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Russian sculpture of the 19th century: photo and description of sculptures

Russian sculpture of the 19th century: photo and description of sculptures

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The beginning of the 19th century in Russia was connected with the growth of national and patriotic self-awareness. In art, this was expressed in the new and fashionable Empire style, which in many ways was similar to classicism and was more splendid and decorative.

Plastic figures adorning the Admiralty building were created by the best representatives of Russian sculpture Terebnev, Shchedrin, Pimenov and Demut-Malinovsky. The numerous nymphs, heroes and geniuses that adorn all the facades of the building, pediments and friezes - not only adorn, but also bring a deep symbolic meaning, more fully revealing the architect's plan.

The best decor samples adorn the Exchange building and the rostral columns of the arrow of Vasilyevsky Island. The French masters Camberlin and Thibault took part in the creation of the sculptures, however, they were made by Russian masters who took as a basis only models of the French.

One of the most notable Russian sculptors in the early 19th century was Ivan Martos. The master gained real fame after the creation of the monument to Minin and Pozharsky. In addition to this programmatic work, Martos created a number of delicious tombstones (Sobakina, Kurakina, Gagarina, Volkonskaya). Allegorical figures of tombstones amaze with their realism, accuracy of details, as well as emotional richness.

Sculptures of the great Russian military leaders Kutuzov and Barclay de Tolly adorn the square in front of the Kazan Cathedral in St. Petersburg. The author of the figures is Boris Orlovsky. Patriotic pathos, greatness and heroism - these are the main features of these works. The master is the author of the figure of an angel on the Alexander Column in the center of Palace Square.

The second half of the 19th century in Russia is characterized by an increased role of the state in determining the content of works of art. In sculpture, social themes were not allowed. Artists could only work on a limited range of topics. But even in these cramped conditions, the masters created real masterpieces.

The genre works of Pimenov and Loganovsky, decorating the halls of the Russian Museum, are full of drama and emotional expressiveness (a guy playing dibs, a guy playing a pile). Subtle lyricism and warmth filled the work of Stavasser Boy fishing. The master very skillfully uses the advantages of marble to convey the fragility of a young boyish figure.

Among the works of sculptor Klodt, a special place is occupied by the monuments to Nicholas I, as well as figures on the Anichkov bridge. A brilliant realist, the master managed to convey in his works the beauty of the human body, the power of the forces of nature (a rearing horse), as well as state greatness (a monument to the emperor).

This period also includes the work of the great Opekushin, the author of the monument to Pushkin, as well as a member of the creative groups that created the monument Millennium of Russia, as well as the monument to Empress Catherine the Second.

The historical genre in sculpture of the second half of the 19th century is unthinkable without the works of Antokolsky, whose art was also highly valued in Western Europe.