c) Catherine II;

d) Elizabeth Petrovna.

20. According to his sculptural portraits, one can imagine the appearance of statesmen of the Catherine's era (G.A. Potemkin, Paul I, etc.):

a) F.I. Shubin;

b) I.P. Martos;

c) E.M. Falcone;

d) K.B. Rastrelli.

21. Most Famous Russian architect middle of the 18th century, who created Winter Palace Petersburg, the Catherine Palace in Tsarskoe Selo, who reached the highest rank - chief architect:

a) D.V. Ukhtomsky;

b) B.F. Rastrelli;

c) A. Rinaldi;

d) V.I. Bazhenov.

22. His work developed the classical traditions in Russian architecture, reflected in the Pashkov House in Moscow.

This is what the architect says:

a) V.I. Bazhenov;

b) M.F. Kazakov;

c) D.V. Ukhtomsky;

d) D. Quarenghi.

23. A master of sculptural portrait, he left to his descendants bronze and cast-iron busts of statesmen and a wax portrait of Peter I:

a) F.I. Shubin;

b) E.M. Falcone;

c) K.B. Rastrelli;

d) I.P. Martos.

24. The ideas of organizing and opening the Kunstkamera and the Academy of Sciences in St. Petersburg belonged to:

a) Peter I;

b) Anna Ioannovna;

c) Elizabeth Petrovna;

d) Catherine II.

25. On Red Square, Peter I ordered to build:

a) "Comedy temple";

b) Spasskaya tower;

c) "Court Theatre";

d) Frontal place.

26. What is the architectural style, the most important feature of which was the appeal to forms ancient art as an ideal standard:

a) baroque;

b) rococo;

c) classicism;

27. Name the architectural style, distinguished by grandiosity, splendor, scope, bizarre plasticity of facades, complex broken lines:

a) baroque;

b) rococo;

c) classicism;

28. Indicate the direction in the literature of the second half of the 18th century, which is characterized by the image of intimate life, family life of people:

a) classicism;

b) artistic and realistic;

c) sentimentalism;

d) realism.

29. “He created the first university. It can be said that he himself was our first university,” these are the words of A.S. Pushkin are:

a) M.V. Lomonosov;

b) I.I. Shuvalov;

c) I.P. Kulibin;

d) N.I. Novikov.

30. Lomonosov M.V. became the first Russian professor, member of the Academy of Sciences:

a) in 1742;

b) in 1745;

c) in 1749;

Worksheet Enter the words in the cells indicated by numbers and in the highlighted cells read the name of one of the first artists of the time of Peter the Great.

1. The name of the entertainment meeting. 2. The famous turner-mechanic. 3. The first Russian museum. 4. The first Russian printed newspaper. 5. Explorer named after the strait between Asia and America. 6. Explorer, whose name is given to the northernmost cape of Eurasia. 7. Collection of sample letters.

Worksheet Indicate who is in the photographs.

Russian poet (1743 - 1816). Glory came to him after the appearance of his "Felitsa" (1782), the famous ode addressed to Catherine - the enlightened "mother of the fatherland." He held the highest government positions - senator, state treasurer, minister of justice. He was the governor of Tambov from 1786 - 1788.

Russian architect (1700–1771), the main representative of the Russian baroque of the mid-18th century.

According to his designs, the Winter Palace in St. Petersburg, Biron's Palace in Mitava, St. Andrew's Cathedral in Kyiv, etc. were erected.

Writer, great historian (1766 - 1826), main work who glorified him - twelve volumes of the "History of the Russian State".

Painter - portraitist (1757 - 1825), at the same time engaged in icon painting and painting, the most famous portraits of M.I. Lopukhina”, “V.I. Arsenyeva", "Catherine II". He performed paintings in the Kazan Cathedral in St. Petersburg.

The statesman and church figure, writer, associate of Peter I (1681 - 1736), the treatise “On Poetic Art” written by him laid the theoretical foundations of Russian literature of modern times. He substantiated the holding of the trial of Tsarevich Alexei and proved the need for the creation of the Synod.

Prince, Senator, Acting Privy Councilor (1750 - 1831). From 1791 to 1799 - director of the imperial theaters; one of the richest people of his time, the owner of the famous Arkhangelskoye estate and his own theater.

Russian poet, philologist (1703 - 1768). Of particular interest is his ode "The solemn surrender of the city of Gdansk" (1734), this work actually became the first Russian ode. In 1752 he published the first textbook of syllabic versification.

Prince, poet, diplomat (1708 - 1744). The satire "On those who blaspheme the teachings" (1729) brought fame to the author. In total, five satires were written, which were approvingly received by the Russian people.

Great fabulist, prose writer, playwright, journalist (1769 - 1844). The first literary experience dates back to about 1783 - the comic opera The Coffee House. AT early XIX in. turned to the genre of fables, which he wrote more than two hundred, among them - "The Swan, the Pike and the Cancer", "The Crow and the Fox", etc.

Russian educator, writer, journalist, publisher (1744 - 1818). He published the first Russian magazine for women, Fashionable Monthly Publication, or Library for the Ladies' Toilet, and the first special children's magazine in Russia, Children's Reading for the Heart and Mind, as well as a number of magazines dedicated to individual branches of knowledge.

Russian painter, portrait painter (1735 - 1822). The depth and variety of individual characteristics marked his chamber portraits of the 1770s. Diderot, M.A. Dyakova”, “Ya.E. Sievers. In the 1780s the works "Catherine II", "Portrait of Agashi's daughter in Russian costume", etc. appear.

The first Russian professional writer (1717 - 1777). He wrote nine tragedies (“Khorev”, “Sinav and Truvor”, “Mstislav”, etc.), twelve comedies (“Guardian”, “Likhoimets”, etc.), librettos of two operas and a ballet, etc. In 1759

he publishes in Russia the first private magazine "Hard-working bee".

Russian painter (1701 - 1739). Performed decorative paintings in St. Petersburg and Moscow, as well as easel compositions, icons. The most famous portraits of I.A. and A.P. Golitsyn, "Self-portrait with his wife".

Thinker, writer (1749 - 1802). His most famous work is "Journey from St. Petersburg to Moscow".

Count (1751 - 1809), owner of the largest serf theater in Russia. In 1769 - 1773. got acquainted with theater life England, Holland, Sweden, operas, ballets, comedies were staged in his theater. Contemporaries were struck by the scale and magnificence of the performances.

Writer, educator, creator of Russian social comedy (1745 - 1792). His satirical skill manifested itself in the comedies "The Brigadier" and "Undergrowth".

Russian actor and theatrical figure (1729 - 1763). He organized an amateur troupe in Yaroslavl, on the basis of which in 1756 the first permanent professional Russian public theater was created in St. Petersburg.

The activity of this man (1704 - 1794) is associated with the emergence of new educational institutions in Russia: schools at the Academy of Arts, the Educational Home for Illegitimate Children, the Commercial School, the Institute of Noble Maidens in Smolny, etc. The basis of his pedagogical views was a deep belief that "the root of all evil and good is education." From this arose the practical task of raising a new breed of children.

The ideologist of the conservative nobility (1733 - 1790). In the Legislative Commission and in journalistic writings, he developed two theses: the need to maintain a dominant position in the society of the nobility and leave the feudal order unchanged. He outlined the idea of ​​​​an ideal state in an essay of a fantastic genre - “Journey to the Land of Ophir”. Peru of this author also belongs to the "History of Russia from ancient times", brought by him to 1613.

Worksheet Study the reproductions below and complete the tasks.

On this canvas of the master, the Russian Emperor Paul I is depicted in the costume of the Grand Master of the Order of Malta. Who is the author of the portrait Specify the famous sculptural creation of E.M. Falcone.

This building was opened in St. Petersburg in 1757, the work of most artists is associated with its activities. Determine what kind of building it is Who is the author of the project this work Levitsky was inspired by G.R. Derzhavin on the composition of the ode "Vision of Murza". Enter a title for the painting.

The work of the French sculptor N.F. Gillet is dedicated to the Russian Emperor. What _ The model for the creation of this architectural structure was St. Peter's Cathedral in Rome.

In St. Petersburg, this building was built from 1801 to 1811. Determine the author of the project and the name of the structure.

The historical genre of this painting by A.P. Losenko is combined with the tendencies of classicism. Enter the title of the artwork.

This architectural structure by A.F. Kokorinov is made in the style of classicism. What kind of building is this portrait of this author has a rare psychological depth for its time. In the harsh courageous features of the hetman, there seems to be an echo of the very era of Peter's stormy transformations and battles. Who is the author of the portrait This splendor was designed by the French architect J.B.A. Leblon. Specify the location of the architectural ensemble.

The ideal of human dignity and beauty was embodied in the portrait “Prince D.M. Golitsyn. Specify the author.

This architectural structure by V.I. Bazhenov was built in Moscow in the style of classicism. Enter the name of the building.

This engraving by M.I. Kozlovsky is dedicated to the Russian writer - the author of the comedy "Undergrowth".

Specify who is pictured.

architectural structure V.V. Rastrelli in St. Petersburg is imbued with the power and grandeur of the era. What kind of building is this Sculptor realist F.I. Shubin was also fond of creating portraits. He dedicated one of them to the Russian Empress. What _ This building is one of the most significant buildings of I.E. Starov in St. Petersburg, consisting of three independent buildings, was built in 1783 - 1789. Specify this architectural structure.

The fate of the author of the portrait is unusual. He comes from a family of serfs. Count P.B. Sheremetev made him a "house" artist. Portrait of Countess V.A. Sheremeteva is one of his brightest works. Determine who is the author of this portrait. This portrait belongs to the pen of A.P. Antropova. The emperor is depicted as if “running into magnificent chambers”: uncertainty, spiritual disharmony against the backdrop of a luxurious interior - this is what the author perspicaciously saw. Enter a name for the portrait.

The Senate building in the Kremlin is one of its most famous buildings. Specify the author of the project.

This bust is the work of F.I. Shubin is dedicated to the outstanding Russian scientist of the XVIII century. Enter the scientist's name.

REFERENCES 1. History and culture of the Fatherland / ed. V.V. Gulyaeva. - M. : Academic project, 2005. - 752 p.

2. History of the Fatherland from ancient times to the present day / comp. B. Yu. Ivanov. - M. : Great Russian Encyclopedia, 1999. - 656 p.

3. History of the Fatherland / comp. B.Yu. Ivanov. - M. : Eksmo, 2003. - 704 p.

4. History of Russia from ancient times to 1861 / ed. N.I. Pavlenko. - M. : Higher school, 2004. - 536 p.

5. History of Russia / comp. : A.S. Orlov, V.A. Georgiev and others - M .: Prospekt, 2005. - 520 p.

6. History of Russian culture: names and facts of the XIV - XX centuries. / ed. V.P. Meshcheryakova. - M .: Moscow Lyceum, 1999. - 624 p.

7. History of Russian culture IX - XX centuries. / ed. L.V. Nightmare. - M. : Bustard, 2004. - 480 p.

8. Karpushina, S.V. History of world culture / S.V. Karpushina, V.A. Karpushin. - M. : Nota-bene, 1998. - 536 p.

9. Kondakov, I.V. Culturology / I.V. Kondakov. - M. : OMEGA-L, 2003. - 613 p.

10. Culturology / ed. A.N. Markova. - M. : UNITI, 1998. - 576 p.

11. World of Russian culture: encyclopedic reference book. - M. : Veche, 2000. - 624 p.

baroque style embodies new ideas about the eternal variability of the world. It is distinguished by grandiosity, pomp and dynamics, a passion for spectacular spectacles, strong contrasts of scale and rhythm, 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 environment.
Interiors baroque style are decorated with multi-color sculpture, modeling, carving; mirrors and murals illusoryly expand the space, and ceiling painting creates the illusion of open vaults.
Decorative multifaceted compositions of a religious, mythological or allegorical nature, ceremonial portraits predominate in painting and sculpture. When depicting a person, states of tension, exaltation, and increased drama are preferred. In painting great importance acquires an emotional, rhythmic and coloristic unity of the whole, often an unconstrained freedom of brushstroke; in sculpture - the picturesque fluidity of form, the richness of aspects and impressions.
Square of St. Peter's Cathedral. Lorenzo Bernini Bernini created a huge square in front of St. Peter's Cathedral- the largest architectural ensemble of Italy of the 17th century, in the years 1656-1663 he decorated the square in front of the cathedral with a huge colonnade.
Bernini organizes two squares, "strung" on a single axis with the cathedral: an oval and a second, additional - trapezoidal, bounded by walls, "tying" the first square to the facade of Maderna. Separate columns were also a new solution: 284 columns in 4 rows encircle the elliptical square from the sides, leaving a wide passage in front, and diverging to the side in depth and opening the facade of the cathedral. The oval shape, favored by baroque architects, created a feeling of instability, mobility, and to some extent uncertainty: angles change depending on the position of the viewer. This increased the decorative effect. At the same time, the colonnades themselves, created by applying the Tuscan order, are extremely monumental: huge trunks support an elastically curving ribbon of an entablature, above which, in a clear rhythm, are statues of saints.
Using the technique of illusory perspective, which he had previously used when creating the Royal Staircase in the Vatican, the cathedral from a distance seems smaller than it actually is, remains for a long time, as it were, the same size, and then abruptly grows to a huge size. The center of the square is marked by an Egyptian obelisk, in the center of its side sectors there are two magnificent fountains.
This whole ensemble obscured the disordered buildings that existed on the sides and at the same time formed a monumental “background” for solemn processions, for the congress of the nobility for a solemn service in the cathedral, for the mass of the people, whose movement is called upon to awaken, organize and make purposeful the dynamics of architectural space.
The Regia Rock, created by Bernini and leading from St. Peter's to the Vatican Palace, is a type of "march by march" staircase. The perspective is enhanced by a gradual decrease in the height of the columns and the width of the steps - in a similar way, the effect of perspective will be created in the theater.
Greatly favored by Urban VIII, Bernini experienced a brief period of disfavour at the start of the pontificate of Innocent X, who at first favored Algarda and Borromini. But his architectural genius was fully appreciated under Pope Alexander VII. It is from this period that the palazzos belong. kiji(1664).

32. Palace buildings and their interiors in the Baroque era of the 17th-18th centuries

In baroque architecture, the balance of masses and space, the harmony of carried and bearing parts, the calm measured rhythm, characteristic of Renaissance architecture, are violated. The masses of the building come to life, come into motion, architectural forms begin to push each other, break the boundaries of clear geometric shapes, solid material turns into a pliable mass, decorative details create a bizarre play of light and shadow. Plans of baroque buildings take on complex outlines of conjugated ovals and other irregular shapes. Both external and inner space involved in this fierce struggle. The facades of baroque buildings, whimsically curving, involve the surrounding streets and squares in their rapid movement. Baroque architecture is the architecture of large-scale urban and suburban ensembles, which gave a powerful impetus to the further development of urban planning.
In France, one of the most remarkable baroque palace ensembles was created - Versailles(1668-1689), which became a model for luxurious country residences of European monarchs, including Russian ones.
The building of the Palace, built according to the project of architects Louis Levo and Hardouin Mansart, combines classical clarity and austerity of volumes with the Baroque organization of the internal space of the main Mirror Gallery, the framework of which is illusoryly expanded by mirrors and murals. The abundance of gilding, sculpture and painting in the interiors will later become a favorite technique of baroque architecture. In plafond painting, the image of the firmament with angels and clouds in perspective is conveyed so accurately that it is difficult to determine where the border of real space passes, and where the illusion of reality begins.
Baroque is characterized by the creation of huge ensembles in which architecture, painting, sculpture, theater, music, arts and crafts and gardening art merge into a single whole, marked by solemnity, splendor, grandeur.
In the 18th century, baroque took root in Russia. The new manners of the tsar's court and the new Russian nobility, which since the time of Peter I were persistently introduced into use in Russia, also required European-style palaces, where luxurious balls, ceremonial receptions, and rich dinners could be held. Peter I himself gravitated more towards the Protestant restraint of Dutch architecture, but his daughter, Elizaveta Petrovna, leaned towards the forms of lush Italian baroque. During the years of her reign (1741-1761), the best examples of Russian baroque were created, which differed from the Italian in worldly cheerfulness and the absence of religious mysticism, and from the German or Austrian in the emphasized scale and monumental scope of architectural ensembles.
The most outstanding architect of the Russian Baroque was Francesco Bartolomeo Rastrelli. His ancestors come from Florence, his father is a sculptor and architect Bartolomeo Carlo, who came to St. Petersburg under Peter. Only Francesco Bartolomeo Rastrelli was able to build such Palace in Tsarskoye Selo that would suit her needs and taste. The facade of the palace itself is so strongly rhythmically dissected by powerful "blows" of white columns that stand out against a blue background, that there can be no question of any monotony. Only by looking closely, you can see behind the choir of columns and pilasters the traditional three-sided construction of the palace building.
The interior premises are located on three floors, which also corresponds to the accepted scheme: on the lower, low floor there are service premises, on the second - high - enfilades of ceremonial halls and chambers, and on the third - living rooms of the royal family.
Main hall of the palace Grand Gallery(17 m wide, 47 m long, 7 m high, with a total area of ​​800 sq. m) without a single internal support. In addition to real windows, there are also fake ones - mirrors that artificially expand the huge interior space. Patterns of type-setting parquet, gilded wood carving, ceiling painting - everything in this room is striking in its sophistication, betraying the hand of a brilliant master. All rooms in the palace are different, there is a Chinese room, a crimson room, and the famous amber room - a wonder of the world, presented to Peter I in 1716 by the Prussian king.
Of the other buildings of Rastrelli, one cannot fail to mention the famous Winter Palace with a magnificent front staircase, where the architect used the same effects of fake windows - mirrors to visually expand the space, and Smolny Cathedral In Petersburg. Rastrelli's style is impossible not to recognize. Even in small buildings, such as the Cathedral of the Smolny Monastery, he managed to create a bright, cheerful, high spirits, a lively play of light and color, a solemn rhythm of forms, an exquisite silhouette of a five-domed completion.
Baroque manifested itself in different ways in different countries, but its characteristic features and formal features can be found everywhere. These are complex curvilinear plans, thickened columns that replaced the flat pilasters of the Renaissance, a torn entablature, rhythmic diversity and saturation, powerful plasticity of the walls, violent movement, the struggle of masses and space, involving external space in it, the creation of a synthesis of arts, united by a common idea and style, the creation of majestic architectural ensembles in cities and palace and park ensembles in country residences, an abundance of gold, wood and stone carvings, lush decorative details and sculptures, a rich play of color and light. This is a style based on the use of classical architectural order forms, brought into a state of dynamic tension, sometimes reaching convulsions.

Types of buildings in the Baroque style

The baroque is characterized by the complexity of plans, the splendor of interiors with unexpected spatial and lighting effects, the abundance of curves, plastically curving lines and surfaces; the clarity of classical forms is contrasted with sophistication in shaping. Painting, sculpture, painted wall surfaces are widely used in architecture.
architectural forms Baroque inherited the Italian Renaissance, but surpassed it in complexity, diversity and picturesqueness. Strongly flared facades with profiled cornices, columns, semi-columns and pilasters colossal for several floors, luxurious sculptural details, often fluctuating from convex to concave, give the structure itself movement and rhythm. Not a single detail is independent, as it was during the Renaissance. Everything is subordinated to the general architectural design, which includes the design and decoration of interiors, as well as landscape gardening and urban architectural environment.
The largest and most famous baroque ensembles in the world: Versailles (France), Peterhof (Russia), Aranjuez (Spain), Zwinger (Germany), Schönbrunn (Austria).
Baroque in the interior
The baroque style is characterized by ostentatious, sometimes even exaggerated luxury, although this style retains such an important feature of the classical style as symmetry.
Painting in the interiors of the Baroque style is one of the main, necessary dominants. The ceiling, decorated with bright rich frescoes, the walls of painted marble and gilding are frequent techniques for decorating the interior in the Baroque style. Contrasting colors are often used in Baroque interiors, such as a checkerboard-style marble floor where black and white tiles alternate in a checkerboard pattern. The use of gold and gilding in the interior is ubiquitous. Every corner of the interior should be richly decorated.
Furniture became a real piece of art, its pretentiousness and richness, it seemed, was intended only for decorating the interior, and were not of a utilitarian nature. Chairs, sofas and armchairs are upholstered with expensive, richly colored fabrics and tapestries. The beds are huge, with canopies and flowing bedspreads. Wardrobes are also large, decorated and inlaid. Mirrors are decorated with sculptures and stucco moldings with floral patterns, often gilded. Southern walnut and Ceylon ebony were often used as furniture material.

33. furniture and other baroque interior elements

The Baroque style in the interior is designed to show the wealth and prestige of the owner of the house of the 17th-18th century. Baroque design is characterized by dynamism of images, the desire for grandeur and pomp, to combine reality and illusion. The Baroque style in the interior uses curvilinear and architectural forms (columns, architectural decor). Plastic forms of jewelry, ornate and intricately intertwined ornaments create sublimity and volume. Gold (gilding), silver, copper, bone, marble and various types of wood are widely used.
Baroque walls: The choice of wall decoration for the Baroque style is great and depends more on the desired overall impression, the main thing is the lack of uniformity and the presence of various inserts, borders, even architectural decor. Textile wallpapers, wooden panels (often painted), plaster (without relief), stucco molding (often gilded) can be used. A baroque wall should be non-uniform, but rather graceful and ornate to match the furniture. Tapestries (tapestry) are widely used - woven carpets without lint. In addition to tapestries, brocade is often used to enhance the impression of luxury.
Baroque ceiling: First of all, it is a continuation of the wall, its ideas, textures and even patterns, without sharp interruption and contrast. As well as on the walls, stucco molding and gilding are used in the Baroque interior. Fresco painting is used to add sophistication. Both flat ceilings and those made in the form of vaults are used equally. Often in the Baroque style, it is the fresco that is used to feel the volume and height of the ceiling.
Baroque flooring: Both ceramic flooring (imitation of marble or majolica) and wooden flooring are used in the same way. The choice of parquet in the Baroque style is also very diverse, from small piece to artistic. The size of the tile, parquet board, or the number of stripes in the laminate, however, as well as the color of all of the above, remains at your personal choice to match the overall interior. The only condition will be the absence of a sharp color contrast of the floor from the general tone of the finish. As an addition to the Baroque interior, painted carpets are used (a small part of the floor).
Baroque furniture: Lacquered, with curved legs, rich in intricate gilded carvings. Armchairs with a strongly bent back and an elongated seat for outstretched legs. Baroque sofas resemble several armchairs connected to each other. The upholstery is bright, often decorated with fringe, the upper edge of the back of the sofa is wavy. Chests of drawers with drawers, double-leaf cabinets, and showcases will perfectly fit into the interior of the Baroque style. Tables with a massive top made of mosaic and colored marble, round, less often rectangular in shape. The edges of the tables are carved and inlaid with heads of rams, lions or female figures. The bed is chosen massive, focusing on the beautifully decorated headboard.
Baroque decor items: Mirrors, sculpture and painting (copies of Rubens, late Rembrandt, Caravaggio) are used as decorative elements of the interior in the Baroque style. The main theme for painting were: portraits, urban landscapes, the sea, French genre scenes with the interiors of baroque palaces. Large mirrors are hung on the walls, decorated with massive stucco molding with gilding.
Grandfather clocks decorated with bronze, pedestals for sculptures, caskets on the table, candelabra will look great in the Baroque interior, an old globe and a wall map for the office. Boudoirs are decorated with dense fabrics with a complex woven pattern. The design uses fabric with a pattern of flowers, birds or landscapes.

34. Baroque France, Louis 14th style. Versailles, Louvre. features of planning, decor and decoration

Louis XIV (reign 1643-1715). The long 72-year reign of Louis XIV fell on the Baroque era. Under him, Versailles was built, the Versailles park was laid out. It is Louis XIV that is meant first of all when they talk about the interior "Louis style" (it is also called the "great Louis style"). From the furniture and furnishings under the Sun King, crystal chandeliers appeared, carved luxurious frames were gilded, and a love of playing with space with the help of mirrors.

In the "brilliant seventeenth century" style, etiquette, manner became a real mania. Hence the fashion for mirrors and memoirs. People wanted to see themselves from the outside, to become spectators of their own poses. The flourishing of the art of the court portrait was not long in coming. The luxury of palace receptions amazed the envoys of European courts. In the Grand Gallery of the Palace of Versailles, thousands of candles were lit, reflected in the mirrors, and on the dresses of the court ladies there were "so many jewels and gold that they could hardly walk."

The interiors of the time of Louis XIV acquire, in contrast to the external appearance of the buildings of this time, an extremely magnificent, solemn-ceremonial character. Fulfilling their social and historical role, they served as a rich, magnificent and at the same time monumental backdrop for the ceremonies and rituals of the court life of that time. France during this period was the most powerful state in Europe. The artistic dictator of that time, the court painter Charles Lebrun, sought to increase the major sound of the interior decoration by introducing polychrome marbles in combination with gilded bronze, reliefs, and outwardly spectacular plafond painting. Order elements were used in the interiors, mainly pilasters, semi-columns, but the main attention was paid not to the accuracy of their proportions, but rather to the decoration - lining with colored marbles. main role in the decoration of the premises, heavy frames and architectural plastic details played, which framed and decorated individual sections of the walls, cornices, were placed in the form of desudesports above the doors, on the ceiling. Examples are the decoration of the Palace of Versailles, including the halls of War and Peace.

The palace furniture of the Louis XIV style was distinguished by the richness and oversaturation of the design, especially the carving, which was richly covered with gilding. In addition to carved furniture, “bull-style” furniture, later named after the court blacksmith Andre Charles Bull (1642 - 1732), comes into fashion. In the presence of a fairly simple structure, objects were created from colored, mainly ebony, they were decorated in abundance with the help of orozon frames filled with tortoiseshell inserts, mother-of-pearl and other materials, rods, rosettes and other details. The compositional basis was made up of panels with the introduction of human figures framed by the twists of the ornament. Bull's furniture, rich and refined, at the same time produced a feeling of a certain dryness of forms.

Since the 1680s, furniture made in this style has acquired a special sophistication in decoration, due to the displacement of wooden parts by shiny metal - gilded bronze. Silver, brass, tin were also used in decoration.

Armchairs, chairs, and sofas that are becoming widespread at this time have S-shaped or pyramidal, tapering down legs. The shape of the armrests is also becoming more complicated. The soft seat, high back and partially armrests are covered with various elegant trellis fabrics with images of trees, flowers, birds and ornamental curls. The types of chairs are becoming more diverse, in particular, there are chairs with two side semicircular ledges at the back at head level - especially for the elderly. On the basis of the combination of three interconnected armchairs with armrests missing from the central chair, sofas arise. The frames of their backs acquire soft wavy outlines.

At this time, cabinet furniture became more widespread: tables of various shapes, wall consoles, most often on bent legs, chests of drawers that replaced chests-cassettes for storing linen. Rich carvings and gilded bronze details are widely used in decoration. The furniture of this time, heavy and monumental, acquires a great compositional diversity both in general and in individual elements.

applied arts middle and second half of the XVII century, as noted above, had great value for interior decoration. The rooms were decorated with espaliers, savoneri pile carpets laid on the floor, silk fabrics, draperies and tablecloths, silverware, which over time became more widespread and important.

Since the end of the 17th century, due to the deterioration of the economic situation of the country, including the royal court, caused by failures of a military and political nature, the ultimate luxury of decoration, observed at the court of Louis XIV, gives way to relative restraint. The elements of classicism are intensified in the interiors.

35. Rococo, Louis 15 style. Trianon and Parisian houses and hotels. Furniture and decor of the 18th century. Peculiarities decorative finishes, furniture and other interior elements

This style is characterized by a desire for intimacy and convenience. Rooms are getting smaller and warmer, ceilings are getting lower, wood paneling is being painted in warmer and softer hues (pink, cream, pastels).

In the era of this style appeared:
We see curved legs (known as the “Louis XV leg”) appearing, which are an evolution of animal legs, but now the paws of a fallow deer or lion are taken as the model.
For the first time since the Medieval style, we see the return of asymmetry. Small chests of drawers often become asymmetrical, but always balanced; looking at these objects causes a flight of fancy, instead of a desire to ask questions.
Attention is paid more to the decoration than the practicality of the form, for example in the case of a chest of drawers, bronze decorations move from one drawer to another to hide the joint between them.
Furniture is created with the expectation that it will stand anywhere in the room, and not just around the periphery, as we see in the Palace of Versailles. That's why back side backs are made more carefully.
The seat rim becomes more curved and at the same time, for the first time, raised.
Violin-shaped backs and cabriole backs (curved in the plane) appear, designed for chairs placed in the middle of rooms, and chairs placed along the walls always had a queen back (straight in the plane), regardless of whether they were made in the form of a violin or no.

Ornament and decoration

The era of ornamentists has come - a new profession that precedes the emergence of decorators and designers: they are interested in the entire interior decoration project, starting with wall cladding with panels, marbled plaster, paintings, and ending with furniture and chandeliers.

Louis XV style furniture is often decorated with rococo bronze motifs.

Wooden mosaics or marquetry were initially abandoned in favor of scrollwork, where the beauty of the cut of the wood predominates (amaranth, snakewood, rosewood and violinwood); but since 1745 the fashion for wooden mosaics returns and we see the image of bouquets of flowers and / or musical instruments(for the setting of the courtyard), very colorful and carefully made.

Bronze elements, as a rule, are skillful chasing with mercury gilding and are combined with the pattern of wooden decor panels (handles, edging strips and other fittings), now making it possible to display any representatives of the aquatic world (shells, elements of foliage, acanthus, reeds), while shells , which appeared in the Regency era, are cut in a semicircle and resinous.

The chairs are upholstered in flowery silk and more and more often completely covered with gilding.

Furniture is increasingly covered with a protective varnish, which is delivered with Far East. The desire to imitate such varnishes caused the appearance of European varnishes.

Trianon(fr. Trianon) - a village near Versailles, bought by the king Louis XIV and ceased to exist in 1668. Its lands were attached to the gardens of Versailles and it was on this territory that the palaces of the Grand and Petit Trianon were built.

Furniture typical of the Louis XV style
contain only small furniture.
The following furniture is mainly produced:
- small chests of drawers with two drawers and hidden crossbars;
- small tables or serving tables;
- armchairs and chairs of all kinds;
- gaming tables.

Furniture that appeared for the first time
- Chairs are made either with a straight and flat back, which was called the "queen's back", or with a concave back, which was called "cabriole", with a variety of carved recesses.
- Canape (ottoman)
- Bergère (deep armchair) suitable for ladies in dresses with pannier (whalebone frame), having a cushion and upholstered in luxurious silk with patterns of Chinese ornament and flowers
- Inclined-plane secretary, soon to give way to cylinder-secretary
- Bookshelf
- Dressing table
- Bed in Polish: two backs, on which four curtains of drapery descend, diverging at the corners. Turkish bed: three backs, one of which is adjacent to the wall.

materials
Oak is beginning to be massively used in frame furniture, and it is gradually replacing the spruce, which was used in the era of the Louis XIV style.
Veneer sheathing becomes more diverse in order to expand the range of color shades. Masters refuse ebony, preferring more sparkling and shimmering different shades of wood: rosewood and violin wood (furniture veneered with these two species seems dull to us today; the reason for this is only in age, its original shade was very expressive), rosewood, boxwood , pear (tinted or natural), plum.
As for chairs and armchairs, they were often made of solid types of wood, including beech, walnut, cherry and mahogany (even though it is not suitable for chairs due to its fragility). The chairs are often completely painted or gilded.

36. Louis 16 and the emergence of neoclassical style. Opera theatre at Versailles. Excavations in Pompeii and Herculaneum in 1748, their influence on the formation of the neoclassical style

The Louis XVI style in the interior is a prime example of neoclassicism in design and architecture. the emergence of a new discipline of archaeology. In the 1730s and 1740s, people were given the opportunity to see the most impressive archaeological sensations - thanks to the ruined Roman cities of Pompeii and Herculaneum, buried under the volcanic debris of Vesuvius. Suddenly, modern scientists and artists approached the Romans in a way that they had never approached before, since excavations revealed to them not only buildings, but also people who existed then, whose fossilized imprints of bodies seemed to be frozen in time. In addition, an important fact for the architecture of neoclassicism and fine arts was that the remains of wall paintings, furniture and other household items allowed people to better understand the ways of arranging and decorating the houses of the Romans. The quality and quantity of discoveries shocked the world.
A mixture of classical antique traditions in architecture with rococo was embodied in the appearance of this style. As a consequence of the return of fashion to antiquity, the interiors under Louis XVI and Marie Antoinette became more restrained, the forms more straightforward. The fashion for classicism extinguished the unrestrained and pretentious Rococo, but not completely. As a result, diversity can be observed in interior items - straight, strict lines - chair legs, cabinets and cabinets are softened by rounded headboards of beds, chairs, armchairs and couches. The oval is the most popular figure in most Louis XVI interiors. This form was used in the design of tables, mirrors and other furniture. The prevailing colors are light, pastel, with a moderate use of gilding - trims, corners and door handles got off with it. Two themes are intertwined in the decor plots - antique classical elements (laurel wreaths, mascarons, characters of ancient myths) and pastoral, provincial motifs introduced into the style by Marie Antoinette (a bouquet of flowers, ears of corn, ribbons and rural household items). The style of Louis XVI had a significant influence on the development of interior design of that time and remained popular until the 19th century.
Mahogany was mainly used for veneer. Along with it, exotic tree species are used to inlay the panels, such as lemon, satin, pink, tulip, etc. The frame was made of wood that had a dark color, for example, ebony, arborvitae, etc. porcelain or bronze. The legs no longer had their former curves, they became narrower, long, slightly twisted or with elegant flutes. The color scheme is represented by light pastel colors, sometimes individual fragments of furniture were covered with white lacquer and light gilding. Silk and tapestry fabrics were used as upholstery materials.
Royal Opera of Versailles(fr. Opera Royal de Versailles) is the main opera and drama theater Palace of Versailles. Designed by the architect Gabriel and decorated by the sculptor Pajou, the Opera House was built entirely of wood and painted in marble, mainly for economic reasons.

37. Empire style. The use of military and imperial symbols in the decor. Features of decorative finishes, furniture and other elements of the interior

Having gained wide popularity at the beginning of the 19th century, the Empire style interior is a ceremonial military triumph of the imperial style in all its splendor. The birthplace of this exquisite style is France, which is still considered the trendsetter of world fashion. Since this was the golden time of Napoleon's reign, the pompous Empire style in the interior is often called Napoleonic classicism. It has various elements of military heraldry, laurel wreaths of the winner and walls decorated with crossed spears or swords. In the imperial house, the interior should be worthy of royalty. Luxury and pathos, glory and military power, superiority and demonstration of greatness - this is what distinguishes the Empire style from others.

The Empire style in the interior can be called the final culmination of classical austerity, the style of the era of Napoleon Bonaparte, who wants to show his grandeur and spectacle against the backdrop of classical forms. The design in the Empire style is characterized by bright, eye-catching red, blue, white - the colors of the Napoleonic flag. The frequent combination of white with gold and purple shows wealth and prosperity. The ornaments include circles, ovals, rhombuses, lush borders made of oak branches, Napoleonic bees and stars made of gold and silver brocade on a scarlet, crimson, blue or green background. Peace, orderliness, strict symmetry and complete balance of parts reign in the interior of the Empire style.

Empire-style walls: Empire-style walls create the effect of a bright silk fabric that covers the wall, for example, with the help of fights (textile or imitating this effect). The second option is painting the walls. Choose saturated colors, do not be afraid of the gloss effect. The Empire decor uses ancient architectural forms: consoles, friezes, columns, pilasters, cornices. In the case of fresco, it is better to choose grisaille, and try not to disturb the overall symmetry of the composition.

Empire Ceiling: More often in the Empire design, rich white, ivory / pale cream is also used. The image is complemented by stucco in a small amount. Try to be clear and rigorous.

Empire style floor: Parquet flooring is predominant for the Empire style, and artistic parquet with an abundance of used wood species is more suitable. If you choose a plain parquet floor, match the color of the wood on the furniture. In the bedroom and living room, you can add a short pile carpet. Also, one of the options can be the effect of a marble floor.

Empire style furniture: In the interior in the Empire style, it is massive, with smooth polished surfaces, decorative bronze reliefs, details in the form of cornices, columns, lion's paws, similar to architectural structures. In the interior in the Empire style, preference is given to hard furniture. Bedside tables in the form of pedestals, tables for washing in the form of tripods, silk upholstery of furniture woven with gold. Empire furniture is lush, somewhere even losing in ease of use. Chairs are somewhat simpler than armchairs, their backs are often given the shape of a lyre. A factory sofa or a bookcase is indispensable here; fine work of human hands is needed. There should be a lot of furniture in the Empire style interior - these are various slides, shelving, bar counters with marble tops, bookcases and round tables. An important detail for women will be a dressing table with carvings and a large mirror.

Empire style decor items: The centerpiece of the Empire style in the interior is occupied by marble caskets, silver candy bowls and fruit baskets, collectible figurines, porcelain dinnerware sets, and delicate crystal. A table clock. Empire. To emphasize the Empire style in the interior, candelabra and paintings of that era are used (antique themes, cityscapes, portraits in the spirit of the 19th century). The windows are framed with heavy curtains, which can be transformed if desired. Light falls from pompous crystal chandeliers with a mass of pendants and light bulbs.

The Empire style interior involves the use of expensive natural materials. These include wood, marble, crystal, gold, silver, bronze.

38. Georgian style as a development of the Renaissance style in England. Features of decorative finishes, furniture and other elements of the interior

The Georgian period began with the reign of George I (1714-1727) and continued for another hundred years. The beginning of this period is characterized by the fashion for the rococo style with asymmetrical lines, swirls and garlands. Travelers around different countries brought to England newfangled trends, one of which was classicism, widely used both in architecture and in the interior.

The Georgian style was and still is considered the golden age and the heyday of decorative and furniture production. Marble was widely used in the decoration, the windows were decorated with carved shutters, the ceilings were stucco, the walls of the house were covered with wooden paneling. English practicality did not mean that the Georgian style had to be exclusively utilitarian.

Walls. The decoration of the walls in the Georgian interior was given a lot of attention. Wall space in classic version was divided into three sections. The first included a plinth, consisting of a plinth, a panel and a slat, this section was sheathed with wooden panels.

At about 75 cm from the floor, the second middle section began, the third section included a frieze and a cornice. The house in the middle part of the walls was usually sheathed with fabric or expensive wallpaper, excluding the dining room and kitchen.

Floors. A typical house in the Georgian era necessarily had floors made of planks or parquet, rubbed with wax. English or oriental carpets gave comfort to the dwelling. An alternative was considered to be the application of varnish or paint on wooden boards. Terracotta tiles were used in the kitchen, bathroom, hallways.

Situation. A Georgian home must have an ensemble of furniture, where all the individual items would be combined in upholstery or base material. Velvet, silk, damascus, furniture tapestry and chintz were widely used in the interior.

Accessories and lighting. In addition to the fire in the fireplace, the house was also lit by dozens of candles. They were placed in candelabra, lanterns, candlesticks, sconces, decorated in a classic design or in the rococo style. Mirrors and paintings placed in gilded frames were considered indispensable accessories; Chinese porcelain dishes and fans were used for decoration. The house was decorated with silverware, patterns were applied to doors and walls.

It is not difficult to observe it in the interior, the main thing is to adhere to the basic rules.

Baroque architecture (gg.) Presentation on MHK was prepared by a student of the 11th grade of the Vasilevskaya secondary school Viktor Arkhipkin Viktor Arkhipkin Teacher: Ishimtseva N.N.

Prevailing and trendy colors Prevailing and trendy colors Subdued pastel colors; red, pink, white, blue with yellow accent Lines Whimsical convex-concave asymmetric pattern; in the forms of a semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal articulation Form Vaulted, domed and rectangular; towers, balconies, bay windows Characteristic elements of the interior 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 Semi-circular and rectangular; with floral decor around the perimeter Doors Arched openings with columns; floral decor

The emergence of the Baroque The Baroque style (Italian barocco, lit. - bizarre, strange) is born in Italy and spreads in most European countries, acquiring in each its own special national traits. Baroque works are distinguished by non-compliance with the rules of Renaissance harmony for the sake of more emotional interaction with the viewer. The Baroque style (Italian barocco, literally - bizarre, strange) is born in Italy and spreads in most European countries, acquiring in each its own special national features. Baroque works are distinguished by non-compliance with the rules of Renaissance harmony for the sake of more emotional interaction with the viewer.

Building features of the Baroque During the Renaissance, special attention is paid to the construction of cities. The bourgeoisie is not satisfied with crooked cramped medieval lanes. The idea of ​​a city of a centric type arises, reflecting the synthesis of rational forms of Roman military camps with the naturally developing concentric structures of medieval cities. During the Renaissance, special attention was paid to the construction of cities. The bourgeoisie is not satisfied with crooked cramped medieval lanes. The idea of ​​a city of a centric type arises, reflecting the synthesis of rational forms of Roman military camps with the naturally developing concentric structures of medieval cities.

"Ideal City" of the Renaissance Palma Nuova, 1593. The Baroque draws on the landscape as one of the main components of the urban ensemble. The architectural formation of urban centers continues. At the same time, the square loses its functional and democratic content, which was inherent in it in the era of the early Middle Ages (place of trade, folk gatherings). It becomes an adornment of the city, its front part, hiding the elements of intra-quarter development. The Baroque draws on the landscape as one of the main components of the urban ensemble. The architectural formation of urban centers continues. At the same time, the square loses its functional and democratic content, which was inherent in it in the era of the early Middle Ages (place of trade, folk gatherings). It becomes an adornment of the city, its front part, hiding the elements of intra-quarter development.

In the architecture of the Renaissance, the development of a project from the standpoint of theoretical mechanics, its engineering justification, is of great importance. In the architecture of the Renaissance, the development of a project from the standpoint of theoretical mechanics, its engineering justification, is of great importance. There is a differentiation between the work of the designer and the builder. There is a differentiation between the work of the designer and the builder.

The architect now supervised the construction, but was not one of the masters directly involved in the work. At the same time, he not only worked out the entire project in detail, often on a model, but also thought through the course of construction work, the use of construction mechanisms for lifting and installation.

Character traits Baroque Baroque embodies new ideas about the eternal variability of the world. It is distinguished by grandiosity, pomp and dynamics, a passion for spectacular spectacles, strong contrasts of scale and rhythm, materials and textures, light and shadow, a combination of the illusory and the real. Baroque embodies new ideas about the eternal variability of the world. It is distinguished by grandiosity, pomp and dynamics, a passion for spectacular spectacles, strong contrasts of scale and rhythm, 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 environment. 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 environment. Baroque interiors are decorated with multicolored sculptures, moldings, and carvings; mirrors and murals illusoryly expand the space, and ceiling painting creates the illusion of open vaults. Baroque interiors are decorated with multicolored sculptures, moldings, and carvings; mirrors and murals illusoryly expand the space, and ceiling painting creates the illusion of open vaults.

Types of Baroque Buildings Baroque is characterized by the complexity of plans, the splendor of interiors with unexpected spatial and lighting effects, the abundance of curves, plastically curving lines and surfaces; the clarity of classical forms is contrasted with sophistication in shaping. The baroque is characterized by the complexity of plans, the splendor of interiors with unexpected spatial and lighting effects, the abundance of curves, plastically curving lines and surfaces; the clarity of classical forms is contrasted with sophistication in shaping. Painting, sculpture, painted wall surfaces are widely used in architecture. Painting, sculpture, painted wall surfaces are widely used in architecture.
Church of Sant Ivo in Rome

The architectural forms of the Baroque inherited the Italian Renaissance, but surpassed it in complexity, diversity and picturesqueness. The architectural forms of the Baroque inherited the Italian Renaissance, but surpassed it in complexity, diversity and picturesqueness. Strongly flared facades with profiled cornices, columns, semi-columns and pilasters colossal for several floors, luxurious sculptural details, often fluctuating from convex to concave, give the structure itself movement and rhythm. Strongly flared facades with profiled cornices, columns, semi-columns and pilasters colossal for several floors, luxurious sculptural details, often fluctuating from convex to concave, give the structure itself movement and rhythm. Not a single detail is independent, as it was during the Renaissance. Not a single detail is independent, as it was during the Renaissance. Everything is subordinated to the general architectural design, which includes the design and decoration of interiors, as well as landscape gardening and urban architectural environment. Everything is subordinated to the general architectural design, which includes the design and decoration of interiors, as well as landscape gardening and urban architectural environment.

Worksheet 4 TESTS Indicate the correct answers. 1. Indicate the work written by D.I. Fonvizin: a) "Foreman"; b) "Auditor"; c) "Eugene Onegin"; d) painter. 2. Indicate the name of the satirical magazine N.I. Novikov: a) "Journey"; b) "Drone"; c) Vedomosti; d) news. 3. Determine the style in which the Winter Palace was built: a) baroque; b) classicism; c) rococo; d) modern. 4. Indicate what equated studying abroad and in domestic schools: a) to military service; b) to the administrative service; c) to public service; d) to the diplomatic service. 5. Specify the scientific discovery belonging to M. Lomonosov: a) the theory of atomic-kinetic structure; b) stratosphere; c) electricity; d) a steam engine. 6. Catherine II paid a lot of attention to the issue of education. During her reign, the following were published: a) scientific inventions of I.I. Polzunova; b) scientific inventions of I.P. Kulibin; c) Georgian and Tatar alphabet; d) the first Bible in the Slavic language. 7. The author of the most famous in the XVIII century. textbook "Arithmetic" is: a) L. Magnitsky; b) F. Prokopovich; c) I. Fedorov; d) I. Pososhkov. 8. Professional theatrical art in Russia it was represented by such a direction as: a) satirical; b) dramatic; c) operetta (vaudeville); d) artistic. 9. Karamzin N.M. He was engaged not only in history, but literary works also belong to him. One of them - a) "Undergrowth"; b) "Poor Lisa"; c) "Magpie - a thief"; d) Brigadier. 10. Determine who was called the "father of the Russian theater": a) N. Argunova; b) A. Losenko; c) F. Volkov; d) D. Fonvizina. 11. Like James Watt, this mechanic, whose steam engine was the first in Russia, went down in history: a) I.I. Polzunov; b) I.P. Kulibin; c) M.V. Lomonosov; d) A.K. Narts. 12. An outstanding mechanic, he repaired and created watch mechanisms, made an electric machine, a telescope and a microscope, created a project for a one-span bridge across the Neva: a) I.I. Polzunov; b) I.P. Kulibin; c) M.V. Lomonosov; d) A.K. Narts. 13. This figure played a big role in the organization of the Academy of Arts and Moscow University, was the patron of M.V. Lomonosov, and the name day of his mother Tatyana became a holiday for Russian students: a) I.D. Schumacher; b) I.I. Shuvalov; c) I.I. Betskaya; d) G.A. Potemkin. 14. Talented self-taught, who offered in the XVIII century. in his "Book of Poverty and Wealth" of the ways of turning Russia into an economically independent and rich country: a) I.T. Pososhkov; b) F. Prokopovich; c) M.V. Lomonosov; d) N.I. Novikov. 15. The new chronology in Russia was introduced in: a) 1700; b) 1699; c) 1720; d) 1750. 16. The first Russian printed newspaper was called: a) "Military Gazette"; b) Vedomosti; c) "Bell"; d) Pole Star. 17. Indicate in what year the city of St. Petersburg was founded: a) 1700; b) 1702; c) 1703; d) 1709. 18. “A rebel worse than Pugachev” Catherine II called: a) A.N. Radishchev; b) G.R. Derzhavin; c) N.I. Novikov; d) D.I. Fonvizin. 19. The era of "enlightened absolutism" is called the reign of: a) Peter I; b) Anna Ioannovna; c) Catherine II; d) Elizabeth Petrovna. 20. According to his sculptural portraits, one can imagine the appearance of statesmen of the Catherine's era (G.A. Potemkin, Paul I, etc.): a) F.I. Shubin; b) I.P. Martos; c) E.M. Falcone; d) K.B. Rastrelli. 21. The most famous Russian architect of the middle of the 18th century, who created the Winter Palace in St. Petersburg, the Catherine Palace in Tsarskoye Selo, who reached the highest rank - chief architect: a) D.V. Ukhtomsky; b) B.F. Rastrelli; c) A. Rinaldi; d) V.I. Bazhenov. 22. His work developed the classical traditions in Russian architecture, reflected in the Pashkov House in Moscow. This is said about the architect: a) V.I. Bazhenov; b) M.F. Kazakov; c) D.V. Ukhtomsky; d) D. Quarenghi. 23. A master of sculptural portraiture, he left to his descendants bronze and cast-iron busts of statesmen and a wax portrait of Peter I: a) F.I. Shubin; b) E.M. Falcone; c) K.B. Rastrelli; d) I.P. Martos. 24. The ideas of organizing and opening the Kunstkamera and the Academy of Sciences in St. Petersburg belonged to: a) Peter I; b) Anna Ioannovna; c) Elizabeth Petrovna; d) Catherine II. 25. On Red Square, Peter I ordered to build: a) "Comedy Temple"; b) Spasskaya tower; c) "Court Theatre"; d) Frontal place. 26. What is the architectural style, the most important feature of which was the appeal to the forms of ancient art as an ideal standard: a) baroque; b) rococo; c) classicism; d) empire. 27. Name the architectural style that was distinguished by grandiosity, pomp, scale, bizarre plasticity of facades, complex broken lines: a) baroque; b) rococo; c) classicism; d) empire. 28. Indicate the direction in the literature of the second half of the 18th century, which is characterized by the image of intimate life, family life of people: a) classicism; b) artistic and realistic; c) sentimentalism; d) realism. 29. “He created the first university. It can be said that he himself was our first university,” these are the words of A.S. Pushkin belong to: a) M.V. Lomonosov; b) I.I. Shuvalov; c) I.P. Kulibin; d) N.I. Novikov. 30. Lomonosov M.V. became the first Russian professor, member of the Academy of Sciences: a) in 1742; b) in 1745; c) in 1749; d) in 1752. Worksheet 5 Write the words in the cells indicated by numbers and in the highlighted cells you will read the name of one of the first artists of the time of Peter the Great. 1. The name of the entertainment meeting. 2. The famous turner-mechanic. 3. The first Russian museum. 4. The first Russian printed newspaper. 5. Explorer named after the strait between Asia and America. 6. Explorer, whose name is given to the northernmost cape of Eurasia. 7. Collection of sample letters. Worksheet 6 Identify who is in the photographs. Russian poet (1743 - 1816). Glory came to him after the appearance of his "Felitsa" (1782), the famous ode addressed to Catherine - the enlightened "mother of the fatherland." He held the highest government positions - senator, state treasurer, minister of justice. He was the governor of Tambov from 1786-1788. ____________________________________________ Russian architect (1700–1771), the main representative of the Russian baroque of the mid-18th century. According to his designs, the Winter Palace in St. Petersburg, Biron's Palace in Mitava, St. Andrew's Cathedral in Kyiv, etc. were erected. ____________________________________________ Writer, great historian (1766 - 1826), the main work that glorified him - twelve volumes of the History of the Russian State. _______________________________________________ Painter - portrait painter (1757 - 1825), at the same time engaged in icon painting and painting, the most famous portraits of M.I. Lopukhina”, “V.I. Arsenyeva", "Catherine II". He performed paintings in the Kazan Cathedral in St. Petersburg. _____________________________________________ State and church figure, writer, associate of Peter I (1681-1736), the treatise “On the Art of Poetry” written by him laid the theoretical foundations of Russian literature of modern times. He substantiated the holding of the trial of Tsarevich Alexei and proved the need for the creation of the Synod. ________________________________________________ Prince, senator, active Privy Councilor (1750 - 1831). From 1791 to 1799 – director of the imperial theaters; one of the richest people of his time, the owner of the famous Arkhangelskoye estate and his own theater. ________________________________________________ Russian poet, philologist (1703 - 1768). Of particular interest is his ode "The solemn surrender of the city of Gdansk" (1734), this work actually became the first Russian ode. In 1752 he published the first textbook of syllabic versification. ________________________________________________ Prince, poet, diplomat (1708 - 1744). The satire “On those who blaspheme the teachings” (1729) brought fame to the author. In total, five satires were written, which were approvingly received by the Russian people. ________________________________________________ Great fabulist, prose writer, playwright, journalist (1769 - 1844). The first literary experience dates back to about 1783 - the comic opera The Coffee House. At the beginning of the XIX century. turned to the genre of fables, which he wrote more than two hundred, among them - "The Swan, the Pike and the Cancer", "The Crow and the Fox", etc. _____________________________________________ Russian educator, writer, journalist, publisher (1744 - 1818). He published the first Russian magazine for women, Fashionable Monthly Publication, or Library for the Ladies' Toilet, and the first special children's magazine in Russia, Children's Reading for the Heart and Mind, as well as a number of magazines dedicated to individual branches of knowledge. _______________________________________________ Russian painter, portrait painter (1735 - 1822). His intimate portraits of the 1770s are marked by depth and variety of individual characteristics. Diderot, M.A. Dyakova”, “Ya.E. Sivers. In the 1780s the works "Catherine II", "Portrait of Agashi's daughter in Russian costume", etc. appear. _____________________________________________ The first Russian professional writer (1717 - 1777). He wrote nine tragedies (“Khorev”, “Sinav and Truvor”, “Mstislav”, etc.), twelve comedies (“Guardian”, “Likhoimets”, etc.), librettos of two operas and a ballet, etc. In 1759, he published in Russia the first private magazine, The Hardworking Bee. _______________________________________________ Russian painter (1701 - 1739). Performed decorative paintings in St. Petersburg and Moscow, as well as easel compositions, icons. The most famous portraits of I.A. and A.P. Golitsyn, "Auto-portrait with his wife". ______________________________________________ Thinker, writer (1749 - 1802). His most famous work is "Journey from St. Petersburg to Moscow". ______________________________________________ Count (1751 - 1809), owner of the largest serf theater in Russia. In 1769 - 1773. got acquainted with the theatrical life of England, Holland, Sweden, operas, ballets, comedies were staged in his theater. Contemporaries were struck by the scale and magnificence of the performances. ______________________________________________ Writer, educator, creator of Russian social comedy (1745 - 1792). His satirical skill manifested itself in the comedies Brigadier and Undergrowth. ______________________________________________ Russian actor and theatrical figure (1729 - 1763). He organized an amateur troupe in Yaroslavl, on the basis of which in 1756 the first permanent professional Russian public theater was created in St. Petersburg. ______________________________________________ The activity of this man (1704-1794) is associated with the emergence of new educational institutions in Russia: schools at the Academy of Arts, the Educational Home for Illegitimate, the Commercial School, the Institute of Noble Maidens in Smolny, etc. The basis of his pedagogical views was a deep belief that "the root of all evil and good is education." From this arose the practical task of raising a new breed of children. ______________________________________________ The ideologist of the conservative nobility (1733 - 1790). In the Legislative Commission and in journalistic writings, he developed two theses: on the need to maintain a dominant position in the society of the nobility and leave the feudal order unchanged. He outlined the idea of ​​an ideal state in an essay of the fantastic genre – “Journey to the Land of Ophir”. Peru of this author also belongs to the "History of Russia from ancient times", brought by him to 1613. ______________________________________________ Worksheet 7 Study the reproductions below and complete the tasks. On this canvas of the master, the Russian Emperor Paul I is depicted in the costume of the Grand Master of the Order of Malta. Who is the author of the portrait? ______________________________________________ Specify the famous sculptural creation of E.M. Falcone. ______________________________________________ This building was opened in St. Petersburg in 1757, the work of most artists is associated with its activities. What building is this? Who is the author of the project? ________________________________________ ____________________________________________ This work by Levitsky inspired G.R. Derzhavin on the composition of the ode "Vision of Murza". Enter a title for the painting. _______________________________________________ The work of the French sculptor N.F. Gillet is dedicated to the Russian Emperor. Which one? _______________________________________________ St. Peter's Basilica in Rome served as a model for the creation of this architectural structure. In St. Petersburg, this building was built from 1801 to 1811. Determine the author of the project and the name of the structure. _________________________________________________ _______________________________________________ The historical genre of this painting by A.P. Losenko is combined with the tendencies of classicism. Enter the title of the artwork. __________________________________________________________________________________ This architectural structure of A.F. Kokorinov is made in the style of classicism. What is this building? ________________________________________________________________ The portrait of this author is distinguished by psychological depth, rare for its time. In the severe courageous features of the hetman, there seems to be an echo of the very era of Peter's stormy transformations and battles. Who is the author of the portrait? ________________________________________________ This splendor was designed by the French architect J.B.A. Leblon. Specify the location of the architectural ensemble. ___________________________________ ___________________________________ The ideal of human dignity and beauty was embodied in the portrait “Prince D.M. Golitsyn. Specify the author. _________________________________________________________________________________________________ _____ This architectural structure of V. I. Bazhenov was built in Moscow in the style of classicism. Enter the name of the building. __________________________________________________________ This engraving by M.I. Kozlovsky is dedicated to the Russian writer - the author of the comedy "Undergrowth". Specify who is pictured. _____________________________________________ Architectural structure of V.V. Rastrelli in St. Petersburg is imbued with the power and grandeur of the era. What is this building? ________________________________________________________________________ Realist sculptor F.I. Shubin was also fond of creating portraits. He dedicated one of them to the Russian Empress. Which? _______________________________________________ This building is one of the most significant buildings of I.E. Starov in St. Petersburg, consisting of three independent buildings, was built in 1783-1789. Specify this architectural structure. The fate of the author of the portrait is unusual. He comes from a family of serfs. Count P.B. Sheremetev made him a "house" artist. Portrait of Countess V.A. Sheremeteva is one of his brightest works. Who is the author of this portrait? ____________________________________________ This portrait belongs to A.P. Antropova. The emperor is depicted as if “running into magnificent chambers”: uncertainty, spiritual disharmony against the backdrop of a luxurious interior - this is what the author perspicaciously saw. Enter a name for the portrait. ____________________________________________ The Senate building in the Kremlin is one of its most famous buildings. Specify the author of the project. ___________________________________ This bust is the work of F.I. Shubin is dedicated to the outstanding Russian scientist of the XVIII century. Enter the scientist's name. ______________________________________________