Characteristic features of baroque architecture presentation. Presentation on the topic "Baroque architecture"

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

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

In 1748, Empress Elizabeth issues a decree on the start of the construction of the Smolny Monastery and entrusts this to Rastrelli. Construction was carried out from 1749, in 1751, due to the Seven Years' War, the implementation of the project had to be stopped. Smolny Monastery

Smolny Monastery

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

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

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

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

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

Stroganov Palace In 1742 it was acquired by Baron Sergei Grigoryevich Stroganov. With his own money, he completed a two-story house. The construction of the palace was carried out at a rapid pace. Already on December 15, 1753, a housewarming ball was held here, which was attended by Empress Elizaveta Petrovna herself.

Winter Palace

Winter Palace

Catherine Palace

Grand Palace Peterhof

Lion Cascade Peterhof

Fountains-crackers Peterhof

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

Domenico Andrea Trezzini Summer Palace of Peter I

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

The Trinity Church in Nikitniki, commissioned by the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique buildings of the Moscow Baroque. The temple, placed on a high hill in the center of the city, dominated the surrounding buildings, standing out with the complexity of the silhouette. The bright coloring of the facades, the rich plasticity of the white stone and brick decor, the multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki. 1631-1634 Moscow.

Church of the Sign of the Virgin in Dubrovitsy. 1690-1704. Moscow.

Church of St. Nicholas in Khamovniki. 17th century Moscow.

Architectural creations of VV Rastrelli In the middle of the 18th century, baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush baroque architecture spread throughout Russia. The brightest creations of architecture were concentrated in the new capital of the Russian state - in St. Petersburg. A significant contribution to the development of national architecture was made by Varfolomey Varfolomeevich (Bartolomeo Francesco) Rastrelli (1700-1771), the son of the sculptor B.K. Rastrelli, an Italian by birth, who was born in France. Having been educated abroad, he then worked only in Russia, which became his second home. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir (1708-1744) wrote about the works of the outstanding architect: “Count Rastrelli… a skilled architect. His inventions in decoration are magnificent;

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

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

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

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

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

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Baroque is a characteristic of European culture of the XVII-XVIII centuries, the center of which was Italy. The Baroque style appeared in the 16th-17th centuries in Italian cities: Rome, Mantou, Venice, Florence. The Baroque era is considered to be the beginning of the triumphal procession of "Western civilization". Rome Mantua Venice Florence

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Lorenzo Bernini Guarino Guarini Francesco Borromini The most striking and characteristic baroque monuments in Italy are associated with the largest masters of the 17th century - Lorenzo Bernini, Guarino Guarini, Francesco Borromini, Carlo Rainaldi, Baldassare Longhena and others.

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Non-observance of Renaissance harmony for the sake of more emotional contact with the viewer. Baroque architecture is distinguished by its spatial scope, the fluidity of curvilinear forms, the merging of volumes into a dynamic mass, rich sculptural decoration, and connection with the surrounding space.

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The Baroque style was intended to glorify and promote the power of power, the nobility and the church, but at the same time it expressed progressive ideas about the complexity of the universe, the infinity and diversity of the world, its variability. A person in baroque art is perceived as part of the world, as a complex personality experiencing dramatic conflicts.

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The first building in the Baroque style is the Roman church of Il Gesu (In the name of Christ) - the main church of the Jesuit order. The church was the final stage in the long evolution of the composition of the temple buildings of the Renaissance.

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The first architect of the new generation was Carlo Maderna. In 1603 he was appointed chief architect of St. Peter's, in Rome. Built by Michelangelo, the centric building in the shape of a Greek cross was rebuilt into a traditional early Christian basilica in the shape of an elongated cross.

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In 1653, Lorenzo Bernini built the small church of Sant'Andrea in Rome on Quirinale Street, one of the most outstanding buildings in the Baroque style.

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The massiveness of the first contrasts sharply with the elegance of the second. The semi-oval steps seem to flow down from the picturesque two-column portico supporting a semi-circular entablature. Its curved lines intersect in perspective with the cornice of the large semicircular window of the western façade. The entire composition of the entrance is inscribed in a large portico with high Corinthian pilasters on both sides and a triangular pediment.

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Borromini won recognition with the construction of the small Franciscan church of San Carlo alle Cuatro Fontane in Rome. The little church attracted the attention of all Rome.

Characteristic features of baroque architecture ... But before the beauty of both the building and the facade, the fountain, and the marble, and the fence have faded, ... In the twisted ornament you will see here and there The victorious helmet and vases of incense, Columns, capitals, pilasters and arcades You will see everywhere you, wherever you throw glances, Cupids, secretly woven monograms, And the heads of lambs entwined with lace, And you will find a statue in a magnificent niche, In patterns and carvings, a cornice under the very roof ... Translation by E. Tarkhanovskaya V. Georges de Sudery. The abundance of magnificent decorative ornaments, emphasized theatricality, distortion of classical proportions, optical illusion, the predominance of complex curvilinear forms really created a special unique look of Baroque architectural structures. This is how the French poet of the 17th century described his impressions of Baroque architecture. Georges de Sudery. The abundance of magnificent decorative ornaments, emphasized theatricality, distortion of classical proportions, optical illusion, the predominance of complex curvilinear forms really created a special unique look of Baroque architectural structures. BAROQUE (Italian Barocco, literally bizarre, pretentious), the style that prevailed in the art of Europe from the end of the 16th to the middle of the 18th century and embraced all types of creativity, manifesting itself most monumentally and powerfully in architecture and fine arts. BAROQUE (Italian Barocco, literally bizarre, pretentious), the style that prevailed in the art of Europe from the end of the 16th to the middle of the 18th century and embraced all types of creativity, manifesting itself most monumentally and powerfully in architecture and fine arts.

The most significant changes affected the design of the facades of buildings. Consistency and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you no longer understand where the wall is located - the main support of the building. Flat pilasters give way to columns and semi-columns. Installed on high pedestals, they either gather in groups, forming bunches, or “scatter” along the facade, raising statues frozen in restless movement on the roof balustrade to the sky. The sizes of portals, doors and windows began to exceed any reasonable limits. The pediments and architraves acquired rich decorations in the form of bizarre curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace left of the calm clarity of the Renaissance. The most significant changes affected the design of the facades of buildings. Consistency and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you no longer understand where the wall is located - the main support of the building. Flat pilasters give way to columns and semi-columns. Installed on high pedestals, they either gather in groups, forming bunches, or “scatter” along the facade, raising statues frozen in restless movement on the roof balustrade to the sky. The sizes of portals, doors and windows began to exceed any reasonable limits. The pediments and architraves acquired rich decorations in the form of bizarre curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace left of the calm clarity of the Renaissance. “The baroque is characterized by the complexity of not only architectural plasticity, but also spatial constructions. If in the Renaissance the plans of the premises have a clear geometric shape - a circle, a square, a rectangle, then the favorite form of the Baroque is an oval, which gives some uncertainty to the general form of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, bulges and concavities of the walls, complicated by additional adjunctions of adjacent subordinate volumes ... Excessive decorativeness and heavy luxury prevailed in Baroque architecture. Bizarre forms, an abundance of sculpture, the use of rich color and gilding were supposed to enhance the expressiveness of architecture, give the impression of wealth and splendor ”(A.F. Goldstein). “The baroque is characterized by the complexity of not only architectural plasticity, but also spatial constructions. If in the Renaissance the plans of the premises have a clear geometric shape - a circle, a square, a rectangle, then the favorite form of the Baroque is an oval, which gives some uncertainty to the general form of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, bulges and concavities of the walls, complicated by additional adjunctions of adjacent subordinate volumes ... In the architecture of the Baroque, immoderate decorativeness and heavy luxury prevailed. Bizarre forms, an abundance of sculpture, the use of rich color and gilding were supposed to enhance the expressiveness of architecture, give the impression of wealth and splendor ”(A.F. Goldstein). Pilasters are flat vertical protrusions of rectangular section on the surface of a wall or pillar. The pilaster has the same parts (stem, capital, base) and proportions as the column; serves to divide the plane of the wall. Cartouches - an ornament in the form of a shield or a half-folded scroll, which depicts a coat of arms, an emblem, an inscription. A pediment is the completion (usually triangular) of the facade of a building, a portico, a colonnade, limited by two roof slopes on the sides and a cornice at the base.

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

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

No less effective is the interior of the cathedral, which is distinguished by the sophistication of stucco decorations, the multicolored decorative paintings, and colored marble columns. No less effective is the interior of the cathedral, which is distinguished by the sophistication of stucco decorations, the multicolored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome).

Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Fragment, facade. Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Fragment, facade.

The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Cathedral. The architect had to solve several problems at once: to create a solemn approach to the main church of the Catholic world, to achieve the impression of the unity of the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the form of a trapezoid, and the second is in the favorite form of baroque - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully covered the square. The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Cathedral. The architect had to solve several problems at once: to create a solemn approach to the main church of the Catholic world, to achieve the impression of the unity of the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the form of a trapezoid, and the second is in the favorite form of baroque - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully covered the square.

Lorenzo Bernini. Fountain of the Four Rivers in Piazza Navona Allegorical figures depict the largest rivers of the continents Nile, Danube, Ganges and Rio de la Plata (the Amazon was then unknown). The veil on the head of the Nile symbolizes the mystery of its source, which at that time had not yet been discovered. The location of the figures of the fountain gave rise to a legend about the duel between the geniuses of the Baroque era Bernini and Borromini: as if La Plata Bernini blocks his hand so as not to see the church, the "terrible" creation of Borromini. In fact, the fountain was built much earlier than the church facade. According to the design of Bernini, the Moor Fountain was also created, one of the two fountains located along the edges of the square. Another fountain in the original consisted of only one pool, to which at the end of the 19th century. a sculpture was added so the fountain of Neptune arose. Allegorical figures depict the largest rivers of the continents Nile, Danube, Ganges and Rio de la Plata (the Amazon was then unknown). The veil on the head of the Nile symbolizes the mystery of its source, which at that time had not yet been discovered. The location of the figures of the fountain gave rise to a legend about the duel between the geniuses of the Baroque era Bernini and Borromini: as if La Plata Bernini blocks his hand so as not to see the church, the "terrible" creation of Borromini. In fact, the fountain was built much earlier than the church facade. According to the design of Bernini, the Moor Fountain was also created, one of the two fountains located along the edges of the square. Another fountain in the original consisted of only one pool, to which at the end of the 19th century. a sculpture was added so the fountain of Neptune arose.

From the 2nd half of the 1650s. Bernini is again working in St. Peter's Basilica, creating here a bronze "pulpit of St. Peter" (), decorated with statues of the fathers of the Church and angels, From the 2nd half of the 1650s. Bernini is again working in St. Peter's Basilica, creating here a bronze "pulpit of St. Peter" (), decorated with statues of the fathers of the Church and angels,

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

Church of the Intercession in Fili Moscow. A brilliant example of the Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself with a bizarre reflection in the water. The temple has a high and spacious basement (PODKLET, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and household purpose), on the arches of which there is a terrace with three smooth flights of stairs. The main volume of the building is surrounded by semicircular limits, each of which is crowned with a golden dome. The transition from the quadrangle to the octagon is made so smoothly and skillfully that the viewer does not immediately notice the change in architectural divisions. The cornice and carved white stone decorations naturally continue the triple capitals of the corner columns. A brilliant example of the Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself with a bizarre reflection in the water. The temple has a high and spacious basement (PODKLET, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and household purpose), on the arches of which there is a terrace with three smooth flights of stairs. The main volume of the building is surrounded by semicircular limits, each of which is crowned with a golden dome. The transition from the quadrangle to the octagon is made so smoothly and skillfully that the viewer does not immediately notice the change in architectural divisions. The cornice and carved white stone decorations naturally continue the triple capitals of the corner columns.

The Trinity Church in Nikitniki, commissioned by the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique buildings of the Moscow Baroque. The temple, placed on a high hill in the center of the city, dominated the surrounding buildings, standing out with the complexity of the silhouette. The bright coloring of the facades, the rich plasticity of the white stone and brick decor, the multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. The Trinity Church in Nikitniki, commissioned by the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique buildings of the Moscow Baroque. The temple, placed on a high hill in the center of the city, dominated the surrounding buildings, standing out with the complexity of the silhouette. The bright coloring of the facades, the rich plasticity of the white stone and brick decor, the multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki Moscow.

The plane of the wall has almost disappeared behind an abundance of cornices, pilasters, semi-columns, architraves and portals. The temple was crowned with decorative five domes and three rows of kokoshniks, giving a special festive solemnity. The plane of the wall has almost disappeared behind an abundance of cornices, pilasters, semi-columns, architraves and portals. The temple was crowned with decorative five domes and three rows of kokoshniks, giving a special festive solemnity.

The Church of the Sign of the Virgin in Dubrovitsy is considered the pinnacle of the Moscow Baroque. The semicircles of the walls end with a triangular carved pediment, decorated with columns and volutes. The octagonal three-tiered tower has been turned into a stone lace. The church is crowned with a dome with an openwork gilded crown and a through cross. The Church of the Sign of the Virgin in Dubrovitsy is considered the pinnacle of the Moscow Baroque. The semicircles of the walls end with a triangular carved pediment, decorated with columns and volutes. The octagonal three-tiered tower has been turned into a stone lace. The church is crowned with a dome with an openwork gilded crown and a through cross. Church of the Sign of the Virgin in Dubrovitsy Moscow.

Church of the Sign of the Virgin in Dubrovitsy Moscow. Church of the Sign of the Virgin in Dubrovitsy Moscow.

Church of St. Nicholas in Khamovniki. 17th century Moscow. Church of St. Nicholas in Khamovniki. 17th century Moscow. Church in the name of St. Nicholas, erected in one of the true Moscow ancient areas: here in the XVII century. Khamovniki, palace weavers, were settled in the water meadows, which gave the name to the district. They built this unusually painted temple. To enhance the bell ringing, it is cut through with rows of openings, the so-called rumors. The building of the church is a characteristic type of a townsman's church, one of the brightest and best-preserved examples of the "Naryshkin baroque"

Architectural creations of VV Rastrelli In the middle of the 18th century, baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush baroque architecture spread throughout Russia. The brightest creations of architecture were concentrated in the new capital of the Russian state - in St. Petersburg. In the middle of the 18th century, baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush baroque architecture spread throughout Russia. The brightest creations of architecture were concentrated in the new capital of the Russian state - in St. Petersburg. A significant contribution to the development of national architecture was made by Varfolomey Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, an Italian by birth, who was born in France. Having been educated abroad, he then worked only in Russia, which became his second home. A significant contribution to the development of national architecture was made by Varfolomey Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, an Italian by birth, who was born in France. Having been educated abroad, he then worked only in Russia, which became his second home. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir () wrote about the works of the outstanding architect: Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir () wrote about the creations of an outstanding architect: “Count Rastrelli ... a skilled architect. His inventions in decoration are magnificent; “Count Rastrelli… a skilled architect. His inventions in decoration are magnificent;

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

The Cathedral of the Smolny Monastery was ordered to the master by Empress Elizaveta Petrovna. The traditional Russian five domes, embodied in elaborate baroque forms, here organically merged with the main volume of the building. The middle dome of the cathedral is a high two-height dome topped with an onion dome on a light drum. Four corners in the form of high two-story towers, almost pressed close to the central dome, give the five domes an amazing solidity and power. Already after the death of Rastrelli, another outstanding architect - a representative of early classicism Giacomo Quarenghi - every time passing by the Smolny Cathedral respectfully took off his hat and exclaimed: "This is a church!" The Cathedral of the Smolny Monastery was ordered to the master by Empress Elizaveta Petrovna. The traditional Russian five domes, embodied in elaborate baroque forms, here organically merged with the main volume of the building. The middle dome of the cathedral is a high two-height dome topped with an onion dome on a light drum. Four corners in the form of high two-story towers, almost pressed close to the central dome, give the five domes an amazing solidity and power. Already after the death of Rastrelli, another outstanding architect - a representative of early classicism Giacomo Quarenghi - every time passing by the Smolny Cathedral respectfully took off his hat and exclaimed: "This is a church!" V.V. Rastrelli. Cathedral of the Smolny Monastery Saint Petersburg. V.V. Rastrelli. Cathedral of the Smolny Monastery Saint Petersburg.

The most brilliant creation of Rastrelli, decorating the center of the city on the Neva, is the Winter Palace, which today houses the world-famous Hermitage Museum of Art. The architecture of the Winter Palace is a real hymn to the era of Russian baroque. The facade overlooking the Neva embankment was designed for viewing from afar. The facade overlooking the Admiralty is oriented towards the front Palace Square facing the city. The palace had more than 1050 premises and rooms, 1886 doors, 1945 windows and 177 stairs. The total length of the facades of the palace is 210 m! The most brilliant creation of Rastrelli, decorating the center of the city on the Neva, is the Winter Palace, which today houses the world-famous Hermitage Museum of Art. The architecture of the Winter Palace is a real hymn to the era of Russian baroque. The facade overlooking the Neva embankment was designed for viewing from afar. The facade overlooking the Admiralty is oriented towards the front Palace Square facing the city. The palace had more than 1050 premises and rooms, 1886 doors, 1945 windows and 177 stairs. The total length of the facades of the palace is 210 m!

V.V. Rastrelli. Embassy stairs in the Winter Palace - 1762 Saint Petersburg. V.V. Rastrelli. Embassy stairs in the Winter Palace - 1762 Saint Petersburg. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery, they climbed the dazzlingly beautiful Embassy Stairs from the top platform of which opened the entrance to the state rooms of the palace. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery, they climbed the dazzlingly beautiful Embassy Stairs from the top platform of which opened the entrance to the state rooms of the palace. Questions and tasks 1. What are the characteristic features of Western European Baroque architecture? 2. What, in your opinion, distinguished Baroque buildings from the works of Renaissance architects? 3. What masterpieces of the Naryshkin baroque could you tell in more detail? Prepare reports on the topic: 1. "Lorenzo Bernini -" the genius of the Baroque "; 2. "Naryshkin baroque in Moscow"; 3. "Petersburg V.V. Rastrelli"

BAROQUE ARCHITECTURE

Characteristic features of baroque architecture

The abundance of magnificent decorative ornaments, emphasized theatricality, distortion of classical proportions, optical illusion, the predominance of complex curvilinear forms really created a special, unique look of Baroque architectural structures. The desire to surprise, delight and even stun the viewer became the main task of the architects.

The most significant changes affected the design of the facades of buildings. The sizes of doors, windows began to exceed any reasonable limits. The pediments and architraves acquired rich decorations in the form of bizarre curls, garlands of leaves, herbs and human figures. Not a trace of calm clarity remained.

The favorite shape of the Baroque is the oval, giving some uncertainty to the overall shape.

Characteristic features of the formation and development of the Baroque:

In Italy, the new style made itself known already at the end of the 16th and beginning of the 17th century.

In Belgium, Austria and southern Germany - in the 18th century.

In Russia - closer to the middle of the 18th century.

Holland, the Scandinavian countries, Northern Germany remained indifferent to the Baroque.

In France, baroque was present in the interior decoration of buildings.

In England, this style appeared in a mixed form (“baroque classicism”).

In Spain and Portugal, Moorish and Gothic styles were combined in an amazing way with the Baroque.

Masterpieces of the Italian Baroque. Lorenzo Bernini

Italy is rightfully considered the birthplace of the architectural Baroque, and Rome is the capital.

The characteristic features of the Italian Baroque were vividly embodied in the work of Francesco Borromini and Lorenzo Bernini.

a) Francesco Borromini (1599-1667): in creating curvilinear, curving surfaces and whimsical geometric combinations, he knew no equal. The expressiveness of architectural forms, the desire for splendor and theatricality, the contrast of scales, the play of light and shadow - distinguished his creative style of the architect. The Church of Sant'Agnese on Piazza Navona in Rome is one of the best creations of the architect.

b) Lorenzo Bernini (1598-1680): rightly called the "genius of the Baroque". A talented architect, sculptor, painter, comedian, director of enchanting performances, actor, creator of the most complex theatrical scenery, became famous at the age of 25, worked on the formation of the architectural appearance of Rome, was struck by the grandiosity of the plans and the courage to implement them, the unusual capacity for work and the fine artistic taste of the great master .

The main architectural structure is the design of the square in front of St. Peter's Cathedral (p. 30).