Russian architecture of the mid-18th century. School encyclopedia. Description of the presentation Culture of Russia of the 18th century Architecture B by slides
Architecture of Russia of the 18th century (except Moscow), projects of residential and public buildings
The 18th century is very significant in Russian architecture. In it, three directions can be distinguished, which gradually replace each other, this and classicism. During this period of time, many new cities appeared, new buildings that are recognized as historical monuments and which can still be seen today.
Painting “View of St. Petersburg on the day of celebration of the city’s 100th anniversary” Benjamin Paterson. Canvas, oil. 66.5x100 cm. Sweden. Around 1803
The main construction takes place in St. Petersburg. This was due to the start of the Northern War against Sweden, which began in order to liberate the Neva banks. Many military structures were built then, and the main one was the Peter and Paul Fortress. Closer to the south, facing the fortress, they built the Admiralty - a shipbuilding shipyard-fortress, not only engineers worked on their creation, but also Peter the Great himself. At first, settlements were built as peasant huts and city mansions, rarely painted to resemble bricks. To better understand what it looked like, you can look at the log house of Peter the Great on the Neva.
The Peter and Paul Cathedral was built in 1712-1733 (architect Domenico Trezzini) on the site of the wooden church of the same name (1703-1704)..
Wooden Peter and Paul Cathedral, antique carving
Although people were forced to move to St. Petersburg, construction still proceeded very slowly. Then the architects were given special tasks: the city had to become modern, and not only be architecturally designed, but also be comfortable in its layout.
The 18th century began with great transformations, the culprit of which was Peter the Great. During this time, many Russian cities socio-economic and architectural changes occurred. At this time, industry began to actively develop, workers' settlements and public buildings appeared. Until this time, special attention was paid to churches and royal residences, but now more attention is paid to the appearance of ordinary buildings, theaters, embankments, schools and hospitals. They forgot about wood as a building material and replaced it with brick. To begin with, this material was used only in the capital, and in other cities of Russia neither brick nor stone was visible.
Peter the Great founded a special commission, which will now be involved in designing not only the capital, but also all major cities. Church construction is moving aside, leaving space for civil buildings. Now the main emphasis is not on the appearance of houses, but on the general appearance of the city, houses stretch along the streets with uniform facades, buildings are made less dense in order to protect against the danger of fires, for aesthetic purposes, street roads are equipped with lanterns, streets are landscaped. All this was clearly influenced by the west and Perth the First, which issued many decrees regarding urban planning, which reached the scale of revolution. In a short period of time, Russia has come close to Europe in terms of urban development.
The main event in the history of architecture is the construction of St. Petersburg. After this, other cities actively began to change, Peter the Great invited architects from the West, and Russian masters went to Europe for internships.
After some time, architects from a variety of schools gathered in the capital; new buildings combined Russian traditions, Italian, Dutch, French and so on. Also, the architecture of St. Petersburg becomes special thanks to the use of new building materials; the houses were either brick or mud hut, the plaster was used in two colors: red (brown) and white.
In 1710, by decree of Peter the Great, construction began Gulf of Finland, famous people appear in Peterhof palace and park ensembles. In 1725, the two-story Nagorny Palace appeared, later it was rebuilt and expanded, the work was supervised by Rastrelli himself. At the same time, a small palace was built for Peter on the shore of the bay; it consisted of a state hall and several other rooms; it was the Monplaisir Palace.
Peterhof - view of the park from the palace, 1907, old postcard
Visitors Rastrelli, Schedel, Leblon, Trezzini and others promise to make a great contribution to architecture. It is worth noting that when they just started creating in Russia, they clearly followed their previous experience, creating according to the European analogue, but after some time, they were influenced by Russian culture and this greatly affected their work.
The first third of the 18th century was marked as the Baroque period. The buildings of this time were distinguished by a combination of the incongruous, contrast and pomp, reality and illusion. In 1703-1704 In St. Petersburg, construction began on the Peter and Paul Fortress and the Admiralty. Peter had high hopes for the architects and monitors the execution of the work very strictly. The resulting style with luxurious palaces, churches, museums and theaters was called Russian Baroque (Baroque of the Peter the Great).
Panoramic view Spit of Vasilyevsky Island in St. Petersburg, made by J. A. Atkinson in the period 1805-1807. Signature (English, French): "Sheet 4. Exchange and warehouse. New exchange. Fortress of St. Peter and St. Paul."
During this time, the Peter and Paul Palace, the Summer Palace, the Kunstkamera, the building of the Twelve Colleges, and the Menshikov Palace were built. A large number of churches appeared in Moscow, all of them were decorated with Baroque elements. Enough important object at that time became the Peter and Paul Cathedral in Kazan.
By the middle of the 18th century, Russia lost Peter the Great, this was a great loss for the state and for all people, but as for urban planning and architecture, there were no significant changes after his departure. The country had very strong masters, because many of them were trained abroad, the most famous and in demand at that time were Blank, Michurin, Usov, Zemtsov, etc. Buildings in the Rococo style began to appear, that is, combining both Baroque and Classicism. Buildings become more confident and elegant. Rococo manifests itself not only in external details, but also in the interior. Outside, as well as inside, the buildings are pompous, but at the same time strict.
At this time, Elizabeth, the daughter of Peter, had just begun to rule, and she assigned a lot of work to Rastrelli the younger. He grew up in the conditions of Russian culture, and therefore his works noted brilliance and luxury along with the Russian character. Together with Kvasov, Chevakinsky and Ukhtomsky, they created monuments of Russian architecture. Rastrelli created dome compositions throughout Russia, and was not limited to Moscow or St. Petersburg; they increasingly replaced spire-shaped details. Russian history no longer remembers anything like such chic and bulky Russian ensembles. But, despite the large number of Rastrelli fans, his style quickly gave way to the next one - classicism. During this period, the plan of St. Petersburg completely changed and Moscow was redeveloped.
The last third of the 18th century was occupied by a new direction in architecture - Russian classicism. By the end of the century, classicism had become a stable movement in art. It is characterized by strict forms with antique elements, the absence of unnecessary details, luxury, and rational designs. Most of these buildings can be seen in Moscow, but this does not mean that they were not there in other cities. The most striking examples for Moscow were the Razumovsky Palace, the Golitsyn House, the Tsaritsinsky complex, the Senate building and the Pashkov House. In St. Petersburg, it is worth noting the Academy of Sciences, the Hermitage Theater, the Hermitage itself, the Marble Palace, the Tauride Palace. The most famous architects of that time were Ukhtomsky, Bazhenov and Kazakov.
The Marble Palace was built in 1768-1785 according to the design of the architect Antonio Rinaldi in the classicist style, commissioned by Empress Catherine for her favorite Count G. G. Orlov. The Marble Palace is the first building in St. Petersburg whose facades are lined with natural stone. Lithograph by Joseph Charlemagne (1782-1861)
Classicism is a style that develops by borrowing forms, patterns and compositions from the ancient world and the Italian Renaissance. Buildings appear with regular shapes and areas, logical, symmetrical, rational, there is rigor and harmony in everything, the order tectonic system is actively used. Many customers could not afford any more Baroque houses, now came the period of peasants and merchants with less economic opportunity.
Thanks to the economic and social situation in the country, domestic and foreign markets began to actively develop, allowing for the expansion of industrial and handicraft industries. There was a need for government and private buildings: chambers of commerce, guest houses, markets, fairs, warehouses. Unique buildings for that period also appeared: banks and exchanges.
Public buildings began to appear in all cities: schools, gymnasiums, institutes, hospitals, prisons, barracks, boarding houses and libraries. The cities grew rapidly, so there was no more funding for Baroque houses and there were not enough craftsmen for this.
In 1762, a commission was founded on issues of stone construction in St. Petersburg and Moscow. It was created to regulate and supervise urban planning. The commission existed until 1796, it included Kvasov, Starov, Lem and other great architects. The main factors were land and waterways, borders between cities, trading floors and administrative buildings. The city had a clear rectangular layout. The height of the streets had clear restrictions, there were patterns that had to be followed, and houses had to be located at a minimum distance from each other. Architectural solutions were enlivened by figured window frames.
IN provincial cities In Russia, buildings were not built higher than 1-2 floors, while in St. Petersburg one could see 3- and 4-story buildings. Kvasov developed a project according to which the territory of the Fontanka embankment was improved; it soon turned into an arc-forming highway.
The most striking example of classicism can be called “Pleasure Houses” in Oranienbaum; now it no longer exists, so it can only be seen on the pages of books and textbooks. Kokorin worked on this building, and Vista at that time built the Botny House in the Peter and Paul Fortress.
As for provincial cities, the art of the 18th century left its mark most on Tsarskoye Selo, Yaroslavl, Kostroma, Nizhny Novgorod, Arkhangelsk, Odoev Bogoroditsky, etc. After this period, Petrozavodsk, Yekaterinburg, Taganrog, etc. began to actively develop, they are large attention was paid to industry and the economy of the entire state.
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"Architecture Russia XVIII century" - "Tsentrnauchfilm" (00:26:26 color) Director - A. Tsineman
Description of the presentation Culture of Russia of the 18th century Architecture B by slides
Architecture The best national traditions of Russian architecture enriched with world heritage were embodied in the works of the largest Russian architects of the 18th century. The Mongol-Tatar system of city construction (radial rings with a square in the center) was replaced by the European one - to build cities according to a plan. The Byzantine style is being replaced by a lighter, Italian - Baroque.
Francesco Rastrelli (1700 - 1771) Born in Italy, but in 1716 he came to Russia with his father. He is the author of the largest palace ensembles: Winter Palace Grand Palace in Peterhof Catherine Palace Stroganov Palace Smolny Palace St. Andrew's Church in Kyiv
Winter Palace The Grand Palace in Peterhof Richly decorated state rooms, plastered to resemble marble, with painted ceilings, inlaid parquet and gilded walls. The sculptures and vases installed above the cornice along the entire perimeter of the building add elegance and splendor to the silhouette of the building.
The Catherine Palace is one of the most famous buildings of the architect. The architect masterfully uses his favorite artistic means: the spatial scope of the composition, plasticity, relief of architectural forms, the expressive rhythm of the colonnades, the active inclusion of sculpture in the decor. The color scheme characteristic of Rastrelli is also fully used: the contrast of white columns, the azure-blue field of the walls and the gold of the architectural decor.
Classicism in architecture In the 60s, classicism replaced decorative baroque. Features: symmetry of compositions, harmony of proportions, geometrically correct plans, restraint, rigor
V. I. Bazhenov (1737 - 1790) Son of a sexton of one of the Kremlin court churches. He studied at the school of D. V. Ukhtomsky and at the gymnasium of Moscow University, and worked in St. Petersburg. From the Academy of Arts he was sent to study in France and Italy.
Vladimir Church in Bykovo Pashkov House Two main facades - one looks at the roadway and has a solemn character, the other is oriented towards the courtyard and has a more comfortable appearance. A bizarre combination of Baroque and Gothic forms.
M. F. Kazakov (1738 - 1812) In Moscow, he developed types of urban residential buildings and public buildings that organize large urban spaces: the Senate in the Kremlin (1776 -87), the university (1786 -93), the Golitsyn hospital (1796 -1801), estate houses of Demidov (1779 -91), Gubin (1790s). He used a large order in interior design (Column Hall of the House of Unions). He supervised the preparation of the master plan for Moscow and organized an architectural school.
The Senate Palace was Kazakov's largest realized project. According to the architect's idea, the building was supposed to symbolize civil ideals, legality and justice, and the architects found the embodiment of these ideals in the classical forms of antiquity. This explains the strict and restrained laconicism of the building, topped with a dome, the classical form of which Kazakov wanted to enhance the architectural expressiveness of Red Square as the main square of the capital.
Architectural style - Classicism Architect - Vincenzo Brenna Founder - Paul I Founding date - February 26 (March 9) 1797 Construction 1797-1801
Sculpture In the second half of the 18th century. The foundations of Russian sculpture were laid. It developed slowly, but Russian educational thought and Russian classicism were the greatest incentives for the development of great civic ideas.
F. I. Shubin (1740 – 1805) Worked in an era when the idea of the value of the human spiritual world penetrated into the art of sculptural portraiture. He worked mainly with marble, very rarely turning to bronze. His works belong to the genre of classicism. Most of his sculptural portraits are in the form of busts.
I. P. Martos (1754 - 1835) I. Martos was an artist of a wide range, but he became especially famous as the author of magnificent monuments and classical tombstones.
Monument to Minin and Pozharsky. Dedicated to Kuzma Minin and Dmitry Mikhailovich Pozharsky, leaders of the second people's militia during the Polish intervention in the Time of Troubles, and the victory over Poland in 1612. The monument was built in 1818.
By advice. Didroempress. Catherine. II entrusted the sculptor Falcon with the creation of an equestrian monument. Petru. I. The wax sketch was made again. In Paris, after the master’s arrival in Russia in 1766, work began on a plaster model the size of a statue. Embossed on the steel pedestal is the laconic inscription “Petroprimo. Catharina secunda" (“To Peter. The First. Catherine. The Second”) was made according to a proposal. Falcon with minor editing itself. Catherine, the inscription initially looked like “Petra. First of all. Catherine the Second". The finishing of the bronze after casting (which was done by the cannon maker Emelyan Khailov) in 1775 was carried out by Falcon himself. Having left. Russia in 1778 before the installation of the monument (the grand opening of the monument was timed to coincide with the twentieth anniversary of the reign of Catherine II on August 7, 1782), Falcone left. Holland and returned to 1781. France. For the last 10 years of his life, paralyzed, he was unable to work or create. Etienne Falconet
Painting of the 18th century turned out to be unusually rich in talented artists. The paintings were distinguished by a variety of genres: from traditional portraits and historical painting to theatrical scenery, landscapes, still lifes, and scenes from folk life.
Portrait painting The main place in the painting of the 18th century is occupied by the portrait. Portrait (French portrait, from Old French portraire - “to reproduce something feature by feature”) is an image or description of a person or group of people who exist or existed in reality.
I. P. Argunov (1729 – 1802) I. P. Argunov does not idealize the model’s appearance; he boldly conveys the squinting eyes and some puffiness of the face. At the same time, the artist’s masterful use of the brush in conveying texture and the sophistication of shadows attract attention.
Of the later works of I. P. Argunov, the most famous is “Portrait of an unknown peasant woman in a Russian dress.” It is now believed that the depiction was of a wet nurse, which is confirmed by the model’s costume. The artist embodied his idea of female beauty on canvas.
D. G Levitsky (1735 – 1822) Levitsky’s works are characterized by a bright individuality of images. He is able to find an expressive pose and gesture, to combine the intensity of color with tonal unity and richness of shades.
In 1773, one of the most interesting works of D. Levitsky was created - a portrait of the philosopher Denis Diderot, a French encyclopedist philosopher and writer. The energy, creative restlessness and spiritual nobility of which were so vividly and directly conveyed by the Russian artist.
A. P. Antropov (1716 - 1795) A. P. Antropov avoided depicting superficial grace in portraits. His images are concrete, realistic and at the same time psychological.
Coronation portrait of Peter III (1762). The Emperor is depicted as if he had “run” into magnificent chambers: uncertainty, spiritual disharmony against the backdrop of a luxurious interior - this is what A.P. Antropov perspicaciously saw.
Rokotov. Fedor. Stepanovich The largest Moscow portrait painter who worked during the Russian Enlightenment. Perhaps the first “free artist” in Russia who did not depend on state and church orders.
Historical painting A genre of painting that originates in the Renaissance and includes works not only based on real events, but also mythological, biblical and evangelical paintings. Depicts events of the past that are important for an individual nation or all of humanity.
A. P. Losenko (1737 -1773) Founder of Russian historical painting. From 1753 he studied painting with I.P. Argunov, and from 1759 at the St. Petersburg Academy of Arts. He continued his studies in Paris and the French Academy in Rome.
Vladimir in front of Rogneda, 1770 Wonderful catch,
Literature The main trend in the literature of the 18th century was classicism. Russian classicism attached special importance to “high” genres: Epic poem Tragedy Solemn ode Since the 70s of the 18th century, a new direction has emerged - sentimentalism. New genres appear with it: Travel Sensitive story
D. I. Fonvizin (1745 - 1792) Fonvizin was not only a major and talented playwright of the 18th century. He is one of the founders of Russian prose, a wonderful political writer, a truly great Russian educator, who fearlessly fought against tyranny for a quarter of a century.
G. R. Derzhavin (1743 – 1816) The main object of Derzhavin’s poetics is man as a unique individual in all the richness of personal tastes and preferences. Many of his odes are of a philosophical nature; they discuss the place and purpose of man on earth, the problems of life and death.
Writers and poets of the 18th century. A. D. Kantemir 1708 -1744 V. K. Trediakovsky 1703 -1769 M. V. Lomonosov 1711 -1765 A. P. Sumarokov 1717 -1777 D. I. Fonvizin 1744-1792 G. R. Derzhavin 1743 -1816 N. M. Karamzin 1766 -1826 A. N. Radishchev 1749 —
Theater German Johann Gregory is the creator of theater in Russia. Theater in Russia in the 18th century developed not only in Moscow, but also in St. Petersburg. An establishment with Russian actors opened at the court of Anna Ioannovna. The famous playwright Alexander Sumarokov wrote plays for him. Under Elizabeth Petrovna, the so-called imperial theaters appeared. These government institutions existed at the expense of the treasury. Director of the Imperial Theater Vasilyevsky Island was Sumarokov. The first professional theater was opened in Yaroslavl by F. G. Volkov. The 18th century theater in Russia continued its development during the reign of Catherine II. Several professional troupes worked at her court. Italian opera singers occupied a special position. A Russian drama troupe also worked. During this period, the theater ceased to be a purely palace entertainment. Public entertainment establishments opened in the city, in which both Russian and foreign artists worked.
Theater. Creation. Ivan Dmitrievsky Theater of the 18th century in Russia knows the names of famous entrepreneurs: Titov, Belmonti, Medox. At this time, landowner troupes continue to exist in the provinces, where serf artists perform. Ivan Dmitrevsky was a wonderful actor. Later he became the main actor of the Imperial Theater on Vasilyevsky Island. To improve his skills, Catherine the Second sent Dmitrevsky abroad. In Paris, he studied the play of the famous tragedian Lequesne, and in London he watched performances with the participation of the great Garrick. Returning to St. Petersburg, Dmitrevsky opened a theater school. He later became the chief inspector of imperial entertainment establishments.
Gottlieb Siegfried Bayer (1694 -1738). He began by studying the tribes that inhabited Russia in ancient times, especially the Varangians, but did not go further than that. Bayer left behind many works, of which two rather major works were written in Latin. Much more fruitful were the works of Gerard Friedrich Miller (1705 -1783), who lived in Russia under Empresses Anna, Elizabeth and Catherine II and was already so fluent in the Russian language that he wrote his works in Russian. Miller's main merit was collecting materials on Russian history. Among the academicians of the 18th century. M.V. Lomonosov also occupied a prominent place in his works on Russian history, writing an educational book on Russian history and one volume of “Ancient Russian History” (1766). Story.
History His works on history were determined by polemics with academicians - the Germans. The latter separated Varangian Rus' from the Normans and attributed the origin of citizenship in Rus', which before the arrival of the Varangians was a wild country, to Norman influence; Lomonosov recognized the Varangians as Slavs and thus considered Russian culture to be original. Attempts to provide such an overview have emerged outside the academic environment. The first attempt belongs to V.N. Tatishchev (1686 -1750). In these 5 volumes, Tatishchev brought his history to the troubled era of the 17th century. The first popular book on Russian history belonged to the pen of Catherine II, but her work “Notes on Russian History” was much more important in scientific terms “Russian History” by Prince Shcherbatov (1733 -1790)
RUSSIAN ARCHITECTS of the XVIII-XX centuries. (Biographical information)
(1733-1768)
From the serf family of Count Sheremetev, which produced several talented representatives of Russian art. Son of a palace manager. Apprentice and later assistant. He participated in the construction of the St. Petersburg Sheremetev estate on the Fontanka (the so-called Fountain House). From the mid-1750s. until 1767 he worked on the Sheremetev estate Kuskovo, created a park and park pavilions, most of them have not survived.
The son of a village priest. Initially he studied in the “team”, then at Moscow University. From 1755 in St. Petersburg he was a student and assistant during the construction of St. Nicholas Cathedral. He studied at the Academy of Arts from its founding. After graduating from the Academy, he was sent as a pensioner to France and Italy for further education. He studied at the Paris Academy with C. de Wailly. Lived and worked in Italy. He held the title of professor at the Roman Academy and member of the academies in Florence and Bologna. In 1765 he returned to St. Petersburg. He took part in the competition for the Ekateringof project, for which he received the title of academician. He served as an architect for the artillery department. In 1767 he was sent to Moscow to put the buildings in the Kremlin in order.
The grandiose project of the Grand Kremlin Palace created by him was not implemented, but had a huge influence on the formation of classicist principles of urban planning in Russia. During the work in the Kremlin, a school of young classicist architects (,) developed around Bazhenov, developing Bazhenov’s ideas in their further independent works.
With another grandiose work - the palace complex in Tsaritsyn - the architect also failed. Built in fantastic Russian-Gothic forms, Catherine II did not like the palace and was not finished, and Bazhenov himself fell out of favor. Upon the accession of Paul I, with whom Bazhenov was associated with Masonic activities, the architect was invited to St. Petersburg and appointed vice-president of the Academy of Arts with the rank of state councilor. However, Bazhenov’s latest project, Mikhailovsky Castle, was completely redesigned by V. Brenna.
The founder and passionate promoter of classicism in Russia, a master with a bright personality and a tragic creative fate.
He is known for his works in the field of architectural theory, most of which were created jointly with F. Karzhavin. The master's graphic heritage is very large, but the question of his authorship in many cases remains open.
Main works: in Moscow - the Pashkov estate, the houses of Yushkov and Prozorovsky, the refectory and bell tower of the Church of the Sorrowful Mother of God; Tsaritsyno palace complex near Moscow, churches in the village. Bykovo near Moscow and in the village. Znamenka (Tambov province); in St. Petersburg until the middle of the 20th century. The guardhouse of the Mikhailovsky Castle and the building of the District Court on Liteiny Prospect were attributed to him (not preserved).
(I860-between 1918 and 1923)
Born in Odessa. He received his education at the Chisinau gymnasium. In 1885 he graduated from the Institute of Civil Engineers. He worked as an assistant for the Construction Committee of the Ministry of Internal Affairs and the Main Palace Administration. He carried out private orders, mainly for the Eliseev family. Designed for St. Petersburg, Moscow, Nizhny Novgorod, Revel. Representative of modernity. Baranovsky’s publishing activities are of great importance: he compiled the multi-volume “Architectural Encyclopedia of the Second Half of the 19th Century.” Published the magazine "Builder". He published an “Anniversary collection on the activities of former students of the Institute of Civil Engineers.”
One of the most talented and prolific representatives of eclecticism, he worked mainly in the Renaissance style.
Main works: the mansions of Buturlina, Kochubey, Pashkov (later the Department of Appanages) in St. Petersburg, palace and park ensembles in Mikhailovka and Znamenka in the vicinity of the city; project of the reform church on the Moika in St. Petersburg (built by D. Grimm, rebuilt in the 20th century); Orthodox churches in Helsingfors and Dresden.
Brenna Vincenzo (Vikenty Frantsevich) (1747-1820)
An Italian in Russian service. Born in Florence. In 1766-1768 Studied drawing and painting in Rome with Pozzi, then architecture in Paris. He was engaged in excavations and research of ancient monuments in Rome. Published an album of antique cameos. In 1776 he met the Polish magnate S. Potocki and carried out his orders as a decorator, first in Rome, and from 1780 in Poland. In 1772, he met Tsarevich Pavel Petrovich, who was traveling around Europe, and at his invitation, he came to Russia in 1783. Initially he worked in Pavlovsk as a decorator, and from 1789 as an architect. After Paul I's accession to the throne, he became a court architect with the rank of state councilor. Favorite Architect
Paul, participated in all its constructions. After the murder of Paul in 1802, he left for Saxony. Died in Dresden.
Brenna is romantic in nature. His buildings are completely individual. The architect paid great attention to the interiors. As Paul's favorite, Brenna shared the fate of most people associated with his name, and was almost forgotten in the 19th century. Only in the 20th century. Brenna's name took a place among the largest architects of Russia. He was among Brenna's students and assistants.
Main works: reconstruction and interior decoration of the Pavlovsk Palace and park layout; reconstruction and interior decoration of the Gatchina Palace and layout of the park with the construction of pavilions; Obelisk “Rumyantsev’s Victories”, Mikhailovsky Castle with pavilions and the layout of the adjacent part of the city.
(1798-1877)
Born in St. Petersburg in the family of a professor at the Academy of Arts and sculptor. From 1810 to 1820 studied at the Academy with the Mikhailov brothers. After graduating from the Academy, he worked on the commission for the construction of St. Isaac's Cathedral. He painted architectural landscapes for publications of the Society for the Encouragement of the Arts. In 1822, together with his brother, a painter, he was sent by the Society as a pensioner to Italy. In 1826-1829 lived in Paris, where he published his measurements of ancient baths. In 1829 he returned to Russia. From 1830 he was an academician, and from 1832 until the end of his life he was a professor at the Academy of Arts in the class of architecture.
One of the leading masters of early eclecticism; worked in different styles, with a constant sense of proportion and good taste. A prominent teacher, one of the participants in the reform of the Academy of Arts carried out. An outstanding painter, master of watercolor portraits.
Main works: in St. Petersburg - the Mikhailovsky Theater (rebuilt by A. Kavos), the Lutheran Church of St. Peter and Paul on Nevsky Prospect, the building of the Headquarters of the Guards Corps on Palace Square, reconstruction and interiors of the Marble Palace and the service building with it, restoration The Winter Palace after the fire of 1837, the Pulkovo Observatory, the church in Pargolovo, buildings on the Samoilova estate “Count Slavyanka”, the church-mausoleum on the Wittgenstein estate in Druzhnoselye.
(1801 -1885)
Born in Moscow into the family of a carpenter. In 1816 he was apprenticed to D. Gilardi. Participated in all its constructions. On the recommendation of Gilardi, he was allowed to apply for the title of academician, receiving it in 1830. From 1828 he worked at the Moscow School of Architecture, and from 1836 he was its director. In 1834, he was appointed as an official of special assignments under the Moscow Governor-General and actually became the chief architect of Moscow, replacing him. In 1838-1839 traveled abroad. One of the founders of the art class, which was later transformed into the Moscow
School of painting, sculpture and architecture. Founder and first chairman (1869) of the Moscow Architectural Society. In 1880 he retired from design and public activities. Died in Moscow.
Possessing modest talent, Bykovsky was a passionate and consistent reformer in architecture. Seeing that classicism had outlived its usefulness, he sought to create a new style, calling for the use of the architectural heritage of all times and peoples, thereby promoting the spread of eclecticism.
Main works: Marfino estate near Moscow; in Moscow Golitsynsky passage, the Moscow Exchange building (does not exist), the Loris-Melikov house in Milyutinsky lane. and gr. Sheremetev on Vozdvizhenka, Gorikhvostovsky and Khamovnichesky hospice houses, Trinity Church on Pokrovka, Ivanovsky Monastery, bell towers of the Strastnoy and Nikolsky monasteries; the Vonlyarlyarsky house in St. Petersburg near the Nikolaevsky Bridge.
Valen- (1729-1800)
Frenchman in Russian service. Nephew and student of the famous architect. Studied in Paris. In 1750-1752 lived in Italy. In 1759, Count was invited. to Russia for the position of professor of architecture at the newly founded Academy of Arts. He worked a lot and fruitfully in St. Petersburg (alone and with). He also worked in Moscow and on an estate in Pecher. In 1766-1767 went to France for treatment. Upon returning to Russia, he did little building and was mainly engaged in teaching at the Academy of Arts. In 1775 he retired and left for his homeland.
A brilliant representative of early classicism, skillfully combining the large scale of structures with the subtlety of elaboration and proportionality of details.
Main works: in St. Petersburg - the Academy of Arts (apparently, only the main facade on the Neva), the warehouses of the ship's timber "New Holland" (the facade, the building itself was built by Chevakinsky), the Church of St. Catherine on Nevsky Prospect, the Small Hermitage (the so-called Lamott pavilion, built on), Gostiny Dvor (completed after Rinaldi), Count Chernyshev's palace on the Moika (on the site of the Mariinsky Palace), church and palace in Pochep (Bryansk region).
(1759-1814)
From the count's serf family (according to some assumptions, his illegitimate son). Initially he studied with the icon painter G. Yushkov in the icon painting workshop of the Tyskorsky Monastery. In 1777 he was transferred to Moscow, where he worked for. From 1779 he lived in St. Petersburg in the Stroganovs' house. In 1781, together with Pavel Stroganov and his tutor Romm, he traveled around Russia. In 1785 he received his freedom. Since 1786, he has lived abroad with Stroganov and Romm in Switzerland and France. In 1790 he returned to Russia and worked for. In 1794 he was “appointed” to the Academy of Arts. Since 1797 - with the rank of academician of perspective painting, since 1800 he taught at the Academy. Since 1803 - professor. A brilliant representative of classicism. Having won the competition for the design of the Kazan Cathedral, he created an ingenious structure, unparalleled in taste, proportionality, grace and grandeur. Main works in St. Petersburg and the surrounding area: reconstruction of the interiors of the Stroganov Palace, the Stroganovs' dacha in Novaya Derevnya (not preserved), the Kazan Cathedral and the lattice enclosing the square in front of it, the Mining Institute, the interiors of the Pavlovsk Palace, the Pink Pavilion in Pavlovsk, the fountain on Pulkovo Mountain.
(1834-1873)
Born in St. Petersburg. He was educated in the Corps of Pages. In 1852 he entered the Academy of Arts, from which he graduated in 1861 with a gold medal. He improved his skills in construction under P. Gemilian. In 1863-1868. I was on a retirement trip abroad. Visited Germany, France and Italy. I was in Paris during the World Exhibition. Upon returning to St. Petersburg, he participated in the construction of the All-Russian Manufacturing Exhibition in Solyanoy Gorodok. From 1871 he worked in Moscow. He designed a lot for S. Mamontov.
Despite his short life and few buildings (most of which have not survived), Hartmann occupies a special place in the history of Russian architecture. He is undoubtedly a talented man, an excellent draftsman, he became notorious for embodying pseudo-Russian (“leavened”) ideas in architecture (he wrote an apologetic article about him).
Geste William (Vasily Ivanovich) (1763-1832)
A Scot in Russian service. He was the city architect of Tsarskoe Selo. In 1808 he drew up its master plan. Since 1810, he actually headed all urban planning in Russia. Under his leadership, master plans for the development of Moscow, Kyiv, Vilno, Smolensk, Vyatka, Ekaterinoslav, Saratov, Penza, Krasnoyarsk, Shlisselburg, Tomsk, Ufa, and Zhitomir were drawn up. He was one of the first to start working on a basis drawn up by local land surveyors.
(1808- 1862)
Born in the city of Patashov, Nizhny Novgorod province, into the family of a plant manager. From 1823 he served as an official in Nizhny Novgorod, and since 1826 in St. Petersburg. In 1827 he retired and was engaged in artistic crafts (painting signs and labels). He collaborated in Svinin’s publications and traveled with him to Northern and Central Russia, sketching monuments of ancient architecture. Then he studied with Gilardi in Moscow, and from 1829 he worked on the construction of the Mikhailovsky Theater in St. Petersburg. From 1834 to 1837 he traveled at his own expense in Germany, Italy and Switzerland. Since 1838 - academician. Participated in the restoration of the Winter Palace after the fire. From 1843 until the end of his life - architect of the Ministry of Internal Affairs. In 1845-1847 - architect of the Chapter of Russian Orders. Professor at the Academy of Arts in the class of perspective. Died in St. Petersburg.
An architect who enjoyed enormous popularity during his lifetime as the founder of the “Russian style” of the second half of the 19th century.
Main works: a number of buildings of the Valaam Monastery of the Transfiguration of the Savior (churches, hotel, Waterworks House, etc.); church, chapels and cells of the Trinity-Sergius Hermitage; in St. Petersburg - a number of residential buildings, the courtyard of the Trinity-Sergius Hermitage on the Fontanka (rebuilt); tomb of Prince Pozharsky in Suzdal; churches and cathedrals in Staraya Ladoga, Helsingfors, Suzdal, Nice.
(1782-1868)
From the landowner's serfs. In 1804 he received “freedom” and was apprenticed to the family in whose family he was brought up. Then he studied at school during the expedition of the Kremlin building with F. Camporesi. Together with D. Gilardi, he was involved in the restoration of Moscow after the fire of 1812. From 1808 until the end of his life, he was an architect in the department of the Moscow Orphanage.
A representative of classicism, influenced by the work of G. Quarenghi, at the end of his life he paid tribute to eclecticism.
The main buildings, except those completed jointly with D. Gilardi: houses of Lopukhin and Khrushchev-Seleznev on Prechistenka; Trinity Church in the Olsufievs' Ershovo estate near Moscow (not preserved), churches at the Vagankovskoye and Pyatnitskoye cemeteries (presumably).
(1823-1898)
Born in St. Petersburg. He studied at school at the Reformed Church of St. Peter. In 1842-1846. studied at the Academy of Arts. In 1849 he studied the architectural monuments of Transcaucasia, from where in 1852 he went on a retirement trip to Europe through Constantinople and Greece. In 1855 he returned to St. Petersburg. Since 1855 - professor at the Academy of Arts and rector of the architectural department. He also taught at the Institute of Civil Engineers; member of the Military Engineering Committee, chief architect of the imperial court. and grandson German Germanovich - famous architects, theorists and historians of architecture.
The largest specialist in Byzantine architecture and the architecture of the Transcaucasian Middle Ages. He built mainly in St. Petersburg, as well as in Tiflis, Chersonesos, Nice, Copenhagen, Lugano, Geneva.
(1762-1823)
Serf, son of the gardener Prince. Trubetskoy, in whose house he received a first-class education. Apparently, he then studied at the art school of the Artillery and Engineering Cadet Corps. From 1782 he taught a course in civil architecture in the same building. In 1784 he received "freedom", in 1790 - the title of architect. Since 1785 - academician of architecture. In 1796 he was transferred to the Engineering Department, and in 1798 to the Artillery Department. He worked as an architect and military engineer.
Since 1812, due to deteriorating vision, he went to work as head of the archives of the Artillery Department. Since 1814 - professor at the Academy of Arts. In 1816, having become completely blind, Demertsov retired.
The main works in St. Petersburg: the building of the Engineering (then the second) cadet corps on Vasilyevsky Island, the complex of barracks of the Semenovsky and Izmailovsky regiments (together with), the barracks of the Preobrazhensky regiment, the Church of St. Sergius the Wonderworker on the corner of Liteiny Prospect and st. Tchaikovsky and the Church of the Sign of the Lord opposite the Moscow Station (both have not survived).
(1766-1815)
Born and lived in Moscow. In 1733 he entered the architectural school during the expedition of the Kremlin structure to, and two years later to. In 1787 he became Kazakov’s assistant on the expedition of the Kremlin structure. From 1804 he led the school during the expedition of the Kremlin building, and from 1814 he was the director of the Kremlin drawing room.
Main works: Military hospital in Lefortovo, the main house in the Lyublino estate near Moscow, the building of the Armory Museum in the Kremlin (not preserved), management of the construction of Gostiny Dvor (designed by Quarenghi), St. Nicholas Church in the village. Tsarevo near Moscow.
(around 1698-1740)
From noble children. Sent by Peter I to study in Italy. From 1716 to 1723 he studied with Seb. Cipriani and Fr. Borromini. Upon his return, he took part in a competition to design a palace in Preobrazhenskoye near Moscow. Eropkin's project was accepted and implemented (with modifications). In 1737, he was the chief architect of the “Commission on St. Petersburg Construction” with the rank of Hoffintendent and Colonel. Head of the first real master plan of St. Petersburg. He was engaged in draining the city's territory and strengthening its embankments. Together with him, he compiled the first Russian architectural and construction treatise, “The Position of an Architectural Expedition.” Translated individual chapters of A. Palladio’s treatise “Four Books on Architecture”. He spoke out with a group of cabinet secretaries against the “Bironovism” and was executed.
Eropkin's buildings have not survived. Bruce's estate house in Glinki near Moscow is attributed to him.
(1799-1851)
Born in the Kursk province into the family of a landowner. From 1806 to 1821 he studied painting at the Academy of Arts, and for the last six years he studied architecture. He graduated with a gold medal, taught at the Academy and was engaged in excavations in Kyiv. From 1827 he lived as a pensioner in Rome. In 1835 he traveled through Greece and Asia Minor and visited Constantinople. In 1840 he returned to St. Petersburg. From 1840 - academician, from 1842 - honorary free member of the Academy (honorary academician), from 1844 - professor of the Academy. Architect of the "Cabinet of His Imperial Majesty."
A typical representative of early eclecticism. One of the most educated Russian architects. Great chart.
Main works: construction together with the New Hermitage according to the design of Leo von Klenze, the Ministry building state property on Isaac's Highway, City Duma on the Duma Line opposite Gostiny Dvor, St. George's Hall in the Winter Palace. Most of the church buildings built by Efimov have not survived.
Gilardi (Gilardi) Domenico (Dementy Ivanovich) (1785-1845)
Italian from Switzerland. One of the brightest and most prolific masters of the Moscow Empire style. Eight architects and stone masons from the Gilardi family worked in Moscow. - son of the architect I. "D. Gilardi; born in Montagnola. From 1796 he lived in Moscow, from 1799 - in St. Petersburg, studied painting at the Academy of Arts in Skopje. In 1803 he left for Italy, where in 1806 . graduated from the Milan Academy. He studied architectural monuments in Italy. In 1810, he built a lot in Moscow and estates near Moscow. The heyday of Gilardi’s activities was associated with the restoration of Moscow after the fire of 1812. In 1835 he left for Italy. .
The main work is the restoration of the university after the fire, the building of the Board of Trustees on Solyanka, the Khrushchev House on Prechistenka, the Widow's House on Kudrin, the Catherine School on Ekaterininskaya Square. (all together with), the Usachev Naidenov estate on Zemlyanoy Val, the Lunin house on Suvorovsky Boulevard, the Gagarin house on Povarskaya Street, the Horse Yard complex in the estate of Prince. Golitsyna Kuzminki.
(1867-1959)
Born in Pinsk (Belarus). In 1887-1898 Studied at the Academy of Arts in the studio, during these same years he worked a lot as an assistant to an architect on construction sites. From 1900 he taught at the Stroganov School in Moscow. He repeatedly traveled to Italy, where he studied Renaissance architecture, and to England. He was engaged in research of Russian architecture. In his work he consistently implemented the theory of architectural harmony he created.
Major architect outstanding researcher classical architecture, theorist, exceptionally talented teacher, who created a school of followers of the idea of mastering the classical heritage in modern architecture. His main activities date back to the post-revolutionary era.
Main works before the revolution: the house of the Racing Society, Tarasov's mansion on Spiridonovka, Nosov's mansion on Vvedenskaya Square in Moscow.
(1821-1891)
Born in Kursk province. In 1842 he graduated from the Institute of the Corps of Railway Engineers. Conducted research and design of the Nikolaev railway. Author of many works on structural mechanics. He studied the theory and calculation of lattice structures.
Since 1877 - Director of the Railway Department of the Ministry of Railways, head of the technical inspection committee that oversaw engineering design: Participant in a number of international congresses. Laureate of the Demidov Prize. Acting State Councilor, a leading engineer, the founder of the national school of bridge construction, who influenced the introduction of new structures into architecture.
Main works: reconstruction of the spire of the Peter and Paul Cathedral in St. Petersburg (in metal structures); all bridges on the Nikolaevskaya railway, including the famous Verebiya bridge, the bridge across the Oka on the Moscow-Kursk railway; reconstruction of the Mariinsky system waterway.
(? - 1727)
Arrived in Moscow, apparently from Ukraine. There is no information about his studies and early work. He had a workshop that did wood carving. Since 1707 - superintendent of all Russian church painting. The first representative of the Baroque in Russia. Zarudny's workshop owns a number of iconostases in the forms of “southern baroque”, of which the most famous is the iconostasis of the Peter and Paul Cathedral in St. Petersburg.
In Moscow, only one work by Zarudny is reliable - the Church of the Archangel Gabriel on Chistye Prudy, the so-called “Menshnkov Tower”; he is credited with a number of works similar in style to the Menshikov Tower: the Church of Peter and Paul on Novobasmannaya Street, the Church of John the Warrior on Yakimanka, the chambers of clerk Averky Kirillov on Bersenevskaya Embankment.
Zakharov Andreyan Dmitrievich (1761-1811)
Born in St. Petersburg in the family of an officer. In 1767 he was assigned to study at the art school at the Academy of Arts. In 1776 he transferred to the architectural class. Apparently he studied with. In 1782 he graduated from the Academy with a large gold medal and was sent as a pensioner to Paris, where he studied with. Zakharov was greatly influenced by creativity. In 1786 he returned to St. Petersburg and taught at the Academy of Arts until the end of his life. Associate professor. He was the largest construction authority in Russia; most projects in the capitals and provinces went through his expertise. As the chief architect of the Admiralty Department, he created planning solutions for a number of districts of St. Petersburg. He went down in history as the creator of the Admiralty (third) - a wonderful monument of classicism architecture. Apart from the Admiralty and the House of the Civil Governor in Chernigov, Zakharov’s works have not survived. The main ones are: St. Andrew's Cathedral in Kronstadt; construction of Galernaya Harbor (not completed), Proviantsky Island and the territory of the naval hospital on the Vyborg side in St. Petersburg.
(1688-1743)
Born in Moscow. He studied at the Armory Chamber. In St. Petersburg since 1709; Studied Italian at the provincial office. Since 1710, by order of Peter I, he was appointed assistant and student of D. Trezzini. Since 1719, he supervised the development of Moscow in connection with the lifting of the ban on building stone structures. In 1720 he was transferred from students to Gezel. In 1720-1722 worked in Reval as an assistant to N. Michetti on the construction of Ekaterinenthal (Kadriorg). In 1723 he went on a business trip to Stockholm. From 1723 he worked in St. Petersburg on orders from the court. In 1724 he received the title of architect. After the execution of P. Eropkin in 1740, he was seconded to the “Commission on St. Petersburg Buildings” to edit and complete the treatise “The Position of the Architectural Expedition”, in which he apparently wrote the chapters: “On architecture and architects”, “What to do with buildings ", "About the positions of various artistic craftsmen working in buildings", "About the Academy of Architecture". From 1741 he served as court architect to Elizabeth Petrovna. The first Russian architect of St. Petersburg, who, along with Trezzini, embodied the main architectural plans of Peter I. He worked in St. Petersburg, Tsarskoye Selo and Moscow. In 1742 he received the rank of colonel. Had an architectural "team". Of Zemtsov's works, the St. Petersburg Church of St. Simeon and Anna has been preserved (partially rebuilt).
Ivanov- (1865-1937)
Born in Voronezh. He was educated at the Voronezh Real School. In 1883-1888. studied at the Institute of Civil Engineers in St. Petersburg. Graduated with a gold medal. Traveled through Germany, Austria and Switzerland. Upon his return, he was assigned to the technical construction committee of the Ministry of Internal Affairs. Since 1889 he lived and worked in Moscow, since 1890 - city architect of Moscow. Representative of modernity.
Main works: Moscow Merchant Club (now the Lenin Komsomol Theater), the building of the eye hospital named after. Botkin, 2nd city hospital on Kaluga highway, hospital named after. Helmholtz on Sadovaya, children's model hospital, building of the city orphanage.
(1738-1812)
Born in Moscow. Studied at architecture school. In 1763-1767 worked in Tver. He was an assistant in the design of the Grand Kremlin Palace.
For the first time in Russia he created designs for domes and large spans. Since 1792 he headed the architectural school during the expedition of the Kremlin building. Pupils: , F. Sokolov, etc. Drew up a project for organizing a construction vocational school (“School of Masonry and Carpentry”). He supervised the preparation of the general and facade plan of Moscow, in connection with which he and his assistants completed thirty graphic albums of particular and civil buildings, containing drawings of most Moscow houses of the late 18th century. One of the founders and greatest masters of classicism. The author of most of the buildings that define the appearance of classical Moscow.
Main works: Petrovsky (Putevoy) Palace, the Senate building in the Kremlin with the famous domed hall, the Church of Metropolitan Philip, the Golitsyn hospital, the university building, the house of the Noble Assembly, the houses of Rubin, Baryshnikov, Demidov in Moscow, the church and mausoleum in the NikolskoPogoreloye estate in the Smolensk province .
Cameron Charles (1743-1812)
A Scot in Russian service. Born into a wealthy family of a master builder. He studied with his father and independently. From 1767 he lived in Rome, where he studied and measured ancient monuments. Returning to England, he worked on the book “The Baths of the Romans,” published in London in 1772. In 1779 he came to Russia. He was the architect of Tsarskoe Selo and Pavlovsk. Since 1796 he has been retired. Worked for gr. in Baturin. Since 1802 - chief architect of the Admiralty Colleges. Retired since 1805. Cameron was listed as a free artist and had no ranks, although he received a pension from the court. In addition to the above-mentioned Baths of the Romans, he released several albums of engravings. Cameron's attempts to become an academician of the Academy of Arts, thanks to Felten's intrigues, were unsuccessful.
A brightly individual representative of classicism, the finest master of interiors and one of the most brilliant draftsmen in the history of Russian architecture.
Main works: Cold Baths, Agate Rooms, Cameron Gallery, state apartments and private rooms of Catherine II in the Grand Palace in Tsarskoe Selo; palace gr. in Baturin (destroyed); palace and park in Pavlovsk.
Quarenghi (Gwarenghi) Giacomo (1744-1817)
Born in Italy near Bergamo into an old noble family. He studied painting in Bergamo with G. Reggi, a student of Tiepolo. Traveling around Italy. In Rome, he first studied painting with, and then architecture with St. Poudv et al. Was influenced by A. Palladio. Imm noble friends and patrons. He worked a lot in Italy and England. In 1799 he was invited by Catherine II to St. Petersburg. Began working as a court architect, first in
Peterhof, then in the capital. One of the most famous architects of the 18th century. A brilliant draftsman. He left sketches of the main monuments of St. Petersburg. Worked under three emperors. He built a lot in Moscow and the provinces. Since 1805 he was a free member of the Academy of Arts. In 1788-1800 - architect of the chapter of the Order of St. John of Jerusalem (Maltese). In 1810 he visited his homeland, where he was greeted with triumph.
In 1814 he received hereditary Russian nobility and the Order of St. Vladimir 1st degree. He was associated with many representatives of Russian culture.
Died in St. Petersburg. In 1967, his ashes were transferred from the Volkonsky cemetery to the necropolis of the Alexander Nevsky Lavra, and opposite the building of the former Assignation Bank on Sadovaya Street. bust installed.
A brilliant master of the era of classicism. One of the creators of the appearance of the capital. Most of Quarenghi's works survive. Provided big influence on contemporary Russian architecture.
Main works in Russia: the English Palace in Peterhof (destroyed during the Great Patriotic War), the Mariinsky Hospital in Pavlovsk, the Academy of Sciences on the University Embankment, the Hermitage Theater, the Raphael Loggias in the Hermitage, the reconstruction of the state halls of the Winter Palace (rebuilt by Stasov after the fire), the Collegium Building Foreign Affairs on the English Embankment, Assignation Bank on Sadovaya Street, Silver Rows on Nevsky Prospect, Palace gr. Bezborodko on Pochtamtskaya street. (rebuilt), restructuring of the dacha gr. Bezborodko on Polyustrovskaya embankment, Saltykov's house on the Field of Mars, Fitingof's house on Admiralteysky Prospekt, Yusupov's house on Sadovaya Street, Maltese Chapel at the Page Corps on Sadovaya Street, the Main Pharmacy building on Millionnaya Street, Mariinsky Hospital for the Poor on Liteiny Ave., Catherine Institute on Fontanka, the building of “His Majesty’s Cabinet” on Nevsky Prospect, Smolny Institute, Horse Guards Manege, Narva Triumphal Gate (rebuilt by Stasov), English Church on Angliyskaya Embankment, Alexander Palace and Concert hall in Tsarskoe Selo, Zavadovsky estate in Lyalichi.
He left a huge graphic heritage (about 1,500 sheets located in the repositories of the CIS and Europe).
(1720- after 1770)
In 1734 he was accepted as an “architectural student” in the Moscow “Office of Buildings”. He worked as an assistant first in Moscow during the design of coronation festivities during the coronation of Elizabeth Petrovna and in the Annenhof and Lefortovo palaces, and from 1743 with the rank of “architectural apprentice” in St. Petersburg for the expansion of the Tsarskoye Selo Palace. After Zemtsov’s death he worked independently in Tsarskoe Selo. At the same time, Kvasov began working for Hetman K. G. Razumovsky in Ukraine: in Kozelets, Glukhov and Baturin. Kvasov’s main activity as an architect is connected with Ukraine. Since 1770, Kvasov held the position of “Little Russian architect.”
Of the numerous buildings of Kvasov in Ukraine, the cathedral in Kozelets, partially rebuilt by Rastrelli, and, presumably, the ground floor of the hetman’s palace in Baturyn, built mainly by G. Quarenghi (destroyed in the 20th century), have survived.
(1863- after 1907)
Born in Vilna. Graduated from the Vilna Real School. In 1883-1888. studied at the Institute of Civil Engineers. He is assigned to the technical construction committee of the Ministry of Internal Affairs. He worked in St. Petersburg, mainly on the construction of industrial buildings. From 1890 - in Moscow, retired and until the end of his life he was engaged in private practice. The largest representative of Moscow Art Nouveau. He built a lot, designed interiors, and made drawings of applied products for Moscow art factories.
Main works in Moscow: Nosov's mansion on Prechistenka, Isaev's on Pyatnitskaya Street, Isakov's house on Prechistenka (the most famous work), Mindovsky's house on Povarskaya Street, Khludov's gravestone chapel in the Pokrovsky Monastery, the Prague restaurant on Arbatskaya Square, Nikolskie shopping malls, the Metropol Hotel, stations of the Belarusian Railway near Moscow.
Kitner Hieronymus Sevastyanovich (1839-1929)
Born in St. Petersburg in the family of a “lamp maker”. In 1857 he graduated from the Construction School with the title of architectural assistant. From 1867 he was an academician of architecture, from 1868 he taught at the Construction School, and from 1876 he was an extraordinary professor and member of the council. In 1886-1894 - inspector, from 1888 - ordinary, and from 1906 - emeritus professor of the Institute of Civil Engineers. In addition, from 1895 to 1902 he was a professor of architecture at the Institute of Railway Engineers, and from 1911 he was an honorary member of the Academy of Arts. One of the founders of the St. Petersburg Society of Architects, in 1887-1905 - fellow chairman, in 1905-1917 - chairman of the society. He edited the magazine "Zodchiy". Comrade of the Chairman of the Standing Committee of the All-Russian Congresses of Architects. Inspector and then trustee of the first school of construction foremen in Russia. He was involved in public activities - he was a member of the City Duma and a member of a number of committees. Died in exile.
Main works: the building of the Agricultural Museum in Solyanoy Gorodok, the building of the Institute of Civil Engineers in the 2nd company of the Izmailovsky Regiment, market pavilions on Sennaya Square (destroyed), the building of the Lutheran parish school on Bolshoy Prospect of Vasilievsky Island, the Siegel mansion and factory on Yamskaya Street, Palm greenhouse in Botanical Garden Academy of Sciences, laboratory building of the Institute of Railway Engineers, in addition, the Moscow Engineering School, a complex of buildings of the Kyiv Polytechnic Institute.
(1858-1924)
Born in Moscow into the family of a businessman close to art circles. He graduated from the Moscow School of Painting, Sculpture and Architecture, then from the Academy of Arts in St. Petersburg. From 1882, he underwent an internship, first in Italy in Ravenna, then in Paris with C. Garnier. Upon returning to Moscow, he worked for an academician on the construction site Historical Museum on the Red Square. Working independently, he built more than 60 structures in Moscow. He was a professor at the Riga Polytechnic School and Higher Technical School. Among the students -,. Author of many books, including A Guide to Architecture.
One of the most prominent architects of pre-revolutionary Russia. He had enormous culture and erudition. His buildings were famous for their high technical performance.
Main works: Middle shopping arcades, Trekhgorny Brewery, Perlov's apartment building on Myasnitskaya, a complex of hospital buildings on Devichye Pole, the Muir and Murilis department store (TSUM), the Museum of Fine Arts (Museum of Fine Arts), Borodinsky Bridge (jointly with engineer), the Colosseum cinema on Chistye Prudy, the tomb of Prince. Yusupov in Arkhangelsk.
(1860-1942)
Born in Tsarskoe Selo. He graduated from the Institute of Civil Engineers in 1887 and was invited to serve in the Office of Southern Railways in Kyiv. He taught at the Kiev Polytechnic Institute. Since 1912 - professor.
A major architect, he worked in the spirit of eclecticism and neoclassicism.
The main works before the revolution: stations in Kozin, Bendery, Korosten, etc., a number of buildings of the Kyiv Agricultural Exhibition, in Kyiv - the State Bank, the Commercial Institute, buildings of higher courses for women and the Russian Technical Society. He built a lot after the revolution.
(1726-1772)
Born in Tobolsk in the family of an official. A famous architect exiled to Tobolsk took him as a student. After a short exile, Blank returned to Moscow with Kokorinov. In Moscow, Kokorinov was on Blank’s “team”, then transferred to Blank, who came to Moscow from St. Petersburg, and after the latter’s death, to K. In 1749, with the rank of Gezel, he was transferred to Blank, and began teaching at his architectural school. He was involved in the restoration of the walls and gates of the Kremlin and Kitaigorod. In 1753 he was summoned to St. Petersburg to travel abroad. The trip did not take place, but in St. Petersburg Kokorinov became close to gr. and took part in the creation of the Academy of Arts. He wrote the Academy's charter and designed its creation. From 1761 he was director, and from 1768 he was rector of the Academy.
The founder of classicism in Russia. Outstanding teacher. Among the students -.
Main works: the building of the Academy of Arts, the completion of which he did not live to see; Razumovsky Palace on the Moika (both projects jointly with WallenDelamot). Most of Kokorinov's works have not survived.
Corinthian (Varentsov) Mikhail Petrovich (1758-1851)
Born in Arzamas. He studied at the Arzamas school of painting. In 1810-1817 studied in St. Petersburg at the Academy of Arts. In 1812-1823 he worked in Arzamas, in 1823-1832 - in Simbirsk and from 1832 until the end of his life - in Kazan. He was involved in teaching a lot. Founded an architectural school in Arzamas. He taught architecture at Kazan University. Died in Kazan.
One of the largest representatives of classicism in the province.
Main works: buildings of the Kazan University complex (library, anatomical theater, observatory), the building of the Noble Assembly in Simbirsk, the Resurrection Cathedral in Arzamas, the Lutheran Church in Nizhny Novgorod, the church in the village of Pavlov, Nizhny Novgorod province, the cathedral in Simbirsk (not preserved).
(1700 or 1701-1747)
Born in Moscow. Sent by Peter I to Holland. Studied with Scheinfurt. In 1727-1741 - architect of the Admiralty Department. Built the second stone building of the Admiralty. He was also involved in ship finishing. From 1741 he worked in Moscow. Had an architectural “team” there. Among the students: S. Chevakinsky, A. Kokorinov, D. Ukhtomsky and others.
Of Korobov’s works, only the Church of St. Panteleimon in St. Petersburg, which was part of the Particular Shipyard on Fontanka, has survived. The Theological Church with a bell tower in Kronstadt stood until the 30s of the 20th century.
(1817-1887)
Born in St. Petersburg. In 1826-1839 studied at the Academy of Arts. In 1839-1842. worked with Ton in Moscow. In 1842-1846. was on a retirement trip to Italy with Benoit and Rezanov. Participated in the measurements of the cathedral in Orvietto. Since 1850 - academician, since 1853 - professor at the Academy of Arts. He served in the Department of Railways, architect of the Chapter of Russian Orders, and chief architect of the imperial theaters.
One of the most talented representatives of eclecticism. He built in the so-called “European” styles.
Main works: Baltic station, Stieglitz mansion on the embankment. Neva, Mariinsky market on Sadovaya street. (not preserved), house of the Mutual Land Loan Society on Admiralteyskaya embankment. (together with), hospital of the community of sisters of mercy on Sergievskaya street, church in Narva. Many works have not survived.
(1877-1944)
Born in Moscow in the family of a doctor. He graduated from the Riga Polytechnic Institute in 1906 with the title of engineer-architect. Awarded a trip abroad (1906-1907). From 1908 he was a city architect in Balti (Bessarabia), from 1912 he lived and worked in Yekaterinoslav as a landscaping engineer, and at the same time conducted a private practice. After the revolution, he held responsible positions related to design and construction, and taught at the Dnepropetrovsk Institute of Transport Engineers. A master of high professional culture, he adhered to the neoclassical direction.
The main buildings in Yekaterinoslav: a number of apartment buildings, a boarding house for the children of officers who died in the World War, an anatomical building of the medical institute.
Krasovsky Apollinary Kaetanovich (1816-1875)
A major architectural theorist who influenced the formation of the professional thinking of several generations of architects in the mid and second half of the 19th century. According to contemporaries, “he laid a solid foundation for the teaching of civil architecture as a science in our technical higher educational institutions.” He taught at the St. Petersburg Construction School for 37 years, preparing its transformation into the Institute of Civil Engineers (1881). He taught a course in architecture at the Institute of the Corps of Railway Engineers, at St. Petersburg University, and a course in construction art at the Mining Institute. Honorary free associate of the Academy of Arts.
Leblond Jean-Baptiste-Alexandre (1679-1719)
Famous French architect and theorist. Lenotra. Author (together with Duvillier) of a course on architecture. Invited to Russia by Lefort and Zotov after the death of A. Schluter. He met Peter I in France and managed to interest him in his projects. In St. Petersburg since 1716 Appointed “architect general” with the subordination of all architects and engineers working in St. Petersburg. Author of the first master plan of St. Petersburg. The implementation of the plan turned out to be unrealistic, but many of Leblon’s demographic and urban planning ideas later formed the basis for the planning and development of the city. He also worked in Strelya and Peterhof. Author of the first Peterhof Palace, rebuilt by Rastrelli, and the basic layout of the cascade.
No reliable buildings of Leblon have survived. Some researchers attribute to him the Marly pavilions, the Hermitage and, less likely, Monplaisir in Peterhof Park.
(1870-1945)
Born in St. Petersburg in the family of a tailor, a Swedish citizen. He graduated from school at St. Catherine's Church. He studied at the Stieglitz School for two years. In 1890-1896. studied at the Academy of Arts. He mainly built in St. Petersburg for private orders. He had his own design bureau. Participated in many competitions. In 1910-1917 taught at the Faculty of Architecture of the Women's Polytechnic Institute. Since 1909, honorary academician of architecture. In 1914-1916 participated in the publication of the Architectural and Artistic Yearbook. In 1918 he left for Sweden, where he worked a lot and fruitfully.
The most talented representative of Art Nouveau, one of the best Russian architects. The so-called “northern modernity”, developed by Lidval, contributed to Russia’s entry into late XIX- early 20th century to the world architectural arena. Lidval's numerous works are distinguished by high artistic merit, excellent taste and brilliant functional and technical solutions.
Main works: the Alexandrov Hotel in Apraksin Lane, its own apartment building with a workshop on Kamennoostrovsky Avenue; residential buildings of Zimmerman on Kamennoostrovsky Ave., the Swedish Church on M. Konyushennaya St., Meltser on B. Konyushennaya St., Libikha on Mokhovaya St., Tolstoy on the embankment. Fontanka, Nobel on Nyostadtskaya Street, AzovskoDonskaya Bank on Bolshaya Morskaya Street, Astoria Hotel on St. Isaac's Square, houses on Goloday Island (“New Petersburg”); Russian bank in Kyiv.
(1868-1933)
Engineer, the largest Russian specialist in reinforced concrete structures. Developed a theory of calculation for destructive loads. He studied at Moscow University (graduated in 1891). He worked in Moscow at the construction company "Yulia Gun". He taught construction mechanics at the Moscow School of Painting, Sculpture and Architecture. After the revolution - professor at the Higher Technical School.
The main buildings before the revolution: the vaults of the Museum of Fine Arts in Moscow, a number of industrial structures (beamless roofs), a reinforced concrete passage at the Nizhny Novgorod exhibition.
(1751-1803)
Born into a poor noble family. He had no special education. In 1768 he entered the Izmailovsky Life Guards Regiment in St. Petersburg, where he graduated from the officer school. Transferred to service in the Collegium of Foreign Affairs. He traveled abroad a lot (for the first time in 1776-1777). Being a diplomat and writer, he was involved in architecture sporadically, although fruitfully. He was an inventor in the field of heating and building materials. Invented earth construction. Honorary member of the Academy of Arts, member of the Russian Academy. He was associated with most cultural and political figures of his time (chancellor Bezborodko, gr., etc.). Translated the works of Palladio. Wrote the first Russian book on heating. Among the students -. Outstanding figure XVIII culture V. Architect, engineer, writer, translator, musician, folklorist, social activist and statesman.
Architectural activity of Lvov in the 19th century. was almost completely unknown. Only at the beginning of the 20th century. His main works were attributed, of which the following were preserved: the Neva Gate of the Peter and Paul Fortress, the building of the post office (Post Office) in St. Petersburg, the Priory Palace in Gatchina, the Boris and Gleb Cathedral in Torzhok, the Church of St. Catherine in Valdai, etc.
Stanislavovich (1876-1944)
Born in Volkovysk (Belarus). Since 1895 he studied in St. Petersburg at the Academy of Arts. In 1902-1903 I traveled as a pensioner to Germany and Italy. Worked in St. Petersburg, Moscow, Gungerburg (Ust-Narva). Since 1912 - academician of architecture. In 1917-1918 - Chairman of the Petrograd Society of Architects. He built apartment buildings, commercial and industrial buildings, and bridges. Worked a lot with. In 1918 he left for Warsaw, where he worked fruitfully until the Second World War.
Killed during the Warsaw Uprising.
A talented but somewhat monotonous architect, Lyalevich built mainly in the “neo-Renaissance” style, modernized to meet the needs of the 20th century.
Main works: in St. Petersburg, the Mertens trading house on Nevsky Prospect, the mansion and apartment building of Pokatilova in Karpovsky Lane, the Mertens mansion on Kamenny Island, the Sytny Market, a number of apartment buildings; house of the Triangle partnership in Moscow.
(1784-1854)
Born in Oranienbaum in the family of a caretaker of the palace church. From 1795 he studied with. In 1807 he graduated from the Academy of Arts with a gold medal. In 1808-1811. was a pensioner in Italy with. After returning, he taught at the Academy of Arts from 1813, headed the “promising” class, and from 1818 he was a professor. He built a lot for private orders and in the provinces. He participated in a number of competitions, including for the construction of the Cathedral of Christ the Savior and the Bolshoi Theater in Moscow. From 1831 he was rector of the Academy of Arts.
A consistent representative of classicism, whose decline occurred at the end of his life. A prolific but unoriginal architect.
Main works: Demidov School in Yaroslavl, St. Nicholas Edinoverie Church in St. Petersburg, gymnasium in Ufa, Assumption Church in Nizhny Novgorod, Gostiny and Mytny Dvors in Rostov the Great. Best work Melnikov - a complex of buildings on Primorsky Boulevard in Odessa with a monument to Richelieu.
(1842-1906)
Born in St. Petersburg in the family of a carriage maker. He graduated from the Lutheran School at St. Peter's Church. In 1858 he entered the drawing school of the Society for the Encouragement of Arts, and in 1860 he entered the Academy of Arts in the architecture class. Studied with and in a mosaic class. On the recommendation of Eppinger, he became an assistant to and took part in his work on restructuring the interiors of the Academy of Arts. In 1867 he graduated from the Academy with a large gold medal and was sent as a pensioner to Italy. In 1871 he returned and presented to the Academy a project for the restoration of the theater in Taormina, for which he received the title of academician. Worked as an architect at the Main Engineering Directorate; from 1874 he taught at the Central School of Technical Drawing of Baron Stieglitz (from 1877 to 1897 - director).
In 1885 he went to Dresden to get acquainted with museum construction. He built the school museum building. He carried out orders from the court and had the rank of actual state councilor. In 1886, due to a conflict with the management of the school, he resigned. In 1897 he left for Dresden, where he lived and worked until the end of his life.
Messmacher's activities occurred during the decline of eclecticism. His works, notable for their splendor, which is not typical for the development of St. Petersburg, are executed with great skill and imagination, but are tedious due to the accumulation of details and a mixture of styles. Their advantages include a clear functional solution and high quality execution, making them seem transitional to modernity. Messmacher's main merit is the establishment of artistic and industrial education in Russia, the education of several generations of masters of applied art.
Main works: the church of Cosmas and Damian (not preserved), the palace led. book Alexei Alexandrovich on the Moika, the palace led. book Mikhail Mikhailovich on Admiralteyskaya embankment, State Council Archive on Millionnaya Street, building of the museum of the Central School of Technical Drawing of Baron Stieglitz.
Michetti Niccolo (1675-1759)
Italian architect, representative of the Baroque era. . He worked in Rome, where he was a papal architect. In 1718, he was invited by P. Kologrivov to Russia and appointed “royal architect” instead of the deceased Leblon. He completed the construction of Leblon in Peterhof. He worked in Reval (Tallinn) and in Strelna near St. Petersburg. He had some influence on, who was his student and assistant. In 1723 he left Russia.
Main works: completion of the Monplaisir, Marly, Hermitage pavilions and a number of fountains in Peterhof; the Ekaterinenthal Palace (Kadriorg) in Reval (finished), the palace in Strelna (rebuilt by L. Ruska), the project of a lighthouse over the Kronstadt Canal (not implemented).
(1700-1763)
From the small landed nobility of the Kostroma province. In 1718 he was sent to St. Petersburg to the Academy of Navigational Sciences. Upon completion - assistant and student of N. Michetti on the construction of the palace in Strelna. In 1723 he was sent to Holland, studied in Antwerp with I. Baumstedt, worked in St. Petersburg and the surrounding area, and from 1731 in Moscow. After the death of I. Mordvinov in 1734, he supervised the drawing up of a city plan. In 1754 he built St. Andrew's Church in Kyiv according to the project.
The main original buildings of Michurin have not survived (Trinity Church on Arbat Square, the church and bell tower of the Chrysostom Monastery, the Cloth Yard). Of the surviving buildings, only the Cathedral of the Svensky Monastery (Bryansk region) is known.
Montferrand Auguste Ricard (1786-1858)
Born in France. Studied with S. Percier and. I was in Italy. Served in the army. He worked in St. Petersburg in the Committee for Buildings and Hydraulic Works as a draftsman. Soon he presented Alexander I with an album of projects for St. Isaac's Cathedral (a compilation of various styles - Chinese, Indian, Byzantine, Gothic, Greek, etc.). He was appointed court architect, and in 1818 - builder of St. Isaac's Cathedral. Construction continued until Montferrand's death. In 1826, he joined the commission to review projects for the Cathedral of Christ the Savior in Moscow. Since 1831 he was a free member of the Academy of Arts. Montferrand performed one of the most difficult construction works of the 19th century - the raising of the columns of St. Isaac's Cathedral and the Alexander Column, in which he proved himself to be an excellent engineer and organizer. There is no reason to consider Montferrand an “architectural official,” although there are undoubtedly opportunistic elements in his work.
All of Montferrand's buildings in St. Petersburg have been preserved: St. Isaac's Cathedral (second), the house of Prince Lobanov-Rostovsky on Admiralteysky Prospect, his own house on the Moika, the Demidov (Gagarin) mansion on Bolshaya Morskaya, the Alexander Column on Palace Square, the interiors of the Winter Palace, the monument Nicholas I on St. Isaac's Square (sculptor P. Klodt).
(1868-1953)
A major master of the early 20th century, who worked in the spirit of Art Nouveau and Neoclassicism. He received his education at the Academy of Arts.
Main works: in Kazan and Saratov - university complex (buildings of medical and physics faculties), own house.
Nestrukh (Neshturkha) Fedor Pavlovich (1857-1936)
Born in the village. Fomina Balka near Odessa in the family of a printing worker. He worked in Odessa design workshops as a draftsman. In 1887 he graduated from the Academy of Arts with the title of class artist of the 1st degree. Based on a competition, he was hired for the position of chief city architect of Pskov; During the same years, he taught the basics of architecture at the local land surveying school. Since 1900 he lived and worked in Odessa. In 1902-1922 - chief architect of Odessa. After 1925, he conducted teaching work at the Odessa Art School. Died in Odessa.
Prominent architect and teacher; a typical representative of the neoclassical movement in architecture.
Main buildings: in Pskov - Commercial Bank, diocesan girls' school with a church; in Odessa - an ambulance building, a city public library, a hospital for nervous patients on Slobodka, an evangelical hospital, Fruit Passage; a number of medical and resort buildings on the estuaries.
(1847-1911)
Born in Tsarskoe Selo. In 1870 he graduated from the Academy of Arts. In 1891 he received the title of class artist, in 1892 - academician of architecture. Since 1870 he has worked in the Kyiv city government. He was a city architect (1873-1887), diocesan (1875-1898), architect of the Kiev Pechersk Lavra (1892-1899), one of the organizers and director of the Kyiv Art School. He was elected chairman of the architectural department of the Kyiv branch of the Russian Technical Society and the Kyiv Literary and Artistic Society, and a delegate to congresses of Russian architects. Died in Kyiv.
An outstanding architect who worked in Kyiv; a typical representative of eclecticism.
Main works: the Bergonier Theater-Circus, the building of the Merchant Assembly, the Ascension, Kiev-Blagoveshchenskaya, Alexander Nevskaya churches (the last two have not survived); Intercession Church, St. Nicholas Cathedral and residential buildings of the Kiev Intercession Monastery, the refectory of the Kiev Pechersk Lavra, a number of apartment buildings and mansions; restoration work in the St. Sophia and Assumption Cathedrals, St. Andrew's Church.
(1883-1958)
Born in St. Petersburg into a family close to art. In 1901 he entered the Institute of Civil Engineers (graduated in 1910). In 1905-1906 worked in Helsingfors in the workshop of A. Lindgren and E. Saarinen, from 1906 - in St. Petersburg as an assistant; also led independent design. Traveled around Russia.
Great artist. Talented architect and teacher. His main activity belongs to the Soviet era, but he developed as a creative personality with a bright individuality before the revolution, when he worked in the spirit of “northern modernism” and then retrospectivism.
The main works before 1917 were the dacha of Leonid Andreev near Rayavol, an apartment building on Aptekarsky Island in St. Petersburg, and several mansions.
(1872-1916)
Born on the Usichi estate in the Volyn province. In 1896, after military service, he entered the Institute of Civil Engineers, and in 1901, the Academy of Arts, where he studied with. In 1906 he received the title of architect-artist. Traveled as a pensioner to Italy, France, Germany, Belgium, Holland and Austria. Upon his return, he built a lot, mainly on orders from large companies.
Talented architect. He worked in the spirit of rational modernism, but his most famous buildings - in the "neo-Renaissance" style - are distinguished by excellent detailing, functional perfection, skillful combination with the surrounding buildings, but at the same time they are exaggeratedly monumental.
The main works in St. Petersburg are the Russian Commercial and Industrial Bank on Bolshaya Morskaya Street, the Wavelberg banking house on Nevsky Prospect, the house of City Institutions on Kronverksky Prospect, the Temple-monument to Russian sailors who died in the war with Japan on New Admiralty Canal (not preserved), the building of the Ministry of Trade and Industry on Tuchkova Embankment, the project for the transformation of St. Petersburg (from and); house of the Northern Insurance Company in Moscow (with and)
(1848-1918)
Born in Moscow. He studied at the school of painting, sculpture and architecture. In 1874 he moved to the Academy of Arts in St. Petersburg, with which he was associated until the end of his days. From 1879 to 1886 he was awarded a gold medal in practice in Italy. For the measurement drawings of the Palatine Chapel in Palermo he was awarded the title of academician. Since 1887 - associate professor at the Academy of Arts, since 1892 - professor. After the reorganization of the Academy of Arts - head of the workshop. Rector of the Higher Art School at the Academy of Arts. He was also the architect of the school council under the Synod and a member of the technical and construction committee under the Ministry of Internal Affairs.
A major architect and teacher. A typical representative of the eclecticism era, he worked in the “Russian style”.
Main works: the cathedral in Sofia in Bulgaria, the cathedral in Cetinje in Montenegro, the Synodal House in St. Petersburg, the main buildings of the All-Russian Art and Industrial Exhibition of 1896 in Nizhny Novgorod, the Duma building and the city trading house in Rostov-on-Don, Verkhniye shopping arcades in Moscow on Red Square (GUM).
Rastrelli Bartolomeo Francesco (Bartholomew Varfolomeevich), Count (1700-1771)
Italian by origin. Born in Paris. The son of an architect and sculptor. He studied with his father. In 1716 he came to St. Petersburg with his father, who had concluded an agreement with Peter I, and was his assistant. In 1722 he began to work independently as an architect. Performed private orders. In the period from 1722 to 1730, he traveled to Italy and France twice to improve his skills in architecture (once for 5 years). He built in St. Petersburg, Moscow for Anna Ioannovna and in Courland for Biron. With the accession of Elizabeth Petrovna in 1741, he became her favorite court architect.
In addition to St. Petersburg, he worked in Peterhof, Tsarskoe Selo and in the provinces.
Major General, Knight of the Order of St. Anne, Academician of Architecture (1770). He had a number of students and followers. With the accession of Catherine II in 1762, Rastrelli temporarily retired, and in 1763 he was finally dismissed and left for Switzerland. Rastrelli's work has been studied quite fully. Most of his works have survived.
The most talented master of the mid-18th century, the creator of a vibrant architectural style, sometimes called “Elizabethan Baroque”. Together with Quarenghi and Rossi, he is rightfully considered the greatest Russian architect.
Main works: in St. Petersburg - Smolny Monastery (not finished), palace (partially rebuilt), palace (interiors redone), Travel Palace on Srednyaya Rogatka (destroyed in the 40s of the XX century), Summer Palace of Elizabeth Petrovna (located on the site Engineering Castle), Bolshoi Peterhof Palace, Grand Palace and park pavilions in Tsarskoe Selo, Winter Palace (interiors rebuilt after a fire); in Moscow - Winter Annenhof in the Kremlin (does not exist), Summer Annenhof in Lefortovo (does not exist); in Kyiv - St. Andrew's Church; in Courland - Biron's palaces in Rundale and Mitau.
(1817-1887)
Born in St. Petersburg. In 1827 he entered the Academy of Arts. A student, later his closest assistant, who completed his unfinished works. After graduating from the Academy (1838), he worked in Moscow. In 1842-1846. together with and was on a retirement trip to Italy. Upon his return in 1850, he received the title of academician for the publication of measurement drawings of the cathedral in Orvieto. From 1852 - professor, from 1871 - rector of the Academy of Arts. From 1870 until the end of his life - Chairman of the St. Petersburg Society of Architects. He worked mainly on orders from the court.
One of the leading masters of the eclectic era, a major teacher and public figure. He built mainly in the Neo-Renaissance style. An excellent draftsman and connoisseur of styles.
Main works: buildings in Ropsha, the palace was built. book Vladimir Alexandrovich on Palace Embankment in St. Petersburg (Rezanov’s most famous work); participation in the design and construction of the Grand Kremlin Palace and the Cathedral of Christ the Savior in Moscow; Metropolitan Cathedral and Church of St. Nicholas the Wonderworker in Vilna; palace in Livadia, palace in Ilyinsky near Moscow; a number of mansions and apartment buildings in St. Petersburg, Moscow, Tver.
(1869-1932)
From a family of hereditary civil engineers. After graduating from the cadet corps and military school, he served in a sapper battalion. In 1896 he graduated from the Military Engineering Academy in St. Petersburg. From 1897 to 1912 - assistant on the construction of the Museum of Fine Arts and other buildings. Since 1900 he worked independently.
A major architect and engineer who worked extensively and fruitfully in Moscow before and after the revolution. An experienced professional, a rationalist in spirit and style.
Main works before the revolution: a building of cheap apartments for families on 2nd Meshchanskaya Street, building
Northern Insurance Company on Ilyinka (with and), women's gymnasium in B. Kazenny lane, Bryansky (Kyiv) station (with and).
Rinaldi Antonio (1710-1794)
An Italian in Russian service. Student and collaborator L. Vanvitelli. Visited England. In 1752 he was invited by the hetman count to Ukraine. He worked in Kyiv and Baturino, then in Moscow. From 1754 he was the architect of the so-called “small courtyard” (the courtyard of the heir Pavel Petrovich). From 1762 - court architect of Catherine II. I worked in St. Petersburg in Oranienbaum. In 1784 he returned to Italy and lived in Rome until the end of his life.
A master of exquisite taste, whose work is on the verge of baroque and classicism.
Main works: Vorontsov’s dacha “Novo-Znamenka” near St. Petersburg; park and palace buildings in Oranienbaum, including the famous Chinese Palace and Rolling Hill; Church of the Resurrection of Christ in Pecher; Catherine's Cathedral in Yamburg; Gatchina Palace, the building of the Tuchkov Buyan (hemp warehouses), the Prince Vladimir Cathedral, the Marble Palace, St. Isaac's Cathedral (on the site of the existing one), the Myatlev house in St. Petersburg.
Rossi Carlo (Karl Ivanovich) (1755-1849)
Born in St. Petersburg into an acting family. He studied with V. Brenna and traveled abroad with him. He began working under the leadership of Brenna in Pavlovsk. In 1806-1814. worked in Moscow, trying his hand at the “Gothic” version of the Russian style; taught at the Kremlin architectural school. At the same time, he designed residential buildings, shopping arcades, public places, churches, hospitals, etc. for Tver and the cities of Tver, Yaroslavl and Novgorod provinces. Chief Architect of Tver. Since 1814 in St. Petersburg, since 1816 he has been one of the four main architects of the Committee of Buildings and Hydraulic Works, led by A. Betancourt (together with V. Stasov, A. Mikhailov 2m and A. Moduit).
He carried out a comprehensive reconstruction of the capital's center, creating the largest ensembles of Palace, Senate, Mikhailovskaya Squares and the Alexandria Theater. Principled and independent, Rossi did not have high ranks (he received the rank of collegiate adviser in Tver), and did not become an academician. True, in 1822 he was elected an honorary free fellow (that is, an honorary academician) of the Academy of Arts. In 1828 he was awarded the title of professor at the Florence Academy. After a conflict with P. Bazin, Rossi was reprimanded for “disobedience to the instructions of his superiors” and resigned (1832), but continued to design and build until the end of his life. He died in St. Petersburg in great need, burdened with a huge family. In 1940, Rossi's ashes were transferred from the Volkovsky cemetery to the necropolis of the Alexander Nevsky Lavra. The former Teatralnaya Street is named after him. Rossi's creations, a bit dry and with a rather monotonous façade decoration, are nevertheless striking in their scope in solving urban planning problems.
The great Russian city planner and architect, to whom Petersburg owes its glory to a large extent during the Classical era.
Main works: in Moscow - the theater on Arbat Square and the Catherine Church in the Kremlin (not preserved), the crowning of the Nikolskaya Tower of the Kremlin (restored after the fire of 1812 by O. Bonet); shopping arcades in Tver, Bezhetsk and Rybinsk, the cathedral in Torzhok; in St. Petersburg - the ensemble of the Elagin Palace (palace, services, park and park pavilions), the ensemble of the Mikhailovsky Palace and Mikhailovskaya Square, reconstruction of the territory of the Mikhailovsky (Engineering) Castle (punching Sadovaya Street, construction of several bridges across the Moika and Fontanka, creation of Manezhnaya Square ), the ensemble of the Alexandria Theater (theater, Public Library, pavilions of the Anichkov Palace, Teatralnaya Street and Chernysheva Square), the ensemble of Palace Square (General Staff), the ensemble of Senate Square (Senate and Synod).
Ruska Aloyzny Ivanovich (Luigi) (1758-1822)
The Italian is originally from Switzerland. In 1767, he came to Russia with his father, stone craftsman Geronimo Giovanni Rusca, who was invited to build St. Isaac's Cathedral and the monument to Peter the Great. Apparently he studied with his father. He officially entered the service in 1783. He was engaged in state and palace buildings, in addition, he built a lot for private orders. In addition to St. Petersburg, he worked in Oranienbaum, Peterhof, Tsarskoye Selo, Ropsha; together with Stasov and Geste, he was involved in the development of “model” facades for provincial cities. In 1818 he resigned from service and left Russia. Died in Italy in Valenza.
One of the most prolific masters of late classicism. His legacy is almost endless.
The main works in St. Petersburg: the Bobrinsky Palace on Galernaya Street, the barracks of the Cavalier Guard, Izmailovsky, Grenadier, Astrakhan regiments, the arena of the Cavalier Guard Regiment, the house of the Jesuit Order on the Catherine Canal, the portico of the Perinnaya Line, the house with four pediments on the corner of Sadovaya and Italianskaya streets.
(1874-1942)
Born in Tiflis in the family of a teacher. In 1902 he graduated with honors from the Academy of Arts in the workshop. He worked at the Railway Administration in Kyiv, taught at the Kiev Polytechnic School, at the Kiev Art School, and in 1917 he became one of the organizers and rector of the Kyiv Architectural Institute.
A major architect who worked in Kyiv, a representative of late eclecticism. Teacher.
Main works in Kyiv: the building of the People's Auditorium, the Shantser illusion on Khreshchatyk, the hospital of the Society of Sisters of Charity for several apartment buildings. He built a lot after the revolution.
(1797-1875)
From a family of serf princes. . He was sent to the Perm gymnasium and in 1815 - a “free pensioner” to the Academy of Arts. In 1818 he was dismissed from the Academy as a serf. He worked on the construction of the Peterhof paper mill. In 1820 he received his freedom. In 1821, having received the title of architect-artist, he was appointed to the position of architect of the Perm (Ural) mining department. From 1832 he lived in St. Petersburg, taught at various educational institutions and was involved in social activities. In 1839 he moved to Moscow, where he lived until his death. He had the rank of Privy Councilor. Dealt with heating and ventilation issues. The founder of Russian rationalist architectural theory. Author of the "Manual to Architecture" - one of the first professional textbooks, and numerous works on plumbing.
The main work is related to industrial construction in the Urals and development in Perm. Author of many inventions, including economical stoves.
(1744-1808)
Born in Moscow in the family of a deacon. He studied at a school for children of the “clerical rank”, then at a gymnasium at Moscow University. In 1756 he was transferred to St. Petersburg, to the Academy of Arts; studied with Kokorinov and Valen-Delamot. In 1762 he was sent as a pensioner to Paris, where he worked for C. de Wailly. In 1766 he moved to Rome. He returned to St. Petersburg in 1768. Since 1772, he played a leading role in the Commission on the Stone Structure of St. Petersburg and Moscow, and was involved in the planning of cities (Voronezh, Pskov, Nikolaev, Ekaterinoslav). Court Advisor. Designed a lot for the book. . From 1769 - associate professor, from 1785 - professor, from 1794 - associate rector of architecture at the Academy of Arts. From 1800 he headed the commission for the construction of the Kazan Cathedral.
One of the leading classicists of the late 18th century. Notable for the rigor of his style, his work had a huge influence on the development of the classicist school. Thus, the Tauride Palace became a model of estate construction in Russia.
Main works: in St. Petersburg - the Tauride Palace, the Trinity Cathedral and the Gate Church of the Alexander Nevsky Lavra; a number of manor houses in the vicinity of St. Petersburg, of which the houses in Taitsy and Skvoritsy, the palace in Pella (not preserved); palaces in Bogoroditsk, Bobriki and Nikolsky-Gagarin near Moscow; Theotokos Cathedral in Kazan; magistrate in Nikolaev.
(1769-1848)
Born in Moscow in the family of a minor official. He studied at the gymnasium at Moscow University. Upon graduation in 1783, he entered the Deanery as an architectural student. In 1794-1795 - non-commissioned officer of the Preobrazhensky regiment, in 1797 assigned to the construction of salt factories with the rank of collegiate secretary. Participated in a competition for hotel projects at the entrance to Moscow on the site of a demolished white stone wall ( Boulevard Ring). Promoted to provincial secretaries. He participated in the design of public holidays during the coronation of Alexander I. In 1802, by personal decree, he was sent for improvement to France, Italy and England. While in Rome he was accepted as a professor at the Academy of St. Luke. In 1808 he returned to Russia. Placed under the jurisdiction of the “Cabinet of His Imperial Majesty”, from that time he took part in major works commissioned by the court and the state. One of the four chief architects of the Committee of Buildings and Hydraulic Works (together with K. Rossi, A. Mikhailov 2m and A. Moduit). Since 1811 - academician. Acting State Councilor. Professor at the Academy of Arts in the class of architecture.
The largest architect, representative of late classicism. With enormous productivity and high professionalism, he remained an epigone of the classicist school. IN last years life I tried to work in the “Russian style”.
Main works: in St. Petersburg - Provision shops on the Obvodny Canal, Pavlovsk Barracks on the Field of Mars, Main Court Stables, Yamskaya Market on Razyezzhay Street, Spaso-Preobrazheyasky and Trinity-Izmailovsky Cathedrals; in Moscow - Provision warehouses on the Crimean Highway, the Grand Kremlin Palace (rebuilt by K. Ton), a hotel at the Intercession Gate, the Tithe Church in Kyiv, Alexander Nevsky Cathedral in Saratov, the Alexander Nevsky Church in Potsdam, a complex of buildings in the estate of Arakcheev Gruzine on Volkhov.
(1850-1908)
He graduated from the Construction School in St. Petersburg in 1873 and from that time on he taught history at the school, then at the Institute of Civil Engineers. architecture, in 1895-1903 - director. He lectured at the Technological Institute. He seriously studied Russian architecture. In 1886 he traveled to Italy, Greece, and Turkey. In 1893 he was approved as a full member of the Academy of Arts.
Prominent architect, theorist, architectural historian, restorer, teacher.
Main works: the cathedral in Peterhof, participation in the construction of the monument to Alexander II in the Moscow Kremlin, translation of the book by E. Viollet-le-Duc “Russian Art”, a number of articles on the history of Russian architecture.
(1857-1921)
Born in Moscow into the family of an icon painter. In 1878-1882. studied at the Academy of Arts. Under the influence, he decided to devote himself to the study of Russian architecture. During 1883-1887 made a number of trips around Russia, measuring, drawing, photographing architectural monuments, and continued research subsequently, in connection with restoration work. He traveled abroad several times - to France, Italy, Turkey, Germany, etc. in connection with research and design work. In 1885 - academician, in 1902 - professor. One of the initiators of the cause of monument protection. He designed and built a lot in the spirit of Russian and neo-Russian styles. After the revolution he was removed from teaching. He died in Khvalynsk.
An outstanding researcher of Russian architecture, architect, artist, theorist, teacher, restorer.
Main works: Alexander Passage in Kazan (c), monument-tomb to Russian soldiers in San Stefano (Turkey), churches on an estate near Smolensk, in the village. Fedino, Moscow province, in Lugansk; restoration of the Spaso-Mirozhsky Cathedral in Pskov, the Transfiguration Cathedral in Pereslavl-Zalessky, St. Sophia Cathedral in Novgorod, the Church of the Savior-Nereditsa near Novgorod (the project was carried out by P. Pokryshkin), etc. A number of books, articles and albums on the history of Russian architecture, in including issues of “Monuments of Russian Architecture”.
, count (1844-1919(7))
From the Russified French aristocrats. He graduated from the Academy of Arts in 1866, after a trip abroad he worked mainly in St. Petersburg on private orders. Academician of Architecture (1892), honorary member of the Academy of Arts, professor at the Institute of Civil Engineers. He was involved in many social activities: he was the organizer of the first congresses of Russian architects, chairman of the Society of Architects and Artists; one of the founders and chairman of the “Old Petersburg” society. One of the most prolific architects of his time. His position in architecture is twofold: not possessing great talent or taste, Suzor nevertheless played a huge role in the formation of a “pan-European” style, characteristic of ordinary buildings in the center of St. Petersburg.
Main works in St. Petersburg: more than 60 buildings were built, mainly residential buildings. Of these, the most significant are the house complexes that belonged to Prince. Ratysov-Rozhnov (on Kirochnaya, Panteleimonovskaya and Dumskaya streets), a complex of houses on Pushkinskaya Street (almost the entire street up to the square with the monument is built up), a number of houses on Nevsky Prospekt. Of the public buildings, the most famous are the house of the Singer company (now the House of Books), the house of the Mutual Credit Society on the Ekaterininsky (Griboyedov) Canal, the Metropol Hotel on the corner of Nevsky and Vladimirsky Prospekts, the homeopathic hospital with several public baths (on Basseynaya, Bolshaya streets Pushkarskaya, on the Moika embankment), a number of industrial buildings.
de (1760.-1813)
Frenchman in Russian service: Born in Bern (Switzerland) into a noble family. Initially he studied at the Paris Academy of Arts, then in 1785 in Rome. He served with Charles de Artois (brother of Louis XVI), and from 1794 in Vienna with the prince. In 1799, on the recommendation of the ambassador in Vienna, Prince. invited to Russia as an artist. Since 1800 - academician. From 1802 - court architect, professor at the Academy of Arts in perspective, from 1810 - professor of architecture. He was also the chief artist of the imperial glass factory. While inspecting the burned Bolshoi Theater, he fell from the scaffolding and died from bruises.
A representative of classicism, following the principles of N. Ledoux.
Main works: in St. Petersburg - the Bolshoi Theater (located on the site of the Conservatory), the Exchange and the layout of the Spit of Vasilyevsky Island, Salny Buyan (not preserved); in Pavlovsk - the mausoleum “To the Benefactor Spouse”; in Odessa - a theater and a hospital (not preserved).
(1794-1881)
Born in St. Petersburg into the family of a jeweler. In 1803"-1815. studied at the Academy of Arts. Remained at the Academy, in 1817 he was enrolled in the drafting department of the Committee for Buildings and Hydraulic Works. In 1819, he was sent as a pensioner to Italy, where he worked until 1828 - researching and drawing up projects for the restoration of the Sanctuary of Fortune in Praeneste, as well as the Palace of the Caesars on the Palatine; for both works he publishes statements. Measures other monuments ancient architecture. In 1821 he studied at the Polytechnic School in Paris. Performs a number of design work. Elected member of the Academy of St. Luke, corresponding member of the Roman Archaeological Academy, professor of the Florentine Academy of Arts. Returning to St. Petersburg in 1828, he became one of the participants in the reorganization of the Academy undertaken by the President of the Academy of Arts; from 1830 - academician and professor, from 1854 - rector for architecture.
Since 1830, after the successful completion of the project for the Church of St. Catherine in St. Petersburg, he became a leading architect in Russia, carrying out the most important state orders of the government of Nicholas I. The albums of church projects he published were recommended as official samples. After the death of Nicholas I, he moved away from practical design, although in 1861 he received the title of “Architect of His Imperial Majesty.” Privy Councilor (a rank corresponding to a general); in 1868 he was elected an honorary member and correspondent of the Royal Institute of British Architects. For the last ten years of his life he was seriously ill and died in St. Petersburg.
Ton's works are notable for their high level of solving functional and constructive problems, the novelty of space-planning schemes, and a high level of composition.
His creative style, however, was somewhat dry. The connection with the ideological program of Nicholas I turned into a tragedy for Ton’s creative heritage: most of his works were destroyed; His name was usually associated with the epithets “reactionary”, “unprincipled”, “chauvinistic”, etc. Currently, justice has been restored to this master.
His merits in creating the neo-Russian style, which was based, in addition to the government order, on research into the medieval architecture of Byzantium and Rus', were recognized.
The largest architect of the mid-19th century. A characteristic representative of the eclectic era, the founder of the “national” trend in architecture; teacher who had a great influence on the formation of architectural thought in the 19th century.
The main buildings: in St. Petersburg - a pier with sphinxes near the Academy of Arts, state halls and a church in the Academy building, the Church of St. Catherine and three regimental churches (not preserved), the Nikolaevskaya railway station (Moskovsky); in Moscow - the Cathedral of Christ the Savior (not preserved), the Grand Kremlin Palace and the Armory, the Nikolaevskaya Railway Station (Leningradsky), the bell tower of the Simonov Monastery (not preserved), the Maly Theater, etc.; in Kazan - the house of the military governor in the Kremlin; cathedrals and churches in Krasnoyarsk, Tomsk, Saratov, Tsarskoe Selo (not preserved), Peterhof, Yaransk, Sevastopol, Sveaborg, Yelets, etc. In addition, Ton carried out restoration work (including the construction of new facilities) in the Ipatiev Monastery near Kostroma, in Moscow The Kremlin, in Izmailovo near Moscow, etc.
Trezzini Domenico Giovani (Andrey Yakimovich) (1670-1734)
Italian, originally from Switzerland. Studied in Italy. From 1699 he worked in Denmark, from where in 1708 he was invited by the ambassador to Russian service as a fortifier. In 1704-1705 worked in Kronstadt, in 1705-1706 - in Narva, from 1706 until the end of his life - in St. Petersburg.
Being the closest assistant to Peter I, he actually headed all construction in St. Petersburg. In 1726 he received the rank of colonel of fortification. The first architect of St. Petersburg. Trezzini's works largely determined further development city and anticipated its appearance.
Main works: Peter and Paul Fortress with Peter's Gate, St. Peter and Paul; palaces of Peter I - Summer (?) and Winter (not preserved), the building of 12 colleges (university), a hospital on the Vyborg side (rebuilt), his own house on the Universitetskaya settlement, a development project for Vasilievsky Island, projects of “model” houses.
(1792-1870)
Born in Moscow in the family of an officer. Graduated from the Moscow Architectural School. In 1817-1819 in the rank of architect's assistant he worked for D. Gilardi and in the expedition of the Kremlin building. Participated in the competition for the design of the Grand Kremlin Palace. He worked mainly on the reconstruction of Moscow and Moscow University. Reached a high official position. He is known as a collector of paintings, which he bequeathed to the Rumyantsev Museum.
Main works: park structures, theater and palace interiors on the Yusupov estate Arkhangelskoye, reconstruction and additions at Moscow University, reconstruction of the Church of the Annunciation in Elokhov (Yelokhovo Cathedral).
, prince (1719-1775)
From the oldest impoverished princely family. Born in the village. Semyonovsky near Poshekhony. After graduating from the School of Mathematical and Navigational Sciences in 1733, he was assigned to the “team”, and from 1741 - to the Moscow “team”. In 1742 he received the title of “Gesel”, in 1745 - the title of architect, became the chief architect of Moscow and led his own “team”. Since 1750, he headed the architectural school he organized, among his students are A. Kokorinov, M. Kazakov, A. Evlashev, and others major architects. He carried out a huge amount of work with his students on measuring and strengthening the buildings of the Moscow Kremlin, monuments of Novgorod, Uglich, etc.
The largest architect, master of the Baroque mid-18th century. Chief architect of Moscow for a quarter of a century.
For the first time in Russia, he organized systematic training of architectural personnel.
Main works: in Moscow - triumphal gates - Tverskaya and Krasnye, stone Kuznetsky Bridge, house (Neskuchnoe), projects of the Hospital and Invalid Houses, as well as the Resurrection Triumphal Gate (not implemented), the Church of St. Nikita on Basmanskaya Street. (?), restoration of the bell tower of Ivan the Great, reconstruction of the All Saints Bridge, completion of the bell tower of the Trinity-Sergius Lavra, the bell tower in Tver (together with I. Schumacher) is the only surviving building.
Felten Georg Friedrich (Yuri Matveevich) (1730-1801)
Born in St. Petersburg into the family of an official at the Academy of Sciences. He studied at the gymnasium at the Academy. In 1744 he left for Germany. Studied at the University of Tübingen. He took part in the construction of a residence in Stuttgart. In 1749 he returned to Russia. In 1749-1751 studied at the Academy of Arts with Schumacher. Court architect, from 1783 - correspondent of the French Royal Academy, from 1784 - state councilor, from 1770 - academician, in 1772 - professor at the Academy of Arts, in 1785 - adjunct rector, in 1789-1794 - Director of the Academy of Arts. In 1794 he retired.
Possessing modest talent, Felten was extremely prolific and hardworking; had good taste. A classicist of the first generation, he paid tribute to the fascination with “Gothic” stylizations.
Main works in St. Petersburg: Old Hermitage, Chesme Palace and Church of John the Baptist (Chesmenskaya) behind the Moscow Gate, Alexander Orphan Institute near Smolny, Protestant churches of St. Catherine on Vasilievsky Island and St. Anna on Kirochnaya Street, Armenian-Gregorian Church on Nevsky Prospect, the lattice of the Summer Garden (presumably).
(1872-1936)
Born in Orel in the family of a postal official. He spent his childhood in Riga, where he graduated from high school.
Main works: spatial structural system in the form of a mesh vault (a number of industrial buildings); a structural system in the form of a hanging mesh metal covering (pavilions of the Nizhny Novgorod exhibition of 1896); hyperboloid “Shukhov towers” (lighthouses, water towers, radio towers) made of metal rods, spatial structures in the form of arched trusses; participation in the design of the Upper Trading Rows, as well as the Metropol Hotel, Bryansk (Kievsky) Station, Kazansky Station, etc.
(1878-1939)
Born in Berlin in the family of an officer, he spent his childhood in Tambov, where he graduated from a real school. In 1896 he entered the Academy of Arts, studied architecture (class), painting (class), graphics (class), sculpture (sheva class). He studied the monuments of ancient Russian cities. After graduating from the Academy in 1906, he was on a retirement trip to Rome, Athens, and Constantinople; for the presented works he was again sent to Italy. In 1911 - academician of architecture. From 1910 he taught at the school of the Society for the Encouragement of Arts in St. Petersburg, and from 1913 he was the director of women's architectural courses.
Shchuko's main creative activity occurred in the post-revolutionary period, when he lived and worked in Moscow.
One of the most cultured and talented people of his time, before the revolution, he was a prominent representative of neoclassicism. Subsequently, he worked a lot and fruitfully in the field of architecture, graphics, painting, and was a major theater artist and teacher.
Main works before 1917: apartment buildings No. 63 and 65 on Kamennoostrovsky Prospect in St. Petersburg, Russian pavilions at the International Exhibitions in Rome and Turin, the building of the Kyiv Zemstvo Government, the Church of the Polytechnic Institute in Kyiv.
(1873-1949)
Born in Chisinau in seven official. He showed an ability to draw early, and after graduating from high school he entered the Academy of Arts (1891). Since 1894 - in the workshop. He took measurements of the Gur-Emir mausoleum in Samarkand. After graduating from the Academy (1897), he received the right to travel abroad and visited Italy, Tunisia, France, England, and Belgium.
He approved the report exhibition of Shchusev’s drawings.
The largest architect, before the revolution, a bright and consistent representative of the neo-Russian style; His main activity belongs to Soviet architecture, in which he occupied one of the leading places.
Main works before 1917: reconstruction of the Basil Church in Ovruch (XII century), church in New Athos, Trinity Cathedral in the Pochaev Lavra, monument church on Kulikovo Field, Martha and Mary Convent on Bolshaya Ordynka in Moscow, church in Mikhailovsky Golden-Domed Monastery in Kyiv, Kazansky Station in Moscow, Russian pavilion at the XI International Exhibition in Venice.
(Iveron Gate, 18th century, painting by Vasnetsov)
After the end of the era of Peter the Great, during which the forces of all the best Russian architects were thrown into the construction new capital, St. Petersburg, again took up the reconstruction and construction of Moscow. At this time, churches and hospitals, schools and universities, as well as various public buildings grew right before our eyes.
Among the most prominent architects of the mid-18th century were M. Kazakov and V. Bazhenov. In 1799, V. Bazhenov graduated from the gymnasium, which was located at Moscow University, then continued his studies at the new, newly organized Academy of Arts in St. Petersburg. After completing his studies, Bazhenov goes to Italy and France, and upon his return, he receives the title of academician.
(Kremlin Palace within the white walls of the Kremlin)
Not paying attention to the fact that his architectural career in the capital was developing in the best way, Bazhenov, at the invitation of Catherine II, returned to Moscow, where he began to implement the empress’s grandiose plans, and first of all, the construction of the Kremlin Palace. But as it turned out, patriarchal Moscow was not yet ready for the architect’s too bold decisions, and his project failed miserably.
(White Kremlin)
By order of the Empress, it was necessary to demolish the most dilapidated buildings of the Kremlin, dismantle some sections of the walls on the southern side, and build a grandiose palace in the style of classicism around the remaining ancient buildings, including the Ivan the Great bell tower. Following the architect's plans, many buildings were erected on the territory of the Kremlin, which included a theater, various colleges, an arsenal, as well as a people's square.
All this was done for the sole purpose of turning medieval fortress, in a large public complex closely connected with the capital. Bazhenov presented Catherine not only with drawings of the future palace, but also made a wooden model of it. But despite the fact that the Empress approved the architect’s project, and even held a ceremony to lay the first stone, it was not destined to be brought to life. At the beginning of 1775, Catherine II gave Bazhenov a new task to build for her, not far from Moscow, a residence on the territory of the Black Mud estate, which later became known as Tsaritsyno.
(Palace in Tsaritsino)
At the request of the Empress, this complex was built in pseudo gothic style. By the end of 1785, stone bridges, the Grand Palace, the Opera House and the Bread House, as well as many other structures, were built, most of which have survived to this day. The Tsaritsyno complex differed from the building ensembles of that time in its forms of architecture, made in the Gothic style. First of all, it stood out for its complex design of window openings, pointed arches and similar unusual elements.
(Vasilevsky descent)
Here you can also find native Russian elements of medieval architecture, for example, the “Swallow’s Tail”, reminiscent of the ends of the walls of the modern Kremlin. The walls, made of red brick, are perfectly combined with white decorative elements; this combination is inherent in the architecture of the late 17th century. As for the layout, it was deliberately made as complex as possible. From the outside, the palace looked so gloomy that when the empress saw it, she exclaimed that it looked more like a prison and not like the queen’s residence.
(Moscow Kremlin XVIII century)
She refused to live there. Subsequently, by order of the empress, most of the buildings, which included the palace, were demolished. The construction of the new palace, in the Gothic style, was entrusted to the then famous Russian architect M. Kazakov. He completed its construction by the end of 1793.
Russian architecture of the 18th century associated primarily with three architectural directions. This is primarily Baroque, Rococo and Classicism.
Baroque is a movement in art, the main features of which are pomp, contrast, and the combination of reality and illusion. Masters of work in the Baroque style left a big mark on Russian architecture of the 18th century. The surnames of Trezzini, Schlüter, Michetti, Zemtsov, Rastrelli, Chevansky and Ukhtomsky remained forever in history of Russian architecture.
It is worth noting that the ensembles of the Winter Palace, the Stroganov Palace, the Smolny Monastery, Tsarskoye Selo and the design of Peterhof are masterpieces of the Baroque style.
Rococo is an architectural style that arose by combining Baroque and Classicism. This style carries sophistication and gallantry and is characteristic mainly for interior design.
In the 18th century, in Russian architecture, a new phenomenon is emerging - “Russian classicism”. Russian classicism is a direction of architecture characterized by simplicity and rigor, as well as rationality. A large number of buildings in the style of Russian classicism were located in Moscow. Pashkov's house, Bazhev's Tsaritsyn complex, Senate buildings, the house of Prince Golitsyn and many other buildings. Today these buildings are monuments Russian architecture of the 18th century.
The epicenter of advanced trends in architecture and urban planning, the Russian capital St. Petersburg became the same age as the century, conceived as an example of a new culture. The future capital was built from scratch, which greatly facilitated the introduction of regular planning and development techniques. The experience of foreign specialists was used on an unprecedented scale, and the material and human resources of the entire country were mobilized. In the first years of the existence of St. Petersburg, widespread construction of mud huts began. During construction, craftsmen mastered wooden structures of the so-called “Prussian model”, i.e. lightweight walls, flat floors in commercial, public and residential buildings. The technical novelty of St. Petersburg was the unusually high spiers crowning the most important city buildings, which was widespread in northern European countries. An outstanding structure of this type was the spire of the Peter and Paul Cathedral, the height of which reached 45 m. With the scale of stone construction, its engineering foundations were also improved, and it became possible to reduce the thickness of the walls of buildings under construction without significantly reducing the strength of the buildings. For example, in the palace of A. Menshikov on Vasilyevsky Island, the thickness of the wall in the upper floors is only one and a half or even one brick. During this period, the production of both ordinary bricks and special, moisture-resistant bricks, according to the Dutch recipe, was established in St. Petersburg. All this did not take long to produce results. The city was created in record time; temporary wooden Petersburg was quickly replaced by stone one. By the end of the reign of Peter I, it was already surprising visiting foreigners with its grandeur and beauty. In a work about St. Petersburg created in 1751, the author had reason to write: “this city is so widespread, embellished and exalted that it has a notable advantage over many great and ancient cities in Europe.” In St. Petersburg, for the first time, a regular city development plan was developed and became its city-forming basis. The plan of P. M. Eropkin (1737) and the projects that followed it consolidated this pattern of city development. St. Petersburg squares have also acquired a qualitatively new face. They received geographical outlines with the construction of their extended facades of guest houses, colleges and other public buildings. This is what Trinity Square looked like on the Petrograd side. In the middle of the century, the intensifying stylistic tendency towards sculptural expression of forms affected the silhouette of St. Petersburg, which was enriched with many new, highly raised bell towers and churches. Moreover, in their form, instead of spiers, emphatically national motifs of five domes, tiers, and towers appeared, which is why the silhouette of the city received new volumetric and plastic accents and a picturesque character that was previously unusual for it. The “regular” Russian capital of St. Petersburg becomes a symbolic embodiment of the image of the absolutist empire itself with its idea of universal order. The area where experience in regular regulated construction was also gained was the “fortress cities” and “factory cities” founded in the first half of the century. Of particular importance was the experience of construction of Taganrog, Voronezh, Azov, redevelopment of such cities as Orenburg, Tver and many others.
Great Russian and foreign architects played an invaluable role in this. One of the most famous representatives of the Western architectural school who worked in Russia was Rastrelli Francesco Bartolomeo (1700-1771), the son of the Italian sculptor K. F. Rastrelli, who served at the court of the French king Louis XIV, but gained architectural and construction experience in Russia. Being a gifted artist, he managed to prove himself as a skilled architect and took the highest position in the architectural world of Russia as “chief architect”. His work reached its apogee in 1740-1750. His most famous creations are the ensemble of the Smolny Monastery in St. Petersburg (1748-1764), created in the traditions of Russian monastic ensembles of previous centuries, and the palaces of the Elizabethan nobles M. I. Vorontsov and S. . G. Stroganov in St. Petersburg, but his talent was manifested to the highest degree in the creation of such masterpieces as the Winter Palace (1754-1762) in the capital, the Grand Palace in Tsarskoe Selo and Peterhof (Petrodvorets), and many, many others. All of them clearly characterize the Baroque style of the mid-18th century. and the evolution of the work of a remarkable architect. Another prominent foreign representative who worked in Russia was Antonio Rinaldi (1710-1794). In his early buildings, he was still under the influence of the “aging and passing” Baroque, however, it can be fully said that Rinadi is a representative of early classicism. His creations include the Chinese Palace (1762-1768), built for Grand Duchess Ekaterina Alekseevna in Oranienbaum, the Marble Palace in St. Petersburg (1768-1785), attributed to unique phenomenon in Russian architecture, the Palace in Gatchina (1766-1781), which became the country residence of Count G. G. Orlov. A. Rinaldi also built several Orthodox churches that combined Baroque elements - five-domed domes and a high multi-tiered bell tower. A famous Russian representative of the era of early classicism in architecture was a student of the architect Korobov - Kokorinov. F. (1726-1722). Among his famous works, where the style of classicism was most clearly manifested, it is customary to include the building of the Academy of Arts in St. Petersburg, built on the Nevskaya embankment of Vasilyevsky Island (1764-1788). The unusually beautiful facade and multifunctional offices and halls of this building corresponded to the ever-increasing prestige of Russian art. V. Bazhenov is rightfully considered a famous Moscow architect who decorated the appearance of Moscow. I. (1737-1799). He received his initial knowledge of architecture at the architectural school of D. V. Ukhtomsky and at the gymnasium of Moscow University. A diplomat of the French Academy of Arts, being awarded the title of professor at the Rome National Academy of Arts, membership in the Florence and Bologna Academies of Arts is truly global recognition of his talent. Upon returning to St. Petersburg (1765), V. I. Bazhenov was elected academician of the St. Petersburg Academy of Arts, and in 1799. he became its vice president. The first works of V.I. Bazhenov include the construction of the building of the St. Petersburg Arsenal (now does not exist) and the still unsolved project of the Smolny Institute (not implemented). Since 1767 All the attention of the widely educated architect was absorbed by a responsible assignment - the design and construction of a colossal structure - the Grand Kremlin Palace and the college building on the territory of the Moscow Kremlin. In this regard, in 1768, a special Expedition of the Kremlin building was created, the chief architect of which was V.I. Bazhenov. His architectural team included the most famous designers of that time, one of whom was the greatest later architect - M. F. Kazakov. The new palace was conceived to be so grandiose (corresponding to the prestige of a great state) that it could hide behind itself the ancient buildings of Cathedral Square, and this would violate the traditional appearance of the Kremlin, which is why, with his “Instructions for Construction...” Bazhenov himself proclaimed the need to preserve the ancient buildings of the Kremlin . In 1772, all design work was completed, and on June 1, 1773, the official foundation stone of the palace was carried out. V.I. Bazhenov wrote: “the peoples of Europe, having seen the new Kremlin rising from the bowels of the earth, will be amazed at its majesty and enormity and will no longer see the beauty of their own splendors.” However, the construction of the palace did not go beyond the ceremonial laying, and in 1775 the architectural team of V. I. Bazhenov was even dissolved. The widely publicized project and construction of the palace was a means of strengthening the state prestige of Catherine II, who sought to show that Russia under her rule was capable of waging a grueling war and at the same time undertaking grandiose construction. And, nevertheless, despite the fact that V.I. Bazhenov’s outstanding plan was not realized, its significance for Russian culture was very great, and, above all, for the final establishment of classicism as the main stylistic direction in the development of Russian architecture. In addition, many famous craftsmen received professional training on the Kremlin reconstruction project. V. I. Bazhenov endured the refusal of construction stoically; failures did not break the architect. He began developing projects for private buildings commissioned by the Moscow nobility. The most significant buildings of this period include the ensemble of the estate and manor house of Pashkov in Moscow (1784-1786), not far from the Kremlin. This determined a compact and highly original planning composition. When designing Pashkov's house, Bazhenov acted as a brilliant follower of the ideas of French classicism. Of the city estate houses in Moscow created in the last period of Bazhenov’s life, the Yushkov house on Myasnitskaya should be noted. The completion of V. I. Bazhenov’s work is the project for the construction of the Mikhailovsky Castle in St. Petersburg, but Bazhenov failed to complete it, and the palace was completed with significant changes by the architect V. F. Brenn.
Another outstanding Russian architect is KazakovM. F. He received his education at the architectural school of D. V. Ukhtomsky in Moscow, a large role in the development of M. F. Kazakov’s natural talent was played by work in Tver, and then a seven-year stay in the architectural team of V. I. Bazhenov while working on the project Grand Kremlin Palace. The creative credo of the mature Kazakov was classicism in its strict manifestation. A striking example of this is the huge Senate building in the Moscow Kremlin, skillfully constructed by him in 1776 - 1787. It can be assumed that the character architectural solution This building was inspired by the architecture of the unrealized Kremlin Palace of V. I. Bazhenov. The next large public building erected by Kazakov in Moscow was the four-story University building on Mokhovaya Street (1786 - 1793). This building is an excellent example of classicism, corresponding to the prestige of Russian science, having a strict and representative appearance. An important place in the architecture of Moscow classicism and in the work of M. F. Kazakov is occupied by a famous public building - the House of the Noble Assembly, masterfully rebuilt by the architect. Kazakov also built the Church of Metropolitan Philip on Second Meshchanskaya Street (1777-1788). In construction, the master also used the classic round composition in relation to the Orthodox church.
Compared to architecture, the development of Russian sculpture in the 18th century was more uneven. The achievements that marked the second half of the 18th century were immeasurably more significant and diverse. The relatively weak development of Russian plastic arts in the first half of the century is due primarily to the fact that here, unlike architecture, there were no such significant traditions and schools. The development of ancient Russian sculpture, limited by the prohibitions of the Orthodox Christian Church, had an effect. Giacomo Quarenghi. Alexander Palace in Tsarskoe Selo (Pushkin). 1792-1796 Colonnade. The most prominent of them was Carlo Bartolomeo Rastrelli (1675-1744), who came to Russia in 1716 and remained here until the end of his life. He is especially famous as the author of the remarkable bust of Peter I, executed and cast in bronze in 1723-1729. (Hermitage Museum). Carlo Bartolomeo Rastrelli. Statue of Anna Ioannovna with a little black. Fragment. Bronze. 1741 Leningrad, Russian Museum. It is no coincidence that the second half of the 18th century. and the first third of the 19th century. called the “golden age” of Russian sculpture. A brilliant galaxy of masters in the person of Shubin, Kozlovsky, Martos and others are moving forward into the ranks of the largest representatives of world sculpture. Particularly outstanding successes were achieved in the field of sculptural portraits, monumental and monumental-decorative plastic arts. The latter was inextricably linked with the rise of Russian architecture, estate and urban construction. White Sea. His abilities for sculpture first manifested themselves in bone carving, a widely developed folk craft in the north. Like his great countryman M.V. Lomonosov, Shubin as a young man went to St. Petersburg (1759), where his abilities for sculpture attracted the attention of Lomonosov. In 1761, with the assistance of Lomonosov and Shuvalov, Shubin managed to join the Academy of Arts. After its completion (1766), Shubin received the right to travel abroad, where he lived mainly in Paris and Rome. In France, Shubin met J. Pigal and took his advice.
In the second half of the 18th century, the steady flourishing of domestic plastic arts began. Round sculpture had previously developed slowly, with difficulty overcoming eight hundred years of ancient Russian traditions in relation to the pagan “boob.” It did not produce a single great Russian master in the first half of the 18th century, but the more brilliant was its rise in the next period. Russian classicism, as the leading artistic movement of this time, was the greatest stimulus for the development of the art of great civil ideas, which determined the interest in sculpture during this period. F.I. Shubin, F.G. Gordeev, M.I. Kozlovsky, F.F. Shchedrin, I.P. Prokofiev, I.P. Martos - each in himself was a bright individual, left his own, unique mark in art. But they were all united by common creative principles, which they learned back at the Academy in the sculpture class of Professor Nicolas Gillet. Russian artists were also united by common ideas of citizenship and patriotism, and the high ideals of antiquity. Interest in “heroic antiquity” also influences the choice of gods and heroes: Neptunes and Bacchus, beloved in Peter’s time, are replaced by Prometheus, Polycrates, Marsyas, Hercules, Alexander the Great, heroes of the Homeric epic. Russian sculptors strive to embody in a male image the traits of a heroic personality, and in the feminine - an ideally beautiful, harmoniously clear, perfect beginning. This can be seen both in monumental, architectural and decorative, and in easel plastic. Unlike the Baroque, architectural and decorative plastic in the era of classicism has a strict arrangement system on the facade of the building: mainly in the central part, the main portico and in the side projections, or crowns the building, readable against the sky. Speaking in general about sculpture of the second half of the 18th century, one should recognize one very important thing in common, to one degree or another characteristic of all Russian sculpture of this time, regardless of its relationship to architecture or its genre: it always represents a combination, a fusion of features of Baroque and classicism, baroque and classical trends, especially at the dawn of the birth of classicism. Together, Russian classicism differed from the pan-European one in its attitude towards antiquity. For Russian masters, antiquity has never been the most important and almost the only object of study and imitation. In Russian classicism there is also no unconditional and strict priority of reason over feeling; the emotionality of the image always recalls a living connection with the Baroque. In addition, the basis of all classicist works of Russian masters is a careful study of nature, just as it was the basis of the works of the sculptor Rastrelli, who with all his creativity, as it were, prepared the flowering of Russian plastic arts in the second half of the 18th century. The achievements of the portrait genre in sculpture are associated primarily with the work of Fedot Ivanovich Shubin (1740-1805), a fellow countryman of Lomonosov, who arrived in St. Petersburg, in essence, already an artist who had mastered the intricacies of bone carving. Shubin's first work upon returning to his homeland - a bust of former vice-chancellor A.M. Golitsyn - already testifies to the full maturity of the master. Such a characteristic image helps the sculptor create an extraordinary variety of expressive means that he owns. After the success of Golitsyn’s bust, the Empress ordered “not to assign him anywhere, but to actually be with Her Majesty.” In 1774, Shubin was awarded the title of academician. The sculptor rarely turned to bronze; he worked mainly in marble and always used, in essence, a very closed and limited form of the bust. Using the language of plastic arts, he creates images of extraordinary expressiveness and exceptional energy, without at all striving for their external glorification. Shubin worked not only as an orthretist, but also as a decorator. He executed 58 oval marble historical portraits for the Chesme Palace (located in the Armory Chamber), sculptures for the Marble Palace and for Peterhof. In 1775-1785 Shubin was busy with work for the Marble Palace. These are 42 sculptural works that he performed together with the Italian Valli and the Austrian sculptor Duncker. In the 70s, a number of young Academy graduates worked next to Shubin. A year later, Shubina graduated from it and was retired in Paris and Italy by Fyodor Gordeevich Gordeev (1744-1810). N returned to St. Petersburg in 1772, in 1776. received the title of academician. Gordeev’s creative path was closely connected with the Academy; he taught there all his life and even served as its rector for some time. Gordeev is a master of monumental and decorative sculpture. Russian masters knew how to deeply imbue themselves with the ideals of antiquity, specifically Greek antiquity. Just as in the medieval period the traditions of Byzantine art were creatively adopted by ancient Russian masters, so during the period of classicism in the second half of the 18th century, Russian sculptors comprehended and creatively rethought the principles of Hellenistic sculpture. The principles of classicism in Gordeev’s work can be traced even more clearly in the bas-reliefs on ancient subjects for the facades and interiors of the Ostankino Palace. Gordeev took part in the creation of the main monuments of St. Petersburg: he owns the snake of the Bronze Horseman and the relief on the Voronikhin pedestal of the monument to Suvorov Kozlovsky: banners, geniuses and a shield with the inscription “Prince of Italy Count Suvorov-Rymniksky 1801”. Gordeev's latest works are four bas-reliefs on the northern portico of the Kazan Cathedral. In the work of the remarkable Russian sculptor of rare talent Mikhail Ivanovich Kozlovsky (1753-1802). |
Russian Theater of the 18th century
At the beginning of the 18th century, in Moscow, a public theater opened for the first time on Red Square. A foreign troupe of actors played in the theater. The actors staged plays by the Frenchman Moliere, the first Russian dramatic works and tragedies of ancient life.
In the 40s of the 18th century, the first troupe of Russian actors appeared in Yaroslavl, headed by Fyodor Volkov. In 1752, the troupe was invited to play in St. Petersburg, and four years later the troupe became the vanguard of Russian theater of the 18th century. Russian theater in St. Petersburg was located on Vasilyevsky Island, in Golovin’s house. The director of the theater was Sumarokov. Fonvizin's plays were staged for the first time on the stage of the St. Petersburg Theater.
In the 70s 18th century, V Russian theater a new phenomenon appears. An amateur actor, a student at Moscow University, he creates the Locatelli comic opera theater. The theater did not last long.
In its prime Russian theater of the 18th century, became the second half of the century. The creation of the “Theater Directory” and state financial support led to the fact that Russian theater became more accessible to the population, and performances became more colorful. On the theatrical stages of the Russian theater of the 18th century, comic opera and drama began to dominate.
IN Russian theater of the 18th century, the phenomenon of serf theaters was popular. Count Theaters Sheremetev in Ostankino, Prince Yusupov in Arkhangelskoye, which were famous for the inspired performances of serf actors. Often serf actors had great talent, but they were not free. Such life's vicissitudes often ended in tragedy.
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