Characteristic features of baroque architecture presentation. Baroque architecture presentation for the lesson on the MHK (Grade 11) on the topic. F. B. Rastrelli were: contrasting

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Baroque in architecture

Baroque architecture (L. Bernini, F. Borromin in Italy, B.F. Rastrelli in Russia) is characterized by spatial scope, unity, fluidity of complex, usually curvilinear forms.
Large scale colonnades are often found, an abundance of sculptures on facades and in interiors, volutes, a large number of rake-outs, arched facades with a rake-out in the middle, rusticated columns and pilasters.
The domes acquire complex forms, often they are multi-tiered, as in St. Peter's Cathedral in Rome.
Characteristic details of the Baroque - telamon (atlas), caryatid, mascaron.

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Volute (Italian voluta - curl, spiral), an architectural motif in the form of a spiral curl with a circle ("eye") in the center, an integral part of the Ionic capital, is also included in the composition of the Corinthian and composite capitals.

The volute shape is sometimes used by architectural details that serve to connect parts of the building, as well as consoles of cornices, framing portals, doors, windows (mainly in the architecture of the late Renaissance and Baroque).

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

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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.

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

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Versailles

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Peterhof (Russia)

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

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Church of St. Peter and Paul is a brilliant example of the early 17th century Baroque. The architect Giovanni Trevano designed an elegant three-tier facade, with pilasters, volutes, niches, and a spacious interior. In the middle of the cross, where the nave intersects with the transept, a powerful dome in the form of an ellipse was placed. Along the walls of the only nave, chapels that communicate with each other are built in, forming a kind of side aisles.

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Lorenzo Bernini

The great creator of the Baroque era was Lorenzo Bernini (1598-1680), who equally manifested himself in architecture and sculpture.

He was born in Naples in the family of an artist and sculptor.

At the age of 25 he was already famous and from that time he worked mainly in Rome.

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One of his best compositions, "The Ecstasy of Saint Teresa" (1645-1652), Bernini created, being already a mature master.

The white marble sculpture is surrounded by a colonnade of colored marble, and the background is gilded rays, symbolizing the Divine light.

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St. Teresa is immersed in a state of spiritual illumination, outwardly similar to death: her head is thrown back, her eyes are closed. Her figure is almost not guessed behind the large, expressively fashioned folds of clothing; it seems that in their waves a new body and a new soul are born, and behind the external dead stillness lies a gigantic movement of the spirit

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Fountain of the four rivers (Nile, Danube, Ganges, Rio de la Plata) on Navoma Square.
Square in front of St. Peter's Basilica. Rome.
Fountain "Triton" in Piazza Barberini. Rome

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Rastrelli, Bartolomeo Francesco

Varfolomey Varfolomeevich

The famous Russian architect, of Italian origin. the brightest representative of the Russian baroque. F. B. Rastrelli combined elements of European baroque with Russian architectural traditions, drawn by him primarily from the Naryshkin style, such as bell towers, roofs, and color scheme.

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Winter Palace. Hermitage.
The main residence of Russian emperors.
Large palace with a water cascade. Peterhof
Cathedral of the Smolny Monastery Catherine Palace in Tsarskoye Selo

View all slides

Russian art critic M. V. Alpatov © A.I. Kolmakov "width="640"

MHK, 11th grade

Lesson #2

Fountain of four rivers

( Nile , Danube, Ganges,

Rio de la Plata)

on Navoma Square .

baroque architecture

D.Z.: Chapter 2, ?? (p.21), tv. tasks (p.22-23)

spills over the coast.

Russian art critic M. V. Alpatov

LESSON OBJECTIVES

To give an idea of the features of baroque architecture;
broaden horizons, skills in the analysis of works of art;
to cultivate national self-consciousness and self-identification, respect for the culture of other peoples of the planet, for the international cultural heritage.

CONCEPTS, IDEAS

F.B. Rastrelli;
Winter Palace;
Cathedral of the Smolny Monastery;
classicism;
baroque architecture;
architectural ensembles;
Lorenzo Bernini - "the genius of the Baroque";
St. Peter's Basilica in Rome;
palace Petersburg;
era of the Elizabethan baroque

Universal learning activities

organize and summarize    describe and analyze   explore the causes  value   tell   
organize and summarize acquired knowledge about the ways of development and artistic principles of baroque architecture;
 conduct a comparative analysis baroque architectural structures with works from previous eras;
 comment on the scientific points of view and assessments of cultural figures;
 describe and analyze architectural monuments in the unity of form and content;
 develop an individual creative project architectural structure in the baroque tradition;
 explore the causes the promotion of architecture to the role of the leading art form in the 17th century;
 value creativity of an individual architect in the history of world and domestic art;
 define characteristics individual author's style;
 tell about outstanding foreign and domestic architects of the Baroque era;
 make reasoned judgments about the artistic merits of specific works of architecture of the Baroque era;
 prepare and conduct a guided tour on memorable places associated with the work of F. B. Rastrelli;
 make amateur video about baroque architectural monuments

STUDY NEW MATERIAL

Lesson assignment. What is the significance of the Baroque style in architecture for World civilization and culture?

sub-questions

characteristic features of baroque architecture. The main features of baroque architecture. Originality and national coloring of Western European Baroque architecture.
Architectural ensembles of Rome. Lorenzo Bernini. Italy is the birthplace of the architectural baroque. Creation of integral ensembles. Baroque features in the architecture of Rome. "The Baroque Genius" by L. Bernini, the versatility of his creative talent. Decoration of the square in front of St. Peter's Basilica in Rome.
Architecture of Petersburg and its environs. F. B. Rastrelli. Formation of the image of the palace of St. Petersburg and the royal country residences of the era of the "Elizabeth" baroque. Characteristic features of the style of F. B. Rastrelli and the architectural masterpieces he created

This is how the French poet of the 17th century described his impressions of Baroque architecture. J. de Sudery

Characteristic features of baroque architecture

. . . But before the beauty of both the building and the facade

The fountain, and the marble, and the fence have faded.

. . . In the twisted ornament you will see here and there

Victorious helmet and vases of incense,

Columns, capitals, pilasters and arcades

You will see everywhere, wherever you throw your eyes,

Cupids, monograms woven secretly,

And the heads of lambs entwined with lace,

And you will find the statue in a magnificent niche,

In patterns and carvings, the cornice is under the roof itself. . .

(Translated by E. Ya. Tarakhovskaya)

characteristic features of baroque architecture.

Predominant and trendy colors : muted pastel colors; red, pink, white, blue with a yellow accent.
Lines: bizarre convex - concave asymmetric pattern; in the forms of a semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.
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; relationship of design elements.
Designs: contrasting, tense, dynamic; pretentious on the facade and at the same time massive and stable.
Window: semicircular and rectangular; with floral decoration around the perimeter.
Doors: arched openings with columns; floral decor

); the use of saturated colors and gilding, the creation of optical visual effects due to the refraction and reflection of sun glare, side lighting, the contrasting alternation of illuminated and darkened areas. "width="640"

characteristic features of baroque architecture.

The main features of Baroque architecture are:

gravitation towards large urban and garden-park ensembles, where architecture, sculpture and painting merge into one;
scaling up, massiveness, distortion of classical proportions, when order elements cease to be proportionate to a person;
the appearance of a solid and unified facade, which becomes a kind of decoration of the building, designed for the effect of perspective reduction;
creation of a deliberately curved, almost illusory space due to the fluidity of curvilinear shapes and volumes (oval in plans and details, ellipse instead of a circle, rectangle instead of a square);
strengthening the decorative beginning, detailing, the illusory disappearance of the wall in the mass of decorations, sculptures, mirrors, windows (); the use of saturated colors and gilding, the creation of optical visual effects due to the refraction and reflection of sun glare, side lighting, the contrasting alternation of illuminated and darkened areas.

characteristic features of baroque architecture.

The geography of the distribution of the Baroque style in the architecture of European countries

. P. P. Muratov (art historian). Images of Italy Lorenzo Bernini (1598 - 1680), Italian architect "width="640"

Architectural ensembles of Rome. Lorenzo Bernini

palaces and churches constitute an unchanging and most typical

city line. We must look in Rome for ancient, Christian, medieval Rome, the Rome of the Renaissance. But there is nothing to look for in Baroque Rome - this is still the Rome that each of us recognizes first of all. Everything that defines the character of the city - its most visible buildings, main squares,

the liveliest streets, all this is created by baroque,

and all faithfully keep his seal.

P. P. Muratov (art historian). Images of Italy

Lorenzo Bernini (1598 - 1680), Italian architect

Architectural ensembles of Rome. Lorenzo Bernini

Lorenzo Bernini (1598 - 1680), Italian architect, sculptor, painter, comedian, director of enchanting performances, actor, creator of the most complex theatrical scenery.
At the age of 25, he became a celebrity, worked on the formation of the architectural appearance of Rome, carried out countless orders from the Vatican. Master, baroque genius.

L. Bernini. Square in front of the cathedral

St. Peter.1657-1663 Rome

The main creation of L. Bernini is the design of the square in front of Cathedral ohm St. Peter's. The square became a colossal stage for solemn ceremonies. The depth of the square is 280 m. 96 statues of saints, columns ( h =19m) in 4 rows combined with a bending tape balustrades .

Francesco Bartolomeo Rastrelli (1700-1771) - the son of a sculptor, Italian by birth, born in France.
Having been educated abroad, he then worked only in Russia, which became his second home. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries.

Characteristic techniques of style

F. B. Rastrelli were: contrasting

comparison of shapes and volumes,

the rhythm of the verticals, the effect of the visual

vibrations of the wall plane,

the use of plastic double

columns retreating and

retractable risalit ov (part

building protruding from the main

facade line), use

statues, flowerpots, huge failures

windows, volutes, oval windows.

Grand Palace in Peterhof (1745-1755). Architect F.B. Shot

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

The architectural masterpieces of Rastrelli include the Winter Palace in St. Petersburg (1754-1762), country residences - the Grand Palace in Peterhof (1745-1755), the Catherine Palace in Tsarskoye Selo (1752-1757), private city palaces of M. I. Vorontsov (1749- 1757) and the Stroganovs (1752-1754), churches and monasteries - St. Andrew's Church in Kiev (1748-1762), Smolny Monastery in St. Petersburg (1748-1754).

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

F. B.

Rastrelli.

View of the Winter

palace with

sides

Palace

Squares.

Nowadays in

him

located

art

Hermitage Museum

The total length of the facades is 210 m. The palace was one

of the tallest buildings. Balustrade at roof level

stone sculptures and vases. 22 types (!) of platband framing

huge windows. The palace had more than 1050 separate rooms and

rooms, 1886 doors, 1945 windows and 177 stairs.

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

Cathedral of the Smolny Monastery

was ordered by the master

Empress Elizabeth

Petrovna. Traditional Russian

five domes , embodied in

artsy baroque forms, here

organically merged with the main

building volume. Middle head

the cathedral is a tall

double-height dome topped with

bulbous dome on the light

drum. Four high

two-story towers, almost back to back

pressed against the central dome,

Give the five domes amazing

solidity and power.

decorative decoration

the cathedral is striking in elegance.

Clear protrusions of the walls, decorated

bunches of columns, gables

various shapes, soft

swirling volutes,

overhanging cornices.

The first female monastery of St. Petersburg -

Resurrection Novodevichy Convent built

on the site of the former Smolyany yard. From here

Rastrelli .

Catherine Palace

In Tsarskoye Selo

Grand Palace with

water cascade. Peterhof

The famous Russian architect, of Italian origin. The brightest representative of Russian baroque. F. B. Rastrelli combined elements of European baroque with Russian architectural traditions, drawn by him primarily from the Naryshkin style, such as bell towers, roofs, and color scheme.
In 1763, with the coming to power of Catherine II , resigned and left Petersburg .

Bartolomeo Francesco de Rastrelli (Varfolomey Varfolomeevich) (1700-1771) - Russian architect, decorator and graphic artist.

Control questions

1. How can you explain that in the XVII century. architecture was

leading art form? What are the characteristics

Western European baroque architecture? What, on your

view, distinguished baroque buildings from the creations of architects

the Renaissance? Why did Baroque architecture evoke

extremely contradictory statements?

2. Why Italy is called the birthplace of architecture

Baroque, and Rome - its capital? Prove justice

these statements on the example of works known to you

Lorenzo Bernini. What distinguishes the artistic style

architect?

3. What style traits could you note in your work

F. B. Rastrelli? What distinguishes the structures he created from

works of architecture you know

Western European Baroque? To what extent the architect

managed to embody the traditions of ancient Russian architecture?

Justify your answer.

organize the space around you in the form of a whole ensemble? 2. What urban planning ideas did baroque art put forward and what is the essence of their figurativeness? Try to illustrate your observations based on the main creation of L. Bernini - the square of St. Peter's Cathedral in Rome. 3. What ensures the stylistic integrity of the ensembles of country residences created by F. B. Rastrelli (the Grand Palace in Peterhof or the Catherine Palace in Tsarskoye Selo)? How do they solve the problem of art synthesis (sculptural decor, interiors, furniture, etc.)? "width="640"

creative workshop

1. Compare the baroque buildings you know with the architectural creations of the Renaissance. Why do you think a baroque building organizes space around itself in the form of a whole ensemble?

2. What urban planning ideas did baroque art put forward and what is the essence of their figurativeness? Try to illustrate your observations based on the main creation of L. Bernini - the square of St. Peter's Cathedral in Rome.

3. What ensures the stylistic integrity of the ensembles of country residences created by F. B. Rastrelli (the Grand Palace in Peterhof or the Catherine Palace in Tsarskoye Selo)? How in them

Is the problem of art synthesis solved (sculptural decor, interiors, furniture, etc.)?

Topics for presentations, projects

"Masterpieces of Western European Baroque Architecture";
"Achievements of the Italian Baroque";
"Lorenzo Bernini - the genius of the Baroque";
"Rome is the capital of architectural baroque";
"National originality of the development of the Baroque style in Russia";
"Petersburg F. B. Rastrelli";
"The palace ensembles of F. B. Rastrelli in St. Petersburg and its suburbs."

Today I found out...
It was interesting…
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Literature:

Programs for educational institutions. Danilova G.I. World Art. – M.: Bustard, 2011
Danilova, G.I. Art / MHK. 11 cells. Basic level: textbook / G.I. Danilova. M.: Bustard, 2014.
Baroque architecture. Author Selezneva

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Issues under consideration: 1. General characteristics of the architecture of Italy in the 17th century 2. The Church of Il Gesu and the space-planning features of the cult architecture of the Baroque 3. Ensemble in the architecture of the Baroque

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General characteristics of the architecture of Italy in the 17th century. Baroque architecture served to affirm the ideas of Catholicism and absolutism, but it reflected the progressive trends in architecture, which were revealed in the planning of cities, squares, buildings, designed for the masses of the people. Domenico Fontana, Carlo Maderna. Palazzo del Quirinale. Obelisk with figures of the Dioscuri.

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Catholic Rome became a brilliant center of baroque architecture. The origins of the Baroque were laid in the late works of Vignola, Palladio and especially Michelangelo.

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Baroque architects do not introduce new types of buildings, but find for old types of buildings - churches, palazzos, villas - new constructive, compositional and decorative techniques that radically change the form and content of the architectural image. C. Maderna, C. Rainaldi Church of Sant'Andrea della Valle. Rome. Vignola. The first courtyard of the Villa Giulia. Rome

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They strive for a dynamic spatial solution, for the interpretation of volumes by pictorial masses, they use complex plans with a predominance of curvilinear outlines.

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They destroy the tectonic connection between the interior and the façade of the building, increasing the aesthetic and decorative impact of the latter (i.e. the façade).

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Freely using ancient order forms, they enhance the plasticity and picturesqueness of the overall design of the exterior.

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Particular attention is paid to the development of the type of temple, in which since the end of the 16th century. growing features of the baroque. The facade of the church of the Jesuit order, permeated with movement, is complex in construction - Il Gesù (Chiesa del Gesù, the Church of Jesus; 1568-1584), Giacomo Vignola; facade - 1575, Giacomo della Porta).

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The Church of the Holy Name of Jesus is the cathedral church of the Jesuit Order, in which its founder, Ignatius Loyola, is buried. The construction of the church began in 1568. The church was built on the site of another temple, in which, it is believed, St. Ignatius of Loyola prayed before the image of the Mother of God. This image is now in the saint's chapel on the right hand of the altar. The church was built at the height of the Counter-Reformation and met all the requirements formulated at the Council of Trent. It did not have a vestibule, there was a single nave, so that the whole flock could concentrate on the service, which was held at the large altar. Instead of side aisles, there is a series of identical communicating chapels behind arches, the entrance to which is covered by balustrades. Transepts are reduced. Many Jesuit churches around the world have been built on the model of the church in the holy name of Jesus in Rome.

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Giovanni Batista Gaulli (Il Bachiccio) (it. Giovanni Batista Gaulli) / 1639 Genoa - 1709 / - Italian painter. Since 1657 he has been working in Rome, possibly in the studio of the landscape painter G. Duguet-Poussin. Gaulli's portraits corresponded to the general line of development of baroque art. Gaulli's painting, distinguished by both virtuosity and decorative luxury, and exaggerated affectation of images, was a programmatic expression of the art of the Counter-Reformation era. In the second half of the XVII century. baroque plafond painting reached a brilliant flowering. At this time, the best compositions of the artist Baciccio were created. He created complex multi-figure paintings that evoke the feeling of an irrational breakthrough into heaven. Very expressive is his painting of the plafond of the famous Roman temple of Il Gesu "The Triumph of the Name of Jesus" (1676-1679). It was required to depict not only the righteous ascending to heaven, but also sinners descending into hell. The artist boldly brought the figures of sinners outside the vault, and put them in such angles that they seem to literally fall down into the real space of the temple. The boundaries between the walls and the vault are erased, and all those present are involved in a single mystical action. However, the most remarkable detail of the painting is the light emanating from the monogram of the name of Jesus Christ. It is the picturesque expressiveness of light rays that creates the effect of “vibration” of all colors. Skillfully placed bright juicy spots enhance the emotional impact, give rise to an atmosphere of subtle artistic play that combines real light and depicted light.

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Church of the Jesuits (Church of Saints Peter and Paul of the Jesuit Order). Lviv 1610-1630 Church of St. Michael. Brussels, 17th century Cathedral Basilica of St. Francis Xavier. Grodno, 1703 Church of Santa Maria del Giglio, Venice, e1678-1681 arch. Giuseppe Sardi.

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Church of Peter and Paul in Krakow Church in Nesvizh, 1587-1593 Cathedral of Our Lady, Bordeaux. 1707

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Basilica del Santa Croce, Lecce, completed 1695 Cathedral of Syracuse, Sicily, 1728-1753. Cathedral of Valladolid, after 1595 Facade of the Carthusian monastery of Santa Maria de la Defención, 1667.

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Iglesia de la Compagna, Arequipa, Peru, facade -1698. Iglesia de la Compaña, Quito, façade completed 1765(?) Cathedral in Mexico City, entrance to the tabernacle 1749-1760

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The most notable element of the interior decoration is the grandiose fresco "The Triumph of the Name of Jesus" by Giovanni Battista Gaulli at the end of the 17th century. On the right is the chapel of St. Andrew, decorated with frescoes by Agostino Ciampelli, in the third chapel on the right - frescoes by Federico Zuccari (16th century). The right transept was decorated by Pietro da Cortona, here on the altar there is a painting "The Death of Francis Xavier" by Carlo Maratta in the 17th century. In the first chapel on the left, there is an interesting altarpiece of Saint Francisco Borgia, depicted by Andrea Pozzo, a famous Italian Jesuit, painter and art theorist. In the third chapel on the left, the fresco painting of the walls, made by several prominent Italian artists in the 80s of the 16th century, attracts attention. The most interesting place in the interior of the church is the left transept, decorated by Andrea Pozzo at the end of the 17th century. Here is the chapel of St. Ignatius with a statue of the saint by the French sculptor Pierre le Gros.

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The uneven vertical division of the walls by double pilasters enhances their plasticity, and the concentration of order elements towards the center emphasizes the direction of movement.

slide 18

A semicircular pediment above the entrance portal of the first floor and powerful decorative volutes of the second floor connect both floors, giving the impression of facade integrity, dynamism and heightened emotionality.

slide 19

The inner space of the temple is also activated, the central nave is expanded and stands out.

slide 20

Powerful profiled cornices, leading the eye into the depths, create movement towards the altar and the central dome.

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Francesco Borromini (1599-1667) He finds his extreme expression of the irrationality, expressiveness and picturesqueness of the Baroque in the work of Francesco Borromini. Ignoring the logic of constructions and the possibilities of materials, he replaces straight lines and planes with curved, rounded, wriggling ones.

slide 22

On the alternation of concave and convex lines, arranged in the shape of a rhombus, he builds a plan for a small church of San Carlo at four fountains in Rome (1634-1667). It was consecrated in honor of the canonized Milanese cardinal and church reformer Carlo Borromeo, as well as the Holy Trinity.

slide 23

Its complex undulating facade, dissected by a two-tier colonnade, is decorated with decorative sculpture, deep niches, oval picturesque panels that break the cornice and upset the balance of the composition. The fractional plasticity of the walls, the restless rhythm of the windows, the intricately profiled horizontal rods emphasize the tense dynamism of the building.

slide 24

Baroque palaces and villas A large place in baroque architecture belongs to palaces, proudly elegant, with outbuildings protruding from the sides of the main building, open courts of honor. Representativeness and grandeur in them are combined with the splendor of Guarino. Palazzo Carignano, Milan Bernini, Borromini. Palazzo Barberini. Rome

slide 25

Extraordinarily beautiful country villas surrounded by gardens, terraced on the slopes of the hills Villa d'Este

slide 26

They skillfully used the complex terrain, the richness of southern vegetation, reservoirs, combined with pavilions, sculptural groups. Intended for aristocratic customers, such ensembles to a certain extent also reflected the interest in nature that natural scientists of the 17th century showed. New town-planning principles were embodied in Rome, which during this period acquired its unique appearance. According to the project of Domenico Fontana, the construction of the Piazza del Popolo ensemble was carried out with three rays of central streets diverging from it, densely built up with buildings.

slide 29

Domenico Fontana (1543 - 1607, Naples) - Italian architect and engineer of the early Baroque. was born in 1543 in the city of Melide (now Switzerland, the canton of Ticino). In 1563 he moved to Rome to study architecture. In Rome, Fontana was patronized by Cardinal Montalto, by whose order the architect built a chapel (Cappella del Presepio) in the church of Santa Maria Maggiore, as well as the Palazzo Montalto. In 1585, Cardinal Montalto became Pope Sixtus V and appointed Fontan as chief architect of the papal curia. During this period, Fontana created projects for the reconstruction of the Quirinal and Lateran palaces, three of the four fountains on the Quirinal, the building of the Vatican Library, and also completed the construction of the dome of the Cathedral of St. Peter. Fontana supervised the installation of an Egyptian obelisk in the square in front of St. Peter's Cathedral (1586). Fontana later erected obelisks in Piazza del Popolo, Piazza di Santa Maria Maggiore and Piazza di San Giovanni in Laterano. slide 31

In the façade of the Church of Santa Susanna (1603), Maderna returns to the theme of the façade of Il Gesú Giacome della Porta, but develops it with greater plastic emphasis, especially in portals and semicircular tympanums, which is also explained by the need to provide a double view - horizontally and vertically. This is already a transition from a mannerist facade, understood as a plane, on which only articulations suggest an almost symbolic spatiality, to a baroque facade, which from the outside allows you to feel the structure of the interior and plastically connects the church with the space of the street or square.

slide 32

Lorenzo Bernini (1598-1680) Like the masters of the Renaissance, the founder of the mature baroque style, Lorenzo Bernini, was a multi-talented man. An architect, sculptor, painter, and brilliant decorator, he mostly executed orders from the Roman popes and headed the official direction of Italian art. One of his most characteristic buildings is the church of Sant'Andrea al Quirinale in Rome (1653-1658).

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. 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. 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, the emotional, rhythmic and coloristic unity of the whole, often the unconstrained freedom of the stroke, acquires great importance; in sculpture - the picturesque fluidity of form, the richness of aspects and impressions.

Masterpieces of the Italian Baroque. Lorenzo Bernini Masterpieces of the Italian Baroque. Lorenzo Bernini The Church of Sant'Agnese in Piazza Navona in Rome is one of the best creations of the architect. The smoothly curved facade of the church is adorned with a majestic dome placed on a high drum. Francesco Barromini. Church of Sant'Agnese, Rome.

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

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

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

The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the form of a trapezoid, and the second is in the favorite form of baroque - an oval. The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the form of a trapezoid, and the second is in the favorite form of baroque - an oval.

Lorenzo Bernini. Fountain of the Four Rivers in Piazza Navona Allegorical figures depict the largest rivers of the continents Nile, Danube, Ganges and Rio de la Plata. The location of the figures of the fountain gave rise to a legend about the duel between the geniuses of the Baroque era Bernini and Borromini: as if La Plata Bernini blocks his hand so as not to see the church, the "terrible" creation of Borromini. Allegorical figures depict the largest rivers of the continents, the Nile, Danube, Ganges and Rio de la Plata. The location of the figures of the fountain gave rise to a legend about the duel between the geniuses of the Baroque era Bernini and Borromini: as if La Plata Bernini blocks his hand so as not to see the church, the "terrible" creation of Borromini.

From the 2nd half of the 1650s. Bernini is again working in St. Peter's Basilica, creating here a bronze "pulpit of St. Peter" (), decorated with statues of the fathers of the Church and angels. From the 2nd half of the 1650s. Bernini is again working in St. Peter's Basilica, creating here a bronze "pulpit of St. Peter" (), decorated with statues of the fathers of the Church and angels.