Painting of the XVII century in Russia revealed its potential. Two schools of icon painting Stroganovskaya and Godunovskaya were developed. Also developed a new portrait genre - Parsuna.
Noble venomazines and just rich people sought to capture themselves on canvas of history with the help of paints, and artists, in turn, tried to transfer not only the features of the face or facial expressions, but also the character, the soul of the person whom was portrayed.
Features of Russian painting of the XVII century
Painting Russia of the XVII century has undergone big changes. Artists sought to be new, unknown, but at the same time they tried not to forget and not to move away from old-desired dogmas.
It is for this reason that at the beginning of the XVII century in Russia there is a kind of split in the icon painting into two primary schools: Stroganovskaya and Godunovskaya. These two schools or directions worked in two main styles, not similar to each other.
Godunovskaya school was standing on those canons of painting, which developed time. She did not develop new paints or images, but heavily to the traditions of the past. The Stroganov school developed new canons, it used bright paints in icon paint, sophistication of the pattern, a complex multifaceted composition. In other words, if Godunovskaya school went back, the Stroganovskaya ran ahead with seven-year steps, developing creative potential in itself.
Parsuna
Tsar Alexey Mikhailovich and the Armory Chamber, Ryano criticized and forbade any departure from the already established canons of painting. Simon Ushakov for a long time headed the picturesque case of Russia. And despite the prohibitions, first of all, always paid attention to the image of a human face. It was his passion. Perhaps it was from this that a new picturesque genre in Russia began to develop.
In the second half of the XVII century, a new genre appears in Russia - Parsuna. It was the first portrait genre in Russia. Initially, it was used only in icon painting, but after a few years the artists began to make portraits of real people who built themselves from their doors. Having your portrait has become very popular, it was prestigious.
Parsuna was performed in the traditions of Icon Scripture. The Persune emphasized the origin and high title of those who were depicted. The attention of the artist focused not so much on the face, but on accessories: coat of arms, inscriptions, rich details.
Yaroslavl School
Another new phenomenon in the painting of the XVII century in Russia became the Yaroslavl School of Masters. Its feature was that traditional church-biblical frescoes they began to portray in the form of ordinary life. One of these creations was the composition of the "harvest". Sometimes this school is called the "pioneer" of the Russian landscape. She was one of those factors that led to the development of the landscape as a genre of painting.
RESULTS
Russian painting of the XVII century laid the first bricks for the development of portrait and landscape painting in Russia. It was in the XVII century that artistic masters appeared, who decided for the first time to move away from the arrogant canons and try something new, not yet accustomed, but amazing. From that time, painting began to develop, and not stand still. Artists began to experience their skills, depicting people, such as they were with their vices and qualities. This is the time of great change and knowledge that contributed to the pages of artistic history.
I. Russian art and architecture of the 17th century.
1. Development of Russian painting in the 17th century.
In the development of Russian painting, the 17th century two trends are faced. On the one hand, in painting, the traditions of the canon were still strong, persistent attempts were made to make the traditions of inviolable. On the other hand, in the 17th century, the desire to escape from under pressure of obsolete traditions is affected, Western European traditions begin to penetrate, the church is prudent.
The church split further aggravated the contradictions of the 17th century cultural development. Spores of the splitters with the official church in the field of art poured into the form of the struggle of two aesthetic views. Supporters of the new sought to ensure that the icon first of all was beautiful, thereby replacing the concept of the Divine concept of beautiful. Aesthetic criteria for painting evaluation are emerging. Everything is noticeable attempts to bring art to reality. Defenders of traditions, on the contrary, in every way defended their attitude to the icon, as to the object of a cult, in which each trait and even the Icon board is sacred. Religious art, according to their ideas, has no connection with reality, with reality. So, for example, the saints faces cannot be similar to individuals of ordinary people.
School painting.
In the painting of the first half of the 17th century two directions dominate. The iconographic tradition, focused on the repetition of the picturesque manner of the great masters of the past: Andrei Rubleva and Dionysius - the so-called "Godunovskaya" school , The representatives of which worked on orders of the royal yard also presented at the end of the 16th century and thereby represented the "official" direction in art. G. Godunovsky inherited the monumental traditions of the past, strictly followed the iconographic canons, trying to revive the forthcoming spirit of Old Russian art. Nevertheless, in the works of "Godunovskaya" schools noticeably the desire to convey the materiality of objects, although only the first steps are made in this direction.
At the same time, a new artistic phenomenon occurs - "Stroganovskaya" school who received his name by the merchants of the Stroganov, who owned huge money wealth and speakers as patrimonists-customers. Not only Stroganov iconniki, but also the Moscow, royal and patriarch masters were adjacent to school. The "Stroganovskaya" icon is small in size, not so much a prayer image as a precious miniature, which is characterized by its decorativeness and designed for connoisseurs of art. It is a thorough, very small letter, a virtuoso pattern, a richness of ornamentation, an abundance of gold and silver. The merit of "Stroganovsky" masters in the fact that for the first time in the history of the Old Russian painting opened the beauty and poetry of the landscape.
Simon Fedorovich Ushakov.
In the middle of the XVII century, an art center is not only Moscow, but the entire country becomes the Armory Chamber. The best artistic forces focused here. Here first first invited foreigners, and then Russian masters began to write portraits of the king, the Patriarch, approached by the king of Boyar. All scenic work in the Armory headed the royal master Simon Ushakov which becomes one of the central figures in the art of the second half of the 17th century. Ushakov was a man of a new era, a new type of thinker and the Creator. He abandoned the still from the Byzantine art of the tradition of the image of the planar disembodied images and sought to give the image similarity with the real life, to achieve "painshifting", demanded from the painters of the truthful, realistic image.
From the first years of independent creativity, Ushakov's interest in the image of a human face was determined. The favorite theme of him becomes Savior delicious. The artist sought to get rid of the conditional canons of the icon painting image and achieve the corporal color of the person, its volume and almost classical correctness of the traits. Thus, he may be unwittingly thinking the traditional image of God. In 1668, Ushakov was written by the icon of Vladimir Our Lady, wearing name "Scoop of the Russian State of the Russian". This icon can be considered the picture of the triumph of Russian statehood. At the bottom of it depicted - the wall of the Moscow Kremlin, behind it the Assumption Cathedral, the main shrine of the Russian state. At the foot of the Cathedral, Prince Ivan Kalita is a collector of Russian lands and Metropolitan Peter, the first to transferred to the Department of Metropolitan from Vladimir to Moscow, plant a tree of the Russian state. On the branches there are medallions with portraits of the most significant political figures of ancient Russia. In the central, medallion, the icon of the Vladimir Mother of God, which was revered by the patroness of Moscow.
Parsuna.
The forerunner of the art of the future era was the emergence of a purely secular genre - portrait. They were called parsuni (From the distorted word "person" - personality). The genre originated at the turn of 16-17 centuries. Images of Ivan IV., prince M.V. Skopina-Shui According to the method of implementing the icon, but they already have a certain portrait similarity. There are changes and in the image language. With all the naivety of form, static, the locality is already there, albeit a timid, attempt by black and white modeling. In the middle of the 17th century, some parceans were executed by foreign artists. Assume that the brushes of the Dutch Wujtex belongs portrait of Nikon Patriarch with Clear. Parsuna Stolnik V. Lutkin, L. Naryshkin The end of the 17th century can already be called full portraits.
Fresco painting.
In the fresco ensembles of the 17th century, the frescoes cover the walls, pillars with one solid pattern, in which genre scenes are intertwined with intricate ornaments. The ornament covers architecture, figures of people, their costumes, landscape backgrounds grow from ornamental rhythms. Decorativeness is one of the distinguishing features of the fresco painting of the XVII century. The second feature is a festive and constant interest in a person in his daily life, emphasis in the plots of the Holy Scriptures on the beauty of nature, man's labor, that is, life in all its diversity. In such frescoes, the scene from the Holy Scriptures are often transformed into a fascinating story, in which the secular moments often prevail directly over religious content. An example of such painting is the fresco ensemble of the Church of Ilya Prophet in Yaroslavl , painted in 1681 by a wizard from the Armory Gurius Nikitin with his artel. The main topic in the Church paintings is a fascinating story about the beautiful world in which there are not so many ascetic saints, as ordinary mortals. This affected the preferences of the artist to the image of a beautiful person surrounded by an equally beautiful landscape and a rich architecture.
Thus, in the 17th century, the idea that the task of painting is a reflection of real reality is more or less. In the 17th century, art spoke about a simple, "earthly" man. However, the fragmented realistic observations have not yet made a new creative method as a whole, the new approach of the artist to reality. This was the historical task of the next century art.
Development of Russian painting in the 17th century
2. Monuments of Russian architecture XVII century.
Start XVII A century was commended. The country's farm has fallen into decline: the peasant fields borrowed a shrub, in the cities, many masters had to leave their craft. Therefore, up to the 20s. XVII century There was no construction in Moscow. When, Mikhail Romanov, Mikhail Romanov decided to mark the final victory over Inomers, erecting the temple in his estate of Rubtsov, the construction was massive, simple and coarse - as if Masters-Kamenotes were held to keep their simple tool.
Only in the 30s. XVII century Russian architecture has reached a new way of development. An important milestone of this path was Moscow church of the Trinity in Nicnics , put on the yard of a rich merchant Grigory Nikitnikov. She is small - the merchant with the family was not required to be a big temple - but it is not true. On a red background of brick walls, blonde parts are distinguished: intricate platbands, steam columns that are members of the facades and carved eaves. Upstairs put one on another ranks of pointed kokosnovnikov, giving the top of the temple similarity with a cedar shishk; There are five chapters on the kokoshniki, and the light, with the windows, only the average, and the side are simply added for beauty. At the church there are two independent little temples, as well as a gallery, a porch and a bell tower. Such bells have not been built before: a tent was put on its high octogenic (eight), and she was made in the tent. These are called rumors. They are needed to ensure that the sound of the bells does not silence under the tent arch, and it came out.
All preceding Russian temples look upstanding. The Church of the Trinity in Nicnics, on the contrary, is striking by an extraordinary liveliness, and it seems to be the birth of the noisy life of the Moscow Trade of China. All of its parts are assigned asymmetrically; Everything seems to grow, moving, develops in front of her eyes. Inside the church is cozy. There are no pillars in it, a lot of light pour out of large windows, and the space lies easily and calmly. Pins paintings cover the walls with a solid carpet. It was not here to pray to God, which was afraid, and to the one who helped a man in his earthly daily affairs. This joyful architecture does not elevate, but it does not frighten the heart of a person.
By the middle of the XVII century. Russia fully recovered from the consequences of a vague time. Industry and trade began to develop. Yaroslavl at the time in the number of residents and produced goods was in second place after Moscow. Yaroslavl merchants The violet brothers have acquired a huge capital on commerce trading and have become hardly richer than the king. When Mikhail Fedorovich had a need for money, he applied to the violet, which were like royal bankers. And in gratitude to the granted loans, the king presented the brothers a miraculous relic - part of the rhyme (clothes) of Christ. The brothers decided to express their gratitude to God by building a big temple. Church of Ilya Prophet in Yaroslavl (1647 - 1650) is little inferior in the sizes of the Cathedral of the Moscow Kremlin. And it was erected not on the square and not even on the street, but just on the Skripinsky yard among the housing and storage houses, as well as the Moscow Church of the Trinity - in the yard of Nikitnikov.
The extended fashion on the "pattern" liked not all representatives of the clergy. Patriarch Nikon forbade the construction of tent temples and tried to build a copy of the temple of the Resurrection and the coffin of the Lord in Jerusalem in the Moscow region of the NovoIerusalem monastery near Moscow. However, Nikona himself had to ruffle. The king was dissatisfied with the claims of Patriarch on the highest power in the state. The gap between Nikon and Alexey Mikhailovich was a reference to the link and the Patriarch. And the corpulent architecture continued its victorious procession around the country.
In the XVII century, palaces, administrative structures, residential buildings, living houses were erected in unprecedented concurrents. In their architectural look, not only the desire of the architects follow the best traditions of the past, but also the desire to create completely new types of buildings, develop a new style.
The Termen Palace of the Moscow Kremlin , built in 1635 - 1636, with its sizes, lush splendor of the decor as if challenged the construction traditions of the previous century. Traditional long-term alternation of volumes, the picturesque asymmetry of the attack, the isochki of the completion of the roofs are combined here with elements of a new style - symmetry and regularity. The facades that are evenly dissected by pilasters and window processes create a clear rhythm, windows decorated with floral ornaments, as well as relief blades and eaves with tiles, give them pompnomy and elegacity. The architecture of the Terem Palace for several decades ahead of his time and influenced the construction of other buildings of the Kremlin.
The unique creation of Russian architecture of the XVII century. Was wooden palace in the village of Selom Kolomna built in 1667 - 1669. It consisted of a multi-carbon chorus supplied on the heads (lower floors with economic significance). The facades of residential front premises were richly decorated with carved platbands and a variety of completions in the form of tents, barrels, cubic and disclosure roofs. The picturesque composition of the log cabins with the porches and bright tint items produced a festive impression. According to a foreigner, I. Raythettfels, the palace reminded "Jewelry just removed from the case." The real palace in Kolomensky was not preserved (was disassembled because of the winds in the 18th century), but his appearance could be made up due to drawings and layouts. At the beginning of the 21st century, the reconstruction of the famous Palace appeared in Kolomensky.
A variety of types of civil buildings also included residential buildings, living room courtyards, celi and refectory monasteries, warehouse chambers, towers and a solemn gate, various administrative buildings - from small vaulted chambers to a majestic sugar tower (end of the XVII century). Not only in large cities, but also on the outskirts of the state, Russian architects created authentic masterpieces of civil architecture.
At the end of XVII Century on the outskirts of Moscow in the village of Fili, a relative of the young king Peter Lev Kirillovich Naryshkin ordered the church to build a church. Naryshkin did not need to be a big room, because the church was intended for his family, but I wanted the construction to be high and representative. Church of the Intercession in the village of Fili - New for Russia type that came from Ukraine. The basis of it is a cube (chummer). From all sides, semicircular protrusions are adjacent to Cuba, so the plan of the church looks like a flower with four petals. From above to the cube, a wide octahedron (octa) was delivered to him, one more magnificent; With the bells for bells, and on top of the third - the eight-marched base of the head of the building turned out to be high, solid, but it did not rush up as a spear, aimed at the sky, and rose solemnly and smoothly. The masters did not regret the white stone stone: intricate platforms are framed by windows, the columns are drawn along the corners, and each tier of the building ends with ridges resembling a white-eyed foam, "rooster scallops." The new architectural decor was similar to the one who was Moden in Western Europe; This is no longer a pattern, but the premonition of the coming change. White stone and red brick are smartly looking at the sky in the sky surrounded by green foliage in summer or white snow in winter. Similar architecture received the name from researchers moscow, or Naryshkinsky, Baroque.
Naryshkinsky buildings have amazing organicity, integrity and artistic perfection. They became a bridge between the old and new, between the Byzantine and European, between Moscow Tsar Alexei Mikhailovich and the Northern Palmica of his son of Emperor Peter the Great.
Russian architecture 17th centuryRussian architecture 17th century
II. Russian art of the 18th century.
Reforms carried out by PeterI. They affected Russia not only management, army and economy, but also art. The purpose of the first Russian emperor was to put Russian art in one row with European, surround the courtyard by architects, artists, sculptors, to promote the spread of interest in "Arts" among the enlightened public. And Peter, and his heirs in the Russian throne in the 18th century believed that architecture, sculpture and painting should glorify the power of the Russian powers, her victories and other accomplishments, spread enlightenment and piety.
In the century, the seventeenth slowly, gradually medieval Russia began to evolve into the state of the new time. In the age of eighteenth in just two decades, Russian art turns from religious in secular, mastering new styles (Baroque, in the second half of the century - classicism), genres (for example, portrait, landscape and still life in painting) and themes (mythological, historical). At the beginning of the century, dozens of talented young people study art abroad, and in Russia, foreign masters are becoming a teacher. In the middle - the second half of the century, the Academy of Arts, where you can already learn from compatriots and work with foreigners on equal terms. By the end of the century, Russian art appears in an updated form, with many artistic assemblies that did not inferior to the oldest European collections with dimensions and quality.
1. Architecture of the era of Petrovsky Baroque (first quarter of 18 century).
Relying on the rich architectural heritage of Russia and the theory of world architecture, the architects of the first quarter of the 18th century were able to create a lot of magnificent buildings and, most importantly, lay the foundations of the new Russian architectural school.
The first buildings in which Russian and Western traditions were clearly united, appeared in Moscow at the very end of the 17th century. One of them was the famous Sukharevskaya (Sukhareva) Tower erected by architect Mikhail Choglokov. The tower was obtained in honor of the Lavrentia Sukhareva, whose Streetsky Regiment at the end of the XVII century began to defend Peter during the conflict with princess sofia. In gratitude, the king ordered the new, stone with a clock on the site of the old gate. Later in the building of these gates was posted a famous naval school and the first Observatory in Russia. Unfortunately, in 1934 the tower was dismantled, because "I prevented the movement." Projects for its recovery have not yet been implemented. But preserved Menshikova Tower - Church of Archangel Gabriel. The temple was built in 1707 by order Alexander Menshikov. The author is considered Ivan Zherryny. The basis of the composition is the bulk and high bell tower in the Baroque style.
In the second decade of 18 V. Petersburg is becoming the center of the Russian architecture. Founded during the Northern War as a fortress for the protection of disheveled lands, Peter immediately liked PeterI. who did not favor the old Moscow and the dreamed of the creation of the "paradise" here - an ideal perfect city. After the victory under Poltava King decides to transfer the Russian capital here. Here you invite the best foreign architects, which for the first time in the history of Russia make up construction plans (Leblon's plans, Trezini). The main highways became the Neva with its numerous sleeves, drives and tributaries and breakthrough channels, as in Amsterdam. Bridges were not consciously cut to teach Petersburgers to the aquatic element. Much attention was paid to the appearance and improvement of the city: the houses were built "in the Red line", the streets were straight and wide, mostly cobbled, before in many capital of Europe, street lights appeared. Typical projects of houses for different categories of citizens were developed; The hosts were obliged to contain a local area clean. Over all of Russia, they even banned stone construction so that the new capital was able to gain its magnificence faster. You can imagine the appearance of Petrovsky St. Petersburg in antique engravings, according to the preserved monuments, on the planning of the streets on the Admiralty, Vasilyevsky Islands, Petrograd side. Since then, the special appearance of the center remains, where the wide river is framed by well-kept embankments with even rows of houses, and high-altitude dominants make picturesque plain landscape.
Building of twelve college On Vasilyevsky island, it was designed for the placement of the Senate, Synod and the College - the Senchers of the State Department of Russia established by Peter I. According to the intention of the king, the Arrow of the Vasilyevsky Islands was to become a major center of the city, to close from the West and should have had a grandiose building. Therefore, the elongated building of the twelve college is addressed to the neither the facade to the Neva and divided into independent, but the same three-storey buildings are the same. In the XVIII century, each body was blocked by a separate roof and had its own input. All of them combined into a single straight-line composition (total length - about 400 meters). The facades are identically processed in the spirit of Petrovsky Baroque. They were painted in orange-red, against the background of which white pilasters, blades, platform windows were distinguished. The building plan is symbolic: it reflects the independence of each board and, at the same time, emphasizes their community in solving public problems. After the death of PeterI. The appointment of the construction and the role of Vasilyevsky Island as a whole changed. Because of northern voices and floods, the island often turned out to be cut off from the main areas of the city. Because of this, according to the new plan, approved in 1737 at Anna Ioannovna, the Admiralty side was made by the Center for St. Petersburg, which began to be located the highest government bodies. The building of the twelve colleges partially emptied. In the 19th century, a part of the premises of the building of the Twelve College were transferred to the Chief Pedagogical Institute, and then the St. Petersburg University, and therefore it was partially rebuilt.
The architect of the building of the Twelve College of Domenico Trezini (approx. 1670 - 1734) was one of the most fortunate and prolific masters worked in Petrovsky Petersburg. We know about the Trezini itself quite a bit: by origin, the Italian, got a good education, got from Copenhagen to Russia, the capital of the Allied Russia Denmark. This means that he already knew the style of the North Baroque, a more reserved version of the Baroque Catholic. Petra liked this style after his trip to Holland. Domenico Trezini became the chief architect of Petrovsky St. Petersburg. According to his projects, Kronstadt and Alexander Nevsky Lavra are laid, in 1706, the restructuring of the Peter and Paul Fortress in Stone was launched, a part of the regular planning of Vasilyevsky Island was completed, built Summer Palace Peter I in the Summer Garden, Petrovsky Gate. and Petropavlovsky Cathedral Petropavlovsk fortress, a gallery harbor and a large number of others, now not surviving buildings (for example, a seating courtyard, 2nd Winter Palace); It was he who developed typical projects of private residential buildings. Trezini's construction is distinguished by strict geometry and "regularity" of plans, modesty of decor and decoration, combination of individual rational elements with baroque items. All buildings are decorated with flat pilasters with elegant capitals, pulled eaves, rustovoy, frame platbands with "ears", have high Dutch roofs "with a fracture" and an elegant two-color color.
Petropavlovsky Cathedral And now looks unusual for the Orthodox Temple. No dome is dominated over the building, but a sharp spire of a multi-tier bell tower. There is no usual altar apse. The walls made huge windows, which, together with the painting of walls under artificial marble, luxurious chandeliers and shining gold-carved iconostasis in the form of a triumphal arch (master Ivan Zherryny) reminds the palace interior. Petropavlovsky Cathedral is a typical sample of the temple built in the style of Petrovsky Baroque.
Other significant buildings of Petrovsky St. Petersburg, preserved to the present day, are Menshikovsky Palace (D. Fontana, I. Shelond), building Kunstkamera (Mattarnovy, N. Gerbel, Kiaveri and M. Zemtsov), SAMPSONIEVSK CATOR , palace Peter. II. and some others.
Architecture of the era of Petrovsky Baroque
2. Architecture of the era of the magnificent Russian (Elizavensky) Baroque (mid 18th century).
By the middle of the 18th century. The art of Baroque in Russia has reached the highest heyday. The brightest creations of architecture were concentrated in the new capital of the state - St. Petersburg. Among the masters worked in the city, Bartolomeo Franceo (Bartholomew Varfolomeyevich) Rastrelli was allocated.
Francesco Bartolomeo Rastrelli was born in 1700 in Paris. In 1716, he came to St. Petersburg along with his father, the sculptor Bartolomeo Carlo Rastrelli, where he began work literally the next day. At first he helped his father, then went to France, where he ended up learning. Returned to Russia, became an independent master and worked exclusively in our country.
Rastrelli was in the service under the Russian yard of 48 years old and created magnificent palaces, mansions, cult buildings, among whom are striking the courage of architectural solutions and scale palace of Count Vorontsov on Sadovaya Street (1749), Grand Palace in Peterhof (1747 - 1752), Palace of Stroganov Counts in Nevsky (1753), Smolny Monastery (1748 - 1754), Ekaterininsky Palace in Tsarskoye Selle (1752 - 1757) and the most ambitious creation Winter Palace (1754 - 1762) . After 20 years, the post "Ober-architect" of the courtyard, Rastrelli was the official head of the entire architectural activity of the government and largely formed the appearance of the new capital of Russia - St. Petersburg.
One of the best works of Francesco Bartolomeo Rastrelli - Smolny (Resurrection Novodevichy) Monastery It was ordered to architect Empress Elizabeth Petrovna. The traditional Russian five-chapter, embodied in the fringe forms of Baroque, was organically merged with the main volume of the Cathedral building. The high double main dome, crowned with a bully master, is surrounded by the sidewall high towers from four sides. The clear protrusions of the walls decorated with bunches of columns, the frontones of various shapes, curls are wolving, hanging cornices create an amazing game of light and shadows. White details on azure wall background, abundance of gilding emphasize a superbly found ratio of forms and proportions of the building. The cathedral having the form of an equilibrium cross is equally well on all sides. The construction of the Cathedral was delayed and never was completed by the death of Empress Elizabeth. Architect V.P. Stasov, who completed the construction of the monastery in 1832-1835, refused the luxurious baroque decor and gave the interior decoration more severe character, contrary to the idea of \u200b\u200bFB Rastrelli.
In 1746 - 1755, the architect worked on the creation of Peterhof ensemble. Big Peterhof Palace the spacious open lobby looks at the top garden, on the road going on land. The main facade of the palace turned to the sea. From the parquer Park with fountains, wide terraces lead to the top of the ridge, where the palace was erected. The palace grows above the terraces, seeking to break away from the ground. Nearly 300 meters in length stretched a new building. Sea blue, fountain jet rustling, turquoise walls of the palace on the background of the sky, white shine roof, sparkling the gilding of carved decorations - everything merges into a single ensemble. And in all cases, the striking luxury of internal design with an abundance of mirrors, gilded thread, decorative painting. The famous historian of art and artist of the 20th century Alexander Benua wrote, admiring the creation of Rastrelli: "Peterhof, as it were, was born from Marine Foam. Peterhof is the residence of the king of the seas."
Winter Palace - The most brilliant Creation of Rastrelli, his architecture is a real anthem in honor of the era of the Russian Baroque. The structure in terms of its outlines in terms of the form of a square with a closed courtyard. The facade overlooking the Navel embankment was designed to be released from afar, the opposite, the southern facade is focused on the front palace area facing the city.
The palace hit his sizes. He had more than 1050 separate rooms and rooms, 1886 doors, 1945 windows and 177 stairs. None of the facades repeated the other, in their design, the author's fantasy seemed to not know the borders. The complex rhythm of columns, wealth and diversity of platband forms, the abundance of stucco parts, a variety of decorative VAZ and statues located above the parapet and above numerous frontones, create an exceptional decorative decoration of the building by their pomp and magnificence. The southern facade was cut through three entrance arches, which lead to the front courtyard, where there was a central entrance to the palace in the center of the northern corps.
Rastrelli lived seventy-one year, of which most of them - in Russia. Arriving in the northern capital of the young man, a student of his father, he reached all the honors for the architect, but due to changes in the tastes of customers (New Empress CatherineII. i preferred classicism style) died without a reason, in a modest delivery (1771). The burial place of the Grand Architect is unknown. But the palaces and temples struck themselves - and those that survived, and those that were raised from the ruins after the end of World War II - today we have a genuine admiration for us, for they we received in the heritage of spiritual and artistic culture.
In addition to Rastrelli, in the era of the magnificent Russian baroque, they created their buildings and other talented masters: according to the project S.I. Chevakinsky in St. Petersburg were built by Nikolo-Epiphany Marine Cathedral and the famous "Flange House" - Sheremetevsky Palace on Fontanka (together with F.S. Argunov), D.V. Ukhtomsky designed the bell tower of the Trinity-Sergius Monastery in Sergiev Posad and others.
Architecture of Elizabethan Baroque
3. Russian architecture of the classicism era (second half of the XVIII century).
Classicism (from lat. Classicus is an exemplary), the style direction in art and architecture, which is based on the cult of mind and the ideal order, and an antique heritage is used as a source. For the architecture of classicism, there are strictly geometric forms of volumes, symmetry, an architectural order as the main design of the scenery, a large scale system, hierarchical coenplex forms, synthesis with painting and sculpture.
Russian Classicism is one of the brightest pages in the history of world architecture. Burning in Europe at the 17th century, the style of classicism penetrates Russia in the middle of the 18th century. He passed several stages in its development and reached a heyday at the end of the 18th century during the Board of CatherineII.
The early stage of the development of classical architecture (60-70s. 18 century) can be characterized as transitional: in buildings, during dominance, the features of classicism are still there are baroque elements. An example is St. Petersburg building of the Academy of Arts built on the project Alexander Fedorovich Kokorinova in collaboration with Jean-Baptiste Wallen-Demump. The center of the main facade is a spectacular four-column portico, gently passing in the extended wings of the building. In this reception you can see the otvuk of the outgoing baroque. Another example - Marble Palace project Antonio Rinaldi. Its facade, addressed to the Neva, is simply solved and strictly, and the central body entering the courtyard is accentuated by a small rizalitis ending with an attic with an elegant baroque turret.
Strict classicism (80-90s. 18 century) is the complete opposite of the style of Barochko, its antithesis. It is characteristic of strict and consistent use of forms and techniques of the classical architecture of antiquity. It is not allowed to use any decorative motives in appearance, the use of sculpture is excluded. In Moscow, the brightest master of strict classicism was Matvey Fedorovich Kazakov. His buildings, among whom are wonderful are senate Building in the Moscow Kremlin and Golitsinskaya Hospital peculiar to simplicity, rhythm brightness, silhouette clarity. Buildings are raised to a high rumbled ground floor, on which the portico is placed in the central part of the composition.
In St. Petersburg, the best samples of strict classicism are building of the Academy of Sciences On the University Embankment of Vasilyevsky Island (architect Jacomo Kurangi) I. Tauridic Palace (architect I.E. Starov).
Ivan Egorovich Starov (1745-1808) is an outstanding master of Russian classicism. He studied at the Gymnasium at Moscow University, then in a newly founded Academy of Arts, which he graduated from 1762. Soon upon returning from the pensioner trip and the title of academician began extensive practical activities of the Older, which included the planning of cities, the construction of public buildings, urban palaces, Users, temples. According to his projects, the Trinity Cathedral of the Alexander Nevsky Lavra, the desperial house of Demidov in Thai, the Palace of CatherineII. In Pele, the planning of Ekaterinoslav (now Dnepropetrovsk in Ukraine), a number of projects for Nikolaev and numerous buildings in Moscow and Moscow region. But in the history of Russian architecture, the name of Starov is primarily due to the construction Tauridian palace - Hasive urban estate G.A. Potemkin.
In the depths of the front courtyard separated from the street with a low fence, there is a central two-storey housing with a hexual porticist, topped with a flat dome at a low drum; The smooth planes of the walls are cut through high windows and are completed by an antablement of a strict pattern with a frieze of triglyphs. His appearance is extremely simple, the walls are left smooth. The laconic doric order determines the main scale of the entire structure. The main building is combined with single-storey galleries with side two-storey buildings that limit the wide front courtyard.
Initially, the Tauride Palace was opened to the Neve, which was the channel ended with the harbor-bucket. This architectural perspective, which was part of the panorama of the Nevsky Beast, existed before the construction in the middle of the 19th century. Opposite the Palace of Water Tower and other structures of the Central City Water Watering Station. The exquisite modesty and simplicity of the facades of the Tauride Palace contrasted with an exceptional luxury and splendor of the inner decoration, but the interiors were preserved only in several halls, and even then partially in places. This was contributed to the numerous redevelopment of the palace associated with changes in his fate.
At the end of the 18th - the first third of the 19th century, classicism style in Russia reaches its vertices. This era will be discussed at the next lesson.
Classicism in Russian architecture of the 18th century
4. Russian painting of the first third of the 18th century
Until the early 18th century, the icon-painted traditions developed in Russian visual arts. However, in the 18th century, painting gradually began to acquire European features: artists mastered the linear perspective, they sought to correctly convey the volume of objects with the help of lighting, studied anatomy to accurately depict the human body. The technique of painting by oil was distributed (the icons wrote the tempera), new genres developed. A special place in Russian art 18 century took a portrait. The earliest samples of this genre in the 18th century. Close to Parsun - the characters on them are static and solemn.
Ivan Nikitich Nikitin (about 1680 - 1742) It was one of the first Russian portraitists. He was born in the family of the priest Nikita Nikitina, who served in Izmailov near Moscow. Learning by the art of painting Nikitin became probably under the leadership of Dutchman A. Schonebek in the engraving workshop at the Moscow Armory Chamber. He, judging from everything, was learned independently, studying and copying foreign masters in Russia. Already in their early works - petra sister portraits I. Natalia Alekseevna and his daughter Anna Petrovna Created by about 1715-1716, Nikitin with a rare craftsmanship for that time transmits volumes and natural models poses. True, at the same time he does not know how to enter out the figures into the environment, transfer the structure of the figure and show the texture of materials.
In 1716-1719, Nikitin studied in Venice and Florence, and after returning to St. Petersburg, he became a ruffamaler (court artist). By the decree of Peter, the artist began at the expense of the treasury to build on the Admiralty side, at the "river MEE" at the blue bridge, the workshop that was not over with the lifetime of the king. A trip to Italy contributed to the growth of painter skill, his drawing became sophisticated, he was able to free themselves from stiffness inherent in parswaken Russian painting. In the 20s 18 V. Nikitin creates its best works: "Portrait of Count G. I. Golovkin", "Portrait of an outdoor hetman" , and famous "Portrait of Peter I." At the "portrait of the outdoor hetman" we see a person immersed in their own thoughts. His tired pose, slightly lowered head, randomly confused hair, slightly reddened inflamed eyelids, tensely compressed lips - all emphasizes the difficult life path of a strong and courageous man. Despite the difficulties and deprivation in it did not weaken the strong will, the energy did not fade.
After the death of King Nikitin remained in the court state, but practically did not work. Further his fate was dramatic. In August 1732, he was arrested for storing notebooks with Pascvil on Faofan Prokopovich. Nikitin was under the investigation of the secret office, was in a single conclusion in the Petropavlovsk fortress, a sentence was a bit of his whip and exiled to Tobolsk "for the eternal life for guard." Three declarations were published about his pardon: Anna Isannova before his death, Anna Leopoldovna in the courts and Elizabeth Petrovna. On the way from the link to Petersburg, the artist died.
By the end of the 20s - 30th of the 18th century, there is no short, but bright creativity of the painter Andrei Matveyeva (1701-1739). Having spent more than 10 years in Holland and Flanders, Matveyev became the first Russian master who was able to "write stories and persons", that is, not only portraits, but also paintings on mythological and historical stories. The young artist returned to Russia after the death of his royal patrons - Peter I and Catherine I. From the documents it is known that Matveyev wrote battle paintings for the summer house, scenic work for Peterhof, participated in the painting of the Petropavlovsky Cathedral, made out the preserved anichkov and admiralty triumphal gates .
The most interesting from the remaining heritage of Andrei Matveyeva is his portraits. They reached our time very little, among them the famous "Portrait of spouses" On which, most likely, the artist depicted himself with his wife, that is, this is the first self-portrait in Russian painting. Surprisingly subtle forwards Matveyev, the feeling of mutual love and tenderness reigning in the family. Carefully, barely touching, the artist hugs his wife by the shoulders. Spouses hold simple and naturally, radiating good energy. The muffled color gamut emphasizes the chamber nature of the portrait.
Andrei Matveyev died, like many domestic artists, in poverty. In April 1739, the widow wrote in the past that "she stayed after her husband's husband with young Evo children and her husband's body to dive in what he had no."
Creation Ivan Yakovlevich Vishnyakova (1699-1761) Related to St. Petersburg, where he arrived among the "master people" attracted for the construction and decoration of the new capital. In contrast to his senior contemporaries I. Nikitin and A. Matveyev Vishnyakov did not study abroad - his art was formed under the influence of the Russian school of painting of Dopererovsky time.
Vishnyakov received recognition, mainly as a portrait. The refinement of the image, the heat of mood, the absence of manners, silver flavor - these are characteristic features of his artistic manner. The most exquisite portrait Vishnyakova is depicting Sarah Eleonora Farmor. , daughter of the head of the office from buildings (1749). Young girl in a luxurious silver-gray satin dress, embroidered flowers, is preparing to make a renewress. In his hand, she gracefully holds a fan. Thinking lace painting, and a decorative landscape background, whose motifs are echoing with embroidery on the dress are drawn to themselves.
Ivan Nikitin, Andrei Matveyev and Ivan Vishnyakov did not shocked by their works of the foundations of world art, but they made a huge contribution to the development of domestic painting, making the first confident steps in the development of the portrait genre.
Russian painting of the early 18th century
In the preparation of texts used materials Y. Pelevin and Danilova.
5. Russian artists of the middle - the second half of XVIII in.
Alexey Antropov (1716-1795)
In the work of Alexei Petrovich Antropov, the continuity between Petrian Pensioners' painters and the artists of the second half of the XVIII century are clearly traced. The master has achieved the greatest success in the portrait genre. It is in this area that Anthropov belongs to a decisive role in the consolidation of national traditions, expressed in a realistic and unbiased display of reality.
A. P. Anthropov was born in the Family Master's family of the Armory Chamber. He began his long creative way to the reign of Anna John. For many years, A. P. Anthropov held under the leading artist Ivan Vishnyakov. The novice artist worked on the decoration of palaces and cathedrals, took part in the painting of the summer, winter, Anichkov, Peterhof and Catherine Palaces. Of great importance for his creative development was working in Kiev over the iconostasis and paintings in the F. B. Rastrelli the Cathedral of Andrei First-Called.
Early Machine Works A. P. Antropova, for example, the portrait of Empress Elizabeth Petrovna and the paired portrait of Prince Peter Fedorovich Ivelaika Princess Catherine Alekseevna were fulfilled with established and tested with "picturesque samples" created by the court-of-country foreigners. In 1758, a new stage of artist's creativity begins in St. Petersburg. At the forty-second year of life, he enters the training of portrait art to Pietro Rotary - the Italian artist at the court of Elizabeth Petrovna. The Italian master was pleased with his student and even called him the "best painter of Russia."
From the end of the 1750s, you can talk about the beginning of an independent artistic path of A. P. Anthropova-Portretist. One of the most significant works is considered to be portrait Anastasia Mikhailovna Izmailovaya, Senior Freilina with Empress Elizabeth Petrovna. The painter portrayed Stattskaya Lama directly and simply, without any flirty turns, with marginal honesty: the court of the old woman, with a deliberate artificial blush, grown eyebrows and a little bit with tears of her eyes. The portrait affected the main feature of the artistic method A. P. Antropov - the intentive authenticity of the form of the model.The flourishing of his creativity falls on the 60s when he created his best canvases, such as portrait. A. Rumyantseva, in. V. Fermora, a. Burlin. In all these works, the artist does not seek to penetrate the complex world of spiritual experiences of those whom it depicts, but only extremely accurately fixes their appearance. At the same time, in the portrait manner of A. P. Anthropova throughout all periods of his work, the influence of old picturesque traditions of the end of the XVII - early XVIII centuries is felt. Communication with equipment icons and Parsuna is obvious in many of his works. In addition, we should not forget that A. P. Antropov wrote all his life icons. Such a focus was affected by a number of works by A. P. Anthropova, for example, scorch by A. L. Apraksina, as well as on numerous portraits of spiritual people, whom he often had to write as an artist in the synod.
In 1762, after the death of Elizabeth Petrovna and the Edema on the throne of Peter III, the Holy Synod guarantees A. P. Anthropow the main portrait of the new emperor. There was a real opportunity to declare himself under the royal court; Good luck, it seems, smiled by the artist. A. P. Anthropov writes three large parade portrait of the sovereign. However, the new emperor copied only six months and was overthrown by his wife, the future Empress Catherine II. A. P. Anthropov never became a court painter, which put the barrier of his popularity in society - after all, in Russia to achieve universal glory, honor, money was possible only due to the recognition by the August.
In the 1770-1780s, the creative forces A. P. Anthropov go to the decline. In the last period, A. P. Anthrops work less less from nature, but creates a lot of icons. Until the end of his days, the master wrote the image "to bring the highest persons." The Synod lay on it various orders associated not only with control over the icon painters. So, he is sent to Moscow for the inspection of the Kremlin Cathedrals. In 1789, the artist makes an important act - conveys his own home order of public charity for the device in it of a national school. He also opens a private school of painting, among the students of which there was a future great portraitist D. G. Levitsky.
Anthropov died in 1795 and was buried in the Alexander Nevsky Lavra, for which he in his time wrote icons and portraits. The tombstone on his grave was preserved to this day. Alexey Petrovich Antropov is a worthy place in the Russian artistic culture of the XVIII century. Uncomplicated painting talent, strict truthfulness in the image of nature, as well as pedagogical activities brought the master deserved recognition.
Fedor Rockot (1735? -1808)
The largest Russian portraitist of the second half of the XVIII century - Fyodor Stepanovich Rockots - was completely forgotten by descendants. His works had to re-opened at the beginning of the twentieth century.
The origin of the rokotov is definitely not known. He was born in Moscow. According to one source, Fyodor Stepanovich took place from the Fortost Family, on another hypothesis - was an extramarital child of Prince P. I. Repnin. The information about the first teachers of the artist was not preserved, perhaps in his youth he studied in Moscow in the icon painters. In 1760, "according to verbal orders" I. I. Shuvalova Rockots was adopted at the Academy of Arts. A young artist makes fast and noticeable success. His climbing the stairs contributes to palace orders. Rockots writes "Portrait of the Grand Duke Paul Petrovich in childhood." With the arrival of the throne, Catherine II Rockots were approached by the yard. In 1763, he writes the prepared portrait of the empressive connection with its coronation in Moscow. For this creation, he was awarded. The artist also entrustes to write the royal Favoritagrigori of the Eagle's Ostressal Son of Catherine II and Grigoria Orlova-Aalksay Bobrinsky.
The artist succeeds: he will acquire his workshop, his students appear. He creates a portrait gallery of representatives of the most born families: Yusupovy, Curakin, reversal-ryumine, buttish-cutuzovy. Rockots, like other artists of the second half of the 18th century, is still closely attentive to the public situation of the model: it will accurately paint the uniform, regalia, ordinary and so on. However, already in the early, St. Petersburg stage in his work, a relation to the model, characterized by interest in the personal qualities of a person, to his individual world was manifested.
All this time, Rockots serves at the Academy of Arts, but it takes away from the artist a lot of time and prevents his work. Having received the title of academician, Rockots cast a service and between 1765 and 1767 he moved to Moscow, where, apparently, and remains until the end of life. In his hometown, the artist mainly works on private orders. Rockots, thus, one of the first in Russia of "free artists", independent of civil service. At this time, the artist avoided pompous official portraits. It was attracted by other picturesque tasks: the creation of chamber, intimate canvases, which would reflect the representation of the master about the sublime spiritual stroke of his heroes. He creates the type of portrait that answered the ideas of the noble intelligentsia on honor, dignity, culture, "spiritual grace." The portraitist had an undoubted impact of the idea of \u200b\u200benlightenment with its problems of the moral appearance of the privileged class and the "true dignity of the nobleman".
The creative takeoff of the painter found his expression in the whole string of beautiful female images. Each of them is remarkable in its own way. Women's faces come out of the dark and as if some kind of vision in light flower chain, they are filled with sublime poetry and aesthetic delight. Uknyugini E. N. Orlova - Large Sadness-Pensive Eyes. Her image is filled with glowing purity and incredit beauty of youth.. N. Surovseva - charmingly feminine, with a simple Russian face and a good look of radiant eyes. "Portrait of the Countess E. V. Santi" is attractive to its colorful build, a spectacular combination of greenish, pink and yellow tones. But the eyes of the Countess are cold and alienated, there are no heat in them.
People on rokotov canvases seem to make something intimate, significant. For calm and restraint, you can assume an internal movement, even if not quite conscious. Such is the portrait of Alexandra Strujskaya. The mysterious semi-jumble of the heroine, her open eyes, a light picturesque haze and a dark background, from which obscure outlines of the figure create one of the most heartfelt images in Russian portrait art
About the last decades of the artist's life is known little. In the 1790s, the demand for registered portraits of rokotov has fallen significantly. On the slope of the years, the master engaged in pedagogical activities. In the old age, the artist obviously no longer worked. He is no longer lonely living his age in Moscow. He did not have his family, the most close relatives and heirs were nephews. Fedor Stepanovich Rockies died on December 12 (according to the old style) of 1808 and was buried in the Novospassian monastery. The grave was lost, there was only a record in the monastery cemetery book.
Creativity Rockota was a whole stage in the history of Russian portrait painting. The Master sought to find the ideal of beauty, not trying to heroize him or closer to a certain abstract reference. Throughout his life, Rockots wrote exclusively portraits of representatives of the noble class: from the emperor to the provincial landowner. In this era, it was the nobility that was a carrier of culture, enlightenment and education. However, the artist put forward such property properties that had universal value. He created elevated ideal images and noted all the private and unnecessary. In addition, he did not give him a complete clarity of portrait characteristic. Poetically generalizing the features of the models, he raised a man, did it better and cleaner. Therefore, "mysterious" and inspirational faces on the canvas F. S. Rokotov are attractive.
Dmitry Levitsky (1735-1822)
The future painter was born in Ukraine in the priest's family. In 1752-1755 in Kiev, he met sa. P. Anthropov, who was engaged in the painting of the Andreevsky Cathedral. This meeting solved his life and fate. In 1758, Levitsky went to St. Petersburg. Here he settled at his teacher and at the beginning he was mastered by a picturesque craft, then he studied at the master of the office from the structure. In 1769, he broke up with his teachers and began an independent creative way. Having tried in various types of painting, the artist established himself in the choice of portrait as the main and only genre of his creativity.
Levitsky finally settled in St. Petersburg. The most fruitful period in his life began. For many years he also associated himself with the Academy of Arts, which was at that time the focus of Russia's artistic life. In 1771, the artist headed the portrait class and led themselves almost seventeen years. At the same time, he begins to receive court orders, orders from the Academy and private individuals from the noble elite of St. Petersburg.
Among the preserved works of the Levitsky, the 1770s prevail various options for the front portraits. The main task of such a portrait was the glorification of a Human Social Provision. The appeared appeared in front of the audience in the representative form itself - in the uniform, with orders, signs of distinction and monarch incentive. The situation and attributes were to eloquently testify to the significance of the person and its acts, about the prestige level achieved. An example is the portrait of the architect A. F. Kokorinov, the rector of the Academy of Arts and one of the authors of her building on Vasilyevsky Island. Cockerins are captured in the desktop - the usual setting for the image of high-ranking statesmen. The architect gesturing indicates the building plan of the Academy of Arts lying in front of him - his beloved brainchild. A luxurious suit with a masterfully written texture is a luxury suit with gold camsole and a caftan fierced with gold. Aristocrat appears in front of the viewer, whose merits were dealt with the good of the development of art in Russia. However, deep psychological penetration into the inner world of man has not yet been achieved.
The seventies of the eighteenth century appeared for the Levitsky decade of the highest lift of the creative forces. The artistic method of the portraitist developed in the row of educational classicism: his compliance with a sample of an ideal citizen, its moral qualities, was on the forehead in the understanding of a person. Also Levitsky created the penetrated images that reveal the inner "I" of a person whose personal qualities caused a sympathy of the master. This trend prevailed in chamber portraits, as it is customary to refer to a small sulfur format or waist image with a neutral background, without any objects of the situation. The master creates a portrait gallery of spiritually close people to him - the writers. V. Stopovitsky, French philosopher-enlightenment Didro, M. A. Dyakova.
A series of portraits of Smoleanok - Pitomites of the educational society of noble maidens in the Smolny Monastery (later - Smolny Institute) became the generally accepted success of the painter. Portraitist picked up pupils distinguished by special successes in the sciences and arts. Work on the series ended in 1776, which coincided in time with the first release of the student. Paired images F. S. Rzhevskaya and A. M. Davydova, e. N. Khrushcheva and E. N. Khovanskaya, gracefully dancing. S. Borscheva, e. I. Nelidova and A. P. Levoshina, a new genre - "Portrait in Role" for Russian art. On the canvases are deployed pictorial narration of heroes that live at the same time in the theatrical appearance, and in their own closed world of adults.
In the 1780s, Dmitry Grigorievich Levitsky was a glorified and popular artist. He is not deprived of prestigious orders for the front portraits. One of such representative portraits, which became a milestone on the creative path of the master, became "Catherine II - the legislation". The work is unusual for the artist: in it a portrait idea idea is disclosed through an allegorical composition. The work was accompanied by noisy success, and the author repeated his creation several times.
In 1790, Levitsky wrote a huge number of registered portraits. These are the glorified commander of the Ekaterininsky wars P. A. Rumyantsev-Zadunaysky, A. V. Suvorov, N. V. Repnin; Caterible diplomats and advisors Ekaterina II G. A. Potemkin, A. A. Bezborodko. Portraits of a similar series are a new levitsky-developed type of educational representative portrait. Refusing a baroque pomp and classic attributes, the artist considers his model soberly and busily. It is not looking for new composite solutions, spectacular poses, gestures. Simplicity and self-esteem - these are the "gracefulness of the soul", which he emphasizes.
The glory of Levitsky flashes in the second half of the 1810s, after the end of the war with Napoleon. His name disappears from the pages of magazines and reports of the Academic Council, he does not receive official orders. On April 7, 1822, the life of Dmitry Grigorievich Levitsky was interrupted.
Increasing interest in the art of the XVII century to the real, living world was expressed with great strength and in the subject work. But along with new trends and influences of Western and Eastern art, decorative creativity also reflected the ideas of antiquity defenders who defended the original traditions before the supporters of the Western direction in the development of Russian culture. Advanced representatives of the new direction, such as A. L. Nachshchokin, wore, however, from blind imitation of Western samples, ingenic fashion and everyday life. Since the main customers at the time were nobles and merchants, then, of course, their needs and tastes influenced artistic creativity in the first place. Decorative and applied art was all wider in life and served him.
New aspirations of the era, traction to materiality get along in art with elegacity and luxury. Bright colorfulness, the richness of Russian patterns is now achieving special pomp, become characteristic and for a wide range of products of Russian artisans. As follows from the people, they also expressed the folk tastes.
As mentioned in the previous chapter, the main craftsmen focused on the Armory of the Moscow Kremlin.
The feeling of earthly beauty, interest in real forms - on the one hand, on the other - fabulous fiction permeated all types of artistic creativity. Ornamentality, putting the motives of wildlife, was the leading start. Characterized in this respect the Gram Palace of the Kremlin. Here the whole architecture outside and inside is penetrated. Walls, vaults, floor, tie stoves, fabrics, dishes - all as it would be brazed by a thick curly grass ornament. The eighth miracle of the world called contemporaries Kolomna Palace. The thread covered with ornament ornament, platbands and squeezes, a porch, giving an image of a festive.
The magnificent openwork carving, where the main element was floral escape, flower, bunch of grapes, decorated iconostasis, royal gates - they shone in the temples gilding. The thick pattern of the "stone cutting" made a whimsical rhythm into the image of architectural structures. The experience of rich traditions, and the love of the ornament of Russian masters, and the special warehouse of their artistic thinking, in which folk fiction, fiction was of great importance. The exceptional skill of Russian carvers on a tree and a stone with glitter was imprinted in many art ensembles of the XVII century. To them, first of all, it is necessary to include the stone and wooden thread of the Novodevichy Monastery, the Church of Nikola "Big Cresse", Kruitsky Teremka in Moscow. In a thick vegetable pattern, images of fantastic and quite real animals, such as lynx, protein, etc., are woven in a thick vegetable pattern with the motifs of grape vines.
Special monumentality permeates artwork thin, almost jewelry, volumetric thread of iconostasis, such as the iconostasis of the Smolensky Cathedral of the Novodevichi Monastery in Moscow, held in 1683-1685 by the Masters of the Kremlin Armory, headed by Osipa Andreyev and Stepan Zinoviev, as well as the royal gates in churches Moscow (for example, in the Church of Assumption on Pokrovka, 1696, Il. 115) and many other cities.
New principles of painting, increasing the bulk of figures and the multipleness of the composition in icon painting required other framents. The icon-stained carving becomes the burrowy and is so saturated with juicy forms, which sometimes loses the rhythmic clarity of the carved ornament. But nevertheless, the sense of synthesis does not leave the masters, the fancy patterns are restrained by the strict architectural logic of the whole (the iconostasis of the sign of the sign in Dubrovitsy, 1690-1704).
Carving, combined with painting painting, tiles and colored brick, creates a festive and decorative image of the architecture of the XVII century (platbands of the New-Jerusalem Cathedral).
The irrigation tiles are green, various shades, which appeared at the beginning of the century, are gradually flawedly enriched, the plastic of their forms is enhanced.
In the middle of the XVII century, the art of architectural ceramics, called valuable business, is rapidly developing. Tiles are decorated with the facades of churches not only in Moscow, but also in other cities. They became characteristic of landing architecture in Yaroslavl, Rostov, Solvykhodsk, giving her special kind, cheerfulness. Tipped decoration of Yaroslavl churches of John of Zlatoust in cowshes (1649-1654), Nikola Wet (the second half of the XVII century) and others testifies to the artistic achievements of Russian masters.
Different in shape, drawing and color of the tiles were sometimes used in the form of decorative inserts or in the form of precious frames of windows, widths that swinging the building, and on the principle of the patterned carpet, the walls were covered with solid, as in the decoration of the terermal of the Kratytsky Metropolitan.
Tiered production that prosperous was happy in the Valdai Iversky Monastery, translated by Patriarch Nikon in Novo-Jerusalem at the very beginning of his construction, extremely still increased. Among the masters were famous for their art of Ignat Maximov, Stepan Ivanov Sebes and others. (Tselsns of the Church of Grigoria Neokezarovsky in Moscow, 1679).
116. Gabrille Intethimov "From Comrades". Tsarevich's head Dmitry. Detail of silver crayfish from the Arkhangelsk Cathedral of the Moscow Kremlin. 1630.
117. Silver bowl with Usolski enamel. XVII century
118. Sakkos Metropolitan Dionysios. 1583.
119. Silver brutin. The first third of the XVII century.
The vegetation motive is combined in tiles with cartouchers and other decorative forms close as by the folk wooden thread. With it, the principle of making a torn art itself, which resembles a gingerbread art technique. In plastic clay, as in the dough, the pattern was squeezed with a wooden or stone carved form.
Polychrome tiles are widely distributed in the second half of the XVII century. Green, turquoise, blue, yellow, white colors of opaque watering sparkled with a joyful multi-fifty, making special painting and festiveness not only in the exterior decoration of architecture, but also in its inner space, where the elegant pattern with images of fabulous birds and plants on the scenes of the furnaces created a decorative center The interiors of the Boyar chambers and landing houses.
Along with carving on wood and stone, a prominent role at this time acquires a round sculpture. It especially visually reflected the struggle of traditional with new realistic trends. The choice of topics was still limited to the convention of ancient traditions. However, growing realistic aspirations in art gradually enhance the volume and statuarity in sculpture. For example, the peculiar to Parasis of Friday from the Bryansk Petropavlovsky Monastery (XVII century) and in the elder figure (XVII century), realistic elements in the face interpretation are combined with the traditional "block" brightly painted image of the figure.
A special place is occupied by the sculpture of the Perm Territory (Perm State Art Gallery). Live traditions were alive here, which determined the flourishing of a local wooden sculpture. Freshness, the immediacy of folk art is distinguished by the cult plastic. The generalization of the form, clear linear rhythm, the expressiveness of the silhouette, the greater expression inherent in human warm images of the saints: the suffering of Christ, Nicola Mozhaisky and others (end of the 17th century). Often there were sculptural images of birds, lion. Volumetric carved lions, vital, placed at the foot of the "places" of the temples, were the detail of carved furniture of the XVII century (Museum-Reserve of the XVI-XVII centuries "Kolomenskoye").
The desire for plasticity, the fullness of the bulk form was expressed in metal products. The icons decorate the juicy chased reliefs of gold and silver riz, almost one now hiding the layer. Sometimes chased images of figures to some extent are approaching round sculpture. Large heads of cherubs are attacked by silver ripids. Exceptional interest is the chased silver cancer from the Archangel Cathedral of the Moscow Kremlin with the sculptural image of Tsarevich Dmitry (1630, the State Weapon Chamber, IL. 116). Thin modeling of a face form having portrait features is combined with rich sores of chased vegetable ornament and precious stones adorning the crown. The authors of this work - Gavrille Intetraims and five other silvers from the Armory Chamber.
No less developed in the XVII century casting copper. Calm, rounded in the outline remains forms of Russian gold and silverware. It does not lose their proximity to the folk wooden utensils. Moscow chascans of this time showed creative ingenuity, approved new technical techniques of decoration and ornamentation, guided by the errorless sense of harmony, knowledge of the material and understanding things as the synthesis of sculptural form and decor. The brutal of the XVII century serves as an excellent expression of this - the national Russian form of the cozy bowl (the first third of the XVII century, GIm, Il. 119). In Silver Brother Fedor Evstigneeva, 1642 (State Armory), a grass chased ornament, as it were, envelops the shape, emphasizing its roundness by the measuring rhythm of the sharpening curls.
The smooth background of the crown of the neck, collecting the upstream, passes the ornamental licking of the inscription; It says that true love is exactly unbreakable golden vessel. The cone-shaped lids of the brutine are similar to the helmets of the Old Russian Vitya or the bulbs of Russian churches. The shape of the Britine almost did not change over the centuries, and while the silver bucket, called the bucket-swan, undergoes in the XVII century large changes. Proportions are changed, the silhouette of the ladle form. The similarity with the floating bird is erased as the bucket by the end of the century loses its practical purpose. During this period, new forms of dishes appear; Glasses, charmings, mugs, Cups covered with black floral ornbmwnt. He thickly covered the surface of the thing and nevertheless never destroyed the architectonics of her shape. The master was able to smoothly surface areas, glitter or metal, contrasting with thick patterned, reveal, emphasize the plastic material, the design of things, the sculpture of the form. Ornament throughout the century undergoes its changes. Strict simplicity, unnecessary, natural flow
Rhythm curly lines. It comes to the end of the century to the place of dense filling of the space with a complex weaving of a robing stems, leaves. By the second half of the century, a floral ornament loses a distracted character. His forms are approaching natural, observed in nature. Juicy images of flowers, leaves and herbs are becoming larger, the rhythms are free. Their elasticity creates the impression of growth strength. Such, for example, the Cherry ornament of the Silver Foot of the late XVII century (GIm) and the Stavda of Silver Property Sophia, made by Mikhail Mikhailov Mikhailov and Andrei Pavlov (1685, State Weapon Chamber). Gold plated flowers and leaves of the staple gently shine on a black velvet background.
The colorful pattern of the Russian decorative and applied art of the XVII century can not be imagined without the multi-fission enamel and decorative sewing. Enamel art at this time was raised to a large height of Mosters of Moscow, Solvychodsk and the Great Ustyug. Solvychych year masters were especially famous for enamel painting (the last quarter of the 18th century), multicolored, brightly relatively with light bright tones of Moscow enamels. In the royal workshops, enamels were decorated with salaries icons and gospels. Outstanding monuments of the Moscow jewelry case are subject to "stable treasury". Bright enamels decorated with a gold frame of the saddle of the "Big Outline" of Tsar Mikhail Fedorovich (1637-1638, the State Armory), made by the master Ivan Popov "with comrades."
Enamel sparkled on smooth surfaces of products, it was part of the scanning ornament, it was poured by rounded surfaces of the vessels and covered the relief of chasing images. All sorts of shades enamel, dense and transparent, as if glowing from the inside, competed with precious stones. Characteristic example: Golden with enamel Potir-contribution Boyarina A. I. Morozova E 1664 in the miracles of the monastery. Sapphires, emeralds, rubies and diamonds burn in ornament from multicolor enamel. Russian masters had close contact with the visitors of Greek jewelers and masters of Europe.
The second half of the XVII century is produced by a special Moscow style of a small grass ornament.
In Solvykhodsk, which became in the second half of the XVII century, a prominent center of applied art, in the workshops of "Eminiferous People" the Stroganov develops "Usolskoye Finifelian". Usolski enamel distinguishes the softness of the flavor of flower and grass painting on a bright background (Il. 117). The object, flooded along the inner and outer side of white enamel, painted with grass ornaments, large tulips with juicy leaves and a characteristic hatching of colorful spots in the field of shadow. There were also plot images: scenes of hunting, compositions "Zodiac signs", "five senses" (silver bowl, end of the XVII century, state weapon chamber).
From the workshops of the Stroganov Art enamel spread throughout the Russian north. In Veliky Ustyug, the scanned ornament was covered with turquoise, green and black enamel with white, black and yellow accents in the form of points. Such enamels who decorated the salaries of the icons, have a lot in common with the folk northern painting on a tree (for example, a silver camp with enamel, XVII century, GIm).
Applied art flourished in the XVII century and in the Poshesky cities of the Volga region: wood carving, blacksmith skill, making tiles, silver case has reached large heights and artistic peculiarities. In the XVII century in the cities of the Volga region, the art of the knobber was developed. The colorful pattern was printed on the canvas with carved wooden boards prepared by special masters. In this industry there is a high ornamental culture.
From the second half of the XVII century, facial sewing continues further from painting and, on the contrary, comes closer with jewelry art. The glitter of gold and silver, the sparkling of gems and pearls is now paramount in the works of sewing and primarily appreciated by contemporaries (Pelle Nikola with a severity, the second half of the XVII century, GIm).
Precious embroidery completely covered details of clothes: sometimes all it is entirely. For example, Sakkos Patriarch Nikon (1655, the State Weapon Chamber) is decorated with an embroidered image about the saints. Pearls were clogged along the contour of the image. The Stroganovskaya School of Sewing the middle of the XVII century is highlighted by the high technical workshop and the style monumentality. Here Alatoshwehoy has achieved large heights.
Along with the facial sewing in the second half of the XVII century, a wide range of decorative sewing is obtained. They were famous for the Zlatoshwei "Tsaritsyn Workshop of the Chamber", decorated with an embroidery of the saddle, towels, the debris of church clothing. Pearl's nice, sewing gold threads and silks had a lot in common with folk embroidery, and not only in the similarity of the motives, but also in the feeling of rhythm, lines, colors, in the poette of art. Characterized by Pokrov depicting Sergius Radonezh with Life - the contribution of A. I. Stroganova in Trinity-Sergiev Monastery (1671).
The decorative and applied creativity of the XVII century reflected a cultural climb, experienced by Russia. On the one hand, a significant era of ancient Russian art is completed, and on the other hand, the path to the new one is laid.
In the last quarter of the XVII century, the first mosses of secular art of the XVIII century are already noticeable - works that carry a new globility of the nasty time. Works of exceptional simplicity and rigor come to replace the luxury of painfulness, such as Silver with a black Stalar Sophia Alekseevna (1685, State Weapon Chamber). The range of household items is extremely expanded by bringing applied art to everyday life. The skill of execution is brought to exceptional artistry. In decorative art, the experience of Russian icon painting with its plastic start, color decorativeness and linearity was refracted. In all sectors of applied art, a desire to transfer forms of nature, to multicolor, was manifested. Sculptural juicy wood carving displaces flat, with distracted forms. Often plots and techniques borrowed from book arts, for example, in the ornament of the Usolsky enamel or mobile. The Bible of the Pisition was widespread among Russian masters was the need for new trends. Nevertheless, all the influences of both the east and the West were refracted in the ancient Russian art creatively and original.
Interest in life, realistic aspirations in decorative and applied arts were expressed as in painting, the formation of a new worldview, characterizing the era of a turning point at the turn of the two centuries.
In the history of the art of Russia, the 17th century was a period of struggle of two picturesque schools and the formation of new genres. The Orthodox Church still had a huge impact on the cultural life of a person. Artists also experienced some restrictions in their activities.
Iconography
In the days of the late Middle Ages, the center of concentration in Russia, artists and artisans were the Kremlin, and rather the Armory Chambers. The best masters of architecture, painting and other types of creativity worked there.
Despite the rapid development of art throughout Europe, painting in Russia in the 17th century had only one genre - iconography. The artists were forced to create under a non-primary supervision of the church, which opposed to any innovations. The Russian iconographic was formed under the influence of the picturesque traditions of Byzantium and had clearly formed canons by that time.
Painting, like culture in Russia, the 17th century, was quite closed in himself and developed very slowly. However, one event led to a complete reform of the icon painting genre. With a fire in 1547, many ancient icons burned in Moscow. It was necessary to restore the lost. And in the process of the main stumbling block, the dispute was the character of the challenges of the saints. Opinions were divided, adherents of old traditions believed that the images should remain symbolic. While artists more modern views were to give the holy and martyrs a great realistic.
Division into two schools
As a result, painting in Russia in the 17th century was divided into two camps. The first were representatives of the Godunovskaya school (on behalf of Boris Godunov). They sought to revive the iconographic traditions of Andrei Rublev and other medieval masters.
These masters worked on orders for the royal court and were the official side of art. Characteristic features for this school were canonial faces of saints, simplified images of a crowd of people in the form of a set of heads, golden, red and blue-green tones. At the same time, you can see the attempts of artists to convey the materiality of some objects. Godunovskaya school is most famous for its wall paintings in the Kremlin's chambers, in the Smolensk Cathedral, Trinity Cathedral.
The opposing school was Stroganovskaya. The name is associated with the merchants of the Stroganov, for which most orders were made and which were as "sponsors" in the development of painting in Russia in the 17th century. It is thanks to masters from this school and began the rapid development of art. They were the first to make miniature icons for home prayers. This contributed to their distribution among ordinary citizens.
Stroganov's masters more and more went beyond the scope of church canons and began to pay attention to the details of the environment, the appearance of the saints. So slowly began to develop a landscape. Their icons differed with colorfulness and decorativeness, and the interpretation of biblical characters was closer to the images of real people. The most famous of the preserved works are the icons "Nikita Warrior", "John Forerunner".
Yaroslavl frescoes
The unique monument in the history of painting of the 17th century in Russia is the frescoes in the Church of the Prophet Ilya in Yaroslavl, which artists from weapon chambers worked. A feature of these frescoes are scenes from real life that prevail over biblical plots. For example, in the scene with healing, the main part of the composition takes the image of the peasants during the harvest. It was the first monumental image in the household genre.
Among these frescoes, fabulous and mythological scenes can be found. They are striking with their bright colors and complex architecture.
Simon Ushakov
At each stage of the cultural development of the country, their significant persons appear. A man who advanced painting in Russia in the 17th century in a new direction and contributed to its partial liberation from religious ideology, was Simon Ushakov.
He was not only a court painter, but also a scientist, teacher, theologian, a man of wide views. Simon was passionate about Western art. In particular, he was interested in a realistic image of a human face. It is well noticeable in his work "saved the wrong".
Ushakov was an innovator. He was the first of the Russian artists to use oil paint. Thanks to him, the art of engravings on copper began to develop. Being thirty years old, the main artist of the Armory Chamber, he wrote a lot of icons, engravings, as well as several treatises. Among them, "the Word to the Lover of Icon Scripture," in which he outlined his thoughts that the artist should, like the mirror, truthfully reflect the world around. He adhered to this in his works and taught it his students. His recordings are mentioned by an anatomical satin, which he wanted to write and illustrate engravings. But, apparently, he was not published or was not preserved. The main merit of the Master is that he laid the foundations of portrait painting of the 17th century in Russia.
Parsuna
After significant transformations in icon painting, a portrait genre began to form. At first, he was performed in the icon painted style and received the name "Parsuna" (from Latin - person, personality). Artists are increasingly working with lively in nature, and Parsuna become more realistic, the persons are acquired by volume.
In this style, portraits of Boris Godunov, Kings Alexey Mikhailovich, Fedor Alekseevich, Tsaritz Evdokia Lopukhina, Praskovy Saltykova.
It is known that foreign artists also worked at the court. They also greatly contributed to the evolution of Russian painting.
Book graphics
Pook printing is also quite late to go to Russian lands. However, in parallel with its development, the popularity also acquired engravings that were used as illustrations. The images were both religious and domestic nature. Book miniature of that period is distinguished by complex ornaments, decorative initiatives, there are also portrait images. A wizard of the Stroganov school made a great contribution to the development of book miniatures.
Painting in Russia in the 17th century from high-industry turned into a more worldly and close to the people. Despite the opposition of church leaders, the artists defended their right to create in the genre of realism.
Despite the developed specialization, the 17th century of Russian painting became the century of art, and not a handicraft fake. Outstanding icon painters lived in Moscow. They were listed in the department of the icon chamber of the iconic order.
Symbon of Ushakov. Savior delicious.
At the end of the 17th century began to work masters of the icon shop of the Armory Chamber. At the beginning of the 17th century, proof chirin has achieved great success. Chirin was a native of Novgorod. Its icons are made in non-lack of paints, the figures along the contour are outlined by the golden border, arms are messed up with the finest assist.
Another remarkable Russian painter of the 17th century was Nazari Savin. Savin preferred figures of elongated proportions, narrow-band and long-working. In the 30s of the 17th century, Savin headed the group of icon painters who wrote a deesus festive and prophetic ranks for the Iconostasis of the Church of the Region of the Virgin Mary and in the Moscow Kremlin.
Ivan 4 Vasilyevich Grozny.
In the middle of the 17th century, great work is carried out on the resumption of ancient wallopices. The new walloping of the Assumption Cathedral in Moscow, retained the prior scheme, was performed in the shortest possible time. He led the works of Ivan Panssein. Artists under his leadership wrote 249 complex compositions, and 2066 persons.
In the 17th century, Russian painting will allocate the special desire of artists, the desire of a realistic image of a person. In Russia, it begins to get the spread of such a phenomenon as secular painting. The secular painters of the 17th century portrayed the kings, commander, boyars. In the 17th century, in the culture of Russia, including in painting, the process of "recruitment" occurs. More and more in the life of Russian society, secular motives penetrate. Russia rose to a new way, on the threshold of the new era of its history.
In painting, the established traditions of the letter are more preserved. The church cathedral of 1667. Strictly regulated the themes and images, the same demanded to adhere to the grade of the king Alexei Mikhailovich. Persons are written from him:
Ryano condemned all deviations from the canons in the image of the Holy ideologies of the Old Believers Avvakum.
The activities of the painters were led by the Greaming Chamber of the Kremlin, which became in the XVII century. The art center of the country, where the best masters were attracted.
Within 30 years, the picturesque case headed Simon Ushakov (1626-1686). A characteristic feature of his creativity was close interest in the image of a human face. Under his hand, asceticians acquired live traits. Such is the icon "saved the delicious".
Other works are widely known - "planting of the Turland of the All-Russian state." Against the background of the Assumption Cathedral, the figures of Ivan Kalita and Metropolitan Peter, pouring a large tree, on the branches of which were fortified medallions with portraits of princes and kings. From the left side, Alexey Mikhailovich stands in the picture, with the right - his spouse with children. All images are portrait. Ushakov's brushes also belongs to the icon of "Trinity" on which realistic details appear. Simon Ushakov had a great influence on the development of Russian painting.
Wonderful phenomenon in Russian art of the XVII century. She became the school of Yaroslavl masters. Traditional church-biblical plots on their frescoes begin to be depicted in the images of the usual Russian life. The miracles of the saints depart into the background before ordinary phenomena. The composition of the "harvest" in the Church of the Prophet is especially characteristic, as well as the frescoes in the Church of John the Forerunner. Yaroslavl painters were also among the "pioneers" in developing a landscape.
Another example of a secular genre, reflected in the human personality, was the distribution of "Parsunny" writing - portrait images. If in the first half of the century "Parsuna" were carried out in a purely iconographic tradition (images of Ivan IV, M. Kopin-Shuisky),
in the second, they began to make a more realistic character ("Parsuna" kings Alexey Mikhailovich, Fyodor Alekseevich, Stolnik G.P. Godunova).
Mikhail Fedorovich, King, the first of the Romanov dynasty.
Parsuna of the last Rurikovich on the men's line - the son of Ivan the Terrible.
Patriarch Nikon
Patriarch Nikon with Tsar Alexei Mikhailovic.
Natalia Kirillovna Naryshkin, the second spouse of Tsar Alexei Mikhailovich and another Parsuna her
Naryshkin.
Patriarch Nikon with the brother of the Resurrection Monastery
Portrait of Stolnik I.I. Ovodanova. 1690s.
BG 
Evdokia Lopukhina - Bride Peter Alekseevich
Portrait of a steel stolnik F.I.Verigigigig. 1690s.
Group portrait of participants in the Russian Embassy in England.1662.
Marfa Vasilyevna Dogkin
Kuengend Johann. Portrait of the king Mikhail Fedorovich.