Architectural ensembles of Paris. Empire style Presentation - Architectural style "Empire" Architectural ensembles of Paris Empire
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.
Slide 10
Victory Square
Slide 11
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.
Slide 12
Luxembourg Palace
Slide 13
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.
Slide 14
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.
Slide 15
Fountain in front of the Luxembourg Palace
Slide 16
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.
Slide 17
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.
Slide 18
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.
Slide 19
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.
Slide 20
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.
Slide 21
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 located on the ground floor 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.
Slide 22
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.
Empire –
(from the French empire - empire)
style in architecture
and the art of the first three
decades of the 19th century,
finalizing evolution
classicism.
art at the beginning of the 19th century, during the empire
Napoleon. From France Empire style quickly
spread throughout Europe - noble and
wealthy people did not want to lag behind
Parisian fashion in nothing. Ceremonial, solemn, monumental style,
imitating the chic and luxury of the Roman Empire.
First of all, this imitation reflected
in furnishing rooms in an antique style.
The Empire style is characterized by greater staticity, pomp, brilliance and pomp.
EMPIRE IS DIFFERENTIATE BY MORE STATICITY,PLENTIFICITY, BRILLIANCE AND POMPOSE. Luxury in the Empire style always stands out
first plan, sometimes even to the detriment
convenience.
.
The Empire style in architecture involves wide rectangular windows that let in a lot of light. The illusion of additional lighting
THE EMPIRE STYLE IN ARCHITECTURE IMPLYS WIDERECTANGULAR WINDOWS LET LOTS OF LIGHT IN.
THE ILLUSION OF ADDITIONAL LIGHTING IN THE EMPIRE STYLE
THEY CREATE MIRRORS IN THIN, ALMOST IMPOSSIBLE FRAMES.
Characteristic features of the Empire style
CHARACTERISTIC FEATURES OF THE EMPIRE TYPE Using the order systemThe column with all its details, as well as parts,
located above and below the column,
form a single whole
and its construction is subject to a certain rule and order.
The order is named by the Latin word "ORDO".
Hence the name "ORDER SYSTEM", an architectural order. The presence of porticoes, colonnades, loggias, galleries Strict symmetry of plans and compositions Decor depicting military attributes
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Slide captions:
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, newest 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 was 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 art 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, a generalization of the features of historical style using examples of national masterpieces, the development of imaginative thinking and the formation of the emotional sphere of the individual.
Tasks: Repetition and generalization of previously acquired knowledge about architectural styles Europe XVII- early XIX centuries Performing an electronic test.
- Conversation using presentation slides
Slide 2 | 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 was reflected in the images of the Baroque. |
|
Slide 3 | 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. |
|
Slide 4 | 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. |
|
Slide 5 | The place of Renaissance Harmony was taken by Contradiction. The Catholic Church decisively extended power to all spheres of spiritual and social life. A similar spiritual mood found a specific refraction in the images of the Baroque. Baroque - (from Italian - strange, bizarre) - began to be called both an era and an artistic style that developed primarily in the architecture of Italy. |
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Slide 6 | 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. 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. |
|
Slide 7 | 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. |
|
Slide 8 | 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 “avenue” and main “square” of the new capital was the Neva. |
|
Slide 9 | Francesco Bartolomeo Rastrelli transformed St. Petersburg from a fortified city and a port city into a city of palaces. The ensembles created by him - the Winter Palace and the Smolny Monastery in St. Petersburg, the Catherine Palace in Tsarskoe Selo - belong to unique style, which has no analogues in the West - Rastrelli's baroque. This style combined the orderly severity of classicism, the dynamics of baroque, rococo ornamentation and the major character of polychrome. |
|
Slide 10 | Rastrelli’s favorite color combinations - white with gold order elements and azure-blue - go back to the gilded carvings of the iconostases of ancient Russian churches with their rich colorfulness and cheerfulness. |
|
Slide 11 | 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. The visual destruction of the monotony of an excessively long facade is facilitated by the plastic alternation of columns, pilasters and rustication, the luxurious variety of platbands and windows, a rich color scheme based on a combination of azure walls, white architectural details and gilding of sculptures. |
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Slide 12 | The Smolny Monastery in its magnificent splendor is not inferior to the 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. |
|
Slide 13 | 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. |
|
Slide 14 | Since strict, rational classicism seemed insufficiently lush 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. |
|
Slide 15 | 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. The history of the creation of the park in Versailles is closely connected with the garden life of classicism, which was characterized by lush parades and open-air entertainment with many guests. |
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Slide 16 | The center of the formation of a new style with its predilection for the theatricalization of life and masquerade became 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. |
|
Slide 17 | 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. |
|
Slide 18 | 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. |
|
Slide 19 | In the first decades of the 19th century, 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. |
|
Slide 20 | 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. Without changing the strict regulations of the French Empire style - symmetry, the Corinthian order, linear relief from elements of Egyptian and ancient Roman ornamentation, Rossi introduced elements of ancient Russian military symbols into the architectural decor and received a national version of the Empire style. |
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Slide 21 | 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. |
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
Baroque appeared as a result of... | |||
affirmation of the image of a closed space with a person at the center of the universe. | |||
excessive growth of mystical moods, hyperbolization of feelings, exaltation. | |||
the latest discoveries in the field of science and technology. | |||
Russian Baroque is due to... | |||
the development of the building as a three-dimensional volume according to the ancient Russian tradition. | |||
focusing on the facade of the building. | |||
specifics of the development of St. Petersburg. | |||
The Smolny Monastery Cathedral is… | |||
the most baroque product of F-B Rastrelli. | |||
creative reworking of the architecture of ancient Rus' and European monasteries. | |||
a typical example of ancient Russian architecture. | |||
Rococo… | |||
The presented interior belongs to the style…. | |||
rococo | |||
baroque | |||
empire style | |||
became Palace Square. | |||
Neoclassicism in architecture is... | |||
smooth ornaments and curls. | |||
straight, clear geometric shapes. | |||
continuation of the feudal chaos of urban development | |||
Giacomo Quarenghi... | |||
was the court architect of Peter I. | |||
exquisitely combined straight and rounded lines of the transition from Rococo to Neoclassicism. | |||
was a convinced admirer of Roman antiquity. | |||
The history of the creation of the palace and park ensemble of Versailles is connected with... | |||
"garden life" of classicism. | |||
symbolism of Apollo and an appeal to the theme of antiquity in planning and decor. | |||
the idea of glorifying the greatness of Rome. | |||
This picture shows a garden and park ensemble... | |||
Catherine Palace | |||
Peterhof | |||
Versailles | |||
Place de la Concorde in Paris... | |||
has no access to water. | |||
created architect J-A Gabriel. | |||
looks huge thanks to the wide panorama of parks and embankments | |||
Empire style... | |||
appeared in Russia earlier than in France. | |||
in Russia did not differ in ornamentation from the imperial style of France in the set of military attributes. | |||
Karl Ivanovich Rossi... | |||
changed the regulations of the French Empire - symmetry, Corinthian order, military ornaments. | |||
solved urban planning problems in dynamics, calculated the perception of the building in the process of movement. | |||
created the formula: “Every ensemble is an architectural landscape, every house is a function of the imperial capital” | |||
The ensemble of the Mikhailovsky Palace includes… | |||
Spit of Vasilyevsky Island | |||
buildings of the musical theater, the museum of ethnography, the Catherine Canal, the Moika and the Neva. | |||
building of the Russian Museum. |
Option 2
Baroque is characterized by... | |||
calmness of planes, balance and harmony of verticals and horizontals. | |||
the flow of one volume into another, the art of an architectural ensemble. | |||
illusion, mobility, curvilinearity, play of light and shadow, water dynamics. | |||
Rastrelli's Baroque is characterized by... | |||
passion for abundance, polychrome, festive solemnity. | |||
monotony of facades, monochrome, severity, static. | |||
the reinforcement of the entablature, the special rhythm of the columns, the whimsicality of the pediments. | |||
"Big Royal Style" is | |||
the severity of classical forms in architecture combined with the pomp of baroque in the interior | |||
prototype of the garden and park ensemble in Petrodvorets | |||
the splendor of Baroque architecture combined with the rigor of classical interiors | |||
Rococo… | |||
proclaimed picturesqueness and ornamentation as criteria of beauty. | |||
arose as a decorative style and spread its influence to architecture. | |||
formed in the salons of aristocrats, boudoirs and bedrooms, turned everyday life into an extravaganza. | |||
A feature of Rococo interiors… | |||
there was a clear, richly ornamented separation of the wall plane from the ceiling plane. | |||
was the use of large paintings on biblical subjects. | |||
was a large number of mirrors on the walls and knick-knacks on mantelpieces, tables and stands. | |||
This building built in the style... | |||
baroque | |||
classicism | |||
empire style | |||
A manifesto of classicism can be called... | |||
The building of the Senate and Synod. | |||
General Staff building. | |||
Building of the Academy of Sciences. | |||
Neoclassicism... | |||
inherited the feudal chaos of urban development. | |||
made many dreams of an “ideal city” come true. | |||
gardens and parks were moved outside the urban area. | |||
The building created by Andreyan Zakharov... | |||
has no sculptural decoration. | |||
is a typical example of the Baroque style. | |||
included in the ensembles: Trident of Perspectives, Palace Square, Neva, Strelka V.O. and Senate Square | |||
Layout of the park at Versailles... | |||
reflects the idea of the greatness of the “sun king” and the cyclical nature of nature | |||
symmetrical and regular, includes large planes of ponds | |||
picturesque and dynamic | |||
The presented interior belongs to the style… | |||
baroque | |||
rococo | |||
empire style | |||
Empire style... | |||
reproduced architectural images of Ancient Greece | |||
was created for Emperor Napoleon Bonaparte and reproduced the architectural images of Ancient Rome. | |||
established itself in Russia after the successes of Alexander I in military campaigns and European politics. | |||
The first work of the Russian Empire style... | |||
became the ensemble of the Mikhailovsky Palace. | |||
became the Admiralty ensemble. | |||
became Palace Square. | |||
The ensemble of Palace Square… | |||
not connected with Nevsky Prospekt. | |||
combines buildings of Baroque, Classicism and Empire style | |||
connects with the ensemble of the water area in front of the Spit of Vasilyevsky Island | |||
At the heart of the St. Petersburg Empire style... | |||
lay the aesthetic ideals of F.B. Rastrelli | |||
lay “sovereign” mythological and imperial symbols, expressed by a combination of pale yellow walls and white decorative elements. | |||
there was a masterful combination of architectural details with sculptural and pictorial decoration. |
Information sources
- World Art. L.G.Emokhonova, textbook for grade 11 (basic level), M. Publishing center "Academy", 2009.
- Unified collection of digital educational resourceswww.school.edu.ru
- Collection of images onhttp://yandex.ru
After completing the main construction work in Versailles, at the turn of the 17th-18th centuries, Andre Le Nôtre launched active work for 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 urban planning of classicism were outlined - free development in space and organic connection with 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 not 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 Patriotic War In 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, 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 in order to extract sounds, chords, harmony from it.”
The Empire style became the embodiment of Napoleon's political power and military glory 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. A triumphal arch was built on Place Carrousel 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, built 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.
Slide 1
Architectural style
Empire style
Slide 2
The Empire style was created in France after the bourgeois revolution. The political revolution brought with it new trends in art. The creators of the 19th century were inspired by Greco-Roman culture and largely imitated it. First of all, this imitation was reflected in the furnishing of the rooms in an antique style. This new movement arose in Paris after the revolution, during the era of the directory - around 1795, developed under the consulate and reached its full flowering under Napoleon I, between 1804 and 1813, and lasted for 20-25 years.
Slide 3
The new style was called Empire, which literally means empire. The artist David can rightfully be considered the creator of the Empire architectural style, and its exponents are the architects Charles Percier and Pierre Fontaine. The projects they created were implemented in the decoration of Parisian courtyards and Napoleon's mansions. Their work was an example to follow for artists from all countries who poured into Paris around 1800, after the demise of the revolutionary wave. The new style in furniture became popular in other countries after the release of a published collection of home furnishing designs in 1801 by Percier and Fontaine. This edition was repeated in 1812.
Slide 4
The production of furniture in the Empire style differs from the previous Louis XVI style in that the furniture design itself uses antique, especially Roman architectural forms: columns, pilasters, consoles, cornices and friezes used to divide the front sides of cabinets and chests of drawers. The supporting parts of tables, armchairs, chairs, sofas are made in the form of ancient herms, sphinxes, griffins, columns and lion paws, borrowed from the ruins of ancient Rome and the excavations of Pompeii. In the form of furniture, rectangular, massive, closed shapes are used; profiles and protrusions on it are rare.
Slide 5
For the first time in the history of furniture, the texture of the material began to play an important role. In previous styles it was hidden behind piles of carved decorations and various templates. On cabinets, secretaries, chests of drawers and other pieces of furniture there are large planes of panels framed by a slightly protruding frame frame.
Slide 6
Sometimes one whole board was used for the front of the chest of drawers. To do this, it was sawn along the lines of the boxes, thanks to which the overall pattern and arrangement of the streams and layers of wood were preserved. The quality of wood species now plays an important role. For the manufacture of furniture, preference was given to dark red wood. Its smooth surface is decorated with bronze, gilded through fire, with strictly symmetrical patterns. Individual parts are covered with carvings. The legs, following the ancient style, are often shaped like animal paws. Sometimes figures of swans, lions or sphinxes are unexpectedly placed on top of these paws. At the corners of cabinets and chests of drawers, antique columns with a gilded bronze base and capital or individual figures of winged victories (“Nike”) serve as jambs. The chairs take the form of ancient Roman ones. The front legs often extend straight from the armrests and are herms; if they end near the seat, then the armrests are supported by carved figures of lions, griffins, swans and other animals, or by fluted columns, or massive scrolls.
Slide 7
Slide 8
Both chairs and all other seating furniture are hard. Empire style furniture gives preference to pomp at the expense of ease of use. Chairs are somewhat simpler than armchairs, and their backs are often given the shape of a lyre, which is one of the most common motifs in the decoration of Empire style furniture.
Slide 9
Both in French furniture and in furniture from other countries, one can notice a direct connection between the traditions of Empire-era carpenters and the traditions of the previous era of Louis XVI. The most convincing proof of this can be found in the furniture of Jacob Delmatre, who, having begun working in the style of Louis XVI just before the revolution, became the main maker of furniture based on the drawings of Percier and Fontaine for Napoleon and many foreign sovereigns. Jacob's collaborator was the famous bronzer Tomir, who took a great part in decorating all the palaces erected at that time. A fairly significant number of new types of furniture created in this era indicate that the art of carpentry, without compromising the ancient ideal, retained its creative delicacy in relation to the practical needs of the era. At this time, bookcases with bars, dressing tables, china cabinets, open sideboards, display cases for jewelry, round flower stands (jardinières), clavichords, standing mirrors - “psiche”, etc. came into use.
