaev's on Pyatnitskaya st., Isakov's house on Prechistenka (the most famous work), Mindovsky's house on Povarskaya st., Khludov's tomb chapel in the Intercession Monastery, the Praga restaurant on Arbatskaya Square, Nikolskie shopping malls, hotel "Metropol", near Moscow stations of the Belarusian railway.

Kitner Ieronim Sevastyanovich (1839-1929)

Born in St. Petersburg in the family of a "lamp master". In 1857 he graduated from the Construction School with the title of architectural assistant. From 1867 he was an academician of architecture, from 1868 he taught at the Construction School, from 1876 he was an extraordinary professor and member of the council. In 1886-1894 he was an inspector, from 1888 he was an ordinary, and from 1906 an honored professor at the Institute of Civil Engineers. In addition, in 1895 - 1902 - professor of architecture at the Institute of Railway Engineers, since 1911 - an honorary member of the Academy of Arts. One of the founders of the St. Petersburg Society of Architects, in 1887-1905 - Deputy Chairman, in 1905-1917 - Chairman of the Society. Edited the magazine "Architect". Comrade of the Chairman of the Standing Committee of the All-Russian Congresses of Architects. Inspector, and then trustee of the first school in Russia for tenants-builders. He was engaged in social activities - he was a member of the City Duma and a member of a number of committees. Died in exile.

Main works: the building of the Agricultural Museum in the Salt Town, the building of the Institute of Civil Engineers in the 2nd company of the Izmailovsky Regiment, the market pavilions on Sennaya Square (destroyed), the building of the school of the Lutheran parish on Bolshoy pr. Vasilyevsky Island, the Siegel mansion and factory on Yamskaya Street, Palm greenhouse in botanical garden Academy of Sciences, laboratory building of the Institute of Railway Engineers, in addition, the Moscow Engineering School, a complex of buildings of the Kyiv Polytechnic Institute.

(1858-1924)

Born in Moscow in the family of a businessman, close to the circles of art. He graduated from the Moscow School of Painting, Sculpture and Architecture, then the Academy of Arts in St. Petersburg. Since 1882, he was trained first in Italy in Ravenna, then in Paris with C. Garnier. Upon his return to Moscow, he worked for the academician on the construction of the Historical Museum on Red Square. Working independently, he built more than 60 structures in Moscow. He was a professor at the Riga Polytechnic School and the Higher Technical School. Among the students -,. Author of many books, including the Guide to Architecture.

One of the most prominent architects of pre-revolutionary Russia. He had great culture and erudition. His buildings were famous for their high technical performance.

Main works: Middle shopping malls, Trekhgorny brewery, Perlov's apartment building on Myasnitskaya, a complex of hospital buildings on Devichye Pole, the Muir and Myurilis department store (TsUM), the Museum of Fine Arts (Museum of Fine Arts named after them.), Borodinsky Bridge (jointly with engineer), the cinema "Coliseum" on Chistye Prudy, the tomb of Prince. Yusupov in Arkhangelsk.

(1860-1942)

Born in Tsarskoye Selo. He graduated from the Institute of Civil Engineers in 1887, was invited to serve in the Office of the Southern Railways in Kyiv. He taught at the Kiev Polytechnic Institute. Since 1912 - professor.

A major architect, he worked in the spirit of eclecticism and neoclassicism.

The main works before the revolution: railway stations in Kozin, Bendery, Korosten, etc., a number of buildings of the Kyiv Agricultural Exhibition, in Kyiv - the State Bank, the Commercial Institute, the buildings of higher women's courses and the Russian Technical Society. He built a lot after the revolution.

(1726-1772)

Born in Tobolsk in the family of an official. A famous architect exiled to Tobolsk took him as a student. After a short exile, Blank returned to Moscow with Kokorinov. In Moscow, Kokorinov was listed in the "team" of Blanc, then moved to the one who came to Moscow from St. Petersburg, and after the death of the latter - to. In 1749, with the rank of gezel, he was transferred to, began teaching at his architectural school. He was engaged in the restoration of the walls and gates of the Kremlin and Kitaygorod. In 1753 he was summoned to St. Petersburg for a trip abroad. The trip did not take place, but in St. Petersburg Kokorinov became close to gr. and took part in the creation of the Academy of Arts. Wrote the charter of the Academy and designed its creation. From 1761 - director, and from 1768 - rector of the Academy.

Founder of classicism in Russia. Outstanding teacher. Among the students -.

Main works: the building of the Academy of Arts, until the end of the construction of which he did not live; Razumovsky's palace on the Moika (both projects jointly with Wallen Delamotte). Most of Kokorinov's works have not survived.

Korinfsky (Varentsov) Mikhail Petrovich (1758-1851)

Born in Arzamas. He studied at the Arzamas school of painting at. In 1810-1817. studied in St. Petersburg at the Academy of Arts. In 1812-1823. worked in Arzamas, in 1823-1832 - in Simbirsk and from 1832 until the end of his life - in Kazan. He has done many teaching activities. He founded an architectural school in Arzamas. He taught architecture at Kazan University. Died in Kazan.

One of the largest representatives of classicism in the province.

Main works: the buildings of the Kazan University complex (library, anatomical theater, observatory), the building of the Nobility Assembly in Simbirsk, the Resurrection Cathedral in Arzamas, the Lutheran Church in Nizhny Novgorod, the church in the village of Pavlovo in the Nizhny Novgorod province, the cathedral in Simbirsk (not preserved).

(1700 or 1701-1747)

Born in Moscow. Sent by Peter I to Holland. Studied with Scheinfurt. In 1727-1741 he was the architect of the Admiralty Office. Built the second stone building of the Admiralty. He was also engaged in the decoration of ships. From 1741 he worked in Moscow. Had an architectural "team" there. Among the students: S. Chevakinsky, A. Kokorinov, D. Ukhtomsky and others.

Of the works of Korobov, only the Church of St. Panteleimon in St. Petersburg, which was part of the Particular shipyard on the Fontanka, has survived. The theological church with a bell tower in Kronstadt stood until the 30s of the XX century.

(1817-1887)

Born in St. Petersburg. In 1826-1839. studied at the Academy of Fine Arts. In 1839-1842. worked with Ton in Moscow. In 1842-1846. was on a retirement trip to Italy with Benois and Rezanov. Participated in the measurements of the cathedral in Orvietto. Since 1850 - academician, since 1853 - professor at the Academy of Arts. He served in the Department of Railways, the architect of the Chapter of Russian Orders, the chief architect of the imperial theaters.

One of the most talented representatives of eclecticism. Built in the so-called "European" styles.

Main works: Baltiysky railway station, Stieglitz's mansion on nab. Neva, Mariinsky market on Sadovaya st. (not preserved), the house of the Mutual Land Credit Society on Admiralteiskaya Embankment. (together with), hospital of the community of sisters of mercy on Sergievskaya street, church in Narva. Many works have not survived.

(1877-1944)

Born in Moscow in the family of a doctor. He graduated from the Riga Polytechnic Institute in 1906 with the title of engineer-architect. Honored with a business trip abroad (1906-1907). From 1908 he was a city architect in Balti (Bessarabia), from 1912 he lived and worked in Ekaterinoslav as a landscaping engineer, and at the same time he was in private practice. After the revolution, he held responsible positions related to design and construction, taught at the Dnepropetrovsk Institute of Transport Engineers. Master of high professional culture, adhered to the neoclassical direction.

The main buildings in Yekaterinoslav: a number of tenement houses, a boarding house for the children of officers who died in world war, anatomical building of the medical institute.

Krasovsky Apollinary Kaetanovich (1816-1875)

The largest theorist of architecture, who influenced the formation of the professional thinking of several generations of architects in the middle and second half of the 19th century. According to contemporaries, "laid a solid foundation for the teaching of civil architecture as a science in our technical higher educational institutions". He taught at the St. Petersburg Construction School for 37 years, preparing its transformation into the Institute of Civil Engineers (1881). He taught a course in architecture at the Institute of the Corps of Railway Engineers, at St. Petersburg University, a course in building art at the Mining Institute. Honorary free member of the Academy of Arts.

Leblon Jean-Baptiste-Alexandre (1679-1719)

Famous French architect and theorist. Lenotra. Author (together with Duvilliers) of a course in architecture. Invited to Russia by Lefort and Zotov after the death of A. Schluter. He met with Peter I in France and managed to interest him in his projects. In St. Petersburg since 1716. Appointed "general architect" with the subordination of all architects and engineers working in St. Petersburg. Author of the first general plan of St. Petersburg. The implementation of the plan turned out to be unrealistic, but many of Leblon's demographic and urban planning ideas later formed the basis for the planning and development of the city. He also worked in Strel'ye and Peterhof. The author of the first Peterhof Palace, rebuilt by Rastrelli, and the basis for the layout of the cascade.

Reliable buildings of Leblon have not been preserved. Some researchers attribute to him the pavilions of Marly, the Hermitage and, with less probability, Monplaisir in Peterhof Park.

(1870-1945)

Born in St. Petersburg in the family of a tailor, a Swedish citizen. He graduated from school at the church of St. Catherine. For two years he studied at the Stieglitz School. In 1890-1896. studied at the Academy of Fine Arts. Mostly built in St. Petersburg on private orders. He had his own design office. Participated in many competitions. In 1910-1917. taught at the Faculty of Architecture of the Women's Polytechnic Institute. Since 1909 he has been an honorary academician of architecture. In 1914-1916 participated in the release of the "Architectural and Art Yearbook". In 1918 he left for Sweden, where he worked a lot and fruitfully.

The most talented representative of Art Nouveau, one of the best Russian architects. The so-called "northern modern", developed by Lidval, contributed to the exit of Russia in the late XIX - early XX century. to the global architectural arena. Numerous works by Lidval are distinguished by high artistic merit, excellent taste and brilliant functional and technical solutions.

Main works: Alexandrov's hotel in Apraksin Lane, own apartment building with a workshop on Kamennoostrovsky Prospekt; residential buildings of Zimmerman on Kamennoostrovsky prospect, the Swedish Church on M. Konyushennaya st., Meltzer on B. Konyushennaya st., Liebig on Mokhovaya st., Tolstoy on emb. Fontanka, Nobel on Nyostadtskaya St., Azov-Don Bank on Bolshaya Morskaya St., Astoria Hotel on St. Isaac's Square, houses on Goloday Island ("New Petersburg"); Russian bank in Kyiv.

(1868-1933)

Engineer, the largest Russian specialist in reinforced concrete structures. Developed the theory of calculation for breaking loads. Studied at Moscow University (graduated in 1891). He worked in Moscow in the construction company Yulia Gun. He taught building mechanics at the Moscow School of Painting, Sculpture and Architecture. After the revolution - professor at the Higher Technical School.

The main buildings before the revolution: the arches of the Museum of Fine Arts in Moscow, a number of industrial buildings (beamless coatings), a reinforced concrete passage at the Nizhny Novgorod exhibition.

(1751-1803)

Born into a poor noble family. He had no special education. In 1768 he entered the Life Guards Izmailovsky Regiment in St. Petersburg, where he graduated from the officer school. Transferred to serve in the Collegium of Foreign Affairs. He traveled a lot abroad (for the first time in 1776-1777). As a diplomat and writer, he was engaged in architecture occasionally, although fruitfully. He was an inventor in the field of heating and building materials. Invented earthworks. Honorary member of the Academy of Arts, member of the Russian Academy. He was associated with most of the cultural and political figures of his time (Chancellor Bezborodko, gr., etc.). Translated the works of Palladio. Wrote the first Russian book on heating. Among the students -. Outstanding figure of culture of the XVIII century. Architect, engineer, writer, translator, musician, folklorist, social and statesman.

Architectural activity of Lviv in the XIX century. was almost completely unknown. Only at the beginning of the XX century. his main works were attributed, of which survived: the Nevsky Gates of the Peter and Paul Fortress, the building of the post office (Post Office) in St. Petersburg, the Priory Palace in Gatchina, the Borisoglebsky Cathedral in Torzhok, the Church of St. Catherine in Valdai, etc.

Stanislavovich (1876-1944)

Born in Volkovysk (Belarus). From 1895 he studied in St. Petersburg at the Academy of Arts. In 1902-1903. traveled as a pensioner to Germany and Italy. He worked in St. Petersburg, Moscow, Gungerburg (Ust-Narva). Since 1912 - academician of architecture. In 1917-1918 - Chairman of the Petrograd Society of Architects. He built profitable houses, commercial and industrial buildings, bridges. Worked a lot with In 1918 he left for Warsaw, where he fruitfully worked until the Second World War.

Killed during the Warsaw Uprising.

A talented but somewhat monotonous architect, Lyalevich built mainly in the Neo-Renaissance style, modernized to suit the needs of the 20th century.

Main works: Mertens' trading house on Nevsky Prospekt in St. Petersburg, Pokatilova's mansion and tenement house on Karpovsky Lane, Mertens' mansion on Kamenny Ostrov, Sytny Market, a number of tenement houses; house partnership "Triangle" in Moscow.

(1784-1854)

Born in Oranienbaum in the family of the caretaker of the palace church. From 1795 he studied with. In 1807 he graduated from the Academy of Arts with a gold medal. In 1808-1811. was a pensioner in Italy with. After returning, he taught at the Academy of Arts from 1813, headed the "promising" class, from 1818 - professor. He built a lot on private orders in the provinces. Participated in a number of competitions, including the construction of the Cathedral of Christ the Savior and the Bolshoi Theater in Moscow. Since 1831 he was the rector of the Academy of Arts.

A consistent representative of classicism, whose decline he found at the end of his life. A prolific but unoriginal architect.

Major works: the Demidov School in Yaroslavl, the Nikolskaya Edinoverie Church in St. Petersburg, the gymnasium in Ufa, the Assumption Church in Nizhny Novgorod, the Gostiny and Mytny yards in Rostov Veliky. Melnikov's best work is a complex of buildings on Primorsky Boulevard in Odessa with a monument to Richelieu.

(1842-1906)

Born in St. Petersburg in the family of a coachbuilder. He graduated from the Lutheran school at the Church of St. Peter. In 1858 he entered the drawing school of the Society for the Encouragement of Arts, and in 1860 he entered the Academy of Arts in the architecture class. He studied at and in the mosaic class. On the recommendation of Eppinger, he entered as an assistant to and took part in his work on the restructuring of the interiors of the Academy of Arts. In 1867 he graduated from the Academy with a big gold medal and was sent as a pensioner to Italy. In 1871 he returned and presented to the Academy a project for the restoration of the theater in Taormina, for which he received the title of academician. He worked as an architect at the Main Engineering Directorate; from 1874 he taught at the Central School of Technical Drawing of Baron Stieglitz (from 1877 to 1897 - director).

In 1885 he traveled to Dresden to get acquainted with museum construction. He built the school museum building. Fulfilled the orders of the court, had the rank of a real state councilor. In 1886, due to a conflict with the directorate of the school, he resigned. In 1897 he left for Dresden, where he lived and worked until the end of his life.

Messmacher's activities came at the time of the decline of eclecticism. His works, notable for splendor not typical for the development of St. Petersburg, are made with great skill and invention, but are tedious with a heap of details and a mixture of styles. Their advantage includes a clear functional solution and high quality workmanship, making them seem to be transitional to modernity. Mesmacher's main merit is the establishment of art and industrial education in Russia, the education of several generations of masters of applied art.

Main works: the church of Cosmas and Damian (not preserved), the palace led. book. Alexei Alexandrovich on the Moika, the palace led. book. Mikhail Mikhailovich on Admiralteiskaya Embankment, Archive of the State Council on Millionnaya Street, building of the museum of the Central School of Technical Drawing of Baron Stieglitz.

Michetti Niccolo (1675-1759)

Italian architect, representative of the Baroque era. . He worked in Rome, where he was the papal architect. In 1718, he was invited by P. Kologrivov to Russia and appointed "royal architect" instead of the deceased Leblon. Finished the construction of Leblon in Peterhof. He worked in Reval (Tallinn) and in Strelna near St. Petersburg. Had some influence on who was his student and assistant. In 1723 he left Russia.

Major works: completion of the Monplaisir, Marly, Hermitage pavilions and a number of fountains in Peterhof; Ekaterinental Palace (Kadriorg) in Reval (completed), Strelna Palace (rebuilt by L. Ruska), lighthouse project over the Kronstadt Canal (not implemented).

(1700-1763)

From the small local nobles of the Kostroma province. In 1718 he was sent to St. Petersburg to the Academy of Navigational Sciences. At the end - N. Michetti's assistant and student at the construction of the palace in Strelna. In 1723 he was sent to Holland, studied in Antwerp with I. Baumstedt, worked in St. Petersburg and its environs, from 1731 in Moscow. After the death of I. Mordvinov in 1734, he supervised the drawing up of the city plan. In 1754 he built St. Andrew's Church in Kyiv according to the project.

The main original buildings of Michurin have not been preserved (Trinity Church on Arbatskaya Square, the church and the bell tower of the Zlatoust Monastery, the Cloth Yard). Of the surviving buildings, only the cathedral of the Svensky Monastery (Bryansk region) is known.

Montferrand Auguste Ricard (1786-1858)

Born in France. Studied with C. Persier and. Was in Italy. Served in the army. He worked in St. Petersburg in the Committee for Buildings and Hydraulic Works as a draftsman. Soon he presented Alexander I with an album of projects for St. Isaac's Cathedral (compilations of various styles - Chinese, Indian, Byzantine, Gothic, Greek, etc.). He was appointed court architect, and in 1818 - the builder of St. Isaac's Cathedral. Construction continued until Montferrand's death. In 1826, he joined the commission to consider the projects of the Cathedral of Christ the Savior in Moscow. From 1831 he was a free member of the Academy of Arts. Montferrand performed one of the most complex construction works of the 19th century - the rise of the columns of St. Isaac's Cathedral, the Alexander Column, in which he proved himself to be an excellent engineer and organizer. There is no reason to consider Montferrand an "official of architecture", although there are undoubtedly elements of the opportunistic ™ in his work.

All the buildings of Montferrand in St. Petersburg have survived: St. Isaac's Cathedral (second), the house of Prince Lobanov-Rostovsky on Admiralteisky Prospekt, his own house on the Moika, Demidov's (Gagarin's) mansion on Bolshaya Morskaya, the Alexander Column on Palace Square, the interiors of the Winter Palace, a monument Nicholas I on St. Isaac's Square (sculptor P. Klodt).

(1868-1953)

A major master of the early 20th century, who worked in the spirit of Art Nouveau and Neoclassicism. Educated at the Academy of Arts.

Main works: in Kazan and Saratov - a university complex (buildings of medical and physical faculties), own house.

Nestrukh (Neshturkha) Fyodor Pavlovich (1857-1936)

Born in with. Fomina Balka near Odessa in the family of a printing worker. He worked in Odessa design workshops as a draftsman. In 1887 he graduated from the Academy of Arts with the title of class artist of the 1st degree. By competition, he was accepted for the position of the chief city architect of Pskov; In the same years, he taught the basics of architecture at the local land surveying school. From 1900 he lived and worked in Odessa. In 1902-1922 he was the chief architect of Odessa. After 1925, he conducted pedagogical work at the Odessa Art School. Died in Odessa.

Major architect and teacher; characteristic representative of the neoclassical trend in architecture.

The main buildings: in Pskov - a Commercial Bank, a diocesan girls' school with a church; in Odessa - an ambulance building, a city public library, a hospital for the nervously ill in Slobodka, an evangelical hospital, Fruit passage; a number of medical and resort buildings on the estuaries.

(1847-1911)

Born in Tsarskoye Selo. In 1870 he graduated from the Academy of Arts. In 1891 he received the title of class artist, in 1892 - academician of architecture. Since 1870 he has been working in the Kyiv City Council. He was a city architect (1873-1887), a diocesan architect (1875-1898), an architect of the Kiev-Pechersk Lavra (1892-1899), one of the organizers and director of the Kyiv Art School. He was elected chairman of the architectural department of the Kyiv branch of the Russian Technical Society and the Kyiv Literary and Artistic Society, a delegate to congresses of Russian architects. Died in Kyiv.

An outstanding architect who worked in Kyiv; characteristic eclecticism.

Main works: Bergonier Circus Theatre, the building of the Merchant Assembly, the churches of Voznesenskaya, Kiev Blagoveshchenskaya, Alexander Nevsky (the last two have not been preserved); Church of the Intercession, Nicholas Cathedral and residential buildings of the Kiev-Pokrovsky Monastery, the refectory of the Kiev-Pechersk Lavra, a number of tenement houses and mansions; restoration work in St. Sophia and Assumption Cathedrals, St. Andrew's Church.

(1883-1958)

Born in St. Petersburg in a family close to art. In 1901 he entered the Institute of Civil Engineers (graduating in 1910). In 1905-1906. worked in Helsingfors in the workshop of A. Lindgren and E. Saarinen, from 1906 - in St. Petersburg as an assistant; led and independent design. Traveled in Russia.

Great artist. Talented architect and teacher. His main activity belongs to the Soviet era, however, as a creative person with a bright personality, he developed before the revolution, when he worked in the spirit of "northern modern", and then retrospectivism.

The main works until 1917 were Leonid Andreev's dacha near Rayavol, an apartment house on Aptekarsky Island in St. Petersburg, several mansions.

(1872-1916)

Born in the estate of Usich, Volyn province. In 1896, after military service, he entered the Institute of Civil Engineers, and in 1901, the Academy of Arts, where he studied with. In 1906 he received the title of architect-artist. Traveled as a pensioner in Italy, France, Germany, Belgium, Holland and Austria. Upon his return, he built a lot, mainly on orders from large firms.

Talented architect. He worked in the spirit of rational modernity, but his most famous buildings - in the Neo-Renaissance style - are distinguished by excellent drawing of details, functional perfection, skillful combination with the surrounding buildings, but at the same time they are exaggeratedly monumental.

The main works in St. Petersburg are the Russian Commercial and Industrial Bank on B. Morskaya St., the Wavelberg Banking House on Nevsky Prospekt, the house of City Institutions on Kronverksky Prospekt, the Temple-Memorial to Russian sailors who died in the war with Japan on Novo- Admiralty Canal (not preserved), the building of the Ministry of Trade and Industry on Tuchkova Embankment, a project for the transformation of St. Petersburg (from and); house of the Northern Insurance Company in Moscow (with and)

(1848-1918)

Born in Moscow. He studied at the School of Painting, Sculpture and Architecture. In 1874 he moved to the Academy of Arts in St. Petersburg, with which he was associated until the end of his days. From 1879 to 1886 he was in practice in Italy as having received a gold medal. For the measured drawings of the Palatine Chapel in Palermo, he was awarded the title of academician. Since 1887 - adjunct professor of the Academy of Arts, since 1892 - professor. After the reorganization of the Academy of Arts - the head of the workshop. Rector of the Higher Art School at the Academy of Arts. He was also the architect of the school council under the Synod and a member of the technical and construction committee under the Ministry of the Interior.

Leading architect and educator. A characteristic representative of the eclectic era, he worked in the "Russian style".

Main works: the cathedral in Sofia in Bulgaria, the cathedral in Cetinje in Montenegro, the Synodal House in St. Petersburg, the main buildings of the All-Russian Art and Industrial Exhibition of 1896 in Nizhny Novgorod, the Duma building and the city trading house in Rostov-on-Don, Upper shopping malls in Moscow on Red Square (GUM).

Rastrelli Bartolomeo Francesco (Bartholomew Varfolomeyevich), Count (1700-1771)

Italian by birth. Born in Paris. Son of an architect and sculptor. He studied with his father. In 1716 he came to St. Petersburg with his father, who had concluded an agreement with Peter I, and was his assistant. From 1722 he began to work independently as an architect. Carried out private orders. In the period from 1722 to 1730, he traveled twice to Italy and France to improve in architecture (once every 5 years). He built in St. Petersburg, Moscow for Anna Ioannovna and in Courland for Biron. With the accession in 1741 of Elizabeth Petrovna, he became her favorite court architect.

In addition to St. Petersburg, he worked in Peterhof, Tsarskoye Selo and in the provinces.

Major General, Knight of the Order of St. Anne, Academician of Architecture (1770). He had a number of students and followers. With the accession of Catherine II in 1762, Rastrelli retired temporarily, and in 1763 he was finally dismissed and left for Switzerland. Creativity Rastrelli studied quite fully. Most of his work has survived.

The most talented master of the middle of the 18th century, the creator of a striking architectural style, sometimes called "Elizabethian Baroque". Together with Quarenghi and Rossi, he is rightfully considered the greatest Russian architect.

Main works: in St. Petersburg - the Smolny Monastery (not completed), the palace (partially rebuilt), the palace (the interiors were redone), the Travel Palace on the Middle Rogatka (destroyed in the 40s of the XX century), the Summer Palace of Elizabeth Petrovna (located on the site Engineering Castle), Grand Peterhof Palace, Grand Palace and park pavilions in Tsarskoye Selo, the Winter Palace (the interiors were rebuilt after the fire); in Moscow - Winter Annenhof in the Kremlin (does not exist), Summer Annenhof in Lefortovo (does not exist); in Kyiv - St. Andrew's Church; in Courland - Biron's palaces in Rundale and Mitau.

(1817-1887)

Born in St. Petersburg. In 1827 he entered the Academy of Arts. A student, later the closest assistant who completed his unfinished work. After graduating from the Academy (1838) he worked in Moscow. In 1842-1846. together with and was on a retirement trip in Italy. Upon his return in 1850, he received the title of academician for the publication of measured drawings of the cathedral in Orvieto. From 1852 - professor, from 1871 - rector of the Academy of Arts. From 1870 until the end of his life - Chairman of the St. Petersburg Society of Architects. He worked mainly on orders from the court.

One of the leading masters of the eclectic era, a major teacher and public figure. It was built mainly in the Neo-Renaissance style. An excellent draftsman and connoisseur of styles.

Main works: buildings in Ropsha, led the palace. book. Vladimir Alexandrovich on Palace Embankment in St. Petersburg (Rezanov's most famous work); participation in the design and construction of the Grand Kremlin Palace and the Cathedral of Christ the Savior in Moscow; Metropolitan Cathedral and the Church of St. Nicholas the Wonderworker in Vilna; a palace in Livadia, a palace in Ilyinsky near Moscow; a number of mansions and tenement houses in St. Petersburg, Moscow, Tver.

(1869-1932)

From a family of hereditary civil engineers. After graduating from the cadet corps and military school, he served in a sapper battalion. In 1896 he graduated from the Military Engineering Academy in St. Petersburg. From 1897 to 1912 - assistant in the construction of the Museum of Fine Arts and other buildings. From 1900 he worked independently.

A prominent architect and engineer who worked fruitfully in Moscow before and after the revolution. Experienced professional, rationalist in spirit and style.

The main works before the revolution: a house of cheap apartments for families on 2nd Meshchanskaya St., house

Northern Insurance Company on Ilyinka (s and), a women's gymnasium in B. Kazenny per., Bryansk (Kyiv) station (s and).

Rinaldi Antonio (1710-1794)

Italian in the Russian service. Student and collaborator L. Vanvitelli. Visited England. In 1752 he was invited by the Hetman Count to Ukraine. He worked in Kyiv and Baturin, then in Moscow. Since 1754 - the architect of the so-called "small courtyard" (the courtyard of the heir Pavel Petrovich). Since 1762 - the court architect of Catherine II. I worked in St. Petersburg in Oranienbaum. In 1784 he returned to Italy and lived in Rome until the end of his life.

A master of exquisite taste, whose work is on the verge of baroque and classicism.

Main works: Vorontsov's dacha Novo-Znamenka near St. Petersburg; the park and palace buildings in Oranienbaum, including the famous Chinese Palace and the Rolling Hill; Church of the Resurrection of Christ in Pechera; Catherine's Cathedral in Yamburg; Gatchina Palace, the building of the Tuchkov Buyan (hemp warehouses), the Prince Vladimir Cathedral, the Marble Palace, St. Isaac's Cathedral (on the site of the existing one), the Myatlev House in St. Petersburg.

Rossi Carlo (Karl Ivanovich) (1755-1849)

Born in St. Petersburg in an acting family. Studied with V. Brenna, traveled abroad with him. He began work under the leadership of Brenna in Pavlovsk. In 1806-1814. worked in Moscow, trying his hand at the "Gothic" version of the Russian style; taught at the Kremlin architectural school. At the same time, he designed for Tver and the cities of Tver, Yaroslavl and Novgorod provinces residential buildings, shopping arcades, offices, churches, hospitals, etc. Chief architect of Tver. Since 1814, in St. Petersburg, since 1816, he has been one of the four chief architects of the Committee for Buildings and Hydraulic Works, led by A. Betancourt (together with V. Stasov, A. Mikhailov 2m and A. Maudui).

He carried out a comprehensive reconstruction of the center of the capital, creating the largest ensembles of the Palace, Senate, Mikhailovskaya squares and the Alexandria Theater. Principled and independent, Rossi did not have high ranks (he received the rank of collegiate adviser back in Tver), and did not become an academician. True, in 1822 he was elected an honorary free member (that is, an honorary academician) of the Academy of Arts. In 1828 he was awarded the title of professor at the Florentine Academy. After a conflict with P. Bazin, Rossi was reprimanded for "disobedience to the instructions of his superiors" and resigned (1832), but continued to design and build until the end of his life. He died in St. Petersburg in great need, burdened with a huge family. In 1940, Rossi's ashes were transferred from the Volkovsky cemetery to the necropolis of the Alexander Nevsky Lavra. The former Theater Street is named after him. Rossi's creations, rather dry and "with a rather monotonous decor of facades, are nevertheless striking in their scope in solving urban problems.

The great Russian urban planner and architect, to whom St. Petersburg of the era of classicism owes its fame to a large extent.

Main works: in Moscow - the theater on Arbat Square and the Catherine Church in the Kremlin (not preserved), the wedding ceremony of the Nikolskaya Tower of the Kremlin (restored after a fire in 1812 by O. Bonet); malls in Tver, Bezhetsk and Rybinsk, a cathedral in Torzhok; in St. Petersburg - the ensemble of the Elagin Palace (palace, services, park and park pavilions), the ensemble of the Mikhailovsky Palace and Mikhailovskaya Square, the reconstruction of the territory of the Mikhailovsky (Engineering) Castle (piercing Sadovaya Street, the construction of several bridges across the Moika and the Fontanka, the creation of Manezhnaya Square ), the ensemble of the Alexandria Theater (theater, the Public Library, the pavilions of the Anichkov Palace, Teatralnaya Street and Chernysheva Square), the ensemble of the Palace Square (General Headquarters), the ensemble of the Senate Square (the Senate and the Synod).

Ruska Aloisny Ivanovich (Luigi) (1758-1822)

The Italian is from Switzerland. In 1767 he came to Russia with his father, a stone craftsman Geronimo Giovanni Rusca, invited to build St. Isaac's Cathedral and a monument to Peter the Great. He apparently learned from his father. He officially entered the service in 1783. He was engaged in state and palace buildings, in addition, he built a lot on private orders. In addition to St. Petersburg, he worked in Oranienbaum, Peterhof, Tsarskoe Selo, Ropsha; together with Stasov and Geste, he was engaged in the development of "exemplary" facades for provincial cities. In 1818 he retired from service and left Russia. He died in Valenza, Italy.

One of the most prolific masters of late classicism. His legacy is almost endless.

The main works in St. Petersburg: the Bobrinsky Palace on Galernaya Street, the barracks of the Kavalergardsky, Izmailovsky, Grenadier, Astrakhan regiments, the arena of the Cavalry Guards Regiment, the house of the Jesuit Order on the Catherine Canal, the portico of the Perinnaya Line, the house with four pediments at the corner of Sadovaya and Italian streets.

(1874-1942)

Born in Tiflis in the family of a teacher. In 1902 he graduated with honors from the Academy of Arts in the workshop. He worked at the Department of Railways in Kyiv, taught at the Kiev Polytechnic School, at the Kiev Art School, in 1917 he became one of the organizers and rector of the Kyiv Architectural Institute.

A major architect who worked in Kyiv, a representative of late eclecticism. Teacher.

The main works in Kyiv: the building of the People's Auditorium, the illusion of Shantser on Khreshchatyk, the hospital of the Society of Sisters of Mercy for several tenement houses. He built a lot after the revolution.

(1797-1875)

From a family of serfs. . He was released to the Perm gymnasium and in 1815 - "free pensioner" in the Academy of Arts. In 1818 he was dismissed from the Academy as a serf. He worked on the construction of the Peterhof paper mill. In 1820 he received a "free". Since 1821, having received the title of architect-artist, he was appointed to the post of architect of the Perm (Ural) Mining Administration. From 1832 he lived in St. Petersburg, taught at various educational institutions and was engaged in social activities. In 1839 he moved to Moscow, where he lived until his death. He held the rank of Privy Councillor. Worked on heating and ventilation issues. Founder of Russian rationalistic architectural theory. Author of the "Guide to Architecture" - one of the first professional textbooks, numerous works on plumbing.

The main work is related to industrial construction in the Urals and development in Perm. Author of many inventions, including economical stoves.

(1744-1808)

Born in Moscow in the family of a deacon. He studied at a school for children of the "spiritual rank", then at the gymnasium at Moscow University. In 1756 he was transferred to St. Petersburg, to the Academy of Arts; studied with Kokorinov and Valen-Delamote. In 1762 he was sent as a pensioner to Paris, where he worked for Ch. de Vailly. In 1766 he moved to Rome. He returned to St. Petersburg in 1768. Since 1772, he played a leading role in the Commission on the stone structure of St. Petersburg and Moscow, was engaged in the planning of cities (Voronezh, Pskov, Nikolaev, Yekaterinoslav). Outside Advisor. Designed a lot for the book. . From 1769 - adjunct professor, from 1785 - professor, from 1794 - adjunct rector of architecture at the Academy of Arts. Since 1800, he headed the commission for the construction of the Kazan Cathedral.

One of the leading classical masters of the late 18th century. Notable for the severity of his style, his work had a huge impact on the development of the classic school. Thus, the Taurida Palace became a model of manor construction in Russia.

Main works: in St. Petersburg - the Tauride Palace, the Trinity Cathedral and the Gate Church of the Alexander Nevsky Lavra; a number of manor houses in the vicinity of St. Petersburg, of which the houses in Taitsy and Skvoritsy have been preserved, the palace in Pella (not preserved); palaces in Bogoroditsk, Bobriky and Nikolsky-Gagarin near Moscow; Bogoroditsky Cathedral in Kazan; magistrate in Nikolaev.

(1769-1848)

Born in Moscow in the family of a petty official. He studied at the gymnasium at Moscow University. Upon graduation in 1783, he entered the Deanery Council as an architectural student. In 1794-1795 he was a non-commissioned officer of the Preobrazhensky Regiment, in 1797 he was assigned to the construction of salt factories with the rank of collegiate secretary. Participated in the competition for hotel projects at the entrance to Moscow on the site of the demolished white stone wall ( boulevard ring). Promoted to provincial secretary. Participated in the design of folk holidays during the coronation of Alexander I. In 1802, by personal decree, he was sent to France, Italy and England for improvement. During his stay in Rome, he was accepted as a professor at the Academy of St. Luke. In 1808 he returned to Russia. Identified under the jurisdiction of the "Cabinet of His Imperial Majesty", from that time he took part in the largest works on orders from the court and the state. One of the four chief architects of the Committee for Buildings and Hydraulic Works (together with K. Rossi, A. Mikhailov 2m and A. Moduy). Since 1811 - academician. Acting State Councilor. Professor of the Academy of Arts in the class of architecture.

The largest architect, a representative of late classicism. With great productivity and high professionalism, he remained an epigone of the classic school. In the last years of his life he tried to work in the "Russian style".

Main works: in St. Petersburg - Provisional shops on the Obvodny Canal, Pavlovsky barracks on the Field of Mars, Main court stables, Yamskaya market on Razyezzhaya street, Spaso-Preobrazheyasky and Trinity-Izmailovsky cathedrals; in Moscow - Provisional warehouses on the Crimean highway, the Grand Kremlin Palace (rebuilt by K. Ton), a hotel at the Intercession Gates, the Church of the Tithes in Kyiv, the Alexander Nevsky Cathedral in Saratov, the Alexander Nevsky Church in Potsdam, a complex of buildings in the estate of Arakcheev Gruzine on Volkhov.

(1850-1908)

He graduated from the Construction School in St. Petersburg in 1873 and from that time he taught history at the school, then at the Institute of Civil Engineers. architecture, in 1895-1903 - director. He lectured at the Technological Institute. Seriously studied Russian architecture. In 1886 he traveled to Italy, Greece and Turkey. In 1893 he was approved as a full member of the Academy of Arts.

A prominent architect, theorist, architectural historian, restorer, teacher.

Main works: Cathedral in Peterhof, participation in the erection of a monument to Alexander II in the Moscow Kremlin, translation of E. Violet-le-Duc's book "Russian Art", a number of articles on the history of Russian architecture.

(1857-1921)

Born in Moscow in the family of an icon painter. In 1878-1882. studied at the Academy of Arts. Under the influence, he decided to devote himself to the study of Russian architecture. During 1883-1887. made a number of trips around Russia, measuring, drawing, photographing architectural monuments, continued research and subsequently, in connection with restoration work. Repeatedly traveled abroad - to France, Italy, Turkey, Germany, etc. in connection with research and design work. In 1885 - academician, in 1902 - professor. One of the initiators of the case for the protection of monuments. He designed and built a lot in the spirit of Russian and neo-Russian styles. After the revolution, he was removed from teaching. He died in Khvalynsk.

An outstanding researcher of Russian architecture, architect, artist, theorist, teacher, restorer.

Main works: Alexander Passage in Kazan (c), a monument-tomb to Russian soldiers in San Stefano (Turkey), a church on the estate near Smolensk, in the village. Fedino, Moscow province, in Lugansk; restoration of the Spaso-Mirozhsky Cathedral in Pskov, the Transfiguration Cathedral in Pereslavl-Zalessky, the Cathedral of St. Sophia in Novgorod, the Church of the Savior-Nereditsa near Novgorod (the project was carried out by P. Pokryshkin), etc. A number of books, articles and albums on the history of Russian architecture, in including issues of "Monuments of Russian Architecture".

, Count (1844-1919(7))

From Russified French aristocrats. He graduated from the Academy of Arts in 1866, after a trip abroad he worked mainly in St. Petersburg on private orders. Academician of Architecture (1892), honorary member of the Academy of Arts, professor at the Institute of Civil Engineers. He was engaged in social activities a lot: he was the organizer of the first congresses of Russian architects, chairman of the Society of Architects-Artists; one of the founders and chairman of the society "Old Petersburg". One of the most prolific architects of his time. His position in architecture is ambiguous: not possessing great talent and taste, Suzor nevertheless played a huge role in the development of the “pan-European” style, characteristic of ordinary buildings in the center of St. Petersburg.

The main works in St. Petersburg: more than 60 buildings were built, mostly residential buildings. Of these, the most significant are the house-complexes that belonged to Prince. Ratysov-Rozhnov (on Kirochnaya, Panteleimonovskaya and Dumskaya streets), a complex of houses on Pushkinskaya street (almost the entire street is built up to the square with the monument), a number of houses on Nevsky Prospekt. Of the public buildings, the most famous are the house of the Singer company (now the Book House), the house of the Mutual Credit Society on the Ekaterininsky (Griboedov) Canal, the Metropol Hotel on the corner of Nevsky and Vladimirsky Prospekts, a homeopathic hospital with several public baths (on Basseynaya, Bolshoy Pushkarskaya, on the Moika embankment), a number of industrial facilities.

de (1760.-1813)

Frenchman in Russian service: Born in Bern (Switzerland) into a noble family. Initially he studied at the Paris Academy of Arts, then in 1785 in Rome. He served with Charles de Artois (brother of Louis XVI), from 1794 - in Vienna with the prince. In 1799, on the recommendation of the ambassador in Vienna, Prince. invited to Russia as an artist. Since 1800 - academician. From 1802 - court architect, professor of the Academy of Arts in the class of perspective, from 1810 - professor of architecture. He was also the chief artist of the imperial glass factory. When examining the burned-out Bolshoi Theater, he fell from the scaffolding and died of bruises.

A representative of classicism who followed the principles of N. Ledoux.

Main works: in St. Petersburg - the Bolshoi Theater (located on the site of the Conservatory), the Stock Exchange and the layout of the spit of Vasilyevsky Island, the Salny Buyan (not preserved); in Pavlovsk - the mausoleum "To the Benefactor Spouse"; in Odessa - a theater and a hospital (not preserved).

(1794-1881)

Born in St. Petersburg in the family of a jeweler. In 1803 "-1815. studied at the Academy of Arts. Left at the Academy, in 1817 he was enrolled in the drawing committee of the Committee for Buildings and Hydraulic Works. In 1819 he was sent as a pensioner to Italy, where he worked until 1828 - researches and draws up projects for the restoration of the Sanctuary of Fortune in Preneste, as well as the Caesars' palace on the Palatine; on both jobs publishes uvrazhi. Measures and other monuments of ancient architecture. In 1821 he studied at the Polytechnic School in Paris. Carries out a number of design works. He was elected a member of the Academy of St. Luke, a corresponding member of the Roman Archaeological Academy, a professor at the Florentine Academy of Arts. Returning to St. Petersburg in 1828, he became one of the participants in the reorganization of the Academy undertaken by the president of the Academy of Arts; since 1830 - academician and professor, since 1854 - rector for architecture.

Since 1830, after the successful implementation of the project of the Church of St. Catherine in St. Petersburg, he became the leading architect in Russia, fulfilling the most important state orders from the government of Nicholas I. The albums of church projects published by him were recommended as official samples. After the death of Nicholas I, he departed from practical design, although in 1861 he received the title of "architect of his Imperial Majesty." Privy Councilor (rank corresponding to a general); in 1868 he was elected an honorary member and correspondent of the Royal Institute of British Architects. For the last ten years of his life, he was seriously ill, and died in St. Petersburg.

Ton's works are notable for the high level of solution of functional and constructive problems, the novelty of space-planning schemes, and the high culture of composition.

His creative manner, however, sinned with some dryness. The connection with the ideological program of Nicholas I turned into a tragedy for Ton's creative heritage: most of his works were destroyed; the epithets “reactionary”, “unprincipled”, “chauvinistic”, etc. were usually associated with his name. At present, justice has been restored to this master.

His merits in the creation of the neo-Russian style were recognized, which, in addition to the government order, were based on the study of medieval architecture of Byzantium and Russia.

The largest architect of the middle of the XIX century. A characteristic representative of the eclectic era, the founder of the "national" direction in architecture; a teacher who had a great influence on the formation of architectural thought in the 19th century.

The main buildings: in St. Petersburg - a pier with sphinxes near the Academy of Arts, ceremonial halls and a church in the Academy building, the Church of St. Catherine and three regimental churches (not preserved), the Nikolaev railway station (Moskovsky); in Moscow - the Cathedral of Christ the Savior (not preserved), the Grand Kremlin Palace and the Armory, the Nikolaev railway station (Leningradsky), the bell tower of the Simonov Monastery (not preserved), the Maly Theater, etc .; in Kazan - the house of the military governor in the Kremlin; cathedrals and churches in Krasnoyarsk, Tomsk, Saratov, Tsarskoye Selo (not preserved), Peterhof, Yaransk, Sevastopol, Sveaborg, Yelets, etc. Kremlin, in Izmailovo near Moscow, etc.

Trezzini Domenico Giovani (Andrey Yakimovich) (1670-1734)

Italian, originally from Switzerland. Studied in Italy. From 1699 he worked in Denmark, from where in 1708 he was invited by the ambassador to the Russian service as a fortifier. In 1704-1705. worked in Kronstadt, in 1705-1706 - in Narva, from 1706 until the end of his life - in St. Petersburg.

Being the closest assistant of Peter I, he actually led all the construction in St. Petersburg. In 1726 he received the rank of colonel of the fortification. The first architect of St. Petersburg. Trezzini's work largely determined the further development of the city and anticipated its appearance.

Main works: Peter and Paul Fortress with Petrovsky Gates, Cathedral of St. Peter and Paul; palaces of Peter I - Summer (?) and Winter (not preserved), the building of 12 colleges (university), a hospital on the Vyborg side (rebuilt), his own house on Universitetskaya us., the development project of Vasilevsky Island, projects of "exemplary" houses.

(1792-1870)

Born in Moscow in the family of an officer. Graduated from the Moscow Architectural School. In 1817-1819. in the rank of architectural assistant, he worked for D. Gilardi and in the expedition of the Kremlin building at. Participated in the competition for the design of the Grand Kremlin Palace. He worked mainly on the reconstruction of Moscow and Moscow University. Achieved a high official position. Known as a collector of paintings, bequeathed to him in the Rumyantsev Museum.

Main works: park facilities, theater and palace interiors in the Yusupov Arkhangelskoye estate, rebuilding and completion at Moscow University, rebuilding the Church of the Annunciation in Yelokhovo (Elokhov Cathedral).

, prince (1719-1775)

From the oldest impoverished princely family. Born in with. Semenovsk near Poshekhony. After graduating from the School of Mathematical and Navigational Sciences in 1733, he was assigned to the "team", from 1741 - in the Moscow "team". In 1742 he received the title of "gezel", in 1745 - the title of architect, became the chief architect of Moscow and headed his own "team". Since 1750, he headed the architectural school he organized, among his students were A. Kokorinov, M. Kazakov, A. Evlashev, and other major architects. Carried out a huge amount of work with his students on measuring and strengthening the buildings of the Moscow Kremlin, monuments in Novgorod, Uglich, etc.

The largest architect, master of the Baroque of the middle of the XVIII century. Chief architect of Moscow, for a quarter of a century.

For the first time in Russia, he organized the systematic training of architectural personnel.

Main works: in Moscow - triumphal gates - Tver and Krasnye, stone Kuznetsky bridge, house (Neskuchnoye), projects of the Hospital and Invalid houses, as well as the Resurrection triumphal gates (not implemented), the Church of St. Nikita on Basmanskaya st. (?), restoration of the bell tower of Ivan the Great, reconstruction of the All-Saints Bridge, completion of the bell tower of the Trinity-Sergius Lavra, the bell tower in Tver (together with I. Schumacher) is the only surviving building.

Felten Georg Friedrich (Yuri Matveyevich) (1730-1801)

Born in St. Petersburg in the family of an official of the Academy of Sciences. He studied at the gymnasium at the Academy. In 1744 he left for Germany. Studied at the University of Tübingen. He took part in the construction of the residence in Stuttgart. In 1749 he returned to Russia. In 1749-1751. studied at the Academy of Arts with Schumacher. Court architect, from 1783 - correspondent of the French Royal Academy, from 1784 - state councilor, from 1770 - academician, in 1772 - professor at the Academy of Arts, in 1785 - adjunct rector, in 1789-1794 years - Director of the Academy of Arts. In 1794 he retired.

Of modest talent, Felten was extremely prolific and industrious; had good taste. A classicist of the first generation, he paid tribute to the fascination with "Gothic" stylizations.

Major works in St. Petersburg: the Old Hermitage, the Chesme Palace and the Church of John the Baptist (Chesmenskaya) behind the Moscow Gate, the Alexander Orphan's Institute near Smolny, the Protestant churches of St. Catherine on Vasilevsky Island and St. Anna on Kirochnaya Street, the Armenian Gregorian Church on Nevsky Prospekt, lattice summer garden(presumably).

(1872-1936)

Born in Orel in the family of a postal official. He spent his childhood in Riga, where he graduated from high school.

Main works: spatial structural system in the form of a mesh vault (a number of industrial buildings); constructive system in the form of a hanging mesh metal cover (pavilions of the Nizhny Novgorod exhibition in 1896); hyperboloid "Shukhov towers" (lighthouses, water towers, radio towers) made of metal rods, spatial structures in the form of arched trusses; participation in the design of the Upper Trading Rows, as well as the Metropol Hotel, Bryansk (Kyiv) Station, Kazansky Station, etc.

(1878-1939)

Born in Berlin in the family of an officer, he spent his childhood in Tambov, where he graduated from a real school. In 1896 he entered the Academy of Arts, studied architecture (class), painting (class), graphics (class), sculpture (Sheva class). Studied the monuments of ancient Russian cities. After graduating from the Academy in 1906, he was on a pensioner trip to Rome, Athens, Constantinople; for the presented work was again sent to Italy. In 1911 - academician of architecture. From 1910 he taught at the school of the Society for the Encouragement of Arts in St. Petersburg, from 1913 he was the director of women's architectural courses.

The main creative activity of Shchuko falls on the post-revolutionary period, when he lived and worked in Moscow.

One of the most cultured and talented people of his time, before the revolution - a bright representative of neoclassicism. Subsequently, he worked a lot and fruitfully in the field of architecture, graphics, painting, was a major theater artist and teacher.

The main works until 1917: tenement houses No. 63 and 65 on Kamennoostrovsky prospect in St. Petersburg, Russian pavilions at the International Exhibitions in Rome and Turin, the building of the Kyiv Zemstvo Council, the church of the Polytechnic Institute in Kyiv.

(1873-1949)

Born in Chisinau at seven official. Early showed the ability to draw, after graduating from the gymnasium he entered the Academy of Arts (1891). Since 1894, in the studio. Performed measurements of the Gur-Emir mausoleum in Samarkand. After graduating from the Academy (1897), he received the right to travel abroad, visited Italy, Tunisia, France, England, and Belgium.

Shchusev approved the reporting exhibition of drawings.

The largest architect, before the revolution - a bright and consistent representative of the neo-Russian style; the main activity belongs to Soviet architecture, in which he occupied one of the leading places.

Main works until 1917: reconstruction of the Basil's Cathedral in Ovruch (XII century), the church in New Athos, the Trinity Cathedral in the Pochaev Lavra, the memorial church on the Kulikovo Field, the Martha and Mary Convent on Bolshaya Ordynka in Moscow, the church in Mikhailovsky Golden-domed monastery in Kyiv, Kazansky railway station in Moscow, Russian pavilion at XI International exhibition in Venice.

Description of the presentation Culture of Russia of the 18th century Architecture V according to slides

Architecture The best national traditions of Russian architecture enriched by world heritage were embodied in the work of the largest Russian architects of the 18th century. The Mongol-Tatar system of building a city (radial rings with a square in the center) was replaced by a European one - to build cities according to a plan. The Byzantine style is being replaced by a lighter, Italian - Baroque style.

Francesco Rastrelli (1700 - 1771) Born in Italy, but in 1716 he came to Russia with his father. He is the author of the largest palace ensembles: Winter Palace Grand Palace in Peterhof Great Catherine Palace Stroganov Palace Smolny Palace St. Andrew's Church in Kyiv

The Winter Palace The Grand Palace in Peterhof Richly decorated front halls, stuccoed in marble, with painted ceilings, inlaid parquet and gilded walls. Elegance and magnificence of the silhouette of the building are given by sculptures and vases installed above the cornice along the entire perimeter of the building.

The Catherine Palace is one of the most famous buildings of the architect. The architect skillfully uses his favorite artistic means: the spatial scope of the composition, plasticity, the relief of architectural forms, the expressive rhythm of the colonnades, the active inclusion of sculpture in the decor. The color solution characteristic of Rastrelli is also fully used: the contrast of white columns, the azure-blue field of the walls and the gold of the architectural decor.

Classicism in architecture In the 1960s, decorative baroque was replaced by classicism. Features: symmetry of compositions, harmony of proportions, geometrically correct plans, restraint, rigor

V. I. Bazhenov (1737 - 1790) The son of a sexton of one of the court churches of the Kremlin. He studied at the school of D. V. Ukhtomsky and at the gymnasium of Moscow University, worked in St. Petersburg. From the Academy of Arts he was sent to study in France and Italy.

Vladimirskaya Church in Bykovo Pashkov House Two main facades - one looks at the roadway and has a solemn character, the other is oriented to the courtyard and has a more comfortable look. A bizarre combination of baroque and gothic forms.

M. F. Kazakov (1738 - 1812) In Moscow, he developed types of urban residential buildings and public buildings that organize large urban spaces: the Senate in the Kremlin (1776 -87), the university (1786 -93), the Golitsyn Hospital (1796 -1801), house-estates of Demidov (1779-91), Gubin (1790s). He applied a large order in interior design (Column Hall of the House of the Unions). He supervised the drawing up of the general plan of Moscow, organized an architectural school.

The Senate Palace was Kazakov's largest embodied project. According to the architect's idea, the building was supposed to symbolize civil ideals, law and justice, and the architects found the embodiment of these ideals in the classical forms of antiquity. This explains the strict and restrained conciseness of the building, crowned with a dome, the classical form of which Kazakov wanted to enhance the architectural expressiveness of Red Square as the main square of the capital.

Architectural style-Classicism Architect-Vincenzo Brenna Founder-Paul I Foundation date- February 26 (March 9) 1797 Construction 1797-1801

Sculpture In the second half of the XVIII century. the foundations of Russian sculpture were laid. It developed slowly, but Russian Enlightenment thought and Russian classicism were the greatest stimuli for the development of great civic ideas.

FI Shubin (1740 - 1805) He worked in an era when the idea of ​​the value of the spiritual world of man penetrates into the art of sculptural portraiture. He worked mainly with marble, very rarely turned to bronze. His work belongs to the genre of classicism. Most of his sculptural portraits are in the form of busts.

IP Martos (1754 - 1835) I. Martos was a painter of a wide range, but he became especially famous as the author of magnificent monuments and classical tombstones.

Monument to Minin and Pozharsky. Dedicated to Kuzma Minin and Dmitry Mikhailovich Pozharsky, leaders of the second people's militia during the Polish intervention in the Time of Troubles, and the victory over Poland in 1612. The monument was built in 1818.

By advice. Didro-Empress. Catherine. II entrusted the sculptor Falcon with the creation of an equestrian monument. Peter. I. The sketch was made from wax. Paris, after the arrival of the master in Russia in 1766, work began on a plaster model in the size of the statue. Embossed on the pedestal is the laconic inscription “Petroprimo. Catharina secunda ”(“ To Peter the First. Catherine the Second ”) was made at the suggestion. Falcon with minor editing itself. Catherine, originally the inscription looked like “Peter. Pervomuot. Catherine II". The finishing of the bronze after casting (which was done by the gunner Emelyan Khailov) in 1775 was not done by Falcon himself. Leaving. Russia in 1778 before the installation of the monument (the solemn opening of the monument was timed to coincide with the twenty years of the reign of Catherine II. August 7, 1782), Falcone left for. Holland and in 1781 returned to. France. For the last 10 years of his life, paralyzed, he was unable to work and create. Etienne Falcone

Painting of the 18th century turned out to be unusually rich in talented artists. The paintings were distinguished by a variety of genres: from traditional portraits and historical painting to theatrical scenery, landscapes, still lifes, scenes from folk life.

Portrait painting The main place in the painting of the 18th century is occupied by a portrait. Portrait (French portrait, from Old French portraire - “reproduce something to hell”) - an image or description of a person or group of people that exists or existed in reality.

I. P. Argunov (1729 - 1802) I. P. Argunov does not idealize the appearance of the model, he boldly conveys both squinting eyes and some puffiness of the face. At the same time, the mastery of the artist with a brush in the transfer of texture, the sophistication of shadows attracts attention.

Of the later works of I. P. Argunov, the most famous is “Portrait of an unknown peasant woman in Russian dress”. Now it is believed that the nurse was depicted, which confirms the model's costume. The artist embodied his idea of ​​female beauty on canvas.

D. G Levitsky (1735 - 1822) Levitsky's works are characterized by a bright individuality of images. He is able to find an expressive pose and gesture, combine the intensity of color with tonal unity and richness of shades.

In 1773, one of the most interesting works of D. Levitsky was created - a portrait of the philosopher Denis Diderot, French philosopher-encyclopedist and writer. The energy, creative anxiety and spiritual nobility of which was so vividly and directly conveyed by the Russian artist.

A. P. Antropov (1716 - 1795) A. P. Antropov avoided depicting superficial elegance in portraits. His images are concrete, realistic and at the same time psychological.

Coronation portrait of Peter III (1762). The emperor is depicted as if “running in” into magnificent chambers: uncertainty, spiritual disharmony against the backdrop of a luxurious interior - this is what A.P. Antropov perspicaciously saw.

Rokotov. Fedor. Stepanovich The largest Moscow portrait painter who worked during the period of the Russian Enlightenment. Perhaps the first "free artist" in Russia, who did not depend on state and church orders.

Historical painting A painting genre that originates in the Renaissance and includes works not only on the plots of real events, but also mythological, biblical and gospel paintings. Depicts the events of the past that are important for an individual nation or all of humanity.

A. P. Losenko (1737 -1773) The founder of Russian historical painting. From 1753 he studied painting with IP Argunov, from 1759 at the St. Petersburg Academy of Arts. He continued his studies in Paris and the French Academy in Rome.

Vladimir in front of Rogneda, 1770 Wonderful catch,

Literature Classicism became the main direction in the literature of the 18th century. Russian classicism attached particular importance to the "high" genres: Epic poem Tragedy Solemn ode From the 70s of the XVIII century, a new direction appeared - sentimentalism. New genres appear with it: Journey Sensitive story

D. I. Fonvizin (1745 - 1792) Fonvizin was not only a major and talented playwright of the 18th century. He is one of the founders of Russian prose, a remarkable political writer, a truly great Russian educator, who fearlessly, for a quarter of a century, fought against tyranny.

G. R. Derzhavin (1743 - 1816) The main object of Derzhavin's poetics is a person as a unique individuality in all the richness of personal tastes and passions. Many of his odes are philosophical in nature, they discuss the place and purpose of man on earth, the problems of life and death.

Writers and poets of the 18th century. A. D. Kantemir 1708 -1744 V. K. Trediakovsky 1703 -1769 M. V. Lomonosov 1711 -1765 A. P. Sumarokov 1717 -1777 D. I. Fonvizin 1744 - 1792 G. R. Derzhavin 1743 -1816 N. M. Karamzin 1766 -1826 A. N. Radishchev 1749 -

Theater The German Johann Gregory is the creator of the theater in Russia. Theater in Russia in the 18th century developed not only in Moscow, but also in St. Petersburg. An institution with Russian actors was opened at the court of Anna Ioannovna. Plays for him were written by the famous playwright Alexander Sumarokov. Under Elizabeth Petrovna, the so-called imperial theaters appeared. These state institutions existed at the expense of the treasury. The director of the Imperial Theater on Vasilievsky Island was Sumarokov. The first professional theater was opened in Yaroslavl by F. G. Volkov. The theater of the 18th century in Russia continued its development during the reign of Catherine II. Several professional troupes worked at her court. Italian opera singers occupied a special position. A Russian drama troupe also worked. During this period, the theater ceased to be purely palace entertainment. Public entertainment establishments were opened in the city, in which both Russian and foreign artists worked.

Theatre. Creation. Ivan Dmitrievsky The theater of the 18th century in Russia knows the names of famous entrepreneurs: Titov, Belmonti, Medox. At this time, landlord troupes continue to exist in the provinces, where serf artists play. Ivan Dmitrevsky was a wonderful actor. Later he became the main actor of the Imperial Theater on Vasilyevsky Island. Catherine II sent Dmitrevsky abroad to improve his skills. In Paris, he studied the game of the famous tragedian Leken, and in London he watched performances with the participation of the great Garrick. Returning to St. Petersburg, Dmitrevsky opened a theater school. He later became the chief inspector of the imperial entertainment establishments.

Gottlieb Siegfried Bayer (1694-1738). He began by studying the tribes that inhabited Russia in antiquity, especially the Varangians, but did not go further than this. Bayer left behind many works, of which two rather capital works were written in Latin. Much more fruitful were the works of Gerard Friedrich Miller (1705-1783), who lived in Russia under the empresses Anna, Elizabeth and Catherine II and already knew Russian so well that he wrote his works in Russian. Miller's main merit was the collection of materials on Russian history. Among the academicians of the XVIII century. M. V. Lomonosov, who wrote a textbook of Russian history and one volume of Ancient Russian History (1766), also occupied a prominent place in his works on Russian history. Story.

History His works on history were conditioned by polemics with German academicians. The latter deduced Russia from the Varangians from the Normans and attributed the origin of citizenship in Russia to the Norman influence, which before the advent of the Varangians was represented as a wild country; Lomonosov, on the other hand, recognized the Varangians as Slavs and thus considered Russian culture to be original. Attempts to give such an overview appeared outside the academic environment. The first attempt belongs to V. N. Tatishchev (1686 -1750). In these 5 volumes, Tatishchev brought his history to the troubled era of the 17th century. The first popular book on Russian history was written by Catherine II, but her work “Notes on Russian History” was much more scientifically important than “Russian History” by Prince Shcherbatov (1733 -1790)

I.M. Schmidt

The eighteenth century is the time of the remarkable flourishing of Russian architecture. Continuing; on the one hand, their national traditions, Russian masters during this period began to actively master the experience of contemporary Western European architecture, reworking its principles in relation to the specific historical needs and conditions of their country. They have enriched world architecture in many ways, introducing unique features into its development.

For Russian architecture of the 18th century. characteristic is the decisive predominance of secular architecture over religious architecture, the breadth of urban planning plans and decisions. A new capital was erected - Petersburg, as the state strengthened, the old cities expanded and rebuilt.

The decrees of Peter I contained specific instructions regarding architecture and construction. So, by his special order, it was prescribed to display the facades of newly built buildings on the red line of the streets, while in ancient Russian cities houses were often located in the depths of courtyards, behind various outbuildings.

For a number of its stylistic features, Russian architecture of the first half of the 18th century. undoubtedly can be compared with the baroque style prevailing in Europe.

However, a direct analogy cannot be drawn here. Russian architecture - especially of Peter's time - had a much greater simplicity of forms than was characteristic of the late baroque style in the West. In its ideological content, it affirmed the patriotic ideas of the greatness of the Russian state.

One of the most remarkable buildings of the early 18th century is the Arsenal building in the Moscow Kremlin (1702-1736; architects Dmitry Ivanov, Mikhail Choglokov and Christophe Conrad). The large length of the building, the calm surface of the walls with sparsely spaced windows, and the solemnly monumental design of the main gate clearly testify to a new direction in architecture. Quite unique is the solution of the Arsenal's small paired windows, which have a semi-circular ending and huge external slopes like deep niches.

New trends also penetrated religious architecture. A striking example of this is the Church of the Archangel Gabriel, better known as the Menshikov Tower. It was built in 1704-1707. in Moscow, on the territory of the estate of A. D. Menshikov Chistye Prudy, architect Ivan Petrovich Zarudny (died in 1727). Before the fire of 1723 (due to a lightning strike), the Menshikov Tower - like the bell tower of the Peter and Paul Cathedral in St. Petersburg, which was built soon - was crowned with a high wooden spire, at the end of which there was a gilded copper figure of the archangel. In height, this church surpassed the bell tower of Ivan the Great in the Kremlin ( The light, elongated dome of this church, which now exists in a peculiar form, was made already at the beginning of the 19th century. The restoration of the church dates back to 1780.).

The Menshikov Tower is a characteristic of Russian church architecture of the late 17th century. a composition of several tiers - "octagon" on the "four". At the same time, compared with the 17th century. new trends are clearly outlined here and new architectural techniques are used. Particularly bold and innovative was the use of a high spire in the church building, which was then so successfully used by St. Petersburg architects. Zarudny's appeal to the classical methods of the order system is characteristic. In particular, columns with Corinthian capitals, unusual for ancient Russian architecture, were introduced with great artistic tact. And already quite boldly - powerful volutes flanking the main entrance to the temple and giving it a special monumentality, originality and solemnity.

Zarudny also created wooden triumphal gates in Moscow - in honor of the Poltava victory (1709) and the conclusion of the Peace of Nystadt (1721). Since the time of Peter the Great, the erection of triumphal arches has become a frequent occurrence in the history of Russian architecture. Both wooden and permanent (stone) triumphal gates were usually richly decorated with sculpture. These buildings were monuments of the military glory of the Russian people and greatly contributed to the decorative design of the city.

With the greatest clarity and completeness, the new qualities of Russian architecture of the 18th century. appeared in the architecture of St. Petersburg. The new Russian capital was founded in 1703 and was built unusually quickly.

Petersburg is of particular interest from an architectural point of view. It is the only metropolitan city in Europe that originated entirely in the 18th century. In its appearance, not only the peculiar trends, styles and individual talents of architects of the 18th century, but also the progressive principles of urban planning skills of that time, in particular planning, were vividly reflected. In addition to the brilliantly solved "three-beam" planning of the center of St. Petersburg, high urban planning manifested itself in the creation of complete ensembles, in the magnificent development of the embankments. The indissoluble architectural and artistic unity of the city and its waterways from the very beginning was one of the most important virtues and unique beauty of St. Petersburg. The composition of the architectural appearance of St. Petersburg in the first half of the 18th century. mainly associated with the activities of architects D. Trezzini, M. Zemtsov, I. Korobov and P. Eropkin.

Domenico Trezzini (c. 1670-1734) was one of those foreign architects who, having arrived in Russia at the invitation of Peter I, remained here for many years, or even until the end of their lives. The name Trezzini is associated with many buildings of early Petersburg; he owns "exemplary", that is, standard projects of residential buildings, palaces, temples, and various civil structures.

Trezzini did not work alone. A group of Russian architects worked with him, whose role in the creation of a number of structures was extremely responsible. The best and most significant creation of Trezzini is the famous Peter and Paul Cathedral, built in 1712-1733. The building is based on the plan of a three-aisled basilica. The most remarkable part of the cathedral is its bell tower directed upwards. Just like the Menshikov tower of Zarudny in its original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, completed with the figure of an angel. The proud, light rise of the spire is prepared by all the proportions and architectural forms of the bell tower; a gradual transition from the bell tower itself to the "needle" of the cathedral was thought out. The bell tower of the Peter and Paul Cathedral was conceived and implemented as an architectural dominant in the ensemble of St. Petersburg under construction, as the personification of the greatness of the Russian state, which established its new capital on the shores of the Gulf of Finland.

In 1722-1733. another well-known Trezzini building is being created - the building of the Twelve Collegia. Strongly elongated, the building has twelve sections, each of which is designed as a relatively small but independent house with its own floor, pediment and entrance. Trezzini's favorite strict pilasters in this case are used to unite the two upper floors of the building and emphasize the measured, calm rhythm of the divisions of the facade. The proud, swift rise of the bell tower of the Peter and Paul Fortress Cathedral and the calm length of the building of the Twelve Collegia - these beautiful architectural contrasts were created by Trezzini with the impeccable tact of an outstanding master.

Most of Trezzini's works are characterized by restraint and even rigor in the architectural design of buildings. This is especially noticeable next to the decorative splendor and rich design of the buildings of the mid-18th century.

The activities of Mikhail Grigoryevich Zemtsov (1686-1743), who initially worked for Trezzini and attracted the attention of Peter I with his talent, were diverse. Zemtsov, apparently, participated in all the major works of Trezzini. He completed the construction of the building of the Kunstkamera, begun by architects Georg Johann Mattarnovi and Gaetano Chiaveri, built the churches of Simeon and Anna, St. Isaac of Dalmatsky and a number of other buildings in St. Petersburg.

Peter I attached great importance to the regular development of the city. The well-known French architect Jean-Baptiste Leblon was invited to Russia to develop the master plan for St. Petersburg. However, the general plan of St. Petersburg drawn up by Leblon had a number of very significant shortcomings. The architect did not take into account the natural development of the city, and his plan was largely abstract. Leblon's project was only partially implemented in the planning of the streets of Vasilievsky Island. Russian architects made many significant adjustments to his layout of St. Petersburg.

A prominent urban planner of the early 18th century was the architect Pyotr Mikhailovich Eropkin (c. 1698-1740), who provided a remarkable solution for the three-beam layout of the Admiralty part of St. Petersburg (including Nevsky Prospekt). Carrying out a lot of work in the “Commission on the St. Petersburg Construction” formed in 1737, Eropkin was in charge of the development of other areas of the city. His work was cut short in the most tragic way. The architect was associated with the Volynsky group, which opposed Biron. Among other prominent members of this group, Yeropkin was arrested and in 1740 put to death.

Eropkin is known not only as an architect-practitioner, but also as a theorist. He translated the works of Palladio into Russian, and also began work on the scientific treatise "The Position of the Architectural Expedition". The last work, concerning the main issues of Russian architecture, was not completed by him; after his execution, this work was completed by Zemtsov and I.K. Korobov (1700-1747), the creator of the first stone building of the Admiralty. Topped with a tall thin spire, echoing the spire of the Peter and Paul Cathedral, the Admiralty Tower built by Korobov in 1732-1738 became one of the most important architectural landmarks of St. Petersburg.

Definition of the architectural style of the first half of the 18th century. usually causes a lot of controversy among researchers of Russian art. Indeed, the style of the first decades of the 18th century. was complex and often very contradictory. In its formation, the Western European Baroque style participated in a somewhat modified and more restrained form; influence of the Dutch architecture also affected. To one degree or another, the influence of the traditions of ancient Russian architecture also made itself felt. A distinctive feature of many of the first buildings in St. Petersburg was the harsh utility and simplicity of architectural forms. The unique originality of Russian architecture in the first decades of the 18th century. lies, however, not in the complex and sometimes contradictory interweaving of architectural styles, but, above all, in the urban scope, in the life-affirming power and grandeur of the buildings erected during this most important period for the Russian nation.

After the death of Peter I (1725), the extensive civil and industrial construction undertaken on his instructions fades into the background. A new period in the development of Russian architecture begins. The best forces of architects were now directed to palace construction, which had taken on an unusual scale. Since about the 1740s. a distinctly expressed style of Russian baroque is affirmed.

In the middle of the 18th century, the wide activity of Bartholomew Varfolomeevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. Creativity Rastrelli-son entirely belongs to Russian art. His work reflected the increased power Russian Empire, the wealth of the highest court circles, which were the main customers of the magnificent palaces created by Rastrelli and the team led by him.

Of great importance was the activity of Rastrelli in the restructuring of the palace and park ensemble of Peterhof. The place for the palace and the extensive garden and park ensemble, which later received the name Peterhof (now Peterhof), was planned in 1704 by Peter I himself. In 1714-1717. Monplaisir and the stone Peterhof Palace were built according to the designs of Andreas Schlüter. In the future, several architects were included in the work, including Jean Baptiste Leblon, the main author of the layout of the park and fountains of Peterhof, and I. Braunstein, the builder of the Marly and Hermitage pavilions.

From the very beginning, the Peterhof Ensemble was conceived as one of the world's largest ensembles of garden and park structures, sculpture and fountains, rivaling Versailles. Magnificent in its integrity, the idea united the Grand Cascade and the grandiose stairways framing it with the Big Grotto in the center and towering over the entire palace into one inseparable whole.

In this case, without touching on the complex issue of authorship and the history of construction, which was carried out after the sudden death of Leblon, it should be noted the installation in 1735 of the sculptural group “Samson tearing the mouth of a lion” (authorship has not been precisely established), which is central in terms of compositional role and ideological design, which completed the first stage of creating the largest of the regular park ensembles of the 18th century.

In the 1740s the second stage of construction in Peterhof began, when a grandiose reconstruction of the Great Peterhof Palace was undertaken by the architect Rastrelli. While retaining some restraint in the decision of the old Peterhof Palace, characteristic of the style of Peter the Great, Rastrelli nevertheless significantly strengthened its baroque decoration. This was especially pronounced in the design of the left wing with the church and the right wing (the so-called Corps under the coat of arms) newly attached to the palace. The final of the main stages in the construction of Peterhof dates back to the end of the 18th - the very beginning of the 19th century, when the architect A.N. Voronikhin and a whole galaxy of outstanding masters of Russian sculpture, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev, were involved in the work.

In general, Rastrelli's first projects, dating back to the 1730s, are still largely close to the style of Peter the Great's time and do not amaze with that luxury.

and pomposity, which are manifested in his most famous creations - the Grand (Catherine) Palace in Tsarskoye Selo (now Pushkin), the Winter Palace and the Smolny Monastery in St. Petersburg.

Having started the creation of the Catherine Palace (1752-1756), Rastrelli did not build it entirely anew. In the composition of his grandiose building, he skillfully included the already existing palace buildings of the architects Kvasov and Chevakinsky. Rastrelli combined these relatively small buildings, interconnected by one-story galleries, into one majestic building of the new palace, the facade of which reached three hundred meters in length. Low one-story galleries were built on and thereby raised to the total height of the horizontal divisions of the palace, the old side buildings were included in the new building as projecting risalits.

Both inside and outside, Rastrelli's Catherine Palace was notable for its exceptional richness of decorative design, inexhaustible invention and variety of motives. The roof of the palace was gilded, above the balustrade encircling it, there were sculptural (also gilded) figures and decorative compositions. The facade was decorated with mighty figures of Atlanteans and intricate stucco depicting garlands of flowers. The white color of the columns stood out clearly against the blue color of the walls of the building.

The interior space of the Tsarskoye Selo Palace was decided by Rastrelli along the longitudinal axis. The numerous halls of the palace intended for ceremonial receptions formed a solemn beautiful enfilade. The main color combination of interior decoration is gold and white. Abundant golden carvings, images of frolicking cupids, exquisite forms of cartouches and volutes - all this was reflected in the mirrors, and in the evenings, especially on the days of solemn receptions and ceremonies, it was brightly lit by countless candles ( This palace of rare beauty was savagely looted and set on fire by Nazi troops during the Great Patriotic War of 1941-1945. Thanks to the efforts of masters of Soviet art, the Grand Palace of Tsarskoye Selo has now been restored as much as possible.).

In 1754-1762. Rastrelli is building another major building - the Winter Palace in St. Petersburg, which became the basis of the future Palace Square ensemble.

In contrast to the strongly elongated Tsarskoye Selo Palace, the Winter Palace is designed in terms of a huge closed rectangle. The main entrance to the palace was at that time in the spacious inner front yard.

Given the location of the Winter Palace, Rastrelli designed the facades of the building differently. Thus, the façade facing south, onto the subsequently formed Palace Square, is designed with a strong plastic accentuation of the central part (where the main entrance to the courtyard is located). On the contrary, the facade of the Winter Palace, facing the Neva, is designed in a calmer rhythm of volumes and colonnades, thanks to which the length of the building is better perceived.

Rastrelli's activities were mainly aimed at creating palace structures. But in church architecture, he left an extremely valuable work - the project of the ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, begun in 1748, dragged on for many decades and was completed by the architect V.P. Stasov in the first third of the 19th century. In addition, such an important part of the entire ensemble as the nine-tiered bell tower of the cathedral was never completed. In the composition of the five-domed cathedral and a number of general principles for solving the ensemble of the monastery, Rastrelli directly proceeded from the traditions of ancient Russian architecture. At the same time, we see here the characteristic features of the architecture of the mid-18th century: the splendor of architectural forms, the inexhaustible richness of decor.

Among the outstanding creations of Rastrelli are the wonderful Stroganov Palace in St. Petersburg (1750-1754), St. Andrew's Cathedral in Kyiv, the Resurrection Cathedral of the New Jerusalem Monastery near Moscow, rebuilt according to his project, the wooden two-story Annenhof Palace in Moscow that has not survived to our time and others.

If Rastrelli's activity proceeded mainly in St. Petersburg, then another outstanding Russian architect, Korobov's student Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two remarkable monuments of Russian architecture of the mid-18th century are associated with his name: the bell tower of the Trinity-Sergius Lavra (1740-1770) and the stone Red Gate in Moscow (1753-1757).

By the nature of his work, Ukhtomsky is quite close to Rastrelli. Both the bell tower of the Lavra and the triumphal gates are rich in external design, monumental and festive. A valuable quality of Ukhtomsky is his desire to develop ensemble solutions. And although his most significant plans were not implemented (the project of the ensemble of the Invalid and Hospital Houses in Moscow), progressive trends in Ukhtomsky's work were picked up and developed by his great students - Bazhenov and Kazakov.

A prominent place in the architecture of this period was occupied by the work of Savva Ivanovich Chevakinsky (1713-1774/80). A student and successor of Korobov, Chevakinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and Tsarskoye Selo. Chevakinsky's talent was especially fully manifested in the Nikolsky Naval Cathedral he created (St. Petersburg, 1753 - 1762). The slender four-tiered bell tower of the cathedral is wonderfully designed, charming with its festive elegance and impeccable proportions.

Second half of the 18th century marks a new stage in the history of architecture. Like other types of art, Russian architecture testifies to the strengthening of the Russian state and the growth of culture, reflects a new, more sublime idea of ​​\u200b\u200bman. The ideas of civic consciousness proclaimed by the Enlightenment, ideas of an ideal noble state built on reasonable principles, find a peculiar expression in the aesthetics of 18th century classicism, and are reflected in more and more clear, classically restrained forms of architecture.

Starting from the 18th century. and until the middle of the 19th century, Russian architecture occupies one of the leading places in world architecture. Moscow, St. Petersburg and a number of other cities in Russia are enriched at this time with first-class ensembles.

The formation of early Russian classicism in architecture is inextricably linked with the names of A. F. Kokorinov, Wallen Delamotte, A. Rinaldi, Yu. M. Felten.

Alexander Filippovich Kokorinov (1726-1772) was among the direct assistants of one of the most prominent Russian architects of the mid-18th century. Ukhtomsky. As the latest research shows, the young Kokorinov built the palace ensemble glorified by his contemporaries in Petrovsky-Razumovsky (1752-1753), which has survived to this day changed and rebuilt. From the point of view of the architectural style, this ensemble was undoubtedly close to the magnificent palace buildings of the mid-18th century, erected by Rastrelli and Ukhtomsky. New, foreshadowing the style of Russian classicism, was, in particular, the use of a stern Doric order in the design of the entrance gate of the Razumovsky Palace.

Around 1760, Kokorinov began many years of joint work with Wallen Delamotte (1729-1800), who arrived in Russia. Originally from France, Delamotte came from a family of renowned architects, Blondel. The name of Wallen Delamotte is associated with such significant buildings in St. Petersburg as the Great Gostiny Dvor (1761 - 1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767). Delamotte's building, known as New Holland - the building of the Admiralty warehouses, is filled with subtle harmony of architectural forms, solemnly majestic simplicity, where an arch thrown over the canal made of simple dark red brick with decorative use of white stone attracts special attention.

Wallin Delamotte participated in the creation of one of the most distinctive buildings of the 18th century. - Academy of Arts in St. Petersburg (1764-1788). The austere, monumental building of the Academy, built on Vasilyevsky Island, has become important in the city ensemble. The main façade overlooking the Neva is majestically and calmly resolved. The general design of this building testifies to the predominance of the style of early classicism over baroque elements.

The most striking plan of this building, which, apparently, was mainly developed by Kokorinov. Behind the outwardly calm facades of the building, which occupies an entire city block, lies the most complex internal system of educational, residential and utility rooms, stairs and corridors, courtyards and passages. Particularly noteworthy is the layout of the internal courtyards of the Academy, which included one huge round courtyard in the center and four smaller courtyards, having a rectangular plan, each of which has two rounded corners.

A building close to the art of early classicism is the Marble Palace (1768-1785). Its author was the Yan architect Antonio Rinaldi (c. 1710-1794), who was invited to Russia. In the earlier buildings of Rinaldi, the features of the late baroque and rococo style were clearly manifested (the latter is especially noticeable in the sophisticated decoration of the apartments of the Chinese Palace in Oranienbaum).

Along with large palace and park ensembles, manor architecture is gaining more and more development in Russia. Particularly lively construction of estates unfolded in the second half of the 18th century, when Peter III issued a decree on the release of the nobles from compulsory civil service. Having dispersed to their family and newly received estates, the Russian nobles began to intensively build and improve, inviting the most prominent architects for this, and also widely using the work of talented serf architects. Estate building reached its peak in the late 18th and early 19th centuries.

The master of early classicism was Yuri Matveyevich Felten (1730-1801), one of the creators of the wonderful Neva embankments associated with the implementation of urban development work in the 1760s-1770s. Closely connected with the ensemble of the Neva embankments is the construction of the Summer Garden lattice, striking in its nobility of its forms, in the design of which Felten participated. Of the structures of Felten, the building of the Old Hermitage should be mentioned.

In the second half of the 18th century lived and worked one of the greatest Russian architects - Vasily Ivanovich Bazhenov (1738-1799). Bazhenov was born into the family of a sexton near Moscow, near Maloyaroslavets. At the age of fifteen, Bazhenov was in the artel of painters at the construction of one of the palaces, where the architect Ukhtomsky drew attention to him, who accepted the gifted young man into his "architectural team". After the organization of the Academy of Arts in St. Petersburg, Bazhenov was sent there from Moscow, where he studied at the gymnasium at Moscow University. In 1760, Bazhenov traveled as a pensioner of the Academy abroad, to France and Italy. The outstanding natural talent of the young architect already in those years received high recognition, the twenty-eight-year-old Bazhenov came from abroad with the title of professor of the Roman Academy and the title of academician of the Florentine and Bologna Academies.

Bazhenov's exceptional talent as an architect, his great creative scope, were especially clearly manifested in the project of the Kremlin Palace in Moscow, on which he began to work in 1767, actually conceived the creation of a new Kremlin ensemble.

According to Bazhenov's project, the Kremlin was to become, in the full sense of the word, the new center of the ancient Russian capital, moreover, most directly connected with the city. Based on this project, Bazhenov even intended to tear down part of the Kremlin wall from the side of the Moscow River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would no longer be separated from the city.

The facade of the Bazhenov Kremlin Palace was supposed to face the Moscow River, to which from above, from the Kremlin hill, solemn stairways, decorated with monumental and decorative sculpture, led.

The building of the palace was designed as four-story, with the first two floors having a service purpose, and the third and fourth floors were actually palace apartments with large double-height halls.

In the architectural solution of the Kremlin Palace, new squares, as well as the most significant interior spaces, an exceptionally large role was assigned to the colonnades (mainly of the Ionic and Corinthian orders). In particular, a whole system of colonnades surrounded the main of the squares designed by Bazhenov in the Kremlin. The architect intended to surround this square, which had an oval shape, with buildings with strongly protruding basement parts, forming, as it were, stepped stands for accommodating people.

Extensive preparatory work began; in a specially built house, a wonderful (preserved to this day) model of the future structure was made; carefully developed and designed by Bazhenov, the interior decoration and decoration of the palace ...

A cruel blow awaited the unsuspecting architect: as it turned out later, Catherine II was not going to complete this grandiose construction, it was started by her mainly with the aim of demonstrating the power and wealth of the state during the Russian-Turkish war. Already in 1775, the construction was completely stopped.

In subsequent years, the most important work of Bazhenov was the design and construction of an ensemble in Tsaritsyn near Moscow, which was supposed to be the summer residence of Catherine II. The ensemble in Tsaritsyn is a country estate with an asymmetric arrangement of buildings, executed in an original style, sometimes called “Russian Gothic”, but to a certain extent based on the use of motives of Russian architecture of the 17th century.

It is in the traditions of ancient Russian architecture that Bazhenov gives combinations of red brick walls of Tsaritsyno buildings with white stone details.

The surviving Bazhenov buildings in Tsaritsyn - the Opera House, the Figured Gate, the bridge across the road - give only a partial idea of ​​the general plan. Bazhenov's project was not only not implemented, but even the palace, which he had almost completed, was rejected by the empress who arrived and, on her orders, was demolished.

Bazhenov paid tribute to the emerging pre-romantic tendencies in the project of the Mikhailovsky (Engineering) Castle, which, with some changes, was carried out by the architect V. F. Brenna. Built by order of Paul I in St. Petersburg, the Mikhailovsky Castle (1797-1800) was at that time a structure surrounded, like a fortress, by moats; drawbridges were thrown over them. The tectonic clarity of the general architectural design and, at the same time, the complexity of planning were combined here in a peculiar way.

In most of his projects and constructions, Bazhenov acted as the greatest master of early Russian classicism. A remarkable creation of Bazhenov is the Pashkov House in Moscow (now the old building of the State Library named after V. I. Lenin). This building was built in 1784-1787. A palace-type building, the Pashkov House (named after the name of the first owner) turned out to be so perfect that both from the point of view of the urban ensemble and for its high artistic merits, it took one of the first places among the monuments of Russian architecture.

The main entrance to the building was arranged from the side of the main courtyard, where there were several outbuildings of the palace-estate. Located on a hill rising from Mokhovaya Street, Pashkov's house faces the Kremlin with its main facade. The main architectural array of the palace is its central three-story building, crowned with a light belvedere. On both sides of the building there are two side two-story buildings. The central building of the Pashkov house is decorated with a Corinthian order colonnade that unites the second and third floors. The side pavilions have smooth Ionic columns. The subtle thoughtfulness of the overall composition and all the details gives this structure an extraordinary lightness and at the same time significance, monumentality. The true harmony of the whole, the elegance of the elaboration of details eloquently testify to the genius of its creator.

Another great Russian architect who worked at one time with Bazhenov was Matvei Fedorovich Kazakov (1738-1812). A native of Moscow, Kazakov, even more closely than Bazhenov, connected his creative activity with Moscow architecture. When he was thirteen years old in the school of Ukhtomsky, Kazakov learned the art of architecture in practice. He was neither at the Academy of Arts, nor abroad. From the first half of the 1760s. young Kazakov was already working in Tver, where a number of buildings, both residential and public, were built according to his design.

In 1767, Kazakov was invited by Bazhenov as his direct assistant to design the ensemble of the new Kremlin Palace.

One of the earliest and at the same time the most significant and famous buildings of Kazakov is the Senate building in Moscow (1776-1787). The Senate building (currently housing the Supreme Soviet of the USSR) is located inside the Kremlin near the Arsenal. Triangular in plan (with courtyards), one of its facades faces Red Square. The central compositional node of the building is the Senate Hall, which has a huge domed ceiling for that time, the diameter of which reaches almost 25 m. stucco.

The next well-known creation of Kazakov is the building of Moscow University (1786-1793). This time, Kazakov turned to the widespread plan of the city estate in the form of the letter P. In the center of the building there is an assembly hall in the form of a semi-rotunda with a domed ceiling. The original appearance of the university, built by Kazakov, differs significantly from the external design that D. I. Gilardi gave him, who restored the university after the fire of Moscow in 1812. The Doric colonnade, the reliefs and the pediment above the portico, the aedicules on the ends of the side wings, etc., all this was not in Kazakov's building. It looked taller and not as developed in front. The main facade of the university in the 18th century. had a more slender and light colonnade of the portico (Ionic order), the walls of the building were divided by blades and panels, the ends of the side wings of the building had Ionic porticos with four pilasters and a pediment.

Just like Bazhenov, Kazakov sometimes turned in his work to the traditions of the architecture of Ancient Russia, for example, in the Petrovsky Palace, built in 1775-1782. Pitcher-shaped columns, arches, window decorations, hanging weights, etc., together with red brick walls and white stone decorations, clearly echoed pre-Petrine architecture.

However, most of Kazakov's church buildings - the Church of Philip the Metropolitan, the Church of the Ascension on Gorokhovskaya Street (now Kazakova Street) in Moscow, the Baryshnikov Mausoleum Church (in the village of Nikolo-Pogoreloy, Smolensk Region) - were solved not so much in terms of ancient Russian churches, but in the spirit classically solemn secular buildings - the rotunda. A special place among the church buildings of Kazakov is occupied by the church of Cosmas and Damian in Moscow, which is peculiar in its plan.

Sculptural decoration plays an important role in Kazakov's works. A variety of stucco decorations, thematic bas-reliefs, round statues, etc., largely contributed to the high degree of decoration of buildings, their festive solemnity and monumentality. Interest in the synthesis of architecture and sculpture manifested itself in Kazakov's last significant building - the building of the Golitsyn Hospital (now the 1st City Hospital) in Moscow, the construction of which dates back to 1796-1801. Here Kazakov is already close to the architectural principles of classicism of the first third of the 19th century, as evidenced by the calm smoothness of the wall planes, the composition of the building and its outbuildings stretched along the street, the rigor and restraint of the overall architectural design.

Kazakov made a great contribution to the development of manor architecture and the architecture of a city residential mansion. Such are the house in Petrovsky-Alabin (completed in 1785) and Gubin's beautiful house in Moscow (1790s), which are distinguished by their clear simplicity of composition.

One of the most gifted and illustrious masters of architecture of the second half of the 18th century was Ivan Yegorovich Staroy (1745-1808), whose name is associated with many buildings in St. Petersburg and the provinces. The largest work of Starov, if we talk about the buildings of the master that have come down to us, is the Tauride Palace, built in 1783-1789. In Petersburg.

Even Starov's contemporaries highly valued this palace as meeting the high requirements of genuine art - it is as simple and clear in its design as it is majestic and solemn. According to the decision of the interior, this is not only a residential palace-estate, but also a residence intended for ceremonial receptions, festivities and entertainment. The central part of the palace is highlighted by a dome and a six-bottomed Roman-Doric portico, located in the depths of the main courtyard, wide open to the outside. The significance of the central part of the building is set off by the low one-story side wings of the palace, the design of which, like the side buildings, is very strict. Solemnly resolved the interior of the palace. Granite and jasper columns located directly opposite the entrance make up the semblance of an internal triumphal arch. From the vestibule, those who entered entered the monumentally decorated domed hall of the palace, and then into the so-called Great Gallery with a solemn colonnade, consisting of thirty-six columns of the Ionic order, placed in two rows on both sides of the hall.

Even after repeated rebuildings and changes inside the Tauride Palace, made in subsequent times, the grandeur of the architect's plan leaves an indelible impression. In the early 1770s. Starov is appointed chief architect of the "Commission on the stone structure of St. Petersburg and Moscow." Under his leadership, planning projects for many Russian cities were also developed.

In addition to Bazhenov, Kazakov and Starov, many other outstanding architects are working in Russia at the same time - both Russian and those who came from abroad. The wide construction opportunities available in Russia attract large foreign craftsmen who did not find such opportunities in their homeland.

Charles Cameron (1740s-1812), a Scot by origin, was an outstanding master of architecture, especially of palace and park structures.

In 1780-1786. Cameron is building a complex of landscape gardening facilities in Tsarskoye Selo, which includes a two-story building of Cold Baths with Agate Rooms, hanging garden and, finally, a magnificent open gallery bearing the name of its creator. The Cameron Gallery is one of the most perfect works of the architect. Her extraordinary lightness and elegance of proportions are striking; majestically and uniquely designed staircase flanked by copies from the ancient statues of Hercules and Flora.

Cameron was a master of interior design. With impeccable taste and sophistication, he develops the decoration of several rooms of the Great Catherine Palace (Catherine II’s bedroom, see illustration, “Snuffbox” cabinet), the Agate Rooms pavilion, as well as Pavlovsk Palace (1782-1786) (Italian and Greek halls, billiard room and others).

Of great value is not only the palace created by Cameron in Pavlovsk, but also the entire garden and park ensemble. In contrast to the more regular planning and development of the famous Peterhof Park, the ensemble in Pavlovsk is the best example of a "natural" park with freely scattered pavilions. In a picturesque landscape, among groves and clearings, near the Slavyanka River curving around the hills, there is a pavilion - the Temple of Friendship, an open rotunda - the Apollo Colonnade, the pavilion of the Three Graces, an obelisk, bridges, etc.

Late 18th century in the architecture of Russia, it already in many respects anticipates the next stage of development - the mature classicism of the first third of the 19th century, also known as the "Russian Empire". New trends are noticeable in the work of Giacomo Quarenghi (1744-1817). Still at home, in Italy, Quarenghi is fond of Palladianism and becomes a zealous champion of classicism. Not finding the proper use of his forces in Italy, Quarenghi came to Russia (1780), where he remained for the rest of his life.

Having started his activity with work in Peterhof and Tsarskoe Selo, Quarenghi moved on to the construction of the largest metropolitan buildings. The Hermitage Theater (1783-1787), the building of the Academy of Sciences (1783-1789) and the Assignation Bank (1783-1790) in St. Petersburg, as well as the Alexander Palace in Tsarskoye Selo (1792-1796) created by him, are strict, classical buildings in their decision , which in many ways already herald the next stage in the development of Russian architecture. Strictly speaking, the creative activity of Quarenghi in Russia is almost equally divided between the 18th and 19th centuries. Of the most famous buildings of Quarenghi of the early 19th century. the hospital building on Liteiny Prospekt, the Anichkov Palace, the Horse Guards Manege and the wooden Narva triumphal gates of 1814 stand out.

The most outstanding creation of Quarenghi of the early 19th century. is the Smolny Institute (1806-1808). In this work, the characteristic features of Quarenghi as a representative of mature classicism in architecture are visible: the desire for large and laconic architectural forms, the use of monumental porticos, the emphasis on the powerful basement of the building, processed with large rustication, the utmost clarity and simplicity of planning.