Culture of the Russian Empire in the first half of the 19th century: literature, theater, music and architecture. Nizhny Novgorod Drama Theater

The first decades of the 19th century. in Russia took place in an atmosphere of national upsurge associated with the Patriotic War of 1812. The ideals of this time found expression in the poetry of the young Pushkin. The War of 1812 and the Decembrist uprising largely determined the character of Russian culture in the first third of the century.

The contradictions of the time became especially acute in the 40s. It was then that the revolutionary activity of A.I. began. Herzen, with brilliant critical articles V. G. Belinsky spoke, and Westerners and Slavophiles waged passionate debates.

Romantic motifs appear in literature and art, which is natural for Russia, which has been involved in the pan-European cultural process for more than a century. The path from classicism to critical realism through romanticism determined the conventional division of the history of Russian art of the first half of the 19th century. as if in two stages, the watershed of which was the 30s.

Much has changed since the 18th century. in fine and plastic arts. Have grown up public role the artist, the significance of his personality, his right to freedom of creativity, in which social and moral problems were now increasingly raised.

Growing interest in artistic life Russia was expressed in the establishment of certain artistic societies and the publication of special magazines: “Free Society of Lovers of Literature, Sciences and Arts” (1801), “Journal of Fine Arts” first in Moscow (1807), and then in St. Petersburg (1823 and 1825), “Societies encouragement of artists" (1820), "Russian Museum..." by P. Svinin (1810s) and the "Russian Gallery" in the Hermitage (1825), provincial art schools, like the school of A.V. Stupina in Arzamas or A.G. Venetsianova in St. Petersburg and the village of Safonkovo.

The humanistic ideals of Russian society were reflected in the highly civilized examples of architecture of this time and monumental and decorative sculpture, in synthesis with which decorative painting and applied arts, which often ends up in the hands of the architects themselves. The dominant style of this time was mature, or high, classicism, in scientific literature, especially at the beginning of the 20th century, often called the Russian Empire style.

The architecture of the first third of the century was, first of all, a solution to large urban planning problems. In St. Petersburg, the layout of the main squares of the capital: Dvortsovaya and Senate squares is being completed. The best ensembles of the city are being created. After the fire of 1812, Moscow was built especially intensively. Antiquity in its Greek (and even archaic) version becomes the ideal; the civic heroism of antiquity inspires Russian architects. The Doric (or Tuscan) order is used, which attracts with its severity and laconicism. Some elements of the order are enlarged, especially for colonnades and arches, and the power of smooth walls is emphasized. The architectural image amazes with its majesty and monumentality. Sculpture, which has a certain semantic meaning, plays a huge role in the overall appearance of the building. Color decides a lot; usually the architecture of high classicism is two-color: columns and stucco statues are white, the background is yellow or gray. Among the buildings, the main place is occupied by public buildings: theaters, departments, educational establishments, palaces and temples are built much less frequently (with the exception of regimental cathedrals at the barracks).

The largest architect of this time, Andrei Nikiforovich Voronikhin (1759–1814), began his independent path back in the 90s with perestroika following F.I. Demertsov of the interiors of the Stroganov Palace F.-B. Rastrelli in St. Petersburg (1793, Mineral Cabinet, Art Gallery, corner hall). Classical simplicity is also characteristic of Stroganov’s dacha on the Black River (1795–1796, not preserved. For the oil landscape “Stroganov’s Dacha on the Black River,” 1797, State Russian Museum, Voronikhin received the title of academician). In 1800, Voronikhin worked in Peterhof, completing the design of galleries near the bucket of the Samson fountain and taking part in the general reconstruction of the fountains of the Big Grotto, for which he was officially recognized by the Academy of Arts as an architect. Later, Voronikhin often worked in the suburbs of St. Petersburg: he designed a number of fountains for the Pulkovo road, decorated the “Lantern” office and the Egyptian vestibule in the Pavlovsk Palace, the Viskontiev Bridge and the Pink Pavilion in Pavlovsk Park. Voronikhin’s main brainchild is the Kazan Cathedral (1801–1811). The semi-circular colonnade of the temple, which he erected not from the side of the main - western, but from the side - northern facade, formed a square in the center of the Nevsky Perspective, turning the cathedral and the buildings around it into the most important urban planning node. The passages, the second to end the colonnade, connect the building with the surrounding streets. The proportionality of the side passages and the cathedral building, the design of the portico and fluted Corinthian columns indicate an excellent knowledge of ancient traditions and skillful modifications in the language of modern architecture. In the remaining unfinished project of 1811, a second colonnade was proposed at the southern facade and a large semicircular area at the western one. Only the remarkable cast-iron grille in front of the western façade turned out to be completed. In 1813, M.I. was buried in the cathedral. Kutuzov, and the building became a kind of monument to the victories of Russian weapons. Banners and other relics captured from Napoleonic troops were kept here. Later, monuments to M.I. were erected in front of the cathedral. Kutuzov and M.B. Barclay de Tolly, performed by the sculptor B.I. Orlovsky.

Voronikhin gave an even more strict, antique character to the Mining Cadet Corps (1806–1811, now the Mining Institute), in which everything is subordinated to a powerful Doric portico of 12 columns facing the Neva. The image of the sculpture decorating it is equally austere, perfectly combined with the smooth surface of the side walls and Doric columns. I.E. Grabar correctly noted that if the classicism of Catherine’s era proceeded from the ideal of Roman architecture (Quarenghi), then “Alexandrovsky” seemed to resemble the stately style of Paestum.

Voronikhin, an architect of classicism, devoted a lot of effort to the creation of an urban ensemble, the synthesis of architecture and sculpture, the organic combination of sculptural elements with architectural divisions in both large and small buildings. The mountain cadet corps seemed to offer a view of Vasilsva Island from the sea. On the other side of the island, on its spit, Thomas de Thomon during these years erected the ensemble of the Exchange (1805–1810).

Thomas de Thomon (c. 1760–1813), a Swiss by birth, came to Russia at the end of the 18th century, having already worked in Italy, Austria, and possibly taking a course at the Paris Academy. He did not receive a completed architectural education, however, he was entrusted with the construction of the Exchange building, and he completed the task brilliantly (1805–1810). Tomon changed the entire appearance of the Spit of Vasilsva Island, shaping the banks of the two channels of the Neva into a semicircle, placing rostral columns-lighthouses along the edges, thereby forming a square near the Exchange building. The Exchange itself has the appearance of a Greek temple - a peripterus on a high plinth intended for commercial warehouses. There is almost no decor. The simplicity and clarity of forms and proportions give the building a majestic, monumental character, making it the main one not only in the ensemble of the arrow, but also influencing the perception of both embankments, both Universitetskaya and Dvortsovaya. The decorative allegorical sculpture of the Exchange building and the rostral columns emphasizes the purpose of the structures. The central hall of the Exchange with a laconic Doric entablature is covered with a coffered semi-circular vault.

The Exchange Ensemble was not the only building of Thomas de Thomon in St. Petersburg. He also built in the royal suburban residences, using the Greek type of construction here too. The artist’s romantic moods were fully expressed in the mausoleum “To the Benefactor Spouse,” erected by Empress Maria Feodorovna in memory of Paul in Pavlovsk Park (1805–1808, memorial sculpture made by Martos). The mausoleum resembles an archaic type of prostyle temple. The inside of the hall is also covered with a coffered vault. The smooth walls are lined with artificial marble.

The new century was marked by the creation of the most important ensembles in St. Petersburg. A graduate of the St. Petersburg Academy and a student of the Parisian architect J.-F. Shalgrena Andreyan Dmitrievich Zakharov (1761–1811), from 1805 “Chief Admiralty Architect,” begins construction of the Admiralty (1806–1823). Having rebuilt the old Korobov building, he turned it into the main ensemble of St. Petersburg, which invariably appears in the imagination when talking about the city even today. Compositional solution Zakharov is extremely simple: the configuration of two volumes, with one volume seemingly embedded in the other, of which the outer, U-shaped, is separated by a channel from two inner wings, L-shaped in plan. The internal volume consists of shipbuilding and drawing workshops, warehouses, the external volume includes departments, administrative institutions, a museum, a library, etc. The façade of the Admiralty stretches for 406 m. The side wing facades face the Neva, the central one ends in the middle with a triumphal passage arch with a spire, which is the castle of the composition and through which the main entrance runs inside. Zakharov preserved Korobov’s brilliant design for the spire, showing tact and respect for tradition and managing to transform it into a new classicist image of the building as a whole. The monotony of the almost half-kilometer-long facade is broken by evenly spaced porticoes. In striking unity with the architecture is the decorative plastic of the building, which has both architectonic and semantic significance: The Admiralty is the naval department of Russia, a powerful maritime power. The entire system of sculptural decoration was developed by Zakharov himself and brilliantly implemented by the best sculptors of the beginning of the century. Above the parapet of the upper platform of the tower pavilion, crowned with a dome, allegories of the Winds, Shipbuilding, etc. are depicted. In the corners of the attic are four seated warriors in armor, resting on shields, painted by F. Shchedrin; below is a huge, up to 22 m long, relief frieze “ Establishment of a fleet in Russia" by I. Terebenev, then in flat relief an image of Neptune handing over a trident to Peter as a symbol of dominance over the sea, and in high relief - winged Glories with banners - symbols of the victories of the Russian fleet, even lower are sculptural groups of "nymphs holding globes" , as Zakharov himself called them, also performed by F. Shchedrin. This combination of round sculpture with high and low relief, statuary sculpture with relief and ornamental compositions, this relationship of sculpture with a smooth solid wall was also used in other works of Russian classicism of the first third of the 19th century.

Exchange building in St. Petersburg

Zakharov died without seeing the Admiralty in its finished form. In the second half of the 19th century. the shipyard area was built up with apartment buildings, much of the sculptural decoration was destroyed, which distorted the original plan of the great architect.

The Zakharov Admiralty combines the best traditions of Russian architecture (it is no coincidence that its walls and central tower remind many of the simple walls of ancient Russian monasteries with their gate bell towers) and the most modern urban planning tasks: the building is closely connected with the architecture of the city center. Three avenues originate from here: Voznesensky, Gorokhovaya Street. Nevsky Prospekt (this radial system was conceived under Peter). The Admiralty Needle echoes the high spiers of the Peter and Paul Cathedral and St. Michael's Castle.

The leading St. Petersburg architect of the first third of the 19th century. (“Russian Empire”) was Karl Ivanovich Rossi (1777–1849). Rossi received his initial architectural education in Brenna's studio, then traveled to Italy, where he studied ancient monuments. His independent creativity begins in Moscow and continues in Tver. One of the first works in St. Petersburg was construction on Elagin Island (1818). One can say about Rossi that he “thought in ensembles.” His palace or theater turned into an urban planning hub of squares and new streets. Thus, when creating the Mikhailovsky Palace (1819–1825, now the Russian Museum), he organized a square in front of the palace and laid a street on Nevsky Prospekt, while balancing his plan with other nearby buildings - the Mikhailovsky Castle and the space of the Champ de Mars. The main entrance of the building, located in the depths of the front courtyard behind a cast-iron grille, looks solemn and monumental, which is facilitated by the Corinthian portico, to which a wide staircase and two ramps lead. Rossi did much of the decorative decoration of the palace himself, and with impeccable taste - the design of the fence, the interiors of the lobby and the White Hall, the color of which was dominated by white and gold, characteristic of the Empire style, as well as grisaille painting.

In the design of Palace Square (1819–1829), Rossi faced the most difficult task - to combine the baroque Rastrelli Palace and the monotonous classicist facade of the General Staff building and ministries into a single whole. The architect broke the dullness of the latter with a Triumphal Arch, opening access to Bolshaya Morskaya Street, Nevsky Prospekt, and gave the correct shape to the square - one of the largest among the squares of European capitals. Triumphal Arch, crowned by the chariot of Glory, imparts a highly solemn character to the entire ensemble.

One of the most remarkable ensembles of Russia was begun by him at the end of the 10s and completed only in the 30s and included the building of the Alexandria Theater, built with the latest technology of the time and with rare artistic perfection, the adjacent Alexandria Square, Teatralnaya Street behind the facade of the theater, which today received the name of its architect, and the pentagonal Chernyshev Square at the Fontanka embankment that completes it. In addition, the ensemble included the Sokolov Public Library building, modified by Rossi, and the pavilions of the Anichkov Palace, built by Rossi back in 1817–1818.

The last creation of Rossi in St. Petersburg is the building of the Senate and Synod (1829–1834) on the famous Senate Square. Although it still amazes with the daring scope of the architect’s creative thought, who connected two buildings separated by Galernaya Street with a triumphal arch, one cannot fail to note the appearance of new features characteristic of late creativity architect and the last Empire period in general: some fragmentation of architectural forms, overload with sculptural elements, rigidity, coldness and pomp.

In general, Rossi’s work is a true example of urban planning. Like Rastrelli once, he himself created a decorative system, designing furniture, creating wallpaper designs, and also led a huge team of wood and metal craftsmen, painters and sculptors. The integrity of his plans and united will helped create immortal ensembles. Rossi constantly collaborated with sculptors S.S. Pimenov the Elder and V.I. Demut-Malinovsky, the authors of the famous chariots on the Triumphal Arch of the General Staff and sculptures at the Alexandria Theater.

The “most strict” of all the architects of late classicism was Vasily Petrovich Stasov (1769–1848) – whether he built barracks (Pavlovsky barracks on the Field of Mars in St. Petersburg, 1817–1821), whether he rebuilt the Imperial stables (“Stable Department” on the Moika embankment near Konyushennaya Square, 1817–1823), whether he erected regimental cathedrals (the Cathedral of the Izmailovsky Regiment, 1828–1835) or triumphal arches (Narva and Moscow Gates), or designed interiors (for example. Winter Palace after the fire of 1837 or Ekaterininsky Tsarskoye Selo after the fire of 1820). Everywhere Stasov emphasizes the mass, its plastic heaviness: his cathedrals, their domes are heavy and static, the columns, usually of the Doric order, are equally impressive and ponderous, the overall appearance is devoid of grace. If Stasov resorts to decoration, it is most often heavy ornamental friezes.

Voronikhin, Zakharov, Thomas de Thomon, Rossi and Stasov are St. Petersburg architects. No less remarkable architects worked in Moscow at that time. During the War of 1812, more than 70% of the entire city's housing stock was destroyed - thousands of houses and more than a hundred churches. Immediately after the expulsion of the French, intensive restoration and construction of new buildings began. It reflected all the innovations of the era, but the national tradition remained alive and fruitful. This was the uniqueness of the Moscow construction school.

Alexandria Theater in St. Petersburg

First of all, Red Square was cleared, and O.I. Beauvais (1784–1834) the Trading Rows were rebuilt, and in fact, the Trading Rows were rebuilt, the dome over the central part of which was located opposite the dome of the Cossack Senate in the Kremlin. On this axis, a little later, Martos erected a monument to Minin and Pozharsky.

Bove was also involved in the reconstruction of the entire territory adjacent to the Kremlin, including a large garden near its walls with a gate from Mokhovaya Street, a grotto at the foot of the Kremlin wall and ramps at the Trinity Tower. Beauvais creates the ensemble of Theater Square (1816–1825), building the Bolshoi Theater and connecting new architecture with the ancient Kitaygorod wall. Unlike St. Petersburg squares, it is closed. Osip Ivanovich also owned the buildings of the First City Hospital (1828–1833) and the Triumphal Gate at the entrance to Moscow from St. Petersburg (1827–1834, now on Kutuzov Avenue), the Church of All Who Sorrow Joy on Bolshaya Ordynka in Zamoskvorechye, which Bove added to those erected in end of the 18th century Bazhenov bell tower and refectory. This is a rotunda temple, the dome of which is supported by a colonnade inside the cathedral. The master worthily continued the work of his teacher Kazakov.

Domenico (Dementy Ivanovich) Gilardi (1788–1845) and Afanasy Grigorievich Grigoriev (1782–1868) almost always worked fruitfully together. Gilardi rebuilt the Cossack Moscow University (1817–1819), which burned down during the war. As a result of the reconstruction, the dome and portico became more monumental, turning from Ionic to Doric. Gilardi and Grigoriev worked extensively and successfully in estate architecture (the Usachev estate on the Yauza, 1829–1831, with its fine sculpted decoration; the Golitsyn estate “Kuzminki”, 1920s, with its famous equestrian yard).

The special charm of the Russian Empire style was brought to us by Moscow residential buildings of the first third of the 19th century: in them, solemn allegorical figures on the facades peacefully coexist with the motif of balconies and front gardens in the spirit of provincial estates. The end facade of the building is usually displayed on the red line, while the house itself is hidden in the depths of the yard or garden. Compositional picturesqueness and dynamics reign throughout, in contrast to the St. Petersburg balance and orderliness (the Lunins’ house at the Nikitsky Gate, built by D. Gilardi, 1818–1823); Khrushchev's house, 1815–1817, now the A.S. Museum Pushkin, built by A. Grigoriev; his own house Stanitskaya, 1817–1822, now the museum of L.N. Tolstoy, both on Prechistenka.

The Lunin House in Moscow, architect D.I. Gilardi

Gilardi and Grigoriev largely contributed to the spread of the Moscow Empire style, mainly wooden, throughout Russia, from Vologda to Taganrog.

By the 40s of the XIX century. classicism has lost its harmony, become heavier, more complicated, we see this in the example of St. Isaac's Cathedral in St. Petersburg, which was built by Auguste Montferrand for forty years (1818–1858), one of the last outstanding monuments religious architecture in Europe XIX century that united best forces architects, sculptors, painters, masons and foundries.

The paths of development of sculpture in the first half of the century are inseparable from the paths of development of architecture. Such masters as I.P. continue to work in sculpture. Martos (1752–1835), in the 80–90s of the 18th century. famous for his tombstones, marked by grandeur and silence, a wise acceptance of death, “like the ancients” (“My sadness is bright...”). By the 19th century a lot changes in his handwriting. Marble is replaced by bronze, the lyrical beginning is heroic, the sensitive is strict (tombstone of E.I. Gagarina, 1803, HMGS). Greek antiquity becomes a direct role model.

Khrushchev House in Moscow

In 1804–1818 Martos is working on a monument to Minin and Pozharsky, funds for which were collected through public subscription. The creation of the monument and its installation took place during the years of the highest social upsurge and reflected the mood of these years. Martos embodied the ideas of the highest civic duty and feat in the name of the Motherland in simple and clear images, in a laconic artistic form. Minin's hand is stretched out to the Kremlin - the greatest national shrine. His clothes are a Russian shirt, not an antique toga. Prince Pozharsky is wearing ancient Russian armor, a pointed helmet and a shield with the image of the Savior. The monument reveals itself differently from different vantage points: if viewed from the right, it appears that, leaning on a shield, Pozharsky stands up to meet Minin; from a frontal position, from the Kremlin, it seems that Minin convinced Pozharsky to take on the high mission of defending the Fatherland, and the prince is already taking up the sword. The sword becomes the connecting link of the entire composition.

Together with F. Shchedrin, Martos also works on sculptures for the Kazan Cathedral. He executed the relief “The Flowing of Water by Moses” on the attic of the eastern wing of the colonnade. A clear division of figures against a smooth wall background, strictly classical rhythm and harmony are characteristic of this work (the frieze of the attic of the western wing, “The Copper Serpent,” as mentioned above, was performed by Prokofiev).

In the first decades of the century, the best creation of F. Shchedrin was created - the sculptures of the Admiralty, as mentioned above.

The next generation of sculptors is represented by the names of Stepan Stepanovich Pimenov (1784–1833) and Vasily Ivanovich Demut-Malinovsky (1779–1846). They, like no one else in the 19th century, achieved in their works an organic synthesis of sculpture with architecture - in sculptural groups made of Pudost stone for the Voronikhin Mining Institute (1809–1811, Demut-Malinovsky - “The Abduction of Proserpina by Pluto”, Pimenov - “The Battle of Hercules with Antaeus"), the character of the heavy figures of which is consonant with the Doric portico, or in the chariot of Glory and the chariot of Apollo made of sheet copper for Russian creations - the Palace Triumphal Arch and the Alexandria Theater.

The Chariot of Glory of the Arc de Triomphe (or, as it is also called, the “Victory” composition) is designed to perceive silhouettes clearly drawn against the sky. If you look at them directly, it seems that the mighty six horses, where the outer ones are taken by the bridle by foot soldiers, are presented in a calm and strict rhythm, reigning over the entire square. From the side, the composition becomes more dynamic and compact.

One of the latest examples of the synthesis of sculpture and architecture can be considered the statues of Barclay de Tolly and Kutuzov (1829–1836, erected in 1837) at the Kazan Cathedral by B.I. Orlovsky (1793–1837), who did not live a few days before the opening of these monuments. Although both statues were executed two decades after the construction of the cathedral, they brilliantly fit into the passages of the colonnade, which gave them a beautiful architectural frame. The idea of ​​Orlovsky’s monuments was succinctly and vividly expressed by Pushkin: “Here is the initiator Barclay, and here the accomplisher Kutuzov,” that is, the figures personify the beginning and end of the Patriotic War of 1812. Hence the perseverance, the internal tension in the figure of Barclay - symbols of heroic resistance and a gesture calling forward Kutuzov's hands, Napoleonic banners and eagles under his feet.

Monument to Minin and Pozharsky in Moscow

Russian classicism found expression in easel sculpture, in sculpture of small forms, in medal art, for example in the famous medallion reliefs of Fyodor Tolstoy (1783–1873), dedicated to the War of 1812. An expert in antiquity, especially Homeric Greece, the finest plastic artist, the most elegant draftsman. Tolstoy managed to combine the heroic, sublime with the intimate, deeply personal and lyrical, sometimes even tinged with a romantic mood, which is so characteristic of Russian classicism. Tolstoy’s reliefs were executed in wax, and then “in the ancient manner”, as Rastrelli the Elder did in the time of Peter the Great, cast by the master himself in metal, and numerous plaster versions have been preserved, either transferred to porcelain, or executed in mastic (“People’s Militia”, “Battle” Borodinskaya", "Battle of Leipzig", "Peace to Europe", etc.).

It is impossible not to mention F. Tolstoy’s illustrations for the poem “Darling” by I.F. Bogdanovich, made with ink and pen and engraved with a chisel, is an excellent example of Russian sketch graphics based on the plot of Ovid’s “Metamorphoses” about the love of Cupid and Psyche, where the artist expressed his understanding of the harmony of the ancient world.

Russian sculpture of the 30s–40s of the 19th century. is becoming more and more democratic. It is no coincidence that during these years such works as “The Guy Playing Knuckles” by N.S. appeared. Pimenov (Pimenov the Younger, 1836), “The Guy Playing Pile” by A.V. Loganovsky, warmly welcomed by Pushkin, who wrote famous poems about their exhibition.

The work of the sculptor I.P. is interesting. Vitali (1794–1855), who, among other works, executed a sculpture for the Triumphal Gate in memory of the Patriotic War of 1812 at the Tverskaya Zastava in Moscow (architect O.I. Bove, now on Kutuzov Avenue); bust of Pushkin, made shortly after the death of the poet (marble, 1837, VMP); the colossal figures of angels at the lamps on the corners of St. Isaac's Cathedral are perhaps the best and most expressive elements of the entire sculptural design of this gigantic architectural structure. As for the portraits of Vitali (the exception is the bust of Pushkin) and especially the portraits of the sculptor S.I. Galberg, they bear the features of direct stylization of ancient herms, which, as researchers rightly note, does not fit well with an almost naturalistic elaboration of faces.

The genre stream is clearly visible in the works of S.I.’s early deceased students. Galberg - P.A. Stawasser (“Fisherman”, 1839, marble, Russian Museum) and Anton Ivanov (“Young Lomonosov on the Seashore”, 1845, marble, Russian Museum).

In mid-century sculpture there are two main directions: one, coming from the classics, but coming to dry academicism; the other reveals a desire for a more direct and multilateral reflection of reality, it becomes widespread in the second half of the century, but there is also no doubt that both directions are gradually losing the features of the monumental style.

The sculptor who, during the years of decline of monumental forms, managed to achieve significant success in this area, as well as in “small forms,” was Pyotr Karlovich Klodt (1805–1867), the author of horses for the Narva Triumphal Gate in St. Petersburg (architect. V . Stasov), “Horse Tamers” for the Anichkov Bridge (1833–1850), the monument to Nicholas I on St. Isaac’s Square (1850–1859), I.A. Krylov in the Summer Garden (1848–1855), as well as a large number of animal sculptures.

Decorative and applied art, which so powerfully expressed itself in a common unified flow decorative design interiors of the “Russian Empire” of the first third of the 19th century - the art of furniture, porcelain, fabric - also lost its integrity and purity of style by the middle of the century.

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The Russian theater in the nineteenth century was distinguished by a certain two-facedness - on the one hand, it continued to react just as sharply to various social and political changes in the state structure, and on the other, it improved under the influence of literary innovations.

The Birth of Great Masters

At the beginning of the 19th century, in Russian performing arts, romanticism and classicism were replaced by realism, which brought many fresh ideas to the theater. During this period, many changes occur, a new stage repertoire is formed, which is popular and in demand in modern drama. The nineteenth century becomes a good platform for the emergence and development of many talented playwrights, who with their creativity make a huge contribution to the development of theatrical art. The most prominent person in dramaturgy of the first half of the century is N.V. Gogol. In fact, he was not a playwright in the classical sense of the word, but, despite this, he managed to create masterpieces that instantly gained world fame and popularity. Such works can be called “The Inspector General” and “Marriage”. These plays very clearly depict the complete picture of social life in Russia. Moreover, Gogol did not glorify it, but, on the contrary, sharply criticized it.

"The Inspector" N.V. Gogol

At this stage of development and full formation, the Russian theater can no longer remain satisfied with the previous repertoire. Therefore, the old will soon be replaced by a new one. Its concept is to depict a modern person with a keen and clear sense of time. A.N. is considered to be the founder of modern Russian drama. Ostrovsky. In his creations, he very truthfully and realistically described the merchant environment and their customs. This awareness is due to a long period of living in such an environment. Ostrovsky, being a lawyer by training, served in court and saw everything from the inside. With his works, the talented playwright created a psychological theater that sought to look into and reveal as much as possible the inner state of a person.

"Thunderstorm" A.N. Ostrovsky

In addition to A.N Ostrovsky, other outstanding masters of the pen and stage made a great contribution to the theatrical art of the 19th century, whose works and skills are the standard and indicator of the pinnacle of mastery. One of these individuals is M. Shchepkin. This talented artist performed great amount roles, mostly comedic. Shchepkin contributed to the emergence of acting beyond the boundaries of existing patterns at that time. Each of his characters had their own individual character traits and appearance. Each hero was a personality.

World Architecture Day is celebrated annually on the first Monday of October. Only professionals can understand all this baroque, rococo and constructivism, who, however, can also sometimes make mistakes. As part of the fight to eliminate architectural illiteracy, AiF.ru has prepared a special infographic-memo that will allow you to understand the variety of basic styles in just a couple of minutes.

Classicism(from Latin classicus - exemplary) - style in European culture XVII-XIX centuries The main feature is the appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity and monumentality.

Examples of buildings: Bolshoi Theater in Moscow, Pashkov House in Moscow, Pantheon in Paris.

Apmir(from the French empire - imperial) - a style that arose in France during the reign of Emperor Napoleon. The main feature is the obligatory presence of columns, molded cornices and other elements inherent in classicism, but also motifs that reproduce such ancient images as griffins, sphinxes, lion paws and similar structures.

Examples of buildings: Kazan Cathedral in St. Petersburg, Triumphal Gate in Moscow, Arch of Carrousel in Paris.

Baroque(from Italian barocco - bizarre, strange) - a style that arose in Europe in XVII-XVIII centuries, during the Late Renaissance. The main feature is the lack of rigor, straight lines and adherence to ancient canons. At the same time, in buildings of this style you can see the splendor of forms and a lot of golden colors.

Examples of buildings: Carlo Maderna Church of St. Susanna in Rome, Versailles Castle in Paris.

Rococo(from the French rocaille - crushed stone) - a style that arose in France in the first half of the 18th century as a development of the Baroque. The characteristic features of Rococo are sophistication, great decorative intensity of interiors and compositions, graceful ornamental rhythm, great attention to mythology and personal comfort.

Examples of buildings: Chinese Palace in Oranienbaum (suburb of St. Petersburg), Vierzenheiligen Basilica in Bad Staffelstein (Germany), Chinese House in Potsdam (Germany).

Pseudo-Russian style- style in Russian architecture of the 19th - early 20th centuries. It is a stylization of ancient Russian buildings, but with elements of classicism or empire style.

Examples of buildings: GUM in Moscow, Cathedral of Christ the Savior in Moscow, Nikolo-Alexandrovsky Church in St. Petersburg.

Gothic- a style that arose in Western Europe at the end of the 12th - beginning of the 16th centuries. The main feature is sharp shapes, spiers, round windows and square towers are possible.

Examples of buildings: Reims Cathedral in France, Wells Cathedral, St. Vitus Cathedral in Prague.

Modern(from the French moderne - modern) - a style that became widespread in the last decade of the 19th - early 20th centuries, before the start of the First World War. Modernism is distinguished by the rejection of straight lines and angles in favor of more natural, “natural” outlines, as well as the use of “new” materials such as metal and glass.

Examples of buildings: Yaroslavl station in Moscow, TSUM in Moscow, Obecný dum in Prague, S. M. Gribushin’s house in Perm.

Modernism(from Italian modernismo - modern trend) - a style that developed in architecture from the early 1920s to the 1970s-1980s. Its main principles: the use of the most modern building materials and structures, a rational approach to solving internal spaces, the absence of trends in “decoration” and the rejection of historical images in the appearance of buildings.

Examples of buildings: museum contemporary art in Brazilian Niteroi, Bauhaus building in Dessau (Germany).

Constructivism(from Latin constructio - construction) - a style that developed in the 1920s - the first half of the 1930s. It is characterized by rigor, geometricism, laconic forms and monolithic appearance.

Examples of buildings: ZIL House of Culture in Moscow, White Tower in Yekaterinburg, Centrosoyuz Building in Moscow.

Deconstructivism(from Latin deconstructio - anti-constructive) - a style that emerged in the late 1980s. It is the direct opposite of constructivism - the buildings completely lack rigor and geometricism, they are characterized by visual complexity, unexpected broken and deliberately destructive forms.

Examples of buildings: Modern wing of the Royal Gallery of Ontario in Toronto, Dancing House in Prague.

High tech(from the English high technology - high technology) - a style that originated in the 1970s and found widespread use in the 1980s. Its main features are: the use of high technology in buildings and structures, the widespread use of glass, plastic and metal, as well as the presence of elevators and stairs located outside the building. Silver metallic color is widely used.

Examples of buildings: Federation Tower in Moscow (Moscow City complex), Mary Ax Tower in London, Pompidou Center in Paris.

Biotech(from the English bionic tech - natural technologies) - a style that emerged in the 1980s. He, in contrast to high-tech, refers not to elements of constructivism and cubism, but to natural forms. Space is organized in the form of shapes inanimate nature(eggs, nests, caves), buildings repeat the shapes of animals, people or their parts, and materials are used whose texture is similar to natural ones - in the form of honeycombs, bubbles, fibers, cobwebs, layered structures.

Examples of buildings: the Cucumber skyscraper ( arch. Norman Foster) in London, Milwaukee Art Museum (USA), UK National Space Center.

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Original taken from vladimirtan to the Bolshoi Theater, called by contemporaries the Colosseum

Total 13 photos

The construction of the Bolshoi Petrovsky Theater by architect Osip Bove was a real event for Moscow at the beginning of the 19th century. The Bolshoi Theater was designed to glorify the city that won the War of 1812. This was best facilitated by the majestic classic style. A sculptural group depicting Apollo on a chariot was installed on the portico. The beautiful eight-column building, according to contemporaries, became the best theater in Europe and in scale was second only to Milan's La Scala. Its opening took place on January 6, 1825. The townspeople called the new building "Colosseum". The Petrovsky Theater “like a phoenix from the ruins raised its walls in new splendor and splendor.”

02 Project of the main facade of the Petrovsky (Bolshoi) Theater (built by O. I. Bove and A. A. Mikhailov in 1821-1824)

03 View of the Petrovsky Theater. 1825

By analogy with the largest theater buildings in Europe ( Big theaters in Bordeaux and St. Petersburg)

the new theater in Moscow was named the Bolshoi Petrovsky Theater and was considered the embodiment

theatrical architecture of classicism and one of the best buildings in its series.

04 View of the Petrovsky Theater. 1827

On March 1, 1853, for an unknown reason, a fire started in the theater. The alabaster group of Apollo, which decorated the Osip Bove Theater, was lost in a fire. A competition was announced for the restoration of the theater building, in which the winning plan was submitted by Albert Kavos.

06 The main facade of the Bolshoi Theater after reconstruction by A.K. Kavos in 1856

After the fire, only the walls and columns of the porticos remained.

07 Columns of Beauvais

08 The Beauvais Columns are the only surviving element of the building from 1825

09

At the invitation of Alberto Cavos, Russian sculptor Pyotr Klodt created the now famous sculptural group with Apollo.

10 Sculptural group "Chariot of the god Apollo" - bronze quadriga by Pyotr Klodt

The architect also placed two statues of muses in the cut-out niches of the theater façade.

Sculptures of muses on the facade of the Bolshoi Theater.

11 Muse of Dance Terpsichore

12 Muse of lyric poetry Erato

The new Bolshoi Theater was built in 16 months and opened on August 20, 1856 for the coronation of Alexander II.

13 Illumination of Theater Square in honor of the coronation of Alexander II, 1856. View of the Bolshoi Petrovsky Theater. Lithograph from a drawing by V. Sadovnikov from the “Album” by A. Kavos. 1859.

Tatiana Ponka

Literature. The main direction in Russian artistic culture in the first decades of the 19th century. becomes romanticism . It originated in Western Europe at the end of the 18th - beginning of the 19th centuries. Romanticism is, first of all, a special worldview based on the conviction of the superiority of “spirit” over “matter.” According to the romantics, everything spiritual is truly human; on the contrary, everything material, coming to the fore, disfigures the true nature of man, it divides people, becomes a source of enmity between them, and leads to tragic situations.
The founder of Russian romanticism is rightfully considered V.A. Zhukovsky(1783–1852) - poet, prose writer, translator, author of the hymn “God Save the Tsar!”, educator of the heir to the Russian throne, Grand Duke Alexander Nikolaevich (Alexander II). In his literary work V.A. Zhukovsky chose the world as the main subject of his poetry human soul. In romanticism, Zhukovsky was attracted folk history, legends of folk life, echoed in fairy tales and songs. In 1810–1820 there comes a flourishing in the work of V.A. Zhukovsky. He writes his best “Russian” romantic ballads: “Lyudmila” (1808), “Svetlana” (1808-1812). "Lyudmila" is a free translation. Taking the plot of the ballad as a basis German poet Burger "Lenora", V.A. Zhukovsky creates his own original work. Its fantastic plot was based on medieval religious ideas, belief in miraculous salvation or destruction of the soul. The elements of folk life and folklore become for V.A. Zhukovsky source high poetry when writing one of his best ballads, “Svetlana” (1814). The plot of the ballad is interpreted within the framework everyday scene fortune-telling of girls “on Epiphany evening”, which made it possible for the poet to reproduce the features of Russian national life, folk customs, rituals and so on. Zhukovsky subtly and correctly conveyed the state of mind of a girl gripped by a romantic fear of possible night miracles and fear for the life of her beloved. His pen includes not only original “Russian” ballads, but also talented translations from foreign classics, for example, “The Tsar of the Forest”. This is a translation of Goethe's ballad "Erlkonig", the plot of which the German poet-philosopher borrowed from Danish folk epic. Addressing the rich imagery of the mysterious, other world poetry of European romantics, Zhukovsky always remained a Christian poet. Idealization of evil, admiration for sin, atheistic motives - all this was alien to Zhukovsky. In his original and translated lyrics we see a desire to open to man the path of purity, the path of spiritual ascent.
In his work, he also turned to national-patriotic themes. One of his first patriotic works was the ode “The Bard’s Song over the Tomb of the Victorious Slavs” (1805), written after Battle of Austerlitz. Before the Patriotic War V.A. Zhukovsky is working on a translation of “The Tale of Igor’s Campaign”, developing a plan for a historical poem about the times of Prince. Vladimir. After the Battle of Borodino V.A. Zhukovsky, at that time an officer in the Moscow militia, wrote the poem “The Singer in the Camp of Russian Warriors” (1812), which brought him all-Russian fame. In ringing, solemn verses, praise sounded to the glorious ancestors, the leaders of the Russian army sang:
This cup belongs to the Fatherland, friends!
The country where we are for the first time
Tasted the sweetness of life,
Fields, native hills,
Sweet light of the native sky,
Familiar streams
Golden games of the first years
And the first years of lessons,
What will replace your beauty?
Oh, holy homeland,
What heart does not tremble,
Blessing you?

There have never been such poems in Russia. In the same 1812, D. Bortnyansky created a patriotic song for the choir based on “The Singer...”, it was performed in the form of a drinking song with a choral chorus. V.A. Zhukovsky did a lot of literary translations of F. Schiller, J. Byron, and translated Homer's Odyssey. His participation in the fate of A.S. is well known. Pushkin. In the arms of V.A. Zhukovsky died A.S. Pushkin, V.A. Zhukovsky became the guardian of his children.
Creativity V.A. Zhukovsky had a huge influence on the formation of A.S. Pushkin. M. Yu. Lermontov, N. V. Gogol and other writers.
Under the influence of the creativity of V.A. Zhukovsky and other romantic poets in Russian literature form an understanding of the national identity and nationality of literature. In the 20s the concept of “nationality” was identified with national identity, i.e. with the peculiarities of the way of life of the people, everyday life, costume, etc.
In the 30-40s. ideological quests lead to a deeper concept of nationality. Developing and deepening the concept of the nationality of literature, the classics of Russian criticism considered as a necessary condition the correspondence of what the writer depicts in his works with the truth of life. According to V. G. Belinsky, a truly folk work is one that meets the objective interests of the people. Reflecting real, hard life ordinary people, piece of art should call for a fight to change it. This thesis became one of the main tenets of revolutionary democratic aesthetics.
In the 1840s. development artistic culture characterized by a movement from romanticism to realism . In literature, this movement is associated with the names of A.S. Pushkina, M.Yu. Lermontova, N.V. Gogol.
Played a huge role in the development of Russian national literature and culture A.S. Pushkin(1799-1837) - great Russian writer, founder of new Russian literature, creator of the modern Russian literary language.
Already in the first youthful poems written during his studies at the Tsarskoye Selo Lyceum (1813 to 1817), the sincerity, frankness, straightforwardness, spontaneity, honesty and courage of A.S.’s nature were manifested. Pushkin. In 1815, at the lyceum act, Pushkin read his poem “Memories in Tsarskoe Selo” - in the presence of G.R. himself. Derzhavina. From this wonderful day we can consider that young Pushkin caught up with the greatest poet of the 18th century. ― G.R. Derzhavina. These poems by Pushkin are not only equal to Derzhavin’s, but in some places they are more perfect. The famous lines where Derzhavin was mentioned were as follows:

Derzhavin and Petrov rattled a song for the heroes
Strings of loud-sounding lyres.

16-year-old Pushkin described in three words the entire essence of G.R.’s poetry. Derzhavin - one of the most important poets of the 18th century.
The first large-scale work by A.S. Pushkin's poem "Ruslan and Lyudmila" (1820). On the day of the end of the poem by V.A. Zhukovsky gave Pushkin his portrait with a sincere inscription - “To the winner - a student from a defeated teacher.” It was true: in 1820 A.S. Pushkin has already surpassed his teacher - V.A. Zhukovsky (he surpassed his first teacher, Derzhavin, at the Lyceum). At the same time, K.N. Batyushkov (Pushkin’s third teacher) recognized the poet’s superiority and exclaimed: “A villain, how he began to write.”
A.S. Pushkin wanted to create a work of Shakespearean scale. N.M. Karamzin suggested the plot to him from Russian history. In 1825 A.S. Pushkin completed the tragedy "Boris Godunov". By this time the poet had reached full creative maturity and the desired goal. In the poem by A.S. Pushkin touched not only on the main problems of Russian literature of the 19th century, but throughout Russian history: the people and power, the role of the individual and the people in history. The characters of the main persons of this tragedy: Boris Godunov, the Pretender, Marina, Shuisky, etc., are given fully, completely, in the dialectical dynamics of both their personal experiences and their relationships with each other. The famous monologue of Boris Godunov is, perhaps, the pinnacle of A.S.’s work. Pushkin:

I have reached the highest power;
I have been reigning peacefully for six years now.
But there is no happiness for my soul. -
………………………………………
Oh! I feel: nothing can do us
In the midst of worldly sorrows, to calm;
Nothing, nothing... the only thing is conscience.
………………………………………
Yes, pitiful is the one whose conscience is unclean.

A huge, decisive role in this tragedy is played by the invisible protagonist - the people. The last phrase of the tragedy is brilliant: “The people are silent.”
In 1828 A.S. Pushkin writes the poem "Poltava". It has two main characters: Peter the Great and Mazepa. The main idea of ​​the poem is the contrast between these personalities. Mazepa is the bearer of a personal egoistic principle, and Peter is the bearer of the state idea, the idea of ​​the common people's good. The verse in "Poltava", for all its simplicity, amazes with its exceptional strength and artistic perfection. Description Ukrainian night, the appearance of Peter the Great before the troops, the Battle of Poltava itself, the description of the execution, the characterization of Mazepa - everything is expressed in unforgettable verses, extremely concise, rich in deep psychological content, with Shakespearean depth and clarity.
In the fall of 1830, the poet was forced to spend time on the Boldino estate, part of which was allocated to him by his father due to his marriage to Natalya Goncharova. This “Boldino autumn”, spent in complete solitude, turned out to be very fruitful for creativity. He had never had such a surge of inspiration and efficiency. This autumn A.S. Pushkin wrote: two last chapters"Eugene Onegin", "House in Kolomna", four "small tragedies" ("The Miserly Knight", "Mozart and Salieri", "Feast during the Plague" and "Don Juan", later called "The Stone Guest"), five " Belkin's Stories" in prose and about 30 beautiful poems, among which were such masterpieces as "Demons", "Autumn", "Faded Fun of Crazy Years", "At the beginning of my life I remember school", "For the shores of the distant fatherland".
The main creation of the "Boldino autumn" is the novel in verse "Eugene Onegin", on which the poet worked for seven years (1823-31). In the novel by A.S. Pushkin set himself the goal of displaying the phenomenon of a typically Russian Byronist against the background of the broad picture of Russian life of that time, i.e., the 20s. XIX century The main character of the novel, of course, is Tatyana. This is the ideal image of a Russian woman, the ideal female image in all world literature.
Upon returning from Boldin to Moscow, A.S. Pushkin February 18 1931 Married N.N. Goncharova. At the same time, A.S. Pushkin begins to write his incomparable folk tales: “About Tsar Saltan” (1831), “About the Fisherman and the Fish” (1833), “About dead princess"(1833), "About the Golden Cockerel" (1834) and "Songs Western Slavs"(1833). In 1833, Pushkin travels to the Orenburg province to collect materials for the "History of the Pugachev Rebellion". Based on the collected documentary scientific historical material about the time of Pugachev, A.S. Pushkin writes his wonderful historical and at the same time psychological story - " Captain's daughter"(1833-1836). In 1833 A.S. Pushkin wrote the poem" Bronze Horseman", returning again to the theme of Peter the Great. The main idea of ​​this poem is the contrast of personal interests with national interests. The great deeds of Peter, in particular the founding of St. Petersburg, are contrasted with the personal dreams of a young man about family happiness with his beloved girl; however, a natural disaster (a terrible flood in St. Petersburg) mercilessly destroys all his dreams: the bride dies from a flood, and he himself goes crazy. Thus, unfortunate Eugene is one of the victims of Peter the Great’s cause - the foundation new capital, and Peter the Great is the indirect culprit of his death. Pushkin describes Eugene’s misfortunes with great and sincere sympathy, but completely takes Peter’s side, understanding the enormous significance of Peter’s transformations for Russia.
Artistically, this is Pushkin’s best poem. The most characteristic features of Pushkin’s creativity: conciseness, lapidaryness, “condensation of thought in words,” sculptural images, ideological richness, depth and clarity of creative thought, harmony of parts and holistic simplicity of the unity of composition - everything is present in this poem. Other works by A.S. have the same properties. Pushkin of the last period of his life: “The Queen of Spades” (1833), “Egyptian Nights” (1835), etc.
Gifted with genius abilities, A.S. Pushkin was placed in extremely unfavorable conditions throughout his short life, but the strength and brilliance of his exceptional talent overcame all obstacles and made him a Russian genius. The variety of developed genres and styles (poems, poems, ballads, prose), lightness, grace and accuracy of verse, relief and strength of characters, “enlightened humanism”, the universality of poetic thinking and the personality of A.S. Pushkin predetermined his paramount importance in Russian literature. Russian literature A.S. Pushkin raised it to the world level. Famous literary critic of the mid-19th century. Apollo Grigoriev very succinctly expressed the meaning of A.S. in an aphorism. Pushkin for Russian civilization: “Pushkin is our everything.” A.S. Pushkin completely merged and then no longer separated himself from the Russia in which he was born, grew up, matured and lived. He accepted his entire Motherland, with its difficult history, with its vast distances, bad roads, unbridled national prowess and the melancholy spilled into Russian life. He revered the Russian past, was proud of it, saw in it enormous spiritual riches and deep moral principles. He believed in the great future of Russia.
All educated Russia knew, appreciated and selflessly loved its national genius poet. In assessing this love, the poet F.I. Tyutchev was right: “Russia’s heart will not forget you, like its first love.”
In the development of realism in literature, an important role belongs to the Russian poet M. Yu. Lermontov(1814–1841). Difficult family circumstances (the death of his mother in 1817, his father’s quarrel with the grandmother who raised Lermontov) left their mark on the attitude and work of the future poet. Already in his early romantic poems (1828–34), which went beyond the scope of his apprenticeship, M. Yu. Lermontov tried to comprehend his inner self, personal relationships with the outside world and the universe. They reflected the tragedy of a lonely individual, rebellion, skepticism, problems of “life of purpose” (Poet, 1828; “Russian Melody”; 1829; “No, I’m not Byron...”, 1832). But M.Yu. Lermontov is aware of his high purpose.
In 1835–39 M.Yu. Lermontov reaches creative maturity. During this period, he worked hard, creating vivid examples in almost all genres: the drama “Masquerade” (1835), the poem “Song about Tsar Ivan Vasilyevich, the young guardsman and the daring merchant Kalashnikov” (1837), “Mtsyri” (finished in 1839) , most of the novel "A Hero of Our Time" (1840) and a number of outstanding lyrical masterpieces that brought the poet universal fame ("Death of a Poet", 1837; "Duma", "Poet", 1838; "Three Palms", "Prayer", 1839 and etc.). During these years, M. Yu. Lermontov is close to completing his final grandiose work - philosophical poem"The Demon", which will be completed in 1839.
In these works M.Yu. Lermontov focused on analyzing the relationship between light and darkness, noble strength and weakness, ideally high and base and vulgar in a person. These signs of the poet’s poetic thinking were most clearly manifested in the drama “Masquerade” (1835). Everything in secular circles is a “masquerade”, sometimes even human honor itself. The main question of the drama is how to live? In conscience, justifying one’s birth through good deeds and labor, or through sophistication, “overtaking” others, considering that human life is a “game”, a ring where only the “strong” and “cunning” win, neglecting the laws of honor?
M.Yu. Lermontov raised one of the most pressing social and philosophical topics in human life. The twists and turns of the play convince the reader that life is not a game. When a person in his life diverges from the laws of the Universe, his life turns into a tragedy. This is the deep essence of "Masquerade" and main reason Arbenin's life collapse. He had a way out of the crisis situation (to trust his wife), but he rejected it, because he believed that everything in life is a “game.” There is no trust in the game, there is no place for “feelings”. In the foreground in the game ("card" and in reality) is the dictate of "intelligence", "experience", "strength". And in order to “win here, you have to give up everything: family, friends, honor.” This is the philosophy of the devil's tempters who reject God's justice. Having trusted such a philosophy, Arbenin dies.
To the death of A.S. Pushkina M.Yu. Lermontov responds with his poem “The Death of a Poet” (1837), explosive in tone and force, and deeply patriotic. The poet stigmatizes those who come to Russia “to catch happiness and ranks”, who despise “the foreign language and customs of the land”, who hate the honor of Russia and who “in a greedy crowd” crowd around the throne, so that at any cost, incl. slander and betrayal, to gain earthly well-being. M.Yu. Lermontov did not appeal to “revolution,” but to “God’s judgment” in order to defeat the “confidants of depravity.”
The pinnacle of literary realism M.Yu. Lermontov's novel "A Hero of Our Time" (1840). Pechorin is “persecuted” by his society and despises it, finding soullessness and vulgarity in it. A student of abstract philosophy on the Western model, Pechorin is deprived of a sense of homeland, a sense of Russia. Having broken away from domestic traditions, the hero does not know what to do with himself. Real life, which he understood in something deeper than the people around him, moral values of the Russian people - all this did not affect the hero, did not become part of the flesh and blood of his actions and feelings. Upon returning from Persia - a significant detail: a sign of a foreign land! - Pechorin is dying.
In the works of the last period of life and work of M.Yu. Lermontov ("Prophet", 1839; "Cossack Lullaby", 1840; "Demon", 1840; Motherland", 1841 "I go out alone on the road", 1841;) M.Yu. Lermontov comes to the conclusion about fundamentality in everyone's life a person of such concepts as: God, Fatherland, home.
Huge role N.V.Gogol(1809–1852) in Russian literature. “Dead Souls” (volume 1 was published in 1842) is one of the brightest realistic images of Russian life of that time.
In the first half of the 19th century. Russian literature is increasingly acquiring the character of teaching and compassion. The sociality of Russian literature, its involvement in public life is a generally recognized feature and characteristic feature. One of the writers' discoveries " natural school“there was a “little man” with his difficult everyday fate.
New world Russian merchants were discovered for the Russian reader by A.N. Ostrovsky. The serf peasant becomes the hero of literary works (stories by D.V. Grigorovich, essays from peasant life V.I. Dahl, cycle of stories “Notes of a Hunter” by I.S. Turgenev).
Fiction in the spiritual life of society acquires a predominant influence.
Theater. An increasingly prominent role in the social and cultural life of society in the first half of the 19th century. theater played.
At the beginning of the 19th century. A network of Russian Imperial theaters developed, which were managed by the “Ministry of the Court of His Imperial Majesty.” In Russia, until 1882, the so-called state theatrical monopoly operated, since theater was considered an ideological art that required close supervision. Subordinate to the court there were two theaters in St. Petersburg - Alexandrinsky Mikhailovsky - and two in Moscow - Bolshoi and Maly. The repertoire of these theaters almost coincided, which is explained by the not very rich selection of plays and a single management.
In the cultural life of St. Petersburg in the first half of the 19th century. the palm goes to the Alexandrinsky Theater (now the Russian State Academic Drama Theater named after A.S. Pushkin). By this time, the main theater of St. Petersburg, the Bolshoi Kamenny (1783), was gradually falling into disrepair due to poor acoustics. From 1828 to 1832, the architect K. Russia built the building of a new theater, which initially received the name "Maly". The grand opening of the theater took place in 1831 with the patriotic tragedy of M.V. Kryukovsky "Prince Pozharsky". In honor of the wife of Emperor Nicholas I, Alexandra Feodorovna, the theater was named "Alexandrinsky".
In Moscow, in October 1824, the Imperial Theater opened on Petrovskaya (now Teatralnaya) Square. In January 1825, on the same square, after the fire of 1812, another theater was reconstructed, which, due to its size, began to be called the Bolshoi (before that it was called Petrovsky), and the first theater began to be called the Maly. At first, the theaters had a common troupe and presented opera, ballet and dramatic performances. But gradually the Maly began to specialize in dramatic productions, and the Bolshoi - in opera and ballet.
For a long time, the canons of classicism with its external imposingness, pomp and rhetoric, and the predominance of ancient mythological subjects in the repertoire dominated the stage. But already in the 20–30s. XIX century classicism was pushed aside by the romantic school, which was characterized by heroic and tragic themes, and in the performing manner of the actors, much attention was paid to the inner experiences of the characters.
One of the representatives of romanticism on the Russian stage was a wonderful Russian actor P.S.Mochalov(1800–1848). Since 1824, his acting career was connected with the Maly Theater. In his acting, he sought first of all to reveal the hero’s conflict with reality. He was endowed with a “fiery” temperament, his playing was distinguished by violent emotionality, a richness of shades, and rapid transitions from calm to excitement. He became famous for his roles as Hamlet ("Hamlet" by W. Shakespeare), Karl Moor, Ferdinand ("The Robbers", "Cunning and Love" by F. Schiller), Chatsky ("Woe from Wit" by A.S. Griboyedov).
Dramaturgy A.S. Griboyedova, N.V. Gogol, especially A.N. Ostrovsky contributed to the establishment of realistic drama in the theater repertoire.
A reformer of acting art, the founder of realism on the Russian stage was great actor M.S.Shchepkin (1788–1863). Until 1822, he was a serf and played in the serf theater. Since 1824 - actor of the Maly Theater. On stage he asserted the educational significance of theater and developed the principles of the art of transformation. In many ways he determined the ideological and artistic positions of the Maly Theater. His best roles are in satirical works: Famusov ("Woe from Wit" by A.S. Griboedov), Gorodnichy ("The Inspector General" by N.V. Gogol), as well as the "humiliated and insulted" - Muromsky ("Krechinsky's Wedding" by A. S. Sukhovo-Kobylina), Kuzovkin ("The Freeloader" by A.S. Turgenev).
A whole galaxy of wonderful Russian actors appears on the stage of the Russian theater - E.S. Semenova, V.A. Karatygin, P.S. Mochalov, M.S. Shchepkin, A.E. Martynov. During this period, the formation of directing and the art of performance design begins.
Music. The Patriotic War of 1812 had a huge impact on the development of Russian music. Composers began to turn more often to heroic-patriotic, national subjects (K. A. Kavos’s opera “Ivan Susanin”, 1815).
A prominent representative of romanticism in Russian music was A.N. Verstovsky(1799-1862), Russian composer and theater figure - author of operas, romances, ballads. A.N. Verstovsky was one of the founders of Russian opera-vaudeville. His opera-vaudeville "Grandma's Parrots" (translation from French by P.I. Khmelnitsky) was staged in 1819 in St. Petersburg; it was followed by vaudeville operas: “Quarantine” (1820), “A New Prank, or Theatrical Battle” (1882, in collaboration with Maurer and Alyabyev); "Madhouse, or Strange Wedding" (1822). Verstovsky was given real fame by the opera Askold's Grave (libretto by Zagoskin), staged in Moscow in 1835 with the famous Petrov in the role of the Unknown. Until the end of the 1860s, it was given in the imperial theaters - about 200 times in St. Petersburg, and more than 400 times in Moscow. A.N. Verstovsky is the author of several dozen romances, including “The Black Shawl” (lyrics by A.S. Pushkin), and the gypsy romance “Old Husband, Terrible Husband” (lyrics by A.S. Pushkin) was performed more than once by Polina Viardot.
Interest in chamber and public concerts has increased in society. The attention of many composers, writers, and artists was attracted musical evenings at A.A. Delvig, V.F. Odoevsky. The literary and musical salon of Princess Zinaida Volkonskaya on Tverskaya (Gorky St., 14), which was, according to Vyazemsky, “an elegant gathering place for all the wonderful and selected personalities of modern society,” gained great popularity in Moscow. A huge success took advantage of the summer concert seasons in Pavlovsk, where the “Small Court” of the heir to the throne, Pavel Petrovich, was located. Being in strained relations with his mother and not forgiving her for the death of his father, Pavel Petrovich lived in a residence remote from St. Petersburg - Pavlovsk. This residence was presented to Pavel Petrovich in honor of the birth of his heir Alexander ( future emperor Alexander I). Pavel Petrovich and his wife Grand Duchess Maria Feodorovna were deprived of the right to raise their own children; Catherine II herself was involved in their upbringing. Therefore, Maria Fedorovna found relaxation in art. After the construction of the railway from St. Petersburg to Tsarskoe Selo in 1837, regular concerts were organized in Pavlovsk. The Austrian composer and conductor, the famous “waltz king” J. Strauss, performed at these concerts many times.
The founder of the Russian national classical composer school became M. I. Glinka(1804–1857). His music brought the Russian school to the world level in terms of artistic excellence and professional skill. He solved the problem in a new way national in music. He felt the national Russian character very well and expressed the Russian heroic spirit in music, and also created examples of Russian national lyrics. In 1836, his heroic-patriotic historical opera “Ivan Susanin” was staged on the stage of the St. Petersburg Bolshoi Theater. M.I. Glinka emphasized folk origin opera, glorified the patriotic peasant, the greatness of character, courage and unbending fortitude of the Russian people. The opera was greeted rather dryly by the high society public; the “coachman’s music” did not arouse their sympathy. But many progressive people in Russia enthusiastically welcomed the performance. Fans of the opera included A.S. Pushkin, N.V. Gogol, V.G. Belinsky, A.S. Khomyakov. In 1842, the premiere of the opera “Ruslan and Lyudmila” took place in the same theater. In this work, colorful pictures of Slavic life are intertwined with fairy-tale fantasy, pronounced Russian national features with oriental motifs. Rethinking the content of the humorous, ironic youth poem by A.S. Pushkin, taken as the basis for the libretto, Glinka highlighted the majestic images of Ancient Rus', the heroic spirit and multifaceted, emotionally rich lyrics. For the creativity of M.I. Glinka was characterized by integrity, a clear view of the world, harmony, balance of forms, a bright perception of the world, a harmonious balance between good and evil. M.I. Glinka penetrated deeply into the essence of Russian folk song, studied a lot, but cited little. The language of Russian folk song became his own. In 1848 he created his most significant symphonic work - “Kamarinskaya”, in which, according to P.I. Tchaikovsky, “like an oak in an acorn” - the entire Russian symphonic school. M.I. Glinka is considered the founder of Russian classical music, the founder of two new directions of Russian opera (folk musical drama and fairy tale opera), he laid the foundations of Russian symphonism, his romances are classic examples of this genre.
Along with M.I. Glinka, the founder of Russian classical music was A.S. Dargomyzhsky (1813-1869). His main work - the opera "Rusalka" (1855, based on the dramatic poem by A.S. Pushkin) marked the birth of a new genre of Russian opera - folk everyday psychological drama. A.S. Dargomyzhsky was an innovator in music, introducing into it new techniques and means of musical expression (melodic recitative in the opera “The Stone Guest”). A.S. Dargomyzhsky had a significant influence on the composers of the “Mighty Handful” (M.A. Balakirev, P.I. Tchaikovsky, etc.).

Ballet. At the beginning of the 19th century. Russian ballet art has reached creative maturity. Russian ballet, having adopted the achievements of Western European ballet, constantly developing the traditions of Russian folk choreography, increasingly established itself as a phenomenon national culture. Domestic composers appeared - A. N. Titov, S. I. Davydov and Russified foreign composers - K. A. Kavos, F. E. Scholz. The first Russian choreographer I. I. Valberkh (1766–1819) appeared. He combined the traditions of Russian in ballet folk dance with dramatic pantomime and virtuoso ballet dance technique. In 1799, he staged the first ballet on a national theme - the melodrama “New Werther” by composer A. N. Titov.

During the Patriotic War of 1812, patriotic divertissements with music by S. I. Davydov and K. A. Kavos were especially widespread: in St. Petersburg they were staged by I. I. Valberkh, in Moscow by I. M. Ablets, I. K. Lobanov, A. P. Glushkovsky. Particularly popular during the Patriotic War was Walberch’s ballet “Love for the Fatherland” to the music of K. A. Kavos, which was based on Russian folk dance.

Of particular importance for the development of Russian ballet was the arrival to Russia and work as a director (1800-1809, 1816-1829) of the largest representative of French choreographic art of the late 18th - early 19th centuries. Sh. L. Didlo(1767-1837). His activities in Russia contributed to the establishment of Russian ballet as a phenomenon of national culture, as well as the promotion of Russian ballet theater to one of the first places in Europe. In collaboration with A.K. Cavos, he put forward the principle of programming, based on the unity of the musical and choreographic dramaturgy of a ballet performance. Didelot staged ballets based on mythological subjects (Zephyr and Flora, 1808; Cupid and Psyche, 1809; Acis and Galatea, 1816), as well as on historical, comedic, and everyday themes: The Young Milkwoman (1817), “The Hungarian Hut, or Famous Exiles” by F. Venua (1817), “Raoul de Crequy, or the Return from the Crusades” by Kavos and T. V. Zhuchkovsky (1819). Didelot became the founder of the genre of anacreontic ballet, named after the ancient poet Anacreon, the creator of the genre of love lyrics. He staged more than 40 ballets on the Russian stage, under his leadership the Russian ballet school began to form. He made the transition from mythological themes to modern ones. In 1823, Didelot staged a ballet based on the poem by A. S. Pushkin " Caucasian Prisoner, or Shadow of the Bride.

After the expulsion of the French from Moscow ballet school and the troupe was headed by a follower of S. Didelot and I. I. Walberha, choreographer A. P. Glushkovsky(1793–1870). His activities constituted an entire era in the history of Russian ballet. In 1812 alone, he staged 18 ballets and divertissements (melodramas, anacreontic ballets), including “Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard” by Scholz based on the poem by A.S. Pushkin. He became the first theorist and historian of Russian ballet. He trained a whole galaxy of masters, including the brilliant D.S. Lopukhina, I.K. Lobanova and others. The arrival of a French ballerina in Moscow as a choreographer and teacher was of great importance for the development of Russian ballet. F. Güllen-Sor. She staged a number of ballets and contributed to the formation of the personalities of outstanding ballerinas E.A. Sankovskaya and T.S. Karpakova.

By the mid-1830s. in Russia, as in others European countries, the repertoire has been established romantic ballet Main expressive means in a ballet performance dance and dance became effective pantomime . The tours of famous ballerinas to Russia: the Italian M. Taglioni (1834-1842) and the Austrian F. Elsler (1848-1851) were of great importance for getting acquainted with the achievements of Western ballet. E. I. Kolosova, M. I. Danilova, A. I. Istomina, E. A. Teleshova, A. S. Novitskaya, Auguste (A. Poirot), N. O. Golts, E. A. shone on the ballet stage Sankovskaya, E. I. Andreyanova, I. N. Nikitin. Russian dancers brought expressiveness and spirituality to the dance. Feeling this very accurately, A.S. Pushkin called the dance of his contemporary Avdotya Istomina “soul-filled flight.”

In the middle of the 19th century. began to establish itself in Russian literature and art realism. Romanticism continued to dominate in ballet, since ballet enjoyed the patronage of the authorities and remained a court art. The romantic direction in the ballet was preserved, at the same time choreographers tried to create realistic performances. The performances were not successful because the choreographers did not take into account that ballet is a conventional art that does not fit well with realism. The content of the performances became primitive, the plots simple. For the dancers, the main thing was the refinement of dance form and technique, in which they often achieved virtuosity.

In the 60-70s. XIX century A crisis began in the art of ballet. At the same time, the means of dance expression were intensively accumulated, especially in classical dance.
Architecture. The dominant artistic style of the beginning of the century in architecture is mature, or high, classicism, in scientific literature, especially the beginning of the 20th century, often referred to as Russian Empire style . Russian architecture of this period solves large urban planning problems: in St. Petersburg and Moscow the city center was architecturally designed; Moscow, after the fire of 1812, when 70% of the buildings burned out, was essentially rebuilt. Antiquity in its Greek version becomes the ideal. The Doric (more strict) order is widely used, sculpture plays a large role in the appearance of the building, and the color of the buildings is of great importance (usually columns and statues are white, the background is yellow or gray). A lot of public buildings are being built: educational institutions, theaters, departments, etc.
One of the architects who worked in the Empire style was A. D. Zakharov(1761–1811). In the middle of the 18th century. St. Petersburg was a city of isolated architectural ensembles, surrounded by green estates and was in many ways similar to Moscow. Work to streamline the city's architecture began with the architectural design of the center of St. Petersburg - the construction of the Admiralty building designed by architect A.D. Zakharova.
HELL. Zakharov graduated from the Academy of Arts with a gold medal, and in 1782 he went on a retirement trip to France. In 1805, he was appointed chief architect of the Admiralty, and the following year he began rebuilding the Korobovsky (1727-1738) Admiralty building (1806-1823). Having rebuilt the old building, he turned it into the main ensemble of St. Petersburg. Essentially A.D. Zakharov built a new building, consisting of two U-shaped buildings, and one building seemed to be nested inside the other. The internal volume consists of ship and drawing workshops, warehouses; external - departments, administrative institutions, museum, library, etc. The main facade of the Admiralty is one of the longest buildings in world architecture - 406 m, in the center of which there is a triumphal passage arch with a spire. HELL. Zakharov preserved Korobov’s brilliant design for the spire, showing tact and respect for tradition and managing to transform it into a new classicist image of the building as a whole. The decorative plastic of the building is in unity with the architecture: the Admiralty is the naval department of Russia, a powerful maritime power. The entire system of sculptural decoration was developed by Zakharov himself and brilliantly implemented by the best sculptors of the beginning of the century. The monumental volume of the Admiralty, together with the famous spire, has become one of the main urban planning accents of the center of St. Petersburg, which visually closes three radial avenues - Voznesensky, Nevsky and Gorokhovaya Street. Admiralty A.D. Zakharova is perhaps the only monument of Russian architecture included in all anthologies of Western European art of the early 19th century.
The construction at the beginning of the 19th century was of fundamental importance. the Exchange building on the Spit of Vasilievsky Island, which was brilliantly implemented by a Swiss by birth Thomas de Thomon(ca. 1760–1813). He came to Russia at the end of the 18th century, having already worked in Italy and Austria. At this time, the government decided to architecturally design the Spit of Vasilyevsky Island. Petersburg at that time was largest port, a shopping center, but there were no decent buildings for carrying out trade transactions, or warehouses for goods. Vasilyevsky Island has long been a kind of trading center. A competition was announced to design the Strelka, and Thomas de Thomon won it. The exchange (1805-1810) looks like a Greek temple - peripetra, i.e., a building surrounded on all sides by columns, on a high base. There is almost no decor. The simplicity and clarity of forms and proportions give the building a majestic, monumental character and allow it to withstand the vast expanse of water. The bank of the Strelka was extended 100 meters into the Neva, lined with granite slabs, and convenient descents to the water were arranged. Thus, a square appeared in front of the Exchange building. The theme of dominance over water was developed in monumental sculpture. Rostral columns were installed on both sides of Exchange Square. The columns are decorated with rostras - the bows of ships, according to the ancient Roman tradition, and sculptural allegories of the great Russian rivers Volga, Neva, Dnieper at the foot, created by S.S. Pimenov. I.I. Terebnev and V.I. Demut-Malinovsky.
The third great architect who worked in the Empire style was A.N. Voronikhin(1759–1814). He was born in the Urals in the family of the serf Count A.S. Stroganov, president of the Academy of Arts, one of the richest people of his time. The boy's abilities were noticed early, and in 1777 the count sent him to Moscow. He studies with Kazakov and Bazhenov, and makes a retirement trip to Rome and Paris. His main creation is the Kazan Cathedral (1801-1811). The design was based on St. Peter's Cathedral in Rome with Michelangelo's dome and Bernini's colonnade (1617). But Voronikhin creatively developed Roman Renaissance-Baroque ideas, creating a monumental ensemble with a semicircular colonnade topped with a dome, open to the avenue. Classical rigor general plan combined with the triumphal pomp of decorative decoration. Innovative is the solution of the dome with an outer shell, for the first time on such a scale, made on a purely metal base. In 1813, M.I. was buried in the cathedral. Kutuzov, and the building became a kind of monument to the victories of Russian weapons. Banners and other relics captured from Napoleonic troops were kept here. Later, monuments to M.I. were erected in front of the cathedral. Kutuzov and M.B. Barclay de Tolly, executed by the sculptor B.I. Orlovsky. The square in front of the Kazan Cathedral, surrounded by a colonnade on both sides, became one of the centers of public life in the city. In the second half of the 20th century. rallies and demonstrations were held here.
The leading St. Petersburg architect of the "Russian Empire" was K. I. Rossi(1777–1849). Rossi received his initial architectural education in Brenna's studio, then traveled to Italy, where he studied ancient monuments. K.I. Rossi is the author of plans for the reconstruction of 13 squares in the center of St. Petersburg and 12 streets.
In 1819-1825 under his leadership, the Mikhailovsky Palace was being built. The palace was named after its owner - the fourth son of Paul I - Mikhail Pavlovich. During his lifetime, Paul I began to annually set aside a certain amount from his personal funds for the construction of a palace for his last son Mikhail. After the death of Paul I, Emperor Alexander I decided to build a palace for the wedding day of his brother Mikhail Pavlovich and Grand Duchess Elena Pavlovna. The emperor entrusted the construction of the palace to K.I. Russia. Rossi built the main building of the palace, named Mikhailovsky after its owner, in the depths of a spacious courtyard. The famous architect personally supervised the work of the specialists who were entrusted with the external and internal decoration of the building. Under his leadership, the best sculptors of that time - S.S. Pimenov and V.I. Demut-Malinovsky - decorated the main facade of the palace with a portico with eight Corinthian columns, raised above the ground to the height of the second floor, made figured bas-reliefs on the outer walls and installed two stone lions at the central entrance, as if guarding the building. Bas-reliefs and picturesque panels created by the artists A. Viga, D. Scotti and B. Medici also decorated the interior of the palace, among which the White Column Hall was especially luxuriously and originally decorated. It was divided into three parts by rows of Corinthian columns, and its walls were decorated with bas-reliefs and picturesque panels on which A. Vigi depicted scenes from the ancient poems “Iliad” and “Odyssey”. Rossi also did not forget about the furnishings of the future building - the furniture and crystal chandeliers of the Mikhailovsky Palace were made according to his sketches.
At the same time (1819–1829), Rossi was engaged in the design of Palace Square. On the square designed by K.I. Rossi erected the General Staff building in the classicist style. The architect was faced with the most difficult task - to combine the Baroque palace of V.V. Rastrelli and the monotonous classicist facade of the General Staff building into a single whole. The architect broke the dullness of the latter with the Arc de Triomphe, and gave the correct shape to the square - one of the largest among the squares of European capitals. The triumphal arch, crowned by the chariot of Glory, gives the entire ensemble a highly solemn character. On the square, according to the design of O. Montferrand, a 47-meter column of granite monolith was erected - a monument to Alexander I and at the same time - a monument in honor of the victories of Russian weapons in the Patriotic War of 1812. The figure of an angel holding a cross, as a sign of sadness for the untimely death of Emperor Alexander, was performed by B.I. Orlovsky.
One of the wonderful ensembles of K.I. Rossi had the Alexandrinsky Theater, built with the latest technology of the time, and the adjacent Alexandrinsky Square. The theater was named in honor of the wife of Emperor Nicholas I, Alexandra Feodorovna.
The latest creation by K.I. Rossi in St. Petersburg - the building of the Senate and Synod (1829-1834) on the famous Senate Square. Already in this creation of the great architect, new features are visible that are characteristic of the late work of the architect and the last Empire period in general: some fragmentation of architectural forms, overload with sculptural elements, rigidity, coldness and pomp.
The "most strict" of all the architects of late classicism was V.P. Stasov(1769―1848). Coming from a poor noble family, he studied at the gymnasium at Moscow University. Participated in the decoration of holidays during the coronation of Emperor Alexander I.. V.P. Stasov was noticed by the emperor and sent on a retirement trip to France, Italy, and England. One of the main works of V.P. Stasova - Pavlovsk barracks on the Field of Mars in St. Petersburg (1817―1821). The Pavlovsk regiment was created by decree of Paul I in 1796, took an active part in the Patriotic War of 1812, and in 1813 was awarded the name “Pavlovsky Life Guards”. The construction of barracks for the Pavlovsk regiment created a gigantic city square, which served for military reviews, parades, and exercises. The facade is huge in area - 144 m - decorated with three porticoes made of Doric smooth columns, placed on a high ground floor. The middle portico is topped with a stepped attic, richly decorated with sculpture. A sculptural panel of military attributes emphasizes the purpose of the building. The military-style interiors of the Pavlovsk barracks are devoid of artistic decoration.
No less remarkable architects worked in Moscow at that time. During the War of 1812, more than 70% of the city's housing stock was destroyed - thousands of houses and more than a hundred churches. Immediately after the expulsion of the French, intensive restoration and construction of new buildings began.
Big role in the restoration of Moscow after the fire of 1812 belongs O.I. Beauvais(1784-1834). The son of a native of Italy, Bove studied at an architectural school in Moscow. Worked as an assistant to M.F. Kazakova and K.I. Russia. Since 1814, he headed the commission for buildings in Moscow “for the facade part”. O.I. Bove created numerous standard designs for residential buildings, on the basis of which the appearance of a regular residential building was formed and the type of Moscow mansion of the first third of the 19th century emerged. with its inherent simplicity, a combination of pomp and intimacy, comfort. These included the mansion of S. Gagarin on Novinsky Boulevard (lost in 1941). Bove also designed a number of architectural ensembles that transformed the urban center of Moscow into an integral architectural and spatial zone. He rebuilt the Trading Rows on Red Square. O.I. Beauvais creates the Theater Square ensemble (1816-1825), building the Bolshoi and Maly theaters. Teatralnaya Square became the first regular square in Moscow. In 1828-1833 on the basis of the Golitsyn hospital M.F. Kazakova O.I. Bove creates the building of the First City Hospital, which became the first public hospital in Moscow, created with funds from the city assembly “for the use of people of all conditions.” In an atmosphere of great patriotic enthusiasm O.I. Beauvais creates the Triumphal Gate at the entrance to Moscow from St. Petersburg (1827-1834, now on Kutuzov Avenue).
At this time they also worked in Moscow DI. Gilardi(1788–1845) and A.G. Grigoriev(1782-1868). Gilardi rebuilt the Cossack Moscow University (1817–1819), which burned down during the war. As a result of the reconstruction, the dome and portico became more monumental, turning from Ionic to Doric. A lot of Gilardi and Grigoriev worked in estate architecture (the Usachev estate on the Yauza, 1829-1831, the Golitsyn estate "Kuzminki", 20s; the Lunin house at the Nikitsky Gate, built by D. Gilardi, 1818-1823; the Khrushchev house, 1815-1817 , now the A. S. Pushkin Museum, built by A. Grigoriev).
By the 40s of the XIX century. classicism has lost its harmony, become heavier, more complicated, we see this in the example of St. Isaac's Cathedral in St. Petersburg, which was being built O. Montferrand forty years (1818-1858). St. Isaac's Cathedral is the largest building of late Russian classicism, the cathedral church of the Orthodox Church. Its dimensions are enormous, its height is 101.5 m, second only to St. Peter's Cathedral in Rome and equal in size to St. Paul's Cathedral in London. It can accommodate 13 thousand people at the same time. The cathedral was supposed to personify the power and inviolability of the autocracy, its close alliance with Orthodox Church. The huge dome of the cathedral was assembled from metal structures, and the outside was covered with gilded copper sheets.
To the great architects of the mid-19th century. belongs K. A. Ton(1794 ―1881). In his work, he tried to revive the traditions of ancient Russian architecture. He built five-domed churches with narrow arched (rounded) windows, and used decor of Russian and Byzantine origin. All this was subject to the strict proportions and symmetry of classicism.
Works by K.A. Emperor Nicholas I liked the tones. The architect received large orders for Moscow. In 1839 - 1849 under his leadership and with the participation of architects F. F. Richter, N. I. Chichagov, P. A. Gerasimov, V. A. Bakarev and others, the Grand Kremlin Palace was built on the high Borovitsky Hill. Its facade faces the Moscow River and stretches from west to east for 125 meters. The palace was the temporary residence of the imperial family during its stay in Moscow. A palace of the 18th century, built by the architect V. Rastrelli, previously stood on this site.
From the outside façade, the palace looks three-story, but actually consists of two floors. The ground floor projects forward and forms an open terrace above. The two-tier facade of the second floor is divided by pilasters and completely decorated with carved white stone window frames in the style of Russian architecture of the 17th century. The palace had the personal chambers of the emperor and his family of seven rooms, each of which - the Dining Room, the Living Room, the Empress's Study, the Boudoir, the Bedroom, the Emperor's Study, the Reception Room - was designed in its own style and represented an artistic whole. Space on Own half It is divided by pillars into two parts: into a kind of corridor, creating an enfilade, and into the main part of the rooms with furniture and other elements of decoration. The arrangement of the rooms in an enfilade creates a change of impressions and highlights the originality of each room. The palace is known for its state halls, named after the Russian pre-revolutionary orders (Andreevsky, Alexander, Georgievsky, Vladimir, Catherine). Of these, the most solemn - St. George's Hall - is decorated with statues (works by I. P. Vitali), personifying the regions that became part of Russia, bas-reliefs depicting St. George the Victorious slaying the dragon (sculptor P. K. Klodt), marble plaques with the names of St. George's Knights and the names of military units that distinguished themselves in battles. Until 1917, the Grand Kremlin Palace was the Moscow residence of Russian emperors and served for ceremonial receptions. After the October Revolution and the transfer of the capital of the Soviet state to Moscow (March 1918), meetings of the highest Soviet and party bodies and congresses of the Comintern were held in the former St. Andrew's Hall of the Grand Kremlin Palace. V. I. Lenin, outstanding figures of the Communist Party and the Soviet state, the international communist and labor movement spoke here many times. In 1933-34 From the Andreevsky and neighboring Alexander Halls, according to the design of the architect I. A. Ivanov-Shits, the largest meeting hall in the palace was created, designed for 2,500 seats. The center of the architectural composition of the hall was the monumental statue of V. I. Lenin (sculptor S. D. Merkurov). On December 5, 1936, at the Extraordinary 8th Congress of Soviets of the USSR, the Constitution of the USSR was adopted here. Sessions of the Supreme Soviet of the USSR and the Supreme Soviet of the RSFSR, all-Union meetings of industrial and agricultural workers, congresses of creative unions took place in the Conference Hall; diplomatic and government receptions. In 1993–1995 The Grand Kremlin Palace underwent a major overhaul and the St. Andrew's and Alexander Halls were restored. Currently, the Grand Kremlin Palace is the ceremonial residence of the President of Russia.
In 1839 K.A. Thon began construction on the banks of the Moscow River of the Cathedral of Christ the Savior. It was decided to build the temple on the site of the former Alekseevsky convent. Due to this for a long time There was a legend according to which one of the nuns, outraged by the transfer of the monastery, angrily cursed the site of the temple’s construction and predicted that not a single building would stand on this site for more than 50 years. Be that as it may, the construction site could not have been chosen more successfully: the temple was visible from anywhere in Moscow, and the proximity to the Kremlin emphasized the deep connection of the new Cathedral of Christ the Savior with Russian history and culture. The construction and interior decoration of the Cathedral of Christ the Savior took almost 40 years: it was erected from 1839 to 1883. On May 26, 1883, the temple was solemnly consecrated in the presence of Alexander III and the imperial family. In plan, the cathedral was an equal-ended cross. The outer part was decorated with a double row of marble high reliefs by sculptors P. K. Klodt, L. V. Loganovsky and N. A. Ramazanov. All entrance doors- twelve in total - were made of bronze, and the images of saints decorating them were cast according to the sketches of the famous sculptor Count F. P. Tolstoy. Contemporaries were amazed by the size of the temple: it could accommodate up to 10,000 people. The rich interior decoration of the Cathedral of Christ the Savior consisted of paintings and decorations made of stones - Labradorite, Shoshkin porphyry and Italian marble. Famous Russian painters - V.V. Vereshchagin, V.I. Surikov, I.N. Kramskoy - worked on the decoration of the temple. A gallery surrounded the perimeter of the building, which became the first museum of the War of 1812. Marble boards were mounted on the walls of the gallery, on which chronological order all the battles of the Russian army were listed, the names of military leaders, distinguished officers and soldiers were named. In 1849–1851 under the leadership of K.A. Ton, a new building of the Armory Chamber was built on the territory of the Kremlin.
The patronage of Nicholas I played a fatal role for K.A. Tone and his legacy. His creations began to be seen as a symbol of Nicholas's time. This is precisely what explains the sharp attacks of A.I. Herzen. After the revolution of 1917, many of K.A.’s creations. The tones were destroyed. In 1931, the Cathedral of Christ the Savior was destroyed. Only two main stations in the country were not blown up - Leningradsky in Moscow and Moskovsky in St. Petersburg - also the creations of K.A. Tones due to their enormous practical significance.
Sculpture. In line with classicism in the first half of the 19th century. Sculpture also developed. I. P. Martos(1752–1835) in 1804–1818. working on a monument to Minin and Pozharsky, funds for which were collected through public subscription. Ideas of the highest civic duty and feat in the name of the Motherland I.P. Martos embodied it in simple and clear images, in a laconic artistic form. Minin’s hand is stretched out to the Kremlin, the greatest national shrine. Following the traditions of classicism, the sculptor dressed his heroes in antique clothes.
Significant sculptural works of this period were the statues of Barclay de Tolly and Kutuzov (1829-1836, erected in 1837) at the Kazan Cathedral by B.I. Orlovsky (1793–1837). Although both statues were executed two decades after the construction of the cathedral, they brilliantly fit into the passages of the colonnade, which gave them a beautiful architectural frame.
During this period the sculptor works fruitfully I.P. Vitali(1794–1855). His most famous works are the sculpture for the Triumphal Gate in memory of the Patriotic War of 1812 at the Tverskaya Zastava in Moscow (architect O.I. Bove, now on Kutuzov Avenue); bust of Pushkin, made shortly after the death of the poet (marble, 1837); colossal figures of angels at the lamps on the corners of St. Isaac's Cathedral, a fountain on Teatralnaya Square in Moscow 91835), a wonderful monument to Paul I in Gatchina (1851) and Pavlovsk (1872).
Achieved great success in monumental sculpture PC. Klodt(1805–1867). He was born into the family of a military general and spent a lot of time in military garrisons. Since childhood, he discovered a passion for modeling and horses. After graduating from the Artillery School in St. Petersburg, P.K. Klodt served as an officer. After retiring, he devoted himself entirely to art. He became the author of the horses for the Narva Triumphal Gate in St. Petersburg (architect V. Stasov). In 1833-1850 “Horse Tamers” were installed on the abutments of the Anichkov Bridge. The sculpture reveals in allegorical form the theme of man’s struggle with the elemental forces of nature and victory over them. Another famous work by P.K. Klodt - a monument to Nicholas I on St. Isaac's Square (1850-1859 in St. Petersburg. The sculptor faced a difficult task, in any case, his rival was the "Bronze Horseman" by E.M. Falcone. But P.K. Klodt brilliantly solved this problem. The Emperor is depicted riding a horse, the horse is dancing, and the emperor is motionless - a clear contrast with Falconet's monument to Peter I. The peculiarity of this sculpture is that it has only two points of support. P. K. Klodt also erected a monument to I. A. Krylov in the Summer Garden (1848-1855) in St. Petersburg.