Architectural ensembles of Paris. Empire style Presentation - Architectural style “Empire in creating the architectural appearance of Versailles”

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MHC General lesson with a form of control in the form of an electronic test School No. 283 of the Kirov district of St. Petersburg Teacher: Gubar Marina Dmitrievna Rome, Paris, St. Petersburg. From Baroque to Empire style.

Baroque Era and artistic style Circumnavigation of the world, the latest discoveries in astronomy, the invention of the telescope and microscope showed the relativity, variability and incomprehensibility of space and time, which led to the tragic feeling of life as a continuous movement, the purpose of which is unknown to man and is reflected in the images of the Baroque. Francesco Borromini. Church of San Carlo alle Cuatro Fontane. Rome.

Baroque Giacomo della Porta. Church of Il Gesu. Rome. Italian Baroque gravitated towards facades, and facades, especially of church buildings, became a symbol of the era. The balance and harmony of the Renaissance was replaced by the picturesque, illusory-moving appearance of the building.

Baroque ceiling painting Church of Il Gesù. Rome. The illusory blurring of the clear boundary between architecture, sculpture and painting contributes to the loss of ideas about the real extent of space in interiors.

Mystical moods The place of Renaissance Harmony was taken by Contradiction. Take the reins into your holy hand, my Lord, stand at our helm to overcome the waves. Set your sails straighter And in this menacing hour, guide us on a reliable path And cast an anchor for us George Wheater (translation by O. Rumer)

The sorcerer of the Baroque - Lorenzo Bernini The architect and sculptor Lorenzo Bernini created his ensembles with an external “theatrical” effect in mind. The square in front of St. Peter's Basilica in Rome is designed as a continuation of the temple. The square and the temple are connected into an inextricable whole. Bernini compared the sleeves of the colonnade with the embrace of the Church, ready to accept all those who suffer into its bosom. Obelisks and fountains in Baroque Rome became the most active elements in ordering the architectural environment. St. Peter's Square. Rome.

Urban ensemble Baroque was primarily the art of the ensemble, of the overall impression. His attraction to vibrating surfaces and complex curved shapes demanded open skies and vast spaces. Fountains became one of the most important components of urban ensembles, because the dynamics of the water element inherently corresponds to the spirit of the Baroque. Lorenzo Bernini. Piazza Navona.

Russian Baroque. St. Petersburg All major architectural ensembles were grouped around the Neva. The specifics of Russian Baroque were determined by the specifics of the development of St. Petersburg, which meant a complete break with the traditions of national Russian urban planning. The main “prospect” and main “square” of the new capital was the Neva

Rastrelli's Baroque Francesco Bartolomeo Rastrelli transformed St. Petersburg from a fortified city and a port city into a city of palaces. This style combined the orderly severity of classicism, the dynamics of baroque, rococo ornamentation and the major character of polychrome. Winter Palace. Saint Petersburg.

Winter Palace Rastrelli's favorite color combinations - white with gold order elements and azure-blue - go back to the gilded carvings of the iconostasis of ancient Russian churches with their rich colorfulness and cheerfulness. Winter Palace. Main staircase.

Catherine Palace Amber Room. A through suite of rooms from the main staircase in both directions allows you to see the perspective of the halls through the doorways from one end of the palace to the other. Francesco Bartolomeo Rastrelli. Catherine Palace. View from the northeast. Tsarskoye Selo.

Smolny Monastery The Smolny Monastery in its magnificent splendor is not inferior to palace estates and is considered the most Baroque work of Francesco Bartolomeo Rastrelli. The ensemble of the Smolny Monastery is a creative reworking of the techniques of Russian architecture of the pre-Petrine era and the architecture of European monastic complexes.

Classicism The ideals of statehood in France required artistic forms that would be associated with the greatness of the rulers of the ancient Greeks and Romans. Versailles. Favorite country residence of King Louis XIV of France.

Grand Royal Style Since strict, rational classicism did not seem lush enough to glorify Louis XIV, the “Sun King,” the architects turned to the whimsical, sophisticated forms of the Italian Baroque. As a result, the “Great Royal Style” emerged, combining the severity of classical forms in architecture and landscape art with the pomp of Baroque in interior decoration. Central Alley and Grand Canal. Versailles.

Versailles Flat bodies of water serve as giant mirrors duplicating space. Mandatory elements of a regular park are grass lawns and flower beds. The large mirrors of the gallery reflect the park ensemble, which gives the illusion of endless space.

Rococo The center of the formation of the new style, with its predilection for the theatricalization of life and masquerade, was the salons of aristocrats, who turned life into a festive extravaganza. Instead of a cornice separating the wall plane from the ceiling, a smooth, semicircular transition appeared, decorated with a gilded plaster pattern.

Neoclassicism is the image of the “ideal city” in the classicist ensembles of Paris... The Enlightenment movement in the second half of the 18th century led to the emergence of new social ideas, new morality and new aesthetics. The embodiment of naturalness, simplicity and clarity was the classicist architecture that re-established itself in France. Jacques Ange Gabriel. Place de la Concorde. Paris.

... and St. Petersburg The pathos of simplicity and linearity is palpable in the buildings of Giacomo Quarenghi. Being a convinced admirer of Roman antiquity, he built buildings distinguished by symmetry, perfect proportions and laconic decor. Giacomo Quarenghi. Academy of Sciences. Ensemble of the Strelka of Vasilyevsky Island. Giacomo Quarenghi. Horse Guards Manege.

Urban ensembles The desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired decisive significance in the first decades of the 19th century. Karl Ivanovich Rossi. Senate and Synod buildings. The Admiralty and the “trident of prospects.” Andreyan Dmitrievich Zakharov. Admiralty.

Empire The Empire style established itself in Russia thanks to Karl Ivanovich Rossi. His ensembles realized a seemingly impossible idea - to turn an entire city into a work of art, into an open-air museum. The first work of the Russian Empire style was Palace Square with the buildings of the General Staff, ministries and the Winter Palace. When decorating Empire interiors, the combination of yellow and white prevailed. Bolshaya Morskaya Street and the arch of the General Staff building. The buildings of the ministries and the General Staff, connected by the Arc de Triomphe.

Mikhailovsky Palace The greatness of the ensemble of the Mikhailovsky Palace is perceived not from the facade, but in movement. The palace, while maintaining its architectural independence, includes in its orbit a chain of streets, squares and waterways. The special “sovereign” mythology underlying the St. Petersburg Empire architecture and complex imperial symbols is expressed in the pale yellow color of the walls and the white color of the architectural decor. Karl Ivanovich Rossi. Mikhailovsky Palace. Front facade.

Sources of information World artistic culture. L.G.Emokhonova, textbook for grade 11 (basic level), M. Publishing center "Academy", 2009. Unified collection of digital educational resources www.school.edu.ru Collection of images at http://yandex.ru

Preview:

General lesson on the topic “Rome, Paris, St. Petersburg. From Baroque to Empire style", 11th grade,

Goals: Expanding the horizons of students; repetition of the main stages of formation, development and change of artistic styles in different historical periods in various European countries, generalization of the features of historical style using examples of national masterpieces, development of imaginative thinking and the formation of the emotional sphere of the individual.

Tasks: Repetition and generalization of previously acquired knowledge about the architectural styles of Europe in the 17th - early 19th centuries centuries Performing an electronic test.

1. Conversation using presentation slides

Preview:

General lesson on the topic “Ideas of ancient people about the world”, grade 11,

GBOU secondary school No. 283. Teacher: Gubar Marina Dmitrievna – MHC.

II. Taking an electronic test based on the material covered.

The difficulty of the test lies in the fact that for each of the 15 questions there is a choiceseveral options answer. The test is graded on a five-point system.

Option 1

Option 2

Information sources

1. World Art. L.G.Emokhonova, textbook for grade 11 (basic level), M. Publishing center "Academy", 2009.
2. Unified collection of digital educational resourceswww.school.edu.ru
3. Collection of images onhttp://yandex.ru

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

Classicism – European cultural - aesthetic movement, which was oriented towards antiquity (ancient Greek and Roman art) (XVII-XIX centuries).

Neoclassicism – is a term used in art to designate artistic phenomena of the second half XVIII - first third XIX centuries.

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

In Russian classicism, two stages can be distinguished:

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

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

Characteristic features of classicism:

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

2) Symmetry, emphasizing the center.

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

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

Smolny. Saint Petersburg.

Paris

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

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

A prominent representative of the “new” classicism in architecture is Jacques-Anji Gabriel (1698 – 1782)

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

Petit Trianon Palace 1762-1764, Versailles

Gazebo in Trianon

New urban planning tasks put forward by time find brilliant implementation in the ensemble of Place Louis XV (now Place de la Concorde; 1757-1779).

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

The whole city is in smooth turns,

And only emphasizes the distance

In avenues, arches and gates

Classic vertical.

And all the palaces, fences, buildings,

And these lions and this horse

Visible, as if for admiration

Placed on the palm.

And the waters flow smoothly

To the gray city granites -

Nature's Great Designs

To the great plans of men...

D. Samoilov. "Above the Neva"

• J. Leblond,
• D. Trezzini,
• A. Rinaldi,
• I. Starova,
• D. Quarenghi,
• Oh Montferan,
• A. Zakharova
• K. Rossi,
• A.Voronikhina,
• Charles Cameron

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

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

Starov Ivan Egorovich (1745-1808)

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

- Trinity Cathedral in the Alexander Nevsky Lavra;

- Tauride Palace;

- Prince Vladimir Cathedral (reconstruction after the fire);

- St. Sophia Cathedral, near Tsarskoe Selo,

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

- Catherine's Cathedral in Kherson.

Holy Trinity Cathedral in the Alexander Nevsky Lavra.

Sivoritsa estate.

Catherine's Cathedral in Kherson.

Prince - Vladimir Cathedral.

Tauride Palace (1783 - 1789)

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

Giacomo Antonio

Domenico Quarenghi

(1744 – 1817)

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

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

English Palace.

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

Palace in lithograph by K. Schulz (19th century)

Memorial stone on the site of the palace (2011)

Andreyan Dmitrievich

Zakharov (1761 – 1811)

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

Portrait by S. S. Shchukin.

Around 1804.

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

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

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

Humpback Bridge. 1800.

Zakharov completed a number of works that were quite significant in scope and content:

• St. Andrew's Cathedral in Kronstadt (1805 – 1817),
• project of a naval hospital for Kherson,
• development projects for Proviantsky Island and Galerny Port.

St. Andrew's Cathedral project

architect A.D. Zakharov. 1806

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

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

Admiralty. 1806 – 1823

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

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

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

Voronikhin Andrey Nikiforovich

(1759 – 1814)

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

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

Based on his sketches, the interiors of the Stroganov Palace on Nevsky were rebuilt (1793), and the palace in Pavlovsk was also restored after a fire (from 1803).

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

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

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

Kazan Cathedral, 1821.

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

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

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

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

Monument to Field Marshal Prince Kutuzov

Smolensky. 1812

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

Interior.

Sculptural group in front of the portico.

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

In the new architecture, steps were taken to overcome the feudal chaotic urban development and create ensembles designed for unobstructed views.

Classicism in the architecture of Western Europe

Let's leave it to the Italians

Empty tinsel with its false gloss.

The most important thing is the meaning, but in order to get to it,

We'll have to overcome obstacles and paths,

Follow the designated path strictly:

Sometimes the mind has only one path...

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

N. Boileau. "Poetic Art".

Translation by V. Lipetskaya

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

Classicism was most clearly manifested in works of architecture focused on the best achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan. The “strict style” of classicism architecture seemed designed to visually embody its ideal formula of “noble simplicity and calm grandeur.” Simple and clear forms and calm harmony of proportions dominated in the architectural structures of classicism. Preference was given to straight lines and unobtrusive decor that followed the outline of the object. Simplicity and nobility of decoration, practicality and expediency were evident in everything.

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

Fairytale Dream of Versailles

Mark Twain, who visited Versailles in the mid-19th century.

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

Indeed, the “fairytale dream” of Versailles still amazes today with the scale of its regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors. Versailles became the visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world.

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

The center of Versailles is the Grand Palace, to which three converging access avenues lead. Situated on some elevation, the palace occupies a dominant position over the area. Its creators divided the almost half-kilometer length of the facade into a central part and two side wings - risalit, giving it a special solemnity. The facade is represented by three floors. The first, serving as a massive base, is decorated with rustication following the example of Italian palazzo palaces of the Renaissance. On the second, front, there are high arched windows, between which there are Ionic columns and pilasters. The tier crowning the building imparts a monumental appearance to the palace: it is shortened and ends with sculptural groups, giving the building a special elegance and lightness. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and splendor. It is no coincidence that Moliere said about the Grand Palace of Versailles:

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

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

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

The decorative compositions of Charles Lebrun (1619-1690) in Versailles and the Louvre were striking in their ceremonial pomp. The “method of depicting passions” he proclaimed, which involved pompous praise of high-ranking persons, brought the artist dizzying success. In 1662, he became the king's first painter, and then director of the royal manufactory of tapestries (hand-woven carpet-pictures, or tapestries) and director of all decorative work at the Palace of Versailles. In the Mirror Gallery of the palace, Lebrun painted

a gilded ceiling with many allegorical compositions on mythological themes glorifying the reign of the “Sun King” Louis XIV. The piled-up pictorial allegories and attributes, bright colors and decorative effects of Baroque clearly contrasted with the architecture of classicism.

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

The alleys of the park are perceived as a continuation of the halls of the palace, each of them ends with a pond. Many pools have a regular geometric shape. In the pre-sunset hours, the smooth water mirrors reflect the rays of the sun and the bizarre shadows cast by bushes and trees trimmed in the shape of a cube, cone, cylinder or ball. The greenery forms either solid, impenetrable walls or wide galleries, in artificial niches of which sculptural compositions, herms (tetrahedral pillars topped with a head or bust) and numerous vases with cascades of thin streams of water are placed. The allegorical sculpture of the fountains, made by famous masters, is intended to glorify the reign of the absolute monarch. The “Sun King” appeared in them either in the guise of the god Apollo or Neptune, riding out of the water in a chariot or resting among the nymphs in a cool grotto.

The smooth carpets of lawns amaze with their bright and variegated colors with intricate patterns of flowers. The vases (there were about 150 thousand of them) contained fresh flowers, which were changed in such a way that Versailles was in constant bloom at any time of the year. The paths of the park are sprinkled with colored sand. Some of them were lined with porcelain chips sparkling in the sun. All this splendor and lushness of nature was complemented by the smells of almond, jasmine, pomegranate and lemon, spreading from the greenhouses.

There was nature in this park

As if lifeless;

As if with a pompous sonnet,

We were fiddling with the grass there.

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In the gardens and dances of disorder

They couldn't stand it.

The yew trees froze, as if in a trance,

The bushes leveled the line,

And they curtsied

Memorized flowers.

V. Hugo Translation by E. L. Lipetskaya

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

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

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

So, do not look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes...”

Architectural ensembles of Paris. Empire style

After the completion of the main construction work in Versailles, at the turn of the 17th-18th centuries, Andre Le Nôtre began active work on the redevelopment of Paris. He laid out the layout of the Tuileries Park, clearly fixing the central axis on the continuation of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt and the Place de la Concorde was created. The major axis of Paris gave a completely different interpretation of the city, meeting the requirements of greatness, grandeur and pomp. The composition of open urban spaces and the system of architecturally designed streets and squares became the determining factor in the planning of Paris. The clarity of the geometric pattern of streets and squares linked into a single whole will for many years become a criterion for assessing the perfection of the city plan and the skill of the city planner. Many cities around the world will subsequently experience the influence of the classic Parisian model.

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

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

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

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

“I love power, but as an artist... I love it to extract sounds, chords, harmony from it.”

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

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

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

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

The era of Napoleon Bonaparte ended by 1815, and very soon they began to actively eradicate its ideology and tastes. From the “disappeared like a dream” Empire, all that remained were works of art in the Empire style, clearly demonstrating its former greatness.

Questions and tasks

1.Why can Versailles be considered an outstanding work?

How the urban planning ideas of 18th century classicism found their practical embodiment in the architectural ensembles of Paris, for example the Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, such as Piazza del Popolo (see p. 74)?

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

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

Creative workshop

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

Slide 1

Architecture of Paris 17th century Classicism

Slide 2

17th century Paris

Slide 3

Cathedral of Invalides
An architectural monument, the construction of which was begun by order of Louis XIV on February 24, 1670 as a nursing home for disabled war veterans of the royal army. Today it still welcomes people with disabilities, and also houses several museums and a military necropolis.
Architect Jules Hardouin-Mansart

Slide 4

On May 5, 1821, Napoleon Bonaparte died. He was buried near Longwood in an area called "Geranium Valley." There is a version that Napoleon was poisoned. King Louis Philippe, yielding to pressure from the Bonapartists, sent a delegation to St. Helena in 1840 to fulfill Napoleon's last wish - to be buried in France. His body has been in the Cathedral of the Invalides in Paris since 1840.

Slide 5

Place des Vosges
Created in 1605-1612 by the architect C. Chantillon.

Slide 6

This is the oldest square in Paris. It is located in the Marais quarter and is a regular square 140 meters long. Until 1799 it was called Royal. The current name was given in honor of the residents of the Vosges department, who voluntarily began to pay contributions for the maintenance of the revolutionary army.

Slide 7

It was built by order of Henry IV from 1605 to 1612; Since then, her appearance has remained almost unchanged. The buildings on the sides of the square are strictly designed in the same style - red brick with stripes of gray stone. Two buildings with higher mansard roofs are called the pavilions of the king and queen (here commoners celebrated the wedding of Louis XIII and Anne of Austria). Many famous people lived in houses on the square - Sully, Cardinal Richelieu, Marion Delorme, Bossuet, Victor Hugo, Théophile Gautier, Alphonse Daudet and others.

Slide 8

Place Vendôme

Slide 9

It was built in 1699 according to the design of the architect Jules Hardouin-Mansart in honor of Louis XIV, and received its name from the palace of Cesar de Vendôme. The uniform Classicist buildings surrounding the square were completed by 1720. In the center of Place Vendôme there is a 44-meter Vendôme Column with a statue of Napoleon on top, modeled after the Roman Column of Trajan.

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Victory Square

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In the center of the square is an equestrian statue of the Sun King.
A small, rounded area. Six streets converge here, and the elegance of this square captivates with its typically French architecture. In 1684-1687. Hardouin-Mansart designed the square to mark the center of the square with an equestrian monument.

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Luxembourg Palace

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Luxembourg Palace
The palace was built in 1615-1621. architect Salomon de Brosses, was the first experience of urban space. The approach to construction itself was dictated by the classical spirit of the French school - the main entrance in the center of the building, the courtyard protected on all sides, the main building. The interior design was done by the great Rubens, whose works were well known to the Parisian aristocracy.

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Luxembourg Gardens
The garden is a classic example of French garden architecture, combining strict geometry with a riot of vegetation. There are more than a hundred sculptures, monuments and fountains installed on the territory of the Garden. Around the central green area are about 20 statues of French queens and female saints (including Joan III of Navarre, Blanche of Castile, Anne of Austria, Louise of Savoy and Anne of France.

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Fountain in front of the Luxembourg Palace

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Architects are occupied with the problem of the relationship between the ensemble of the palace and the park. Louis Leveau and Andre Le Nôtre are trying for the first time to solve this problem prospectively in the palace and park of Vaux-le-Vicomte near Melun.

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The Palace of Vaud is rightly considered the prototype of the main creation of the second half of the 17th century. Versailles Palace and Park. It was built by Levo, and in the final stages Hardouin-Mansart took part in its construction.

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The best private palace in France at that time, the creation of three of the greatest professionals of its time - architect Louis Leveau, landscape architect Andre Le Nôtre and interior designer Charles Lebrun. The collaboration of three masters produced a monument that became the first example of the Louis XIV style, which relied on the unity of architecture, interior decoration and park landscapes. The main house is surrounded on four sides by a moat with water. Thanks to natural irrigation (two rivers flowed on the site from time immemorial), Le Nôtre was able to build a regular park with parterres, fountains and canals.

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The exterior of the building is classically austere; the alternation of windows, pilasters, and columns creates a clear, calm rhythm. All this does not exclude lush decorative finishing, especially in the interior. The interiors of the palace consist of a suite of luxuriously decorated rooms.

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The Maison Laffitte Palace, built by François Mansart in 1642-1651, with all the complexity of its volumes, is a single whole, a clear structure that adheres to classicist norms.

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Palace Maison Laffite
Unlike the traditional compositions of earlier country castles, there is no enclosed courtyard formed by the main building and service wings. All office premises are located in the basement of the building. Arranged in the shape of the letter "P" around the court d'honneur open to the park, the building is clearly visible from all sides.

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Hotel Lambera
The mansion was commissioned from the architect Louis Le Vaux in 1639 by the secretary of Louis XIII, Jean-Baptiste Lambert. The architect developed a complex plan for the building, as it was necessary to adapt it to the characteristics of the land. Three years later he dies and bequeaths the house to his brother Nicolas, who carried out extensive decorative work there. The interior decoration of the mansion's three offices and large gallery have glorified the mansion since its creation.