Abstract: European architecture of the 15th - early 19th centuries. Architecture of Europe in the 17th - early 19th centuries Previous architectural trends and styles
Details Category: Fine Arts and Architecture of the 19th century Posted on 08/23/2017 18:57 Views: 2957During the reign of Emperor Napoleon I and during the first three decades of the XIX century. in the architecture of France and other European countries, the Empire style was developed.
Then the empire was replaced by eclectic trends in architecture, they dominated Europe and Russia until the end of the 19th century.
Empire style in 19th century architecture
Empire - the final stage of the era of classicism. Moreover, this style was the official imperial style (from the French empire - “empire”), planted for special solemnity and splendor of memorial architecture and palace interiors.
Napoleon had his own court architects (Charles Percier, Pierre Fontaine), who were the creators of this style.
Charles Percier (1764-1838)
Robert Lefebvre. Portrait of Charles Percier (1807)
Charles Percier was a French architect, painter and decorator, teacher. Among his students is Auguste Montferrand, the creator of St. Isaac's Cathedral in St. Petersburg.
Having become the court architect of the emperor and one of the trendsetters during the period of the empire of Napoleon I, he, together with Fontaine, created a number of solemn monumental structures, for example, the arch on Carruzel Square in Paris (1806-1808), which resembled the ancient arch of Constantine in Rome.
Arch in Place Carruzel. Architects Ch. Persier and F.L. Fontaine
The Arc de Triomphe on Carruzel Square in Paris is an Empire-style monument erected on Carruzel Square in front of the Tuileries Palace by order of Napoleon to commemorate his victories in 1806-1808. From the arch to the northwest, a 9-kilometer historical axis was laid, which consists of the Place de la Concorde, the Champs Elysees with a large-scale Arc de Triomphe and the Great Arch of Defense.
The plots of the sculptural decoration for the arch were personally selected by Vivant-Denon, the founder and first director of the Louvre Museum, who accompanied Napoleon on the Egyptian campaign of 1798. Clodion's reliefs depict the Treaty of Pressburg, Napoleon's triumphal entry into Munich and Vienna, the battle of Austerlitz, the congress at Tilsit and the fall Ulma.
Architects Percier and Fontaine created one of the wings of the Louvre (Marchand Pavilion)
Percier took part in the restoration of the Compiègne Palace, the creation of the interiors of Malmaison, the Saint-Cloud Castle and the Fontainebleau Palace, he was engaged in the design of furniture, interior decoration, decoration of celebrations and festivities.
Malmaison - an estate 20 km from Paris, known as the private residence of Napoleon Bonaparte and Josephine Beauharnais
Empire style billiard room in Malmaison
Palace of Fontainebleau
One of the interiors of the castle of Fontainebleau
Pierre Francois Léonard Fontaine (1762-1853)
French architect, designer and decorator of furniture and interior decoration. Together with Charles Percier, he is one of the founders of the Empire style. One of the first began to use metal (cast iron) structures in construction.
From 1801, he was a government architect.
Known as the architect of the Louvre and the Tuileries, the Arc de Triomphe on Carruzel Square in Paris. Restored Versailles, a hospital in Pontois.
Together with Charles Percier he published in 1807 and 1810. descriptions of court ceremonies and festivities of the Napoleonic period.
The Tuileries palace of the French kings in the center of Paris was built in the 18th century, but during the days of the Paris Commune it was burned down and never rebuilt. With the coming to power of Bonaparte, he became his official residence, and then the construction of the northern wing was started. Percier and Fontaine refurbished the dilapidated interiors in the style of the First Empire (Empire). The apartments of the Empress Marie Louise were made in a fashionable neo-Greek style (the project was developed by P. P. Prudhon). A triumphal arch was erected at the main entrance to the palace (on Carruzel Square).
Gallery at the Tuileries
The palace was increasingly perceived as a symbol of the monarchical regime. Napoleon III also chose to stay in the Tuileries. Under him, the northern wing of the Louvre was completed along Rivoli Street. By the end of the 1860s, the Louvre and the Tuileries formed a single palace complex.
At the same time (in the era of Alexander I), the Empire style was the dominant style in Russia.
Eclecticism in Western European architecture of the 19th century
This trend in the architecture of Europe and Russia in the 1830s-1890s. was dominant. It was also popular around the world.
Eclecticism- the use of elements of various architectural styles (Neo-Renaissance, Neo-Baroque, Neo-Rococo, Neo-Gothic, Pseudo-Russian style, Neo-Byzantine style, Indo-Saracenic style, Neo-Moorish style). Eclecticism has all the features of European architecture of the XV-XVIII centuries, but it has fundamentally different properties.
The forms and styles of a building in eclecticism are tied to its function. For example, the Russian style of Konstantin Ton became the official style of temple building, but was almost never used in private buildings. Buildings of the same period in eclecticism are based on different stylistic schools, depending on the purpose of the buildings (temples, public buildings, factories, private houses) and on the means of the customer. This is the fundamental difference between eclecticism and the Empire style, which dictated a single style for buildings of any type.
An example of eclecticism in architecture is Church of Saint Augustine in Paris (Saint-Augustin). It was built for 11 years (1860-1871).
The architecture of the church shows features of Romanesque and Byzantine influence. The main facade of the church is decorated with three arched passages at the bottom with the symbols of the evangelists above them and a giant rose at the top. Between it and the arcade there is a gallery of sculptures of 12 apostles. The dome of the church was painted by the famous artist A.V. Bugro.
Church of Saint Mary (Brussels)
It is also called the Royal Church of St. Mary and the Cathedral of the Virgin Mary.
The church is designed in an eclectic style, combining influences from Byzantine and ancient Roman architecture. The project belongs to the architect Louis van Overstraten. The construction of the church lasted 40 years (1845-1885).
Built in the same style Bern Historical Museum (Switzerland). It was created in 1894 according to the project of the Neuchâtel sculptor Andre Lambert.
As we have already noted, the eclectic style used elements of various architectural styles. Here are examples of the use of some forms of eclecticism.
neo-baroque- one of the forms of architectural eclecticism of the 19th century, reproducing the architectural forms of the Baroque. This direction did not exist for long and was reflected in architecture less clearly, usually combined with neo-rococo and neo-renaissance elements. This is due to the fact that the baroque style in the art of Italy took shape at the end of the 16th-beginning of the 17th centuries, and in other countries (in Germany in the 18th century, for example), the baroque style borrowed elements of late gothic, mannerism and combined with elements of rococo. Therefore, in the XIX century. neo-baroque became eclectic.
Neo-baroque became most widespread after 1880 outside of Europe: in the USA, throughout Latin America and in the Far East, Japan, and China.
Opera Garnier in Paris (1862). Eclectic (Neo-Baroque form)
Neo-Byzantine style- one of the directions of eclecticism in architecture. The neo-Byzantine style was characterized by an orientation towards Byzantine art of the 6th-8th centuries. n. e. It was especially pronounced in church architecture. Sophia Cathedral in Constantinople served as a model for the construction of temples.
Domes of neo-Byzantine-style temples usually have a squat shape and are located on wide low drums girded with a window arcade. The central dome is larger than all the others. Often the drums of small domes protrude from the temple building only halfway.
The internal volume of the temple is traditionally not divided by pylons or cross vaults, forming a single church hall, creating a feeling of spaciousness and capable of accommodating several thousand people in some temples.
Church of Saint Peter in Gallicantu. Jerusalem (Israel)
Although these last two churches are located outside of Europe, we decided to show them so that you can see how massive the eclectic trend in architecture of the 19th century was.
Neo-Renaissance- one of the most common forms of architectural eclecticism of the 19th century, reproducing the architectural solutions of the Renaissance. Distinctive features: the desire for symmetry, the rational division of facades, the preference for rectangular plans with courtyards, the use of rustic architectural elements (cladding the outer walls of the building) and pilasters (a vertical protrusion of the wall, conventionally depicting a column).
In the Neo-Renaissance style, for example, the buildings of the Stettin and Silesian railway stations in Berlin, Amsterdam Central Station, etc. were built.
Central station in Amsterdam
The development of European architecture of the late XVI - early XIX century. Baroque and Classicism
With the previous architecture of the Renaissance, the new historical stage of architecture under consideration constitutes organically connected links in the complex development of the branched whole of European architecture of modern times. In the 17th and 18th centuries further creative development of this architecture takes on other forms in the first third of the 19th century. comes to its historical end. If the Renaissance spiritually liberated the personality and with the great cultural upheaval that came, the collective mind and the age-old craft experience of architecture of the Middle Ages receded before the power of individual creative genius, then the era following the Renaissance was in the architecture of European countries a time of genuine brilliance of creative individuals phenomenal in brightness. If the Renaissance returned to architecture the subtle and flexible tool of its art - the classical order - and thus opened the way from the still epic grandeur of the Gothic to the new beauty of the “heroic” image, then the subsequent era can least of all be reproached for damaging this tool. In the 17th and 18th centuries, not only did perfect mastery of the classical order become universal, but its very principle was creatively modernized so that in the face of other tasks, a different era, the order could become an effective weapon of architecture in a new way.
Italian architecture of the late 16th - early 19th centuries.
Chapter "Architecture of Italy at the end of the 16th - beginning of the 19th century." section "Europe" from the book "The General History of Architecture. Volume VII. Western Europe and Latin America. XVII - the first half of the XIX centuries. edited by A.V. Bunina (responsible editor), A.I. Kaplun, P.N. Maksimov.
The emergence of the Baroque in Italy
Italy, which occupied in the XII-XIV centuries. leading place in Europe, by the beginning of the XVII century. found itself on the outskirts of its economic and political life. The decline of handicraft production and trade, and at the same time the weakening of the role of the urban bourgeoisie, led to the strengthening of the landed aristocracy and the church, without the support of which no social force could do at that time. The contrast between the unbridled luxury of the nobility and the hard life of the impoverished peasant masses and artisans reached an unprecedented sharpness. The economic decline of the country was exacerbated by political intrigues and internecine wars that tore apart the small Italian principalities, and the oppression of landowners and absolutist rulers was intensified by the oppression of foreign conquerors who repeatedly invaded Italy throughout the 18th century. At the end of the 17th century, Habsburg Spain dominated Milan in the north, Naples and Sicily in the south, controlling the states located between them (the duchies of Mantua and Modena, Tuscany, Parma and papal possessions). Control was exercised both through dynastic ties and through police measures, justified by increased robbery and vagrancy (direct consequences of the extreme impoverishment of the village). The few states that retained their independence - these are the maritime republics of Genoa (with Corsica) and Venice (with its possessions in Istria, Dalmatia and the Ionian Islands) and the Duchy of Savoy, which extended to Nice - experienced a clear decline. The transfer of Milan, Naples and Sardinia to the possession of Austria (1713) marked the end of the political independence of Italy.
Urban planning in Italy during the Baroque period
Baroque architecture cannot be understood in isolation from the urban planning of this era, since the tendencies characteristic of it and, above all, a new understanding of the ensemble established new relationships between the space of a square, street or garden with a building, which radically affected the composition of the latter. The economic crisis, which engulfed the country's trade and handicraft production, had the greatest effect on the advanced Italian cities, slowing down their growth and greatly hindering the implementation of broad urban planning initiatives. And yet, the need to update the cities that spontaneously developed in the Middle Ages required the continuation of those begun at the end of the 15th and the first half of the 16th century. measures to streamline the street network, clearing cluttered areas, building wastelands and urban water supply. These utilitarian requirements, driven by direct necessity, combined with the ideological and political aspirations of the Catholic Church and secular rulers, who attracted the best craftsmen to carry out their tasks, educated on the achievements of two centuries of development of the advanced architectural and artistic culture of Italy, led to a remarkable development of urban art.
Early Baroque period in Italian architecture (late 16th - early 17th century)
Baroque in architecture, as in other arts, did not take shape immediately and developed unevenly, acquiring a different character depending on local conditions and characteristics. The cradle of architecture was Rome, where an architecture that was deeper in ideological and emotional content of images and powerful in form was formed. Intensive construction activity has never ceased here (since the war and the sack of Rome in 1527). Talented craftsmen from various cities of Italy continued to come here, and the church and its princes spared no expense for the reconstruction of the city, the construction of new buildings, for the decoration and decoration of churches and palaces with precious materials, gilding, painting and sculpture. A more refined, festive character of the Baroque acquired in Genoa, Turin and Venice, which in the XVIII century. remains one of the most important artistic centers of Italy and has a significant impact on the development of European culture as a whole. Florence - the cradle of the Renaissance - remains less receptive to the features of the new style. On the other hand, in Naples and Sicily, the baroque flourishes rapidly and in a peculiar way, although belatedly: the most striking works of the baroque here date back to the 18th century, and Spanish influence is noticeable in many of them.
The heyday of the Baroque in the architecture of Italy (2nd third of the 17th - early 18th centuries)
From the 2nd third of the 17th century, the Baroque enters a period of full maturity, reaching its highest flowering in the architecture of papal Rome. This period is characterized by clear changes in the nature of architecture, which is now distinguished by an unprecedentedly wide scope and impressive representativeness of the compositions, the solemn grandeur of the external appearance and the splendor of the interiors. The restraining influence of the architectural treatises of the late Renaissance, with their characteristic academic rigor, noticeably weakened, as did the religious intolerance characteristic of the first decades of the Counter-Reformation. Along with the work to complete the cathedral and St. Peter, which were supposed to serve to strengthen the prestige of the Catholic Church and give new brilliance to the halo surrounding its high priest and papal curia, extensive private construction was also carried out in Rome. Representatives of the most powerful families of the Italian nobility, who occupied the papal throne in the middle of the 17th century. (Urban VIII Barberini, 1633-1644; Innocent X Pamphili, 1644-1655, and Alexander VII of the Chigi banker family, 1655-1667), their numerous relatives and other major building customers of Rome frankly strove for the luxury and splendor of their palaces and villas, which, half a century earlier, would probably have been severely condemned.
Classicism in the architecture of Italy (mid-18th - early 19th century)
In the middle of the XVIII century in the architecture of Italy begins a turn from baroque to classicism. Signs of fundamental changes in the thinking of architects appear first in theoretical works and affect practice only towards the end of the century. This temporary gap between theory and practice, which developed inextricably in Italy over the course of three centuries, shows, on the one hand, the narrowed economic opportunities that led to a sharp reduction in building activity in the country, and on the other hand, the peculiar origins of Italian classicism, significantly different from the classicism of absolutist France and England. The first consistent and very principled criticism of baroque architecture was launched by the Franciscan monk Carlo Lodolli at the school for young Venetian nobles at the end of 1750 and at the very beginning of 1760. The thoughts of Lodolli, who criticized the baroque for unjustified excesses and formalism, clearly demanded that architecture return to sober functionalism, were consistently presented only a quarter of a century after his death in a treatise by Andrea Memmo, but undoubtedly had a wide influence long before that. So, one of Lodolli's students, Algarotti, an adherent of traditional, that is, baroque, architecture, expounds and criticizes the views of his teacher in works published in 1760. * In them, Lodolli appears as a "purist" and "rigorist", fighting against excessive decorations and illusionistic tricks.
The architecture of France in the era of absolute monarchy of the XVII-XVIII centuries.
The chapter on the architecture of France has two sections. Section I is devoted to the time of the absolute monarchy of the 17th-18th centuries, section II - to the architecture of the period of the Great French Revolution and the formation of bourgeois domination at the beginning of the 19th century. Section I, covering two centuries, the heyday and decline of absolutism, is in turn divided into four periods. These periods, almost identical in duration, each fit into approximately 50 years and more or less correspond to the dates of the life and reign of the French kings. The division into periods is due to the fact that France changed direction in architecture four times during these two centuries. The stylistic changes that took place in all forms of art, including architecture, were closely related to the social changes that took place in France. Architecture reflected the spiritual aspirations and demands of various classes and estates of French society. It is significant that during this period the language of architectural forms did not lag behind the development of society. This is understandable, because architecture was deliberately used to prove the progressiveness of the feudal-absolutist order, on the one hand, and the freedom of the human person, on the other. Through all four periods, there is a complex struggle between the state system and the individual human personality, which is widely and deeply reflected in architecture. This is how majestic ensembles arise, reflecting the idea of absolutism in artistic images, and along with this, small exquisite architectural structures, in their volumes and proportions commensurate with a person.
The architecture of France during the reign of Henry IV - Louis XIII (1594-1643)
The reign of Henry IV of Bourbon (ruled 1594-1610) sought to centralize state power. To raise the economy, the government builds large manufactories and encourages private enterprises to produce silk fabrics, tapestries, gilded wallpaper skins, morocco, and porcelain. It gives privileges to foreign craftsmen and subsidies to domestic manufacturers. Much attention was paid to the construction of new houses, bridges and especially canals. After the end of the religious wars, the country changed a lot. Concentrated in cities and castles, life goes out into wide open spaces. New settlements appear without fortifications. The nature of architecture itself is changing, in which, in this period, along with new trends, Gothic and Renaissance-classical architectural forms and structures still coexist.
Urban planning of France in the first half of the 17th century.
French cities had very dense buildings, as if merged into a single stone massif; however, this did not prevent the adaptation of old cities to new living conditions: they are being rebuilt, breaking down medieval buildings, in order to strengthen their defenses, fight epidemics and fires, while striving for the architectural organization of the city as a whole. The development of the "ideal city" plan continues. However, in this French architects, like their contemporaries in other countries, are completely dependent on the urgent needs of defense. New cities arise both as fortified outposts (but now mainly on the outskirts of the state), and as industrial centers, and as residence cities. The latter are being built in a complex with a residential palace, part of which is the city itself, planning subordinate to the palace.
Palaces and castles of France in the first half of the 17th century.
In the 17th century there is a process of degeneration of the fortified castle into an unfortified palace. During this period, the palace is already included in the general structure of the city, and outside the city is associated with a vast park. At the end of the XVI and beginning of the XVII century. close ties with Italy, a deep interest in its culture and art, the luxury of its palaces and villas caused natural imitation in the highest French circles. But the art of the Baroque was not widely developed throughout France. We can only talk about isolated baroque buildings, although for a number of French provinces and cities certain baroque motifs became deeply national: Languedoc, Montpellier, Ec, and others. French architects went through a harsh school of practice. As a rule, they came from building artels or families of hereditary masons, united in corporations, who strictly kept their professional techniques, dating back to medieval Gothic traditions. The constructive principles of the Gothic were superbly owned by French architects, who were at the same time designers, practical builders and contractors. Hence the critical attitude to everything brought in from the outside, including the Baroque. The interweaving of late Renaissance, Gothic and Baroque features with features of classicism is very characteristic of France in the first half of the 17th century. However, classicism from the end of the XVI century. up to the middle of the 19th century. is the main direction, all others accompany it.
Residential buildings in Paris in the first half of the 17th century.
At the beginning of the XVII century. in Paris, the growing need for housing caused widespread construction and settlement of new areas. However, almost nothing has come down to us from ordinary urban development and hotels of this period - we know about them from the theoretical works of the 1st half of the 17th century. By the end of the XVI century. in Paris there was a type of hotel that dominated French architecture for two centuries, with a residential building between the courtyard and the garden. The courtyard, limited by services, went out onto the street, and the residential building was located in the depths, separating the courtyard from the garden, as in the Carnavale hotel arch. Lesko (mid-16th century), rebuilt 100 years later by Mansart (Fig. 14). The same principle of planning in hotels of the early 17th century: Sully in Paris (1600-1620) on Antoine street, architect. Jacques I Androuet-Ducerso; Tubef on Rue Petit-Champ. This layout had an inconvenience: the only courtyard was both front and utility. In the further development of this type, the residential and economic parts of the house are demarcated. In front of the windows of the residential building there is a front yard, and to the side of it is a second, utility yard. The Liancourt Hotel (architect Lemuet) has such a courtyard.
Architecture of urban public buildings in France in the first half of the 17th century.
There were few purely administrative buildings at that time: they were mainly town halls and palaces of justice. In France, where the royal power was strong, and the municipal service in the 17th century. still small, public buildings were small - they consisted of an assembly hall, several bureaus, an archive, a church, a hall for guards and police, and a prison. Rich residential buildings adapted as town halls stood along the street next to other residential buildings. Such are the town halls in Avignon, Solier, Poiret in Burgundy. New town halls in France were built on large areas, like the town hall in Larochelle (1595-1606). This magnificent building with statues on the facade, an open staircase and a small turret, can serve as an example of the provincial French "Baroque", whose origins come from the pattern. Stricter than the form of the town hall in Trouet (1616, architect Louis Noble). The town hall in Reims (1627) is still a completely medieval building. The Senate of Paris overlooking Tournon Street is magnificent. Drawings of the interior of the palaces of Justice in Paris and the city of Rennes (S. de Brosse) have been preserved.
Architecture of places of worship in France in the first half of the 17th century.
With the end of the religious wars, the restoration of the destroyed churches and the construction of new ones immediately began. In Paris alone in the first half of the 17th century. more than 20 of them were erected. .In the cult architecture of France of this time, very diverse, the traditions of Gothic and Renaissance are still strong: Notre Dame in Le Havre (1606-1608), Saint-Étienne-du-Mont in Paris, Saint Pierre in Auxerre and others. Baroque was not widely reflected in church architecture, although it paid tribute to it to some extent. The French Jesuits considered the baroque church of Il Gesu in Rome to be the ideal of beauty. French Jesuit architects, working first in Italy (Etienne Martellange and Tournelle), introduced churches like Il Gesú in France. The influence of this Italian building certainly took place (the church in Rueli, in the city of Richelieu, etc.), but the degree of this influence is exaggerated. A number of churches built according to the plan of Il Gesu have a completely different architectural appearance, differently organized facades. Such are the churches Saint Paul Saint Louis in Paris, Jesuits in Blois built by Martellange, church in Avignon- Tournelle (1620-1655), Saint Gervais in Paris- S. de Brossom and Metezo.
French architecture during the reign of Louis XIV (1643-1715)
The absolutism of France, brilliantly reflected in the architecture of the second half of the 17th century, had a reverse side of the medal. The costs of royal buildings and the maintenance of the court of Louis XIV - the "Sun King" - were completely unbearable for the budget of France. During the wars (1667, 1672, 1687) France lost a number of lands, and economically gave way to England. By the end of the reign of Louis XIV, the public debt reached fabulous figures, ten times higher than the annual budget of the country. During the youth of the monarch, the surintendent Colbert manages to strengthen and raise the French economy. Colbert pays great attention to the construction of cities and new industrial centers, the creation of the Academy of Architecture (1677). Francois Blondel was appointed director of the Academy, the first members were Liberal Bruant, Daniel Guittard, Antoine Lepotre, Francois Leveau, Pierre Mignard, Francois d'Orbe. In 1675 he received the title of academician J.A. Mansart, and in 1685 - Pierre Bullet.
Urban planning in France during the reign of Louis XIV
The largest urban planner and military engineer of the 17th century. in France was arch. Vauban who built 150 fortress cities. Some of them, like Brest, have been further developed. Vauban contributed a lot to the science of fortification. Before him, fortified cities were defended by artillery, which could fire at the enemy even from the city center due to the presence of straight streets. Vauban improved the protection of the city with a system of ditches, bastions, curtain walls. The fortified city, as a rule, had the shape of a regular polygon, covered by large loops of fortifications. In the city of Yuning (1679) the area of defensive structures is equal to eight times the area of the residential part of the city. The cities of Longwyn (1679) and Neuf-Brizac in Alsace (1698) were built by Vauban in the form of a regular octagon with a checkerboard layout; in the center there was a square square with entrances at the corners. The city of Rocroix was rebuilt by Vauban with the preservation of the radial-ring system of streets and the boulevards surrounding it. The system of new powerful fortifications gave the city the shape of an irregular pentagon.
Palaces and castles of France during the reign of Louis XIV
The Vaux-le-Viscount castle was built in 1661 by Louis Levo (interiors - architect Ch. Lebrun; park - Andre Le Nôtre). There is still a lot of earlier architecture in this building: high roofs, separate above each volume; in the central part of the building, along the main facade, there is a floor order of rusticated columns. The entrance portal with a pediment decorated with reclining sculptures is reminiscent of the works of S. de Brosse or Ducerceau. The interiors of the castle are magnificent. In the park, Le Nôtre first outlined an axial system of composition of flat parterres, subordinate to the palace. However, here the heavy palace has not yet merged into a single organism with the park, and the axial development of the park from the palace, into the distance, to infinity, is disturbed by the transverse arrangement of the pool at the end of the garden. These problems will be solved by Le Nôtre at Versailles. However, all this does not reduce the enormous artistic merit of this outstanding work of France.
Paris hotels during the reign of Louis XIV
In the rich residential buildings of the court nobility, as well as the financial elite, the number of rooms increases, the layout becomes more complicated. During this period, there are several options for planning mansions according to the type of house between the courtyard and the garden. In a number of properties, the layout is asymmetrical, with the courtyard and garden located on one side, and residential and outbuildings on the other. These are the hotels of Paris: Ezelen - L. Levo (Fig. 47, 1), houses on the street. Clery (Fig. 47, 2) and Jougs Consul - Jean Richet, hotels of Amelo de Bezey - D. Gottar (Fig. 48.1), Montmorency - Jacques Moreau (Fig. 47.5). An example of a symmetrical solution is the Hotel Jaba - L. Bruant. But, as a rule, with an asymmetric plan, symmetry is maintained in the facade, often created by artificial techniques. In many hotels of the middle of the XVII century. there are noticeable features of the still unfinished development of the type (hotels Amelo, Louvois, Chamois, etc.), there is no clear interconnection of the parts in the plans. Searches in this direction (the hotels of Toad and Beauvais - Antoine Le Nôtre, Fig. 48.2) receive full permission in the works of J. A. Mansart: hotels Lorzh, Noel in Saint-Germain-en-Laye, Mansart's house on the street. Tournel and house offered by Mansart as a model.
First half of the 19th century passes as a period of late flowering of neoclassicism. In the middle of the 19th century, architects are in search of style, and therefore they are trying to revive various styles of the past in an updated form: neo-baroque, neo-renaissance, neo-gothic.
It was in the first half of the XIX century. European capitals have acquired their architectural appearance.
The beginning of the revolution in France was marked not by construction (they built little and the buildings were temporary), but by the destruction of the Bastille building, the royal prison, which personified the hated "old order". Place Louis XV was renamed Place de la Revolución and it was here that Louis XVI and Marie Antoinette were executed on the guillotine, and then Danton and Robespierre. During the years of the revolution, Paris was decorated with new monuments and sculptural monuments, Parisian streets and squares were decorated for mass holidays. In 1791, the Church of St. Genevieve was renamed the Pantheon of National Heroes of France, the remains of Rousseau and Voltaire were placed here.
The revolutionary era has chosen neoclassicism its official style (the decision was made by the Convention as the highest legislative and executive body of the French Republic). A Commission of Artists was formed to plan changes in the appearance of the city. Neoclassicism survived into the Napoleonic era and was called empire(from the French "empire"). This style expressed the greatness of the empire created by Napoleon.
The reconstruction of Paris and the renewal of the layout of the capital are underway. The designers were inspired by ancient Roman monuments, glorifying the military victories of Bonaparte. This is what Jean-Francois Changrin did when he built the Arc de Triomphe on the Place des Stars (1806-1807). The arch became a monument to military prowess, and it was not by chance that the square itself was renamed in 1970 into the square of General de Gaulle, a political figure who led the French Resistance during World War II and then became president of the French Republic.
If France chose neoclassicism, then in England, free from revolutionary upheavals, neo-gothic was established. An example of this is the Houses of Parliament in London. The architect was Sir Charles Barry (1795-1860). The building resembles the monuments of the English Gothic of the 16th century, it is distinguished by its clear layout and special luxury.
In Germany, the architectural center was the capital - Berlin.
Berlin buildings were most often variations on the theme of various historical styles (mainly ancient Greek architecture or the Renaissance). An example is the Old Museum in Berlin (architect Karl Friedrich Schinkel (1781-1841).
In sculpture, neoclassicism also remained the dominant style, supported by a lively interest in ancient masterpieces. Romanticism contributed to the manifestation of interest in the individual, which was reflected in the appearance of numerous monuments to great people of the past. Among the most significant names of sculptors of the XIX century. we should name the Italian Antonio Canova (1757-1822) (“Eros flying to Psyche”, “Hercules and Lichas”, “Paolina Borghese Bonaparte”). The sculptor worked in Italy and France, where he created an image of the emperor and his family.
Bertel Thorvaldsen (1770-1844), Danish sculptor, who worked mainly in Italy, then throughout Europe. He created sculptural images of Copernicus, Gutenberg, Byron. At the end of his life, he returned to Copenhagen and headed the Academy of Arts there.
In the middle of the century, the appearance of many European capitals changed, cities grew and were rebuilt: there were processes of industrialization and urbanization. The most successful reconstructions were carried out in Paris and Vienna. The famous Eiffel Tower, built in 1889 for the opening of the World Exhibition, has become the symbol of Paris. The Eiffel Tower demonstrated the technical capabilities of a new material - metal. However, the original artistic solution was not immediately recognized, the tower was called to be demolished, called monstrous. Time has put everything in its place. Now the tower is a symbol of Paris.
Eclecticism appears in European architecture (from the Greek eklektios - choosing). Eclecticism combines elements of different styles both in one building and in ensembles. An example of an eclectic architectural ensemble is the Vienna Ring, an example of a separate building is the Grand Opera Theater by Charles Garnier (1825-1898), the Sacré-Coeur Church in Paris, built by Paul Abadi.
Hangs a string of architectural styles of the XIX century. Art Nouveau style, the originality of which was manifested in the liberation from the influence of the ancient order and in the amazing variety of decorative design of buildings. Art Nouveau developed in different versions, since the principle of improvisation became the main thing for architects. If in America Art Nouveau is associated with the construction of the first skyscrapers (high-rise business buildings), then in Europe these were absolutely unusual buildings, the architects of which worked in dissimilar manners.
Art Nouveau completed the search for the 19th century. and became the basis for the development of architecture in the XX century.
Among the architects of modernity, one can name the name of Antonio Gaudi (1852-1926). His buildings amaze with the richness of constructive solutions and variety in interior decoration. Among them are residential and apartment buildings (Vicens House and Guell Palace in Barcelona). There, according to his project, a unique temple was built, similar to a Gothic cathedral: the Sagrada Familia (“Holy Family”) church.
The Belgian sculptor Victor Horta (1861-1947), like graphic artists and painters, sought to free himself from stylistic restrictions. His creations are characterized by a love for ornaments and the comfort of a home, which makes Art Nouveau interiors a bit like Rococo interiors. In Brussels, he built mansions: the Hotel van Etevelde, the Tassel House, the Solve House.
In the design of interiors in the Art Nouveau style, the artists showed endless imagination, they could intricately combine various historical styles and eras. Impulsive nervous lines appeared, ornamentation, curved stairs, columns likened to trees. Ornaments evoke either plants or sea waves. Windows take the most unusual shape. Fantastic creatures are often guessed in the elements of the interior and decorative decoration. Stained-glass windows and mosaics were used, the lines of stucco could resemble snails and starfish.
From the end of the 19th century to the beginning of the First World War, and the Great October Socialist Revolution, the art of the dominant artistic trends in the countries of developed capitalism began to shift to anti-realist positions. However, with the growth of the revolutionary movement, a transition is planned to a new stage in the development of realism, imbued with anti-bourgeois ideas, and then associated with socialist ideals. The process of its development is complex and contradictory, marked by the emergence of various stylistic forms and trends.
Eiffel Tower, 1889, Built for the centenary of the French Revolution
Gaudi. Church of the Sagrada Familia
Under construction since 1884, Barcelona
Architecture. In the era of imperialism, the development of various types of art proceeds unevenly. While painting is going through a deep crisis, architecture is getting relatively favorable conditions compared to the 19th century. The social nature of production, the rapid growth of technology, the need for mass construction, the active struggle of the working class for their rights compel the capitalist states to intervene in the planning of architectural construction, and make it necessary to solve the problems of urban planning and ensembles. Architecture, unlike painting, is an art form that is inextricably linked with material production, technical progress, and the satisfaction of the practical needs of society. It cannot be divorced from the solution of the tasks set by life. The eclecticism of the 19th century is being replaced by the search for an integral style based on the use of new structures and materials introduced into building practice since the 1840s (steel, cement, concrete, reinforced concrete, frame system, huge roofs of the vaulted-dome system, hanging roofs, trusses , peaks).
The technical possibilities of the new architecture, its aesthetic strengths reflected not only the social nature of production in the era of imperialism, but also created the material prerequisites for the flourishing of architecture in the future under the conditions of the elimination of private property and exploitation. Private property, competition led to the manifestation of subjective arbitrariness. Hence the pursuit of fashionable, deliberately extravagant solutions. The architecture of bourgeois society is characterized by a contradictory interweaving of false and aesthetically progressive tendencies.
Casa Battle
Antonio Gaudi
1905–1907, Barcelona, Spain
Casa Mila
Antonio Gaudi
1905–1910, Barcelona, Spain
House
1918–1919
Turku, Finland
The harbinger of a new stage in the development of architecture was the Eiffel Tower (312 m high), erected from prefabricated steel parts for the World Exhibition in Paris in 1889, designed by engineer Gustave Eiffel as a sign of entering a new era of the machine age. Deprived of utilitarian meaning, the openwork tower easily and smoothly takes off to the sky, embodying the power of technology. Its dynamic vertical plays an important role in the skyline of the city. The grandiose arch of the base of the tower, as it were, unites the distant vistas of the urban landscape seen through it. This building had a stimulating effect on the further development of architecture.
An interesting monument of this time was the Gallery of Machinery made of metal trusses with a glass ceiling of 112.5 m, built for the same World Exhibition (the gallery was dismantled in 1910), which had no equal in terms of perfection of design.
The first residential building, in which a new building material was used - reinforced concrete, was built in Paris (1903) by O. Perret. The design of the building, which determined its light logical composition, was first revealed on the facade. Of great importance for the further development of architecture were the hangars of the Parisian suburb of Orly (1916-1924) with folded vaults of parabolic outlines. According to the type of their solid structures, diverse systems of reinforced concrete coatings were created - folded vaults and domes several centimeters thick with spans of about 100 m. However, at first, and in purely engineering buildings, eclectic tendencies often manifested themselves - new materials and new combined with elements of old styles.
Museum of Art
1912–1920
Helsinki, Finland
Casa Mila
Antonio Gaudi
1905–1910, Barcelona, Spain
Kazan Station
A.V. Shchusev, 1913–1926
Russia Moscow
Modern style. In the years 1890-1900, a direction spread in different countries, which received the name Art Nouveau style from the French word "modern". Its creators, on the one hand, strove for rational structures, using reinforced concrete, glass, facing ceramics, etc. On the other hand, the modernist architects of Austria and Germany, Italy and France had a desire to overcome the dry rationalism of building technology. They turned to whimsical decorativism and symbols in the ornamentation of scenery, in paintings, sculpture of interiors and facades, to the deliberate emphasis of streamlined and curving, sliding shapes and lines. The sinuous patterns of metal bindings of railings and mid-flight stairs, balcony railings, roof bends, curvilinear openings, a stylized ornament of climbing algae and women's heads with flowing hair were often combined with freely reworked forms of the historical styles of the past (mainly the styles of the East or the Middle Ages - bay windows, Romanesque turrets, etc.), giving the structures a somewhat romantic character. The most complete Art Nouveau expressed itself in the individual construction of palaces, mansions and in the type of apartment building, preferring asymmetry in the grouping of building volumes and in the location of window and door openings. Art Nouveau had an impact on arts and crafts, on the culture of everyday life. At the beginning of the 20th century, the expressiveness of the main structural elements in the architecture of modernity increased, there was a desire to identify their purpose and features of building materials in the composition of buildings. The decisive turning point in the development of architecture came, however, after the First World War.
