Examples of the Empire style in architecture. Empire style as a means of strengthening Napoleon's power Architectural structures and ensembles of the Empire style

Jacques Louis David
Emperor Napoleon in his study in the Tuileries

Empire style means imperial. Napoleon believed that he had the power to revive the Roman Empire by conquering and uniting all of Europe. And it begins to manifest itself in the art of France at the beginning of the 19th century.

Columns of the Corinthian order, symmetry, marble sculptures, including ancient gods, all this is inherent in the Empire style. And even a triumphal arch appears in Paris. Like the Roman emperors who erected triumphal arches in honor of their victories, Napoleon orders the construction of a triumphal arch in honor of the victories of his “Great Army”.

Firmin Massot
Empress Josephine

The Empire style at the beginning of the 19th century was mainly widespread in France. In parallel with it, another style of the early 19th century was developing - romanticism. And if in France there was an imperial style, then romanticism was inherent in the art of England and Germany.

Empress Josephine - wife of Napoleon,
was considered a trendsetter in the Empire style

The only country, besides France, in which the Empire style became widespread at the beginning of the 19th century, was the Russian Empire. And this is also not surprising - Russia also laid claim to the role of heir to the Roman Empire. There is a phrase - “Moscow is the third Rome.” The city of Constantinople, the capital of Byzantium, was traditionally considered the second Rome. Namely from Byzantium once Kievan Rus accepted Christianity.

V.L. Borovikovsky
Portrait of Lopukhina

Jean Auguste Dominique Ingres
Portrait of Mademoiselle Caroline Riviere, 1805

The Roman influence on the Empire style costume was especially noticeable in women's dress. A dress of a shirt cut, like Roman tunics, gathered in folds, so popular in ancient Greek and Roman costumes. And, of course, a high waistline, like the Roman table, which in Rome was worn only by married women.

Jean Auguste Dominique Ingres
Portrait of Madame Rivière, née Marie Françoise Biben Blau de Beauregard, 1806

Before 1809, women did not wear corsets with Empire style dresses. The corset went out of fashion immediately after the Great french revolution the end of the 18th century, as a relic of aristocratic fashion. However, already in 1809, corsets came back into fashion.

Jean Auguste Dominique Ingres
Portrait of Madame Leblanc, 1823

White, made of light fabric, often silk, the Empire style dress, according to the latest fashion of the time, was often worn wet so that the fabric hugged the figure and, thus, the female figure resembled the white marble columns of ancient temples.

In cold climates, such fashion contributed to the emergence of real fashion victims. In winter St. Petersburg, young ladies caught pneumonia, from which in those days one could easily die.

Jean Auguste Dominique Ingres
Portrait of Madame Devose, 1807

But already in the 1810s, Empire style dresses were gradually adapted to the European climate. So, dresses are starting to be made from denser and more expensive fabrics, for example, brocade or. Dresses are no longer exclusively white, however, they are still most often plain.

V.L. Borovikovsky
Portrait of Princess Dolgorukaya, 1811

Dresses are also decorated with embroidery. There are also options for dresses with long sleeves. In the 1810s, Empire style dresses lost their trains, and their skirts acquired a narrow, bell-shaped shape.

Jean Auguste Dominique Ingres
Portrait of Madame Marcotte de Sainte-Marie, 1826

Over the dresses they could wear a short jacket - a spencer or Kashmir shawls. Just like in Antiquity, great importance attached to draperies. So, in those days, instead of the phrase “well dressed,” a woman could be said to be “well draped.” Russian fur coats are also becoming fashionable.

Jean Auguste Dominique Ingres
Portrait of Madame Tournon, 1812

Very often long gloves are worn with empire style dresses. On the neck is a string of pearls or small beads.

As for the men's suit, its main quality since the beginning of the 19th century has been comfort. Ruffles, fluffy, somewhat reminiscent of a skirt, trousers, powdered wigs, all this is becoming a thing of the past. Fashion in the 19th century was no longer dictated by aristocrats, but by representatives of the bourgeoisie. That is business people, people working and leading an active lifestyle.

Jean Auguste Dominique Ingres
Portrait of Philibert Rivière, 1808

Thus, at the beginning of the 19th century, stockings and short culottes were replaced by long trousers, ankle-length pantaloons. These trousers are most often worn with suspenders.

Jean Auguste Dominique Ingres
Monsieur de Norvin, 1811-1812

Also, men of the early 19th century wore a white shirt with a starched stand-up collar, a colorful vest and a frock coat. The coat is double-breasted, hip-length, with a high collar. Later, the frock coat is replaced by a tailcoat. In the 19th century, a tailcoat was casual wear. He could be various colors.

A tailcoat was most often worn with light trousers and a vest that was lighter in color than the tailcoat. Around the neck, men of the early 19th century wore a prototype of a tie - neckerchiefs, which could be tucked behind the vest or tied different ways, for example, a knot or a bow.

Jean Auguste Dominique Ingres
Portrait of Edme Bochet, 1811

And, of course, many men at the beginning of the 19th century wore military uniform. After all, we should not forget that the beginning of the 19th century was the time of Napoleon and his wars in Europe. Napoleon himself also preferred to wear a military uniform, in which he was depicted in ceremonial portraits.

Paul Delaroche

Empire style fashion had a great influence on modern suiting. So, in fact, at the beginning of the 19th century, the prototype of a modern men's suit was formed - a jacket, White shirt, trousers, tie. As for women's empire style dresses, even today empire dresses - light, shirt-cut dresses with high waistlines are also relevant. Empire style dresses are very popular in wedding fashion.

Stills from the film "War and Peace" 1967

And this is not surprising. These dresses suit many people. After all, dresses in the empire style can hide many figure flaws - for example, make you visually taller or hide extra pounds.

In the first quarter of the nineteenth century, classicism was replaced by a new direction in art and architecture - the Empire style. Its characteristic attributes began to appear in architecture - monumental massiveness with exquisite decorative elements. The Empire style arose during the reign of Napoleon. Although some consider this direction in art and architecture to be narrow and limited, it nevertheless relied on the artistic heritage of Greek archaism and imperial Rome, drawing from there the power and grandeur of pretentious but beautiful elements, while its predecessor - classicism - was oriented mainly on soft and harmonious elements.

Origin of the style

Empire style in architecture consists of massive porticoes with columns, numerous military symbols - laurel wreaths, armor, eagles, etc. All these elements did not influence feelings, but rather the civic position of people. This is precisely what was manifested in the solemnity and splendor of the palace interiors created by Fontaine and Percier.

Afterwards, undivided planes of walls and pylons and stylized sphinxes began to be introduced into the Empire style in architecture. A characteristic feature of this time was that Egyptian traditions were combined quite organically with Roman ones, without turning into eclecticism until a certain time. Historicism is another characteristic feature that distinguishes the Empire style in architecture, which emphasized the connection with the greatness of the ancient emperors.

Ideology of style

The rigid ideological orientation limited the development of the style and became the reason that many states did not accept it, since “imperialism” began to be forcibly imposed by Napoleon in the course of his conquests. For example, in Germany and Austria at that time the “Biedermeier” movement developed, partly using Empire motifs, but opposing itself to it. In England, the "George IV style" arose, sometimes called "English Imperial".

Imperial style in Russia

The only country in which the Empire style in architecture, and not only in it, developed, was Russia. This was explained by the fact that she managed to break the power of Napoleon, and therefore here he acquired his own characteristic features. It was softer and more flexible. The founder of the Empire style in the architecture of St. Petersburg was C. Rossi, a Russian-Italian architect who managed to smooth out its coldness and rigidity. Another in this direction is V. Stasov. According to experts, the “Moscow Empire style” in the style of village estates, which is also called metropolitan classicism, had a special originality.

The end of the era of classicism

Sources for creative inspiration architects became the art of Ancient Greece in the archaic period and Ancient Rome in the late period of the empire, combined with the culture of Etruria, Ancient Egypt and other civilizations. Plastic ideas of ancient Egyptian architecture, undivided large surfaces of walls with massive columns and pylons, providing clarity with geometric correctness of solid volumes, etc. - all this distinguished the Empire style. became the personification of laconicism, monumentality and strict balance and symmetry of parts. This time is called the approval period military glory and imperial grandeur, realized through numerous symbols and signs.
In the decorative decoration of the interiors and exteriors of buildings, in furniture, as well as in lamps and utensils, symbols of military glory and emblems were used in large quantities, borrowed from ancient Roman decorative means in the form of trophies and laurel wreaths, announcer bundles and eagles, torches and the often repeated letter N .

Such exotic decor only enhanced the theatricality of the interior. Examples of Empire style in architecture, according to experts, very clearly characterize the direct borrowing of certain types and forms from the object world of antiquity. For example, triumphal arches and memorial obelisks were built and decorated accordingly.

Instead of sophistication and subtlety

With the advent of the Empire era, art became larger-scale and monumental. At the same time, the exquisite subtlety in the style of Louis XVI is replaced by excessive rationality with pomp and even pathos. In the desire of the bourgeoisie, which had won and abandoned the “royal” direction, to imitate the life or customs of the ancient Romans, there was much that was theatrical or ostentatious. In some European countries The aristocracy and the big bourgeoisie, for whom French classicism from the time of Louis XVI had recently been a role model, began to openly follow the imperial style.

After the revolution in Paris, numerous artists and architects again gathered from different places and chose to work in this new style. The Empire style in whose buildings did not resemble a more “collected” classicism, unlike previous trends, had a rather cosmopolitan character, which, due to its regulation, excluded the creation of local schools. However, this did not prevent the birth of a Russian version of this style after some time.

Saint Petersburg

This direction was in 1810-1830. began to manifest itself in the largest urban planning ensembles. Examples of the Empire style in the architecture of St. Petersburg are the famous Kazan Cathedral and the Spaso-Preobrazhensky and Trinity Cathedrals, Ostrovsky and Arts Square. Such outstanding architects as K.I. Rossi and A.N. Voronikhin, J.B. Thomas de Thomon and V.P. Stasov and others worked on them.

Externally, the Russian Empire style in architecture, examples of buildings of which are literally scattered throughout the northern capital, is striking primarily by the use of classical order systems, and not only Tuscan or Doric. Following the era of Alexander's classicism, a desire for chic, pomp and monumentality appears, combined with masculinity. Empire style in architecture, photos of buildings of which testify to strict symmetry and solemnity, along with the laconicism of its forms, is also replete with militaristic symbolism.

The final “chord” of the Russian Empire style

Empire style architecture, examples of which can be seen most in Russia in St. Petersburg, clearly expresses the mood of that time. The apotheosis of this Russian trend is St. Isaac's Cathedral. It was built in 1858 according to the design of O. Montferrand. It is dominated by the most simple shapes: a cube with a square, a triangle, a cylinder and a parabolic dome, which, in addition to its large size, gave the temple some additional monumentality and created the impression of imperial centuries-old inviolability. During the construction of the cathedral, progressive technical solutions of that time were used: a solid slab grillage made of cast iron ribs on the domes, columns made of solid granite monoliths. The rich exterior decor with colorful interiors is also striking.

Decline of the "Golden Age"

Thus, the era of the Empire style in the architecture of St. Petersburg, framed by the construction of the two most grandiose monuments - the buildings of the Kazan and St. Isaac's Cathedrals, completed that stage in the development of the city when many unique works architecture However, if the “golden age” in Russian literature, painting and music was just beginning, in Russian architecture it was nearing its end.

Empire style building - Saint-Madeleine Church (l "église de laMadeleine) - Saint Mary's Church . 1807-1842 France Paris. Architects B. Vignon, J. J. Beauvais.

Empire style in architecture appeared in France at the end of the 18th - 19th centuries, after the French Revolution, during the reign of Napoleon. The name of the style comes from the French word "empire" - empire. The main goal of this art direction was the praise of imperial power and the emperor himself, military successes and conquests. The exaltation of Napoleon's personality and victories was manifested in the construction of triumphal arches, obelisks and columns.

French art critic Pierre Verlet (1908-1987) called the Empire style “the hardened style of Louis XVI,” drawing attention to its coldness and rigidity. I. Grabar (Grabar Igor Emmanuilovich. 1871-1960 Russian artist, art historian, museum figure) in confirmation of these words wrote: “the development of classicism in France was interrupted by the cold dictatorship of the Empire style.”

Historian artistic styles V. Kurbatov (Kurbatov Vladimir Yakovlevich 1878-1957) emphasized: “The appearance of the Empire style was not a revolution in the consistent development of French styles, but a modification of the same classical elements that were known in France since the time of Louis XIV or even Francis I.”

The Empire style, continuing the classical tradition of architecture and complementing it with new elements, nevertheless, according to art critics, was more reminiscent of decoration than an artistic style.

Origins of the Empire style in architecture

It is believed that the beginning of the Empire style was laid by the painter Jacques Louis David (David Jacques-Louis, French painter. 1748-1825). The artist painted paintings glorifying Napoleon, of whom he was a fan, and made special furniture for the imperial palace.

Egyptian ornaments appeared in decoration after Napoleon's military campaign in Egypt (1798-1799). An archaeological expedition led by D.-V. Denon also took part in the Egyptian campaign. published a publication “Descriptions of Egypt” with a large number of illustrations.

As a result, in France, Egyptian motifs became part of patriotic symbols and were used in the construction of objects glorifying Bonaparte (Paris "Fountain of Fellah", "Fountain of Victory", "Fountain of Peace").

The Empire style in architecture is guided by examples of architecture from the times of Ancient Rome. They served as an example for the creation of plots and motifs that embody the idea of ​​greatness and power of military strength and glory.

The style borrowed elements of Roman architecture: powerful porticoes, pediments with bas-reliefs. From the decoration, the Empire style adopted relief images of eagles, lions, spears, shields, axes, and wreaths. At the same time, elements of romanticism were also present in the Empire style; they were expressed in ancient Egyptian motifs that decorated the architectural elements of the buildings.

Interest in Egypt was supposed to show France as the successor of ancient civilizations and empires and strengthen the state ideology.

Roman motifs and Egyptian decor were combined in the Empire style without violating the unity of style. Egyptian art was also fashionable among the Roman patricians, so the Empire style, combining these two directions, did not become an eclectic style. The art of Ancient Egypt from the time of Ramses and Ancient Rome were firmly united in the ambitious Napoleonic Empire style.

Sphinxes of the Fountain of Victory at Place du Chatelet in Paris. 1858 Architect Francois Jean Brall.

Empire style early 19th century, France

Time frame for the existence of the original French style Empire style limited: 1804 -1814(1815) Where 1804 is the end of the Directory (the year of Napoleon’s coronation), and 1814 (1815) - the beginning of the restoration of Bourbon power (1814-1815).

During this period, under the direct supervision of Napoleon, architects Charles Percier (Percier, Charles. 1764-1838) and Pierre Fontaine (Fontaine, Pierre.1762-1853) - French architects and designers who worked together, the founders of the Empire style, worked on the design of palaces Napoleon I:

- Malmaison- the residence of Napoleon Bonaparte and Josephine Beauharnais 20 km from Paris - rebuilt from a palace created in 1610,

- Tuileries. After Napoleon declared the Tuileries his official residence in 1799, a wall was erected at the main entrance to the palace. Triumphal Arch(on Carousel Square).

Arc de Triomphe on Place Carrousel. Paris. 1803-1833 Architects Charles Percier and Pierre Fontaine.

Perikles - 490-429 BC BC) The Age of Pericles is the period of the highest rise of democratic Athens and the art of ancient Greek classics in the mid-5th century. BC e.

Pathetic monuments were supposed to draw a parallel between the greatness of the Napoleonic and Roman empires. Napoleon compared himself with the Roman rulers, so the artists and architects of the French Empire were pointed to the architecture of Ancient Rome as a basis, while classicism was focused on the architecture of Ancient Athens in the century of Pericles.

Buildings in the Empire style had architectural forms characteristic of the antiquity of Ancient Rome. For example, the architect Pierre Vignon (1762-1828), during the construction of the Parisian Church of the Madeleine, which complemented the ensemble of the Place de la Concorde, turned to the form of the peripterus. The building closes the Rue Royale, which runs from the Place de la Concorde.

The peripterus is a rectangular building, surrounded on four sides by a colonnade.

Construction of the Madeleine Church began in 1764 (architect Constant d'Irvy). During the revolution, construction was interrupted. In 1806, Napoleon commissioned the architect Vignon to turn the building into a temple of Military Glory to commemorate great victories. Perestroika was completed only in 1842, after the fall of Napoleon.

The building was rebuilt several times by different architects: Contan De Ivry planned a cruciform structure with a dome; after his death, architect. Couture created a new project similar to the Pantheon. In 1806 Napoleon planned to turn the church into a Hall of Fame, and everything was demolished and rebuilt. Only in 1842 the building was finally given over to the temple.

In Russian fashion at that time everything was French. Even before the start of the Patriotic War of 1812, the French architects Percier and Fontaine sent albums with views of new Parisian buildings to Russian Emperor Alexander I (this was done with the permission of Emperor Napoleon himself, and the albums were transferred through the French ambassador in St. Petersburg).

It is known that Napoleon himself sent Alexander I letters with descriptions and drawings made during the Italian and Egyptian military campaigns. After the war in Paris in 1814, Emperor Alexander I met with P. Fontaine to receive from him an album with architectural projects in the Empire style. Subsequently, these albums became the basis for the spread of the “Russian Empire style”.

All architectural elements in the Empire style are arranged in an orderly manner, maintaining symmetry and balance. The Empire architectural style is characterized by: massive geometric volumes; straight lines; contrast of large wall planes and narrow decorative belts; contrasting colors and concentrated dense ornament; the presence of columns, pilasters, stucco moldings.

The Empire architectural style was a reflection of Napoleon Bonaparte's claims to world domination and was forcibly imposed in the conquered countries. However, in Germany and Austria during this era, a different style developed - Biedermeier, even though the French tried to introduce the Empire style into the art of these countries. Only another huge empire - Russia - adopted the style and actively used it in various fields of art.

If in France this style was directly associated with the personality of Napoleon and existed there only during his reign, leaving not a very large number architectural monuments, then, having taken root in Russia, it reflected the imperial ambitions of more than one generation of tsars, and left a big mark on the architecture of the country. In the article “” you can learn more about this interesting area.

The Empire style of architecture is a late phase of classical art that flourished in France during the First Empire (1804-14). What examples of architecture exhibited this style? How did this direction develop in Russia? Why is Soviet architecture of the post-war years called Stalinist Empire style? Read about it below.

The birthplace of the Empire style in architecture - the opinion of an art critic

This stage of development of the architectural direction is also called high or Napoleonic style. Moreover, in each country it has its own name:

• Biedermeier- in the German lands,
• federal style- in USA,
• regency - in Great Britain.

Moreover, the English Empire style arose earlier than the French. And, of course, the British will never call their style by this word.

The secret of other style names

As a direction in architecture, it emerged in the 16th century. His distinctive features called symmetry and restraint.

• Early period of development - Palladianism.
• The late stage of the classical movement, which is distinguished by solemnity and pomp, sounds like empire (the French word empire- empire).

Since the high classicism of the 19th century was born out of an interest in history, archaeological excavations and discoveries of Ancient Egypt and Greece, some art historians classify it as neoclassicism branch, which is logical.

Empire style in the architecture of Paris

During military campaigns, architecture ancient egypt and Rome made a strong impression on Napoleon. She inspired reverence and respect, expressed greatness, power and might. He sought to create a strong empire. Architecture has become a kind of propaganda company.

Napoleon Bonnaparte turned Paris into the capital of the empire. Carrying out his plans, monumental structures were built in honor of the victories of the Great Army.

How did the Empire style unite the Temple of Glory, the Roman baths and the church?

An excellent example of imitation of classical Roman temples is the Temple of Glory (architect Pierre-Alexandre Vignon). The 20 m high Corinthian columns that came from 52 give the building a majestic appearance. The original purpose was to glorify the conquests of the Grand Army. After the overthrow of Napoleon, the building began to be used as the Church of St. Mary Magdalene (Madeleine).

Church of the Madeleine (St. Mary Magdalene) in Paris - active Catholic cathedral

The interior consists of one nave with three domes, which are not visible from the outside. A statue of the Saint rises above the main altar, and even higher in the dome there is a fresco dedicated to the history of Christianity.

The interior, completed in 1828-42 under the direction of Jean-Jacques Houvé, was modeled after Roman baths. Maybe that's why the French say that this is the most amazing church?

“Time that has become the past...” - Empire style on Star Square

After the victory at Austerlitz, Napoleon promised his soldiers that they would return home as winners in . By his order, Jean François Thérèse Chalgrin began construction of the largest structure of this type in the world. The model was the ancient Roman Arch of Constantine.

But it was completed only 15 years after the death of Napoleon. Today this monument is a symbol of French patriotism. On public holidays such as Bastille Day and Armistice Day, this arch marks the beginning or end of the parade.

“There is as much happiness all around as you want” - Arc de Triomphe Carrousel

Architects Charles Persier and Pierre Fontaine also took the existing ancient Roman triumphal arch of Septimius Severus as a basis for the construction of the monument. The monument measures 19 x 23 x 7.3 m. The central arch, 6.4 m high, is located between two smaller ones, 4.3 m high and 2.7 m wide.

It is decorated with eight Corinthian marble columns, topped by eight soldiers of the Empire. On the pediment, between the soldiers, are the heraldic symbols of the Kingdom of Italy and the French Empire. Napoleon's diplomatic and military victories are commemorated with bas-reliefs made in pink marble. They depict:

• Peace of Presburg,
• Napoleon's victorious entry into Munich,
• to Vienna (sculptor Louis-Pierre Desseignes),
• Battle of Austerlitz (work by Jean-Joseph Espercier),
• Tilsit Congress,
• Capitulation of Ulm (author Pierre Cartelier).

The quadriga above is a copy of the one that adorns the main entrance of the Basilica of San Marco in Venice. During the French Empire, the original stood, but after the fall of Napoleon the masterpiece was returned.

The most important symbol of 19th century Paris in the Empire style

This is a column Vendôme. Each government sought to leave its mark on its bronze spiral wrapping around the stone frame. The entire history of France this century is reflected here.

Vendôme Column created in the likeness of Trajan in Rome. The obelisk itself, according to the initial plan, was to be decorated with 108 friezes rising in a spiral and a statue of Charlemagne.

But in 1805, the day after Austerlitz, Vivant Denon, director of museums, proposed to immortalize on it the “unforgettable campaign” of 1805, like the battle of Trajan with the Dacians. To do this, use melted down Russian and Austrian cannons, numbering 1200.

The column was designed by Leper and Gondoin and had many different names -

• first "Austerlitz Column"
• then “Victory Column”,
• finally became the "Colonne de la Grande Armée".

The engraved inscription reads: "Monument erected to the glory of Great Army Napoleon the Great, begun on August 25, 1806 and completed on August 15, 1810."

A 280-meter frieze of bas-reliefs, designed according to Berger's drawings, wraps around the column in a spiral. It depicted the main events of the campaign - from the camp in Boulogne to the return of the emperor and his troops in 1806. A team of sculptors including Boisot, Bosio, Bartolini, Rami, Rud, Corbet, Clodion and Rouxetil was commissioned to complete the decorative ornament.

The forty-two-meter column was topped with a statue of the First Consul in Roman dress. Over the next decades, it was changed to a Bourbon flag with lilies, to a statue of Henry IV, and again to Napoleon in a bicorne. And in 1871, during the Paris Commune, the column was completely demolished, but not for long.

In 1873 it was restored. The court ordered the former Commissioner for Culture, famous artist Gustave Courbet, to compensate for the costs of reconstruction. His property was sold off. He himself died in poverty before fulfilling this obligation.

Russian Empire style in 19th century architecture

This style in Russian architecture appeared during the reign of Alexander I (1801 - 1825) and dominated until 1830-40. An invited French architect became one of the founders of the Russian Empire style Montferrand. The emperor invited him to St. Petersburg for the construction of St. Isaac's Cathedral.

Another architect who worked in the Empire style in the same city was an Italian Carl Rossi, author of the ensemble of Palace Square with the main headquarters building and the triumphal arch in St. Petersburg. They also represent the Russian Empire style

• architect of the Admiralty building Andreyan Zakharov,
• Andrey Voronikhin (Kazan Cathedral in St. Petersburg),
• Osip Bove (Moscow Triumphal Gate at Tverskaya Zastava),
• Swiss Domenico Gilardi (restored Moscow buildings after the fire of 1812) and
• Vasily Petrovich Stasov (Narva triumphal gates in St. Petersburg).

TOP 7 buildings in the Stalinist Empire style

This is what the leader is informally called architectural style in the USSR in the post-war years. A striking example Seven high-rise buildings in Moscow became Stalin's Empire style. It was decided to change the appearance of Moscow, to introduce architecture symbolizing triumph. Soviet power, patriotism and victory over fascism.

One of the requirements for the designed structures was their uniqueness. Projects should not have repeated samples of those known abroad multi-storey buildings, American skyscrapers. Along with this, they had to be compositionally consistent with the historical buildings of the city. The task was to create outlines reminiscent of Russian architecture, the multi-tiered towers of the Moscow Kremlin.

It was not possible to completely avoid the similarity with American skyscrapers. But the high-rise buildings were multi-tiered and corresponded to the bell towers of Russian churches in full. In addition to these two points, they were united by white color with small splashes of red and spires. The combination of white stone and red brick is a traditional color combination in Russian buildings.

How did Stalin's empire style become a monument to his dictatorship?

Not all building designs initially included towers. The construction of high-rise buildings on Smolenskaya and Kudrinskaya (formerly Vosstaniya) squares had already begun when adjustments were made by the “highest decree”. The architects had to contrive to add spiers.

An example of a building in the “most Russian” Empire style

The building with the smallest height (139 meters) among the others most clearly reflects different styles eras in Russian architecture. This is the Leningradskaya hotel on Three Stations Square (formerly Komsomolskaya) by architects Polyakov and Boretsky.

Three colors characteristic of medieval Russian buildings - white, red and gold - are used in the exterior of the building. And there were a lot of stylized details in the interior. When the struggle “against excesses in architecture” began, the hotel was the first to be hit. The architects were punished, the “excesses” were demolished.

What characterizes the Empire style in architecture on Vorobyovy Gory?

The tallest building of the “seven”, on Vorobyovy Gory, was planned as a hotel and residential building. After construction began, plans were changed and a university was built. It became the largest institution of higher education in the world, which also glorified Soviet government and the state.

As a result, the city of Moscow received 7 high-rise buildings: two hotels, two residential buildings, a university and two administrative buildings for a very short period by all standards, from 1948-1953. Then Stalin's skyscrapers showed the world strength and greatness Soviet state. Now this is a memory of that difficult era.

The Empire style in architecture is in demand by dictatorial regimes, as it helps them influence the consciousness of the masses, instilling feelings of superiority, strength and authoritarianism. Do you agree with this statement? Empire style in architecture is the usual “show-off”, isn’t it?

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Description of the presentation HISTORY OF ART EUROPE. 19th century. AMPIRE on slides

Empire Empire (from the French empire style - “imperial style”) - the style of late classicism in architecture and applied arts. Originated in France during the reign of Emperor Napoleon I; developed during the first three decades of the 19th century; was replaced by eclectic movements. Included examples of ancient art: archaic Greece and imperial Rome: military emblems in architectural details and decoration (military armor, laurel wreaths, eagles, etc.). The Empire style also included individual ancient Egyptian architectural and plastic motifs (large undivided planes of walls and pylons, massive geometric volumes, Egyptian ornament, stylized sphinxes).

Empire Empire is fundamentally different from Classicism. The soft and bright harmony of the art of the period of Louis XVI and the democratic severity of the Directory style were replaced by the ceremonial pathos and theatrical splendor of the “Style of the First Empire”. Napoleon strove for the splendor and aura of glory of the Roman emperors. If the freely emerging Classicism was oriented towards the democratic Athens of the classical period of the Age of Pericles, then the artists of the French Empire were strictly instructed to take the art forms of Ancient Rome as a model. The leading role in the formation of the new style belonged not to the architect, as usual, but to the painter - J. -L. David. Even on the eve of the revolution, this artist, in his paintings “The Oath of the Horatii” (1784) and “Brutus” (1789), glorified heroic episodes from the history of Republican Rome, based on the books of Titus Livy. To work on these paintings, David ordered the famous Parisian furniture maker J. Jacob furnishings based on his own drawings, made from Etruscan, as they were then called, vases found in the excavations of Herculaneum and Pompeii in Italy. David took part in the first French revolution, then, having survived a difficult crisis, he began to glorify Emperor Napoleon in the same way as before - the ideals of freedom of the Roman Republic.

Empire style: architecture The Arc de Triomphe (French: arc de triomphe de l'Étoile) is a monument in the 8th arrondissement of Paris on Place Charles de Gaulle (Stars), erected in 1806-1836 by the architect Jean Chalgrin by order of Napoleon to commemorate the victories of his Great army.

The Battle of Arcola was a battle between the French army under the command of General Napoleon Bonaparte and the Austrian army under the command of Alvinczy that took place from November 15 to 17, 1796. The battle ended with the defeat of the Austrian army. During the battle, Napoleon showed personal heroism by leading one of the attacks on the Arcole Bridge with a banner in his hands. More than a dozen soldiers died around him, including Napoleon's adjutant Muiron, who died while shielding Bonaparte with his body from enemy bullets.

Bonaparte's Egyptian campaign Gros Jean Antoine (1771-1835) Napoleon in the plague hospital in Jaffa. 1803-04.

Bonaparte's Egyptian campaign In 1798-1801, on the initiative and under the direct leadership of Napoleon Bonaparte, an attempt was made to conquer Egypt. Napoleon's Egyptian expedition led to increased interest in ancient history Egypt. As a result of the expedition, a huge number of historical monuments were collected and exported to Europe. In 1798, the Institute of Egypt (French: L’Institut d’Égypte) was created, which marked the beginning of a large-scale plunder of the heritage of ancient Egypt. Rosetta Stone. British muey.

Jean-Louis David. Portrait of Madame Recamier (a famous beauty, the owner of the famous literary and political salon, which at that time was the intellectual center of Paris. Her name became a symbol personifying good taste and education. She was a “star” on a European scale).

Andromache at Hector's body. 1783. Louvre Museum, Paris The plot of this painting goes back to Homer’s Iliad: Hector, the valiant leader of the Trojans, was struck down in a duel by Achilles and mourned by his faithful wife Andromache. The socio-political meaning of this work is obvious. Andromache, with a theatrical gesture, points to the body of the hero who gave his life for hometown. The cult of the fatherland in French society of the pre-revolutionary period was opposed to the idea of ​​​​serving royal power. The work is distinguished by the clarity and simplicity of the composition, the light and shadow modeling is full and distinct. David paid much attention to the historical accuracy of the depicted environment. Andromache, wife of Hector - daughter of King Cetion in the Mysian city of Thebes and wife of Hector, belongs to the noblest female images Homer's Iliad. Even during her early youth, her father and seven brothers were killed by Achilles. Having then married Hector, Andromache gave birth to Astyanax and became attached to her husband with the most ardent love, the touching monuments of which were her conversation with him before Hector was sent to battle with Achilles, as well as her cry for the murdered man (Iliad 6 and 24). After the conquest of Troy, Andromache was given as a spoil to the son of Achilles, Pyrrhus, who took her with him to Epirus, and where she bore him a son (and according to other legends, three sons). Subsequently, Andromache became the wife of Helen, Hector's brother, and bore him a son, Kestrin. After the death of Helen, Andromache, together with one of her sons, returned to Mysia, where this son acquired the region of Teierania and gave his name to the city of Pergamum, which he founded. A temple was built there in honor of Andromache. Euripides used the image of Andromache as the heroine of the tragedy of the same name.

Jean-Louis David. Oath of the Horatii 1784. Louvre Museum, Paris. The artist managed to create a symbolic image - the personification of the limitless civil courage. The film is based on the story of the Roman historian Titus Livy, according to which three brothers from the Horatian family were chosen to fight three the best warriors the city of Alba Longa, hostile to Rome, by the Curiatii brothers. David captures the moment when three brothers, raising their hands in the Roman salute, vow to conquer or die, while their father hands them battle swords. David in this picture contrasts the ideals of patriotism, citizenship and self-sacrifice in the name of the homeland of men with the suffering and sentimental weakness of women.

Jean-Louis David. Oath on the ball field. Sketch. 1789 (symbol of national unity in the fight against the old regime).

Empire style: general characteristics Imperial luxury of the Empire style The Empire (or imperial) style experienced its heyday at the beginning of the 19th century, during the reign of Napoleon I. Its progenitor is considered to be the architecture of the great empires of antiquity - Egypt, ancient Greece and Ancient Rome with their constant desire to publicize the power and strength of the state, and to emphasize the greatness and wisdom of the ruler. Monumental forms, heavy massive furniture, an abundance of stucco, wood carvings and gilding spoke of luxury, and classical severity emphasized refined taste. The ceremonial and formal style is still in great demand, especially in Russia and France. Character traits The Empire style is recognizable by the predominance of Roman architectural forms– columns, pilasters, carved cornices and consoles. Furniture is often decorated with carved animal figures. The legs of sofas, massive armchairs and tables are made in the form of lion paws or the paws of griffins, sphinxes or mythical animals, complemented by curls and gilding. It was during the era of Napoleon I that mahogany came into fashion. Cabinets, tables, chests of drawers, chairs, armchairs and other home furniture were cut out of it, as well as caskets, boxes, frames for mirrors and paintings. The complex, beautiful pattern of mahogany was often emphasized by copper and gilded edging, as well as expensive silk fabric woven with gold. The floor in the room was traditionally laid with multi-colored wood, the ceiling was painted white, which expanded the space and made it lighter, and mirrors were used everywhere. They were in wall niches, above sofas and beds, on cabinet doors and even between the legs upholstered furniture. The letter N was clearly visible in the interior decoration, as were shields, legionary insignia, spears and arrows. A tribute to the period of Napoleon I's reign - sliding furniture that could be used in military campaigns.

Empire style as a decorative and applied art The passion for neoclassicism arose in Europe at the end of the 18th century. Excavations of the cities of Herculaneum and Pompeii, the influence of the ideas of Rousseau and Diderot - led to a fashion for antiquity, for everything Greek and Roman. And in those distant times, one of the most popular jewelry items was the cameo. It was carved from various semi-precious stones, most often from onyx or agate, which have different layers of contrasting colors. The fashion for carved cameos intensified after Napoleon's Italian campaign in 1796. Under Napoleon, the imperial pseudo-Roman style took root especially well, as it helped Bonaparte emphasize the scope of his ambitions. The emperor's coronation crown was decorated with ancient cameos.

The painter's later portraits were painted by David in exile in Brussels. The aging artist settles there after the defeat of Napoleonic armies and the restoration of the Bourbons, who could not forgive him for his devotion to Napoleon and especially for the fact that during the revolution, the Jacobin David was a friend of Robespierre and voted for the execution of Louis XVI. Jean-Louis David. Zinaida and Charlotte Bonaparte. 1821. Getty Museum, Los Angeles.

Napoleon and the Louvre The French Emperor Napoleon I was always illuminated by rays of military glory. Contemporaries and descendants remembered him primarily as one of greatest commanders in world history, and his era has since become known as the “era of the Napoleonic wars.” The oldest museum in France, the famous Louvre, carefully preserves the memory of Napoleon Bonaparte’s contribution not only to military art, but also to cultural heritage humanity. In the empire created by Napoleon in a very short period of time, art was given a special role. It was supposed not only to glorify French weapons and serve to strengthen the power of the new emperor, but also to contribute to the development of the “Napoleonic legend,” the creator and creator of which was largely Napoleon himself. The Louvre Museum was created after the French Revolution on the basis of former royal art collections and soon received the name “Museum of Napoleon”. Energy, mind and administrative talent The French emperor was able to attract the best architects, sculptors and artists to the formation of the new museum. It was in the Louvre that the most brilliant collection of cultural treasures in the world was collected. At the same time, innovative principles of exposition construction were used. The museum, striking with its splendor and originality, soon gained European fame and had a huge influence on the further development of museums. The fact that during the era of the Napoleonic Wars Russia played the main and decisive role in the confrontation with the French Empire, and the Russian Emperor Alexander I, at the head of a pan-European coalition, entered Paris in 1814, is well known. The centuries-old mutual influence of French and Russian cultures is no less well known. For the first time in Russia, an exhibition of masterpieces from the Louvre, the Museum of the Fontainebleau Castle, National Museum castles of Malmaison and Bois-Préau, the Museum of Decorative Arts in Paris, the National Foundation of Furniture and Manufactures of Gobelins, Beauvais and Savonry in Paris, the Carnavalet Museum in Paris, the Army Museum in Paris, the National Museum of Ceramics in Sèvres, the Museum of National Heritage in Versailles and other French museums. At that time, V. Dinon, C. Percier, P. Fontaine, J. L. David, A. J. Gros, F. Gerard, J. O. D. Ingres, T. Gericault, J. F. Svebach, were creating G. Vernet, A. D. Chaudet, A. Canova, F. N. Delestre, N. N. Butet, M. G. Bienne, J. B. C. Odio, P. F. Tomir and others. Their works , as well as works by masters of the Versailles Armory, Sèvres and Lyon manufactories, Gobelins and Savonry manufactories are on display at the exhibition. A significant place is occupied by the personal belongings of Napoleon himself and his family members. The exhibition “Napoleon and the Louvre” provides an opportunity to see and appreciate Napoleon’s role in the development of French history and culture, get acquainted with exceptional examples of European art and world cultural heritage.

Number 1 denotes Charles Percier, next to him (number 2) is Pierre-François Fonteil. Note that both architects are wearing the blue uniforms of members of the French Academy. The number 3 denotes Emperor Napoleon I, behind him under the number 4 a smiling Vivan Danon looks out, next to whom stands the chief of the Napoleonic staff, Marshal Berthier (5). Near the staircase on the right in a turban is Napoleon’s personal bodyguard, the Mameluke Rustam (6), brought by him from the Egyptian campaign; on the stairs stands the gray-haired Cambasser with (7), the archchancellor of the empire and its president of the Senate, who created the famous Napoleonic Code.