Classicism in Russian literature briefly. Classicism as a literary movement
- ...maybe our own Platonov
And the quick-witted Newtons
Russian land gives birth.
M.V. Lomonosov
Russian writers of the 18th century
| Writer's name | Years of life | The most significant works |
| PROKOPOVICH Feofan | 1681-1736 | “Rhetoric”, “Poetics”, “A word of praise about the Russian fleet” |
| KANTEMIR Antioch Dmitrievich | 1708-1744 | “To your own mind” (“On those who blaspheme the teaching”) |
| TREDIAKOVSKY Vasily Kirillovich | 1703-1768 | “Tilemakhida”, “A new and short way to compose Russian poetry” |
| LOMONOSOV Mikhail Vasilievich | 1711-1765 |
“Ode on the capture of Khotin”, “Ode on the day of accession...”, “Letter on the benefits of glass”, “Letter on the benefits of church books”, “Russian Grammar”, “Rhetoric” and many others |
| SUMAROKOV Alexander Petrovich | 1717-1777 | "Dimitri the Pretender", "Mstislav", "Semira" |
| KNYAZHNIN Yakov Borisovich | 1740-1791 | "Vadim Novgorodsky", "Vladimir and Yaropolk" |
| FONVIZIN Denis Ivanovich | 1745-1792 | “Brigadier”, “Undergrown”, “Fox-executor”, “Message to my servants” |
| DERZHAVIN Gavrila Romanovich | 1743-1816 | “To Rulers and Judges”, “Monument”, “Felitsa”, “God”, “Waterfall” |
| RADISCHEV Alexander Nikolaevich | 1749-1802 | “Journey from St. Petersburg to Moscow”, “Liberty” |
There was that troubled time
When Russia is young,
Straining strength in struggles,
She dated the genius of Peter.
A.S. Pushkin
Old Russian literature left a rich heritage, which, however, was mostly unknown to the 18th century, because most monuments ancient literature was discovered and published at the end of the 18th and 19th centuries(for example, “The Tale of Igor’s Campaign”). In this regard, in the 18th century, Russian literature was based on the Bible and European literary traditions.
Monument to Peter the Great (" Bronze Horseman"), sculptor Matteo Falcone
The 18th century is age of enlightenment in Europe and Russia. In one century, Russian literature travels a long way in its development. The ideological basis and prerequisites for this development were prepared by economic, political and cultural reforms Peter the Great(reigned 1682 - 1725), thanks to which backward Rus' turned into a powerful Russian Empire. Since the 18th century, Russian society has been studying world experience in all areas of life: in politics, economics, education, science, and art. And if until the 18th century Russian literature developed in isolation from European literature, now it is mastering the achievements of Western literatures. Thanks to the activities of the companion Peter Feofan Prokopovich, poets Antioch Cantemir And Vasily Trediakovsky, encyclopedist scientist Mikhail Lomonosov works on the theory and history of world literature are being created, foreign works are being translated, and Russian versification is being reformed. This is how things began to happen the idea of Russian national literature and Russian literary language.
Russian poetry, which emerged in the 17th century, was based on the syllabic system, which is why Russian poems (verses) did not sound entirely harmonious. In the 18th century M.V. Lomonosov and V.K. Trediakovsky is being developed syllabic-tonic system of versification, which led to the intensive development of poetry, and the poets of the 18th century relied on Trediakovsky’s treatise “A New and Brief Method of Composing Russian Poems” and Lomonosov’s “Letter on the Rules of Russian Poetry.” The birth of Russian classicism is also associated with the names of these two prominent scientists and poets.
Classicism(from the Latin classicus - exemplary) is a movement in the art and literature of Europe and Russia, which is characterized by strict adherence to creative norms and rules And focus on antique designs. Classicism arose in Italy in the 17th century, and as a movement developed first in France and then in other European countries. Nicolas Boileau is considered the creator of classicism. In Russia, classicism originated in the 1730s. in the works of Antioch Dmitrievich Kantemir (Russian poet, son of the Moldavian ruler), Vasily Kirillovich Trediakovsky and Mikhail Vasilyevich Lomonosov. The work of most Russian writers of the 18th century is associated with classicism.
Artistic principles of classicism are like that.
1.
A writer (artist) must depict life in ideal images(ideally positive or “ideally” negative).
2.
In works of classicism good and evil, high and low, beautiful and ugly, tragic and comic are strictly separated.
3.
Heroes of classic works clearly divided into positive and negative, in this case, the surnames of the characters, as a rule, are “talking”, that is, they contain characteristics of the hero.
4.
Genres in classicism are also divided into “high” and “low”:
| High genres | Low genres |
| Tragedy | Comedy |
| Oh yeah | Fable |
| Epic | Satire |
5. Dramatic works were subject to the rule of three unities - time, place and action: the action took place over the course of one day in the same place and was not complicated by side episodes. Wherein dramatic work necessarily consisted of five acts (actions).
Genres are becoming a thing of the past ancient Russian literature. From now on, Russian writers use genre system of Europe, which still exists today.
M.V. Lomonosov
The creator of the Russian ode was Mikhail Vasilyevich Lomonosov.
A.P. Sumarokov
The creator of Russian tragedy is Alexander Petrovich Sumarokov. His patriotic plays were dedicated to the most notable events of Russian history. The traditions laid down by Sumarokov were continued by playwright Yakov Borisovich Knyazhnin.
HELL. Cantemir
The creator of Russian satire (satirical poem) is Antioch Dmitrievich Kantemir.
DI. Fonvizin
The creator of Russian comedy is Denis Ivanovich Fonvizin, thanks to which satire became educational. Its traditions were continued at the end of the 18th century by A.N. Radishchev, as well as comedian and fabulist I.A. Krylov.
A crushing blow to the system of Russian classicism was dealt by Gavrila Romanovich Derzhavin, who began as a classicist poet, but broke in the 1770s. canons (creative laws) of classicism. He mixed high and low, civic pathos and satire in his works.
Since the 1780s the leading place in the literary process is occupied by a new direction - sentimentalism (see below), in line with which M.N. worked. Muravyov, N.A. Lvov, V.V. Kapnist, I.I. Dmitriev, A.N. Radishchev, N.M. Karamzin.
The first Russian newspaper "Vedomosti"; number dated June 18, 1711
Beginning to play a significant role in the development of literature journalism. Until the 18th century, there were no newspapers or magazines in Russia. The first Russian newspaper called "Vedomosti" Peter the Great released it in 1703.
In the second half of the century, literary magazines also appeared: "All sorts of things" (publisher – Catherine II), "Drone", "Painter" (publisher N.I. Novikov), "Hell Mail" (publisher F.A. Emin). The traditions they established were continued by the publishers Karamzin and Krylov.
In general, the 18th century is an era of rapid development of Russian literature, an era of universal enlightenment and the cult of science. In the 18th century, the foundation was laid that predetermined the beginning of the “golden age” of Russian literature in the 19th century.
Classicism became the first full-fledged literary movement, and its influence practically did not affect prose: all theories of classicism were partly devoted to poetry, but mainly to drama. This trend emerged in France in the 16th century and flourished about a century later.
The history of classicism
The emergence of classicism was due to the era of absolutism in Europe, when a person was considered just a servant of his state. main idea classicism - civil service, the key concept of classicism is the concept of duty. Accordingly, the key conflict of all classic works is the conflict of passion and reason, feelings and duty: negative heroes live obeying their emotions, and positive ones live only by reason, and therefore always turn out to be winners. This triumph of reason was due to the philosophical theory of rationalism, which was proposed by Rene Descartes: I think, therefore I exist. He wrote that not only man is reasonable, but also all living things in general: reason was given to us by God.
Features of classicism in literature
The founders of classicism carefully studied the history of world literature and decided for themselves that it was most intelligently organized literary process V Ancient Greece. It was the ancient rules that they decided to imitate. In particular, it was borrowed from the ancient theater rule of three unities: unity of time (more than a day cannot pass from the beginning to the end of the play), unity of place (everything happens in one place) and unity of action (there should be only one storyline).
Another technique borrowed from the ancient tradition was the use masked heroes- stable roles that move from play to play. In typical classic comedies, we are always talking about giving away a girl, so the masks there are as follows: the mistress (the bride herself), the soubrette (her maid-friend, confidante), a stupid father, at least three suitors (one of them is necessarily positive, i.e. e. hero-lover) and hero-reasoner (the main positive character, usually appears at the end). At the end of the comedy, some kind of intrigue is required, as a result of which the girl will marry a positive groom.
Classical comedy composition must be very clear must contain five acts: exposition, plot, plot development, climax and resolution.
There was a reception unexpected ending(or deus ex machina) - the appearance of a god from the machine who puts everything in its place. In the Russian tradition, such heroes often turned out to be the state. Also used taking catharsis- purification through compassion, when sympathizing with those caught in difficult situation negative characters, the reader had to cleanse himself spiritually.
Classicism in Russian literature
The principles of classicism were brought to Russia by A.P. Sumarokov. In 1747, he published two treatises - Epistola on poetry and Epistola on the Russian language, where he sets out his views on poetry. In fact, these epistles were translated from French, prephrasing for Russia Nicolas Boileau's treatise on Poetic Art. Sumarokov predetermines that main theme Russian classicism will become a social theme, dedicated to the interaction of people with society.
Later, a circle of aspiring playwrights appeared, led by I. Elagin and theater theorist V. Lukin, who proposed a new literary idea - the so-called. declination theory. Its meaning is that you just need to clearly translate Western comedy into Russian, replacing all the names there. Many similar plays appeared, but in general the idea was not very implemented. The main significance of Elagin’s circle was that it was there that D.I.’s dramatic talent first manifested itself. Fonvizin, who wrote the comedy
In literature, classicism originated and spread in France in the 17th century. Nicolas Boileau is considered a theorist of classicism, who formed the basic principles of the style in the article “Poetic Art.” The name comes from the Latin “classicus” - exemplary, which emphasizes the artistic basis of the style - the images and forms of antiquity, to which they began to have a special interest at the end of the Renaissance. The emergence of classicism is associated with the formation of the principles of a centralized state and the ideas of “enlightened” absolutism in it.
Classicism glorifies the concept of reason, believing that only with the help of the mind can one obtain and organize a picture of the world. Therefore, the main thing in a work becomes its idea (that is, the main thought and form of the work must be in harmony), and the main thing in the conflict of reason and feelings is reason and duty.
The basic principles of classicism, characteristic of both foreign and domestic literature:
- Forms and images from ancient (ancient Greek and Roman) literature: tragedy, ode, comedy, epic, poetic odic and satirical forms.
- A clear division of genres into “high” and “low”. The “high” ones include ode, tragedy and epic, the “low” ones, as a rule, are funny - comedy, satire, fable.
- A distinctive division of heroes into good and bad.
- Compliance with the principle of the trinity of time, place, action.
Classicism in Russian literature
XVIII century
In Russia, classicism appeared much later than in European countries, since it was “imported” along with European works and enlightenment. The existence of style on Russian soil is usually placed within the following framework:
1. The end of the 1720s, the literature of Peter the Great’s time, secular literature, different from the church literature that had previously dominated in Russia.
The style began to develop first in translated works, then in original works. The names of A.D. Kantemir, A.P. Sumarokov and V.K. Trediakovsky (reformers and developers of the literary language, they worked on poetic forms - on odes and satires) are associated with the development of the Russian classical tradition.
- 1730-1770 - the heyday of the style and its evolution. Associated with the name of M.V. Lomonosov, who wrote tragedies, odes, and poems.
- The last quarter of the 18th century saw the emergence of sentimentalism and the beginning of the crisis of classicism. The time of late classicism is associated with the name of D. I. Fonvizin, the author of tragedies, dramas and comedies; G. R. Derzhavin (poetic forms), A. N. Radishchev (prose and poetic works).
(A. N. Radishchev, D. I. Fonvizin, P. Ya. Chaadaev)
D. I. Fonvizin and A. N. Radishchev became not only developers, but also destroyers of the stylistic unity of classicism: Fonvizin in comedies violates the principle of the trinity, introducing ambiguity in the assessment of heroes. Radishchev becomes the harbinger and developer of sentimentalism, providing psychologism to the narrative, rejecting its conventions.
(Representatives of classicism)
19th century
It is believed that classicism existed by inertia until the 1820s, but during late classicism the works created within its framework were classical only formally, or its principles were used deliberately to create a comic effect.
Russian classicism of the early 19th century is moving away from its breakthrough features: affirmation of the primacy of reason, civic pathos, opposition to the arbitrariness of religion, against its oppression over reason, criticism of the monarchy.
Classicism in foreign literature
Initial classicism was based on the theoretical developments of ancient authors - Aristotle and Horace (“Poetics” and “Epistle to the Piso”).
In European literature, with identical principles, the style ends its existence in the 1720s. Representatives of classicism in France: Francois Malherbe (poetic works, reformation of poetic language), J. Lafontaine ( satirical works, fable), J.-B. Moliere (comedy), Voltaire (drama), J.-J. Rousseau (late classicist prose writer, harbinger of sentimentalism).
There are two stages in the development of European classicism:
- The development and flourishing of the monarchy, contributing to the positive development of the economy, science and culture. At this stage, representatives of classicism see their task as glorifying the monarch, establishing her inviolability (Francois Malherbe, Pierre Corneille, leading genres - ode, poem, epic).
- The crisis of the monarchy, the discovery of shortcomings in the political system. Writers do not glorify, but rather criticize the monarchy. (J. Lafontaine, J.-B. Moliere, Voltaire, leading genres - comedy, satire, epigram).
Without taking into account the nationally determined humanistic ideology and its originality, it is impossible to understand and historically specifically explain the most important moments of aesthetic development literature XVIII V. The influence of this ideology first of all affected artistic practice major poets of Russian classicism.
Classicism as a specific movement was formed first of all in France in the 17th century. Using contemporary achievements of philosophical thought, French classicism freed man from the influence of religious and church morality, putting forward human reason as the supreme and indisputable authority.
In this he relied on the experience of the development of mankind in its constant desire to establish man as highest value being, to defend its rights, to define everything truly beautiful in it. Thus, classicism, acting as the heir of antiquity, in the art of which, first of all, it found the ideal expression of human capabilities, spiritually united humanity, and developed a common language of art.
In this way, the conditions were prepared and the possibility of expressing in this language original ideals, the individual experience of the historical life of each individual nation, uniquely national solutions to universal human problems, the disclosure of the ideal of man in its concrete manifestation, in living social practice, in its social, national and historical conditioning.
Russian classicism, entering the historical arena a century later, was a necessary stage in the development of Russian literature as a pan-European literature. It responded to the need to create national art and therefore developed with extraordinary intensity.
Classicism created multi-genre art, but it asserted its existence only through the poetic word. Russian poetry of the 18th century. and acted within the framework of classicism. Its rapid development was a historically natural phenomenon. Prose will begin to develop later - from the 1760s. and on other aesthetic grounds. Through the efforts of several generations of poets, many genres of lyrical and satirical poetry were developed.
The classicist poets (Lomonosov, Sumarokov, Kheraskov, Knyazhnin) approved the genre of tragedy, thereby preparing the conditions for the organization and successful activities of the Russian theater: the Russian theater, created in 1756, began its work under the leadership of Sumarokov. Classicism, having begun the creation of national literature, contributed to the development of ideals of citizenship, formed the idea of a heroic character, highly raised poetic culture, included the artistic experience of ancient and European art in national literature, and showed the ability of poetry to analytically reveal the spiritual world of man.
From the moment of its formation in France, classicism theoretically denied personality in both the artist and the writer. The spirit of discipline and the suppression of the artist’s subjective will therefore necessitated the creation of normative poetics.
She subjugated the consciousness of the writer and artist strict rules, defining harsh regulation creative process. The fact that classicism in Russia was established in an era when the problems of the Renaissance were being intensively solved created conditions for aesthetic development that were unique in complexity and originality.
Renaissance humanism collided with the anti-individualistic philosophy of the new direction. The turbulent events of the era and the humanism of the Renaissance nourished the personal principle in literature, shaped the ideals of poets, and the rationalistic system of regulations and rules (in Russian classicism formulated in the epistle “On Poetry” by A.P. Sumarokov) did not allow the author’s personality to manifest itself in the work. Thus, Russian classicism began its history with a sharply defined contradiction. This contradiction gave rise to the peculiarities of Russian classicism as a national version of the pan-European style. Science has long noted such features of its originality as connections with folklore, the development of a satirical direction and satirical genres.
But this contradiction also gave rise to another important phenomenon - deviations in the actual practice of poets from the aesthetic normative code, which appeared under the pressure of living reality.
For example, odic creativity also deviated from the rules. genius poet Russian classicism of Lomonosov, since the odes turned out to be an expression of the author’s personality.
Digressions do not at all mean the absence of a historically logical, natural connection and dependence of the odes on the style of classicism. But addiction did not stop Lomonosov from boldly breaking many “rules” and creating a fundamentally new art form ode that suited the needs historical era and opened up the possibility of poetic embodiment of specific phenomena in the political and national life of Russia.
Lomonosov turned out to be able to poetically summarize the experience of the nation at the boundary of its world-historical existence that it had conquered. In an effort to capture the enormity and vastness of the Russian state and power people's Russia, he created a geographical image of Russia.
This image of Russia on its grandiose scale from north to south - from the Neva to the Caucasus, and from west to east - from the Dnieper and Volga to China (Hina) carries a powerful charge of emotional energy, conveying the patriotism of the Russian person, his love, pride and admiration for his homeland. Lomonosov's poetry contributed to the development of self-awareness of the Russian people. Lomonosov’s image of Russia was adopted by the subsequent poetic tradition (see Batyushkov’s poem “Crossing the Rhine” and Pushkin’s “Slanderers of Russia”).
Lomonosov, drawing on the artistic experience of mankind, wrote deeply national, original odes, expressing the spirit of a rising nation. The pathos of his poetry was the idea of affirming the greatness and power of Russia, the youth, energy and creative activity of a nation that believed in its strength and its historical vocation. The idea of approval was born in the process of creative explanation and generalization of experience, the real practice of “Russian sons”.
The poetry created by Lomonosov existed next to the satirical movement, the founder of which was Kantemir. The vitality of Lomonosov's direction was confirmed by the subsequent history of Russian poetry of the 18th–19th centuries.
History of Russian literature: in 4 volumes / Edited by N.I. Prutskov and others - L., 1980-1983.
St. Petersburg State University of Culture and Arts
Faculty of Museum Studies and Tourism
Extramural
Test task
By subject: History of St. Petersburg
On the topic of: Russian classicism, its formation
and evolution
Performed:
Student of group No. 203 A/z
Shabanova N.V.
Checked:
Alekseeva N.A.
Saint Petersburg
I. Introduction……………………………………………………………3
II. Classicism as a system of international artistic culture. Prerequisites for the emergence and development of classicism. Evolution of style………………………………………………………4
1. Classicism as a system of international artistic culture………………………………………………………...4
2. Prerequisites for the emergence and development of classicism………………7
3. Evolution of style…………………………………………………...8
III. Classicism in St. Petersburg in the table……………………………11
IV. Conclusion…………………………………………………………….12
V. List of references…………………………………13
I. Introduction.
The works of Russian classicism constitute not only the most important chapter in the history of Russian and European architecture, but also our living artistic heritage. This legacy lives on not as a museum treasure, but as an essential element of a modern city. To the buildings and ensembles created in the 18th and early XIX century, it is almost impossible to name the architectural monuments - they so firmly preserve creative freshness, free from signs of old age.
The construction of a new capital for the 18th century was not only a huge political, military and national economic enterprise, but also a great national cause, in the same sense in which in the 16th century the national cause of the Russian people was the creation and strengthening of Moscow.
II . Classicism as a system of international artistic culture . Prerequisites for the emergence and development of classicism. Evolution of style.
1. Classicism as a system of international artistic culture.
Without any visible struggle or controversy, public tastes changed in Russia. In five to seven years, Russian Baroque as the dominant style was replaced by classicism; the end of the 1750s was still the heyday of the first, the mid-1760s was already the beginning of the widespread spread of the second. Baroque left without reaching the stage of decline, without wasting its artistic potential.
Classicism was accepted as a system of international artistic culture, within the framework of which a national version of the style developed. The centuries-long era of cultural loneliness of Russian architecture is over.
Among the reasons that accelerated the establishment of classicism in Russia, in addition to the enthusiasm of the educated layer of the Russian nobility for rational educational utopias, there were also practical reasons related to the expansion of the range of tasks of architecture. The development of industry and the growth of cities again, as in Peter’s time, brought to the fore the problems of urban planning and the multiplying types of buildings needed for the increasingly complex city life. But for shopping arcades or public places, the genre of major-festive architecture is inappropriate, beyond which Baroque could not go beyond; the splendor of the palace cannot be extended to the entire city. The artistic language of classicism, unlike baroque, was universal. It could be used in the construction of the most impressive palace buildings and for “philistine” dwellings, right down to modest wooden houses on the outskirts.
Changes in the range of architectural forms affected, first of all, decor. The relationship of the building to the urban space was interpreted in a new way. However, classicism did not offer any fundamentally new schemes. Various functions The few variants of simple plans already used by the Russian Baroque continued to serve.
The important thing was that along with the new style, new methods of creativity were finally established. The harmonization of a work of architecture, its parts and the whole was no longer carried out with “size-1 and the base” and not on scaffolding (where Rastrelli’s employees locally sculpted or cut decorative elements from wood), but while working on a design drawing. Thus, the division of labor was finally sealed, replacing the former “artelism”. The idea and development of the form that carries the image became the work of one architect, acting as the author (although this was not quickly accepted outside the profession, which is why so many questions remain related to the authorship of works of early classicism, including the largest ones, like Pashkov Razumovsky's house and palace in Moscow or the Engineering Castle in St. Petersburg).
For the architectural form, predetermined in all details by the project, the models were no longer so much buildings as their images, analogues of the design drawing. The norms of classicism were reduced to a strict system. All this together made it possible to fully and accurately master the style from drawings and texts of theoretical treatises, which was almost impossible for the Baroque with its capricious individuality. Classicism therefore easily spread to the provinces. It became the style not only of monumental buildings, but also of the entire urban fabric. The latter turned out to be possible because classicism created a hierarchy of forms that made it possible to subordinate any structures to its norms, while expressing the place of each in the social structure.
There were few talented and skillful architects; they could not design all the buildings in many cities. The general character and level of architectural solutions was maintained through the use of exemplary projects carried out by major masters. They were engraved and sent to all cities of Russia.
Design has become separated from construction; this expanded the influence on the architecture of professional literature and bookishness in general. The role of words in the formation of an architectural image has increased. Its connection with historical and literary images ensured general intelligibility for well-read people (the enlightened layer of the nobility was united by a common circle of reading and book knowledge).
This made the style equally consistent with the intentions of the absolutist government and the ideas of its enlightened opposition, the tastes of the richest, most powerful nobles and the poor nobles with limited means
St. Petersburg classicism was, first of all, the style of official “state” culture. Its norms were based on the way of life of the imperial court and the great nobility; they were prescribed to state institutions. Here the influence of folk “outside style” culture on professional activity architects are not noticeable.
St. Petersburg strict classicism emerged as a completed version of the style in the 1780s. I.E. Starov (1745-1808) and Giacomo Quarenghi (1744-1817) were his typical masters. Their buildings were distinguished by clarity of compositional technique, conciseness of volumes, perfect harmony of proportions within the classicist canon, and subtle depiction of details. The images of the buildings they built are full of manly strength and calm dignity.
The Tauride Palace created by Starov (1783-1789) is sternly solemn. Having rejected the enfilade systems of the Baroque, the master, in accordance with the rationalistic logic of classicism, united the premises into functional groups. The method of spatial organization of the whole, where developed side wings, connected by transitions with a powerful central volume, form a deep front courtyard, comes from Palladian villas. The location of the main halls highlights the deep axis of the composition, however, the gigantic Great Gallery is extended parallel to the facade, which removes the elementary simplicity of the contrast.
The facades are freed from small relief dividing the wall into panels and blades - the architect no longer follows the examples of French architecture of the mid-century, as St. Petersburg masters of the time did in the transition from Baroque to Classicism (and as Starov himself did in early works). For the first time in Russian architecture, the smooth white columns of the decisively projecting austere Doric porticos actually carry entablatures. They stand out against the background of intensely colored smooth walls, cut through by openings without platbands. The contrast highlights the tectonics of the plastered brick wall. The “four-eighteen” columns in the double colonnades of the Grand Gallery had Greco-Ionic capitals (later replaced by L. Russka with the usual Roman ones) - one of the first examples of Russian classicism turning to the Hellenic heritage. Derzhavin wrote about the building of the Tauride Palace: “ancient elegant taste is its dignity; it is simple but majestic.” The palace became for contemporaries the ideal standard of a large building - St. Petersburg, Russian and at the same time European. His drawings were enthusiastically appreciated by Napoleon, who especially noted the Grand Gallery and the winter garden, as reported by Percier and Fontaine in the text of the book “The Best Royal Palaces of the World” they published.
2. Prerequisites for the emergence and development of classicism.
In the 1760s, a change in architectural and artistic style occurred in Russia. Decorative Baroque, which reached its apogee in the work of the greatest representative of this trend - the architect F.B. Rastrelli, gave way to classicism, which quickly established itself in St. Petersburg and Moscow, and then spread throughout the country. Classicism (from Latin - exemplary) is an artistic style that develops through the creative borrowing of forms, compositions and examples of art from the ancient world and the Italian Renaissance.
The architecture of classicism is characterized by geometrically correct plans, logic and balance of symmetrical compositions, strict harmony of proportions and the widespread use of the order tectonic system. The decorative style of the Baroque ceased to correspond to the economic capabilities of the circle of customers, which was increasingly expanding to include small landed nobles and merchants. It also ceased to respond to changing aesthetic views.
The development of architecture is determined by economic and social factors. The country's economy led to the formation of an extensive domestic market and increased foreign trade, which contributed to the productivity of landowners' farms, crafts and industrial production. As a result, the need arose for the construction of government-owned and privately owned structures, often of national importance. These included commercial buildings: guest courtyards, markets, fairgrounds, contract houses, shops, and various warehouse buildings. As well as unique public buildings – stock exchanges and banks.
Many government administrative buildings began to be built in cities: governor's houses, hospitals, prison castles, barracks for military garrisons. Culture and education developed intensively, which necessitated the construction of many buildings, educational institutions, various academies, institutes - boarding houses for noble and middle-class children, theaters and libraries. Cities grew rapidly, primarily due to estate-type residential development. In the conditions of enormous construction taking place in cities and estates, increased construction needs, architectural techniques and busy forms of Baroque, exquisitely complex and magnificent, turned out to be unacceptable, since the decorativeness of this style required significant material costs and a large number of qualified craftsmen of various specialties. Based on the above, there was an urgent need to revise the fundamentals of architecture. Thus, deep domestic preconditions of a material and ideological nature determined the crisis of the Baroque style, its extinction and led in Russia to the search for economic and realistic architecture. Therefore, it was the classical architecture of antiquity, expedient, simple and clear and at the same time expressive, that served as a standard of beauty and became a kind of ideal, the basis of classicism emerging in Russia.
3. Evolution of style.
The evolution of the classicism style in St. Petersburg architecture is divided into three periods: 1760-1780 - early classicism, 1780-1800 - mature or strict classicism, 1800-1830 - high classicism or Empire style.
The most striking works of early St. Petersburg classicism, which still retained echoes of the Baroque, were created by Valen-Delamot or with his guiding participation (the building of the Academy of Arts, Gostiny Dvor, the Small Hermitage, the New Holland Arch), Antonis Rinaldi (Marble Palace), Felten (southern Pavilion of the Small Hermitage, Old Hermitage). For the most part, these are grandiose-scale structures, marked by clarity of volumes, horizontal and vertical divisions, and restrained sculptural decoration.
Mature or strict classicism in the architecture of St. Petersburg is represented by the works of Ivan Starov and Giacomo Quarenghi. The ensemble of the Tauride Palace, created by I.E. Starov is one of the peaks in the development of classicism. The architect was ahead of his time, bringing special purity, laconism of forms and poetic spirituality to the architecture of Russian classicism. The greatest master of high classicism, a profound exponent of Palladio's ideas, is D. Quarenghi, whose works dominate the artistic and compositional structure of the central districts of the city. Between 1782 and 1814, in thirty-two years, according to the designs of D. Quarenghi, such buildings were erected as the building of the Academy of Sciences, which became one of the main architectural accents of the Spit of Vasilyevsky Island and the entire right bank of the Neva; silver rows, Cabinet buildings and the Catherine Institute, which enhanced the expressiveness of the panorama of Nevsky Prospekt. The classical harmony of the ensemble of embankments on the left bank of the Neva was also largely determined by the harmony of the Kvarengie buildings - the Saltykov House, the Hermitage Theater, the buildings of the Foreign Collegium, and the English Church. The Assignation Bank, the Yusupov Palace on the Fontanka, the Horse Guards Manege, the Main Pharmacy, the Mariinsky Hospital, and finally, the Smolny Institute and the Narva Triumphal Gate - each of these works marks an exemplary solution to a specific functional, urban planning and artistic task, marking new stage development of the urban organism as a whole.
Late XVIII century is marked by the construction, designed by Vasily Bazhenov and Vincenzo Brenna, of the grandiose Mikhailovsky (Engineers) Castle, remarkable for the romantic complexity of its design and its extraordinary role in the volumetric-spatial composition of the gigantic architectural complex developed on the banks of the Neva. Among the masters of mature classicism it is necessary to name the architects Nikolai Lvov, Egor Sokolov, Fyodor Demertsov, whose buildings even in our time determine the scale and character of the surrounding buildings.
The period of high classicism, or Empire style, was marked by the appearance of buildings that predetermined the development of adjacent spaces, the formation of squares and more significant urban developments. An unconditional priority place in this direction is occupied by three architects: Andrei Voronikhin, Andrei Zakharov and Thomas de Thomon. Solving the local problem of rebuilding the Main Admiralty building, subject to the preservation of the tower with a spire built by Ivan Korobov, Andrei Zakharov created a brilliant work that became one of the main architectural images of St. Petersburg and became one of the main urban planning dominants of the city. Inspired by the idea of the ancient temple of the peripterus, the architect Thomas de Thomon on the spit of Vasilyevsky Island created the Exchange ensemble with rostral columns. The Thomas de Thomon Exchange figuratively began the right bank ensembles of the Bolshaya Neva. The Mining Institute, built by Andrei Voronikhin in the same years, completed them near the confluence of the river and the bay. The twelve-column portico of the Mining Institute with paired sculptural troupes became a kind of propylaea of “classical” St. Petersburg. The features of strict classicism are most fully embodied by A.N. Voronikhin in the Kazan Cathedral. The colossal four-row colonnade of the Corinthian order forms with its structure a square that is part of the ensemble of Nevsky Prospekt.
The victorious repulse of the invasion of Napoleonic armies in 1812 and the liberation campaign in Europe, which ended three years later, were embodied in a new surge in urban planning work in the capital of powerful Russia. To supervise the planned and growing construction, a “Committee of Buildings and Hydraulic Works” was established in 1816, which operated for about twenty years. The Committee included architects Carl Rossi and Vasily Stasov. The Committee was headed by the outstanding engineer Augustin Betancourt. The activities of the Committee were of exceptional importance for the formation in the central regions of complexes consisting of a system of interconnected ensembles. The leading role in this grandiose work undoubtedly belongs to Carlo Rossi, unsurpassed master Petersburg Empire style. From 1816 to 1836 he created, laid the foundation or determined the stylistic character of thirteen squares and twelve major streets. According to Rossi's designs, a palace and park ensemble was created on Elagin Island, the Mikhailovsky Palace (now the State Russian Museum), the associated Mikhailovskaya Square (Arts Square) and Mikhailovskaya Street, which connected the palace to Nevsky Prospekt. Extended by Rossi to the Field of Mars, Sadovaya Street separated the ensemble of the Mikhailovsky Palace from the Engineering Castle and became a connecting route between the main city highway - Nevsky and Neva. Rossi applied the principle of forming squares associated with a gigantic public building during the construction of the Alexandria Theater, in front of which he built Theater Square (Ostrovsky Square). From the theater he laid out the famous street, which was later named after the architect, and completed it with the bridgehead of Chernysheva Square (Lomonosov Square) on the Fontanka embankment. Rossi completed Senate Square (Dekabristov Square), with the solemn formation of a double facade of the buildings of the highest state institutions of Russia - the Senate and the Synod, connected by a triumphal arch. Best qualities Rossi, an urban planner and creator of unique buildings full of deep ideological significance, marked by originality of design, truly monumental, synthesizing architecture and sculpture, is the building of the General Staff with a triumphal arch and ministries, which gave Palace Square a regal grandeur that corresponds to its purpose as the center of the capital of a great empire.
Vasily Stasov developed the aesthetic and urban planning principles of high classicism in his work. He owns the projects of the Pavlovsk barracks, which completed the ensembles of the Champ de Mars, Trinity (Izmailovsky) and Spaso-Preobrazhensky cathedrals, included in the chain of citywide and silhouette dominants of the city, the Moscow triumphal gates. The last major master of the St. Petersburg Empire style and the harbinger of eclecticism was Aposte Montferrand - the author of the granite Alexander Pillar on Palace Square, the impressive house of Lobanov-Rostovsky and the largest cathedral in Russia in the name of St. Isaac of Dolmatsky, which highlighted St. Isaac's Square in the structure of the city.
III. Classicism in St. Petersburg in the table.
| Architect |
His activities |
| Antonio Rinaldi |
The Bolshoi Theater on Theater Square, garden and park and palace ensembles of Tsarskoe Selo, Orienbaum (Chinese Palace, Rolling Hill, Palace of Peter III), Catherine's Cathedral in Yamburg, Marble Palace (Palace Embankment, 6), Prince Vladimir Cathedral, St. Isaac's Cathedral, row buildings on Bolshoy Prospekt P.S. |
| Jean-Baptiste Vallin-Delamott |
Small Hermitage on Nevsky Prospekt, 32-34 - Church of St. Catherine, Academy of Arts on Universitetskaya Embankment, 17, Razumovsky Palace on Moika, 48. |
| Yu.M. Felten |
Churches: St. Catherine, St. Anne of Armenia. The Old Hermitage and transition to the Hermitage Theater. Church: John the Baptist ( Kamenny Island) Fence of the Summer Garden. Participated in the construction of granite embankments of the Neva. One of the buildings of the Orphanage near Smolny. |
| IN AND. Bazhenov |
Teplov House (Sverdlovskaya embankment, 40), Engineer (Mikhailovsky) Castle, Second Palace of Paul I |
| A.V. Kvasov |
He created the general plan of St. Petersburg, his ideas determined the appearance of the bridgehead areas on the Fontanka. He created the development of the Admiralty part, determined the arc of Palace Square. |
| I.E. Starov |
The ensemble of the Alexander Nevsky Lavra was completed, the bridgehead square (Alexander Nevsky) with the houses on it, the Gate Church, the Trinity Cathedral, the Tauride Palace, the Demidov Estates in Taitsy and Sivertsy, the facades of the Anichkov Palace |
| ON THE. Lviv |
Nevsky Gate of the Peter and Paul Fortress, the Main Post Office, the rotunda church (Obukhovskaya Defense Avenue), the Church of St. Catherine in Murino, rebuilt the house of G.R. Derzhavina on Fontanka 118, Priory Palace (in Gatchina Park) |
| Giacomo Quarenghi |
The Hermitage Theater at the Winter Canal, the building of the Academy of Sciences, the Foreign Collegium and the English Church, house No. 4 on Palace Embankment and the Bezborodko estate (at Sverdlovskaya Embankment, 40), Horse Guards Manege, Smolny Institute, Maly Gostiny Dvor and “Silver Rows” (Nevsky Prospekt) ... 39. Alexander Palace (village of Kvarengi). Wooden Triumphal Narva Gate, etc. |
| A.N. Voronikin |
The Kazan Cathedral created an openwork fence on the side of Kazanskaya Street. Monuments to Kutuzov and Darklan de Tolia. |
| HELL. Zakharov |
Completely rebuilt the Admiralty building. |
| Jean Thomas de Thomon |
The creator of the ensemble of the Spit of Vasilievsky Island (Birzhevaya Square) with a temple-like exchange, descents to the Neva and Rostral columns. Mausoleum of Paul I in Pavlovsky Park, fountains in Pulkovo, Moscow Victory Park and at the Kazan Cathedral; Laval mansion on the Promenade des Anglais, 4. |
IV . Conclusion.
The most important progressive traditions of Russian architecture, which are of great importance for the practice of late architecture, are ensemble and urban planning art. If the desire to form architectural ensembles was initially intuitive, then later it became conscious.
Architecture was transformed over time, but nevertheless, some features of Russian architecture existed and developed over the centuries, maintaining traditional stability until the 20th century, when the cosmopolitan essence of imperialism began to gradually erase them.
V . List of used literature.
Network resources Internet
1. www. paralleli.nm.ru/acitect
