The fashion for a new architectural style, called Art Nouveau in Russia, penetrated our country at the very end of the 19th century. The cooling of European customers for it was associated with the economic crisis of 1900-1903, but in Russia the fashion for it lasted until the start of the First World War.

Architectural objects of this style are easily recognizable on the city streets due to the original facade and high decorative details, large "shop" windows. Most often, apartment houses, shopping arcades, factories, railway stations, and exhibition halls were designed in this style. Appearance buildings, all structural elements: stairs, doors, pillars, balconies, and the interior were carefully designed in a single aesthetic key. The complexity of the roof lines, facades, windows determined the need for the use of new materials: steel, concrete, glass.

Art Nouveau in Russia, as well as in Europe, immediately broke up into several directions: stylistic modern (pseudo-Gothic, Moorish and Russian styles) and modern proper (innovative modern). The originality of regional forms of modernity appeared - Moscow, St. Petersburg, Riga, provincial.

in the capital in the 1900s. Art Nouveau was formed under the strong influence of the traditions of St. Petersburg architecture of the 19th century: monumentality, compositional balance, the use of order elements, which determined the strict nature of most modernist buildings; An example is the Mertens House (architect Lyalevich, 1909). St. Petersburg modernity was influenced by proximity to the Scandinavian countries and their variant of modernity, the so-called. "national romanticism": facade decoration natural stone(granite, marble), available in abundance in the vicinity of the capital; wood and metal.

Stylistic modernity is distinguished by both new features and traditional elements of compositions and forms of historical styles, but significantly and arbitrarily reworked. For example, the building of the Museum of A.V. Suvorov (1901-1904, architects A.I. Gauguin and G.D. Grimm) has the appearance of a medieval fortress due to the use of transformed elements of medieval Russian architecture. The building represents the national-romantic branch of Art Nouveau. An example of this trend of Art Nouveau in Moscow is the Yaroslavsky railway station (1902), built Fedor Osipovich Shekhtel(1859-1926). Steep high roofs and a tower, hypertrophied machicols (hinged loopholes) and multi-colored cladding of an asymmetric building give it features of a slightly tangible influence of northern folk architecture. If the architecture of the Yaroslavsky railway station has a subtle national flavor, then the building of the Tretyakov Gallery (1900-1905, the main facade - designed by the artist V. M. Vasnetsov) is distinguished by a vivid manifestation of national features, which is due to the specific function of the museum building.

Shekhtel was the leading architect of Russian Art Nouveau. At the beginning of his creative career, Shekhtel paid tribute to retrospectivism, skillfully operating with Gothic architecture (3.G. Morozova's mansion on Spiridonovka, 1893-1898). Since the 1900s he became a staunch supporter of modernity, creating projects that are characterized by simplicity and rationality. The most characteristic modernist work of Shekhtel is recognized as the mansion of S.P. Ryabushinsky on M. Nikitskaya (1900-1902), which was a kind of "architectural manifesto", proclaiming a new style of architecture. The appearance of a small building, picturesque in terms of volume and artistic design of the facades, completely breaks with the continuity of the previous architecture. Everything here is new – both the planar interpretation of the facades, and the peculiar outlines of arches and porches, and the majolica frieze, interrupted by windows of various shapes, and a strongly protruding cornice of a simplified profile, etc.

Architecture of the late XIX - early XX centuries. on the outskirts of the Russian Empire was distinguished by an eclectic stylistic character. This manifested itself in the projects of not only provincial but also metropolitan architects. Shekhtel was the author of the mansion of the grain merchant E. Sharonov in Taganrog. In this project, he rather casually connected the details of his earlier buildings. The building of the Volga-Kama Bank in Rostov-on-Don (architect A.N. Beketov, 1906-1909) is an example of late imitative Art Nouveau. His project is not distinguished by stylistic unity: Atlanteans and griffins on the facade, a forged balcony lattice with stylized roses and baroque stucco interior spaces are unprocessed elements of heterogeneous historical styles. A more mature architectural solution in the Art Nouveau style is the profitable house of the Rostov mayor I.N. Zworykin (1914), made in the pseudo-Gothic style.

Among the trends of the provincial modernity, the so-called. Rostov, or Yaroslavl, modern, typical for the cities of the North-East: Yaroslavl, Rostov the Great, Vologda. In it, as nowhere else, such a property of provincial modernity as a façade, i.e. the use of decorative techniques characteristic of him, solely for decoration purposes. This is the asymmetry of buildings built from round logs or hewn boards; oval windows, bay windows, turrets, floral patterns on the architraves, but all made of wood.

The heyday of the Art Nouveau architectural style in Europe and America falls on the years 1890-1914, then the First World War. The new direction has radically changed the idea of beauty in graphics, design, sculpture, music, ballet.

Inventive architects created not just expressive structures with an unusual external and internal appearance, but also mastered new materials - concrete, steel, glass.

Modern house designs in Art Nouveau technique use historical elements selectively, abandoning lush decor and excessive asymmetry in favor of more rational solutions.

Instead of eclecticism

The direction was formed in opposition to eclecticism, which mixed details from different styles, often not too skillfully. During a period of rapid urban growth and industrialization, Art Nouveau building heralded a return to the practicality of Medieval and Renaissance buildings.

Architects satisfied the increased need for buildings of stock exchanges, banks, railway stations, industrial enterprises and tenement houses. The innovation of that time - reinforced concrete structures, curved steel profiles- made it possible to create complex curvilinear facades.

The impetus for development was the decorative arts. The German decorator Herman Obrist in 1895 created the canvas "Blow of the Scourge" (in another translation, "Blow of the Whip"). Silk embroidery on a woolen panel depicted the stem, leaves and flower of cyclamen in a bizarre form, reminiscent of the stroke of a beating whip.

Nature has become a source of inspiration for architects working in the classical modern style.

Natural silhouettes of plants (lilies, orchids, irises, palm leaves, algae), sea waves are used everywhere: in painting, large-scale mosaic panels, stucco friezes, in the design of facades, balcony grilles, door handles. Fancy stained glass windows, made in the Art Nouveau style, depict peacock tails, beautiful swan necks, and female curls.

Features of Art Nouveau in architecture

Design principle	In the 18th and 19th centuries, a movement from the external appearance of the house to the internal organization was assumed. The new approach proclaimed the primary layout of the premises, which in turn influenced the external forms. Buildings receive asymmetrical volumes, Art Nouveau facades are full of bay windows, towers, balconies and loggias.
Freedom of creativity	Deliberately fantasy design of external and internal decoration is becoming one of the most popular architectural solutions. A striking example is Casa Batlo by the Spanish master Gaudi, where the idea of defeating the dragon is embodied.
Silhouettes	The rejection of straight and angular lines in favor of more natural ones leads to fluid silhouettes and emphasized decorativeness. Thanks to the creative use of steel, glass and reinforced concrete in the design of modern houses, a fusion of natural and man-made forms is clearly felt.
Color spectrum	Pastel, without obvious contrasts, dominated by olive, gray, dusty lilac, tobacco shades. The exterior and interior of buildings exist in close relationship; curved stairs, railings and supports follow the ornamental lines.
Characteristic elements of modernity	Lushly decorated columns (straight, angled or curved), window and door openings in the form of arches, complex glazing. Masters combine the traditions of European, Oriental and African architecture, but do not blindly copy them, but freely interpret them.

Art Nouveau direction in the architecture of different countries

The fashion trend has received several names - it was designated as "art nouveau" in France and Belgium, "art nouveau" in Germany and Sweden, "modern" in the Russian Empire, "secession" in Austria, "tiffany" in the USA.

Belgium

Victor Horta was the first to apply the "blow of the scourge" in the design of facades during construction and used bearing structures asymmetrical shape. The architect turned to the techniques of large glazing combined with a large amount of metal.

His Art Nouveau buildings - the famous mansions of Tassel, Solvay, Eitveld, the house-workshop (Horta Museum) - are included in the list of UNESCO World Heritage Sites.

France

Hector Guimard, a leading architect of the period, embodied Art Nouveau designs in the design of city mansions, but he is best remembered for the design of the pavilions of the Paris Metro.

The objects he created freely combine metal frames with glass elements, glazed ceramic tiles, bricks and sandstone.

Austria

The Vienna Secession is characterized by more modest decor and simple, regular geometric shapes. In this direction, the apartment building Majolica House and the post office building in Vienna (designed by Otto Wagner) were made. In the style of geometric modernity, J. Hoffmann worked, using right angles and the technique of a checkerboard instead of smooth outlines.

A striking example of Austrian architecture is the mansion of the banker Stoclet, built in Brussels.

Spain

The Catalan architect Antonio Gaudi created the famous picturesque, but no less constructive buildings: Batlo House, Mila House, Park Güell. Its beautiful Art Nouveau houses - with undulating façades, dragon-scale ceramic tiles - attract tourists from all over the world, as does the unfinished project of the Sagrada Familia.

USA

American Art Nouveau design is associated with the name of Louis Tiffany. He invented the technique of joining pieces of glass using copper foil. Stained glass windows, created using this technology, decorate buildings throughout the country. Stained glass windows are one of the main elements of modern modernity.

Russian Art Nouveau architecture

The new trend in architecture embraced not only the European part of the Russian Empire, but also the cities of the Urals and Siberia. Regional differences were manifested in the number of storeys and the choice of materials: in the capital, multi-storey buildings were built of stone, in other places - mansions with two or three floors of wood and a stone plinth.

The Art Nouveau style in the architecture of Russia had an original character and manifested itself in two main directions: Petersburg and Moscow.

Northern modern (Petersburg)

Developed under the influence of the works of the Scandinavian masters F. Lindval, A. Shulman, E. Saarinen. The cottage of the Grand Duke B.V., made in the Art Nouveau style. Romanov near Tsarskoye Selo became one of the first buildings.

Examples of the new architectural trend include the Eliseev brothers' shop, the house of F.G. Bazhanov, hotel "Astoria", tenement houses in Gatchina, Vyborg, Sortval. Of the Russian architects, N. Vasiliev, G. Baranovsky, P. Aleshin worked in this style.

The main characteristics of the northern modern:

Facade decoration with natural and artificial materials.
Facing with granite blocks (unhewn or with a smooth texture).
Refusal of small ornament in favor of simple stucco elements.
Preservation of symmetry, use of rectangular towers.
The color scheme of the facades is associated with impregnable northern cliffs and medieval castles.

A characteristic example of the modernist architecture of St. Petersburg is the project of P. Syuzor on Nevsky Prospekt: the house of the Singer company (today the House of the Book is located here).

For the first time, a metal frame was used in the work, which reduced the load on the walls and made it possible to mount display windows.

The roof with glazing over the inner courtyards has also become a new technique, the ventilation system has been technically more competently equipped. The main facade is crowned with a transparent dome with the figure of an eagle - one of the most recognizable symbols of the city.

Moscow modern

Mostly private buildings were noted here (this is the difference with the St. Petersburg direction). The ideology was substantiated and developed in the Abramtsevo circle - an association of artists and decorators, headed by patron Savva Mamontov.

Art Nouveau buildings erected in Moscow have characteristic features:

Asymmetric layouts and facade compositions.
Miscellaneous facing materials.
Bay windows as dominant architectural accents.
A combination of floral and geometric decors in the interior and exterior.

A classic example of a house in the Moscow Art Nouveau style is the mansion of the collector S.P. Ryabushinsky designed by Fyodor Shekhtel.

Facades of light yellow color are decorated with lilac mosaic with irises. Window openings are made different in shape, they are complemented by steel bars with floral ornaments. Shekhtel also designed the interior decoration of the house.

The idea of a sea wave is read in the outlines of stairs, ceiling moldings, and floor mosaics.

Modern houses in Art Nouveau style

The majestic and graceful Moscow and St. Petersburg mansions of the late 19th and early 20th centuries serve as a prototype for modern private houses today.

The architectural direction is universal: suitable for residences and small areas country cottages in Moscow and Moscow region. Buildings are erected from brick, stone, concrete, wood, a popular solution is frame steel and glass structures.

Signs of Art Nouveau as a modern style:

Asymmetry of compositional-volumetric solutions.
Decoration of the facade with railings, cornices, platbands of bizarre shapes.
Window openings of non-standard configuration: oval, round, trapezoidal, narrow (loopholes), showcases with stained-glass windows.
Turrets, spiers and weather vanes on the roof.
Natural colors: lavender, terracotta, beige shades.

Home space is organized rationally. Often, cottage projects in the modern concept combine a residential part, a garage, and outbuildings. The same exterior finish performs a binding function.

Bay windows, many balconies, glazed terraces, attic spaces are appropriate. The exterior is characterized by openwork metal details: railings, window bars. Wild stone, its imitation or facing brick is well suited for finishing the basement.

Projects of modern houses in the Art Nouveau style are very democratic in terms of materials. Metal, glass, brick, ceramics, reinforced concrete are used. Polyurethane is used to make original facade decor, including copies of the design of famous historical objects.

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Firstly, increased functional requirements were imposed on new architectural works. Design projects offered not only aesthetic solutions, but also focused on ease of use. In general, the political situation of that time is strongly reflected in art, which makes Russian Art Nouveau something special, very different from the Western one. The aristocracy, the stratum of the population that had always given architects customers, fell into decline. A little later, modernity will be replaced by constructivism, reflecting the final victory of utilitarianism over aesthetics. The lion's share of orders fell on the state, so we rarely see modern in individual construction.

Perhaps, Russian Art Nouveau can be called a mixture of tribute to progress with the nostalgia of architects, technology and decadence. Most of the monuments look majestic and gloomy. Nevertheless, the main characteristic features - floral motifs, smooth lines, asymmetry - are preserved, so the style remains recognizable. So, today it will be difficult for admirers of Russian modern to find

Introduction 2

Art Nouveau in Russian Art 3

art 6

Art Nouveau in sculpture 9

Modern in architecture 9

Conclusion 19

References 21

Introduction

The complex and extraordinarily intense spiritual life of Russian society at the turn of the 19th and 20th centuries forced architects, artists, musicians, actors, and poets to stubbornly seek new forms of expression, new methods of art synthesis. This is how Art Nouveau, or the “new style”, appeared, in which a free layout, new building, structural and finishing materials became the basis for the creation of brightly individualized structures with asymmetric compositions, stylized forms of previous eras, and sharply characteristic figurative solutions.

As in the West, in our country, the creative intelligentsia sought not so much to create a new artistic style as to find some kind of opposition to eclecticism. But in all the activities of the masters of art, nostalgia for the traditions of national culture is clearly visible, combined with the spirit of Westernism and the idea of free creativity and individualism, which was very strong in this period.

Art Nouveau was formed in the West primarily in Belgian, South German and Austrian architecture, it was a phenomenon, in general, cosmopolitan. However, Russian modern has some differences from Western European. In essence, it is a mixture with the historical styles of the Neo-Renaissance, Neo-Baroque, Neo-Rococo, etc.

The problem of the synthesis of arts became fundamental for the Art Nouveau style in Russia. An increased concern for beauty is noticeable in every Art Nouveau item (hence the great importance of ornament and decor). AT contemporary art When the formation and search for style is underway again, it is especially important to study the formation and characteristic features of the stylistic currents of the past. And Art Nouveau, which has affected all spheres of human life, is generally an exceptional phenomenon in Russian art, still surprising people with its amazing harmony. Art Nouveau was a new stage in the synthesis of architecture, painting, decorative arts, music and literature, truly uniting them within a single style direction. Therefore, it seems to me relevant to consider this topic: this is art, from which the stylistic direction of an entire era was formed.

Target works - an analysis of the characteristic features and characteristics of the Art Nouveau style in Russia.

Tasks works:

1. Analyze the concept of Art Nouveau and identify its common style features.

2. Consider the main features of Art Nouveau in architecture, sculpture and painting.

Looking back at the past era, we can say that the new style not only “updated” the arts, but also collected and generalized everything that was in the previous styles. In Art Nouveau, ornamentality and functionality, refinement and simplicity are intricately intertwined, forming an extremely peculiar alloy. As a result of the unusually short time of the existence of modernity, all its contradictions and combinations turned out to be unusually piled on top of each other, intertwined into an ambiguous architectural, picturesque pattern. Thus was born the style of individuality - Russian modern.

Art Nouveau in Russian art

Modern (from the French moderne - the latest, modern) style in Russian, European and American art of the late XIX - early XX centuries. The new movement dates back to the moment when a group of artists left the Munich exhibition organization "Glaspalast" in protest against official academic art. This is where the name of the style comes from: secession (from lat. secessio - separation, care), which took root in Austria. In Germany, to refer to this trend in art, there was also the term "young style", art nouveau (Jugendstil), in France - "new art", art nouveau (art nouveau), in Russia and England - "modern style", "style modern".

The main principles of the new stylistic direction were the first to formulate the most active ideologist and practitioner of modernity, Van de Velde. Van de Velde becomes one of the most prominent spokesmen for the new trends, ideology and practice of the new art industry. He is distinguished by a passion for technology and machinery. A utilitarian design, he believes, can be beautiful without ornament; the ornamental, aesthetic beginning is laid down in the very form of the object. Van de Velde represents the "abstract" direction of Art Nouveau; he contrasts the stylized floral ornament of the so-called "floral" direction with a dynamic linear ornament, as more appropriate to the new technique in architecture and the art industry.

Despite the extraordinary variety of forms, Art Nouveau works were characterized by certain stylistic features. The main ideological principle of the new direction was the rejection of the direct succession of styles. The sources that nourished the bizarre world of Art Nouveau forms were, on the one hand, figurative and ornamental motifs of the Crete-Mycenaean culture discovered in those years, and, on the other hand, architecture, applied arts and Japan's uniquely subtle graphics. This is the last, but perhaps the most profound influence of Far Eastern art on European art.

Asserting the unity of the style-forming principles of the entire human environment - from the architecture of the dwelling to the details of the costume, the representatives of the style gave the leading role to architecture as the basis of the synthesis of arts they sought. It was most clearly expressed in the architecture of private mansions, in the construction of business, industrial and commercial buildings, railway stations, apartment buildings. One of the main expressive means in art nouveau was the ornament of characteristic curvilinear outlines, often permeated with expressive rhythm and subordinating the compositional structure of the work. In the interiors, graceful linear weaves, mobile plant patterns are scattered on the walls, floor, ceiling, concentrated in the places of their conjugation, unite the architectural planes, activate the space. Works of painting and sculpture are losing their independent character, being included in the overall ensemble of modern interiors. In painting, panels are predominant, in sculpture - reliefs.

Art Nouveau architecture gravitated toward several typological options for buildings: a small mansion, an apartment building and public building. The architecture of the Art Nouveau era is characterized by a free composition of volumes, smoothness, fluidity of lines, the use of various materials in the decor, different in texture and color, etc.

It is very important for us that Art Nouveau strove for the implementation of artistic synthesis in various fields. In this regard, the ideas of creating a single artistically designed object-domestic environment have become widespread.

In the visual arts, Art Nouveau showed itself: in sculpture - by the fluidity of forms, the special expressiveness of the silhouette, the dynamism of the compositions; in painting - the symbolism of images, addiction to allegories; in literature, new trends found expression in the emergence of symbolism poetry and other literary movements, for which the main characteristic was the rejection of a direct, "mundane" perception of reality.

Despite the short duration of its existence, Art Nouveau manifested itself to one degree or another in all types of fine arts, which contributed to the aestheticization of everyday life.

art

In 1898, a new art association was founded in St. Petersburg, called the World of Art. The artist A.N. Benois and philanthropist S.P. Diaghilev were at the head of the formed circle. The association included a lot of artists: L.S. Bakst, E.E. Lansere, K.A. Somov, M.A. Vrubel, V.A. Serov and others. modern. "Miriskusniki" defended the freedom of individual creativity. Beauty was recognized as the main source of inspiration. The modern world, in their opinion, is devoid of beauty and therefore not worthy of attention. In search of the beautiful, the artists of the "World of Art" often turn to the monuments of the past in their works. For artists of the turn of the century, social problems in history lose their paramount importance, the leading place in their work is occupied by the image of the beauty of ancient life, the reconstruction of historical landscapes, the creation of a poetic romantic image of "bygone centuries".

Art Nouveau permeates all genres of painting, including the "wandering" art - peasant themes, the perception of the images of Russia. So, we see the undoubted influence of the new style on M.V. Nesterov, who was engaged in religious monumental painting a lot. In his art, one can trace the desire for a flat interpretation of composition, elegance, ornamentation, refined sophistication of plastic rhythms - the characteristic features of Russian Art Nouveau. This can be seen in one of the artist's best paintings dedicated to women's fate - "Great tonsure": deliberately flat figures of nuns, "chernitsa" and "belitsa", generalized silhouettes, as if a slow ritual rhythm of light and dark spots - figures and a landscape with its light birches and almost black firs.

The work of the artist V.A. Serov actually marked a change of eras in the visual arts. Actually, the whole creative path of Serov is an evolution from the impressionistic authenticity of portraits and landscapes to Art Nouveau in historical motifs and compositions from ancient mythology.

Historical compositions (Peter I) by V.A. Serov are based on the principles of Art Nouveau: ideas about flatness and increased decorativeness. The same principles were reflected in his portrait of the dancer Ida Rubinstein (and many others), in his sketches for The Rape of Europa (and in the painting itself) and The Odyssey and Nausicaa.

By the way, it was in the painting “The Abduction of Europe” that the departure from the classical canons was most pronounced. This canvas no longer resembles the manner of the early Serov.

A significant role in the development of Russian Art Nouveau was played by the Abramtsevo Art Circle, which brought together representatives of the Moscow creative intelligentsia. The well-known businessman and philanthropist S.I. Mamontov became the center of the association, providing financial support to artists, helping them to realize their creative ideas. The members of the circle were the sculptor M. M. Antokolsky, V. M. and A. M. Vasnetsov, K. A. Korovin, I. I. Levitan, V. M. Nesterov, V. D. Polenov, V. A. Serov .

One of the characteristic representatives of Russian Art Nouveau in painting was M. A. Vrubel. Mystery, mysticism, mysteriousness of Vrubel's canvases ("The Demon", "The Swan Princess"), a special painting technique, which was based on a sharp, breaking stroke, the division of the volume into many intersecting faces and planes, the mosaic stroke brings the artist's work closer to the attitudes of the representatives symbolism.

The color combinations of his paintings do not reflect the reality of the relationship of color, but have a symbolic meaning. Vrubel transforms all his impressions into deeply symbolic images (the image of the Demon), reflecting all the originality of his worldview.

In the paintings and graphic works of Vrubel there is a clear organization and decorative-planar interpretation of the canvas or sheet. Combination of real and fantastic, commitment to ornamental, rhythmic difficult decisions- these are the features of modernity in the work of Vrubel.

One of the founders of Russian symbolism in painting was V.E.Borisov-Musatov, whose works full of elegiac sadness, shrouded in a haze of unreality and sleep, embodied longing for the fading world of noble estates, old parks, the quiet and thoughtful course of life.

The space in his works is solved extremely conditionally, flat, the figures are almost incorporeal (like everything that surrounds them). The general impression of his paintings - as from something melting, disappearing; it is a kind of mirage, given only in general terms and giving only a vague image.

Faded, pale gray shades of color (“Pond”) enhance the overall impression of fragile, unearthly beauty and anemic, ghostly, which extends not only to human images, but also to the nature around them. It is no coincidence that Borisov-Musatov called one of his works "Ghosts": silent and inactive female figures, marble statues by the stairs, a half-naked tree - a faded range of blue, gray, purple tones enhances the ghostliness of the depicted.

The work of V. E. Borisov-Musatov marked the beginning of another artistic association - the Blue Rose, whose members (Kuznetsov, Saryan, Sapunov, Petrov-Vodkin, etc.) also worked in the aesthetics of modernity. Their work is united by a flat-decorative stylization of forms, whimsical linear rhythms.

Art Nouveau in sculpture

Art Nouveau manifested itself in sculpture to a lesser extent than in fine arts, and even more so in architecture. But still, certain features of modernity can be noted in the work of such sculptors as P. Trubetskoy, A. Golubkina and A. Matveev.

In the works of Golubkina and Trubetskoy there is a special rhythm of fluid lines and forms, the symbolism of sculptural elements - features inherent in the "new style".

The most symbolic are such well-known works as the bronze monument to Alexander III Trubetskoy, where a rider sitting heavily on a heavy horse symbolizes Russia of peace, stability and strength, and the symbolic bust of Andrei Bely, so beloved by Russian symbolists.

The wave motif, which was often used in painting and graphics, can also be found in Anna Golubkina's sculptures.

Especially popular at that time in sculpture was the motif of a flowing dress. The twisting line of the wave, as well as the serpentine line of the drapery moving during the dance, formed the basis of numerous variants of ornament in sculpture and architecture.

Art Nouveau manifested itself especially characteristically in the work of the sculptor Matveev. His work is characterized by strict architectonics, laconism of stable generalized forms, a state of enlightenment, peace, harmony. These features directly contrast Matveev's work with sculptural impressionism.

In the works of the master there is musicality of plastic forms, great artistic taste and poetry.

Modern in architecture

In the last decade of the 19th century, it became clear to architects that in using the historical styles of the past, architecture had reached a dead end; according to researchers, it was already necessary, according to the researchers, not to “arrange” historical styles, but to creatively comprehend the new that was accumulating in the environment of a rapidly growing capitalist city. . And after a long domination of eclecticism and stylization "antique", Art Nouveau again turned architecture in the direction of progressive development, to the search for new forms.

Completely new approaches to architecture required the construction of structures, the need for which arose in connection with the development of industry. There are new types of buildings: factories, stations, shops, banks, with the advent of cinema - cinemas. This gave birth to new space-planning solutions, a decisive transformation of the appearance of urban development took place. The revolution was also carried out by new Construction Materials: reinforced concrete and metal structures, which made it possible to block gigantic spaces, make huge showcases, and create a bizarre pattern of bindings.

An important phenomenon in the architecture of the second half of the XIX century. there was the appearance of the so-called tenement houses, that is, multi-apartment, usually multi-storey residential buildings intended for renting out apartments. Their intended purpose forced the use of new techniques in the composition of buildings.

There are two stages in the development of modernity in architecture: early - decorative and later - rational. The names themselves reveal their essence. In the first case, this is a search for a new ornamentation, first fancifully decorative, and then determined by the constructive form. In the second case - the use in the construction of the building frame, the search for the most efficient use of materials and structures. Here, the use of an ornament is not necessary.

Art Nouveau architecture is characterized by the combination of all types of fine arts to create an ensemble, a complete aesthetic environment in which everything, from the general outlines of the building to the pattern of the fence lattice and furniture, should be subordinated to one style. Art Nouveau in architecture and decorative art manifested itself in a specific fluidity of forms, love for ornament, pastel restraint of color.

The main difference of the new architecture is dynamism, mobility, living plasticity of the best modern buildings. An apartment building, a mansion, a public building of the Art Nouveau period are individual, they clearly reflect the personality of the builder - both in the general appearance and in the details of the finish, in the features of the planning solution, even in the design of the balcony lattice or the door handle. The desire for synthetic, more figurative art leads to the formation of a type of universal artist. The architects of the Art Nouveau period successfully worked in painting, graphics, decorative and applied arts.

One of the strengths of the architecture of that time was the most diverse and extremely interesting functionally sound planning solutions, which in turn influenced the formation of the external appearance of buildings. This is the so-called design "from the inside" (that is, from the plan of the building), which has become the most important design principle in the modern era.

Art Nouveau avoids geometrically clear forms, straight lines and angles, strict verticalism of surfaces. The slight curvature of all lines helps to breathe "life" into the volumes, surfaces and details of structures, depriving them of dryness. This also explains the love of Art Nouveau to countless variants of sliding, wriggling, wave-serpentine, moving lines, to "pulsating", tense, impetuous or relaxed "unstable", tapering or, conversely, as if spreading downwards, rounded or cut corners, trapezoidal motifs. . Projects of modernist buildings seem to be sketched by hand. The surfaces are given a deliberately emphasized smoothness, a slight irregularity. Art Nouveau buildings are devoid of static and stiffness, their composition and form are mobile, they seem to be in constant development.

Modern prefers clear, concise forms, large spots, clear lines. So, for example, the entrance to the Shekhtel's mansion in Ermolaevsky Lane is marked by a single decorative colored spot on the facade - a mosaic with a stylized purple iris on a gold background, arranged into the portal - a favorite modernist motif, anticipating the appearance of the famous frieze of irises in the Ryabushinsky mansion a few years later. Or, for example, the decorative mosaic above the entrance is the only colorful spot on the facade of the Kekushev mansion in Glazovsky Lane.

The drawing of an ornamental pattern or architectural form is always easily visible. But this is not the clarity of the classical form, closed, balanced, geometrically correct. Art Nouveau forms flow or grow one from the other, where one ends and another begins - it is almost impossible to determine, each at the same time the completion and beginning of the next. A very characteristic example is the famous “frozen wave” of the stairs of S. Ryabushinsky’s mansion, which resembles a sculpture. Its form conjures up a fantastic monster, it is pictorial and abstract at the same time. It is impossible to say where the structure ends and the decor begins, where the plane of the wall turns into relief, and the relief into sculpture, the stained-glass window into the window frame, and the lamp into the stair railing. The ornamentally interpreted design smoothly flows into the constructively interpreted ornament; plane into volume, and volume into space.

In the Art Nouveau era, architects for the first time begin to turn to completely new materials and structures - in particular, made of reinforced concrete. However, technology as such - materials and structures - is not a style-forming factor in modernity. It is valued primarily as a means that provides the richest opportunities for the embodiment of new artistic ideals.

Art Nouveau begins by making the structure of the building visible, exposing the metal frame in the interior (Arshinov's trading house in Moscow in Staropansky Lane, 1896, architect F.O. materials.

This also once again confirms the thesis about the relationship between "useful and beautiful" in modernity. Architects willingly emphasize the features of the internal structure, emphasizing the picturesque combination of volumes, the asymmetry of the location of balconies and porches in mansions, the continuous glazing of stairwells in multi-storey apartment buildings, the framing of retail, banking, and industrial buildings.

New materials, used boldly, frankly, proved to be the most suitable means for embodying the ideals of modernity. Lightweight, transparent metal construction - the opposite of brick. The functions are actually constructive, the workers pass to the thin lattice of the inner frame. It becomes possible to make the wall not just a barrier from outside space, but a thin, transparent, light shell of the building, to introduce huge glazed surfaces of windows and ceilings into the buildings; iron trusses made it possible to arrange huge hall spaces, covered with a through domed-arched structure.

Refusing to imitate a massive stone structure, the architects are trying to extract new effects from the new structure, making one feel the weightlessness, frame, spaciousness that it brings to the organization of the internal space. A strict grid of vertical and horizontal articulations with some emphasis on the vertical ones, passing through the entire height of the facade, huge recumbent windows from one vertical wall to another and from one interfloor thrust to another - the composition, which for the first time received artistic completeness in the buildings of F.O. Shekhtel, represents is an understanding of the expressive possibilities of a combined metal-brick and brick-reinforced concrete structure, in which the pillars of the outer walls were made of brick, and the inner pillars and columns were made of metal or reinforced concrete. The composition of shopping and banking buildings of late modernity rethinks the totality of the features of the frame structure - its mesh, lattice, lightness and transparency. Russian Art Nouveau made a great contribution to the development of this scheme, which was recently associated only with the buildings of the so-called Chicago School in the USA. The main merit in this belongs to the architects of Moscow.

Art Nouveau pays special attention to functional elements - to the rhythm, arrangement, alternation, shape, texture of openings and piers, expressing appearance construction features of its design and internal organization. The analysis of any of the means or methods of modernity again and again entails a statement of the fact that their use is the result of the implementation of the main form-building relationship - "the transformation of the useful into the elegant."

Iron details and constructions are used by Art Nouveau, like any other material, functionally and decoratively at once. It turned out that iron has the richest range of decorative qualities - malleability, tortuosity, lightness, transparency, that the combination of an iron frame with glass conceals inexhaustible artistic effects. The peculiar inertness of the stone structure is opposed by the intensity of the dynamic balance of the iron frame. A transition is planned from the architecture of volumes and surfaces, which distinguish stone architecture, to the architecture of lines. With this trend, there is also a tendency towards sculptural, materiality, which is based on the stylization of the qualities of another new material - concrete and reinforced concrete, its viscosity, amorphousness, plasticity. Both of these trends are represented in the architecture of the early modernist model - the mansion of Ryabushinsky F. O. Shekhtel (1900).

From the organic unity of the useful and the beautiful in Art Nouveau, an artistic interpretation of not only constructive-utilitarian forms, but also finishing materials follows. Their texture and color turn into one of the most important, independent means of architectural expressiveness. Here again, the difference between modernity and eclecticism is clearly revealed, moreover, from the architecture of the new time as a whole, where the textured expressiveness of the material did not play an active role, and color was used as an auxiliary means to highlight the main element of the composition - illusory-tectonic or pictorial decor. In Art Nouveau, the purpose of color is purely practical - to reveal, accentuate the architectural form - the style-forming basis of the composition.

Art Nouveau, as it were, rediscovers expressive possibilities traditional materials and introduces new ones. It uses the contrasts of texture comparisons of differently processed surfaces of the same material ( different types textured plaster, various processing of natural stone) and texture matching various materials(natural stone, glazed brick and plaster, natural stone and plaster, natural stone and glazed or facing brick). The range of textural comparisons includes glass, majolica, tiles, stained-glass windows. The rich brilliance and noble surface of mirror glass, the play of blown, textured glass concealed the possibility of creating diverse effects, especially in combination with the rough, torn surface of sprayed plaster, bream, stone "under a fur coat", the cold sheen of glazed brick, the shiny smooth surface of polished stone and matte surface stone-like or ordinary plaster, the amorphous softness of concrete, polished or lacquered wood in the interior. The range of cladding and finishing materials adequately complements metal - cornice brackets, balcony railings, canopies over porches, stairwell railings, door handles - bronze, steel, iron - set off with a metallic sheen of their surfaces and beauty of forms, echo the texture and color range of materials and rhythm. forms.

The color scheme of Art Nouveau is extremely enriched. In early modern buildings, the tones lighten; lilac-gray, blue-lilac, lilac-pink, pinkish-lilac, mother-of-pearl, greenish-gray, olive, pistachio, yellowish-white, numerous shades of gray predominate. In late modernity, a transition is made to bright local tones. A common technique that made it possible to more acutely feel the expressiveness of each material is the comparison of materials that are different in texture, but similar or the same in color (different types of plaster and brick), different in color, but the same in texture of materials (white and colored glazed brick), materials, different from each other both in texture and color (majolica and plaster; plaster, stone, majolica and brick). Like the shape of the details, the border, which marks the use of different materials or the coloring of the facade plane in different colors, is emphatically decorative, and from the point of view of the usual ideas about tectonics, it is arbitrary.

The facades of the mansions, freed from the traditional architectural decor, became the place for the placement of decorative compositions - reliefs, murals, majolica panels, tiled and mosaic friezes. Thus, the strictly symmetrical composition of the Gutheil mansion (architect VF Valkot) is designed for a strictly frontal point of view. Behind the plane of the front facade, the main volume of the house is almost not felt. The sculptural reliefs of the facade are emphatically graphic. They are read on light plaster as an exquisite linear pattern.

In Art Nouveau, where even a utilitarian detail is interpreted decoratively, the role of sculpture and painting as "pure" decoration is emphasized by the peculiar "freedom" of placement on the plane of the wall. The location of painting and sculpture on the facade is not fixed by the canon, is not mandatory, set once and for all. It is determined in each case individually, in accordance with the composition of this particular structure. Such an "optional" placement testifies, paradoxically, to the increased importance of the synthesis of the arts. In the case of application, painting and sculpture turn from a secondary decoration into a compositional tool of paramount importance, they constitute (ideally) an indissoluble unity with architecture.

The composition of the architectural construction of modernity is fundamentally different from that of the architectural styles of previous centuries. In Art Nouveau, architects refuse to differentiate the components of an architectural structure into active elements and a neutral background, main and secondary elements. As a result, the construction and subsequent perception of the mansion as an absolutely integral structure is observed, where one detail flows into another, where everything makes up a single structure. For example, a graphically clear, strictly geometric volume of an elegantly dark, with rich "spots" of tiles, M.F. Yakunchikova architect Valkot is extremely concise, restrained, even ascetic in artistic language. Nevertheless, its compact stepped volume is perfectly inscribed in the historical buildings, being expressively perceived from different points of view. Separate sculptural details - a bas-relief above the entrance, mascarons on the gate posts - are emphatically plastic, contrasting with the clear edges of the external volumes.

Art Nouveau compositions gravitate towards three main schemes. The simplest is reduced to variations of the main, more or less clearly perceived form. The large form (macroform) - the silhouette of the building, the outline of the facade plane - is repeated in smaller parts, the grid of windows, the pattern of window openings, horizontal and vertical articulations, complemented and supported by decor, lines of cornices, balconies, bay windows.

The second version of the composition is based on the juxtaposition of several forms, subordinate and reduced to the "main" form. Such is the mansion of A.I. Derozhinskaya (architect Shekhtel), the composition of which is built around the volume of the "double-height" huge hall, the high stained-glass window of which, flanked by two towers, determines the expressiveness of the main facade. The deliberate displacement of scale ratios in the architecture of the hall is emphasized by the size of the fireplace, which is almost twice as large as usual. Here, as it were, the technique of contrasting a huge fireplace and small front rooms, which was used by Schechtel in his own mansion, is brought to the limit. The huge scale of the hall only emphasizes the coziness and intimacy of the rest of the premises, which form a circular enfilade around it.

Finally, Art Nouveau resorts to yet another type of composition, when separate elements, relatively complete in themselves, form an artistic whole due to internal rhythmic unity. Between these three options there are many transitional forms, often they appear in combination.

Stylization, love for linearity, silhouette and ornamentation, ornamental-graphic interpretation of forms bear the denial of the aesthetic ideal of eclecticism. No wonder one of the largest representatives and theorists of modernity, Van de Velde, avoided using the words "sculpture" and "painting" in relation to the works of the new style, preferring the word "ornamentation" to them. Painting and sculpture belonged to a different era, and their goals were different than those that brought ornamentation to life. Ornamentation and ornamentality, linearity - an embodied protest against the heavy luxury of a past era and the materialization of a dream of a world free from pomp and representativeness, democratic in essence.

The world of light, mobile, but not losing the lively plasticity of the mass, relatively few modern things is a sensitive contrast to the houses and interiors of the second half of the 19th century, filled with things that look like warehouses and museums.

Linearity, leading to the ornamentation of form, was not only an important tool formation of the concept of modernity, but also had a tangible impact on the transformation of the environment. With its help and in combination with other favorite modern techniques - a compact plan, transparent and translucent partitions (iron bars, glass beads curtains, stained glass, frosted glass), wide niches in rooms, huge windows throughout the wall - the unity of the space of a separate room with the system of the internal space of the entire building, as well as its connection with the natural or urban environment.

Conclusion

The 19th century in the history of Russia is often called the silver age of Russian art, and this is no coincidence. This is the time of an unprecedented cultural upsurge that affected all types of art: architecture, painting, music, literature. This is a time of endless artistic searches and the interaction of innovation and tradition. And finally, this is the time of strengthening the Russian national self-consciousness.

It was in the course of disputes about the fate of Russia and its exclusive mission that the entire Russian culture of the 19th century developed, new trends in art were born, and the so-called neo-Russian style of the modern era took shape.

At the end of the 19th - beginning of the 20th century, when the decadence and imitativeness of architecture began to be felt especially sharply, the traditions of national architecture were creatively processed by the masters of Russian modernism, who tried to give national features to the common European style. The emergence of a new style was due not only to the rise of patriotic sentiments, but also to the aesthetics of romanticism with its desire for national origins and originality.

Art Nouveau was one of the most significant styles that ended the 19th century and opened the next. All modern achievements of architecture were used in it. Modern is not only a certain constructive system. Since the reign of classicism, modern is perhaps the most consistent style in terms of its holistic approach, the ensemble solution of the interior. Art Nouveau as a style captured the art of furniture, utensils, fabrics, carpets, stained-glass windows, ceramics, glass, mosaics, it is recognized everywhere with its drawn contours and lines, with its special color palette of faded, pastel colors, a favorite pattern of lilies and irises, with a touch of decadence all over.

The exploratory, experimental nature of modernity gave rise to an unprecedented variety of works of architecture - from mansions of exaggerated plastic forms to strict, structurally ascetic industrial buildings, and also predetermined the use of forms of other styles.

The paradox of modernity lies in the fact that it was able to produce both domestic, industrial buildings, complete in their rationality, and fantastic, fabulous mansions, each of which is a unique work of art.

Art Nouveau has not in vain affected absolutely all genres of Russian art (to a greater or lesser extent): it was a necessary link in the evolution of art at the turn of the century. Unfortunately, the fact that modernity was too individual, what brought it to life, was also the cause of its death. In fact, Art Nouveau destroyed itself, but at the same time gave the possibility of the existence of many other, more stable styles in Russian art.

List of used literature

1. Architects of Moscow in the time of eclecticism, modernism and neoclassicism. M, 1998.

2. Zotov A. Russian art from ancient times to the beginning of the twentieth century. M, 1979.

3. Ilyina T.V. Art history. M., Higher School, 2000.

4. Nashchokina M.V. One Hundred Architects of Moscow Art Nouveau. M, 2000.

5. Fedotova E. Russian modern. The embodiment of a beautiful dream // "Salon", No. 4, 1999.