Characteristic features of Baroque architecture presentation. Presentation on the topic "Baroque architecture and its heritage." pressed against the central dome

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Characteristic features of Baroque architecture... But before the beauty of both the building and the facade, the fountain, the marble, and the fence have faded... In the twisted ornament you will see here and there a Victorious helmet and vases of incense, Columns, capitals, pilasters and arcades You will see everywhere, wherever you throw glances, Cupids, monograms woven in secret, And heads of lambs entwined with cord, And a statue you will find in a magnificent niche, In patterns and carvings there is a cornice under the very roof... Translation by E. Tarkhanovskaya This is how the French poet of the 17th century described his impressions of Baroque architecture. Georges de Sudery. The abundance of lush decorative decorations, emphasized theatricality, distortion of classical proportions, optical illusion, and the predominance of complex curvilinear forms really created a special, unique appearance of Baroque architectural structures. BAROQUE (Italian Barocco, literally - fancy, pretentious), a style that prevailed in the art of Europe from the late 16th to the mid-18th century and embraced all types of creativity, most monumentally and powerfully manifested in architecture and the fine arts.

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The most significant changes affected the design of building facades. Consistency and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you cease to understand where the wall is located - the main support of the building. Flat pilasters give way to columns and half-columns. Installed on high pedestals, they either gather in groups, forming bunches, or “scatter” along the facade, lifting to the sky the statues frozen in restless movement on the roof balustrade. The sizes of portals, doors and windows began to exceed all reasonable limits. The pediments and platbands acquired rich decorations in the form of fancy curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace left of the calm clarity of the Renaissance. “Baroque is characterized by complexity not only of architectural plasticity, but also of spatial structures. If in the Renaissance, room plans have a clear geometric shape - a circle, square, rectangle, then the favorite shape of the Baroque is an oval, which gives some uncertainty to the overall shape of the spatial volume. Often the configuration of the plan is outlined by whimsical curves of lines, convex and concave walls, complicated by additional connections of neighboring subordinate volumes... In Baroque architecture, excessive decorativeness and heavy luxury prevailed. Bizarre forms, an abundance of sculpture, the use of rich colors and gilding were supposed to enhance the expressiveness of the architecture, giving the impression of wealth and splendor” (A.F. Goldstein). Pilasters are a flat vertical protrusion of rectangular cross-section on the surface of a wall or pillar. The pilaster has the same parts (trunk, capital, base) and proportions as the column; serves to divide the plane of the wall. Cartouches - decoration in the form of a shield or half-unfolded scroll, which depicts a coat of arms, emblem, inscription Pediment - the completion (usually triangular) of the facade of a building, portico, colonnade, limited by two roof slopes on the sides and a cornice at the base.

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Masterpieces of the Italian Baroque. Lorenzo Bernini The characteristic features of the Italian Baroque were most vividly embodied in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. In creating curvilinear, bending surfaces and whimsical geometric combinations, Francesco Borromini had no equal. The Church of Sant'Agnese in Piazza Navona in Rome is one of the best creations of the architect. The smoothly curving facade of the church is decorated with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in the ledges and openings. Francesco Barromini. Church of Sant'Agnese. 1653 Rome.

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Borromini, if possible, avoids straight lines - vertical or horizontal, as well as right angles. Preference is given to the complex curved plans of Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-67, Sant'Ivo, 1642-60, in Rome).

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The interior of the cathedral is no less effective, distinguished by the sophistication of stucco decorations, multi-colored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome).

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Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome). Fragment, facade.

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The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Basilica. The architect had to solve several problems at once: to create a solemn approach to the main church of the Catholic world, to achieve the impression of unity between the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the shape of a trapezoid, and the second is in the favorite Baroque shape - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully embraces the square.

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Lorenzo Bernini. Fountain of the Four Rivers in Piazza Navona. 1648-1651. Allegorical figures depict the largest rivers of the continents - the Nile, Danube, Ganges and Rio de la Plata (the Amazon was unknown at that time). The veil on the Nile's head symbolizes the mystery of its source, which at that time had not yet been discovered. The arrangement of the fountain figures gave rise to a legend about a duel between the geniuses of the Baroque era - Bernini and Borromini: as if La Plata Bernini was blocking his hand so as not to see the church - Borromini’s “terrible” creation. In fact, the fountain was built much earlier than the church facade. The Moor Fountain, one of two fountains located along the edges of the square, was also created according to Bernini's design. Another fountain in the original consisted of only one pool, to which at the end of the 19th century. they added a sculpture - this is how the Neptune fountain appeared.

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“Wonderful patterns” of the Moscow Baroque The desire for pomp and richness in the external decoration of architectural structures was extremely characteristic of Russia. “Wonderful pattern” became the leitmotif of Russian architecture of the late 17th – early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of Western European Baroque. The most vivid and original features of the Russian Baroque appeared in the so-called Naryshkin, or Moscow, style. It received its name thanks to the construction customers, among whom were the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions.

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Church of the Intercession in Fili. 1693-1694. Moscow. A brilliant example of Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself as a bizarre reflection in the water. The temple has a high and spacious basement (PODKLET, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and economic purpose), on the arches of which there is a terrace with three smooth flights of stairs. The main volume of the building is surrounded by semicircular boundaries, each of which is topped with a golden chapter. The transition from a quadruple to an octagon is made so smoothly and skillfully that the viewer does not immediately notice the change in architectural divisions. The cornice and carved white stone decorations naturally continue the triple capitals of the corner columns.

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Unique Moscow Baroque buildings include the Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl. The temple, located on a high hill in the center of the city, dominated the surrounding buildings, standing out for its complexity of silhouette. The bright colors of the facades, the rich plasticity of the white stone and brick decor, multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki. 1631-1634 Moscow.

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Trinity Church in Nikitniki. 1631-1634 Moscow. The flatness of the wall almost disappeared behind the abundance of cornices, pilasters, semi-columns, platbands and portals. The temple was crowned with a decorative five-domed dome and three rows of kokoshniks, giving a special festive solemnity.

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The Church of the Sign of the Mother of God in Dubrovitsy is considered the pinnacle of Moscow Baroque. The semicircular walls end with a triangular carved pediment, decorated with columns and volutes. The octagonal three-tiered tower has been turned into stone lace. The church is crowned with a dome with an openwork gilded crown and a through cross. Church of the Mother of God of the Sign in Dubrovitsy. 1690-1704. Moscow.

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St. Nicholas Church in Khamovniki. XVII century Moscow. The church in the name of St. Nicholas was erected in one of the truly Moscow ancient areas: here in the 17th century. Khamovniks, palace weavers, settled on the water meadows, who gave the name to the district. They built this unusually painted temple. To enhance the ringing of bells, it is cut through with rows of openings, the so-called rumors. The church building is a characteristic type of posad temple, one of the brightest and perfectly preserved examples of the “Naryshkin baroque”

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Architectural creations of V.V. Rastrelli In the middle of the 18th century, Baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush Baroque architecture spread throughout Russia. The most striking creations of architecture were concentrated in the new capital of the Russian state - St. Petersburg. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli (1700-1771), the son of the sculptor B.K. Rastrelli, an Italian by birth, born in France. Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir (1708-1744) wrote about the works of the outstanding architect: “Count Rastrelli... a skillful architect. His innovations in decoration are magnificent, the appearance of his building is magnificent, in a word, the eye can rejoice in what he built.”

Baroque embodies new ideas about the eternal variability of the world. It is distinguished by grandeur, splendor and dynamics, a passion for spectacular spectacles, strong contrasts of scales and rhythms, materials and textures, light and shadow, a combination of the illusory and the real. Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, Baroque palaces and churches acquire picturesqueness and dynamism. They seem to blend into the surrounding space. Baroque interiors are decorated with multicolor sculpture, modeling, and carvings; mirrors and paintings illusorily expand the space, and the painting of lampshades creates the illusion of open vaults. Painting and sculpture are dominated by decorative multifaceted compositions of a religious, mythological or allegorical nature, and ceremonial portraits. When depicting a person, states of tension, exaltation, and heightened drama are preferred. In painting, the emotional, rhythmic and coloristic unity of the whole, often the unconstrained freedom of strokes, acquires great importance; in sculpture there is a picturesque fluidity of form, a richness of aspects and impressions.

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Baroque architecture

Characteristic features of Baroque architecture Masterpieces of the Italian Baroque. Lorenzo Bernini “Wonderful Pattern” of the Moscow Baroque Architectural creations of V.V. Rastrelli

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Characteristics of Baroque architecture

Baroque (presumably from the Portuguese perola barroca - a pearl of a bizarre shape or from the Latin baroco - a mnemonic designation for one of the types of syllogism in scholastic logic), the dominant style in European art of the late 16th - mid-18th centuries. Italy is rightfully considered the birthplace of architectural baroque, and Rome is the capital of the “eternal city”. Abundance of lush decorative decorations Emphasized theatricality Distortion of classical proportions Optical illusion Predominance of complex curvilinear forms Dissonance, asymmetry Columns and semi-columns are used The dimensions of portals, doors and windows began to exceed all reasonable limits

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Masterpieces of the Italian BaroqueLorenzo Bernini (1598-1680)

Italian artist and architect, creator of the Baroque style in its most holistic and exemplary expression. Key works Apollo and Daphne (1622-1625) - marble, 243 cm, Borghese Gallery, Rome. Chair of St. Peter (1624) - bronze, Vatican. Fountain of Triton (1624-1643) - Piazza Barberini, Rome Ecstasy of Saint Teresa (1647-1652) - marble, Santa Maria della Vittoria, Rome Fountain of the Four Rivers (1648-1651) - marble and travertine , Piazza Navona, Rome Ecstasy of the Blessed Ludovica Albertoni (1671-1674) - marble, San Francesco a Ripa, Rome

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Piazza San Pietro, Rome. The square is framed by semicircular colonnades of the Tuscan order designed by Bernini. In the middle is an Egyptian obelisk brought to Rome by Emperor Caligula. This is the only obelisk in the city that stood unchanged until the Renaissance. Travertine rays radiate from the obelisk along the paving stones, arranged so that the obelisk acts as a gnomon.

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The Fountain of the Four Rivers (from Italian: Fontana dei Quattro Fiumi) is one of the most famous fountains in Rome. Located in Piazza Navona. Built in 1648-1651. designed by Bernini. Bernini prepared a fountain project that included placing statues of the river gods of the main rivers of the four parts of the world (Nile, Ganges, Danube and La Plata) around the obelisk.

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Dome of the temple at Castel Gandolfo.

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“Apollo and Daphne” The sculptor captured the result of the mythological pursuit of the sun god Apollo for the beautiful nymph Daphne. Overtaken by Apollo, Daphne asks the gods for help - and begins to turn into a laurel. We see the heroes at the very moment when Apollo has almost overtaken the fugitive, but Daphne’s fingers are already turning into branches, and her legs into laurel roots.

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Triton Fountain The pedestal of the fountain is formed by 4 dolphins, at the tips of their tails there is a huge shell. On the open doors of this shell there is a statue of Triton, the son of the god Poseidon. Triton blows a stream of water from the shell, which fills the bowl of the fountain. Between the dolphins are images of the coat of arms of the Barberini family, the papal tiara.

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Bust of Louis XIV at Versailles.

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Francesco Bromonni

Church of Sant'Agnese 1653. A church was built on Piazza Navona in honor of the early Christian martyr St. Agnes of Rome in Rome.

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“Wonderful pattern” of the Moscow Baroque

Church of the Intercession in Fili 1693-1694. Moscow. The building architecturally belongs to the type of tiered centric churches widespread at the end of the 17th century, an example of early Moscow Baroque. The building combines both a church and a bell tower. The bells hang in the spans of the middle tier.

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Trinity Church in Nikitniki. 1631-1634 Moscow. Carved window frames (including in the form of kokoshniks), multi-tiered kokoshniks on the vaults, cornices in the form of “cockscombs”, twisted columns, semi-columns. Interior: rich colored floral patterns on the walls and vaults. The decor area on the walls is very large. Columns, cornices, platbands, tiles.

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Architectural creations by V.V. Rastrelli

RASTRELLI Bartholomew Varfolomeevich (1700-71), Russian architect. Representative of the Baroque. Created: Annenhof (1730), Winter Palace (1733), Rundale Palace (1736), Mitavsky Palace (1738), Summer Palace (1741), Great Peterhof Palace (1747), Winter Kremlin Palace (1747), St. Andrew's Church (1749) , Smolny Cathedral (1749), Vorontsov Palace (1749), Catherine Palace (1752), Mariinsky Palace (1752), Stroganov Palace (1753), Winter Palace (1753)

Winter Palace 1754-1762 St. Petersburg The modern building has a square plan with an internal courtyard and facades facing the Neva, the Admiralty and Palace Square. The magnificent decoration of the facades and premises gives the building a sense of splendor. The main facade, facing Palace Square, is cut through by the arch of the front passage.

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Baroque style Baroque means “strange” and “bizarre”. In the Baroque, the following were noted: - the complexity of volumes and space, the mutual intersection of various geometric shapes, - the predominance of complex curvilinear forms in determining the plans and facades of buildings, - the alternation of convex and concave lines and planes - the active use of sculptural and architectural and decorative motifs; - uneven distribution of architectural means; - creation of a rich play of chiaroscuro, color contrasts - dynamism of architectural masses.

Francesco Bartolomeo Rastrelli Francesco Bartolomeo Rastrelli was born in 1700 in Paris. His father, Bartolomeo Carlo Rastrelli, an architect and sculptor, moved with his family to Russia in 1715 at the invitation of Peter I.

In 1748, Empress Elizabeth issued a decree to begin construction of the Smolny Monastery and entrusted it to Rastrelli. Construction began in 1749; in 1751, due to the Seven Years' War, the project had to be stopped. Smolny Monastery

Smolny Monastery

Masterpieces of the Italian Baroque. Lorenzo Bernini The characteristic features of the Italian Baroque were most vividly embodied in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. In creating curvilinear, bending surfaces and whimsical geometric combinations, Francesco Borromini had no equal. The Church of Sant'Agnese in Piazza Navona in Rome is one of the best creations of the architect. The smoothly curving facade of the church is decorated with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in the ledges and openings. Francesco Barromini. Church of Sant'Agnese. 1653 Rome.

Borromini, if possible, avoids straight lines - vertical or horizontal, as well as right angles. Preference is given to the complex curved plans of Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-67, Sant'Ivo, 1642-60, in Rome).

The interior of the cathedral is no less effective, distinguished by the sophistication of stucco decorations, multi-colored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome).

Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome). Fragment, facade.

Lorenzo Bernini. Rome. Fountain of Neptune in Piazza Navona.

Stroganov Palace In 1742, it was acquired by Baron Sergei Grigorievich Stroganov. He used his own money to build a two-story house. Construction of the palace was carried out at a rapid pace. Already on December 15, 1753, a housewarming ball was held here, which was attended by Empress Elizaveta Petrovna herself.

Winter Palace

Winter Palace

Catherine Palace

Grand Palace Peterhof

Lion Cascade Peterhof

Fountains-crackers Peterhof

In 1718, Domenico Trezzini won the first architectural competition in Russia for the construction of a building. This structure is the Building of the Twelve Colleges - the first stone government building in St. Petersburg. Domenico Andrea Trezzini Building of the Twelve Colleges

Domenico Andrea Trezzini Summer Palace of Peter I

“Wonderful pattern” of the Moscow Baroque The desire for pomp and richness in the external decoration of architectural structures was extremely characteristic of Russia. “Wonderful pattern” became the leitmotif of Russian architecture of the late 17th – early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of Western European Baroque. The most vivid and original features of the Russian Baroque appeared in the so-called Naryshkin, or Moscow, style. It received its name thanks to the construction customers, among whom were the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions.

Unique Moscow Baroque buildings include the Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl. The temple, located on a high hill in the center of the city, dominated the surrounding buildings, standing out for its complexity of silhouette. The bright colors of the facades, the rich plasticity of the white stone and brick decor, multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki. 1631-1634 Moscow.

Church of the Mother of God of the Sign in Dubrovitsy. 1690-1704. Moscow.

St. Nicholas Church in Khamovniki. XVII century Moscow.

Architectural creations of V.V. Rastrelli In the middle of the 18th century, Baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush Baroque architecture spread throughout Russia. The most striking creations of architecture were concentrated in the new capital of the Russian state - St. Petersburg. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli (1700-1771), the son of the sculptor B.K. Rastrelli, an Italian by birth, born in France. Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir (1708-1744) wrote about the works of the outstanding architect: “Count Rastrelli... a skillful architect. His innovations in decoration are magnificent, the appearance of his building is magnificent, in a word, the eye can rejoice in what he built.”

The best works of Rastrelli are St. Andrew's Church in Kiev, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoye Selo, the palaces of Stroganov and Vorontsov, the Smolny Monastery Cathedral and the Winter Palace in St. Petersburg. V.V. Rastrelli. St. Andrew's Church. 1749-1759 Kyiv.

V.V. Rastrelli. Ambassadorial staircase in the Winter Palace. 1754 – 1762 Saint Petersburg. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery they climbed the dazzlingly beautiful Ambassadorial Staircase, from the top platform of which the entrance to the state rooms of the palace opened.

V.V. Rastrelli. Catherine Palace. (Main entrance).

V.V. Rastrelli. Catherine Palace. (Facade)

Conclusion The Baroque style expressed progressive ideas about the unity, boundlessness and diversity of the world, about its complexity, variability, constant movement; The Baroque reflected an interest in the natural elements, the environment, and the human environment, which began to be perceived as part of the world. Man in Baroque art appears as a complex, multifaceted personality with his own world of experiences, involved in dramatic conflicts. Baroque art is characterized by the pathetic elation of images, their tension, dynamism, passion, bold contrasts of scale, colors, light and shadow, the combination of reality and fantasy, the desire to merge various arts in a single ensemble that amazes the imagination.

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Baroque is a characteristic of European culture of the 17th-18th centuries, the center of which was Italy. The Baroque style appeared in the 16th-17th centuries in Italian cities: Rome, Mantu, Venice, Florence. The Baroque era is considered to be the beginning of the triumphant march of “Western civilization.” Rome Mantua Venice Florence

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Lorenzo Bernini Guarino Guarini Francesco Borromini The most striking and characteristic monuments of the Baroque in Italy are associated with the greatest masters of the 17th century - Lorenzo Bernini, Guarino Guarini, Francesco Borromini, Carlo Rainaldi, Baldassare Longhena and others.

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Failure to comply with Renaissance harmony for the sake of a more emotional contact with the viewer. Baroque architecture is distinguished by its spatial scope, fluidity of curvilinear forms, merging of volumes into a dynamic mass, rich sculptural decoration, and connection with the surrounding space.

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The Baroque style was intended to glorify and propagate the power of government, the nobility and the church, but at the same time it expressed progressive ideas about the complexity of the universe, the boundlessness and diversity of the world, its variability. Man in Baroque art is perceived as part of the world, as a complex personality experiencing dramatic conflicts.

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The first building in the Baroque style is considered to be the Roman Church of Il Gesu (In the Name of Christ), the main church of the Jesuit order. The church was the final stage in the long evolution of the composition of temple buildings of the Renaissance.

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The first architect of the new generation was Carlo Maderna. In 1603 he was appointed chief architect of St. Peter's Basilica, Rome. Built by Michelangelo, the centric structure in the shape of a Greek cross was rebuilt into a traditional early Christian basilica in the shape of an elongated cross.

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In 1653, Lorenzo Bernini built the small church of Sant'Andrea in Rome on Via Quirinale, one of the outstanding buildings of the Baroque style.

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The massiveness of the first contrasts brightly with the grace of the second. Semi-oval steps seem to flow down from a picturesque two-column portico supporting a semicircular entamblent in plan. Its curved lines intersect in perspective with the cornice of the large semicircular window on the western façade. The entire composition of the entrance is inscribed in a large portico with high Corinthian pilasters on both sides and a triangular pediment.

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Borromini won recognition with the construction of the small Franciscan church of San Carlo alle Cuatro Fontane in Rome. The small church attracted the attention of all of Rome.