Baroque architectural style message. Architectural style: Baroque

Baroque in painting

Main article: Baroque in painting

Caravaggio. The vocation of the apostle Matthew

Baroque style in painting is characterized by dynamism of compositions, "plane" and a pomp forms, aristocratic and uncommonness of plots. The most characteristic features of Baroque - catchy flowelery and dynamism; A vivid example is the work of Rubens and Caravaggio.

Michelangelo Merisi (1571-1610), which, at the place of birth near Milan, called Caravaggio, consider the most significant master among Italian artists who created at the end of the XVI century. New style in painting. His paintings written in religious stories resemble realistic scenes with a modern life author, creating contrast of the times of late antiquity and new time. Heroes are depicted in a twilight, from which the rays of the light snatch expressive gestures of characters, contrasting their characterity. Followers and portraits of Caravaggio, which were initially called Karavagisti, and the Caravagism itself, such as Annibal Carrachci (1560-1609) or Guido Reni (1575-1642), adopted the rust of the feelings and the characterity of the Karavaggio's manner, as well as his naturalism in the people's image and events.

Peter Paul Rubens (1577-1640) at the beginning of the XVII century. He studied in Italy, where he learned Maneru Caravaggio and Carrageach, although he arrived there only at the end of the course of study in Antwerp. He happily combined the best features of the schools of the Painting of the North and the South, merging natural and supernatural, reality and fantasy, scholarship, and spirituality in his canvases. In addition to Rubens of international recognition, another master of Flemish Baroque, Van Deken (1599-1641) achieved. With the work of Rubens, a new style came to Holland, where France Hals (1580 / 85-1666), Rembrandt (1606-1669) and Vermeer (1632-1675). In Spain, in the manner of Caravaggio, Diego Velasquez (1599-1660) was created, and in France - Nikola Poussin (1593-1665), who, not satisfied with the Baroque school, laid in his work the foundations of the new flow - classicism.

Main article: Baroque architecture

Carlo Madern Church of Saint Susanna, Rome

Church of the souls in purgatory in the city of Ragusa, sample of Sicilian Baroque

Milotice Castle, Czech Republic

For the Baroque architecture (L. Bernini, F. Borrombini in Italy, B. F. Rastrelli in Russia, Jan Christoph Glaubitz in the Commonwealth speech) are characterized by spatial scope, mucifice, fluidity of complex, usually curvilinear forms. Often there are deployed large-scale colonnades, abundance of sculptures on the facades and in the interiors, volitions, a large number of low-slip, ample facades with a platoon in the middle, rustered columns and pilasters. The dome acquire complex forms, often they are multi-tiered, like the Cathedral of St. Peter in Rome. Characteristic details of Baroque - Tewamon (Atlant), Caryatida, Maskaron.

In the Italian architecture, the most prominent representative of the Baroque art was Carlo Madern (1556-1629), which broke with mannerism and created his own style. His main creation is the facade of the Roman Church of Santa Susanna (1603). The main figure in the development of a baroque sculpture was Lorenzo Bernini, whose first masterpieces performed in the new style belong to about 1620 Bernini also an architect. It belongs to the design of St. Peter's Cathedral Square in Rome and interiors, as well as other buildings. A significant contribution was left by D. Fontana, R. R. Rodaldi, Gvarini, B. Longen, L. Vavvitelley, P. Yes Corton. On Sicily after a major earthquake of 1693, a new style of late Baroque appeared - sicilian baroque.

Quincology, an impressive fusion of painting, sculptures and architecture, is considered to be Korranao Capella in the Church of Santa Maria della-Vittoria (1645-1652).

Baroque style gets spread in Spain, Germany, Belgium (then Flanders), the Netherlands, Russia, France, Commonwealth. Spanish Baroque, or local Churriecezko (in honor of the architect Churgeriera), also spread in Latin America. The most popular monument to his cathedral in Santiago de Compostela is also one of the most revered by the believers of Spain's temples. In Latin America, Baroque was mixed with local architectural traditions, it is the most sophisticated version, and called it ultrabarakko.

In France, Baroque style is more modest than in other countries. Previously it was believed that here I did not receive the style at all, and Baroque monuments were considered classicism monuments. Sometimes they use the term "baroque classicism" in relation to the French and English variants of Baroque. Now the Versailles Palace together with a regular park, the Luxembourg Palace, the building of the French Academy in Paris, and others, are counted for French baroque. They really have some features of classicism. The characteristic feature of the Baroque style is a regular style in garden-park art, the example of which is the Versailles Park.

Later, at the beginning of the 18th century. The French have developed their own style, the variety of baroque - Rococo. He manifested itself not in the external design of buildings, but only in the interiors, as well as in the design of books, in clothing, furniture, painting. The style was distributed everywhere in Europe and in Russia.

In Belgium, an outstanding monument Baroque is the Grand Place ensemble in Brussels. Baroque features have a house of Rubens in Antwerp, built on the artist's own project.

In Russia, Baroque appears in the XVII century ("Naryshkin Baroque", "Golitsyn Baroque"). In the XVIII century, Peter I receives development in St. Petersburg and suburbs in the works of D. Trezini - the so-called "Petrovskoy Baroque" (more restrained), and reaches a fill on the board of Elizabeth Petrovna Creativity S. I. Chevakinsky and B. Rastrelli.

In Germany, a new palace in San Sousi is an outstanding monument in Germany (Authors - I. G. Burning, H. L. Mantter) and the Summer Palace there (G. Von Knobelsdorf).

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

In the Grand Duch of Lithuanian, the styles of Sarmatian Baroque and Vilen Baroque, the largest representative - Jan Christoph Glaubitz were obtained. Among his famous projects - the rebuilt church of the Ascension of the Lord (Vilnius), Sophia Cathedral (Polotsk) and others.

Baroque as one of the main style directions in the art of Europe in the middle of the XVII-Mid XVIII century. With its ideology, principles, methods and system of formal signs, it was originally in Italy, in the artistic circles of Rome and Bologna at the end of the XVI early XVII century. Formation baroque style (from Ital. Barocco - strange, quaint) is associated with the crisis of ideals of the art of Italian revival in the middle of the XVI century. This is the time of great discoveries in natural science disciplines, geography, philosophy and others. Representations of the human antiquity about stability, clarity and harmony of the world, about a limited space and time, to him commensurate, which in many ways later became the ideal of revival, were shaken by new knowledge. At the same time, the Renaissance with his great art could not have sharply ending at a certain stage, without affecting the art and stylistics of the objective world of the new time.

It is here that you should look for the essence of all the contradictions of the Baroque art. Reflecting the modern changeable and diverse world, it departs from a clear and clear harmony of the art of the previous era, giving way to a new understanding of beauty. This art is by the end of the XVI century. It seeks to abandon the strict borders of an organized, but limited space characteristic of the art of revival. It seems to demonstrate human emotions, complexity, multi-element and lush decorativeness of the surrounding spatial environment.

For baroque, contrast, tension, dynamism of complex, usually curvilinear forms, ensemble, desire for greatness and pomp, to combining reality and illusion, to the merger of the arts: architecture, painting, sculptures, decorative and applied arts.

Baroque buildings facades

Western facade of Basilica (built in 1569-1679) Santa Maria Deli Angeli. 1562 Rome, Italy - Santa Maria Degli Angeli E Dei Martiri ( italian.)

Baroque facade of the church (built in 1600) Santa Maria Del Popolo. 1472-1477 Rome, Italy - Basilica Di Santa Maria Del Popolo

Berlin Cathedral. 1894-1905 Berlin, Germany - Berlin Cathedral (Berliner Dom - nem..)

Palazzo Carignano (placed the National Museum of Italian Renaissance). 1679 Turin, Italy - Palazzo Carignano (Museo Nazionale Del Risorgimento Italiano)

Royal Palace in Madrid. 1738-1764 Spain - Palacio Real de Madrid ( up.)

Mafra Palace. 1717-1730 Lisbon, Portugal - Palácio Nacional de Mafra ( port.)

Church of Saints Peter and Paul. 1597-1619. Krakow, Poland - Church of Saints Peter and Paul (Kościół śś Piotra I Pawła W Krakowie)

Church of the sign of the Blessed Virgin. 1690-1699. Podolsk (Dubrovitsy), Russia

Church of Santa Susanna (St. Susanne). 1585-1603 Rome, Italy - Chiesa di Santa Susanna Alle Terme di Diocleziano ( italian.)

Petropavlovsky Cathedral (Cathedral in the name of the Barrier Apostles Peter and Paul). 1712-1733 St. Petersburg, Russia (Russian Baroque: Petrovskoe Baroque)

Church of San Carlo Alla Quatro Fountain (Church of St. Carla in four fountains). 1638-1677 Rome, Italy - San Carlo Alle Quattro Fontane

Petropavlovsky Cathedral. 1723-1726 Kazan, Russia (Russian Baroque: Moscow Baroque or Naryshkinsky style)

Cathedral of Saints Peter and Paul. 1894-1904 Peterhof, Russia

Baroque facade (1750), St. Jacob's Cathedral. 1075-1211. Santiago de COMPOS, Spain - Santiago De Compostela Cathedral

Baroque interiors

Santa Maria Della Salute Cathedral. 1630-1681 Venice, Italy - Basilica Di Santa Maria Della Salute

Interior of the Church of San Carlo Alla Quatro Fontan. Rome, Italy - San Carlo Alle Quattro Fontane

Altar Church of Our Lady Mercy. 1765-1775 Barcelona, \u200b\u200bSpain - Basilica of Our Lady Of Mercy (Basílica de Nuestra Señora de la Mercedra up.)

Altar of the Evore Cathedral. 1718-1746 Evora, Portugal - Evora Cathedral (Sé de Évora - port.)

St. Peter's Cathedral, Central Neg. Vatican - Basilica di San Pietro

Staircase in the Vatican Palace (also called. Apostolic dv. Or papal dv.). Rome, Italy - Palazzo Apostolico

Gallery Farnese, Palazzo Farneza. 1597-1604 Rome, Italy - Palazzo Farnese

Baroque interior of the Berlin Cathedral. Berlin, Germany - Berliner Dom

A very expressive composite means of Baroque is an excessively enlarged, disproportionate man scale and the image itself, and its main elements. The gigantic sizes of the portals of Roman churches, doors and windows are clearly not large-scale, not commensurate to a person. Maybe therefore, in this style there were so many irrationality and even fantasticity in the image of the facility.

Internal conflict, voltage of this style, which manifested incl. And in architecture, consisted in the collision of the real physical properties of the inert material, its gravity, for example, and the desire to bring him into a restless state, the visual movement.

In this regard, Baroque is a genuine gothic with its inconsistency of the material form and a visual image with a kind of dematerialization of the form.

In addition, the internal contradiction of this style was often manifested in the incredible and repulsive nature of the details, on the one hand, and the general mystical atmosphere of the artistic work - on the other.

This is where some controsty, unnatural artistic image, theatricality and even the ornamental baroque style.

Baroque style I developed my special ornamental, which was very widely used in architecture for decoration, first of all, facades, and in the decoration of interiors, and in decorative and applied arts, and in the furniture decor. The desire for pomp, the greatness creates new complex and very unexpected dynamic compositions, the elements of which are originally borrowed in the arsenals of the Renaissance. Torn frontones, launched cornices, platbands, decorated with volitions, bunches of columns, incl. Spiral-shaped columns, brackets, abundance of rebirth borrowed and plasticly recycled shells.

Cartouche Cartouche (from Fr. Cartouche - Scroll) - In the form of shields or parchment sheets with wrapped edges - gradually turn into a roller (from it. Rolle - Completeness and Werk - work, business) in the form of a semi-powered roll of paper with an outcropped edges, mascar, motifs Double curl, garlands, acacanic leaves (most actively, starting with the XVII century), Ionian kimatiy and other decorative elements. Famous in the romance period and widely used by the motif of the tape weaving Baroque converts into Bandelverka (from him. Band - tape, transit and Werk - work, business). The motifs of the baroque cartoon and the sink are transformed into fantastic molds of the muzzle, or Knorpel (from him. Knorpel - cartilage and Werk - work, business), and Ormushl (from him. Ohrmuschel is an ear sink). These two decorative elements were especially characteristic of Flemish Baroque.

Baroque interiors are especially luxuriously decorated. The painting, marble and gilded wood decoration, sculpture, scenic paintings, etc. are actively used, the sculpture, picturesque paintings, etc.. Especially good picturesque plates, visually increasing the inner space of the premises. IN epoch Barochko The function of creating an interior as a composite and stylisticly organized integer is truly born. The interior and its elements, as a real synthesis of art, began to play a very important role, indicating the social status and the financial situation of its owner. Create entire indoor decoration ensembles. Moreover, the wealth of decoration is equally to secular, and to church buildings.

All items here are fitted and consistent with each other: painted walls and ceilings, decorated to the same stucco, shapes and sizes of wooden or patch frames of mirrors and paintings, carved, painted or gold-plated wooden wall panels, carved gilded consoles with mosaic marble countertops, bronze Kandelabra and crystal chandeliers, luxurious chairs, corner tables, pedestals for sculptures, cabinets, decorated with inlaid, Top loaders, etc.

It is noteworthy that the Palaces in Italy of this period were considered not only as private residential premises, but, first of all, as peculiar stage platforms for solemn social acts - official receptions, pearts, balls, etc.

The painting of color and light effects in the interior was provided by the complexity and even the fancy of its spatial structure, an abundance of colored carved marble, stucco, a carved gall-coat tree, bronze, crystal, sculpture and painting. The interiors overwhelmed sculpture, but it was not to be spoiled standing figures, but entire of large groups, where the viewer was sometimes difficult to highlight a separate character, because each figure was not interesting in itself, but as an integral element of the whole. Such sculptures, made in unusually complex angles and installed in excess in the interiors and exterior of buildings, are one of the characteristic features of the Baroque style. As a result, the overall impression of emotional tensions, pomp, dynamism and mass movements, the illusion of the expansion of space, its infinity.

Italian Baroque furniture (XVII century)

First you should give brief description The states and trends of the development of Italian architecture and the art of creating interiors of that time.

The most characteristic Italian Baroque style buildings were created by the largest architects of the XVII century: L. Bernini, F. Borrombini, G. Guvarini, K. Rainaldi, B. Longen, and others. The first architect who moved to solving the large architectural tasks of the new style era, was K. Maderna. In his Roman Church of Santa Susanna, the type of the Catholic church of the XVII century is finalized, the facade of which is the system of decorative decoration of the church Il Jesu architect D. della Port. But the main work of Maderna was the completion of the Cathedral of St. Peter in Rome. The founder of the style of Barochko is the architect, sculptor and painter Michelangelo Buonarot.

The style of Italian Baroque developed, first of all, in Rome, from which he penetrated into other cities in Italy, where he took various forms in the courtyards of a physici or farline. This era of the construction was kept and even increased elements of the parade, entertainment, lush decorativeness. Baroque in architecture is complex spatial constructions and curvilinear outlines of plans, sharply protruding and deeply treble volumes, contrasts of flat and relief, heavy and light, whimping game of lighting, frequent application of the form of oval, torn frontones, decorated with cartouches, huge bent or bombarded eaves, Twisted columns, as well as paired columns and pilasters. This achieved the dynamics of the forms of elements, their as if free growth with the calculation of the obtained effects of lighting, visually reinforcing the sculptures of the facades.

In this regard, an example is a wide distribution of truly baroque-based volitions, equally dynamic in all directions, invented bruvenles for the decor of the dome of the Florentine Cathedral.

At this time, the principles and techniques of ensemble constructions truly develop. For example, the ensemble of the Capitol Hill in Rome (1546) united several palace buildings around the trapezoidal area in terms of the square with a parade staircase leading to it. The principle of the ensemble was laid in the planning of the Oval Square del Popolo (1662) at the entrance to Rome with three streets diverging from her, the square in front of the Cathedral of St. Peter in Rome, the Square of the consent and Versailles in Paris, which, despite all their differences are generation baroque era.

Facade of the church Ile Jesu. 1573-1584 D. Della Port. Rome, Italy

The most radical flow of the Roman Baroque is the style of Jesuitism, which most brightly manifested itself in the church of the Order of Jesuit Il Jesu (its construction 1573-1584. Refers to the time of early baroque). Ile Jesu has all the signs of baroque buildings. Its facade looks very dynamic, it has a strong contrast of protruding and retreating forms, it is decorated with volitions connecting the upper tier with the bottom, has a liberated fronton. The impression of such a flowing of forms, their waviness is only enhanced, if you visually perceive such a facade in an aid. In the era of a mature baroque, such dynamics of curved, flowing one to another intersecting stone forms get the most and widespread distribution in church and secular buildings.

Michelangelo in his project of the Cathedral of St. Peter (1546) subjugated the entire volume of the building by the central dome and already asked for the dynamics to the whole construction. And the artist D. Della Port (in 1588-1590) compared with this project idea, Michelangelo strengthened the dynamics, making the dome not hemispherical, but elongated parabolic. The new silhouette of the dome stressed the general movement of the form of the building.

The above theatricality, some unnaturalness and even the irrationality of the baroque architecture manifested itself, for example, in the lobby of the San Lorenzo library. Overlooking the classic canons of architecture, Michelangelo designed dual columns that for some reason do not have capitals, and stand in the deepening walls and do not support anything. Consoles installed under them have obviously decorative functions. Walls are dissected with imaginary windows. Lobby stairs on the sides do not have a rail. The railings, which are made in the middle, due to their low height, are clearly carried only by a decorative burden. The extreme steps are rounded with curls-volitions at the corners. By itself, the staircase fills almost all the free space of the lobby, which is clearly irrational.

For Baroque, the desire to achieve the effects of optical illusion. For example, L. Bernini designed the staircase in the Vatican Palace that it seems much longer than it really is, because it is narrowed, the arch becomes below, the columns are smaller in size and the gaps between them are reduced. Therefore, thanks to the false perspective, the figure of Pope, when he appeared on the top platform of the stairs, was perceived from a large, meaningful and majestic.

The Church of San Carlo Architect Borryini is an excellent model of the original in the form and decor of a baroque style building. Its facade looks like a peculiar shirma set in front of the building, which in the plan has a diamond shape with concave sides. Baroque architects tried not to make straight corners, in every way twisted and cut off the angles of buildings, so the San Carlo church also cut the corners, and four sculptural groups with fountains are located near them.

Already in the XVI century. There are techniques for creating an Italian baroque interior. The walls and ceilings of the premises are decorated with frescoes, and the patterns inserted into the walls are framed by carved wooden gold-plated frames or a stucco ornament of high relief.

Creation of one of the first baroque interiors (Farnese Gallery, 1597-1604) A. Karracchi, who began its activities with a decorator of some palaces in Bologna, can be considered the birth of true baroque style.

In Bologna, for the first time began to use the motifs of the so-called illusionistic architecture-quadrature (from Lat. Quadratura) in painting. Such paintings became one of the most popular ways to decorate wall and ceiling planes.

In 1693, the artist A. Pozzo, the author of many magnificent frescoes in the square of the square, prepared a whole treatise on the technique of such painting - Perspectiva Pictorum et architectorum (picturesque and architectural perspective). It explained in it, for example, how to link a perspective point of view with the boundaries of the frescoes or techniques described, facilitating the creation of huge frescoes. This guide had a huge influence on architects and artists of their time, which in the baroque interiors created were trying to provide graphic and color matches between marble plates or tissues, which were separated by the walls of the premises, frescoes, sculpture, and other elements of the decor.

With the name L. Bernini, the active use of colored marble for wall cladding in combination with metal, pokko or frescoes is connected. It applied such a finish, as a rule, to decorate church interiors. For example, in the famous Cornaro Chapel in the Church of Santa Maria della Vittoria in Rome, where his composition is established by Ecstasy Sv. Teresa (1644-1652), or in the Church of Sant Andrea Al Qvirinale (1658-1670).

The use of color marble due to its relatively high prices made it in Italy affordable only for very rich people. Therefore, the decoration of marble plates of residential interiors, with the exception of floors, is extremely rare in Italy. In most cases, used to perfection in the XVII-XVIII centuries, Finto Marmo technique, i.e. painted under marble tree. Typically, wooden wall panels were decorated under marble. This reception was then spread then literally on all European countries.

Fireplaces and their decorative decoration in the Italian baroque began to play a noticeably smaller role in the interior of the room compared to the fireplaces of the Renaissance. For example, in the luxurious interior of a large salon in Palazzo Barberini, fireplaces are not active elements and have a very modest decor, and many other interiors of the palace do not have fireplaces at all.

Throughout the XVII century. Italians continue to lead in the art of Stukko. Based on the traditions and skill of the previous era, especially the period of mannerism, artists in Stukko continued and developed the principles of a richly developed stucco decor. Painting or frescoes in most cases were framed by a white or gold-plated wall decor. An example is a wall reliefs in the cabin of Koravzieri in the Roman Quiri-Nalis Palace (1605-1621) and in the salon Palazzo Riccardi in Florence.

Excellent samples of stucco of the second half of the XVII century. A. Haffner was performed for Sala Dei inversion in the Genoese Palazzo Albricksi in Venice.

Another type of decoration art interior of the Baroque era, erasing the face between architecture, sculpture and painting, was a decorative illusory floating painting. It was famous for artists P. Yes Cortona and A. Pozzo. For example, the painting of the dome in Palazzo Barberini (1625-1663), which was completed by P. Yes Corton approximately in 1639.

The main task of such a painting is to create an irreal space in which the usual representations of real sizes, volume, form, color, light and other characteristics and properties of the created room are lost. The ceiling, as the final element of the baroque interior, is turning into an illusory, leaving the endless space of the sky with flying clouds and figures of people. It is characteristic that many floating paintings in the interiors of Baroque imitate not only the sky of the sky, but also the dome with his aspiration up. These promising paintings are not better expressed the aesthetic ideal of the art of Baroque - the infinity of the space, the movement of masses, light and colors.

A sample of the decorative interior decoration of the early baroque in Italy, as previously noted, this is a Gallery Farnes in Rome, and later the interiors of Pitti Palaces in Florence and Bar-Berini in Rome. Here, everything is subordinate to one common idea of \u200b\u200bthe movement of masses and space. In accordance with the decor of walls, ceilings and other elements of the interior, furniture is created and decorated furniture: console tables, chairs, chairs, stools, cabinets, cabinets, office desks, etc. Baroque furniture is distinguished by the consolidation of the proportions, the drowsy of their shapes, pomp Carved gilded decor. Furniture for seating is done more comfortable and matches wearable clothes. Soft stools, chairs and armchairs are widely used, and then sofas. The backs are made with a dump, more comfortable elbows appear. Chests (lari) and supplies go out. They are replaced by cabinets, cabinets and bureautes.

Table of walnut, inlay eben and ivory. France

For cabinets are characterized by solid silhouettes, curvilinearity of the outlines in the plan, the presence of curved eaves with a complex sculptural decor, lush ornamental in-necker or discontinuous frontones, carved frames of doors and legs. Filönics of the cabinets and office doors are often decorated with inserts from colored stone mosaic (agate, onyx, lapis-lazuries, etc.), polished stained glass or colored wooden mosaic - marquetry, in the technique of which whole scenes are laid out.

In Florence and Bologna baroque style In the manufacture of furniture, penetrated relatively late - starting from the second half of the XVII century, and at first she differed in shape and decorated from the Late Revival furniture. However, a new time is already guessed in expensive samples of furniture.

A characteristic furniture object - an indispensable element of the frontal situation of palaces - the cabinets became the cabinets that were well decorated. Such cabins were highly valued, often sent to each other as a valuable gift. The passion for the cabinets was so great that they began to be manufactured in many European countries, so their form and decor began to wear a pronounced national imprint.

In the XVII century Large cabins with prestings, which have become the necessary part of the decoration of palaces are made. Furnished by several such objects the room was called the Cabinet. With this word, the French sometimes indicate a small room. Cabinets had a large number of Boxes that served also for storing small items, money, documents, other values.

Not only floor cabinets received widespread, but also desktop, miniature, equal in size boxes. They were separated by embossed and gilded skin, stucco mastic.

The Florentine bureau offices with their complex and exquisite forms occupy a special place. They were often made from ebony, their fililens were decorated with a Florentine mosaic of colored marble and glass, injured by ivory, mother-in-law, faience. Overhead ornaments, medallions, busts, statuettes made of gilded and well-read bronze were also used as decorations. Such bureautes were made at high legs bonded at the bottom of the carved supplies. The front surfaces of the boxes of the cabinets had a set of colored stones drawing birds, fruits, flowers. When various fruits were depicted, the mosaic sometimes was even embossed. Milan Cabinets made of black wood on the podstols standing on the accurate legs were also famous. The front line of such cabins was processed by architectural traction, cornices, grounds, twisted semi-colonels, etc. The surfaces were decorated with mosaic from ivory. Cabinets were completed in the form of a parapet, topped with a balustrade. In turn, this balustrade was decorated with statuettes made of bone.

The plastic solution for the forms of furniture for seating was complicated. Upholstered furniture (stools, chairs and armchairs) are massive, decorated with carvings, often with gilding, and a dark velvet with a large patterns or stuffing - a cloth with woven golden or silver threads. The chairs have vertical or curved legs or legs of a pyramido-shaped shape with a jug-like expansion in the upper part, pulled at the bottom of the supplied or curved cross with a carved vase in the middle. The backs have a semicircular top, are often made deaf, high or with a small jumper between the racks. Similarly, stools and stools, which are also rude by split velvet are performed. They have four diagonal raging legs that end in far back curls and fastened with carved galloped properties.

At this time, small tables of rectangular shape appear, which are set by the wall or in the wall under the mirror-tremor. These were decorative furniture objects, which were usually installed any beautiful items: vases, hours, figurines, etc. In such tables, the substoles and legs are decorated especially abundantly. Massive carved jewelry, which are gold and, often, are sampled in the form of Nayad, Putti (Cupid), blacks, eagles, lions, griffins, shells, ribbons, curls of the acanta, etc. Functional tables are made with round, six- or octagonal form. Tabletop edges are processed by a carved ornament. The legs used in the previous style era in the form of massive supports are replaced with one-eyed in the form of a vase, to which the brackets ended at the bottom of the animal paws are attached. All this underground stands on a massive base, also completely covered with carvings.

Principal changes occur in the design of the bed. Baldahin remains, but supporting its high columns disappear, i.e. He is now cantile for the wall. The role of the bed as one of the active elements of the interior increases sharply.

IN epoch Barochko Furniture is made of walnut, more suitable for thread and polishing. The nut becomes so popular that in England this time gets the name of the walnut period. Furniture gradually acquires more and more complex curvilinear outlines, and bronze linings begin to be used instead of thread. If the furniture is made of oak, it is fan by a nut veneer. When processing curvilinear surfaces, it is necessary to apply the technique of a manual set of small pieces of veneer. So appears, besides Italy, in Flanders and Holland, and then in Germany and France, a new type of decor, a wooden mosaic - Marketer (Franz. Marqueterie - wrought by signs).

In Rome, Florence and a number of other cities of Italy, heat manufactories were founded, for which Flemish tapestries served with samples of products. Already in the first half of the XVIII century. Fashion on their products reached Naples and Turin. Venice and Genoa were famous for the production of high-quality woolen fabrics, and the Genoese Velvet was in demand in many European countries. All these fabrics were also used for upholstery of upholstered furniture.

Dutch and Flemish Revival Furniture and Baroque (XVI-XVII centuries)

In the XVI century In the Netherlands there is a change of style orientation in the manufacture of furniture. From the ornamentation borrowed from the early Italian Renaissance, the furniture makers begin to use (at the end of the first half of the XVI century) Grotesque ornament of high rebirth. In the ornamentation and the overall decor of many furniture facilities, engravings of W. Floris, Cook Van Els and other artists were provided. Significantly influenced the stylistics of the furniture decor projects of the artist of harm-mana de brica, who released a collection of his developments at the time (Differents Pourtraics de Menucerie). It is over these projects that the Dutch specialists moved from the gothic design of furniture to its samples with architectural templates: bases, columns, consoles, pilasters, eaves, etc. The style of Vre-Deman de Brize was most clearly manifested in the furniture Antwerp. Here, cabinets and supply are made with two or four doors, with diamond-shaped fillets, which are members with pilasters, twisted columns, consoles, and even, in some samples - Herma, have a high base, strongly protruding profiled eaves and a lot of pyramido-shaped decorative linings on protruding parts. These cabinets stand on spherical legs. At this time, chairs and armchairs were most common, also originally issued in Antwerp. The frames of such seats are harvested from accurate twisted round in cross section of rods whose connectivity is a rectangular bar with bevered. The upper part of the back is running direct or has a slightly rounded edge. Bending Elbades Armchairs, relying on twisted racks, which look like a continuation of the front legs, end with volitions in the front. The seat and the back of the chairs and chairs are usually rude by the skin and a tapestry cloth using nails with large hats. At this time, there is a change in the nature of the decorations of the furniture and its forms themselves, another material is applied. Now the furniture is made of walnut, as well as from other imported tree species. In the late period, inlaid and inserts from the rosewood, black, amaranth (purple) and pink wood appear, which significantly enriched the decorative solution to a variety of furniture objects. Beds are made with a canopy and similarly decorated.

Chests continue to exist with a variety of forms of decor of facial facades. These facades, as a rule, have strict architectural memberships, eaves and consoles. The front surface is shaped by pilasters into separate panels, decorated with a geometric carved ornament. In addition, pilasters are additionally decorated with colored wood inserts. Dining tables have a fairly simple form and are often made sliding. Massive precisible legs have a pronounced bunny shape and downstairs are tightened with bars. Such a bunny shape of the legs had a strong influence on Russian furniture.

At the end of the XVII century. On forms and decor of the Dutch furniture, China has a strong influence.

The wardrobe on the dwelled spherical legs standing on rectangular supports, supplies, dressers and cabinets with a mass of retractable and countersunk boxes that are closed by the doors are clearly performed under this influence. The legs of such cabinets were made with sharp, spherical, and sometimes curved in the form of a Latin letter S with a form expanding up. These legs are eared at the bottom of the bird paw clung. Such type of legs later began to be applied in furniture created in other countries. For example, in England, this type of legs looks well in the styles of Queen Anna and Georgov, and even later - in the style of Chippendale.

At the beginning of the XVII century. As a result of a long-term struggle of the Netherlands for independence from the dominion of Spain, the country is divided into two parts: the northern provinces, which were called Holland, and its southern provinces, which, remaining under the Spanish crown, became known as Flanders. The folding art of Flanders, primarily in Antwerp, who became the center of the country's russian life, one of the first, after Italy, is experiencing a baroque style, which touched, above all, painting, decorative and applied art and ornamental decor. Such features as practicality, materialism, emotional lifting, pomp forms, decorativeness and, at the same time, convenience and comfort are characterized by the interior of the Flemish residential building and its elements, in particular, furniture. The characteristic example of the early Flemish Baroque - residential house of an outstanding painter and a statesman P. Rubens, built in 1613 in Antwerp. The Baroque Stylistics on the Flemish Lada gives an idea of \u200b\u200bnot only the architecture and decoration of the interiors of this house, but also the picturesque works of P. Rubens himself, Wang Dequee, Jordan, Sneiders, Tenier and many other wonderful artists of that time. Furniture manufactured by Flemish masters, in their design and decor corresponds to the furniture of the late Italian Renaissance. Up to the middle of the XVII century. Such furniture has enough rigid rectangular shapes with merchant members.

However, since the second half of the century, more dynamic forms of supporting parts, fillery of joinery work, carved decorations of friezes of cabinets, etc. In Flanders, the revived types of heavy wardrobes from oak, having two or four doors, drawers, protruding cores, pilasters, Consoles and legs in the form of bird paws holding balls. Later appear bunk cabinets, whose panels already have a more complex decoration. Such cabinets also have a strongly protruding eaves, which is supported by consoles in the form of children's heads, and well-decorated with ornamental threads of a low relief frieze. The joints of the vertical (in the form of a pilaster) and horizontal highly active profiled protrusions on the facial and side faces of the cabinet case are decorated (disguised) with liones with metal rings in the mouth.

They continue to be applied in Flanders and office, but gradually, in contrast to Italian samples, they now do not have complex forms and decorations, and the proportions become simple and more defined.

Complex thread is now replaced by the decor, made mostly in a joinery. The cabinet is installed on a high podstole, based on the legs standing on the balls with large interceptions. The legs below are pulled in the form of simple rectangular in the cross section of bars. Cabinet boxes are closed with two swollen doors with fillets of the shaped carpentry work. The cabinet in its lower part under the doors has an outer retractable box, and in the upper part - frieze and a far-speaking eaves supported by consoles. Flemish Cerens (supplies) of the XVII century. They are like a two-part cabinet with a canopy and a niche like a buffet. A canopy that performs the role of frieze and cornice of the entire cabinet, relies the console front to two well-profiled accurate and carved columns. The facial and side faces of the cabinet are abundantly decorated with relief carvings and architectural templates. The case of a cabinet having several explicitly pronounced horizontal memberships, the bottom of which is a kind of base, raised above the floor and stands on six spheroid supports.

In the furniture for seating, the design of places of connection of individual elements is clearly visible. Legs and spoors of chairs and seats, as well as tables that were previously made, usually accurate or carved, are replaced with twisted with four-grated interceptions in secretion places. The support racks of the backs in the upper part ends with threads of acanta curls or lion heads. The elbows in the chairs are made very convenient, have in the middle of the deflection and end with volitions decorated with carved acack leaves. Seats and backs of chairs and seats are made soft with horseback with horse hair and are often hurt with leather or decorative fabrics with a long fringe. At this time there was a new drawing of the arrangement of upholstery nails with large semicircular hats on the seat frames and backs. If earlier the nails hats were placed fairly from each other, now their step is rapidly, thanks to which it turns out a strict decorative curb in the form of beads around the perimeter of the seat and backs.

Obviously increased sizes in the width and depths of sites for the seating of that time were due to the changed coverage of clothing, which is now more lush with a large number of folds.

Tables are produced with tabletop of various shapes. Podstole boxes are based on legs made in the form of accurate balusters with spherical or bunny-like bulbs and patented. Also, twisted accurate legs and spoils with rectangular or square thickens (interceptions) in places of connection of individual parts of the structure are also obtained. Sometimes a decorative element is installed in the prodesk center, for example, an accurate baluster in a vase or column. The edges of the podstole box have curly cuts and together with the worktop, as a rule, decorated with flat threads.

All furniture is made exclusively out of the nut, not oak. Also imported wood wood (ebony) wood, rosewandra, Havana cedar.

Flemish baroque style XVII century. I had a great influence on the formation of the Dutch and Severogherman's furniture.

German furniture Baroque (second half of XVII-beginning. XVIII century)

The influence of the styles of the baroque on the shape of the German furniture begins to be felt not earlier than the second half of the XVII century. This is especially noticeable after the end of the 30-year war. But at first there is borrowing forms and proportions of Dutch furniture. However, this Dutch influence is maintained in part until the turn of the XVII-XVIII centuries. First of all, this refers to the style of such structural elements and decor as twisted columns in the form of a pilaster, twisted legs of chairs, chairs and tables, spherical supports, carpentry development of panels, etc. The abundance of twisted columns serving the decoration of cabinets, buffets and supplies, clearly overloads the shape of German furniture. For example, the shelter (supplier) of the German work of the last third of the XVII century. It has unusually lush carved and turning decorations in the form of Figurines of Caryatid on the middle part of the cabinet, bots. Such a cabinet with a height of more than 2.5 m, a depth of more than 1 m, and the width of almost 3 m was resting on six spherical supports.

In the XVII century In the city of Augsburg, highly luxurious rooms were made, legs and whose prodes were solid carved lace. Florentine mosaic, finishing with silver and turtle shells were widely used in the decoration of the facial edge of the cabinets. Such cabinets, installed on the substole, resembled entire architectural structures. Instead of the bridal black (ebony) wood for the manufacture of cabinets, German furniture makers often used a moraine pear. As a decorative element, a carved pattern was used in the form of Ormushl (from it. Ohrmuschel - ear sink) - the characteristic element of the Flemish baroque ornament in the form of folds of the ears. Sometimes the front surface of the cabinet sampled and interpreted as a facade of a building, having windows, followed by beautiful landscapes.

In Bavaria, in Regensburg, more stringent in the form of cabinets, standing on six-legged legs, pulled down at the bottom of the letter x. The entire facial smooth surface of such a cabinet is decorated with illusory paintings of architectural perspectives in the technique of intarsia or marquetry from a colored wood. Cabinets, whose panels, side faces and the front planes of external boxes were decorated with very complex bas-relief compositions depicting entire scenes of religious and secular content. These compositions were made of colored wood and went on a peculiar wavy frame of black. Such a wavy framework was very widespread not only in Germany, but also in Holland, Flanders and England. According to some researchers, they were invented at the beginning of the XVII century. German furniture maker G. Shvanhard. At the end of the XVII century. Such a type of wavy frames penetrated into Russia and received the name of frequent roads.

Flemish road users used Flemish furniture makers, a member of the plane of decorated furniture furniture objects from a black tree into separate ornamental stories and scenes on mythological themes.

Russian Baroque furniture (second half of the XVII-beginning XVIII century)

German baroque furniture second half of the XVII-early XVIII century. It characterizes the high carpentry mastery of German masters and the art of the decorative decoration of the furniture objects created by them and, at the same time, overweight material, the heavyness of carved and accurate decorations.

The first signs of the Baroque style in Russia should be sought during the reign of Tsar Alexei Mikhailovich (1645-1676). At this time, Russia has already enough sustainable trading connections with England, Holland and other countries. In the rest of the tsarist palaces and the house of Boyar begin to penetrate the brilliant furniture objects of the baroque style: chests, beds, massive cabinets, chairs, tables, etc. Foreign masters are invited, who perform orders for the manufacture of furniture and teach Russian masters. The typical objects of the furnishings were chairs and chairs with a high straight back, decorated with threads in the form of curls, crown, coat of arms, eagles and lions, a low back chairs, accurate straight with interceptions or twisted legs, etc. Chairs and backs were estimated by cloth, velvet or embossed skin. Massive tables brought from Germany standing on thick-eyed or twisted legs, massive cabinets whose buildings were resounded on spherical supports, and beds with a canopy. True, the beds with a canopy were a rather rare furniture object and met only in the royal chambers. All furniture was wooden, and its surface was usually covered with wax mastic, polished or painted. However, many samples of furniture not only imported, but also manufactured, for example, in the Armory of the Moscow Kremlin. There worked well-known joiners, cutters and gates: S. Darev-sky, K. Mikhailov, Okulov, P. Kuzovlev, etc., who performed orders of the royal yard and Moscow nobility. Many samples of Western European furniture of that time were copied by local masters (mainly fortress people) - these copies were a very low level and in terms of construction, and in terms of decorative processing, because Russian joiners and cutters then did not yet know all secrets of furniture art accumulated in the West. It may be explained by the fact why so few objects of the situation of Russian dwellings of that time reached our time.

By the beginning of the reign of Peter I (1672-1725), Baroque in Europe reaches its highest flourishing. Hamburg (for other information, Augsburg or Nuremberg) Masters are created (in 1682-1684) Silver double throne for the young kings of Ivan Alekseevich and Peter Alekseevich. Above the double seat, upholstered red velvet, on twisted columns, a kind of canopy with chained gilded images of fantastic animals and birds, riders and a different vegetable baroque decor was strengthened. Three openwork steps are strengthened before the seat, and at some distance from the throne there are massive columns in shape and decor, one of which is installed exactly in the center of the throne, decorated with top-headed eagles, engraved and slit ornaments, as well as two low columns Point. These columns are intended for two tsaristy sperm and one common power. The back of the right seat intended for the young Peter had a slit window that was closed by the curtain. It is assumed that in the days of solemn techniques standing behind the throne, the man gave advice and suggested the king the necessary answers. In Russia, in the era of Peter, the best samples are the Furniture of England and Holland - the most powerful marine powers of that time.

At the beginning of the XVIII century. There is a sharp tide of foreign furniture and foreign masters in Russia. Foreign masters were charged with the duty to train students attached to them. Foreign furniture existed in palaces next to the products made in St. Petersburg. Together with the invitation of Western masters and the purchase of furniture samples abroad, domestic production developed abroad. Russian furniture art, distinguished by its identity, nevertheless began to develop in line with pan-European culture. From that time, the furniture of lightweight proportions, more elegant, comes to replace the cumbersome furniture. The surface of the furniture objects is now more complex at the expense of convex and concave elements. It is used by plyholder nut wood, as well as rare bridal rocks, stone mosaic and marquetry, inlaid by various materials, gilded bronze in the form of overhead elements of decor, coloring, etc.

At the beginning of the XVIII century. From urban homes, first of all in the capitals, chests are cleaned, and their place, as was customary in Europe, occupy cabinets and dressers. At this time, in the go, the simple types of Dutch and English chairs and chairs with straight legs and backs having three racks, the average of which is made of carved.

Along with them, the types of chairs are widely distributed, forms resembling Severogberman samples. Chairs have direct accurate legs and a part of prideos, accurate side racks of direct backs, the middle part of which is decorated with openwork threads in the form of large curls. The back has a semicircular completion, also decorated with carvings. Such a carved decoration has anterior pride, located high enough above the floor - approximately in the center of the legs. The chairs are performed soft or semi-dimensional and rushing with cloth or skin with nails with large caps. Soft upholstery has a central backrest plan. Similarly, chairs are solved with accurate legs and properties, a carved end of the back and deployed to the Territories. The chair has a soft upholstery of the seat and the central part of the back and is decorated additionally fringe on the bottom of the seat.

Other types of soft furniture for seating, skin-upheaval, cloth with embroidery or silk cloth are used. Such chairs and sofas have curved carved legs that end the bird paw holding a ball. The sample of the furniture of the Petrovsky Baroque can serve the throne of Peter I, decorated with silver. This throne was performed by a furniture worker Clause in 1713. Another sample can serve as an armchair, a raspberry velvet, which was placed by the Wax Figure I, made in 1725 P. Fedorov, a sharp courtyard. Characteristic for this era are heavy oak tables, which made in the type of Dutch tables of the XVI century, which stood on thick-eyed legs in the form of a bunny balaas, pulled with a flat frame of rectangular shape with profiled edges. The substole was performed very massive and had, as a rule, drawers. The entire front surface of the podstolye was decorated with profiles, half-colonels and a complex decorative motive, reminding portals or platbands of windows of Moscow palaces or churches. The tabletop with a profiled edge could have side boards extended from under it, which resembled some Dutch samples. If such a table was performed from a simple tree, then it was often colored green paint. For furnishing of the premises, various cabinets were used, the decor of the facial facades of which was performed, following the principles of architectural jewelry using architectural templates. The influence of Dutch cabinets is felt in proportions and solving the shape of patterned meal of doors, eaves, accurate semi-colonel and architectural templates in a bunk closet-buffet, made at the beginning of the XVIII century. The surface of such furniture objects fought and had a matte texture. It should be noted that the furniture of furniture in the Marquetry technique in Russia at the beginning of the XVIII century. NOT INTRODUCED, therefore, instead of a wooden mosaic set, the painting of the entire surface of the wooden subject, pre-covered with levkas, bright ornamental patterns, thematic pictures, colors was often used. Then the painting was covered with varnish. For furnishing of the premises of the palaces used, in addition to cabinets, tables and furniture for seating, also floor clocks, mirrors in the frames of sea oak, Shirma, lacquer work Larz, etc.

Sokolova T.M. In his work, it mentions the preserved inventory of the finishing and furniture of Peterhof Palaces of 1728, according to which the walls in the premises of the palaces were tightened with tissues, most often silk, less often woolen and quilted. The furniture was inhabit the same cloth as the walls, as well as the Red Safyan. Silk pillows were stacked on wicker chairs. In stock, for example, were marked: Wallpaper Muarovy Dutch silk, wide English and Chinese walnut cabinet English, simple German black table on three legs, table Lacked painted on one leg, oak round table with floors, red cabinet and t .P.

French Furniture Baroque (mid-XVII-beginning XVIII century). Louis Xiv style style

France XVII century. - The most powerful state of Europe with the absolute royal power. At this time, there are the construction of grand architectural ensembles, the creation of luxurious works of decorative and applied arts, furniture and sculptures, magnificent picturesque works.

Established by the middle of the XVII century. In France, the style can be described as a baroque in a synthesis with rebound motifs. It was a baroque to the French way - very magnificent, brilliant, secular, in its most part representative art, more ordered and academic than Italian. This style is customary to call a big style, or the style of Louis XIV. The entire period of the French baroque is very conventionally divided into several stages: late Renaissance with elements of mannerism of the early baroque, transitional style (Louis XIII, 1610-1643); Mature Baroque (Louis XIV, 1643-1715); Regertain style (transition style between the reigns of Louis XIV and Louis XV) and Rococo (Louis XV, 1720-1765). The last stage, Rococo style, Currently, researchers are not referring to the final, late Baroque stage, and to independent artistic style, the truth that grew up from the subsoil baroque.

French Baroque Epoch Furniture cannot be assessed without taking into account the development of the architecture of the time, the decoration of interiors and all decorative and applied arts in general.

With Louis XIII, the aristocracy and the rich bourgeoisie of France actively order for themselves the construction of luxurious palaces, which are designing for them S. De-Zub, F. Mansar, L. Levo and other famous architects of that time.

Everyone in the interior serves as a representative, the wishes will instantly hit the viewer with the luxury of the decoration of the premises.

Now the parade premises become the lobby with the front, well-decorated stairs and the gallery connected to them. The impression of solemnity arises from the visitor whenever he falls into the lobby from the front staircase, over which the painted ceiling painted ceiling.

The requirements of the emerging new style lead to the development of decorative and applied arts, especially the manufacture of tissues, carpets, dishes, jewelry and, of course, furniture. The chairs and chairs of this time still have straightforward forms, their main structural elements are performed by turning, backrest and seats are tested with a cloth. Gradually, due to the requirements of convenience, the chairs are wider, the backs are made above, all wooden parts are covered with abundant carvings and gold. However, French decorative art and the production of furniture of this style got their higher development Only in the second half of the XVII century. With Louis XIV, which builds a magnificent Versaille ensemble - with his palaces, gardens, parks, pools and fountains decorated with sculptures. All this was conceived and carried out for the courthouse ceremonies, subordinate to the strict solemn etiquette. Versailles, which was created by architects L. Levo, J.A. Mansa-Rum and A. Lenotrom under the leadership of the first painter King Sh. Lebedna and decorated with sculptures of F. Giradon and A. Kuazewox, most organically expressed the idea of \u200b\u200babsolute power. Started in 1661, the construction and finishing of Versailles continued over the next thirty years. Versal ensemble is the highest symbol and sample of the style of the French baroque and the highest achievement of the art of that time. The France's monarchy becomes a classic example and a model for imitating the majority of European Royal Yard. French baroque style for a long time becomes the highest criterion of beauty and luxury.

General view of the Palace Versailles. 1668 Paris, France

Mirror gallery. Versailles. F. Mansar and Sh. Lebrene. 1679-1686 France

Similar results are possible not only by the efforts of architects, painters, sculptors, furniture makers, etc., but also thanks to Kohlbera, the first Minister of Louis, who was responsible for organizing the entire artistic life of the country, organizing various institutions designed to develop art and culture, or providing They are state aid.

In 1661, the academy of painting and sculptures, officially established in 1648, officially established the Other Academy, the Academy of Architecture, who received official status in 1671, became a new role in 1648, becoming a real school for architects and builders. The French academy specially created in 1666 in Rome begins to teach students painting, sculpture and architecture on the best examples of Italian ancient art.

The Kolbera activity was aimed at the rise of the art industry and art of France to provide a country of independence from other states and in this area. As a result, the art and art industry of France received a powerful impetus, and the country began to produce everything that it had previously imported. Colbert supported both textile manufactories that began working in various cities of France.

Lyodafature of Lyon is beginning to produce luxurious fabrics from the Packets, Silka, filled with the Baroque patterns in Italian style, which found their worthy use when designing the interiors of Versailles - the permanent residence of Louis XIV since 1682. In addition, Kolber invites Masters from Venice to the French artisans can learn They have the technique of production of mirrors. In 1662, on the basis of the workshop of tapestry, Kolber unites the scattered carpet workshops of Paris and gives them the status of royal manuff, at the head of which, as its artistic director, became S. Lebrene. The tasks of this manufactory were identified very extensive. In addition to the carpet, it had to contribute to the development of various artistic crafts and serve as a school for learning gold and silver work masters, founders, engravers, weavers, stone chains, furniture makers and dyeers. The theme of the decorations of a significant part of carpet-tapestries was chosen in order to resonate the image of the king. For example, a series of tapestries on the themes of life and great acts of Louis XIV or Alexander Macedonsky were performed, where the great commander was identified with the king of France (a series of tapestries: Louis Louis Life, Alexander's story, royal residences). In 1664, by order of Louis XIV, another weaving manufactory in Bove was opened, which, along with Manufactures in Obusson and Pellelet, acquired in the XVII century. great importance. French tapestries enjoyed extraordinary popularity. Orders came from all European countries. Most of the products were performed in the drawings of Lebed.

In the XVII century Products from porcelain and faience were widely distributed. The centers of their production become Nevers, Rouen and Misti. In these products, the Chinese motifs and the ornaments of the Italian Renaissance, which remained only in the neverte manufactities, is gradually disappeared. Ceramic products from Rouran are covered with elegant patterns with baroque ornamental lambrequin and telling. Porcelain products made of mandy are decorated with ornaments with grotesk motifs. In the interiors of the Versailles Palace, large-sized mirrors were widely used, which indicates the level of technology and art of France of that time, which was worthy competition with glass and mirrors to the masters of Venice. It is known that at first the mirrors of large size France purchased in Venice.

The Mirror Gallery of the Versailles Palace, created by the Manzar, is a true masterpiece of the baroque interior. It was used here new reception The decor of the walls with mirrors, which were opposite the windows and coincided with them in size and form. As a result, it turned out that the gallery had any two walls with windows overlooking the garden, only alone were real, and others - imaginary. The Lebrene Gallery Arch was decorated with medallions with the image of the victories of the Sun King, as Louis XIV was called then.

The mirror gallery was located on the terrace connecting the king and queen apartments. Between the windows and arcades, pilasters from marble were installed, with the capitals of the French order, made of gilded bronze, the antablement was decorated with royal crowns. The reservoirs also used the motives of military armor, various emblems and weapons from artificial marble.

Until 1689-1690. The mirror gallery was furnished with silver furniture designed by the sketches of Lebedin. However, all these silver tables, stools, chandeliers, lamps, plants, after the royal edict against luxury, 1689 were interpretable coins in order to cover the costs of war. The grandeur of the Versailles Palace demanded new techniques for deco-river and new solutions in furniture art.

In some rooms, the walls, broken into separate panels, were lined with a multicolor marble and decorated with columns and pilasters, between which stucco gilded compositions were placed. Magnificent were friezes, eaves and plafones painted by the best artists of the country.

In other halls, the walls were tightened by expensive fabrics, which changed depending on the time of year. In winter, a green or dark-red velvet was used with golden galoon; In the summer - a brocade with a gold or silver pattern and a multicolor silver. Against the background of these fabrics, the paintings of Titian, Rubens, Karachchi, Veronese and other great artists were waved in gilded frames.

At this time, there is a peak of the popularity of the upholstery of the walls of the rich palaces of embossed calf leather, decorated with silver and gold foil or painted with bright colors on various themes. The decor of such leather upholstery often imitated the drawing of expensive fabrics. Preserved its popularity. Simple lifting of walls with wooden panels made of oak, pine or fir, often tinted under more expensive breeds.

By the end of the XVII century. Such wooden wall panels became even painted in white, blue or pale green tones. Sometimes such a wooden casing took place at the bottom of the central belt, made of multicolored marble. It should be noted that the marble finish is not only floors, but also the walls of the Versaille under explicit Italian influence, whereas in many other baroque French interiors, a tree was widely used.

Most of the premises of the first floor of Versailles have marble floors, and on the upper floors the floors were made mainly wooden. Already by 1620, Maria Medici ordered the floor from a parquet, inlaid by silver in his office. In one of the rooms of the heir to the throne A.-S. Boule, a court furniture of the king, the floor was used, decorated with patterns from the turtle shell and silver, which corresponded to its stylistics of decorating furniture.

In France, the parquet was made, mostly from oak and had a diamond shape of his elements. However, the technique of a set carpet, abundantly inlaid, did not receive great recognition in France, but in Germany, Russia and other more northern countries were brought to perfection. On top of parquet and other floors could lay straw mats (even in royal resting) or Persian carpets, which was a big rarity. The solid carpet was distributed not earlier than the XVIII century, when separate carpets began to sew into a single integer. Persian carpets were abandoned by floors only in particularly solemn cases. Sometimes they even covered tables.

In the XVII century In France, the tradition of decorating fireplaces has changed. Fireplaces with a tent canopy throughout the century almost disappeared, and the main type was the fireplace with a flat protrusion, which was made from the floor to the ceiling. At the bottom, the fireplace was decorated with a basement, and at the top - the eaves, the stylistics of which was to correspond to the profiles of the decor of the entire room. A mirror was installed over the fireplace shelf. Although such fireplaces with mirrors were already known at the beginning of the century, for example, in the Fontainebell in 1601, until the end of the XVII century, they were not widespread.

Paradinary furniture in the style of French Baroque for the palaces of Louis XIV and Parisian nobility is made primarily on the basis of Italian samples. Lebrene invites you from Italy for the Royal Furniture Manufactory of Foreign Mesmer D. Kuchchi, Mosaicist D. Branca and Cutter F. Kafartier, who trained a large number of famous French masters. Significant influence on the development of this style were artists Sh. Lebrene and J. Lepotr. The drawings of furniture samples published by them had decoration by the type of Roman ornamenta Baroque of the middle of the XVII century. In the stylist of Furniture of the French Baroque, two directions can be distinguished, of which one is characterized by the influence of lepotra creativity, and the second is the influence of the artist J. Beren, thanks to which the furniture overloaded with decor becomes more elegant.

All XVII century. And until the second half of the XVIII century. The furniture is made from the tree of local rocks, decorated with carvings and golden or from the bridge tree, primarily ebony (black), covered with inlaid from silver, copper, pearl, turtle shell, wood of other breeds and gilded bronze. Furniture objects are also decorated with overhead bas-reliefs, medallions, profiled belt, ornaments made of cast gold bronze.

The ornament of Louis XIV style is strictly symmetrical and is built on opposing direct and rounded lines, which gives a certain mobility of the decorative composition. The ornament is developed using the motifs of an acack sheet, garlands, ancient trophies, palmettes, wolves, balustrades, torn frontones, lionic heads and female heads, a carton with a convex central part, which is often decorated with the image of the Sun, the Face of Apollo, two crossed letters L or three French lilies, etc. At the end of the century, decorative ornaments are distributed: a troll, which is a solid mesh with diamond cells, in each of which is placed a socket, and a lambrene, mimicing cut-off with teeth or turned up to the curtain, often with brushes.

At this time, the most complex technologies of the tree mating, its pans, inlaid and mosaic set are known to the furniture makers. The design of the furniture is adjacent to perfection. Nevertheless, the entire XVII century. There were no furniture heads in the modern understanding of this term. Only separate series or groups are created constructively and stylisticly interconnected chairs, stools and chairs. Cabinets, cabinets, dressers were created, as a rule, in the form of independent objects, although sometimes in pairs or small groups. The main innovation, which appeared in the furniture of this time, is accounting in its design and the form of convenience requirements, comfort. A wide variety of types of furniture objects appear depending on certain vital functional needs of a person. At this time, high floor clocks are beginning to be widely used, the first written desks and the Bureau Tables, Console Tables, Dressers and early forms Canape and chaise lounge.

The decoration of baroque palace premises is unthinkable without luxuriously decorated cabinets, which often had very impressive sizes. Mostly it was fanked by black wood products decorated with mosaic, inlay, painting. The office was usually solved by the type of baroque building, the facade of which was decorated with carved columns, cornices, frontones, sockets, medallions, volitions, architectural profiles. Often the cabinet itself was installed on the supports made in the form of columns or karyatid, in turn, on a well-profiled basement. The Cabinet usually had two swing doors, followed by retractable, well-decorated boxes. At the late period of the style of Louis XIV, there is an appearance of a new furniture object - a chest furnished for legs and for the convenience of drawers equipped with drawers, which was called the chest. In the time of Louis XIV, a written table appears with drawers, which was originally called the Bureau, because Its countertop was blocked by a thick cloth (from fr. Burean - thick cloth). Such a table was performed from a black tree, its legs and pods were covered with carvings, and its ribs, handles and stacks of boxes were decorated with an overlap-beamed gilded bronze. Gradually, the working surface of the writing tables began to have an add-in with boxes and shelves and closed with a folding lid. Such tables had a luxurious finish and were called the Bureau tables.

Other types of tables have a round or rectangular countertop. At rectangular tables, pyramido-shaped faceted legs are made with a vertical axis. They have a magnificent thread or inlay. They are often decorated with lamb heads or female heads made of gilded bronze.

Later, the tables begin to stand not on four, but on eight legs, pulled at thenime cruciform curved properties. Tables have two or three drawers, decorated with inlaid and bronze lining. Table tops of tables are made from a massive plate of colored marble and decorated with a mosaic. Wooden, decorated along the edge of thread and inlay, countertops. In addition to the front desks, narrow rectangular console tables appeared, which were raised by the wall. Their width is usually determined by the width of the mirror-tremo, which hovel on the wall over the console. The main decoration of the console tables is usually focused in the substole, which had a lush thread and solid gilding. The legs of the console below were tightened with a very complex shape, and its middle usually decorated with a carved cardush, decorated with royal cipher and coat of arms, or a vase. These tables performed a decorative role, they were usually installed any beautiful items - vases, clocks, small plastic, etc.

In the style of Louis XIV at the border of the XVII - XVIII centuries. And especially in the subsequent regency style, it is noticeable to change the straightforward form of lines to curved. For example, written tables are exempted from progress and have a slightly curved legs that are narrowed by the book and end with bronze paws.

In the middle part of the wooden table top, a sticker made of red or green safyan, decorated with gold embossed. Under the table top there are usually three drawers, where average has the smallest depth compared to two side.

A special place in the French baroque furniture is the furniture for seating. Chairs, chairs, sofas are made with high, slightly folded back back above the head of a sitting person. Elbows have a beautiful bending and end with volitions. The legs and produce are performed with a turning method with large interceptions and are connected to each other through the characteristic thickening of the rectangular shape. There are other types of legs: a pyramidal shape, decorated with carved ornaments and profiles and curved in the form of the letters S, the ends of which are usually decorated with acacan leaves. This last type of legs refers to the second half of the reign of Louis XIV. Seats, backs and elbows are made soft and rummage with hand-made fur embroidery with a small cross or semi-crust, tapestry, tapestry piece, spanish embedded skin of cord, eye, squeezing, patterned velvet. Chairs and chairs are also decorated with a fringe along the bottom edge of the seat and themost dead. Upholstery fabric is usually attached to nails with large gilded hats. Putting - horse hair. At this time, the first sofas appear, reminiscent of the interconnected three chairs with a single overall back and seat. The upper part of the back of such sofas has a wavy baroque line, as if a repeating line of the connected chairs. The sofas are based, as a rule, six or eight legs. Pieces of tapestry type (separately for the backrest and for the seat) are made on tapestry manufactures, Bove or Ourusson. Such bright, saturated tones of the tissue are made with ornamental divorces, the colors of large sizes or decorated with images of birds, small animals, etc. Soft pieces of furniture begin to cover with removable covers.

In the second half of the board of Louis XIV, there are comfortable chairs with characteristic backs, on which two protrusions are made to fix the head of the seated person, and the first chaise lounges (from the FR. Chaise Longue is a long chair) in the form of an elongated shape or chairs with an armchair attached to them.

For French baroque, a very magnificent decor of palace beds is also characteristic. Beds have cavities, luxurious curtains and drapets with lambrequins, as well as satin, silk bedspreads and capes, which are almost completely hiding wooden elements of bed enclosures. Very popular fabrics with eastern pattern on Japanese and Chinese topics (branches of flowering sakura, birds, flowers, etc.), so-called. Japanning. Such fabrics were used not only for decorating bedrooms, but also in the form of tablecloths, curtains, curtains and curtains on the windows and doors. In the royal bedrooms, Alcove struck from the rest of the room also with a decorative balustrade. In rooms in front of bedrooms, so-called. Belleva, the dressers were installed. It should be noted here that the bedrooms in the XVII century. It was considered paradic premises in which the guests often took place. From the second half of the century gets spreading such a type of leisure furniture lying as a couch (from Fr. Coucher - to sleep), similar to the early type of sun lounger - on six or eight legs, pulled, in the form of an extended soft bench or a banquette with one head back on Next or three backs (longitudinal and two on the ends). This type of furniture began to call the canape. The screen includes the screens that block the Zev fireplace. Screens are tightened with tapestry fabrics.

Speaking about Baroque French furniture, it should be specially highlighted on the palace furniture made in the style of Bul. Such a style is the name of the famous furniture maker of the era of Louis XIV Andre-Charles Bul, Flemish by origin, who worked with his four sons. The furniture in this stylist was successful and was widespread in the XVII century, and throughout almost only the XVIII century. Not only in France, but also in other countries. Furniture in the style of Bul, causing a lot of imitative works of furniture art, including in France, was very popular and in Russia, however, to the self A.-s. Bulo did not have a relationship.

Furniture Boulev is monumental, has simple forms and is extremely richly decorated - one can say, bevented with ornamentation. These are cabinets, cabinets and cabinets for coins, standing hours, dressers, tables, etc. Usually such furniture A.-S. Boule plywood in black tree and decorated with inlaid and inserts from gilded bronze. The clean planes of furniture objects were interpreted by both panels, which showed peculiar pictures with a closed composition, completely covered with baroque patterns in the form of intertwined curls, wolves, garlands, grotescas, mascurns, leaves, colors, sockets, etc. Sometimes in the center of such "the ornament was placed vases with flowers and flutses around butterflies scored from a colored tree, or an independent composition with a human figure made by a weak terrain of gilded bronze, standing on a special pedestal, surrounded by bizarre curls. Bul ornamentation is strictly symmetric and has a direct connection with the renaissance motifs and with the decor of ancient Rome, so there are many figurative compositions on the topic of antiquity, trophies, i.e. compositions from swords, dictorous ligaments, shields, helmets, laurels and oak leaves, etc. in the early period A . Boule makes cabinets and cabinets for coins and medals that are imitated by the Florentine cabinets and inlaid with a solid stone (Pietra Dura). Boolean cabinets are decorated with patterns from flowers and birds performed in an inlaid technique with colored wood - intarsia.

The second, the more late period in the style of Bul style is characterized by the predominance of inlaid from the turtle shell, brass, tin, silver, pearl, glass mass, etc. Under the abundance of the decorations of the wooden surface of the tree is almost not visible. Elements of the ornament, made, for example, from the turtle imposed on a brilliant metal background, were furified by the embossed frame made of cast gold bronze. In other cases, the baroque patterns, carved from brass (copper), tin or silver, looked very exquisitely against the background of a polished plate of the turtle shell, emphasizing the larger decorations made of painted gilded bronze.

For its inlaid works, A. Bul applied a kind of technique, which he, truth, did not invent, but brought to the highest perfection. For example, to obtain individual elements of the planned ornament, two plates - a turtle and brass (copper) - slightly glued together with each other, and the drawing of the articulated pattern element is applied to one of them. Then, simultaneously through both plates along the contour, this element of the ornament is powered by a jigsaw until it falls out of the plates in the form of two the same on the abis, but different parts of the details.

This technique provided the finest fit of the elements of the ornament and the background to each other, the ability to simultaneously create two identical pictures, but different in color, texture and texture of the ornament and the complete lack of waste, which was very important when using valuable materials. In the professional language of furnitureeers, a turtle plate with brass (copper) pattern was called the first part, brass with a turtle insert - the second. If one pattern with the use of tin was conceived, then the damp and receipt of individual elements and drives with through holes, precisely coinciding with the abis of these elements, was conducted through three plates.

A turtle shell in the baroque era was used not only for such an inlay furniture objects. The technique of peak was used (from fr. Piquer - rolling) when in the turtle plate, according to the figure, pre-heated segments of the Golden Wire were riveted. When the wire cooled, the segments covered in the surface of the plate, which was then thoroughly polished. On the surface of the plate, a lightweight and very elegant lace pattern was obtained, consisting of small brilliant golden dots. Such a pattern was often complemented by pearl and gold linings.

The Hermitage Museum has a peak table, which was made by order of Louis XIV on the tapestry manufactory. He was intended as a gift to the Queen of Portugal.

By the beginning of the XVIII century. Rectangular Bul Style Forms are softened, rounded curved lines appear. The amount of gilding, giving way to the beauty of the natural tree, is reduced.

One of the Baroque Baroque era faces in France - the art of a large style, or style of Louis XIV - is the creation of furniture objects, in which freedom of composite constructions of the main elements of the form, excessive, abundance and wealth of the decor are constrained and balanced by a clear tectonic building and logical , reasonable of their volume-spatial structure. All this indicates the obvious impact and penetration of the Renaissance principles into French Baroque.

French Furniture Regency Period (first quarter of the XVIII century). Regency style

The transition from the majestic Baroque era of Louis XIV to Rococo occurred through an intermediate stage, which is customary to call the regency style. This style of French art, incl. and furniture, was characteristic of the first quarter of the XVIII century. At this time, the native uncle of the future king of France Louis XV Philip Orleans becomes in 1715, with it regent and rules the country. A new transition style arises, which gradually facilitates the forms of furniture objects and their decor, while maintaining the structure and the main line of their forms, and in many ways the ornament of the style of Louis XIV. True, now in ornamental motives, the list of acanta is met less and less and the ornamental pattern of tilting is occupied. In the XVIII century The royal yard and the whole French know spend a huge amount of money on the furnishings of their apartments, the furniture begins to occupy a significant place in their lives. The luxury of the decoration is made more sophisticated and less solemn and pompous. Even there is some opposition to furnishings of the main premises and residential rooms, which are filled with the furniture of a more cozy, appropriate convenience, tastes and the mood of a person living here. Chairs and sofas are now divided by the so-called. The situation, which are installed along the walls and have a strictly defined place, and more movable, put in groups at any convenient location, for example, around the table.

The shape of the chairs, chairs, sofas gradually changes - the pripers almost disappear here, and the legs are increasingly bent, the back on the chairs is first made high, but gradually becomes lower, steeper dropping back. The seat is still softer and wider taking into account wearable clothes. When the ladies began to wear very wide Fizhma Panny, the Elbades were departed to the sides, outside, for the purpose of sitting and getting up. The decor of these seats for seating is preserved in the form of embossed and stubborn threads of wooden parts and luxury upholstery tissue tapestry or velvet. At the upholstery there are not only smooth tapestries, but also soft dilated woven carpets with a flower pattern that manufactures Savannerty Manufactory.

In the composition of the cabinet furniture there is a refusal from the architectural principles of its construction. Cabinets cease to remind buildings with their architectural decoration, first of all, their facade parts. Instead of cabinets and cabinets, preference is given to the chest. The front facade face of the chest case smoothly bends, as if swelling, and its lower edge is done with a wave-like protrusion in the middle. The housing of the chest is on high curved, deployed on the sides relative to the plane of the facade with legs covered with threads and decorated with additionally bronze linings in the form of plant ornaments with human figures and heads. Corners of the table tops are spinning and its edges are profiled. The core of the chest is decorated with a typical tree in the Marquetry technique, as well as bronze overhead decorations. For a set, it is usually used, as a rule, not only a black tree, but also the tree of other valuable rocks brought from abroad.

The composition of decorative decorations is still symmetry, but in the form and placement of individual elements of ornament, curls, bouquets, figures and heads there is a great ease and freedom of solutions than in the decoration of the furniture of the previous period.

Used materials studies. Benefits: Grishin A.A. A brief course of the style evolution of furniture - Moscow: Architecture-C, 2007

Baroque style bloomed in Europe in the XVII century, arising a century earlier in Italy, where local masters sought to exalted their cultural significance to bring certain excesses into all branches of art and personality, including in architecture.

Before Russia, the architectural style of Barochko reached the "window worn" by Peter I "window to Europe" with a fair intake, embodied fully only in the XVIII century, when classicism has already been strengthened in Europe. But the lag in the view of the time was more than compensated by the grandeur of the baroque buildings of urban and manor ensembles of the capital and other places in love with Russian. In addition, the Russian Baroque, like other foreign cultural trends entering the country, found new, uncharacteristic for European baroque features, breeding purely domestic styles, such as Stroganovskoye, Golitsyn and Naryshkinskoye Baroque.

Baroque style was embodied mainly in churches and temple projects. The famous architectural monuments can be attributed to the Church of the Intercession in Filya, the Assumption Cathedral in Ryazan, the Novodevichy Monastery, the Bryansk Sretennaya Nekra Church in the Sven Monastery, the Church of the Virgin Mother of God in Dubrovitsy, not far from Podolsk, and many other temples. Naryshkinskaya Baroque in architecture is characterized by a longarity, a centricity, equilibrium and symmetry, white elements on a red background.

Temple of the signs of the Virgin in Dubrovitsy, Golitsyn Baroque

The church of the sign of the Blessed Virgin Mary in Dubrovitsy absorbed the elements of Italian, German, Swedish, French and Russian architecture. The abundance of architectural details and threads are suitable columns, curls, grape brushes, flowers, leaves, as well as the sculptures of the angels and saints - make the temple with a unique specimen of church architecture. Instead of the traditional dome, the church crown the golden crown.

The self-confusion of the architectural directions of Baroque in Russia comes from the names of the birth, patronized the construction of the most significant structures of this era, which, of course, possessed their own characteristic features. In general, the difference between the domestic baroque from the European ones can be traced in simplicity and composite structures. The difference can also be found in detail, for example, in the finishing materials used. In Europe, a stone was used for cladding, the Russian masters were used plaster and plaster, which, unlike stone, could be painted. That is why the architectural structures of the Russian Baroque please the eyes with a bright contrasting roller. Basically used red, blue, yellow and white paints, as well as their combinations, and a white tin and various gilding was used for the roof.

In the decor of the facades, an ornamental modeling was used, in which elements of the traditional Russian flavor appeared clearly. Western architects, seeking to surpass competitors, actively used mystical signs and symbols, which is also not typical for Russian baroque, although, justice for the sake of foreign architects, who built manor estates for the first persons of the empire in the capital and its surroundings, still resorted to the traditionally European receivers. But in the outback, where Baroque was originally leaked by the efforts of Boyarin Lion Naryshkin, local traditions were almost completely prevailed in the decoration.

Church of the Intercession in Fil

The Church of the Intercession of the Most Holy Theotokos in filients, built in the primary princes of Naryshkin, is one of the best representatives of the Moscow Baroque. The church in this suburban village was known from 1619. - This small wooden church of the Intercession and gave the name of a new, two-story luxurious baroque beauty.

Novodevichy Monastery in Moscow

The Great Abode of the Major Virgin "Odigitria", the Orthodox Women's New Devich Monastery in Moscow (Novodevichi Virgin-Smolensky Monastery) - laid the Grand Duke Vladimir and Moscow Vasily III in 1524 in honor of the main shrine of Ancient Smolensk - the icons of the Smolensk Mother of God.

Active construction began in the monastery during the reign of Sophia Alekseevna. Almost the entire architectural ensemble of the monastery (excluding the old Smolensky Cathedral) was built precisely then, in the new style of "Moscow Baroque." In a short period of time, the bell tower, the noteworthy churches of the northern and southern gates, the Assumption Temple with the Food Chamber, two residential buildings for the sisters of the queen Sofia - Tsareven Mary and Catherine.



The architectural ensemble of the monastery, which has developed in the XVI-XVII centuries, has not changed significant changes since then. As an exceptional preservation of a sample of Moscow Baroque, it was raised under the protection of UNESCO and declared the property of all mankind.

Baroque style in the architecture of the venues of the ceremonial and secular events of higher estates emphasized the power and welfare Russian Empire Those years. Not only external, but also the inner decoration of buildings did not have equal in all of Europe. The most outstanding architect of that period is considered to be Bartholomew Varfolomeyevich Rastrelli, a representative of the T.N. Elizabethan Baroque. Among his works are remembered by the magnificent Winter, Stroganovsky and Vorontsov Palaces, the Andreevsk Church in Kiev, the Tsarsko Seli Ekaterininsky Palace, a Smolny Monastery. These facilities are affected by their scales and makeup finishes.

Catherine Palace

It so happened that my birth is Catherine (big) the palace owes the brilliant hostesses, three women-Empress - Catherine I, Elizabeth Petrovna and Catherine II, to which the palace belonged in the XVIII century and who paid great attention to its construction. Their fantasies, projects and personal tastes embodied hundreds of talented architects, artists, gardeners.

The palace erected in the Baroque style admires its size, powerful spatial dynamics and the "painting" of the decor. A wide view of the facade tape with snow-white columns and a gilded ornament looks festive. Palace facades Rastrelli decorated atlanta figures, karyatid, lion masks and other stucco decorations, made on the models of sculptor I.-F. Dunker

Among other architects, the Baroque era can be allocated by Mikhail Zemtsov, Dmitry Ukhtomsky, Domenico Trezini, Savva Chevakinsky. These outstanding men left behind such monuments of Russian baroque architecture as Fedorov Church in St. Petersburg, erected among other five-chapters of St. Petersburg temples on the project of Trezini, the Sheremetyevsky Palace, which was developed by Chevakinsky. Among other monuments of the baroque period, the Petropavlovsky Cathedral can be remembered in Kazan, Menshikovskaya Tower in Moscow, the Stroganov Church in Nizhny Novgorod, the Forerotchean Church in the Trinity-Sergiyev Lavra, Pyatnitsky Well Chapel in Sergiev Posad and many others.

Andreevsky Church in Kiev

The Andreevsk Church is a monument of history, architecture, painting and decorative art of the XVIII century of world importance.
It was built on the order of the Russian Empress Elizabeth as part of the Kiev Tsarist Residence, consisting of the royal (Mariinsky) Palace and the Palace Church.

The church was built in 1747-1762 in the Baroque style on the Rastrelli project, retained not only the authentic architectural forms and the largest percentage of the exterior finish, but also in full constant to our days their interior decoration, which is a perfect model of the Orthodox church interior of the Baroque style.

Joint creation of a brilliant architect F.-B. Rastrelli, human hands and nature gave rise to unique monumentWhich, due to the ease, the refinement of the composition, the harmonious merger of all its parts into a single whole and the connection with the surrounding nature, became the masterpiece of the architecture of the Baroque era and served as an unsurpassed sample to imitate in the construction of religious structures. The world community of the building of the Andreevsky Church is listed in the catalog "1000 Wonders of Light. Masterpieces of mankind of five continents "published in Germany in 2002. Given the extraordinary value of the monument, it was proposed to make the Andreev Church on the UNESCO World Heritage List.

Winter Palace

Permeated with light, sparkling gilding and mirrors interior occupies the entire height of the building of the Winter Palace.

The picturesque plander with the image of Olympa (Diciano Gasparo, 18 century) visually increases the height of the room. The decorative decoration of the stairs includes sculptural works brought under Peter I from Italy: "Power", "Antinea", "Diana", "Justice", "Power". .

Winter Palace, Jordanian Staircase

The white gramist staircase, starting from the main gallery, diverges two broad marches, which are again connected from the top platform.



The effect of baroque theaterization effect is striking the imagination: the low shaded first march of the stairs contrasts with its main volume, where the space seems to be lifted, reflecting in the mirrors and breaking through the infinity of the illusory painting of the arch. Ten monolithic columns of serdobol granite support stairs.



In 18 V. The staircase called the Embassy - ambassadors of foreign powers climbed her, heading to the palace at the reception. The ladder opens the entrance to the two front abrasions of the Palace - Neva and the main leading to the St. George hall and a big church. Passage on the main environment repeats the path of the solemn ceremonies of the middle of the XIX - the beginning of the XX century


Later, the ladder was called the Jordanian - on it during the holiday of baptism from the Big Cathedral of the Winter Palace, the procession went down to the Neva.

Petropavlovsky Cathedral, Kazan

Petropavlovsky Cathedral is an outstanding sample of Naryshkinsky Baroque. Lined in 1722. The temple complex includes the actual cathedral, bell tower and built later the house of the party.
Height \u003d "659" Alt \u003d "(! Lang: Petropavlovskij (900x659, 206Kb)">!}
Built on an exalted place, beautiful and majestic, the cathedral is distinguished by a unique decoration. . The unique appearance of the cathedral attaches, first of all, the decor, the abundance of facade details preserved to our days and their bright coloring.

Smolny monastery

Built in the style of lush Elizabethan baroque with such architectural elements, like lug-haired, inhibitors, painted, soft blue color, dome - in gray. The five-chapter of the cathedral is fully fulfilled. According to the original project, Rastrelli planned to build a unifuncable cathedral over the sample of European temples, but Empress Elizabeth hardly insisted at the Orthodox five-glavion. As a result, the cathedral was built five-chapted, but only one, the central dome refers directly to the temple, the remaining four - the bell tower.



The central dome is located on the drum and in size is much more than the rest, it has a helmet shape, it crumbles on a bulk iron located on a lantern, having a large size. Four identical bell tower have a concave form and consist of two tiers, in the second tier there is a belling, each of the bells are crowned with a small bulbous dome. Pouring into the chorus choir of the Smolny Institute, the facade of the lower part of the architectural style cathedral is much more reminiscent of the palace, rather than the temple. The second part of the cathedral with a five-section, compared to it looks easy and aspiring

Church of John the Warrior on Yakimanka (Moscow)

The architecture of the building combines elements of the styles of the Moscow Baroque with the Ukrainian baroque, and the European influence, common in Russian architecture during Peter.

The reign of Barochko in Russia was short-lived. In an effort to keep up with European trends, in the middle of the XVIII century, the metropolitan, and after and the provincial buildings began to acquire the features of Rococo, and by the last quarter of the XVIII century, classicism came to replace them, replacing luxury and grandeur, on rationalism, simplicity and monumentality of the ancient forms.
But baroque architectural ensembles still please us with their styles, forms and unique beauty.

baroque architecture masterpiece style

Introduction

1 The emergence of Barochko

2 Baroque architecture feature

2 Baroque architects

Conclusion

Bibliography

Introduction

Baroque style is born in Italy and distributed in most European countries, acquiring in each of its special national traits. The occurrence of Baroque was determined by the new globility, the crisis of the Renaissance Mirosoznia, the refusal of his great idea of \u200b\u200ba harmonious and grand universal personality. Already, by virtue of this, the occurrence of Baroque could not be connected only with the forms of religion or the nature of power. At the heart of the same ideas determined the essence of Baroque, there was an understanding of the multiformity of the world, its deep contradictions, the drama of the life and purpose of a person, to some extent to these ideas an influence and strengthening of religious searches of the era. Features Baroque determined differences in the worldship and artistic activity of a number of representatives, and within the current art system coexisted very little similar to each other artistic flows.

Baroque style in architecture is fluidity and smoothness, where complex irregular shapes displace each other, merge, forming a single integer with the surrounding space.

The architecture of this style is characterized by a large number of sculptures, columns and pilasters.

The architecture of Baroque is based on the greatness of the Pope and the Catholic Church, as well as on the variety and complexity of the world. That is why it is so monumental, majestic and bunciful.

The flourishing of this style is associated with the intensive formation of national states, the strengthening of absolutism. Unlike the preceding Renaissance, the baroque is characterized by non-equilibrium and harmony, but bold, sometimes dramatic effects of composition, colors, melodies, rhythm, virtuoso and magnificent forms and images. Bright expressive elements Baroque, including curvilinear volitions, towers with domes, framing the main facade, sometimes concave or convex walls are present in the architecture of many monuments of this style. Baroque with Catholicism with Catholicism is most clearly traced - this style has become the greatest development precisely in the field of domination of the Catholic Church.

purpose term paper - study the history of the Baroque architecture; The history of the occurrence of Baroque; Features of the architecture in the style of Baroque, its features, ratio with other styles, differences; The history of architecture in different states.

Explore the history of baroque architecture

examine the architectural masterpieces in the Baroque style, namely, consider the Baroque architecture in different states.

Research Subject - Baroque Style Masterpieces

Chapter 1. Baroque architecture history

1 The emergence of Barochko

In the XVI century In some countries, under the influence of the reformist movement, the power of the Catholic Church occurred, so in the subsequent period the church makes significant efforts to return lost positions. At the same time, the domination of the secular authorities is strengthened. New art style - Baroque - meets the desire of power and wealth by external expression.

Baroque style appeared in Italy as a result of the further evolution of the rebirth style. Its "visible" forms, he began to comprise from the end of the XVI century. From Italy, Barochko applies throughout Europe, where he prevailed from the end of the XVI to the middle of the XVIII century, in some countries it is manifested before the second half of the XVIII century, and at the same time in both directions. In Germany and Austria, the construction of monumental structures in the XVII century has almost been carried out in connection with the thirty-year-old war and its consequences, as well as in England, where some signs of this style are noted only from the middle of the XVII century.

In the XVII century Economic and art of European countries have been actively developed. The colonial powers of the Atlantic were especially strengthened - from Spain to Great Britain; France was considered an exemplary country of absolutist forms of government and practical economic policies.

In the territorially fragmented Italy, thanks to the movement of counter-processing, Rome acquired a new meaning, and the construction of cult buildings received a strong impulse. A great influence was provided by the French absolutism of Louis XIV. Every feudal - no matter how small the territory belonged to him - copied his residence from Versailles. And every Catholic bishop or Abbot hoped, removed to imitate Rome, the dome-shaped church to strengthen the influence of counter-flow trends.

The basis of the economy of this period was agricultureBut it was clear that it was not enough to implement construction programs. In this regard, large feudals began to help the creation of manufactories, which contributed to the development of capitalist industrial relations. Despite the fact that the European architecture of the XVII-XVIII centuries. It does not seem uniform, being dynamic in Italy, serious in France, it is combined with the general concept of "baroque".

The Baroque style came to replace the high revival (Renaissance) in Italy, at the Renaissance Motherland. In those days, Italy is exhausted, foreigners are commissioned in it, however it remains the cultural center of Europe. To prove to all the world the right to a privileged position, you need a style that will emphasize the power, wealth and luxury at the same time money on the construction of palaces lacked. Then the new Baroque style appeared, which allowed the illusion of power and wealth to create painting techniques, and not natural expensive materials.

1.2 Baroque architecture feature

For the architecture, the baroque is characterized by spatial scope, mucifice, fluidity, complex, usually curvilinear forms, gradation, pomp and dynamics, pathetic elevation, the intensity of feelings, addiction to spectacular spectacles, combining illusory and real, strong contrasts of scale and rhythms, materials and textures, light and Shadow

Sweeting collision, internal tension, dynamic movement of forms are becoming characteristic features figurative content of works. Architectural compositions lose the features of harmonic equilibrium: the centric is replaced by an extended, circle - ellipse, square - rectangle, stability of the compositional structure, clarity and clarity of balanced proportions - complex rhythmic constructions, mass movement, variety of proportions. At the same time, the irrationality of the forms is combined with some rational features that were a consequence of reflection in the art of the newest achievements of scientific thought. The artship search in something consonant with the search for science. In art, in particular, they found an indirect reflection of the crushing the usual ideas about the world of Jordan Bruno on the infinity of the Universe: a single holistic, completed, static began to give way to the continuity of development, movement in "Infinity". The rational uniqueness was expressed in the Baroque architecture in the domination of the axis, symmetry, the volitional principle.

The most bright features of Baroque in the architecture characterize temples, the construction of which Catholicism pays special attention. Their plan, as a rule, is returned by medieval basilicality. The compositions are attached to a frontal-axial character with a strong emphasis on the main facade and the deep development of the internal space.

Instead of a calm equilibrium, the plastic monolith and the dynamics of mass begins to prevail the monolithic mass and spaces. The order, remaining the main means of dismemberment, almost completely loses structures: its interpretation is emphasized decorative and plastic. As if growing from the inside the wall, the order becomes an integral part of the array itself, the means of its "sculptural" plastics. Instead of commensurate with a man of scale, it often appears deliberate exaggeration of the sizes of orders. In the composition of the facades, the liberated elements of the order are usually condensed to the axis, emphasizing the main entrance. The internal tension treated by the array of mass is emphasized with elements of plastic - volitions, massive, frequently torn frontones, niches, frames of windows and niches, sculpture, etc.

In the architecture of urban palaces and suburban residencies, convex and concave facades are distributed. A warrant becomes less functional than in the Renaissance era, decorativeness comes to the fore. Collected columns, pilasters that appeared twisted columns, plus the frontones of various forms composed of each other (for example, in-triangular), or broken in the middle of the frontones with a carton give buildings an extreme plastic combination and expressiveness, spectacularly distinguish portals. Generally plastic always prevails in the facades above the tectonics. Italian Palazzo is striking by a colossal order over the lower basement, heavy attics, an abundance of sculptural decor. They have a parade, festive look. In Spain, a special decorative flavor informs the palaces to completely cover the wall, as if swimming sculptural decoration, completely hiding the membership of the facade (the so-called Churgeriec style - on behalf of the architect X. Churgerger).

In France, the type of P-shaped Palace, consisting of central construction and side rizalits predominant. The building is inextricably linked with the park, broken behind him, and the honorable courtyard (Court D "Honneur) in front of the facade. The courtyard is drizzled from the street with a gilder with gilding. Often such lattices themselves were wonderful works of art Baroque art. Honorary courtyards and hotels Mansions of a more intimate character who received distribution in the XVII century.

Over time, country locks acquire an increasingly palace look. Iron bridges through the Rips are replaced by stone bonding buildings with parks. Thanks to the innovation of the architect J.A. Manzar, who raised the roof and attached the attic room, in the country palaces, as in the city, attic appear. If you add bright roofs, laid out either by color tiles "in a checker" or slate and twisted on autumn grapes or ivy, it turns out a very picturesque picture.

In the construction of urban and country mansions of Flanders, the imitation of Italian Palazzo prevailed. The portals were decorated with curved frontions, balconies - sculpture and supported by the Caryiats or Atlants. From Germany, the forms of a transformed baroque cartoon, resembling the outlines of the wave, mask, cartilage (cunpelverk, from him are borrowed (Knorpelverk - "cartilage" and Were - "work") or ear shell (Ormushl). They combined with a juicy herbal sculptural ornament and gave portals of lush, expressive outlines.

In Austria, mansions were also withstanding in the style of Italian baroque palaces, but the lower floors were often built of faceted stone blocks (the so-called diamond Rust), and the upper decorated with expressive dealers of pilasters, columns, arches with sculpture.

Somewashed out of the total row of the construction of the Dutch baroque. A rich burgher house here looked much more modest than Palaces of France, Austria and all the more Italy. Because of the high cost of land in Holland, only tiny kindergartes behind the building were common. Traditionally, the high fronton strengthened the vertical stretch of three - a four-story house. The red brick, from which the buildings were erected, complemented the warmeted parts from the white stone used in the finish.

Baroque private interiors were distinguished by extraordinary solemnity and pomp. This impression was born in the first moment, barely incoming in the lobby of the building with a parade central staircase, over which, in the embroidery, bright spot shone the painted ceiling ceiling. In the manshes of England, in front of the stairs, a special balcony was arranged with a balustrada, followed by the orchestra. The front halls were on the second floor, and on both sides of the center - the rest of the rooms. Parade premises were often connected by narrow gallery, decorated with columns, pilasters, statues or busts, painting, mirrors. The collection of works of the art of the hosts of the house was concentrated here. The gallery windows as a rule went to the park, and on the opposite wall, mirrors were shed. Thus, the effect of deepening space, unity of architecture and nature was created.

The topic of disclosure of the interior space inland was one of the central to Baroque. Therefore, the use of mirrors, the painting of the ceilings by endless celestial dala and soaring figures in the clouds characteristic of the components of interiors. The ceilings were shuffled and covered with detailed fresco compositions surrounded by a gilded carved or a wall decor, as well as painting, imitating volumetric sculptural forms. There was a feeling that painting does not fit into the field of the Plafon, goes beyond its borders.

Sometimes on the ceilings, but more often in the design of the walls there were carved wooden panels. They mounted portraits and other picturesque works. The planes of the walls were also decorated with elements of orders - pilasters, twisted columns, volitions, and was used in painting in the frame of sculptural garlands, worse. From Spain to other European countries, fashion shows the walls of Cordic embossed skin with a pattern of gold, imitating expensive tissues. In Flanders, the walls were tightened by silk and velvet. Trelliers were still common, they were sipped over carved panels. The floors were laid out marble or majolica plates. The doors were framed by horizontal picturesque panel-desesytems (from FR. "Located above the door"). The internal decoration of the palaces of Barochko was inherent in a special decorative scope, not comparable to any other era. In the ornamenik, the drawing of heavy garlands from leaves and fruits, wolves, cartridge (from Fr. Cartouche - "Scroll"), mascarons. There were also motifs of twisted arabesok, a variety of fibers of the acanite sheet, ribbon weaving, transformed into a whimsized German roller (cut along the edges of the Kartush) or Bandelvert (from it. Bandelle - "Tape"). Straight lines gradually crowded out curvilinear circuits that give the decor to the dynamics and painting.

Prevailing and trendy color-enlighted pastel colors; Red, pink, white, blue with yellow accenioriny-trummy convex - a concave asymmetrical pattern; In forms, a semicircle, a rectangle, oval; vertical column lines; pronounced horizontal membership formal, dome-shaped and rectangular; Towers, Balconies, Erkircirated elements Interfaces to greatness and pomp; massive front stairs; columns, pilasters, sculptures, stucco and painting, carved ornament; The relationship of elements is decorated constructing system, tense, dynamic; fastened by the facade and at the same time massive and resistant polyvocircular and rectangular; with vegetation decor on perimetudvuric openings with columns; Vegetable decor

Distinctive features of the architectural style Baroque:

· In the church - wide nephors, sometimes oval form; vaulted ceilings.

· Fragmented or obviously incomplete architectural elements.

· Dramatic use of light or contrasts of light and shadow, or uniform lighting with a few windows.

· Luxurious use of color and decorations (Putti (Angels), Figures of wood (often gilded), plaster, artificial marble).

· Large-scale ceiling frescoes.

· The external facade is often characterized by a sharply released central part.

· Illusory effects. The ceilings are often decorated with large frescoes creating an optical illusion that these pictures are three-dimensional.

· Pear-shaped dome (in particular, in the Bavarian, Polish, Czech and Ukrainian Baroque).

· Mixing genres (architecture, sculptures and painting).

Chapter 2. Baroque architectural masterpieces

1 Baroque architecture in different states

Baroque in Russia

Oddly enough, but the term "baroque" in Russia has not been used in Russia. Among the artists, there were conversations about the advantages and minuses of Neo-Netics and Neenessance, but the word "baroque" diligently went.

The situation has changed only in late XIX. The century, when Sultanov (researcher of Russian architecture) introduced into circulation the term "Russian Baroque". Under this term was understood as the architecture of Russia of the XVII century (the Dopererov period). Since that time, it is considered that in the 40s of the XVII century, the style of Russian Baroque was born, after which he continuously developed and ended at the end of the XVIII century with the latest works of architect V. I. Bazhenov.

It is also believed that Russian baroque adopted a lot from the Renaissance, it is explained by the fact that Renaissance could not fully reveal to Russia. The development of art in Russia was distinguished from Western European countries. This led to the fact that Baroque in Russia did not come against Renaissance, but as a symbol of the completion of the Middle Ages. In particular, this was reflected in some elevation, but at the same time without any extra pompousness, the Russian baroque, which is not observed in the western directions.

It is worth noting the fact that not all art historians take the term "Russian Baroque", but no one argues with the fact that this term is in a certain extent conditional. By signs, this style is closest to mannerism.

Russian Baroque - the general name of the varieties of Baroque style, which were formed in the Moscow State and in the Russian Empire at the end of the XVII-XVIII centuries:

· Moscow Baroque (from the 1680s to the 1700s, previously inaccurately called "Naryshkin Baroque") - the transitional period from the patrony of the full baroque with the holding of many structural elements of the ancient Russian architecture, processed under the influence of the Ukrainian baroque.

· Stroganov Barochko - the conservative-provincial freezing of Moscow Baroque, in which four temples are made in Nizhny Novgorod and in the north.

· Golitsyn Baroque is the most radical direction in the depths of the Moscow Baroque, which consisted in the complete denial of communication with the Old Russian tradition.

· Petrovskoe Baroque (from 1700 to 1720s) is a set of individual manners of Western European architects invited by Peter I to build a new capital, St. Petersburg.

· Elizabetan Baroque (C 1730s to the 1760s) - Hybrid of Petrovsky and Moscow Baroque with North-Thawed introduction. The most fully embodied in the Grand Arrangements of F. B. Rastrelli.

The latter period was most prolific and bright, it is also called the period of mature Russian baroque. At this time, the architect Rastrelli is actively working in St. Petersburg. Russia is trying to catch up with Europe and comespace with it in terms of cultural development. It was on Rastrelli that the duty was entrusted to give the capital with a proper appearance. The Italian coped perfectly with this task, concisely uniting the technique of classicism, baroque and French Rococo. Many researchers believe that due to this in Russia, the transition to classicism was light and natural.

For provincial baroque in the north and east of Russia, simplified forms and trends towards the picturesque jet of consistently decreasing volumes are characterized. A.Yu. Captikov considers it possible to talk about the existence of Baroque provincial schools in Totme, Great Ustyug, Vyatka Territory, in the Urals ("Pitubinsky" churches) and Siberia. The Siberian Baroque, combining the development of the covenants of the Moscow Baroque, with constructive borrowings from the dictionary of Ukrainian baroque and decorative introduction from the East, is distinguished.

In the West Russian Federation Monuments of both Polish baroque (church in herself, 1625, Spasskaya Church in Trubchevsk 1640 g.), So Baroque Cossack, characteristic of Slobozhanchina (Cossack Cathedral in Starodube 1678, Troitsky Cathedral in Belgorod, Trio-headed Cathedral in Sevsk ). Currently, many of them are in a deplorable state.

Ukrainian baroque

Ukrainian or Cossack Baroque - a variation of the Baroque style in the XVII-XVII centuries in the XVII-XVIII centuries, for which the combination of decorative-plastic solutions of Western European Baroque and Renaissance with the creative processing of the heritage of Orthodox architecture and ancient Russian architecture is peculiar.

The emergence of the Ukrainian baroque is associated with the national liberation rise in the Cossack environment, which gives Ukrainian baroque the importance of genuinely national style. On the left bank and Slobozhanchina, in the design of the churches of the tradition of folk wooden architecture, more than those preceding the traditions of Orthodox departments

The birth of Ukrainian baroque is taken to contact the update of the Kiev and Chernihiv temples of the Domongolsky time with Metropolitan Peter Mogile and his successors. For the first time after the fall of Kievan Rus, the Orthodox churches were launched largely. The collapsed or dilapidated arches of the temples often shifted, the domes were attached to the characteristic pear or a tub-shaped form, when another "bulb" would seek another. The drum could be marred with a dome in the form of a hemisphere, which was satisfied with another drum with another dome of a bully or conical shape. At the same time, in contrast to the "Russian style", the diameter of the "bulbs" is less than the diameter of the drum. The color of the domes is either golden or green. A fractional baroque decor (semi-colonges, risals, portico) with a picture of plant ornaments and angels were superimposed on monumental cross-bearing structures. The buildings were either descended or placed in contrasting white and blue colors.

The Cathedral of the Yelets Monastery in Chernigov, the Sofia Cathedral in Kiev, the Assumption Cathedral of the Kiev-Pechersk Monastery, the Cathedrals of the Votubitsky and Mikhailovsky Dust Monastery in Kiev belongs to the number of the old-Russian monuments. Then a bell tower appeared in the ancient Russian monasteries of Ukraine. These longline structures were built separately from the temples and were crowned with a massive pear dome. Many monasses were acquired by a stone decorative fence.

The builders of cathedrals in relatively new monasteries are focused on ancient samples. In accordance with the Orthodox canon, these were temples of cross-behable, triccide, five-chapted, four or six-star. At the same time, they were decorated on the "Polish" (baroque) manner, the facades were sometimes flaked with towers. To the monuments of this group belong to "Mazepinsky" Cathedrals - Troitsky in Chernigov (1679-95), Nikolaev Military Cathedral (1690-96), Epiphany Cathedral in the Bratsky Monastery (1690-93)

The parish temples, which were built by the "all of the world", and not on the state-monastic order, were more oriented on samples of Cossack wooden architecture. It was from there that the plan of the church in the form of a cross with cells at the corners was borrowed from there, as a dynamic composition of the central volume was borrowed. Builders of stone temples were taken for a sample of rural three- and five-tube wooden churches, and the shape of the log cabins was usually eight-marched.

In three-pipe churches, octagues are usually lined up in a row along the longitudinal axis East-West (example - the Nikolaev Church in Glukhov, 1693). In five-tube octric churches, there are cruciform, at the same time there are cameras on the corners, sometimes highly developed, reaching in a height of two thirds from the main volume of the temple (Catherine Church in Chernigov, Assumption Cathedral in Novgorod-Seversky). The temples are very rarely found not about the three and not about five, but about seven (Cross-Promotive Cathedral in Poltava, 1699-1709; Spasskaya Church in Starodube) and even about nine tops (Ninebanted Trinity Cathedral in Novomoskovsk, 1775-80; Military Resurrection Cathedral in Starochierkassk.

Each log house crosses the dome on the graved drum. For the temples of the Ukrainian Baroque, a special pear-shaped form of chapters completed by small masters are characterized. The favorite reception of Ukrainian architects - "chances", that is, the completion of the temple in the form of several tiers delivered to each other, each of which cut through the arch of the previous one. The transition from a wide eighth to a smaller solution was solved using the original design of the arch in the form of a cut-off pyramidal tent with the roof of smooth outlines.

Among the architects of the Ukrainian baroque, Ivan Zherryny, Stepan Kovnir and Ivan Grigorovich-Barsk

Ukrainian baroque had a significant impact on the formation of Baroque Moscow, many masters of whom were immigrants from the left bank. Architectural borrowings from Ukraine patronized church hierarchs that have been educated in the Kiev-Mogilyan Academy. At the end of the XVII century, in the Russian state, after Ukraine, the temples in the form of eighthms receive the spread of eighthms (see octaging on the four), sometimes consisting of three volumes lined up in a row (Church of Tsarevich Ioasafa in Izmailovo).

Baroque in Commonwealth

Baroque in the Commonwealth Speech - the stage of development of culture, which covered the period from the end of the XVI century to the middle of XVIII.

Poland has a long-standing, close cultural and religious connections with Italy. In the XVI century, the spread of Humanism's ideas, supported in Poland, first by the Royal Courtyard in Krakow first. As a result, initially revival in Poland received aristocratic features. The royal commitment to the Italian masters, invited by Sigismund old, spread to the magnates, a gentry and rich in the cities. Among the best Renaissance facilities of the era - Perestroika 1502-1536 Gothic Wawel Castle in the Renaissance Palace Italian Francesco Fiorentino (Francesco Fiorentino). As in Italy, the Baroque Cultural Foundation in Poland was:

· culture of late rebirth

· depressive mannerism.

Gloomy mannerism had something in common with the exaltation of late Gothic, whose positions have long retained the power in the culture of Poland in the XVI century.

At this time, the first generation of Italian architects-Jesuit-style Early Baroque (Giovanni de Rossi, Giovanni Maria Bernardoni, Joanni Maria Bernardoni, is already actively operating on the lands of Poland.

The Polish Baroque prevails a mixture of Italian, Flemish, later, French influences. The hearts of the first baroque buildings in the speech of the compulculation - the church of the Body of the Lord, built in the residence of Radziwillov - the city of Nesvizh - Architect-Jesuit Giovanni Maria Bernardoni (1584-1593) by order of Nicholas Radziwill. The second early building Baroque - Catholic church of St. Peter and Paul in Krakow (Brigade of Architects-Jesuit: Giuseppe Brichio, Giovanni Maria Bernardoni, Giovanni Battista Treviano). For the sample take the main temple of Jesuits - the Church of Ile-Jesu in Rome, creatively processing her facade.

Baroque features are obtained and the first secular in the appointment of the structure (Palace of Krakow Bishops, Kielce, 1637-1644, Architect Tomash Ponchino) with the inner courtyard, an open loggia of the garden facade, two side towers in the corners of the structure, baroque roofs.

Vilna Baroque (Lithuanian)

In and ́ lensky Baro ́ kKO is the conditional name of the late stage of the development of the Baroque style in the temple architecture of the Grand Duchy of Lithuania, on the territory of the spread of the Brest Church ENIA, including in the Vilen Diocese of the Roman Catholic Church. The architectural and artistic system of Vilensky Baroque was distributed in the second half of the XVIII century thanks to the activities of graduates of the Architectural Department of the Vilen University.

The origins of Vilensky Baroque stood architect Jan Christoph Glaubitz (mind 1767), which, rebuilding the existing temples of the Lithuanian capital, scratched inspiration in modern buildings of Austria and Bavaria. A lot of common with the monuments of Vilen Baroque have the Polish buildings of Paolophonate (for example, Holy Preobrazhensky (Dominicansky) Cathedral in Vinnitsa). Special popularity has received the style among Greek Catholics; Hence his second name - Uniate Baroque. Examples of Vilensky Baroque can serve: on the territory of modern Belarus

· Rebuilt Sophia Cathedral in Polotsk (1738-50),

· Petropavlovsk Church in Berezvechye under the deep Vitebsk region. (1756-1763),

· Uniate Church in Borunov (1747-1757),

· Uniatskaya church in highly (1768),

· Pokrovskaya Church in the feeder (1769-1779),

· Epiphany and crossed churches in wired (1769),

· Assumption Cathedral and Ryn Church in Vitebsk (1772)

· Carmelite Church in Deep, built in 1639-1654 and rebuilt in 1735 for the project of Glaubitz

on the territory of modern Ukraine

· Holy Preobrazhensky (Dominicansky) Cathedral in Vinnitsa

· The Cross-Zodanznaya Church of the Basilian Monastery in Buchach.

For these monuments, the sophisticated verticalism of silhouettes built on the symmetry of two multi-tiered towers with window lumets is characteristic. Freedom and lightness come to replace the restrained massiveness of the baroque. The kinetic energy concentrated inside buildings seems to be flown out. The interiors are plastic in the Spirit of Rococo, the facades are wavy, the frontoths are richly decorated with sculpture. About the Church in Berezvechye, wrote: "The building material here seems to be soften and swam the waves of curved and concave curves."

The Nikolaev Cathedral in Polotsk, an exceptional plasticity church in Berezves and other monuments of Vilen Baroque suffered either completely destroyed in the 1960s during the last large anti-religious campaign in the USSR. After the collapse of the Soviet Union, separate architectural monuments (for example, the Resurrection Church in Vitebsk) were recreated in its original form.

Baroque architecture in Italy

Italy is considered the homeland and ideological inspirer of Baroque, where the works of art of this style are the most bright and indicative. The picturesque work of Caravaggio, the sculpture of Bernini demonstrate characteristic of baroque puff and dynamism.

The first Baroque construction is the Roman Church of Ile-Jesu (in the name of Christ) - the main church of the Order of Jesuit, designed by Vigola (1507-1573). Construction began in 1568, when Vigola died, the church was not yet completed. The construction was completed by Vinol's student - a representative of the early baroque Jacomo della, which adhered to the main plan of Vigola. The church was the final stage in the long evolution of the composition of the Temples of the Renaissance Epoch. In its plan and spatial decision, the two principles are combined - basilical and centrally dome.

Borrons boldly moved away from classic canons, authoritative solutions, former rules, designed the premises of unprecedented complexity. This borrings are a real heir to the emotional rich architecture of Michelangelo Buonarot, more than Lorenzo Bernini or Pietro and Corton.

An interesting way as the architect Baroque was held by Yuvara. He began like a scene and assistant in the restructuring of theatrical buildings. Not all his projects found their embodiment. But he scored experience from the building to the building. If Domenico Fountain (1543-1607) or Francesco Kartti (? -1675) used the type of an elongated block-block without playing volumes, Yuvara strengthens the expressiveness of its palaces with diagonal construction, rizalitis, the game of various volumes. The decor is becoming increasingly restrained, does not avoid rusta, pilaster and columns, such familiar to classicism. But the buildings do not become samples of classicism, while maintaining the greatness, diversity and beauty of Baroque. An important distinction of the architectural style of Yuvara became extremely expressive silhouettes of buildings (stopper castle, Madrid Royal Palace, especially the Super Basilica).

2.2 Baroque architects

Carlo Maderno (Carlo Maderno; 1556-1629) is one of the founders of the Italian Baroque, a prominent representative of Baroque in Italy. The main creation is the facade of the Roman Church of Santa Susanna (1603). Among other works, Maderna can be noted by the Church of Santa Maria Victoria (1605), San Andrea Business Valle (1608-1626). In 1628, he built a huge Palazzo Barberini.

Giovanni Lorenzo Bernini (Giovanni Lorenzo Bernini; 1598-1680) - the Great Italian architect and sculptor, the largest representative of the Roman and all Italian baroque. Son of the famous sculptor Piero Bernini Lorenzo. He began to make sculpting in childhood. At the age of 17, he could already take an order for the portrait bust of the Bishop of Santos, established on his tombstones, and at 20 years old - to perform a portrait of Pope Paul V. Following this, he spent several years for creating four large marble sculptures that ordered him for the garden at His Palace Lovers of Art and Collector Cardinal Shipiona Borghese. His creativity is assumed to be the standard of aesthetics Baroque. The most famous work of Bernini is Piazza San Pietro in Rome.

Francesco Bartolomeo Rastrelli (Francesco Bartolomeo Rastrelli; 1700-1771) - the famous Russian architect of Italian origin, academician architecture. Two its most famous works: Smolny Monastery ensemble and the Winter Palace with his famous Jordanian staircase. The famous Kiev projects of Rastrelli are the Mariinsky Palace and the Andreev Church in Kiev. Constructed by order of the Empress Elizabeth Petrovna under the leadership of I.F. Michurina.

In Germany, a new palace in San Sousi is an outstanding monument in Germany (authors - I.G. Bering, H.L. Mantter) and the Summer Palace there (G.V. Knobelsdorf).

Francois Mansar. French architect, the largest master Baroque, the founder of the traditions of classicism in France. Father of French classicism. From his behalf, the word "attic" (he constantly did the rooms under the roofs). The most famous works are: Church of Val de Gross, Castle in Blois, Meson-Luffit Palace.

Ivan Petrovich Zarudny - the Russian widespread artist, one of the founders of the new direction in the Russian art of the XVS century, the author of the project of the temple of Archangel Gabriel on pure ponds. The originality of the decisive architectural style of Moscow of this period was that the two of its option - Staromoskovskoye and Western Baroque - existed as it were simultaneously. Menshikova Tower became a brilliant monument to Novomoskovsk architecture.

Pietro Berretini, nicknamed Pietro da Corton (1596, Cortona - 1669, Rome), - one of the largest decorators and architects Baroque. His patron was Pope Urban VIII. Great works: Church of St. Luke and St. Martina, the facade of Santa Maria della Patcha, Santa Maria in Via Lat.

Francesco borrings. Its real name is Castelli. Eternal rival Bernini. The art of Borrombini was an impersonation of the extreme degree of creative individualization. Already the earliest of his work is a corridor in the Garden Corps of Palazzo Downturn (1632-1638) with a vault based on two rows of Tuscan columns located along the walls, "an outstanding ingenuity is marked. Outstanding creations: San Carlo Alla Kuattro Fontana, Sant-Ivo Alla Sapienza, Sant-Aniese in Agone.

Levo Louis is a French architect, one of the founders of French classicism. Was the first royal architect. Buildings Levo, the leading master of French classicism, are distinguished by strict elegance, difficulty planning, decorative wealth of interior decoration (Hotel Lambert, from 1640, college of four nations, from 1661, both in Paris).

Famous Creation: Hotel Lambera, Palace in Versailles (was the main coarch recorder), Louvrasky Palace, V-le-Viscount.

Conclusion

Baroque culture occupies a huge historic space: Light XVI-Ser. XVIII centuries. His appearance was historically natural process prepared by all preceding development. Nonodynakovo found its implementation style in various countries, identifying their national characteristics. At the same time, had common features typical of all European art for all European culture: church dogmatism, which led to increased religiosity; an increase in the role of the state, secularity, the struggle of two began; increased emotionality, theatricality, exaggeration of everything; dynamics, impulsiveness; Decorativeness, painting, excessiveness of elements. For the architecture, the baroque is characterized by spatial scope, mucifice, fluidity, complex, usually curvilinear forms, gradation, pomp and dynamics, pathetic elevation, the intensity of feelings, addiction to spectacular spectacles, combining illusory and real, strong contrasts of scale and rhythms, materials and textures, light and Shadow

Baroque style perfectly accustomed not only on Western European, but also on Russian soil. Reproduced in a tree and stone, it has become a symbol of luxury and pomp, redundancy and excessiveness.

Bibliography

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.Big Encyclopedia Kirill and Methodius. 2002.

.Vorontchikhin N.S., Emshanova N.A. Ornaments. Styles. Motives: University of Udmurt, 2004

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.Circle V.V. The problem of the occurrence of Baroque in Russia // Baroque in Russia. M., 1926. P. 13-42

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In Ukraine, Baroque is characterized by peculiar features, in particular the use of traditions of folk art. His original style was most brightly manifested in the architecture of the left bank and Slobozhanchiny, reunited with Russia in ...

Architecture in France XVII century. Problem defining style

In Italy, Renaissance spread over Europe, having won the gothic. At the end of the revival, the style was called, called "Baroque".
Now it's not so easy to see the differences between these directions in architecture.

Baroque (Ital. Barocco - "Freaky", "Strange", "prone to excesses") - style in painting, architecture, literature and music of the XVII-XVIII centuries.

The heyday of the baroque is determined by two centuries - between the end of the XVI and the end of the XVIII centuries. Baroque (that translated from Italian literally means fancy, strange) was a birth in Italy and soon covered most European countries and America (mainly central and southern). The main features of this style have become tensions, giantism and emotional saturation. Complex geometry, unexpected light effects, a variety of complex patterns and a lush decor, where concave spaces are unexpectedly replaced by convex, came to the change of a more relaxed era of the harmony of the late Renaissance. They were consistently vaccinated by the architecture of the Italian Michelangelo Buonotti (in their late period) and Vigola. Both were bothering the Vatican buildings, which is almost the main symbol of this architectural style.

In the design of baroque interiors, sculpture, carved ornament, painting, mirrors, massive columns and stairs are used. Materials use travertine, dolomite, marble, basalt. Scale contrasts, light and shadow game, intense deep colors (golden, pink, blue) - all this creates a feeling of illusion and constant variability of the world. From the general range you can allocate the most vivid architects of the time. In Italy, this is Francesco Borrombini (1599-1677), which began its activities as a mason in the Cathedral of St. Peter, but later became the assistant Giovanni Lorenzo Bernini (1598-1680) Michelangelo Buonotti, and Pietro and Corton. In France - Francois Mansar (1598-1666) and Louis Levo (1612-1648), who worked for Louis XIV, in Austria - Johann Bernhard Fisher von Erlah and his son (authors of the Chief Vienna Palace of Schönbrunn and Karleskirche). In Austria, this is Johann Bernhard Fisher von Erlah and his son (they are the authors of the main Vienna Palace of Schönbrunn and Karlskirm), in the Czech Republic - Francesco Karatti (author of the Cherninsky Palace), in Russia - Ukhtomsky Dmitry Vasilyevich (1719-1774). Many baroque samples on the territory of the current Poland and Ukraine (compulcular speech then). Some of them were built by Italian architects according to the Roman Church Ile Jesu.

Baroque architecture spawned new progressive trends in creating urban and garden-park ensembles. Buildings become a single integer with surrounding territories. The surrounding landscape decorate groups of fountains with majestic sculptures, in the gardens they put theatrical performances in the open sky. The style itself forces the creation of spectacular spectacles, the atmosphere on the verge of illusions and reality.

Baroque - excesses culture. Expressants of this excess - fold and curl. If the smooth surface of the wall suddenly begins to take up, like a wave, is a baroque. Baroque (following one of his branches - mannerism) has developed many new types of buildings. This is a majestic city palace, a baroque monastery, a country villa with a palace and a baroque garden.

Baroque is a materialized attraction to an unusual, amazing, striking. From this style, we got landscape architecture, gardens and parks with giant sculptures and grotesque masks, outdoor theaters, unusual buildings with exotic details. Baroque collects unusual and wonderful. Engravings, minerals, richery plants. For the first museum collections are created individual cabinets.

About the gardens need to be said especially. Baroque buildings seek to involve the area in front of the palace or garden in front of the monastery. The building exists with the surrounding territories, and not in itself.

The Baroque man (and the architect including) was typical of the questions about the device of the world, and this answer was often not in the divine spheres. Baroque architects and sculptors are now eagerly confused by Ecstasy Divine with Human. In the famous sculpture of "Ecstasy Holy Teresa" Bernini has such a languid expression that even contemporaries laughed at him.

In Russia, the heyday of the Baroque style accounts for the second half of the XVIII century, while in Europe the transition to classicism already occurs. Like other styles, Baroque in Russia acquired some kind of identity, in this connection such a term appeared as "Russian Baroque" and was different from the European simpler structure architectural compositions. At the same time, Russian architects actively used bright color and colorful contrasts in color, including gilding. As finishing materials, in order to further paint, preference is given to plaster and plaster. Therefore, the colors become brighter and rich: red, blue, yellow in combination with white. The stucco decor uses the modeling in the form of an ornament in a traditionally Russian style. For decoration of various parts of the interior, as well as roofing applies gilding technique.

In the late XVII-early XVIII century, Russian Baroque was divided into many currents: "Moscow" baroque, "Naryshkinskoye" Baroque, following them - "Stroganovskoye" and "Golitsyn". Such titles arose due to the names of persons, under which the most significant objects of the era were built. There are even "Ural Baroque" and "Siberian Baroque".

The most striking personification of the baroque was the palace ensembles of St. Petersburg, Peterhof and the Tsarsky village, the luxury and the scale of which are not found equal in Europe. One of the outstanding architects of that epoch is becoming the founder of Elizabethan Baroque.

By the middle of the XVIII century, even more sophisticated and eclectic style Rococo comes to replace Baroque.

Text: Julia Chernikov