Presentation on the topic "Baroque architecture". Characteristic features of Baroque architecture... But before the beauty of both the building and the facade, the fountain, the marble, and the fence faded... The ornamentation is twisted."

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Baroque in architecture

Baroque architecture (L. Bernini, F. Borromini in Italy, B.F. Rastrelli in Russia) is characterized by spatial scope, unity, and fluidity of complex, usually curvilinear forms.
Often there are large-scale colonnades, an abundance of sculpture on the facades and in the interiors, volutes, a large number of bracings, arched facades with bracing in the middle, rusticated columns and pilasters.
Domes take on complex shapes, often multi-tiered, like those of St. Peter's Cathedral in Rome.
Characteristic Baroque details - telamon (Atlas), caryatid, mascaron.

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Volute (Italian voluta - curl, spiral), an architectural motif in the form of a spiral curl with a circle (“eye”) in the center, an integral part of the Ionic capital, is also included in the composition of the Corinthian and composite capitals.

The shape of a volute is sometimes shaped by architectural details that serve to connect parts of a building, as well as cornice consoles, frames of portals, doors, and windows (mainly in late Renaissance and Baroque architecture).

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Predominant and fashionable colors: muted pastel colors; red, pink, white, blue with a yellow accent.
Lines: fancy convex - concave asymmetrical pattern; in shapes semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.
Shape: vaulted, domed and rectangular; towers, balconies, bay windows.
Characteristic elements of the interior: the desire for grandeur and splendor; massive grand staircases; columns, pilasters, sculptures, stucco and painting, carved ornaments; relationship between design elements.
Constructions: contrasting, tense, dynamic; pretentious on the facade and at the same time massive and stable.
Windows: semi-circular and rectangular; with floral decoration around the perimeter.
Doors: arched openings with columns; floral decor

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

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The largest and most famous Baroque ensembles in the world: Versailles (France), Peterhof (Russia), Aranjuez (Spain), Zwinger (Germany).

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Versailles

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Peterhof (Russia)

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The Smolny ensemble reflects two styles of Russian architecture - baroque and classicism. The first convent of St. Petersburg, the Resurrection Novodevichy Convent, was built on the site of the former Resin Court. This is where the name came from - Smolny. The author of the project was the brilliant architect F.B. Rastrelli.

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Church of St. Peter and Paul is a brilliant example of baroque from the early 17th century. Architect Giovanni Trevano designed an elegant three-tier façade, with pilasters, volutes, niches, and a spacious interior. In the middle crossroads, where the nave intersects with the transept, there is a powerful dome in the shape of an ellipse. Along the walls of the single nave there are built interconnected chapels, forming something like side naves.

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Lorenzo Bernini

The great creator of the Baroque era was Lorenzo Bernini (1598-1680), who equally manifested himself in architecture and sculpture.

He was born in Naples in the family of an artist and sculptor.

At the age of 25 he was already famous and from that time he worked mainly in Rome.

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Bernini created one of his best compositions, “The Ecstasy of Saint Teresa” (1645 -1652), when he was already a mature master.

The white marble sculpture is surrounded by a colonnade of colored marble, and the background is gilded rays, symbolizing the Divine light.

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St. Teresa is immersed in a state of spiritual illumination, externally similar to death: her head is thrown back, her eyes are closed. Her figure is almost invisible behind the large, expressively sculpted folds of her clothing; it seems that in their waves a new body and a new soul are born, and behind the external deathly immobility lies a gigantic movement of the spirit

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Fountain of four rivers (Nile, Danube, Ganges, Rio de la Plata) on Navoma Square.
The square in front of St. Peter's Basilica. Rome.
Fountain "Triton" in Piazza Barberini. Rome

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Rastrelli, Bartolomeo Francesco

Bartholomew Varfolomeevich

Famous Russian architect, Italian origin. the most prominent representative of Russian Baroque. F. B. Rastrelli combined elements of European Baroque with Russian architectural traditions, which he drew primarily from the Naryshkin style, such as bell towers, roofs, and color schemes.

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Winter Palace. Hermitage.
The main residence of the Russian emperors.
Large palace with a water cascade. Peterhof
Cathedral of the Smolny Monastery Catherine Palace in Tsarskoe Selo

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Baroque architecture

Characteristic features of Baroque architecture Masterpieces of the Italian Baroque. Lorenzo Bernini “Wonderful Pattern” of the Moscow Baroque Architectural creations of V.V. Rastrelli

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Characteristics of Baroque architecture

Baroque (presumably from the Portuguese perola barroca - a pearl of a bizarre shape or from the Latin baroco - a mnemonic designation for one of the types of syllogism in scholastic logic), the dominant style in European art of the late 16th - mid-18th centuries. Italy is rightfully considered the birthplace of architectural baroque, and Rome is the capital of the “eternal city”. Abundance of lush decorative decorations Emphasized theatricality Distortion of classical proportions Optical illusion Predominance of complex curvilinear forms Dissonance, asymmetry Columns and semi-columns are used The dimensions of portals, doors and windows began to exceed all reasonable limits

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Masterpieces of the Italian BaroqueLorenzo Bernini (1598-1680)

Italian artist and architect, creator of the Baroque style in its most holistic and exemplary expression. Key works Apollo and Daphne (1622-1625) - marble, 243 cm, Borghese Gallery, Rome. Chair of St. Peter (1624) - bronze, Vatican. Fountain of Triton (1624-1643) - Piazza Barberini, Rome Ecstasy of Saint Teresa (1647-1652) - marble, Santa Maria della Vittoria, Rome Fountain of the Four Rivers (1648-1651) - marble and travertine , Piazza Navona, Rome Ecstasy of the Blessed Ludovica Albertoni (1671-1674) - marble, San Francesco a Ripa, Rome

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Piazza San Pietro, Rome. The square is framed by semicircular colonnades of the Tuscan order designed by Bernini. In the middle is an Egyptian obelisk brought to Rome by Emperor Caligula. This is the only obelisk in the city that stood unchanged until the Renaissance. Travertine rays radiate from the obelisk along the paving stones, arranged so that the obelisk acts as a gnomon.

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The Fountain of the Four Rivers (from Italian: Fontana dei Quattro Fiumi) is one of the most famous fountains in Rome. Located in Piazza Navona. Built in 1648-1651. designed by Bernini. Bernini prepared a fountain project that included placing statues of the river gods of the main rivers of the four parts of the world (Nile, Ganges, Danube and La Plata) around the obelisk.

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Dome of the temple at Castel Gandolfo.

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“Apollo and Daphne” The sculptor captured the result of the mythological pursuit of the sun god Apollo for the beautiful nymph Daphne. Overtaken by Apollo, Daphne asks the gods for help - and begins to turn into a laurel. We see the heroes at the very moment when Apollo has almost overtaken the fugitive, but Daphne’s fingers are already turning into branches, and her legs into laurel roots.

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Triton Fountain The pedestal of the fountain is formed by 4 dolphins, at the tips of their tails there is a huge shell. On the open doors of this shell there is a statue of Triton, the son of the god Poseidon. Triton blows a stream of water from the shell, which fills the bowl of the fountain. Between the dolphins are images of the coat of arms of the Barberini family, the papal tiara.

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Bust of Louis XIV at Versailles.

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Francesco Bromonni

Church of Sant'Agnese 1653. A church was built on Piazza Navona in honor of the early Christian martyr St. Agnes of Rome in Rome.

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“Wonderful pattern” of the Moscow Baroque

Church of the Intercession in Fili 1693-1694. Moscow. The building architecturally belongs to the type of tiered centric churches widespread at the end of the 17th century, an example of early Moscow Baroque. The building combines both a church and a bell tower. The bells hang in the spans of the middle tier.

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Trinity Church in Nikitniki. 1631-1634 Moscow. Carved window frames (including in the form of kokoshniks), multi-tiered kokoshniks on the vaults, cornices in the form of “cockscombs”, twisted columns, semi-columns. Interior: rich colored floral patterns on the walls and vaults. The decor area on the walls is very large. Columns, cornices, platbands, tiles.

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Architectural creations by V.V. Rastrelli

RASTRELLI Bartholomew Varfolomeevich (1700-71), Russian architect. Representative of the Baroque. Created: Annenhof (1730), Winter Palace (1733), Rundale Palace (1736), Mitavsky Palace (1738), Summer Palace (1741), Great Peterhof Palace (1747), Winter Kremlin Palace (1747), St. Andrew's Church (1749) , Smolny Cathedral (1749), Vorontsov Palace (1749), Catherine Palace (1752), Mariinsky Palace (1752), Stroganov Palace (1753), Winter Palace (1753)

Winter Palace 1754-1762 St. Petersburg The modern building has a square plan with an internal courtyard and facades facing the Neva, the Admiralty and Palace Square. The magnificent decoration of the facades and premises gives the building a sense of splendor. The main facade, facing Palace Square, is cut through by the arch of the front passage.

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Issues under consideration: 1. General characteristics of the architecture of Italy of the 17th century 2. The Church of Il Gesu and the space-planning features of religious Baroque architecture 3. Ensemble in Baroque architecture

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General characteristics of the architecture of Italy in the 17th century. Baroque architecture served to strengthen the ideas of Catholicism and absolutism, but it reflected progressive architectural trends that emerged in the layout of cities, squares, and buildings designed for the masses of people. Domenico Fontana, Carlo Maderna. Palazzo del Quirinale. Obelisk with figures of the Dioscuri.

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Catholic Rome became the brilliant center of baroque architecture. The origins of the Baroque were laid in the late works of Vignola, Palladio and especially Michelangelo.

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Baroque architects do not introduce new types of buildings, but find for old types of buildings - churches, palazzos, villas - new constructive, compositional and decorative techniques that radically change the form and content of the architectural image. C. Maderna, C. Rainaldi Church of Sant'Andrea della Valle. Rome. Vignola. First courtyard of Villa Giulia. Rome

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They strive for a dynamic spatial solution, for the interpretation of volumes with pictorial masses, and use complex plans with a predominance of curvilinear outlines.

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They destroy the tectonic connection between the interior and the facade of the building, increasing the aesthetic and decorative impact of the latter (i.e. the facade).

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Freely using antique order forms, they enhance the plasticity and picturesqueness of the overall design of the exterior.

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Particular attention is paid to the development of the type of temple, in which already from the end of the 16th century. Baroque features are growing. The facade of the church of the Jesuit order - Il Gesù (Chiesa del Gesù, Church of Jesus; 1568-1584), Giacomo Vignola, is complex in construction, permeated with movement; facade - 1575, Giacomo della Porta).

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The Church of the Holy Name of Jesus is the cathedral church of the Jesuit order, in which its founder Ignatius of Loyola is buried. Construction of the church began in 1568. The church was built on the site of another temple, in which it is believed that St. Ignatius of Loyola prayed before the image of the Mother of God. This image is now in the saint's chapel on the right hand of the altar. The church was built at the height of the Counter-Reformation and met all the requirements formulated at the Council of Trent. It had no vestibule, but a single nave, so that the entire congregation could concentrate on the service held at the large altar. Instead of side naves, there is a series of identical communicating chapels behind arches, the entrance to which is covered by balustrades. The transepts have been reduced. Many Jesuit churches around the world are built on the model of the Church of the Holy Name of Jesus in Rome.

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Giovanni Batista Gaulli (Il Bachiccio) (Italian: Giovanni Batista Gaulli) /1639 Genoa - 1709/ - Italian painter. From 1657 he worked in Rome, possibly in the studio of the landscape painter G. Duguay-Poussin. Gaulli's portraits corresponded to the general line of development of Baroque art. Gaulli's painting, distinguished by both virtuosity and decorative luxury, and the exaggerated affectation of images, was a programmatic expression of the art of the Counter-Reformation era. In the second half of the 17th century. Baroque plafond painting reached its brilliant peak. At this time, the best compositions of the artist Baccicio were created. He created complex multi-figure paintings that evoke a feeling of an irrational breakthrough into the heavens. His painting of the ceiling of the famous Roman temple of Il Gesu “The Triumph of the Name of Jesus” (1676-1679) is very expressive. It was necessary to depict not only the righteous ascending to heaven, but also sinners being cast into hell. The artist boldly brought the figures of sinners outside the vault, and placed them in such angles that they seem to literally fall down into the real space of the temple. The boundaries between the walls and the vault are erased, and all those present find themselves involved in a single mystical action. However, the most remarkable detail of the painting is the light emanating from the monogram of the name of Jesus Christ. It is the picturesque expressiveness of the light rays that creates the effect of “vibration” of all colors. Skillfully placed bright, juicy spots enhance the emotional impact, creating an atmosphere of subtle artistic play, combining real light and depicted light.

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Church of the Jesuits (Church of Saints Peter and Paul of the Jesuit Order). Lviv 1610-1630 Church of St. Michael. Brussels, XVII century. Cathedral Basilica of St. Francis Xavier. Grodno, 1703 Church of Santa Maria del Giglio, Venice, е1678-1681 arch. Giuseppe Sardi.

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Church of Peter and Paul in Krakow Church in Nesvizh, 1587-1593 Cathedral of Our Lady, Bordeaux. 1707

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Basilica del Santa Croce, Lecce, completed in 1695 Cathedral in Syracuse, Sicily, 1728-1753. Cathedral of Valladolid, after 1595 Facade of the Carthusian monastery of Santa Maria de la Defencion, 1667.

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Iglesia de la Compaña, Arequipa, Peru, facade -1698. Iglesia de la Compaña, Quito, façade completed in 1765(?) Cathedral in Mexico City, entrance to the tabernacle 1749-1760

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The most remarkable element of the interior decoration is the grandiose fresco "The Triumph of the Name of Jesus", painted by Giovanni Battista Gaulli in the late 17th century. On the right is the chapel of St. Andrew, decorated with frescoes by Agostino Ciampelli, in the third chapel from the right - frescoes by Federico Zuccari (16th century). The right transept was decorated by Pietro da Cortona, here on the altar is the painting “The Death of Francis Xavier”, painted by Carlo Maratta in the 17th century. In the first chapel on the left, of interest is the altarpiece of Saint Francisco Borgia, depicted by Andrea Pozzo, a famous Italian Jesuit, painter and art theorist. In the third chapel on the left, the fresco painting of the walls, executed by several prominent Italian artists in the 80s of the 16th century, attracts attention. The most interesting place in the interior of the church is the left transept, designed by Andrea Pozzo at the end of the 17th century. Here is the chapel of St. Ignatius with a statue of the saint by the French sculptor Pierre le Gros.

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The uneven vertical division of the walls with double pilasters enhances their plasticity, and the concentration of order elements towards the center emphasizes the direction of movement

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A semicircular pediment above the entrance portal of the first floor and powerful decorative volutes on the second floor connect both floors, giving the impression of façade integrity, dynamism and increased emotionality.

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The interior space of the temple is also activated, the central nave expands and stands out.

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Powerful profiled cornices, leading the eye deeper, create movement towards the altar and the central dome.

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Francesco Borromini (1599-1667) Baroque finds its extreme expression of irrationality, expressiveness and picturesqueness in the work of Francesco Borromini. Disregarding the logic of designs and the capabilities of materials, he replaces straight lines and planes with curved, rounded, writhing ones.

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Using alternating concave and convex lines arranged in a diamond shape, he builds a plan for the small church of San Carlo near the four fountains in Rome (1634-1667). It was consecrated in honor of the canonized Milanese cardinal and church reformer Carlo Borromeo, as well as the Holy Trinity.

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Its complex wavy façade, dissected by a two-tier colonnade, is decorated with decorative sculpture, deep niches, and oval painted panels that break the cornice and upset the balance of the composition. The fractional plasticity of the walls, the restless rhythm of the windows, and the complexly profiled horizontal rods emphasize the intense dynamism of the building.

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Baroque palaces and villas A large place in Baroque architecture belongs to palaces, proudly elegant, with wings protruding from the sides of the main building and open courtyards of honor. Representativeness and grandeur are combined with the magnificence of Gvarino. Palazzo Carignano, Milan Bernini, Borromini. Palazzo Barberini. Rome

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Extraordinarily beautiful country villas surrounded by terraced gardens on the hillsides of Villa D'Este

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They masterfully used the complex terrain, the richness of southern vegetation, and ponds combined with pavilions and sculptural groups. Intended for aristocratic customers, such ensembles to a certain extent reflected the interest in nature that natural scientists of the 17th century showed. New urban planning principles were embodied in Rome, which acquired its unique appearance during this period. According to the project of Domenico Fontana, the construction of the ensemble of Piazza del Popolo was carried out with three rays of central streets diverging from it, densely built up with buildings.

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Domenico Fontana (1543 - 1607, Naples) - Italian early Baroque architect and engineer. born in 1543 in the city of Melide (now Switzerland, canton of Ticino). In 1563 he moved to Rome to study architecture. In Rome, Fontana was patronized by Cardinal Montalto, on whose order the architect built the chapel (Cappella del Presepio) in the Church of Santa Maria Maggiore, as well as the Palazzo Montalto. In 1585, Cardinal Montalto became Pope Sixtus V and appointed Fontana as chief architect of the papal curia. During this period, Fontana created projects for the reconstruction of the Quirinal and Lateran palaces, three of the four fountains on the Quirinal, the building of the Vatican Library, and also completed the construction of the dome of the Cathedral of St. Petra. Fontana supervised the installation of the Egyptian obelisk in the square in front of St. Peter's Basilica (1586). Fontana later installed obelisks in Piazza del Popolo, Piazza di Santa Maria Maggiore and Piazza di San Giovanni in Laterano. Slide 31

In the facade of the Church of Santa Susanna (1603), Maderna returns to the theme of the façade of Il Gesu by Giacome della Porta, but develops it with greater plastic emphasis, especially in the portals and semicircular tympanums, which is also explained by the need to provide a double view - horizontally and vertically. This is already a transition from a mannerist facade, understood as a plane on which only divisions suggest an almost symbolic spatiality, to a baroque facade, which from the outside allows you to feel the structure of the interior and plastically connects the church with the space of a street or square

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Lorenzo Bernini (1598-1680) Like the masters of the Renaissance, the founder of the mature Baroque style, Lorenzo Bernini, was a multi-talented man. An architect, sculptor, painter, and a brilliant decorator, he mainly carried out orders from the popes and headed the official direction of Italian art. One of his most characteristic buildings is the Church of Sant'Andrea al Quirinale in Rome (1653-1658).

Russian art critic M.V. Alpatov © A.I. Kolmakov "width="640"

MHC, 11th grade

Lesson #2

Fountain of Four Rivers

( Nile , Danube, Ganges,

Rio de la Plata)

on Navoma Square .

Baroque ARCHITECTURE

D.Z.: Chapter 2, ?? (p.21), TV. assignments (p. 22-23)

splashes over the banks.

Russian art critic M. V. Alpatov

LESSON OBJECTIVES

Give an idea of the features of Baroque architecture;
broaden your horizons and skills in analyzing works of art;
to cultivate national self-awareness and self-identification, respect for the culture of other peoples of the planet, for international cultural heritage.

CONCEPTS, IDEAS

F.B. Rastrelli;
Winter Palace;
Cathedral of the Smolny Monastery;
classicism;
baroque architecture;
architectural ensembles;
Lorenzo Bernini - "genius of the Baroque";
St. Peter's Basilica in Rome;
palace Petersburg;
era of "Elizabethan" baroque

Universal learning activities

systematize and summarize    describe and analyze   investigate the reasons  evaluate value   tell   
systematize and summarize acquired knowledge about the development paths and artistic principles of Baroque architecture;
 carry out comparative analysis Baroque architectural structures with works of previous eras;
 comment on scientific points of view and assessments of cultural figures;
 describe and analyze architectural monuments in unity of form and content;
 develop an individual creative project architectural structure in the Baroque tradition;
 investigate the reasons promotion of architecture to the role of the leading art form in the 17th century;
 evaluate value the creativity of an individual architect in the history of world and domestic art;
 identify characteristics individual author's style;
 tell about outstanding foreign and domestic architects of the Baroque era;
 make reasoned judgments about the artistic merits of specific works of Baroque architecture;
 prepare and conduct a correspondence excursion on memorable places associated with the work of F. B. Rastrelli;
 make an amateur video about architectural monuments of the Baroque

LEARNING NEW MATERIAL

Lesson assignment. What is the significance of the Baroque style in architecture for World civilization and culture?

sub-questions

Characteristic features of Baroque architecture. Main features of Baroque architecture. The originality and national color of Western European Baroque architecture.
Architectural ensembles of Rome. Lorenzo Bernini. Italy is the birthplace of Baroque architecture. Creation of complete ensembles. Features of Baroque in the architecture of Rome. “The Genius of the Baroque” by L. Bernini, the versatility of his creative talent. Decoration of the square in front of St. Peter's Basilica in Rome.
Architecture of St. Petersburg and its environs. F. B. Rastrelli. Formation of the image of palace Petersburg and royal country residences of the “Elizabethan” Baroque era. Characteristic features of the style of F. B. Rastrelli and the architectural masterpieces he created

This is how the French poet of the 17th century described his impressions of Baroque architecture. J. de Sudery

Characteristic features of Baroque architecture

. . . But before the beauty of both the building and the facade

The fountain, the marble, and the fence have faded.

. . . In the twisted ornament you will see here and there

Victorious helmet and vases of incense,

Columns, capitals, pilasters and arcades

You will see everywhere, wherever you look,

Cupids, monograms woven in secret,

And the heads of the lambs, entwined with cord,

And you will find the statue in a magnificent niche,

In patterns and carvings there is a cornice under the roof itself. . .

(Translation by E. Ya. Tarakhovskaya)

Characteristic features of Baroque architecture.

Predominant and fashionable colors : muted pastel colors; red, pink, white, blue with a yellow accent.
Lines: fancy convex - concave asymmetrical pattern; in shapes semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.
Form: vaulted, domed and rectangular; towers, balconies, bay windows.
Characteristic interior elements: desire for grandeur and pomp; massive grand staircases; columns, pilasters, sculptures, stucco and painting, carved ornaments; relationship between design elements.
Designs: contrasting, intense, dynamic; pretentious on the facade and at the same time massive and stable.
Window: semicircular and rectangular; with floral decoration around the perimeter.
Doors: arched openings with columns; floral decor

); the use of rich colors and gilding, the creation of optical visual effects due to the refraction and reflection of solar glare, side lighting, contrasting alternation of illuminated and darkened areas. "width="640"

Characteristic features of Baroque architecture.

The main features of Baroque architecture are:

attraction to large urban and garden and park ensembles, where architecture, sculpture and painting merge together;
increase in scale, massiveness, distortion of classical proportions, when order elements cease to be proportionate to a person;
the appearance of a solid and unified facade, which becomes a kind of decoration of the building, designed for the effect of perspective reduction;
creating a deliberately curved, almost illusory space due to the fluidity of curvilinear shapes and volumes (an oval in plans and details, an ellipse instead of a circle, a rectangle instead of a square);
strengthening of the decorative principle, detailing, illusory disappearance of the wall in the mass of decorations, sculptures, mirrors, windows (); the use of rich colors and gilding, the creation of optical visual effects due to the refraction and reflection of solar glare, side lighting, contrasting alternation of illuminated and darkened areas.

Characteristic features of Baroque architecture.

Geography of the spread of the Baroque style in the architecture of European countries

. P. P. Muratov (art historian). Images of Italy Lorenzo Bernini (1598 - 1680), Italian architect "width="640"

Architectural ensembles of Rome. Lorenzo Bernini

palaces and churches constitute the constant and most typical

city limits. We must look in Rome for ancient, Christian, medieval, Renaissance Rome. But there is nothing to look for in Baroque Rome - this is still the Rome that each of us recognizes first of all. Everything that determines the character of a city - its most noticeable buildings, main squares,

the busiest streets, all this is created here in baroque style,

and everything faithfully preserves his seal.

P. P. Muratov (art historian). Images of Italy

Lorenzo Bernini (1598 - 1680), Italian architect

Architectural ensembles of Rome. Lorenzo Bernini

Lorenzo Bernini (1598 - 1680), Italian architect, sculptor, painter, comedian, director of enchanting performances, actor, creator of complex theatrical scenery.
At the age of 25, he became a celebrity, worked on shaping the architectural appearance of Rome, and carried out countless orders from the Vatican. Master, genius of the Baroque.

L. Bernini. Square in front of the cathedral

St. Peter.1657-1663. Rome

The main creation of L. Bernini is the design of the square in front of Cathedral ohm St. Peter's. The square became a colossal stage for ceremonies. The depth of the square is 280 m. 96 statues of saints, columns ( h =19m) in 4 rows united by bending tape balustrades .

Francesco Bartolomeo Rastrelli (1700-1771) - son of a sculptor, Italian by birth, born in France.
Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries.

Characteristic style techniques

F.B. Rastrelli were: contrasting

comparison of shapes and volumes,

rhythm of verticals, visual effect

vibrations of the wall plane,

use of plastic double

columns retreating and

retractable risalit ov (part

building protruding beyond the main

facade line), use

statues, flowerpots, huge gaps

windows, volutes, oval windows.

Great Palace in Peterhof (1745-1755). Architect F.B. Rastrelli

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

Rastrelli's architectural masterpieces include the Winter Palace in St. Petersburg (1754-1762), country residences - the Grand Palace in Peterhof (1745-1755), the Catherine Palace in Tsarskoe Selo (1752-1757), private city palaces of M. I. Vorontsov (1749- 1757) and the Stroganovs (1752-1754), churches and monasteries - St. Andrew's Church in Kiev (1748-1762), Smolny Monastery in St. Petersburg (1748-1754).

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

F.B.

Rastrelli.

View of Winter

palace with

sides

Dvortsovaya

Squares.

These days in

him

located

art

Hermitage Museum

The total length of the facades is 210 m. The palace was one

of the tallest buildings. At the roof level there is a balustrade with

stone sculptures and vases. 22 types (!) of frame frames

huge windows. The palace had more than 1050 separate rooms and

rooms, 1886 doors, 1945 windows and 177 staircases.

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

Cathedral of the Smolny Monastery

was ordered to the master

Empress Elizabeth

Petrovna. Traditional Russian

pentacephalus , embodied in

elaborate forms of Baroque, here

organically merged with the main

volume of the building. Middle chapter

the cathedral is a tall

double-height dome topped

bulbous head under the light

drum Four high

two-story towers, almost adjacent

pressed against the central dome,

Give the pentacephalus an amazing

solidity and power.

Decorative decoration

The cathedral amazes with its elegance.

Clear wall projections, decorated

bunches of columns, pediments

various shapes, soft

rounding volutes,

overhanging cornices.

The first convent of St. Petersburg -

Resurrection Novodevichy Convent was built

on the site of the former Smolyany Dvor. From here

Rastrelli .

Catherine Palace

In Tsarskoye Selo

Great Palace with

water cascade. Peterhof

Famous Russian architect, Italian origin. The most prominent representative of Russian Baroque. F. B. Rastrelli combined elements of European Baroque with Russian architectural traditions, which he drew primarily from the Naryshkin style, such as bell towers, roofs, and color schemes.
In 1763, with Catherine coming to power II , resigned and left St. Petersburg .

Bartolomeo Francesco de Rastrelli (Bartholomew Varfolomeevich) (1700-1771) - Russian architect, decorative artist and graphic artist.

Control questions

1. How can one explain that in the 17th century. architecture was

leading art form? What are the characteristic features

Western European Baroque architecture? What do you think

look, distinguished Baroque buildings from the creations of architects

Renaissance era? Why did Baroque architecture evoke

extremely contradictory opinions?

2. Why is Italy called the birthplace of architectural

Baroque, and Rome is its capital? Prove justice

these statements based on the example of works known to you

Lorenzo Bernini. What distinguishes artistic style

architect?

3. What style features could you note in your work?

F.B. Rastrelli? What distinguishes the structures he created from

works of architecture you know

Western European Baroque? To what extent does the architect

managed to embody the traditions of ancient Russian architecture?

Give reasons for your answer.

organize the space around you in the form of a whole ensemble? 2. What urban planning ideas did Baroque art put forward and what is the essence of their imagery? Try to illustrate your observations based on the main creation of L. Bernini - the square of St. Peter's Basilica in Rome. 3. What ensures the stylistic integrity of the ensembles of country residences created by F. B. Rastrelli (the Grand Palace in Peterhof or the Catherine Palace in Tsarskoe Selo)? How do they solve the problem of synthesis of arts (sculptural decoration, interiors, furniture, etc.)? "width="640"

Creative workshop

1. Compare the buildings you know created in the Baroque style with the architectural creations of the Renaissance. Why do you think a baroque building should organize space around itself in the form of a whole ensemble?

2. What urban planning ideas did Baroque art put forward and what is the essence of their imagery? Try to illustrate your observations based on the main creation of L. Bernini - the square of St. Peter's Basilica in Rome.

3. What ensures the stylistic integrity of the ensembles of country residences created by F. B. Rastrelli (the Grand Palace in Peterhof or the Catherine Palace in Tsarskoe Selo)? Like in them

is the problem of art synthesis being solved (sculptural decoration, interiors, furniture, etc.)?

Topics of presentations, projects

“Masterpieces of Western European Baroque Architecture”;
"Achievements of the Italian Baroque";
"Lorenzo Bernini - Baroque genius";
"Rome - the capital of architectural baroque";
“National originality of the development of the Baroque style in Russia”;
"Petersburg F.B. Rastrelli";
"Palace ensembles of F.B. Rastrelli in St. Petersburg and its suburbs."

Today I found out...
It was interesting…
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I learned…
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Literature:

Programs for general education institutions. Danilova G. I. World Art. – M.: Bustard, 2011
Danilova, G.I. Art / MHC. 11 classes. Basic level: textbook / G.I. Danilova. M.: Bustard, 2014.
Baroque architecture. Author Selezneva

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Slide captions:

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

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

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

Smolny Monastery

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

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

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

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

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

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

Winter Palace

Catherine Palace

Grand Palace Peterhof

Lion Cascade Peterhof

Fountains-crackers Peterhof

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

Domenico Andrea Trezzini Summer Palace of Peter I

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

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

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

St. Nicholas Church in Khamovniki. XVII century Moscow.

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

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

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

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

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

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