Petit Trianon is a small palace (French château), located on the grounds of the Palace of Versailles in France. Designed by Ange-Jacques Gabriel (French: Ange-Jacques Gabriel) by order of Louis XV for his favorite Marquise de Pompadour and built in 1762-1768.
The Petit Trianon is located approximately 2 km northwest of the Palace of Versailles. Initially, there was a royal botanical garden created by Claude Richard.
Vue du château du Petit Trianon prise depuis le jardin anglais sous Louis-Philippe de Guérard Charles Jean
Vue du château du Petit Trianon de Bourgeois du Castelet (dit), Bourgeois Florent Fidèle Constant
Vue du jeu de bague chinois de Trianon par Claude-Louis Châtelet (1753-1795)
Park on the plan of the late 18th century
In 1749, by order of Louis XV, the architect A.-J. Gabriel built a so-called menagerie (ménagerie), where various animals were placed, which were often used to breed new breeds. In the neighborhood there were other economic services - a barn, a chicken coop, a dovecote, and a dairy farm.
Francois-Hubert Drouet. Louis XV (1710-1774), King of France and Navarre
The idea of building a small palace on the territory of the botanical garden belonged to the favorite of Louis XV, the Marquise de Pompadour.
Jeanne Antoinette Poisson, Marquise de Pompadour
The building was erected over six years from 1762 to 1768 according to the project of A.-Zh. Gabriel. Madame de Pompadour died in 1764, before she could see the palace in its finished form. Together with the king, the Petit Trianon was opened by his new favorite, Countess DuBarry.
Elisabeth Vigée Le Brun. Madame Du Barry
The appearance of the palace reflects the architectural style called “Palladianism” in honor of the Italian architect Andrea Palladio, who revived the principles of classical temple architecture of Ancient Greece and Ancient Rome with its adherence to symmetry and consideration of perspective.
As a result, the Petit Trianon became a brilliant example of the transition from the pompous Rococo style to the restrained and laconic neoclassicism.
All four facades of the relatively small, square two-story building are made according to a single compositional scheme with an accent in the middle - a portico of the Corinthian order, which rests on four supports. There is a terrace adjacent to the building from the garden side. A balustrade runs along the perimeter of the palace roof.
Upon his accession to the throne in 1774, Louis XVI gave the Petit Trianon to Queen Marie Antoinette.
Antoine-François Calle. Louis XVI (1754-1793), King of France and Navarre
Joseph Ducret. Marie Antoinette Lorrain-Habsburg
The entrance to the royal apartments, accessed by a magnificent staircase with wrought iron railings, is located on the western, front, facade. The queen's chambers were on the first floor, the king's chambers and guest rooms were on the second, and the ground floor housed various service rooms.
Marie Antoinette came here to take a break from the formal life of the court and the heavy duties of the queen. Everything in the Petit Trianon was subject to the queen's authority. No one, not even the king himself, could set foot on this land without her invitation. This caused discontent among the aristocrats, since only the queen's inner circle was allowed here.
Marie-Antoinette de Lorraine-Habsbourg, archiduchesse d "Autriche, reine de France (1755-1793) de Ducreux Joseph
Portrait de la reine Marie-Antoinette de ,D"après Vigée-Le Brun Elisabeth Louise
Marie-Antoinette de Lorraine-Habsbourg, archiduchesse d'Autriche, reine de France (1755-1795) de Vigée-Le Brun Elisabeth Louise
Marie-Antoinette, reine de France (1755-1793) de Gautier d'Agoty Jean-Baptiste-André
Reine Marie-Antoinette assise, en manteau bleu et robe blanche, tenant un livre à la main de Vigée-Le Brun Elisabeth Louise
Marie-Antoinette de Lorraine-Habsbourg, reine de France et ses enfants de Vigée-Le Brun Elisabeth Louise
Marie-Antoinette, reine de France (1755-1793) de Vigée-Le Brun Elisabeth Louise (atelier de)
Portrait de Marie-Antoinette
Marie-Antoinette de Janinet Jean François
The building was designed to reduce interaction between guests and servants as much as possible. For example, mobile dining tables were conceived. The servants would serve them in the back rooms of the kitchen, and then the tables would be lifted by a mechanical elevator to the dining room. These tables were never made, but the specific structure of the basement remains.
On the ground floor there is an oven and stove, as well as a room with silverware and dishes used by Marie Antoinette.
Kitchen
Hall with silverware and dishes
Security room, now there is an exhibition dedicated to Marie Antoinette.
Il Parnasso Confuso - Johann Georg Weikert, 1778
Marie Antoinette and her brothers, 1765, by Johann Georg Weikert
Living room with Marie Antoinette's favorite pastime - billiards.
Marie-Antoinette d "Autriche, reine de France (1755-1793), en robe à paniers vers 1785 de Vigée-Le Brun Elisabeth Louise
Portrait of the Royal Family of France, circa 1782
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Russian State Agrarian University - MSHA
named after K. A. Timiryazev
Department of Landscape Architecture
Abstract on the topic:
"Ange-Jacques Gabriel and his famous works"
Performed
Student of group No. 106
Makarova V.V.
I checked
Basmanova T.N.
ROCOCO (first half of the 18th century)
Rococo is characterized by mannered luxury in the design of rooms and furniture, fragmented and pretentious forms, curvilinearity and broken lines, fragile decorativeness, and an abundance of gilding. The order was not used in the design of the premises.
Wall panels, ceiling rosettes, and the frames of numerous mirrors were decorated with small ornaments reminiscent of shells, sea waves and stones, acanthus leaves, and Chinese motifs were interwoven. The major, intense colors of the “Louis XIV style” are replaced by muted, pale tones of pearl gray, bluish, crab meat color, pale ocher, etc.
A lot of gold and silver were used. The atmosphere of court intrigue, love affairs, ballet and masquerade celebrations gave birth to the so-called gallant style. These are the times of Madame de Pampadour, the favorite of King Louis XV, who emphatically said: “After us there may be a flood.” Prominent representatives of Rococo in painting were Francois Boucher, Antoine Watteau, J.B. Fragonard.
Rococo features can be found in the painting of Thomas Gainsborough. In Rococo music, it was inherent in the work of composers Couperin and Rameau. A style developed in European plastic arts of the 1st half. 18th century arose in France during the crisis of absolutism, reflecting the hedonistic moods characteristic of the aristocracy, the tendency to escape from reality into the illusory and idyllic world of theatrical play.
In architecture, he influenced mainly the character of the decor, which acquired a mannered, sophisticated, emphatically elegant and sophisticated appearance. In the early period of the development of French Rococo (before approximately 1725), fractional ornamentation was introduced into the decoration of rooms, and furnishings were given whimsically curved shapes (the so-called Regency style). Developed Rococo (approximately 1725-50) widely used carved and stucco patterns, curls, torn cartouches, rocailles, cupid-head masks, etc. in decoration; in the decoration of the premises, a large role was played by reliefs and picturesque panels in exquisite frames (desud-portes, etc.), as well as numerous mirrors that enhanced the effect of light movement (the so-called Louis XV style). The ornamentation and orientation of the Rococo style limited its influence on the tectonics and external appearance of buildings.
BiographyJacques-Ange Gabriel(1698-1782)
Ange-Jacques is the most captivating master of French architecture. He created during the reign of Rococo. However, Gabriel's style is an extremely original and organic phenomenon, generated by the natural, “deep” development of French architecture. His work is distinguished by closeness to the person, intimacy, as well as the exquisite subtlety of decorative details. The work of Jacques-Ange Gabriel does not fully belong to neoclassicism, although, of course, it reflected new trends.
Ange-Jacques Gabriel was born on October 23, 1698 in Paris. His father was the famous architect Jacques V Gabriel. Jacques worked with him on the construction of the king's buildings in the interiors of Versailles, Fontainebleau, and the Tuileries. Gabriel's participation in his father's urban planning work prepared him well for solving ensemble problems, which by the middle of the 18th century already played a more important role in architectural practice. Just at this time, the press was intensifying attention to Paris, to the problem of turning it into a city worthy of the name of capital. Paris had beautiful architectural monuments, a number of squares created in the previous century, but all of these were separate, self-contained, isolated islands of organized development. In the mid-18th century, a square appeared that influenced the formation of the ensemble of the Parisian center - the current Place de la Concorde. It owes its appearance to a whole team of French architects, but its main creator was Jacques-Ange Gabriel.
In 1748, on the initiative of the capital's merchants, a decision was made to erect a monument to Louis XV. The Academy announced a competition to create a square for this monument. As a result of the first competition, none of the projects were selected, but the location for the square was finally established. After a second competition, held in 1753 only among members of the academy, the design and construction were entrusted to Gabriel, so that he would take into account other proposals.
The site chosen for the square was a vast wasteland on the banks of the Seine on what was then the outskirts of Paris, between the garden of the Tuileries Palace and the beginning of the road leading to Versailles. Gabriel took unusually fruitful and promising advantage of this open and coastal location. Its area became the axis of further development of Paris. This was possible thanks to her versatile orientation. On the one hand, the square is thought of as the threshold of the Tuileries and Louvre palace complexes. It is not for nothing that three rays envisaged by Gabriel lead to it from outside the city - alleys Champs Elysees, the mental point of intersection of which is at the entrance gate of the Tuileries Park. The equestrian monument of Louis XV is oriented in the same direction - facing the palace.
At the same time, only one side of the square is architecturally accentuated - parallel to the Seine. The construction of two majestic administrative buildings is planned here, and between them Royal Street is being designed, the axis of which is perpendicular to the Champs Elysees - Tuileries axis. At the end of it, very soon, the Madeleine Church by the architect Contan d'Ivry begins to be built, closing the perspective with its portico and dome. On the sides of its buildings, Gabriel designs two more streets, parallel to the Royal. This gives another possible direction of movement, connecting the square with other quarters growing city. Very wittily and in a completely new way, Gabriel solves the boundaries of the square. By building up only one of its northern side, putting forward the principle of free development of space, its connection with the natural environment, he at the same time strives to avoid the impression of its amorphousness, uncertainty. From all four On the sides he designs shallow dry ditches, covered with green lawns, bordered by stone balustrades.The gaps between them give an additional clear accent to the rays of the Champs Elysees and the axis of the Royal Street.
The appearance of the two buildings that close the northern side of the Place de la Concorde clearly expresses the characteristic features of Gabriel’s work: a clear, calm harmony of the whole and details, the logic of architectural forms easily perceived by the eye. The lower tier of the building is heavier and more massive, which is emphasized by the large rustication of the wall; it carries two other tiers, united by Corinthian columns, a motif that goes back to the classical eastern facade of the Louvre.
But Gabriel’s main merit lies not so much in the masterful design of the facades with their slender fluted columns rising above the powerful arcades of the lower floor, but in the specific ensemble sound of these buildings. Both of these buildings are unthinkable without each other, and without the space of the square, and without a structure located at a considerable distance - without the Church of the Madeleine. It is towards this that both buildings of the Place de la Concorde are oriented - it is no coincidence that each of them does not have an accentuated center and is, as it were, just one of the wings of the whole.
Thus, in these buildings, designed in 1753 and began construction in 1757-1758, Gabriel outlined the principles of volumetric-spatial solutions that would be developed during the period of mature classicism.
The obelisk was erected later, in 1829. It was presented to the French government by the Egyptian Viceroy Mehmet Ali. In 1840, it was solemnly installed in the center of the square, which has since acquired its final form.
The pearl of French architecture of the 18th century is the Petit Trianon, created by Gabriel at Versailles in 1762-1768. This small palace was once intended for Countess DuBarry. The Petit Trianon is an almost square building raised onto a wide stone terrace. All four facades are different, but each is a variation of the same theme, and this reinforces the impression of integrity and unity that the Petit Trianon gives. rococo architect palace
The facade facing the open space of the ground floor, perceived from the farthest distance, is interpreted in the most plastic way. Four attached columns connecting both floors form a kind of slightly protruding portico. A similar motif, however in a modified form - the columns are replaced by pilasters - sounds in two adjacent sides, but each time differently, since due to the difference in levels in one case the building has two floors, in the other - three. The fourth facade, facing the thickets of the landscape park, is completely simple - the wall is dissected only by rectangular windows of different sizes in each of the three tiers. Thus, with meager means, Gabriel achieves amazing richness and richness of impressions. Beauty is derived from the harmony of simple, easily perceived forms, from the clarity of proportional relationships. The interior layout is also designed with great simplicity and clarity. The palace consists of a number of small rectangular rooms, the decorative decoration of which, built on the use of straight lines, light cold colors, and the parsimony of plastic materials, corresponds to the elegant restraint and noble grace of the external appearance. The builder's plan is crystal clear; it is based on simple and strict geometric relationships. The Trianon, with its miniature dimensions, with huge windows that give the building an amazing lightness, belongs to the graceful park pavilions characteristic of the 18th century, located at a considerable distance from the main palace, deep into the park. And at the same time, the severity of forms and laconicism of solutions make it a wonderful example of classical architecture. It was the miniature size of the Petit Trianon that helped Gabriel achieve such composure and harmony. Over his long life, Gabriel raised many students: Sh.A. d'Avile, J. Beren, Pierre Le Nôtre, Lassurance, J. Boffrand, Robert de Cotte and others. 1742 the king's first architect and president of the Academy of Architecture. One of the founders classicism 18th century. Gabriel died in Paris on January 4, 1782.
Main works:
§ Reconstruction of the palace in Choisy, 1740 --1777
§ Castle in Compiegne, 1750
§ Butard Pavilion, 1750 in the town of La Celle-Saint-Cloud ( La Celle-Saint-Cloud)
§ Reconstruction of the estate Menard (Loir et Cher), 1760 --1764 , For Madame Pompadour
§ Petit Trianon V Versailles, 1762 --1768
§ Military school on Champ de Mars in Paris
§ Palace Opera at Versailles, 1769
§ North wing Louvre
§ Place de la Concorde, 1772
§ Facades of mansions on the Place de la Concorde, including the Maritime Mansion, Paris, 1775
§ Exchange Square in Bordeaux, 1755 : former royal palace overlooking Garonne.
Gabriel's work was a transitional link between the architecture of the first and second half of the 18th century. In the buildings of the 1760-1780s of the younger generation of architects, a new stage of classicism was being formed. It is characterized by a decisive turn to antiquity, which became not only an inspiration for artists, but also a treasury of the forms they used.
Petit Trianon
On the right side of the Grand Canal of Versailles is the Trianon complex, consisting of the Grand and Petit Palaces with their own garden surroundings. The Small Palace, or porcelain Trianon, is an extraordinary architectural structure. It was designed Ange-Jacques Gabriel by order Louis XV for his favorite and built in 1762 --1768 gg. The original pavilion, lined with faience tiles on the outside, was dedicated by the king Marquise de Pompadour.
The toy one-story building of the Petit Trianon is located in the depths of a small courtyard. The center of its facade, according to the fashion of that time, was decorated with pilasters supporting a classical pediment. On the high roof there were vases arranged in steps, skillfully made to look like earthenware. The same vases decorated the courtyard benches and garden fountains.
In the pavilion itself, the main interest is the royal setting. Numerous visitors and tourists are simply amazed by the interiors of the “Chinese House”. Its internal walls are completely covered with Delft tiles, and the floors in the halls are also lined with them. The main salon of the "House of Pleasure" is lined with white and azure patterned faience tiles. The walls of the “Hall of Cupids” are covered with white taffeta, strewn with gold and silver Chinese flowers. In Diana's Room there were screens decorated with images of exotic birds, vases, flower garlands and the king's monograms. The same pattern was on the silk covering the walls, on the carpets and tile designs. The porcelain “Chinese House” was truly an intricate structure. It also included a “Cabinet of Fragrances”, special rooms “for making jam”, “for light dishes” served before dessert, and “for soups”. At the fairy-tale house there was also a garden overflowing with wonderful curiosities, in which then rare orange trees, wild chestnuts were cultivated, left-handed leaves, anemones, Spanish jasmine, Istanbul daffodils were planted... The Petit Trianon became the favorite place of residence of the French queen Marie Antoinette. The Austrian writer Stefan Zweig gives a detailed description of this in his novel “Marie Antoinette”.
Louis XVI, partly out of weakness of character, partly out of gallantry, presents her as a “Morning Gift” with the small summer palace of Trianon - a tiny country, a sovereign state in the huge kingdom of France... Here it is, her trinket, perhaps the most charming of those, that were created by French taste - delicate lines, perfect forms, a real jewelry box, a frame worthy of a young and graceful queen... In subsequent years, the queen changes very little in the decoration of the small castle. Revealing true taste, she does not spoil these rooms, designed for an intimate mood, with anything luxurious, pompous, or deliberately expensive... They do not strive for defiant splendor here, not for theatrical imposingness, but for unobtrusiveness and subduedness. It is not the power of the queen that should be emphasized here, but the charm of the young woman, whose image is subtly reproduced by all the objects surrounding her.
Trianon is a miniature fantasy world; It is symbolic that neither Versailles, nor Paris, nor villages are visible from its windows. In ten minutes you can walk around the palace, and yet this tiny space for Marie Antoinette is much more important than the whole kingdom with twenty million subjects.... Here the queen feels great and soon gets used to such a free lifestyle that in the evenings It becomes increasingly difficult for her to return to Versailles. In the Petit Trianon, Marie Antoinette wants to have an innocent landscape, a “natural” garden, and the most natural of all fashionable natural gardens... In this “Anglo-Chinese garden” they want to present not just nature, but all of nature, in a space the size of square kilometers - the whole world on a toy scale. Everything should be on this tiny piece of land: French, Indian, African trees, Dutch tulips, southern magnolias, a pond, a river, a mountain and a grotto, romantic ruins and rural huts, a Greek temple and an oriental landscape... - everything is artificial, but productive impression of the present.
Spurred on by the queen's impatience, hundreds of workers begin to conjure to implement the plans of engineers and artists... First of all, a quiet, lyrically muttering stream flows through the meadow. True, water must be carried from Marly through pipes up to a thousand feet long, and a lot of money flows through these pipes at the same time, but the winding bed of the stream looks so pleasant and natural! A quietly babbling stream flows into an artificial pond with an artificial island, a charming bridge is connected to the island, white swans in sparkling plumage swim gracefully along the pond...
Every year the queen has new whims, more and more refined... In order to host Italian and French comedians, she gives orders to build a small theater, extremely elegant in its proportions. And then she herself makes the jump onto the stage. The cheerful, noisy company surrounding the queen is also keen on the idea of amateur performances... Even the king appears several times to pay tribute to his wife’s admiration as an actress. In this way, the carnival in Trianon continues all year round. Marie Antoinette retires to the Trianon not in order to become sensible, but in order to have more variety and freedom of entertainment.
To entertain herself and her guests, she ordered a small village to be built around Trianon. Of course, this royal village was a toy in which peasant girls, for example, had to rinse clothes in a stream and hum while they did so. The cows here were thoroughly washed every day and colored bows were tied to them. In addition, Marie Antoinette ordered paintings to be painted so that cracks would appear on the facades of newly built peasant houses. The royal village contained a mill, a poultry farm and a dairy. Nowadays, in this place, guides usually tell visitors an entertaining story that cups are kept here, their shape representing a cast of Marie Antoinette’s breasts. From these bowls, the queen loved to treat guests with milk from her cows in “her dairy.” The guides also say that private royal chambers (for example, Marie Antoinette’s bed) subsequently often served as a place for scandalous adventures of influential people who came here to spend the night comfortably. During the revolution, the Parisians beheaded the queen, whom they hated: for the people she was an Austrian, a libertine and a spender of the people's property. They say that, having ascended the scaffold, the queen accidentally stepped on the executioner’s foot, but politely said: “Sorry, monsieur, I did it by accident.” The palaces and parks of Versailles could tell about many adventures, and not only those that took place several centuries ago. For example, in 1901, not far from the Petit Trianon, a “performance from the past,” so to speak, took place. People have been thinking about the existence of the physical movement of persons in time for a long time, because there have always been phenomena that one would swear that for some moment they were clearly transported to another era.
CastlePortici - Naples
Royal Palace of Portici-- summer residence of the King of Naples Charles III, built by him in the surrounding area Naples and subsequently abandoned in favor of a more grandiose Caserta residence.
While visiting a villa built in Portici French Duke d'Elboeuf, the young king and his wife were captivated by the views of the Bay of Naples and on Vesuvius. In 1738, the architect Antonio Canevari called for this order from Lisbon, was commissioned to begin construction of a country palace in Portici in the style baroque.
At the palace there was a menagerie with strange animals and a museum where finds made during excavations were exhibited Herculaneum. The first owner of the residence, Maria Amalia of Saxony, decorated the interiors porcelain trinkets produced by the manufactory she founded in Capodimonte. Decoration in style rococo developed Giuseppe Bonito.
The construction started by the monarch in Portici increased the prices of real estate along the " golden mile» (segment of coast from Naples to Torre del Greco). Neapolitan aristocrats rushed to own villas overlooking Vesuvius (the so-called Vesuvian villas), from where it was a stone's throw to the royal court in Portici. However, the king soon lost interest in Portici and turned his attention to the construction of a new palace in Caserta.
Approaching Naples Napoleonic troops statue " Resting Hermes"and other Portico antiquities were taken to Sicily. Having acquired the royal title, he settled in Portici Murat, who furnished the palace with French furniture in the style empire style. Subsequent Neapolitan monarchs spent little time in Portici. Currently, the palace occupies one of the faculties University of Naples.
Conclusion
The architecture of the 18th century in France is traditionally divided into two periods, which correspond to two architectural styles: in the first half of the 18th century. The dominant position is occupied by Rococo, in the second - Neoclassicism. These styles are completely opposite to each other, which is why the transition from Rococo to Neoclassicism is often called a “rebellion.”
The Rococo style moved away from the strict rules of 17th-century classicism; his masters were more attracted to sensual, free forms. Rococo architecture, even more strongly than Baroque, sought to make the outlines of buildings more dynamic and their decoration more decorative, but it rejected the solemnity of Baroque and its close connection with the Catholic Church.
The very word “neoclassicism” in the 18th century. didn't exist yet. Critics and artists used other definitions - “true style” or “revival of the arts.” Interest in antiquity in the 18th century acquired a scientific character: archaeologists began methodical excavations of ancient monuments, architects began to make precise measurements and drawings of surviving fragments and ruins. For neoclassicists, architecture was a way to restructure the world. Although neoclassicism dominated the second half of the 18th century, Ange-Jacques Gabriel was ahead of his time in his work and foresaw future trends.
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Jacques-Ange Gabriel
The central figure in the field of architecture of the second half of the 18th century was Jacques Ange Gabriel (1698-1782) - “the first architect of the king.” He built and expanded many churches and palaces during the reign of Louis XV and was one of the most famous and productive French architects of the 18th century. From his father he inherited the position of chief architect to Louis XV and president of the Académie d'Architecture in 1742. Gabriel oversaw almost all the major construction projects during the reign of Louis XV. Under his leadership, royal churches and palaces were rebuilt, enlarged or renovated to meet Louis XV's standards of personal comfort, including the castle of Fontainebleau (1749), La Murthe (1746), Compaigne (1751) and Choisy; extensions to the Louvre (1755) in Paris; the ambitious project of the Palace of Versailles (1763), including the completion of its right wing and the construction of the Opera building and the Petit Trianon; as well as the construction of the Military School (1752) in Paris. Gabriel supplied almost all the royal residences with theaters, also built pavilions and galleries for some of them, and designed hunting lodges in the main royal forest lands.
Gabriel's most significant work was the creation Place de la Concorde in Paris (originally Place Louis XV) (1755), planned as the site of the installation of a lifetime monument to Louis XV.
Place de la Concorde is included as the main link in the spatial composition that forms the architectural center of Paris. It represents a new open type of city square. If the esplanades of the 17th century, such as the Place Vendôme, are closed on all sides by buildings, then the new square was built up on only one side, while on two sides it was limited by green spaces, and on the fourth by the Seine River. An equestrian monument to the king was erected in the center of the square. During the Great French Revolution at the end of the century, it was removed, and an obelisk was installed in its place later, in 1836.
The main idea for planning the center of the capital belonged to Le Nôtre. Gabriel included his square in the ensemble, which had its origins in the Louvre. The giant east-west axis of Paris is formed by the Louvre, Place de la Concorde and Avenue des Champs-Élysées, which is the shortest route to the western suburbs of the capital, including Versailles. At the beginning of the 19th century, this highway was completed thanks to the construction of the Star Arch; it was built up later - in the middle of the century.
The ensemble of the Place de la Concorde is formed by the symmetrical buildings of the Military and Naval Ministries, separated by Royal Street (Rue Royal), which creates its meridian axis.
Gabriel's buildings express "aristocratic simplicity" in the austere but harmonious combination of their volumes and softened classical ornamentation. He stood out for his ability to give large buildings majestic proportions, an example of this is the Military School. He is also known for the use of attached columns instead of pilasters on both (external and internal) facades. Stylistically, the one built by Gabriel in the 1770s is particularly noteworthy.
Jacques Ange Gabriel (1698-1782) came from a family of famous French architects. His father, Jacques Gabriel the Fifth (1667-1742), was the king's court architect. In 1741 his son took his place. Jacques Ange Gabriel was also President of the Academy of Architecture. He worked only on royal orders, which is why he can be considered an exponent of official tastes in French architecture of the mid-18th century. Gabriel's work does not fully belong to neoclassicism, although, of course, new trends are reflected in it.
Gabriel's most famous projects were created in the 50-70s. Among them building of the Military School in Paris (79), where the future Napoleon Bonaparte entered in 1777. This complex occupies an entire block. Between the Military School and the Seine is Champ de Mars, which is also the merit of Gabriel, who transformed this urban outskirts into a field for maneuvers and parades for students of the Military School. It is quite clear that the square received its name in honor of the god of war, Mars. Nowadays the Military Academy is located in the building of the Military School.
At Versailles, the residence of the French kings, Gabriel created a number of magnificent buildings: luxurious and richly decorated Opera room (80), French Pavilion and Petit Trianon (81). The word "Trianon" in the era of Louis XV (1715-74) meant a place of solitude or quiet pastime. The Petit Trianon is not a luxurious country palace. It's more of a mansion set out in nature. Abundant decorations do not disturb the cubic shape of the building with clear edges of the corners. All its facades are designed in the same style, but each in its own way. The main (entrance) and rear facades are decorated with pilasters - flat vertical projections of the walls in the form of tetrahedral pillars that have the same structure as the column: base (base), trunk and crowning part (capital). The left façade is decorated with columns, while the right has neither columns nor pilasters. All facades are made up of immaculately straight lines without a single bend.
Gabriel's most significant work in Paris was Place Louis XV (now Place de la Concorde) (82). The story of its creation is as follows: the merchant guild of Paris ordered the sculptor Edme Bouchardon an equestrian statue of King Louis XV, and an appropriate place was required for its installation. A competition was announced in which the most famous architects participated. The winner was the project of Jacques Ange Gabriel, who proposed a completely new solution. Unlike the closed squares of Paris in the 17th century, surrounded by buildings, Place Louis XV is open to the city. It is adjoined from the west and east by the alleys of Champs Elysees Avenue and Tuileries Park, and from the south by the Seine embankment. Only on the northern side did Gabriel erect two majestic palaces on the square, between which the short Royal Street begins, leading deep into the city. At the end of the street is the Church of the Madeleine. On the other bank of the Seine, directly opposite the Madeleine Church, is the Bourbon Palace). The facades of these two buildings are designed in the same style and seem to be a mirror image of each other. All these buildings, together with the square, form a single architectural ensemble.
The center of neoclassicism in France was Paris. All the greatest masters of that time worked here, creating their best buildings. The most significant among them was Church of St. Genevieve (83), erected Jacques Germain Soufflot. The building resembled an ancient temple, and its portico resembled that of the ancient Roman Pantheon. The Church of St. Genevieve by Jacques Germain Soufflot became the most outstanding building of French neoclassicism.
Paris Odeon Theater (84)- the most famous building of the architect Charles de Wailly(1729-98), student of Jacques François Blondel. The Odeon was created co-authored with Marie Joseph Peyre(1730-85). The word "odeon", which originated in Ancient Greece, meant a place where musical performances and competitions took place. The Odeon building in Paris was originally intended for the Comedie Française (French comedy) theater; later not only performances were staged here, but also concerts and balls. The semicircular hall is placed in an almost cubic box of a building with arcades. The theater is crowned with a pyramidal roof. The decoration of the main façade is a powerful portico with eight columns.
There are many beautiful buildings built in Paris in neoclassical style: Grain market, the dome of which is almost equal in size to the dome of the ancient Roman Pantheon; amazing in size Mint, whose facade stretches along the Seine embankment for more than three hundred meters; Hotel Salm(architect Pierre Rousseau), now the Palace of the Legion of Honor, etc. But the most famous building in Paris end of the 18th century after the church of St. Genevieve it became School of Surgery, built by an architect Jacques Gondoin(1737-1818). The building of the School of Surgery is especially interesting anatomical theater (85)(room where corpses are dissected). This structure has the shape of an ancient amphitheater (an oval arena, to which the rows of spectators descend with ledges), crowned with a semicircular dome, in the upper part of which there is a semicircular window. The facade of the building facing the street is a triumphal arch with columns radiating from it in both directions. The relief on the facade depicts Louis XV giving the order for the construction of the School of Surgery. The king is surrounded by the sick and the ancient Roman goddess Minerva (patron of the arts and crafts), and the Genius of Architecture presents him with a project. The opposite facade is made in the form of a giant portico.
"Talking Architecture"
Based on the ideas of French enlighteners, some architects of the 18th century. got carried away by the idea that every work of architecture must express certain ideas, in other words, that architecture, like any other form of art, should be “speaking”. Most often these ideas were related to the purpose of the building. Thus, powerful columns at the entrance to the bank could speak of its solidity and reliability. A more striking example is the project of a cowshed in the form of a giant cow by architect Jean-Jacques Lequeu (not implemented). Sometimes more difficult to understand forms were used - for example, a cube as a symbol of justice or a ball as a symbol of public morality.
Most "talking architecture" projects were utopian, they remained on paper in the form of plans, drawings and diagrams; for this reason they are sometimes called "paper architecture" Among those who created such projects, two masters occupy a special position - ETIENNE LOUIS BOULLET and CLAUDE NICOLA LEDOU.
Career Etienne Louis Boullé(1728-99) as a practicing architect was rather unsuccessful: he completed only a number of interiors and built several mansions in Paris. In the 80s Bulle devoted himself entirely to “paper architecture”, creating more than a hundred projects. He called his buildings "architectural bodies". Bulle used the simplest, geometrically correct forms: sphere, cone, cube. All of them were supposed to be illuminated by a mysterious light and cast strong shadows. The architect's favorite genre was burial structures, the most famous of which is Newton's Cenotaph (86). The cenotaph (false, empty grave) has the shape of a sphere, which reminds, on the one hand, of the globe, and on the other, of the apple that fell on the scientist’s head, thanks to which he discovered the law of universal gravitation. Newton's cenotaph was not built, nor were Bulle's other designs, which were completely impractical; in the 18th century its endless gigantic colonnades were simply impossible to build.
Unlike Bulle Claude Nicolas Ledoux(1736-1806) put many of his projects into practice. In 1785, the architect began construction of the so-called Belts of the outposts of Paris- he planned to surround the entire city with a three-meter wall with a length of twenty-three kilometers. At the entrances to Paris, Ledoux planned to place customs outposts. The wall was not built, and only four outposts have survived to this day. (Outpost La Villette) (87). All of them have simple geometric shapes, some are decorated with columns or pediments, very unusual in their proportions. For Ledoux, the outposts were just a pretext to erect monumental triumphal structures at the entrances to the capital. However, many contemporaries were critical of this project. Critics compared the Outpost Belt of Paris to prison walls and cemetery fences.
However, Ledoux became most famous for his project of an ideal city of the future - Sho. The city of Sho was an ellipse in plan, in the center of which was the Director's House, which in its shape resembled a temple with a columned portico and pediment. Ledoux designed both private houses in the city (for example, houses for workers) and public buildings (market, arms factory, stock exchange). In addition, in Sho there was a number of rather strange structures: a bridge over the Lu River (where galleys played the role of supports), the House of the Director of the Source of the Lu River (a cylinder through which the river bed passed), the Lumberjack's House (a pyramid made of logs) and others , in which the principles of “talking architecture” are most fully embodied. Contemporaries ironically said that if LeDoux had decided to build the Drunkard's House, he would probably have made it in the shape of a bottle. City of Shaw reflected the social model future society. So, there was neither a prison nor a hospital, because, according to the architect, in the future crime and disease were supposed to disappear. Instead of a prison, Ledoux wanted to build a Temple of Peace and a House of Education, and instead of a hospital, public baths. Ledoux also designed the Temple of Virtue and a church, but not an ordinary one, but intended for various family ceremonies (births, weddings, funerals). With his project for the city of the future, the architect tried to prove that architecture should educate and enlighten people. Ledoux not only arranged the world as an architect, but also created its ideal model as a philosopher.
Literature
The literature of France in the 18th century is educational literature. Among the great authors are the names of Montesquieu, Voltaire, Diderot, Rousseau, d'Alembert. They created the multi-volume “Encyclopedia, or Systematic Dictionary of all Sciences, Arts and Crafts.” Encyclopedists sharply criticized religion, government order, and old views on nature and society.
The head of the enlighteners was Voltaire. He was a poet, playwright, pamphleteer, and critic. He wrote historical and philosophical treatises. His most famous tragedies include Brutus, Zaira, and The Death of Caesar. Voltaire coined the phrase: “All genres are good, except the boring.”
Jean Jacques Rousseau By order of encyclopedists, he writes articles on the history and theory of music. Writes social treatises on the equality of people. He calls his novel “Emil, or About Education” a pedagogical novel, and devotes it to the problem of educating a person who must become a citizen of a new society. For his rebellious anti-church thoughts, the novel “Emile” was sentenced to burning, Rousseau was persecuted and fled from Paris.
Pierre Augustin Caron Beaumarchais(1732-1799) - French comedian of the late 18th century. He was a contemporary of the French bourgeois revolution. He was glorified by two immortal comedies - “The Barber of Seville” and “The Marriage of Figaro”.
Music
The first thing that needs to be said about the music of France in the 18th century is that, unlike the leading countries in the field of music (such as Germany, Austria, Spain and Italy), France could not boast of either a large number of particularly famous compositions or performers nor a rich assortment of famous works. In part, this situation was dictated by the interests of society, which determined the styles of music.
At the beginning of the century the most popular style of music was sentimental classicism. It was slow, leisurely music, not particularly complex. It was played on stringed instruments - lutes. () , harpsichord. She usually accompanied balls and feasts, but people also liked to listen to her in a relaxed home atmosphere. Then, lute music began to incorporate Rococo features and techniques, such as the trill and harmonic. It acquired a more intricate appearance, musical phrases became more complex and interesting. Music has become more detached from reality, more fantastic, less correct and, thus, closer to the listener.
Closer to the second half of the 18th century, two trends clearly emerged in music: music for dancing and music for singing. Music for dancing accompanied balls, and music for singing was played in a confidential setting. Often aristocrats also loved to sing to the sounds of their home harpsichord. At the same time a new one appeared theatrical genre comedy-ballet, combining dialogue, dance and pantomime, instrumental and sometimes vocal music. Its creators are J.B. Molière and composer J.B. Lully.
In connection with revolutionary sentiments began to appear marching music. It was harsh, loud, noisy music. At this time, percussion instruments (drums and cymbals) and trumpets became widespread. The crowning achievement of march music was the appearance of the work "Marseillaise"(future anthem of France), written by Rouget De Lisle, a French military engineer, poet and composer in 1792 (!!!).
The most famous French composer of that time is considered Christoph Willibald Gluck(1714-1787), but he was also from Germany. His most famous activities are associated with the Parisian opera stage, for which he wrote his best works with French words. That's why the French consider him a French composer. Gluck wrote a lot of operas and ballets. He entered the history of music as a reformer of the art of opera. Gluck's operatic reform was based on the musical and aesthetic principles of the Enlightenment and consisted of subordinating music to the laws of drama. The most famous opera is “Orpheus and Erdika” (!!!).
Francois Couperin (1668-1733) - French composer, harpsichordist, organist. From a dynasty comparable to the German Bach dynasty, since there were several generations of musicians in his family. His work is the pinnacle of French harpsichord art (!!!).
Jean Philippe Rameau (1683-1764) - French composer and music theorist. (!!!).The opera-ballet “Gallant India” is recognized as the pinnacle of Rameau’s musical and stage creativity.
