Baroque architectural style presentation. Presentation on the topic: "Baroque architecture

Characteristic features of Baroque architecture ... But before the beauty of both the building and the facade, the fountain, marble, and the fence have faded ... In the twisted ornament you will see here and there the Victorious helmet and vases of incense, Columns, capital, pilasters and arcades You will see everywhere you throw views, Cupids, monograms, intertwined secretly, And the heads of lambs, entwined with a cord, And you will find a statue in a magnificent niche, In patterns and carvings, a cornice under the very roof ... v. Georges de Suderi. The abundance of lush decorative ornaments, emphasized theatricality, distortion of classical proportions, optical illusion, the predominance of complex curvilinear forms really created a special unique look of Baroque architectural structures. This is how the French poet of the 17th century described his impressions of Baroque architecture. Georges de Suderi. The abundance of lush decorative ornaments, the emphasized theatricality, the distortion of classical proportions, optical illusion, the predominance of complex curvilinear forms really created a special, unique look of Baroque architectural structures. BAROQUE (Italian. Barocco, literally whimsical, artsy), a style that prevailed in the art of Europe from the late 16th to the middle of the 18th century and encompassed all types of creativity, most monumental and powerfully manifested in architecture and fine arts... BAROQUE (Italian. Barocco, literally whimsical, artsy), a style that prevailed in the art of Europe from the late 16th to the middle of the 18th century and encompassed all types of creativity, most monumental and powerfully manifested in architecture and fine arts.

The most significant changes concerned the design of the facades of buildings. Coherence and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you cease to understand where the wall is - the main pillar of the building. Flat pilasters give way to columns and semi-columns. Installed on high pedestals, they sometimes gather in groups, forming beams, then "scatter" along the facade, lifting statues on the roof balustrade, frozen in restless movement, to the sky. The sizes of portals, doors and windows began to exceed all reasonable limits. The pediments and platbands acquired rich decorations in the form of bizarre curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace of the calm clarity of the Renaissance. The most significant changes concerned the design of the facades of buildings. Coherence and proportionality are replaced by dissonance and asymmetry. Looking at the facade, you cease to understand where the wall is - the main pillar of the building. Flat pilasters give way to columns and semi-columns. Installed on high pedestals, they sometimes gather in groups, forming beams, then "scatter" along the facade, lifting statues on the roof balustrade, frozen in restless movement, to the sky. The sizes of portals, doors and windows began to exceed all reasonable limits. The pediments and platbands acquired rich ornaments in the form of bizarre curls, cartouches, garlands of leaves, herbs and human figures. There seemed to be no trace of the calm clarity of the Renaissance. “The baroque is characterized by the complexity of not only architectural plastics, but also spatial constructions. If in the Renaissance the plans of the premises have a clear geometric shape - a circle, a square, a rectangle, then the favorite form of the Baroque is an oval, which gives some uncertainty to the general shape of the spatial volume. Often the configuration of the plan is outlined by whimsical bends of lines, bulges and concavities of the walls, complicated by additional adjacencies of neighboring subordinate volumes ... In baroque architecture, immoderate decorativeness and ponderous luxury prevailed. Bizarre forms, an abundance of sculpture, the use of rich colors and gilding were supposed to enhance the expressiveness of architecture, to give the impression of wealth and splendor ”(AF Goldstein). “The baroque is characterized by the complexity of not only architectural plastics, but also spatial constructions. If in the Renaissance the plans of the premises have a clear geometric shape - a circle, a square, a rectangle, then the favorite form of the Baroque is an oval, which gives some uncertainty to the general shape of the spatial volume. Often the configuration of the plan is outlined by whimsical bends of lines, bulges and concavities of the walls, complicated by additional adjacencies of neighboring subordinate volumes ... In baroque architecture, immoderate decorativeness and ponderous luxury prevailed. Bizarre forms, an abundance of sculpture, the use of rich colors and gilding were supposed to enhance the expressiveness of architecture, to give the impression of wealth and splendor ”(AF Goldstein). Pilasters - flat vertical ledge rectangular 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 the coat of arms, emblem, inscription Pediment - the completion (usually triangular) of the facade of the building, portico, colonnade, bounded by two roof slopes on the sides and a cornice at the base.

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. 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 the creation of curved, curving surfaces and whimsical geometric combinations, Francesco Borromini knew no equal. The Church of Sant Agnese in Piazza Navona in Rome is one of the best creations of the architect. The gently 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 light and shade, in ledges and openings. In the creation of curved, curving surfaces and whimsical geometric combinations, Francesco Borromini knew no equal. The Church of Sant Agnese in Piazza Navona in Rome is one of the best creations of the architect. The gently 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 light and shade, in ledges and openings. Francesco Barromini. Church of Sant Agnese, Rome.

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

The interior of the cathedral is no less effective, characterized by the sophistication of stucco decorations, multicolor decorative paintings, colored marble columns. The interior of the cathedral is no less effective, distinguished by the sophistication of stucco decorations, multicolored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome).

Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Fragment, facade. Francesco Borromini Church of San Carlo alle Cuatro Fontane, (, Sant Ivo, in Rome). Fragment, facade.

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 the unity of 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 form of a trapezoid, and the second is in the favorite baroque form - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully covered the square. 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 the unity of 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 form of a trapezoid, and the second is in the favorite baroque form - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully covered the square.

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

From the 2nd half of the 1650s. Bernini again works in the Cathedral of St. Peter, creates a bronze “cathedral of St. Peter "(), decorated with statues of the Church Fathers and angels. Bernini again works in the Cathedral of St. Peter, creates a bronze “cathedral of St. Peter "(), decorated with statues of the Church Fathers and angels,

"Wonderful ornamentation" of the Moscow Baroque The striving for splendor and richness of 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 best achievements Western European Baroque. The most vivid and original features of the Russian Baroque were manifested in the so-called Naryshkin, or Moscow, style. It got 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. The striving for splendor and richness of 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 were manifested in the so-called Naryshkin, or Moscow, style. It got its name thanks to the customers of the construction, 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.

Church of the Intercession in Fili Moscow. A brilliant example of the 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 (BEDROOM, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and household 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 borders, each of which is topped with a golden dome. The transition from four to eight 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. A brilliant example of the 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 (BEDROOM, in Russian stone and wooden architecture, the lower floor of a residential building or temple, usually having a service and household 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 borders, each of which is topped with a golden dome. The transition from four to eight 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.

The Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique structures of the Moscow Baroque. The temple, set on a high hill in the center of the city, dominated the surrounding buildings, standing out for the complexity of the silhouette. The brightly colored facades, the luscious plastic of the white stone and brick decor, the multicolored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. The Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique structures of the Moscow Baroque. The temple, set on a high hill in the center of the city, dominated the surrounding buildings, standing out for the complexity of the silhouette. The brightly colored facades, the lush plastic of the white stone and brick decor, the multicolored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki Moscow.

The plane of the wall has almost disappeared behind an abundance of cornices, pilasters, half-columns, platbands and portals. The temple was crowned with a decorative five-domed head and three rows of kokoshniks, giving a special festive solemnity. The plane of the wall almost disappeared behind an abundance of cornices, pilasters, half-columns, platbands and portals. The temple was crowned with a decorative five-domed head and three rows of kokoshniks, giving a special festive solemnity.

The Church of the Sign of the Virgin in Dubrovitsy is considered the pinnacle of Moscow baroque. The semicircles of the walls end with a carved triangular pediment, decorated with columns and volutes. The eight-sided 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. The Church of the Sign of the Virgin in Dubrovitsy is considered the pinnacle of Moscow baroque. The semicircles of the walls end with a carved triangular pediment, decorated with columns and volutes. The eight-sided 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 Sign of the Virgin in Dubrovitsy Moscow.

Church of the Sign of the Virgin in Dubrovitsy Moscow. Church of the Sign of the Virgin in Dubrovitsy Moscow.

Church of St. Nicholas in Khamovniki. XVII century. Moscow. Church of St. Nicholas in Khamovniki. XVII century. Moscow. The church in the name of St. Nicholas was erected in one of the truly Moscow ancient localities: here in the 17th century. Khamovniks - palace weavers, who gave the name to the district, were settled on the flooded meadows. They also built this unusual painting temple. To enhance the bell ringing, it is cut with rows of openings, the so-called rumors. The building of the church is a typical type of the posad temple, one of the brightest and perfectly preserved examples of the "Naryshkin Baroque"

Architectural works 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 European artistic heritage. Lush Baroque architecture spread throughout Russia. The brightest architectural creations were concentrated in the new capital of the Russian state - in St. Petersburg. 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 brightest architectural creations were concentrated in the new capital of the Russian state - in St. Petersburg. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, Italian by origin, who was born in France. Having received his education abroad, he then worked only in Russia, which became his second homeland. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli () - the son of the sculptor B.K. Rastrelli, Italian by origin, who was 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 () wrote about the works of the outstanding architect: Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir () wrote about the works of the outstanding architect: “Count Rastrelli ... is a skillful architect. His inventions in decoration are magnificent, the look of his building is kazist, in a word, the eye can have fun in what he has built. " “Count Rastrelli ... is a skilled architect. His inventions in decoration are magnificent, the look of his building is kazist, in a word, the eye can have fun in what he built. "

The best works of Rastrelli - St. Andrew's Church in Kiev, palaces in the suburbs Saint Petersburg a - Peterhof and Tsarskoe Selo, the palaces of Stroganov and Vorontsov, the Cathedral of the Smolny Monastery and the Winter Palace in St. Petersburg. The best works of Rastrelli - St. Andrew's Church in Kiev, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoe Selo, the palaces of Stroganov and Vorontsov, the Cathedral of the Smolny Monastery and the Winter Palace in St. Petersburg. V.V. Rastrelli. St. Andrew's Church Kiev. V.V. Rastrelli. St. Andrew's Church Kiev.

The Cathedral of the Smolny Monastery was commissioned to the master by Empress Elizabeth Petrovna. The traditional Russian five-domed, embodied in the pretentious forms of the Baroque, here organically merged with the main volume of the building. The middle head of the cathedral is a high two-height dome, topped with a bulbous head on a light drum. Four corners in the form of high two-story towers, almost closely pressed against the central dome, give the five-domed an amazing solidity and power. After the death of Rastrelli, another outstanding architect - a representative of early classicism Giacomo Quarenghi - every time passing the Smolny Cathedral, he respectfully took off his hat and exclaimed: "This is a church!" The Cathedral of the Smolny Monastery was commissioned to the master by Empress Elizabeth Petrovna. The traditional Russian five-domed, embodied in the pretentious forms of the Baroque, here organically merged with the main volume of the building. The middle head of the cathedral is a high two-height dome, topped with a bulbous head on a light drum. Four corners in the form of high two-story towers, almost closely pressed against the central dome, give the five-domed an amazing solidity and power. After the death of Rastrelli, another outstanding architect - a representative of early classicism Giacomo Quarenghi - every time passing the Smolny Cathedral, he respectfully took off his hat and exclaimed: "This is a church!" V.V. Rastrelli. Cathedral of the Smolny Monastery St. Petersburg. V.V. Rastrelli. Cathedral of the Smolny Monastery St. Petersburg.

The most brilliant creation of Rastrelli that adorns the city center on the Neva is the Winter Palace, which now houses the world-famous Hermitage art museum. The architecture of the Winter Palace is a real hymn to the Russian Baroque era. The facade overlooking the embankment of the Neva was designed for viewing from a distance. The facade facing the Admiralty is oriented towards the front Palace Square facing the city. The palace had over 1050 rooms and rooms, 1886 doors, 1945 windows and 177 staircases. The total length of the palace facades is 210 m! The most brilliant creation of Rastrelli that adorns the city center on the Neva is the Winter Palace, which now houses the world famous Hermitage art museum. The architecture of the Winter Palace is a real hymn to the Russian Baroque era. The facade overlooking the embankment of the Neva was designed for viewing from a distance. The facade facing the Admiralty is oriented towards the front Palace Square facing the city. The palace had over 1050 rooms and rooms, 1886 doors, 1945 windows and 177 staircases. The total length of the palace facades is 210 m!

V.V. Rastrelli. Ambassadorial Staircase in the Winter Palace - 1762 Saint Petersburg. V.V. Rastrelli. Ambassadorial Staircase in the Winter Palace - 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 upper platform of which the entrance to the state halls of the palace opened. 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 upper platform of which the entrance to the state halls of the palace opened. Questions and tasks 1. What are the characteristic features of Western European Baroque architecture? 2. What, in your opinion, distinguished the baroque buildings from the works of the architects of the Renaissance? 3. What masterpieces of Naryshkin Baroque can you tell in more detail? Prepare messages on the topic: 1. "Lorenzo Bernini -" genius of the Baroque "; 2. "Naryshkin Baroque in Moscow"; 3. "Petersburg VV Rastrelli"

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Baroque architecture

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Baroque in architecture

Baroque architecture (L. Bernini, F. Borromini in Italy, B.F. Rastrelli in Russia) is characterized by spatial scope, cohesion, fluidity of complex, usually curvilinear forms. Large-scale colonnades, an abundance of sculptures on the facades and in interiors, volutes, big number ripples, bow facades with ripping in the middle, rusticated columns and pilasters. The domes acquire complex shapes, they are often multi-tiered, like those of St. Peter's in Rome. Typical baroque details are telamon (atlant), caryatid, mascaron.

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Voluta (Italian voluta - curl, spiral), an architectural motif in the form of a spiral curl with a circle ("eye") in the center, an integral part of the Ionic capital, is also included in the composition of the Corinthian and composite capitals. The volute is sometimes shaped by architectural details that serve to connect parts of the building, as well as cornice consoles, framing portals, doors, windows (mainly in the architecture of the late Renaissance and Baroque).

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Prevailing and trendy colors: muted pastel colors; red, pink, white, blue with a yellow accent. Lines: fancy convex - concave asymmetrical pattern; in the form of a semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division. Shape: vaulted, domed and rectangular; towers, balconies, bay windows. Typical interior elements: striving for grandeur and splendor; massive front stairs; columns, pilasters, sculptures, stucco and painting, carved ornament; interconnection of design elements. Designs: contrasting, tense, dynamic; pretentious on the facade and at the same time massive and stable. Windows: semicircular and rectangular; with floral decorations around the perimeter. Doors: arched openings with columns; vegetable decor

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Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, baroque palaces and churches acquire picturesque and dynamism. They seem to flow into the surrounding space.

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The largest and most famous baroque ensembles in the world: Versailles (France), Peterhof (Russia), Aranjuez (Spain), Zwinger (Germany).

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Peterhof (Russia)

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The Smolny ensemble reflects two styles of Russian architecture - baroque and classicism. The first convent of St. Petersburg, the Resurrection Novodevichy Convent, was built on the site of the former Smolyany Dvor. Hence the name - Smolny. The author of the project was the brilliant architect F.B. Rastrelli.

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Church of Sts. Peter and Paul is a brilliant example of the early 17th century Baroque. Architect Giovanni Trevano designed an elegant three-tiered façade with pilasters, volutes, niches, and a spacious interior. In the midsection, where the nave intersects with the transept, there is a powerful elliptical dome. Along the walls of the only nave, interconnecting chapels are built in, forming a kind of side naves.

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Lorenzo Bernini

The great creator of the Baroque era was Lorenzo Bernini (1598-1680), who equally manifested himself in architecture and sculpture. He was born in Naples in the family of an artist and a sculptor. At the age of 25, he was already famous and from that time he worked mainly in Rome.

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One of his best compositions "The Ecstasy of Saint Teresa" (1645-1652) Bernini created, being already a mature master. In it, the author depicted a mystical vision of Saint Teresa of Avila, in which an angel appears to her with a fiery arrow in his hand, with which he pierces the heart of Teresa with great love for God. The white marble sculpture is surrounded by a colonnade of colored marble, with gilded beams in the background, symbolizing Divine light. ...

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Baroque style Baroque o o means "strange" "whimsical". In the baroque, the following was 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 structures, - the alternation of convex and concave lines and planes - the active use of sculptural and architectural and decorative motifs; - uneven distribution of architectural tools; - the creation of a rich play of light and shade, color contrasts; - the dynamism of the 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 on the beginning of the construction of the Smolny Monastery and entrusted it to Rastrelli. Construction was carried out since 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 the creation of curved, curving surfaces and whimsical geometric combinations, Francesco Borromini knew no equal. The Church of Sant Agnese in Piazza Navona in Rome is one of the best creations of the architect. The gently 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 light and shade, in ledges and openings. Francesco Barromini. Church of Sant Agnese. 1653 Rome.

Borromini avoids straight lines, vertical or horizontal, as well as right angles whenever possible. Preference is given to the intricate 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, multicolored 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. With his own money, he completed the building two-storey house... The 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 the Empress Elizaveta Petrovna herself.

Winter Palace

Winter Palace

Catherine Palace

Peterhof Grand Palace

Lion's Cascade Peterhof

Cracker fountains Peterhof

In 1718, Domenico Trezzini won the first architectural competition in Russia for the construction of a building. This building - the Building of the Twelve Colleges - is 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 ornamentation" of the Moscow Baroque The striving for splendor and richness of 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 were manifested in the so-called Naryshkin, or Moscow, style. It got 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, pavilions and park pavilions.

The Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl, should also be attributed to the unique structures of the Moscow Baroque. The temple, set on a high hill in the center of the city, dominated the surrounding buildings, standing out for the complexity of the silhouette. The brightly colored facades, the lush plastic of the white stone and brick decor, the multicolored 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 Sign of the Virgin in Dubrovitsy. 1690-1704. Moscow.

Church of St. Nicholas in Khamovniki. XVII century. Moscow.

Architectural works 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 brightest architectural creations were concentrated in the new capital of the Russian state - in 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, Italian by origin, who was 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 ... is a skillful architect. His inventions in decoration are magnificent, the look of his building is kazist, in a word, the eye can have fun in what he built. "

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

V.V. Rastrelli. Ambassadorial Staircase in the Winter Palace. 1754 - 1762 St. 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 upper platform of which the entrance to the state halls 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, limitlessness and diversity of the world, about its complexity, variability, constant movement; in the baroque, an interest in the natural elements, the environment, and the environment of man was reflected, who began to be perceived as part of the world. A man in baroque art appears as a complex, multifaceted person with his own world of experiences, involved in dramatic conflicts. Baroque art is characterized by a pathetic elevation 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 in architecture

• Baroque architecture (L. Bernini, F. Borromini in Italy, B.F. Rastrelli in Russia) is characterized by spatial scope, cohesion, fluidity of complex, usually curvilinear forms.
• Large-scale colonnades, an abundance of sculptures on the facades and interiors, volutes, a large number of rivets, bow facades with ripping in the middle, rusticated columns and pilasters are often found.
• The domes acquire complex shapes, they are often multi-tiered, like those of St. Peter's in Rome.
• Typical baroque details are telamon (atlant), caryatid, mascaron.

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