Palace Embankment: description, history, excursions, exact address. Istria of one painting: "View of the Palace Embankment from the Peter and Paul Fortress" by Fedor Alekseev View of the Palace Embankment from the Peter and Paul Fortress 1794

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Palace Embankment can be called one of the most beautiful and famous embankments in St. Petersburg. It is here that the world-famous sights of the Northern capital are located: the Hermitage, the Winter Palace, the Russian Museum, the House of Scientists and many others. This street offers an excellent view of the Spit of Vasilievsky Island and the Peter and Paul Fortress. The Palace Embankment is located on the left bank of the Neva from the Kutuzov embankment to the Admiralteyskaya embankment. Its length is 1300 meters.

The world-famous sights of the Northern capital are located on the Palace Embankment: the Hermitage, Winter Palace, Russian Museum, House of Scientists and many others. This street offers an excellent view of the Spit of Vasilievsky Island and the Peter and Paul Fortress.

They began to build up the Palace Embankment quite early - at the very beginning of the 18th century. The architectural tone of the buildings was set by the summer and winter residences of Peter I. People close to the king also began to build their houses on this land. In 1705, the first wooden house of General Admiral Fyodor Apraksin appeared. The building defined the red line of the street, and all other buildings began to be erected along this line.

Palace Embankment

Palace Embankment had many names: Nalichnaya Line, Embankment Verkhnyaya Kamennaya Line, Millionnaya. It was often called the Post Office because the Postal Yard was located here. In 1762 the architect Rastrelli built a royal residence here - the Winter Palace. After that, the embankment, the square and the bridge located nearby were called palaces. Already under Soviet rule, the street was renamed the Ninth January Embankment. But in 1944, the old name was returned to her.

To transport the main part of the Alexander Column, which weighs 600 tons, they used a special pier on the Palace Embankment. Engineer Glasin has developed a special bot capable of lifting loads up to 1,100 tons. In order to unload the monolith, they even built a new pier.

Gradually, the embankment became better and better: it was dressed in granite and made easy descents to the river. By the way, until the middle of the 18th century, all St. Petersburg embankments were made of wood. Palace Embankment became the first stone street. Nevertheless, in the 20s of the 19th century, the area around the Winter Palace remained unkempt. The construction of the General Staff building was planned here, and therefore working materials, piles of sand and boards were everywhere, as well as all kinds of warehouses and barns. Nicholas I instructed the architect Karl Rossi to put this place in order. Rossi designed a beautiful descent to the Neva, decorated with sculptures of the Dioscuri and lions. But the emperor was not impressed by the sculptures of young men holding back the horses, so they were replaced with porphyry vases. Subsequently, in connection with the construction of the Palace Bridge, the pier with lions was moved to the Admiralteyskaya embankment.

Palace Embankment has always been famous for the fact that famous and influential people lived here: the Romanov dynasty, poet Ivan Krylov, Count Sergei Witte.

Alekseev F.Ya.

Alekseev Fedor Yakovlevich (1753 (4?), St. Petersburg - 1824, St. Petersburg)
Painter. One of the founders of the Russian urban landscape. Born in St. Petersburg in the family of a watchman of the Academy of Sciences. He studied at the garrison school. At the request of his father, he entered the Imperial Academy of Arts (1766). While studying at the Academy in 1767, he was among the students of the class of ornamental sculpture, which was led by Louis Rolland, and then studied painting with G. Fandermint and A. Perezinotti in the class of fruits and flowers, then in the landscape class. Retired at the Academy of Arts in Venice (1773-1777), where he studied with the perspectivists D. Moretti, and later P. Gaspari. There he also improved as a theater artist and landscape painter. In the 1790s. performed with the landscapes of St. Petersburg, for which he received the title of academician (1794). At the same time, Catherine II ordered Alekseev copies of paintings by A. Canaletto, B. Belotto. In 1795 he was sent to the south of Russia and to the Crimea to sketch the places that Catherine II visited in 1787. Among the works of this period - "View of the city of Nikolaev" (1797-1800, Russian Museum). Since 1799, a painter at the Directorate of the Imperial Theaters. In 1800, at the direction of the Senate, he was sent to Moscow to paint city views. Counselor of the Imperial Academy of Arts (since 1802). Taught in the class of perspective painting at the Academy of Arts (from 1803 until the end of his life). In the 1800-1810s. created new series Petersburg landscapes, among which - "View of the Palace Embankment from the Peter and Paul Fortress" (1794, Russian Museum).

Fedor Yakovlevich Alekseev can rightfully be considered the creator of the urban landscape in Russian painting. Having mastered in Italy all the secrets of the craftsmanship of his famous contemporaries, the Venetian landscape painters - Canaletto, Belotto and Guardi, the young artist returned to his homeland and was fascinated by the austere and slender beauty of St. Petersburg. He managed to feel the scale of the capital on the Neva, and this gave his canvases a special solemnity and elation.

The dim northern light, the high pale sky, and the humidity of the air determined the exquisite silver-blue range of its the best landscapes... But even among his masterfully executed paintings, the landscape of the Palace Embankment from the Peter and Paul Fortress stands out for its subtlety and poetry, which does not interfere with documentary accuracy in the depiction of architecture.

Behind the wide mirror of the full-flowing Neva, along which boats and rafts glide silently, magnificent palaces and the enclosure of the Summer Garden are lined up along the embankment.... The clarity of the lines is softened by the distance, the moisture-laden air, and their reflections in the river tremble and melt. This classic view of St. Petersburg evokes a sense of grandeur and at the same time grace. She entered the State Tretyakov Gallery from the collection of Alexander Sergeevich Taneyev.

Painting:

Painter: Fyodor Yakovlevich Alekseev (1753/55 - 1824)

Painting date: 1794 year

Painting dimensions: 70Х108 cm

Constantly exhibited: Tretyakov Gallery. Lavrushinsky lane, 10, hall 6

About this painting now stored in Tretyakov Gallery, the poet Konstantin Batyushkov wrote with admiration: “ Take a look now at the embankment, at these huge palaces, each more magnificent than the other! These houses are one more beautiful than the other! ... How majestic and beautiful this part of the city is!»

The foreground of the picture is occupied by the wall of the Peter and Paul Fortress. Turning to the urban landscape, Fyodor Alekseev created an ideal harmonious world in the picture. Water, air and architecture merge into one indissoluble whole. Poetry and noble restrained admiration fill the landscape. The artist's contemporary wrote enthusiastically about "Harmony and transparency, which are the main merit of his brush."

Academician of the Imperial Academy of Arts Fedor Alekseev- the first master of urban landscape in Russian painting. In lyrical paintings with great subtlety, he captured the austere appearance of St. Petersburg, the picturesque beauty of Moscow, the poetry of everyday urban life.

From 1803 until the end of his life, Fedor Alekseev taught perspective painting in the landscape class of the Academy of Arts. His students were famous artists and future eminent teachers M.N. Vorobiev, F.F. Shchedrin, S.F. Shchedrin.

Unfortunately, the end of the life of the honored master was sad. He died in poverty November 11, 1824, three days after the creation of his last sketch of the flood in St. Petersburg (at The Bolshoi Theater). He was buried at the Smolensk Orthodox cemetery in St. Petersburg. The Academy of Arts allocated money for the funeral and assistance to a large family.

Alekseev Fyodor Yakovlevich - the first master of the urban landscape in Russian painting.

In 1766-73. studied at the Academy of Arts, first in the class of "painting flowers and fruits", then in the landscape. In 1773 he received a gold medal for the program landscape and was sent to Venice for three years to paint theatrical scenery although this did not match his inclinations.

"View of the Peter and Paul Fortress and Palace Embankment"
1799.
Oil on canvas 71.5 x 109

St. Petersburg

The following year, the artist was sent to Novorossiya and the Crimea to paint views of the places that Catherine II visited in 1787. This is how the landscapes of the southern cities appear - Nikolaev, Kherson, Bakhchisarai.


"View of the city of Nikolaev"
1799
Oil on canvas 197 x 178

Moscow
Repeating the route of the empress, Alekseev made sketches and watercolor sketches. The pictures were painted by him after his return. The city of Nikolaev is a Little Russian city, a sea and river port, founded during the Russian-Turkish war of 1787-1791 at the behest of Prince G.A. Potemkin. In 1788 a shipyard was built here for the construction of ships, thanks to which the city became an important port and administrative center. The picture shows a view of Nikolaev from the side of the Ingul river. On the banks of the river in the depths to the left is the Admiralty Cathedral, in the center are visible the buildings of the Black Sea Admiralty Administration, to the right is the complex of service houses of the naval department. Boathouses for storing rowing boats are located near the water. To the left of them is the striped booth of the Moscow outpost.

"View of the city of Bakhchisarai"
1798
Canvas, oil. 197 x 178.5 cm
State Russian Museum
St. Petersburg
Russia

"Square in Kherson"
Watercolor, Italian pencil on paper
1796 - 1797
Oil on canvas 23 x 40
State Tretyakov Gallery
Moscow

In 1800, Emperor Paul I instructed Alekseev to paint views of Moscow. The artist became interested in old Russian architecture. He stayed in Moscow more than a year and fulfilled a large number of sketches from nature, on which he later created a series of paintings. He brought from there a number of paintings and many watercolors with views of Moscow streets, monasteries, suburbs, but mainly various images of the Kremlin. These views are distinguished by their reliability, even documentary character. Moscow's works attracted numerous customers to Alekseev, among whom were the most distinguished nobles and members of the imperial family.

"Red Square in Moscow"
1801.
Canvas, oil. 81.3 x 110.5 cm

The landscape recreates the look of the capital of the capital at the turn of the 18th-19th centuries. Majestic monuments medieval architecture- the main "heroes" of the picture. Many verticals - churches, bell towers, towers are balanced by the calm horizontal format of the canvas. Such a composition likens the space of the square to a grandiose theatrical stage. In the center of Red Square is the Cathedral of St. Basil the Blessed and Execution Ground. The Kremlin Wall and the Spasskaya Tower close the right side of the picture. In the foreground, on the left, the building of the Main Pharmacy is shown, as well as the shopping arcade. To the right of the tower, behind the wall, the heads of the Ascension Monastery rise, to the left is the tent of the Tsar's Tower. The artist not only "lists" the numerous and varied buildings of the ancient capital, but also tries to create a holistic, unified image of the city. The people who fill the square, as well as carefully drawn numerous and expressive details - trade shops, carriages, carts, horses, dogs - all participate in revealing the image of the city, bring warmth and humanity into it.

In Moscow, Alekseev is primarily interested in ancient architecture, the original flavor of the city, which has evolved over the centuries. As a true classicist artist and a theater decorator by education, Alekseev unfolds a majestic, but very clear, easy-to-read scene in front of the viewer, where ancient buildings act as the main characters, and walking Muscovites are assigned the role of extras.
The figures of people in the foreground are larger than in "View of the Stock Exchange and the Admiralty from the Peter and Paul Fortress" (1810). In their appearance and clothing, the artist notices patriarchal details and features that still resemble the traditional Old Russian way of life, but from the point of view of St. Petersburg fashion, they seem archaic. Alekseev, a St. Petersburg master trained in Italy, looks at the city through the eyes of a European foreigner.
A similar attitude towards Moscow was expressed by the artist's contemporary poet K.N. Batyushkov: "A strange mixture of ancient and modern architecture, poverty and wealth, European customs with Eastern customs and customs!"


"View of the Moscow Kremlin from the side of the Stone Bridge"
Canvas, oil. 63 x 103 cm
State Russian Museum

View of the Vladimir (Nikolsky) gates of Kitay-gorod. 1800s

"View of the Resurrection and Nikolsky Gates and the Neglinny Bridge from Tverskaya Street in Moscow"
1811
Oil on canvas 78 x 110.5 cm
State Tretyakov Gallery
Moscow
The majestic monuments of medieval Moscow architecture are the main "heroes" of Alekseev's landscape. In the foreground, the artist depicted a bridge across the Neglinka River, leading to the Resurrection (Iversky) Gate with two hipped-roof towers and the Iverskaya Chapel between the aisles. The building of the Main Pharmacy, which originally housed the university, is adjacent to the gate. On the right is the Arsenal Tower of the Moscow Kremlin. Between the Resurrection Gate and the Arsenalnaya Tower is a part of the Kitaygorodskaya Wall. The Mint building is visible on the left. Sunlight colors the entire landscape in warm, golden tones. Looking carefully at the images of the numerous townspeople crowding the square, one can get an idea of ​​the external appearance of Muscovites at the turn of the 18th-19th centuries. Carriages, carts, riders on horses, dogs - all this seems to the artist important for creating the image of the capital of the capital. Gift of P.A. Buryshkin in 1917.

"Cathedral Square in the Moscow Kremlin"
Oil on canvas 81.7 x 112
State Tretyakov Gallery
Moscow
In the picture, the artist depicts Cathedral Square - the main and most ancient ensemble of the Kremlin, whose unique architectural appearance was already formed by the beginning XVI century... In the center of the composition, in the depths of the square, there is the Assumption Cathedral, the main temple of the Moscow state, where the Russian autocrats were married to the kingdom. Behind it are the Church of the Twelve Apostles, the Miracles Monastery and the Senate building. On the right is the Ivan the Great Bell Tower complex, which was built over more than a hundred years. The Spasskaya Tower and the Tsarskaya Tower nearby are visible directly behind the bell tower. The heads of the Intercession Cathedral (St. Basil's Cathedral) look out from behind the wall. In the foreground on the left is the building of the Faceted Chamber with the Red Porch, on the right is a fragment of the western facade of the Archangel Cathedral.

Illumination on Cathedral Square in honor of the coronation of Emperor Alexander I. 1802

View from the Lubyanka to the Vladimir Gate. 1800

View of the Church of the Grebnevskaya Mother of God and the Vladimir Gate of Kitai-gorod. 1800s

View of the Church of Nikola Big Cross on Ilyinka

Ivan the Great belltower. 1800s

Moskvoretskaya street with people. 1800-1802

Feast of the Kazan Icon of the Mother of God on Red Square

"Boyarskaya ground or Bed porch and the Church of the Savior behind the golden bars in the Moscow Kremlin"
1810
Canvas, oil. 80.5 x 110.5 cm
State Tretyakov Gallery

Square in front of the Assumption Cathedral in the Moscow Kremlin

View of the Orphanage. 1800s

Boyarskaya site in the Moscow Kremlin. 1810th

View of Moscow from the Trinity Gate of the Kremlin. 1810th

View in the Kremlin on the Senate, Arsenal and Nikolskie gates

View of St. Basil's Cathedral from Moskvoretskaya Street

Passionate square

Kremlin. Troitskaya and Kutafya towers. On the right is the Church of St. Nicholas in Sapozhka

Trinity-Sergius Lavra

Moscow view

In the 1800s. Alekseev, already the head of the class of perspective painting at the Academy of Arts (since 1802), again returned to his favorite topic of St. Petersburg. But now the artist's passion for the harmony of the integral space of paintings has been replaced by a great interest in the world of people and their lives against the backdrop of the same beautiful palaces and the wide Neva. The noise of the city seemed to appear in his works. People with their daily affairs now occupy the entire foreground of the canvases. The forms have become clearer, more voluminous, heavier, the color has become much warmer, the painting has acquired a special density. These are "View of the English Embankment from Vasilievsky Island", "View of the Admiralty and Palace Embankment from the First Cadet Corps", "View of the Kazan Cathedral in St. Petersburg", "View of the Spit of Vasilievsky Island from the Peter and Paul Fortress"

View of the Mikhailovsky Castle and Connetable Square in St. Petersburg Around 1800

"View of the Mikhailovsky Castle in St. Petersburg from the Fontanka"
About 1800
Canvas, oil. 156 x 185 cm
State Russian Museum
St. Petersburg
Russia

The painting was painted in the year when the construction of the Stock Exchange building was completed, thanks to which the famous architectural ensemble of the central part of St. Petersburg was finally formed. The artist strove to represent the capital Russian Empire an exemplary city in which nature and the creations of human hands have merged. The semantic accent in the composition is occupied by the building of the Stock Exchange. An architecturally designed descent leads from it to the Neva. To the left of the Stock Exchange is a rostral column. The building of the Twelve Collegia is located behind the Exchange. The opposite bank of the Neva is built up with palaces and administrative buildings: in the depths - the old building of the Senate (formerly the house of A.P. Bestuzhev-Ryumin), the Admiralty with the domes of the Church of St. Isaac of Dalmatia rising from behind it. The Winter Palace is visible on the left side of the painting. Many large and small ships glide along the wide water surface of the Neva, which was called the main avenue of St. Petersburg.


"View of the Stock Exchange and the Admiralty from the Peter and Paul Fortress"
1810
Canvas, oil. 62 x 101 cm
State Picture Gallery.

Alekseev, when building the composition, uses the classicist principle, comparing the foreground, marked with a brown left corner and a dark cloud on the right, and a greenish-blue open space in the depths.
The Exchange building is shown somewhat to the right, so that in the center of the composition there is a spectacular panorama of the Neva. In the background, the Winter Palace and the Admiralty form a single ensemble with the sky and the river, as if affirming the idea of ​​harmony between mind and nature, which was most important for the Enlightenment.
The artist shows St. Petersburg the way his contemporaries saw it, as the ideal capital of an enlightened state. Poet K.N. Batyushkov wrote: "Now look at the embankment, these huge palaces are one more majestic than the other! These houses are one more beautiful than the other! Look at Vasilievsky Island, [...] decorated with a stock exchange, rostral columns and a granite embankment [...]. How majestic. and this part of the city is beautiful! [...] Now from the stock exchange with what pleasure my gaze follows along the banks and is lost in the distance between two embankments, the only ones in the world! "

November 7, 1824 on the square near the Bolshoi Theater. 1824

Gradually, the audience forgets the aging artist. This remarkable painter died, having proved his right to be a landscape painter by many years and hard work, in great poverty, leaving a large family. The academy was forced to give money for his funeral and allowances to the widow and small children.