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to MHC lesson in grade 11 The presentation was prepared by a teacher of the Russian language and literature of the MBU comprehensive school Vyaznikovsky district Yusova Irina Viktorovna
The main features of the architecture of classicism "Fairy Dream" of Versailles Empire
Greek order system Strict symmetry Clear proportion of the parts of the composition and their subordination to the general plan Simple and clear forms Calm harmony of proportions Straight lines Unobtrusive decor that repeats the outlines of the object Simplicity and nobility of decoration Practicality and expediency
Versailles is a fabulous dream, striking with its splendor of the facades and the brilliance of the decorative decoration of the interiors. It became a visible embodiment of the ceremonial-official architecture of classicism, expressing the idea of a rationally arranged model of the world. "Fairy Dream"
Historical background The oldest village of Ile-de-France Versailles has been mentioned in historical documents since the 11th century. This is not even a village, but a very modest village, sheltered by a hill. There were many of these around the capital. Versailles was crossed by a road leading from Normandy to Paris, which was 18 km from here. The village went down in history at the end of the 16th century, when Henry IV, the future king of France, stopped in the local castle in 1570 on his way to meet Catherine de Medici. Already becoming king, it was here that he came to hunt.
Louis XIII In 1606, on his first hunt at Versailles was the son of Henry IV, the future King Louis XIII, who liked to retire here with a few close friends. In these places, he wanted to build a modest hunting lodge, where he could furnish the short hours of his entertainment with great convenience.
The fate of the Small Castle In 1624, the king bought marshy land surrounded by fields. On the site of the future palace, then only a windmill towered. Hastily construction soon began, but the castle being erected was so small and modest that it did not even provide rooms for the queen mother and the queen wife. After the death of Louis XIII, the castle was empty for a long time: Louis XIV, heir and future king, was only 5 years old. But in 1661, as soon as the new king proclaimed “I am the State”, the “age of Louis the Great” began.
Louis XIV Realizing himself as a king, Louis XIV immediately began to dream of his own palace. After much thought and doubt, the choice of the king fell on the castle of Vincennes, but suddenly, unexpectedly, the king preferred Versailles to him with his small hunting lodge. The castle of Louis XIII was not destroyed, Louis the son decided that the builders should keep the Small Castle intact. Louis XIV often visited Versailles, where he forgot about his royal dignity and frolicked like a child.
Architects of Versailles Among the architects of the kingdom, a competition was announced for best project renovation of a small hunting castle. Soon, L. Levo was appointed architect of Versailles, and in general, Louis XIV (at his own expense) hired Levo - "the first architect of the king", Ch. Le Brun - "the first painter of the king" and A. Le Nôtre - "the first royal gardener". Soon this creative group began to work. Architects participated in the creation of the architectural appearance of Versailles: - Louis Levo (1612-1670) - Jules Hardouin Mansart (1646-1708) - Andre Le Nôtre (1613-1700)
The center is the palace, to which 3 converging rays of access avenues lead. The facade is represented by 3 floors.
An abundance of sculptural decorations Rich decor in the form of gilded molding and carving Many mirrors Exquisite furniture Marble tiles with clear geometric patterns Bronze chandeliers Mirror Gallery Park
mirror gallery
Mirror Gallery The most ceremonial room of the Grand Palace of Versailles is the Mirror Gallery. The king's birthdays were celebrated in this hall, marriages were held, balls were held, foreign ambassadors. The Mirror Gallery is called the miracle of Versailles. The view of this salon is simply breathtaking: the gallery immediately stuns both with its size and color, with the extravagant luxury of decoration, and on fine sunny days with an excess of light and air. When decorating the Mirror Gallery, the calculation was deliberately made to stun with luxury and splendor. The Mirror Gallery is not just a hall. This is a huge avenue, which is 73 meters long and 10.5 meters wide.
Bedroom interior
Regular (French) parks subordinated nature to the will and design of the artist. The park of Versailles is striking in its clarity and rational organization space, its drawing is accurately verified by the architect (A. Lenotre) using a compass and a ruler
Versailles is the wealth of France, which grows with time. France is proud of this treasure, it is her glory. In 1830, the Versailles ensemble was turned into the National Museum of France, and our century has ranked it among the phenomena of world artistic culture.
Empire Empire, or "Empire Style" (French Empire - empire from lat. imperium - command, power) is a historical artistic style that first developed in France at the beginning of the 19th century.
Empire refers to the so-called "royal styles", which can be characterized by theatricality in the design of architectural buildings and interiors. The peculiarity of the architectural empire lies in the mandatory presence of columns, pilasters, stucco cornices and other classical elements, as well as motifs that reproduce antique sculptures almost unchanged, like griffins, sphinxes, lion paws and similar sculptural structures. These elements are arranged in the Empire style in an orderly manner, with balance and symmetry. The artistic concept of the style with its massive lapidary and monumental forms, as well as rich decoration, the content of elements of military symbols, the direct influence of artistic forms, primarily of the Roman Empire, as well as Ancient Greece and even Ancient Egypt, was called upon to emphasize and embody the ideas of the power of power and the state, the presence of a strong army [Vandome column. Paris
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Resources used: http://ru.wikipedia.org/wiki/%C0%EC%EF%E8%F0 http://arkhi.net/?p=31 http://genaistoriya.ucoz.ru/load/mirovaja_khudozhestvennaja_kultura_11_klass /klassicizm_v_arkhitekture_zapadnoj_evropy/5-1-0-207 http://moruss.ucoz.ru/load/mkhk/prezentacii/klassicizm_v_arkhitekture_zapadnoj_evropy/20-1-0-102 http://www.myshared.ru/slide/86247/
Classicism (fr. classicisme, from lat. classicus - exemplary) - an artistic style and aesthetic trend in European art of the 17th - 19th centuries.
Classicism is based on the ideas of rationalism, which were formed simultaneously with those in the philosophy of Descartes. A work of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the harmony and logic of the universe itself.
Interest for classicism is only eternal, unchanging - in each phenomenon, he seeks to recognize only essential, typological features, discarding random individual features. The aesthetics of classicism attaches great importance to the social and educational function of art. Classicism takes many rules and canons from ancient art (Aristotle, Horace).
Classicism establishes a strict hierarchy of genres, which are divided into high (ode, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined features, mixing of which is not allowed.
Painting.
Interest in the art of ancient Greece and Rome emerged as early as the Renaissance, which, after centuries of the Middle Ages, turned to the forms, motifs and plots of antiquity. The greatest theorist of the Renaissance, Leon Batista Alberti, back in the 15th century. expressed ideas that foreshadowed certain principles of classicism and were fully manifested in Raphael's fresco "The School of Athens" (1511).
The systematization and consolidation of the achievements of the great Renaissance artists, especially the Florentine ones led by Raphael and his student Giulio Romano, made up the program of the Bologna school of the late 16th century, the most characteristic representatives of which were the Carracci brothers. In his influential Academy of Arts bolognese preached that the path to the heights of art lies through a scrupulous study of the heritage of Raphael and Michelangelo, imitation of their mastery of line and composition.
At the beginning of the 17th century, young foreigners flocked to Rome to get acquainted with the heritage of antiquity and the Renaissance. The most prominent place among them was taken by the Frenchman Nicolas Poussin, in his paintings, mainly on the themes of ancient antiquity and mythology, who gave unsurpassed examples of geometrically accurate composition and thoughtful correlation of color groups. Another Frenchman, Claude Lorrain, in her antiquizedlandscapes of the surroundings of the "eternal city" streamlined the pictures of nature by harmonizing them with the light of the setting sun and introducing peculiar architectural scenes.
cold-mindedPoussin's normativism evoked the approval of the court of Versailles and was continued by court painters like Lebrun who saw in classic painting an ideal artistic language for praising the absolutist state of the "sun king". Although private clients favored variations of the Baroque and Rococo, the French monarchy kept Classicism afloat by funding academic institutions such as the School of Fine Arts. The Rome Prize provided the most talented students with the opportunity to visit Rome for a direct acquaintance with the great works of antiquity.
The discovery of "genuine" ancient painting during the excavations of Pompeii, the deification of antiquity by a German art critic Winkelmann and the cult of Raphael, preached by an artist close to him in terms of views Mengsom , in the second half of the 18th century they breathed new breath into classicism (in Western literature this stage is called neoclassicism). The largest representative of the "new classicism" was Jacques-Louis David; his extremely laconic and dramatic artistic language served with equal success to promote the ideals of the French Revolution ("Death of Marat") and the First Empire ("Dedication of Emperor Napoleon I").
In the 19th century, classicism painting enters a period of crisis and becomes a force holding back the development of art, not only in France, but also in other countries. The artistic line of David was successfully continued Ingres , while maintaining the language of classicism in his works, he often turned to romantic plots with oriental flavor (“Turkish baths”); his portrait work is marked by a subtle idealization of the model. Artists in other countries (like, for example, Karl Bryullov) also imbued classically shaped works with the spirit of reckless romanticism; this combination is called academism. Numerous art academies served as its breeding grounds. In the middle of the 19th century, the young generation gravitating towards realism rebelled against the conservatism of the academic establishment, represented in France by the Courbet circle, and in Russia by the Wanderers.
Sculpture.
The impetus for the development of classic sculpture in the middle of the 18th century was the works Winckelmann and archaeological excavations of ancient cities, which expanded the knowledge of contemporaries about ancient sculpture. On the verge of baroque and classicism, sculptors in France fluctuated such as Pigalle and Houdon . Classicism reached its highest embodiment in the field of plastic art in the heroic and idyllic works of Antonio Canova , who drew inspiration mainly from the statues of the Hellenistic era (Praxitel). In Russia, Fedot Shubin, Mikhail Kozlovsky, Boris Orlovsky, Ivan Martos.
Public monuments, which became widespread in the era of classicism, gave sculptors the opportunity to idealize the military prowess and wisdom of statesmen. Loyalty to the ancient model required the sculptors to depict models naked, which was in conflict with accepted moral standards. To resolve this contradiction, the figures of modernity were at first depicted by sculptors of classicism in the form of naked ancient gods: Suvorov - in the form of Mars, and Polina Borghese in the shape of Venus. Under Napoleon, the issue was resolved by moving to the image of contemporary figures in antique togas (such are the figures of Kutuzov and Barclay de Tolly in front of the Kazan Cathedral).
Private customers of the era of classicism preferred to perpetuate their names in tombstones. The popularity of this sculptural form was facilitated by the arrangement of public cemeteries in the main cities of Europe. In accordance with the classical ideal, the figures on tombstones, as a rule, are in a state of deep rest. Sculpture of classicism is generally alien to sharp movements, external manifestations of such emotions as anger.
P Late, Empire classicism, represented primarily by a prolific Danish sculptor Thorvaldsen , imbued with dryish pathos. The purity of lines, the restraint of gestures, the impassivity of expressions are especially valued. In the choice of role models, the emphasis shifts from Hellenism to the archaic period. Religious images come into fashion, which in the interpretation Thorvaldsen produce a chilling impression on the viewer. The tomb sculpture of late classicism often bears a slight touch of sentimentality.
Architecture.
The main feature of the architecture of classicism was the appeal to the forms of ancient architecture as the standard of harmony, simplicity, rigor, logical clarity and monumentality. The architecture of classicism as a whole is characterized by the regularity of planning and the clarity of volumetric form. The order, in proportions and forms close to antiquity, became the basis of the architectural language of classicism. Classicism is characterized by symmetrical-axial compositions, restraint of decorative decoration, and a regular system of city planning.
The architectural language of classicism was formulated at the end of the Renaissance by the great Venetian master Palladio and his follower Scamozzi . The Venetians absolutized the principles of ancient temple architecture so much that they applied them even in the construction of such private mansions as a villa. Capra . Inigo Jones rescheduled Palladianism north to England, where local architects Palladians followed the precepts with varying degrees of fidelity Palladio up to the middle of the 18th century.
By that time, the surfeit of the "whipped cream" of the late Baroque and Rococo began to accumulate among the intellectuals of continental Europe. Born by Roman architects Bernini and Borromini the baroque thinned into rococo, a predominantly chamber style with an emphasis on interior decoration and arts and crafts. For solving major urban problems, this aesthetics was of little use. Already under Louis XV (1715-74), urban planning ensembles in the “ancient Roman” style were being built in Paris, such as Place de la Concorde (architect Jacques- Ange Gabriel) and the Church of St. Sulpice , and under Louis XVI (1774-92) such "noble laconicism" becomes the main architectural trend.
The most significant interiors in the style of classicism were designed by the Scot Robert Adam, who returned to his homeland from Rome in 1758. He was greatly impressed by both the archaeological research of Italian scientists and architectural fantasies. Piranesi . In the interpretation of Adam, classicism was a style that was hardly inferior to rococo in terms of sophistication of interiors, which gained him popularity not only among democratic-minded circles of society, but also among the aristocracy. Like his French colleagues, Adam preached a complete rejection of details devoid of a constructive function.
Frenchman Jacques-Germain Soufflot during the construction of the Church of Saint- Genevieve demonstrated the ability of classicism to organize vast urban spaces. The massive grandeur of his designs foreshadowed the megalomania of Napoleonic Empire and late Classicism. In Russia, in the same direction as souffle moved Bazhenov. French Claude-Nicolas Ledoux and Etienne -Louis Bullet went even further towards developing a radical visionary style with an emphasis on abstract geometrization of forms. In revolutionary France, the ascetic civic pathos of their projects was of little use; fully innovative Ledoux appreciated only by the modernists of the 20th century.
The architects of Napoleonic France drew inspiration from the majestic images of military glory left by imperial Rome, such as the triumphal arch Septimius Severa and Trajan's Column. By order of Napoleon, these images were transferred to Paris in the form of a triumphal arch. Carruzel and Vendôme columns. In relation to the monuments of military greatness of the era of the Napoleonic wars, the term "imperial style" is used - Empire style. In Russia, Carl Rossi, Andrey Voronikhin and Andreyan Zakharov. In Britain, the Empire corresponds to the so-called. "Regency style" (the largest representative - John Nash).
The aesthetics of classicism favored large-scale urban development projects and led to the ordering of urban development on the scale of entire cities. In Russia, almost all provincial and many county towns were replanned in accordance with the principles of classic rationalism. To authentic museums of classicism under open sky such cities as St. Petersburg, Helsinki, Warsaw, Dublin, Edinburgh and a number of others have turned. Throughout the entire space from Minusinsk to Philadelphia, a single architectural language dominated, dating back to Palladio . Ordinary building was carried out in accordance with the albums of standard projects.
In the period following the Napoleonic Wars, classicism had to get along with romantically colored eclecticism, in particular with the return of interest in the Middle Ages and the fashion for architectural neo-Gothic. In connection with the discoveries of Champollion, Egyptian motifs are gaining popularity. Interest in ancient Roman architecture is replaced by reverence for everything ancient Greek (“ neo-Greek ”), which was especially pronounced in Germany and the United States. German architects Leo von Klenze and Karl Friedrich Schinkel they build up, respectively, Munich and Berlin with grandiose museum and other public buildings in the spirit of the Parthenon. In France, the purity of classicism is diluted with free borrowings from the architectural repertoire of the Renaissance and Baroque.
Literature.
Frenchman Francois is considered the founder of the poetics of classicism. Malherbe (1555-1628), reformer French and verse and developed poetic canons. The leading representatives of classicism in dramaturgy were the tragedians Corneille and Racine (1639-1699), whose main subject of creativity was the conflict between public duty and personal passions. "Low" genres also reached a high development - fable (J. La Fontaine), satire ( bualo ), comedy (Moliere 1622-1673).
bualo became famous throughout Europe as the "legislator of Parnassus", the largest theorist of classicism, who expressed his views in the poetic treatise "Poetic Art". Under his influence in Great Britain were the poets John Dryden and Alexander Pope who made the main form of English poetry alexandrines . For English prose of the era of classicism ( Addison , Swift) is also characterized by latinized syntax.
Classicism of the 18th century developed under the influence of the ideas of the Enlightenment. The work of Voltaire (1694-1778) is directed against religious fanaticism, absolutist oppression, filled with the pathos of freedom. The purpose of creativity is to change the world in better side, construction in accordance with the laws of classicism of the society itself. From the standpoint of classicism, an Englishman surveyed contemporary literature Samuel Johnson, around whom a brilliant circle of like-minded people formed, including an essayist Boswell , Gibbon historian and actor Garrick.
In Russia, classicism originated in the 18th century, after the transformations of Peter I. Lomonosov carried out a reform of Russian verse, developed the theory of "three calms", which was essentially an adaptation of French classical rules to the Russian language. The images in classicism are devoid of individual features, as they are intended primarily to capture stable generic features that do not pass over time, acting as the embodiment of any social or spiritual forces.
AT Russia developed under the great influence of the Enlightenment - the ideas of equality and justice have always been the focus of attention of Russian classic writers. Therefore, in Russian classicism, genres that imply a mandatory authorial assessment of historical reality have received great development: comedy (D. I. Fonvizin), satire (A. D. Kantemir), fable (A. P. Sumarokov, I. I. Chemnitzer ), ode (Lomonosov, G. R. Derzhavin).
In connection with the call proclaimed by Rousseau to closeness to nature and naturalness, crisis phenomena are growing in the classicism of the late 18th century; the cult of tender feelings - sentimentalism - is replacing the absolutization of reason. The transition from classicism to pre-romanticism was most clearly reflected in the German literature of the Sturm und Drang era, represented by the names of J. W. Goethe (1749-1832) and F. Schiller (1759-1805), who, following Rousseau, saw in art the main force of education person.
(classicism)
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art trends art trends
Classicism Classicism is a European cultural and aesthetic movement, oriented towards ancient literature and mythology Klodt the Horse Tamer. Anichkov bridge.
Classicism Classicism developed in France in the 17th century in connection with the beginning of the era of absolute monarchy The word comes from the Latin name, which means "exemplary" Classicists imitated the ancient Greeks and Romans
Classicism in art painting
The principles of classicism The main theme is the conflict of personal and civic interests, feelings and duty. The highest dignity of a person is the fulfillment of duty, the service of the state idea. Following antiquity as a model. Imitation of "decorated" nature.
Principles of classicism 5. The basis of everything is the mind. Only that which is reasonable is beautiful. 6. Main category- the beauty. 7. The main task is to strengthen the absolute monarchy, the monarch is the embodiment of the reasonable.
Classicism in painting Painting by Jacques Louis David “The Oath of the Horatii”
Classicism in painting by Lysenko "Farewell of Hector and Andromache"
Versailles Versailles - the residence of the French kings - was proud of its park, designed by Andre Le Nôtre.
Landscape art. Versailles. Nature assumed in him strictly geometric forms prescribed to her by the mind of man.
Landscape art. Versailles. The park was distinguished by a clear symmetry of alleys and ponds, strict rows of trimmed trees and flower beds, and the solemn dignity of the statues located in it.
The park was distinguished by the solemn dignity of the statues located in it. Landscape art. Versailles.
Classicism in Russian architecture
Samson tearing the lion's mouth Antique hero, his beauty, patriotic theme, glorification of the monarch
A.D. Zakharov Admiralty
Exchange and Strelka on the Neva (Peter and Paul Fortress - Spit of Vasilyevsky Island - Palace Embankment)
Rostral column Rostra - an architectural decoration in the form of the bow of an ancient ship
A.N. Voronikhin. Kazan Cathedral 1801-1811 - construction of the Kazan Cathedral. The Kazan Cathedral in St. Petersburg was consecrated on September 27, 1811.
K.A.Ton Cathedral of Christ the Savior
Resources http://i054.radikal.ru/1003/ba/c348e3d4be99.jp http://de.trinixy.ru/pics4/20100628/saint_petersburg_38.jpg http://turometr.s3.amazonaws.com/images/gallery /02/03/76/2010/10/30/6dc68e__61c0f80984_600.jpg
On the topic: methodological developments, presentations and notes
Educational film "Classicism in the palace interior. Enfilade of the Alexander Palace".
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Presentation for the lesson of literature in grade 9 "Classicism"
This presentation can be used when studying the topic "Classicism" in a literature lesson in grade 9 ...
Presentation Classicism as a literary movement
On this page you will find a presentation that describes in great detail the features and main distinguishing features of such a literary movement as classicism, the features of the Russian class...
- Novotroitskaya secondary school.
- Completed by: 11th grade student
- Lamonova Svetlana.
- Leader: MHC teacher:
- Cherkasova R.A.
- year 2009.
- Classicism, as a trend, was first mentioned by Italian thinkers, but it received its development in France, which is considered its ancestor. French classicism, while remaining faithful to all the basic principles of this direction, was no less luxurious and magnificent than everything else that the hand of French masters had only touched.
- In contrast, classicism in Germany has become a much more ascetic trend, promoting freedom of space, tightly fitted forms and clear, strict silhouettes. This is the true realm of reason, reason in everything, especially in architecture.
- It must be said that Russian classicism managed to combine the features of all the above-mentioned trends, adding to them its own unique features. Like everything that passes through the prism of perception of Russian artists and culture, classicism has become more "vital" and less static in Russian architecture and sculpture. In addition, it is with classicism that the rise of Russian science and enlightenment begins. That is why we can say that in no other country in Europe did the classical ideology leave such a clear mark as in Russia. Here, this direction is associated with the emergence of educational institutions, the development of archeology, history, and translation activities.
- The heyday of Russian classicism belongs to the last third of the 18th-1st third of the 19th centuries, although already at the beginning of the 18th century. marked by a creative appeal (in the architecture of St. Petersburg) to the urban planning experience of French classicism of the 17th century. (the principle of symmetrical-axial planning systems). Russian classicism embodied a new historical stage in the flourishing of Russian secular culture, unprecedented for Russia in scope, national pathos and ideological fullness.
- Early Russian classicism in architecture (1760-70s; J. B. Vallin-Delamot, A. F. Kokorinov, Yu. the dynamics of forms inherent in baroque and rococo. The architects of the mature era of classicism (1770-90s; V. I. Bazhenov, M. F. Kazakov, I. E. Starov) created the classical types of the capital's palace-estate and a large comfortable residential building, which became models in the wide construction of suburban noble estates and in the new, front building of cities.
- A feature of Russian classicism in architecture is the unprecedented scale of organized state urban planning: regular plans for more than 400 cities were developed, ensembles of the centers of Kostroma, Poltava, Tver, Yaroslavl and other cities were formed; the practice of "regulating" urban plans, as a rule, successively combined the principles of classicism with the historically established planning structure of the old Russian city.
- The works of Russian classicism constitute not only the most important chapter in the history of Russian and European architecture, but also our living artistic heritage. This heritage continues to live not as a museum value, but also as an essential element of the modern city. It is almost impossible to apply the name of architectural monuments to buildings and ensembles created in the 18th and early 19th centuries - they so firmly preserve their creative freshness, free from signs of old age.
- After 1932, Russian architecture had
- only one direction allowed, one
- style, later nicknamed "Stalinist
- empire." Built in this style
- huge buildings with columns, stucco and
- sculptures could and should have
- glorify the celebration for centuries
- communist empire. This official style existed in the Soviet Union for almost a quarter of a century. Up until 1955. Seven high-rise buildings of Moscow can be considered its peak. They began to be erected three years after the end of World War II, when most of the cities and villages of the European part of the USSR were still in ruins. But the Soviet government needed to demonstrate to the West its strength, its inexhaustible possibilities.
- Recall these seven "skyscrapers":
- - a complex of buildings of the Moscow University on the Sparrow (then Lenin) Hills; hotel "Ukraine" on Kutuzovsky prospect; the building of the Ministry of Foreign Affairs on Smolenskaya Square; administrative and residential building at the Red Gate; hotel "Leningradskaya" near the Three Stations Square; residential building on Kotelnicheskaya embankment; residential building on Vosstaniya Square.
- These are architectural milestones of the new, state space of the capital. The new scale is designed to make Moscow, along with the transformed nature: the rivers turned back and the deserts that have become blooming gardens, a new natural and geographical phenomenon, comparable with the mountains and seas of the socialist homeland. Since that time, any new building, whether it be a library (Library named after Lenin, now the State Russian Library), theater (Red Army Theatre, now the Russian Army Theatre), educational institution(Moscow State University, Moscow State Technical University), publishing house ("Pravda", since 1992 "Press") strives to appear as an architectural embodiment of the state, any institution through architecture tries to look like an integral part of state system, declare their presence in the hierarchy of power.
- The name of Matvey Kazakov is firmly connected with the whole
- classical (pre-fire) Moscow, because
- it was his main, best buildings that gave
- then the face of the city. Almost all of them were
- built in the style of mature classicism.
- Kazakov is perhaps the only one of the major
- artists of the Enlightenment in Russia created
- what is called a school. With full
- reason to talk about Russian
- classicism of the Kazakov school. Incidentally,
- even the architect's house in Zlatoustovsky lane was not just a family home, but also a kind of home university of arts. Here, under the leadership of Kazakov, an architectural school operated for many years. Among his students are the architects Rodion Kazakov, Egotov, Sokolov, Beauvais, Tyurin, Bakarev.
- The works of many of them restored Moscow burned in 1812, Kazakov's Moscow. The architect himself did not survive those disastrous events. Before the French entered Moscow, the family took the old master to Ryazan. There he met the news of the death of the city, to which the works of his whole life were given.
- Kazakov Matvei Fyodorovich
- In Russia of the 18th century, architecture was perhaps the most flourishing art form, which was especially vividly embodied in the work of Vasily Ivanovich Bazhenov, although he managed to realize a negligible part of his grandiose plans. Bazhenov was also one of the best practical builders of his time. The buildings he designed were notable for their convenience of planning and elegance of form.
- Bazhenov Vasily Ivanovich