Vasily Bazhenov
Vasily Bazhenov | |
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Tsaritsyno Park |
Vasily Ivanovich Bazhenov (
Bazhenov's early success was followed by a tragic professional and private life. His two main construction projects were abandoned for political or financial reasons. His
Bazhenov's legacy remains debated. The attributions of Pashkov House and lesser projects to Bazhenov, backed by a sketchy paper trail, deductions and conjectures, are uncertain to the point where his life and work became subject of conspiracy theories.[2] Even his place of birth and the location of Bazhenov's grave are unknown. His life story, as reconstructed by Igor Grabar and popularized by the historians of the Soviet period, is regarded by modern critics as the "Bazhenov myth",[3][4] and even most recent academic research[5] fails to replace this myth with a reliable biography.[4]
Biography
Early career
The exact year and place of Bazhenov's birth is uncertain; he was born in 1737 or 1738 in a family of a church clerk either in Moscow or in the village of Dolskoye near
In 1755 Bazhenov joined the first class of the newly opened
In the beginning of 1758 the University, requested by
Three years later Bazhenov and painter
He returned to Russia in May 1765 possessing "unusual and impeccable credentials for a Russian of that day"
Kremlin Palace
Catherine suggested the idea of rebuilding the decrepit palaces of the
According to his plan, the new four–storey
Layout of the new Kremlin "was the most inventive planning effort of Catherine's reign".[14] Bazhenov retained the historical Cathedral Square and proposed creation of a new square in the eastern part of the Kremlin that would become the new center of Moscow and the start of three new radial streets projecting due north, north-west and north-east.[19] The northern radius, passing through a planned opening in the Kremlin wall, would directly connect the palace with Tverskaya Street.[19] Bazhenov expanded his planning into modernizing the city itself, which eventually led to the Projected Plan officially accepted in 1775, a joint effort led by Pyotr Kozhin and Nicholas Legrand.[20]
At the
The original wooden model of the planned palace (1:44 scale, 17 meters long),
Tsaritsyno
Bazhenov, at least in the first half of Catherine's reign, perfectly understood her taste and stylistic program, that of
In summer of 1775 Bazhenov designed the first draft of Tsaritsyno, now lost.[32] It followed Catherine's affection to "peasant style", featuring numerous neo-Gothic, country style lodges scattered on a carefully planned "natural" landscape.[32] The same approach was employed in the second, "completely non-classical"[34] master plan approved by Catherine in spring of 1776.[32] This time Bazhenov added a dominant main palace, designed as two identical buildings connected with a greenhouse.[35] One wing was intended for Catherine, another for her son and heir Paul. Bazhenov planned to decorate Tsaritsyno with traditional Russian coloured tiles, izraztsy, but Catherine objected and insisted on a simpler red (brick walls), white (ornaments) and yellow (glazed roof tiles) colour scheme.[32] Roof tiles did not last long in Russian winters and were soon replaced with sheet iron.[32]
Bazhenov began construction with the "front row" of small buildings, gates and bridges.
The main palace, with an added central annex for Paul's children,
By 1785 Bazhenov's palace layout became
Demidov affair
By the middle of 1780s Catherine, once fascinated by the art of Bazhenov and
Bazhenov, eager to improve his finances, accepted what looked like a generous offer from
In 1792 Bazhenov relocated to Saint Petersburg and accepted an uninspiring but stable job of an architect of
Late recognition
Emperor
Paul's main construction project, Saint Michael's Castle, was awarded to his house architect, Italian Vincenzo Brenna, while Bazhenov was appointed to supervise Brenna. Historians of the 19th and early 20th centuries could not clearly separate the input of each architect and attributed the design to Brenna and Bazhenov jointly. Nikolay Lanceray (1930s) and subsequent Russian historians give full credit to Brenna; according to Lanceray, Bazhenov did not interfere in Brenna's designs that were, to a large extent, Brenna's renditions of Paul's own romantic vision.[50] According to Dmitry Shvidkovsky, Bazhenov worked on an earlier design of the castle and this fact was later interpreted as his participation in actual design; Brenna "was given the task of adapting Bazhenov's design" but created an independent work.[47] At any rate, Bazhenov died in the middle of the project leaving Brenna in full control; the castle turned out not a Neoclassical building, but "a rare example of an imperial palace genuinely redolent of the Romantic era."[51]
Paul also commissioned Bazhenov to design a new hospital near Danilov Monastery. Bazhenov, again, responded with an extravagant plan that did not proceed past wooden frame and was replaced by Kazakov's extant Pavlovskaya Hospital built in 1802–1807.[52][53] Shortly before his death Bazhenov began compilation of an album on Russian Architecture, collecting drafts of "all large buildings in two capitals."[54]
Attribution problem
Reliable attribution of private 18th-century buildings in Russia, even those that retained original styling and floorplans, is rarely possible. Wealthy patrons eagerly hired architects who made themselves famous by working on government megaprojects, but in many instances original drawings are missing.[55] In these cases historians used general design features or specific features to deduce probable author.[55] Uncertainty led to frequent misattribution, particularly in case of Bazhenov and Kazakov[55] and subsequent changes in attribution or admitting inability to make one.
Buildings in Moscow
Attribution of specific Moscow buildings to Bazhenov in this article is based on the academic Pamyatniki arhitektury Moskvy (Russian: Памятники архитектуры Москвы) series of books issued in 1983–2007.
Tradition of the first half of the 20th century, started by Igor Grabar, credited Bazhenov with designing numerous high-profile private buildings in Moscow. Later research has shown that in most cases his input cannot be reliable ascertained. Pashkov House, most likely, has been designed by Bazhenov while other residences once credited to him are now listed under "unknown architect" heading.
- Pashkov House, Bazhenov's most conspicuous extant building and "one of Moscow's most graceful and handsome residential ensembles"[56] is attributed to him "through the 19th century tradition supported by the majority of <20th century> researchers".[57] Pashkov House, uniquely to 18th-century architecture, retains its original external appearance and layout as conceived by the architect around 1784 and completed in 1787.[57] The building was severely damaged by the Fire of 1812 and, for the first time in the history of Moscow, was rebuilt exactly to original drafts in recognition of its landmark significance.[58]
- Yushkov House on VKHUTEMAS (1918–1930)[61]and, since 1989, Russian Academy of Painting, Sculpture and Architecture.
- Razumovsky House on Vozdvizhenka Street, another corner rotunda completed in 1799, has been attributed to Bazhenov by Schmidt,[62] but Russian sources agree on inability to ascertain architect's identity.[63]
- Tutolmin House in Tagansky District has been attributed to Bazhenov by Igor Grabar; later researchers attributed it to Starov.[64] Prior to rebuilding in 1900s, the building's landmark role rivalled that of Pashkov House.[65] Same attribution uncertainty applied to now demolished Prozorovsky House on Bolshaya Polyanka Street, "one of most charming estate houses in this street."[66][67]
- The Dolgov House in Bolshaya Ordynka Street, has been once attributed to Bazhenov based on the fact that his wife was related to the owner of the building. This opinion has been since discarded.[68]
- The belltower of the Church of All Sorrows in Bolshaya Ordynka Street, across Dolgov House, is unconditionally attributed to Bazhenov while the church itself has been built by
- Panukhina (1994) suggested that Bazhenov could have been involved in the late stages of construction of Moscow Kriegskomissariat (present-day headquarters of Zamoskvorechye, designed by Nicholas Legrand.[71]
Country estates and churches
Even less certainty applies to attribution of country estates and churches:
- The best known of these, in Bykovo, belonged to Mikhail Izmailov , Governor of Moscow and Bazhenov's direct superior.[72] Probable extant Bazhenov's works there include the main mansion and neo-Gothic church of Saint Vladimir , while most of 18th-century buildings have been lost.[73]
- A church in Starki (present-day Gothic Revival buildings in Russia. If attribution to Bazhenov is correct, he designed it while still a student at the Academy of Arts.[74]
- Church of Annunciation in Polivanovo, former Razumovsky estate, is "typical to Bazhenov" which fact remains the sole ground for attribution.[75]
- Neoclassical Church of Theotokos of Vladimir in Dolgoprudny (1772–1777), with an unusual triangular layout, has been attributed to either Kazakov or Bazhenov[76] despite complete lack of written evidence.[77] Layout of the church is most likely inspired by the Temple of War by Jean-Francois Nefforge.[77]
References
- ^ Shvidkovsky, 2007 p. 260
- ^ For example, Belyavsky, M (1969). "Tainstvenny 18 vek (Таинственный 18 век)". Znanie - Sila (in Russian) (1).
- ^ Sokolov, Boris (2002). "Review: Yury Gerchuk's 2001 edition of Vasily Bazhenov (in Russian)". Nashe Nasledie. 62–64.
- ^ a b Sedov, Vladimir (2002). "Review: Yury Gerchuk's 2001 edition of Vasily Bazhenov (in Russian)". Retrieved 2009-09-11.
- ^ Gerchuk, 2001
- ^ Ritsarev, p. 71
- ^ Ritsarev, pp. 71, 73
- ^ a b c Voronov, p. 100
- ^ Voronov, p. 112
- ^ See the official May, 1758 student roster ranked by grades, reproduced in Voronov, p. 112
- ^ a b Voronov, p. 113
- ^ a b c d Shvidkovsky 2007, p. 240
- ^ a b c Shvidkovsky 2007, p. 246
- ^ a b c d Schmidt 1989, p. 38
- ^ Shvidkovsky 2007, pp. 242–243
- ^ a b c Shvidkovsky 2007, p. 243
- ^ a b c Schmidt 1989, p. 40
- ^ Schmidt 1989, p. 104
- ^ a b Pamyatniki 1983, p. 287
- ^ Schmidt 1989, p. 44
- ^ Russian: Планы знаменитого архитектора Баженова уподоблялись Республике Платоновой или Утопии Томаса Моруса: им можно удивляться единственно в мыслях, а не на деле - Karamzin, 1817, "Notes on Moscow landmarks". In the same paragraph Karamzin bitterly ridiculed the archaic and pompous language of inscriptions made on the model.
- ^ Schmidt 1989, p. 50
- ^ Unlike Bazhenov, Kazakov left a standing legacy inside the Kremlin, the Senate building.
- ^ Schmidt 1989, p. 34
- ^ Russian: В сей день обновляется Москва, - Pamyatniki 1983, p. 293
- ^ a b c d e Pamyatniki 1983, p. 293
- ^ Shvidkovsky 2007, p. 244
- ^ a b Khachaturov, Sergey (February 7, 2001). "Vse v sad (Все в сад! Для радости "души гуляющего")" (in Russian). Kultura (newspaper). Retrieved 2009-09-12.
- ^ Schmidt, p. 33: "Making models doubtless consumed these students' time; one may imagine budding young architects working long hours on Bazhenov's wooden model..."
- ^ "Photograph of the model in the Museum of Architecture collection". Retrieved 2009-09-12. The photograph shows eastern side of the palace (about a third of its total length) as viewed from the river.
- ^ a b Shvidkovsky 2007, p. 259
- ^ a b c d e f g h i j k l m Pamyatniki 2007, p. 227
- ^ Shvidkovsky 2007, p. 261
- ^ a b Shvidkovsky 2007, p. 252
- ^ a b c d e f g h i j Pamyatniki 2007, p. 228
- ^ Russian: Будучи въ селѣ уже Царицынѣ гдѣ онъ весма съвободнѣе, Василій Баженовъ - Panukhina 1994.
- ^ Russian: Для поправления здоровья и исправления домашних дел - Pamyatniki 2007, p. 228
- ^ a b Shvidkovsky 2007, p. 282
- ^ Shvidkovsky 2007, p. 281
- ^ Schmidt 1989, p. 4
- ^ Shvidkovsky 2007, p. 249
- ^ Pamyatniki 1989 (Bely Gorod), p. 99
- ^ a b Murrell, p. 107
- ^ Akinsha et al., p. 29
- ^ Akinsha et al., pp. 29-30
- ISBN 5-98194-006-9., ch. II
- ^ a b Shvidkovsky 2007, p. 294
- ^ a b Lisovsky, p. 23
- ^ Lisovsky, pp. 27, 30
- ^ Lanceray, p. 85
- ^ Shvidkovsky, p. 295
- ^ Schmidt 1989, p. 121
- ^ The hospital became Kazakov's last significant job. In the process he was accused of mismanaging state money, and fired into retirement.
- ^ Schmidt 1989, p. 54
- ^ a b c Cracraft, Rowland p. 68
- ^ Schmidt 1989, p. 77
- ^ a b Pamyatniki 1989 (Bely Gorod), p. 55
- ^ Pamyatniki 1989 (Bely Gorod), p. 57
- ^ Schmidt 1989, p. 96
- ^ Pamyatniki 1989 (Bely Gorod), p. 251
- ^ Pamyatniki 1989 (Bely Gorod), p. 253
- ^ Scmidt 1989, p. 88
- ^ Pamyatniki 1989 (Bely Gorod), p. 79
- ^ Schmidt 1989, p. 109
- ^ Pamyatniki 1989 (Zemlyanoy Gorod), pp. 316-317
- ^ Schmidt 1989, p. 112
- ^ Pamyatniki 1994, p. 132
- ^ Pamyatniki 1994, p. 203
- ^ Pamyatniki 1994, p. 204
- ^ Schmidt 1989, p. 174
- ^ Panukhina, p. 24
- ^ Murrell, p. 142
- ^ Murrell, pp. 142–143
- ^ Murrell, p. 150
- ^ Murrell, p. 48
- ^ Murrell, p. 238
- ^ a b Pamyatniki 2004, p. 197
Sources
- Konstantin Akinsha; Grigorii Kozlov; Sylvia Hochfield (2007). The Holy Place: Architecture, Ideology, and History in Russia. Yale University Press. p. 134. ISBN 978-0-300-11027-2.
shchuko.
- Cracraft, James Cracraft; Rowland, Daniel Bruce (2003). Architectures of Russian Identity: 1500 to the Present. Cornell University Press. ISBN 978-0-8014-8828-3.
- Bazhenov, Vasily (2001). Vasily Bazhenov. Pisma. Poyasneniya k proektam Баженов Василий Иванович. Письма. Пояснения к проектам. Свидетельства современников (in Russian). Iskusstvo. ISBN 5-85200-325-5.
- ISBN 5-901841-34-4. Note: the book was written in 1935–1938 and first printed in 2006.
- Lisovsky, Vladimir (2006). Leonty Benua i peterburgskaya shkola ("Леонтий Бенуа и петербургская школа художников-архитекторов") (in Russian). Saint Petersburg: Kolo. ISBN 5-901841-44-1.
- Murrell, Kathleen Berton (2001). Discovering the Moscow countryside: a travel guide to the heart of Russia. I.B.Tauris. ISBN 978-1-86064-673-7.
- Pamyatniki arhitektury Moskvy (Памятники архитектуры Москвы) series, in Russian:
- Pamyatniki arhitektury Moskvy. Kreml (Памятники архитектуры Москвы. Кремль, Китай-город и центральные площади). Iskusstvo. 1983.
- Pamyatniki arhitektury Moskvy. Bely Gorod (Памятники архитектуры Москвы. Белый город). Iskusstvo. 1989: Pamyatniki arhitektury Moskvy. Zemlyanoy Gorod (Памятники архитектуры Москвы. Земляной город). Iskusstvo. 1989: Pamyatniki arhitektury Moskvy. Zamoskvorechye (Памятники архитектуры Москвы. Замоскворечье). Iskusstvo. 1994. ISBN 5-210-02548-9
- Pamyatniki arhitektury Moskvy. Okrestnosti staroy Moskvy (Памятники архитектуры Москвы. Окрестности старой Москвы (северо-западная и северная части города)). Iskusstvo. 2004. ISBN 5-98051-011-7
- Pamyatniki arhitektury Moskvy. Okrestnosti staroy Moskvy (Памятники архитектуры Москвы. Окрестности старой Москвы (юго-восточная и южная части города)). Iskusstvo. 2007. ISBN 978-5-98051-041-1
- Panukhina, N. B. (1994). "Izyasnenie Vasilia Bazhenova (Изъяснение Василия Баженова)". Rossiysky Arkhiv (in Russian). 1: 24–26.
- Ritsarev, Marina (2006). Eighteenth-century Russian music. Ashgate Publishing, Ltd. ISBN 978-0-7546-3466-9.
- Schmidt, Albert J. (1989). The architecture and planning of classical Moscow: a cultural history. DIANE Publishing. ISBN 978-0-87169-181-1.
- ISBN 978-0-300-10912-2.
- Voronov, Victor (2008). Ivan Starov (Иван Старов) (in Russian). Saint Petersburg: Iskusstvo-SPB. ISBN 978-5-210-01511-2.