Architectural ensembles of Paris Empire. Architectural ensembles of Paris

“Architecture styles” - Notre-Dame de Paris Cathedral, France. Rococo. Louvre Architecture. Classicism. Baroque. St. Peter's Basilica. Teacher Novospaska ZOSH Podlesna I.S. Roman style. Cathedral of St. Types of architecture. Style in architecture. Location. Square of Spain. Paul in London. Gothic style. Paris. Landscape architecture.

"Romanesque Sculpture" - Robert. Sculpture from the Romanesque period. Monastic complexes were entire villages and fortified cities. Abbey of Cluny, France, 12th century. Why? The main theme of Romanesque sculpture was the glorification of God. Tympanum of Notre Dame Cathedral in Chartres. TYMPAN – the recessed part of the arch above the entrance. Romanesque sculpture discovered new aspects of reality - images of the monstrous and ugly.

“Architecture of Islam” - 07/10/2011. 1. 2. 3. Science-sacred geometry. Geometry in architecture. Islam.

“Romanesque style” - Architecture of the Western European Middle Ages (Romanesque style). Bell tower (campanile). Castle of Sully, X-XI centuries, France. Romanesque style in Italy. Cyriacus in Gernrod, 10th century. A characteristic element is the arched shape of door and window openings. Roman style. tower of the old donjon in Losches (10th century). The feudal lord's castle is an integral part of the medieval way of life.

“Romanesque style in architecture” - Maria Laach Abbey, Germany. A massive tower rises at the middle cross. A vault is a type of ceiling that is formed by a convex curved surface. Cathedral in Mainz. 4. The most important feature of Romanesque architecture is the presence of a stone vault. Characteristic features of the Romanesque style: The enormous height of the interiors.

“Styles in art and architecture” - Triumphal Gate (Moscow). Arch. Vesnin brothers. Project for finishing the green dining room of the Catherine Palace in the Adam style. Fragment of a stained glass window. The main hall of the Bishop's Chamber. Arch of Carrousel, Paris. Empire style Antonio Gaudi). Brandenburg Gate in Kaliningrad. Roman style. Church of souls in purgatory in the city of Ragusa.

Classicism in architecture Western Europe

Let's leave it to the Italians

Empty tinsel with its false gloss.

The most important thing is the meaning, but in order to get to it,

We'll have to overcome obstacles and paths,

Follow the designated path strictly:

Sometimes the mind has only one path...

You need to think about the meaning and only then write!

N. Boileau. "Poetic Art".

Translation by V. Lipetskaya

This is how one of the main ideologists of classicism, poet Nicolas Boileau (1636-1711), taught his contemporaries. The strict rules of classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satires of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris...

Classicism was most clearly manifested in works of architecture focused on best achievements ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan. The “strict style” of classicism architecture seemed designed to visually embody its ideal formula of “noble simplicity and calm grandeur.” Simple and clear forms and calm harmony of proportions dominated in the architectural structures of classicism. Preference was given to straight lines and unobtrusive decor that followed the outline of the object. Simplicity and nobility of decoration, practicality and expediency were evident in everything.

Based on the ideas of Renaissance architects about the “ideal city,” the architects of classicism created a new type of grandiose palace and park ensemble, strictly subordinated to a single geometric plan. One of the outstanding architectural structures of this time was the residence of the French kings on the outskirts of Paris - the Palace of Versailles.

Fairytale Dream of Versailles

Mark Twain, who visited Versailles in the mid-19th century.

“I scolded Louis XIV, who spent 200 million dollars on Versailles when people did not have enough for bread, but now I have forgiven him. It's incredibly beautiful! You look, stare and try to understand that you are on earth and not in the Gardens of Eden. And you are almost ready to believe that this is a hoax, just a fairytale dream.”

Indeed, the “fairytale dream” of Versailles still amazes today with the scale of its regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors. Versailles became the visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world.

One hundred hectares of land in extremely a short time(1666-1680) were turned into a paradise intended for the French aristocracy. The architects Louis Levo (1612-1670), Jules Hardouin-Mansart (1646-1708) and Andre Le Nôtre(1613-1700). Over the course of a number of years, they rebuilt and changed a lot in its architecture, so that currently it is a complex fusion of several architectural layers, incorporating character traits classicism.

The center of Versailles is the Grand Palace, to which three converging access avenues lead. Situated on some elevation, the palace occupies a dominant position over the area. Its creators divided the almost half-kilometer length of the facade into a central part and two side wings - risalit, giving it a special solemnity. The facade is represented by three floors. The first, serving as a massive base, is decorated with rustication following the example of Italian palazzo palaces of the Renaissance. On the second, front, there are high arched windows, between which there are Ionic columns and pilasters. The tier crowning the building imparts a monumental appearance to the palace: it is shortened and ends with sculptural groups, giving the building a special elegance and lightness. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and splendor. It is no coincidence that Moliere said about the Grand Palace of Versailles:

“The artistic decoration of the palace is so in harmony with the perfection that nature gives it that it can well be called a magic castle.”

The interiors of the Grand Palace are decorated in Baroque style: they are replete with sculptural decorations, rich decor in the form of gilded stucco moldings and carvings, many mirrors and exquisite furniture. The walls and ceilings are covered with colored marble slabs with clear geometric patterns: squares, rectangles and circles. Picturesque panels and tapestries on mythological themes glorify King Louis XIV. Massive bronze chandeliers with gilding complete the impression of wealth and luxury.

The halls of the palace (there are about 700 of them) form endless enfilades and are intended for ceremonial processions, magnificent celebrations and masquerade balls. In the largest main hall of the palace - the Mirror Gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the hall corresponded with mirrors on the other. In sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying magic game reflections.

The decorative compositions of Charles Lebrun (1619-1690) in Versailles and the Louvre were striking in their ceremonial pomp. The “method of depicting passions” he proclaimed, which involved pompous praise of high-ranking persons, brought the artist dizzying success. In 1662, he became the king's first painter, and then director of the royal manufactory of tapestries (hand-woven carpet-pictures, or tapestries) and director of all decorative work at the Palace of Versailles. In the Mirror Gallery of the palace, Lebrun painted

a gilded ceiling with many allegorical compositions on mythological themes glorifying the reign of the “Sun King” Louis XIV. The piled-up pictorial allegories and attributes, bright colors and decorative effects of Baroque clearly contrasted with the architecture of classicism.

The king's bedroom is located in the central part of the palace and faces the rising sun. It was from here that a view of three highways opened up, diverging from one point, which symbolically reminded of the main focus state power. From the balcony, the king could see all the beauty of Versailles Park. Its main creator, Andre Le Nôtre, managed to combine elements of architecture and landscape art. Unlike landscape (English) parks, which expressed the idea of ​​unity with nature, regular (French) parks subordinated nature to the will and plans of the artist. The Park of Versailles amazes with its clarity and rational organization space, its drawing is precisely verified by the architect using a compass and ruler.

The alleys of the park are perceived as a continuation of the halls of the palace, each of them ends with a pond. Many pools have a regular geometric shape. In the pre-sunset hours, the smooth water mirrors reflect the rays of the sun and the bizarre shadows cast by bushes and trees trimmed in the shape of a cube, cone, cylinder or ball. The greenery forms either solid, impenetrable walls or wide galleries, in artificial niches of which sculptural compositions, herms (tetrahedral pillars topped with a head or bust) and numerous vases with cascades of thin streams of water are placed. The allegorical sculpture of the fountains, made by famous masters, is intended to glorify the reign of the absolute monarch. The “Sun King” appeared in them either in the guise of the god Apollo or Neptune, riding out of the water in a chariot or resting among the nymphs in a cool grotto.

The smooth carpets of lawns amaze with their bright and variegated colors with intricate patterns of flowers. The vases (there were about 150 thousand of them) contained fresh flowers, which were changed in such a way that Versailles was in constant bloom at any time of the year. The paths of the park are sprinkled with colored sand. Some of them were lined with porcelain chips sparkling in the sun. All this splendor and lushness of nature was complemented by the smells of almond, jasmine, pomegranate and lemon, spreading from the greenhouses.

There was nature in this park

As if lifeless;

As if with a pompous sonnet,

We were fiddling with the grass there.

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In the gardens and dances of disorder

They couldn't stand it.

The yew trees froze, as if in a trance,

The bushes leveled the line,

And they curtsied

Memorized flowers.

V. Hugo Translation by E. L. Lipetskaya

N. M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in “Letters of a Russian Traveler”:

“Enormousness, perfect harmony of parts, the action of the whole: this is what even a painter cannot depict with a brush!

Let's go to the gardens, the creation of Le Nôtre, whose bold genius everywhere placed proud Art on the throne, and threw humble Nature, like a poor slave, at his feet...

So, do not look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes...”

Architectural ensembles of Paris. Empire style

After completing the main construction work in Versailles, at the turn of the 17th-18th centuries, Andre Le Nôtre launched active efforts to redevelop Paris. He laid out the layout of the Tuileries Park, clearly fixing the central axis on the continuation of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt and the Place de la Concorde was created. The major axis of Paris gave a completely different interpretation of the city, meeting the requirements of greatness, grandeur and pomp. The composition of open urban spaces and the system of architecturally designed streets and squares became the determining factor in the planning of Paris. The clarity of the geometric pattern of streets and squares linked into a single whole will for many years become a criterion for assessing the perfection of the city plan and the skill of the city planner. Many cities around the world will subsequently experience the influence of the classic Parisian model.

A new understanding of the city as an object of architectural influence on humans finds clear expression in the work on urban ensembles. In the process of their construction, the main and fundamental principles of urban planning of classicism were outlined - free development in space and organic connection with environment. Overcoming the chaos of urban development, architects sought to create ensembles designed for free and unobstructed views.

Renaissance dreams of creating an “ideal city” were embodied in the formation of a new type of square, the boundaries of which were no longer the facades of certain buildings, but the space of adjacent streets and neighborhoods, parks or gardens, and the river embankment. Architecture strives to connect in a certain ensemble unity not only buildings directly adjacent to each other, but also very distant points of the city.

Second half of the 18th century. and the first third of the 19th century. in France they celebrate new stage development of classicism and its spread in European countries - neoclassicism. After the Great French Revolution and Patriotic War In 1812, new priorities appeared in urban planning, in tune with the spirit of their time. They found their most vivid expression in the Empire style. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, appeal to the art of imperial Rome and Ancient Egypt, the use of attributes of Roman military history as the main decorative motifs.

The essence of the new artistic style was very accurately conveyed in the significant words of Napoleon Bonaparte:

“I love power, but as an artist... I love it to extract sounds, chords, harmony from it.”

Empire style became the personification of the political power and military glory of Napoleon, and served as a unique manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new time. Large architectural ensembles of open squares, wide streets and avenues were created everywhere, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.

For example, the Austerlitz Bridge commemorated Napoleon's great battle and was built from Bastille stones. At Place Carrousel was built triumphal arch in honor of the victory at Austerlitz. Two squares (Concord and Stars), located at a considerable distance from each other, were connected by architectural perspectives.

Church of Saint Genevieve, erected by J. J. Soufflot, became the Pantheon - the resting place of the great people of France. One of the most spectacular monuments of that time is the column of the Grand Army on Place Vendôme. Likened to the ancient Roman column of Trajan, it was supposed, according to the plans of the architects J. Gondoin and J. B. Leper, to express the spirit of the New Empire and Napoleon’s thirst for greatness.

In the bright interior decoration of palaces and public buildings, solemnity and stately pomp were especially highly valued; their decor was often overloaded with military paraphernalia. The dominant motifs were contrasting combinations of colors, elements of Roman and Egyptian ornaments: eagles, griffins, urns, wreaths, torches, grotesques. The Empire style manifested itself most clearly in the interiors of the imperial residences of the Louvre and Malmaison.

The era of Napoleon Bonaparte ended by 1815, and very soon they began to actively eradicate its ideology and tastes. From the “disappeared like a dream” Empire, all that remained were works of art in the Empire style, clearly demonstrating its former greatness.

Questions and tasks

1.Why can Versailles be considered an outstanding work?

How the urban planning ideas of 18th century classicism found their practical embodiment in the architectural ensembles of Paris, for example the Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, such as Piazza del Popolo (see p. 74)?

2. What is the expression of the connection between Baroque and classicism architecture? What ideas did classicism inherit from Baroque?

3. What are the historical background for the emergence of the Empire style? What new ideas of his time did he strive to express in works of art? What artistic principles does he rely on?

Creative workshop

1. Give your classmates a correspondence tour of Versailles. To prepare it, you can use video materials from the Internet. The parks of Versailles and Peterhof are often compared. What do you think are the grounds for such comparisons?

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Architecture of Paris 17th century Classicism

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17th century Paris

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Cathedral of Invalides
An architectural monument, the construction of which was begun by order of Louis XIV on February 24, 1670 as a nursing home for disabled war veterans of the royal army. Today it still welcomes people with disabilities, and also houses several museums and a military necropolis.
Architect Jules Hardouin-Mansart

Slide 4

On May 5, 1821, Napoleon Bonaparte died. He was buried near Longwood in an area called "Geranium Valley." There is a version that Napoleon was poisoned. King Louis Philippe, yielding to pressure from the Bonapartists, sent a delegation to St. Helena in 1840 to fulfill Napoleon's last wish - to be buried in France. His body has been in the Cathedral of the Invalides in Paris since 1840.

Slide 5

Place des Vosges
Created in 1605-1612 by the architect C. Chantillon.

Slide 6

This is the oldest square in Paris. It is located in the Marais quarter and is a regular square 140 meters long. Until 1799 it was called Royal. The current name was given in honor of the residents of the Vosges department, who voluntarily began to pay contributions for the maintenance of the revolutionary army.

Slide 7

It was built by order of Henry IV from 1605 to 1612; Since then, her appearance has remained almost unchanged. The buildings on the sides of the square are strictly designed in the same style - red brick with stripes of gray stone. Two buildings with higher mansard roofs are called the pavilions of the king and queen (here commoners celebrated the wedding of Louis XIII and Anne of Austria). Many famous people lived in houses on the square - Sully, Cardinal Richelieu, Marion Delorme, Bossuet, Victor Hugo, Théophile Gautier, Alphonse Daudet and others.

Slide 8

Place Vendôme

Slide 9

It was built in 1699 according to the design of the architect Jules Hardouin-Mansart in honor of Louis XIV, and received its name from the palace of Cesar de Vendôme. The uniform Classicist buildings surrounding the square were completed by 1720. In the center of Place Vendôme there is a 44-meter Vendôme Column with a statue of Napoleon on top, modeled after the Roman Column of Trajan.

Slide 10

Victory Square

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In the center of the square is an equestrian statue of the Sun King.
A small, rounded area. Six streets converge here, and the elegance of this square captivates with its typically French architecture. In 1684-1687. Hardouin-Mansart designed the square to mark the center of the square with an equestrian monument.

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Luxembourg Palace

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Luxembourg Palace
The palace was built in 1615-1621. architect Salomon de Brosses, was the first experience of urban space. The approach to construction itself was dictated by the classical spirit of the French school - the main entrance in the center of the building, the courtyard protected on all sides, the main building. The interior design was done by the great Rubens, whose works were well known to the Parisian aristocracy.

Slide 14

Luxembourg Garden
The garden is a classic example of French garden architecture, combining strict geometry with a riot of vegetation. There are more than a hundred sculptures, monuments and fountains installed on the territory of the Garden. Around the central green area are about 20 statues of French queens and female saints (including Joan III of Navarre, Blanche of Castile, Anne of Austria, Louise of Savoy and Anne of France.

Slide 15

Fountain in front of the Luxembourg Palace

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Architects are occupied with the problem of the relationship between the ensemble of the palace and the park. Louis Leveau and Andre Le Nôtre are trying for the first time to solve this problem prospectively in the palace and park of Vaux-le-Vicomte near Melun.

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The Palace of Vaud is rightly considered the prototype of the main creation of the second half of the 17th century. Versailles Palace and Park. It was built by Levo, and in the final stages Hardouin-Mansart took part in its construction.

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The best private palace in France at that time, the creation of three of the greatest professionals of its time - architect Louis Leveau, landscape architect Andre Le Nôtre and interior designer Charles Lebrun. The collaboration of three masters produced a monument that became the first example of the Louis XIV style, which relied on the unity of architecture, interior decoration and park landscapes. The main house is surrounded on four sides by a moat with water. Thanks to natural irrigation (two rivers flowed on the site from time immemorial), Le Nôtre was able to build a regular park with parterres, fountains and canals.

Slide 19

The exterior of the building is classically austere; the alternation of windows, pilasters, and columns creates a clear, calm rhythm. All this does not exclude lush decorative finishing, especially in the interior. The interiors of the palace consist of a suite of luxuriously decorated rooms.

Slide 20

The Maison Laffitte Palace, built by François Mansart in 1642-1651, with all the complexity of its volumes, is a single whole, a clear structure that adheres to classicist norms.

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Palace Maison Laffite
Unlike the traditional compositions of earlier country castles, there is no enclosed courtyard formed by the main building and service wings. All office premises are located in the basement of the building. Arranged in the shape of the letter "P" around the court d'honneur open to the park, the building is clearly visible from all sides.

Slide 22

Hotel Lambera
The mansion was commissioned from the architect Louis Le Vaux in 1639 by the secretary of Louis XIII, Jean-Baptiste Lambert. The architect developed a complex plan for the building, as it was necessary to adapt it to the peculiarities land plot. Three years later he dies and bequeaths the house to his brother Nicolas, who carried out extensive decorative work there. The interior decoration of the mansion's three offices and large gallery have glorified the mansion since its creation.

Description of the presentation by individual slides:

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The image of the “ideal city” in the classical ensembles of Paris and St. Petersburg Jacques Ange Gabriel. Place Louis XV in Paris by Giacomo Quarenghi. Academy of Sciences in St. Petersburg Andreyan Dmitrievich Zakharov. Admiralty in St. Petersburg

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The emergence of new social ideas, new morality, new aesthetics The Enlightenment movement, started by Voltaire, taken up by Denis Diderot, J.J. Rousseau, led to the emergence of new social ideas, new morality, new aesthetics. Architecture became the embodiment of educational utopias and new values ​​- naturalness, simplicity, clarity. In classical architecture, the capricious curls of the ornament and smooth silhouettes of Rococo were replaced by straight lines, clear geometric shapes, and undivided volumes of Neoclassicism. Voltaire (1694-1778) D. Diderot (1713-1784) J.J. Rousseau (1712-1778)

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Jacques Ange Gabriel Place Louis XV in Paris Utopian dreams of an “ideal city”, where houses stand among trees, wide streets form regular plots, and spacious squares offer views of city blocks, were brilliantly realized in the ensemble of Place Louis XV in Paris. The creator was one of the first architects of neoclassicism, Jacques Ange Gabriel (1698-1782). Place Louis XV (Place de la Concorde) - 1757-1779 Jacques Ange Gabriel (1698-1782) Having located the square on the right bank of the Seine (one natural border of the embankment), Gabriel included in the space of the square and living nature - the water surface of the river and the vegetation of parks.

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Place de la Concorde. Paris A small square looks huge thanks to the wide panorama. The Champs Elysees, like an endless green ribbon, leads the eye to the Arc de Triomphe on Place des Stars (Place Charles le Gaulle). On the opposite side, behind the park, rises the Arc de Triomphe on Place Carrousel, and then the bulk of the Louvre.

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Giacomo Quarenghi Academy of Sciences. 1783 - 1789. St. Petersburg The building of the Academy of Sciences, built by Quarenghi next to Peter's Kunstkamera in 1783 - 1785, is distinguished by its simplicity and severity. Russian art developed similarly to French. The pathos of simplicity and linearity is palpable in the buildings of the architect of “Catherine classicism” Giacomo Quarenghi (1744-1817). The ideas of the Enlightenment were in tune with the aesthetics of classicism and were adopted in Russia by Empress Catherine II. A fan of Roman antiquity, Giacomo Quarenghi built buildings distinguished by symmetry, perfect proportions and laconic decor. D. Quarenghi (1748-1817) Catherine II (1729-1796)

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The desire to subordinate a separate building to the artistic and figurative unity of the ensemble and the city as a whole acquired in the first decades of the 19th century. defining value. The building in which the whole city recognizes itself was the Admiralty building built by A.D. Zakharov (1761-1811). The Admiralty is the first building on the left bank of the Neva in St. Petersburg / Initially, the Admiralty was conceived by Peter I only as a shipyard; according to his design, it was founded on November 5, 1704. In 1806–1823, by decree of Alexander I, the building was rebuilt by A.D. Zakharov. Zakharov built the third building of the Admiralty, which became a symbol of Russia's maritime power. Andreyan Dmitrievich Zakharov Admiralty. 1806-1823. St. Petersburg A.D. Zakharov (1761-1811) Alexander I (1777-1825)