Vasily Ivanovich Bazhenov is a Russian architect, considered one of the founders of classicism in Russia.

Childhood and youth. Studies

The exact place and date of birth of Bazhenov is still a subject of debate among scientists. According to the first theory, Vasily Ivanovich was born on March 1, 1737 in a village not far from the city. According to other sources, the date of his birth should be considered March 1, 1738, and the place - the city. Despite the fact that it will most likely never be possible to find out exact information, Bazhenov’s services to and the authenticity of the rich man are not called into question. cultural heritage, left by him for posterity.

Bazhenov was born into the family of a psalm-reader. Regardless of where he was born, the future great architect spent the first years of his life in Moscow - this information is beyond doubt. WITH early years the boy was fond of drawing, tried to sculpt the first architectural creations from snow, and copied images of temples, churches and famous buildings. Young Bazhenov’s desire to connect his entire life with art did not initially meet with understanding from his parents. So, Bazhenov Sr. wanted his son to follow in his own footsteps, so he sent the boy to the Strastnoy Monastery.

However, it soon became clear that painting for Vasily Ivanovich was not just a childish whim. Soon he began to study with, although, as it later became known, the most heavy equipment he mastered it on his own. Therefore, it would not be an exaggeration to call Bazhenov a self-taught painter. Subsequently, he became a second-class painter, before reaching the age of eighteen. Nevertheless, Vasily Ivanovich was lucky with his mentors. Bazhenov did not have the opportunity to take paid lessons, so Ukhtomsky, convinced of his student’s talent, took him on as a free listener. He also repeatedly helped Bazhenov, providing him with the opportunity to earn extra money and even sent him to take part in the development, installation and painting of the Cross in the Sretensky Monastery.

Bazhenov’s first works date back to 1753, when Vasily Ivanovich took part in the restoration of Golovin’s palace, a building that was badly damaged by a fire. There he painted marble stoves. Soon after this, Vasily Ivanovich began studying at Moscow University, and then was transferred to. At first, Bazhenov’s architectural skills were largely due to the then famous architect S.I. Chevakinsky, under whose leadership Vasily Ivanovich worked in the northern capital. Chevakinsky also appreciated Bazhenov’s talent and took him on as his assistant to work on the construction of the St. Nicholas Naval Cathedral. In 1758 he was accepted into the Academy of Arts, where he studied with A.F. Kokorinov. Bazhenov studied brilliantly and graduated from the Academy with a gold medal. Such successes gave the graduate the right to continue his studies abroad, which he soon took advantage of by going to Paris. By that time, Bazhenov was already fluent French, love for which began from the time he entered Moscow University.

In Paris, he successfully passed the exams at the Academy of Arts and for two whole years (1760-1762) studied and worked with Professor Charles de Wailly, studying French architecture and becoming familiar with a completely new style for himself - French classicism. Bazhenov’s travels abroad did not end there: in 1762 he went to Italy, where he was actively involved in the study of antiquity. After completing his internship, he was elected a member of the Bologna and Florence Academies. The Academy of St. Luke in Rome awarded him the diploma of academician and professor. After this, he returned to Paris again, where he continued to study European architectural styles. In 1765, Bazhenov again found himself in Russia. There was a long creative path ahead.

Reconstruction of the Moscow Kremlin. Unrealized projects

Upon returning to St. Petersburg, Bazhenov almost immediately received the title of academician of the Academy of Arts. But the position of professor promised to him was denied to Vasily Ivanovich: by this time, the leadership of the Academy had changed, which offered him to receive the degree of professor in the academic program, which included the creation of a complex of entertainment facilities in Yekateringhof. Bazhenov fulfilled his part of the contract, but, alas, he never received the promised reward in the form of the desired position. The offended architect resigned from academic service. He did not yet know that the prospects ready to open before him were much better than unfulfilled promises.

In 1762 she ascended the Russian throne. The empress's field of vision was not only the internal strengthening of the country, but also cultural aspects. So, Catherine issued a decree on the construction. Bazhenov, awarded a personal audience with the empress, made a favorable impression on her, so the task of building the palace was entrusted to him. The architect spent seven whole years carefully planning the smallest details of the ensemble's reconstruction. The final project received the approval of Catherine: according to Bazhenov’s plan, the ensemble was supposed to be a large public complex, and the main façade would face the Kremlin line. The first stone was laid in 1773, and at the same time Bazhenov created a wooden model of the Grand Kremlin Palace. After this, the model was sent to the Northern capital, but the project was ultimately never approved. There were many reasons for this. On the one hand, in order to bring Bazhenov’s entire grandiose plan to life, significant funds were required. The Turkish threat hanging over the Russian Empire at that time did not allow us to allocate a significant part of the budget for the “exaltation of Moscow.” In addition, the destruction of the Kremlin in its original form caused enormous discontent in society. As a result, construction was stopped in 1775. For Bazhenov, this decision was a heavy blow.

However, the unrealized construction of the Grand Kremlin Palace was not the last opportunity to prove himself. Soon Catherine entrusted him with the construction of a residence in Tsaritsyno. Bazhenov threw all his efforts into realizing the empress’s idea, but the empress was not satisfied with the final version. She stated that the residence was too gloomy and ordered the entire central part to be demolished. This was a new shock for Bazhenov, who spent a total of almost twenty years developing projects that never became a reality - the Kremlin Palace and residence in Tsaritsyno. All this could not but affect Bazhenov’s health - failures unsettled him and deprived him of inspiration for a long time.

Private orders. End of the road

Vasily Ivanovich's best work, however, was still to come. Such a project was the construction of the house of P.E. Pashkov, who was the grandson of the orderly himself. The house was built directly opposite the Kremlin and turned out to look more like a grandiose palace. This building is still considered one of the best architectural buildings in Moscow. Now the building houses the Russian State Library.

Bazhenov played a significant role in the history of St. Petersburg; in 1790 he developed one of the projects Mikhailovsky Castle. Two years later he moved to St. Petersburg, where he was accepted into the service of the Admiralty College.

After Catherine's death in 1796, her son, . The Emperor highly respected Bazhenov's architectural merits and immediately granted him the rank of full state councilor, and in 1799 appointed him vice-president of the Academy of Arts. Vasily Ivanovich did not receive such honors under Pavel’s mother, Catherine. Pavel warmly approved the project for the construction of the Mikhailovsky Castle, which was approved in the first year of his reign. Unfortunately, his failing health no longer allowed Bazhenov to personally supervise the construction work, so the castle was occupied by architects V.F. Brenna and E.T. Sokolov, who embodied the castle according to Bazhenov’s original plan. Vasily Ivanovich also did not live to see the completion of the castle, dying in 1799. Emperor Paul I himself would later be killed in this castle.

Bazhenov’s services to the Fatherland are enormous. He was the first Russian architect who created his projects as volumetric-spatial compositions associated with the landscape. M. F. Kazakov, E. S. Nazarov and many other outstanding architects worked under his leadership. He built outstanding architectural structures in St. Petersburg and Moscow.

According to the will he left, Bazhenov was buried in the village (now in the Tula region).

Relevant to populated areas:

He spent his childhood and youth in Moscow, studied in the city with D.V. Ukhtomsky, then at Moscow University. The most significant creation of Bazhenov in Moscow is the design of the house of P. E. Pashkov (1784-1786), located at the address: st. Vozdvizhenka, 3/5, building 1. According to one version, the birthplace of the architect is Moscow.

Vasily Ivanovich Bazhenov is a Russian architect with a bright, extraordinary talent and a peculiar mysterious destiny. History ascribes to him many beautiful, powerful buildings, while in reality he could not have been their inspirer and creator. On the other hand, the authentic works of the architect Bazhenov amaze with the unique creative imagination of the author, the originality of his style and the boldness of his plans.

Who really was this outstanding mysterious architect? What is he famous for? And what is his true contribution to Russian art? Let's find out.

A childhood shrouded in mystery

The future architect Vasily Bazhenov was born in Moscow, into the family of a low-ranking clergyman - a sexton, who performed his duties in one of the small court churches of the Kremlin.

The year of birth of the future architect is not fully known. Many researchers are inclined to believe that this is the 1738th, although in some scientific literature it can be found as the 1737th and even as the 1732nd.

Be that as it may, the attraction to fine arts little Vasya began to experience this since childhood. He loved to draw and sculpt various kinds of buildings and figures, although at the behest of his parent he had to become an ordinary singer. Young Vasily even studied for this position in the monastery, and only chance dramatically changed his traditionally prepared fate.

The path to urban planning

A local artist (whose name remained unknown) drew the attention of Bazhenov’s children’s immature works and took him on as his apprentice.

It was during this period that the imperial chambers in the suburbs of Moscow burned down, and then all the surrounding craftsmen were convened in order, by order of Elizabeth Petrovna, to restore the buildings as quickly as possible.

The sixteen-year-old future architect Bazhenov also contributed to the restoration of the noble mansion. Prince Dmitry Vasilyevich Ukhtomsky, the chief architect of Moscow at that time, drew attention to his talented, original painting of walls. Thanks to this acquaintance, the gifted aspiring architect had the opportunity to attend a course of lectures from his mentor, take an honorable place in his team and work under his supervision.

Mastery Technique Training

An influential benefactor gave Bazhenov the opportunity to independently carry out some orders, and after some time he helped him enter the art class of the gymnasium created at Moscow University.

During his studies, the talented Vasily confidently declared himself to be the best and most diligent student. His diligence and talent did not go unnoticed famous philanthropist of that time - Ivan Ivanovich Shuvalov, the favorite of the current Empress Elizabeth. Thanks to the patronage of the new patron, the aspiring architect Bazhenov was accepted to study at the Academy of Arts.

There, the young man's talent acquired the necessary virtuosity and literacy, thanks to which he became the first assistant to his teacher Chevakinsky (the chief architect of the Admiralty) when he was working on an extension to the Nikolsky Naval Monastery.

After some time, the gifted young architect Bazhenov was sent to improve his skills abroad.

Study abroad

Deepening his knowledge and better understanding the art of architecture, the talented architect worked for several years in Paris and Rome, where he not only improved his design skills, but also developed his own projects. For his efforts and skills he was awarded several foreign certificates and diplomas.

They say that Louis XV himself invited the architect Bazhenov to work at his court. However, Vasily Ivanovich refused, placing high hopes on his homeland. There he was promised a professorship, a solid salary and many additional orders.

First works in Russia

Returning to Moscow, architect Bazhenov was unpleasantly surprised. The Academy of Arts, where by that time the management had changed, no longer needed him, they did not award him the title of professor, and even forced him to prove his professionalism in the form of a free trial project.

However, nothing can resist real talent. The project was created in the shortest possible time. He aroused so much admiration and delight that the imperial family drew the attention of the young architect.

Catherine the Great instructed Bazhenov to develop a plan for Russia's first women's educational institution, located at the Smolny Monastery, and the heir to the throne entrusted the architect with building his own palace on Kamenny Island. And although such luck could have brought the architect a lot of money and recognition, he was a complete fiasco.

His project for a women's institute was praised, but rejected, and the construction of the Kamennoostrovsky Palace was entrusted to several more talented craftsmen, so the name of the novice Bazhenov was lost in the crowd of distinguished architects.

Then the skilled craftsman suffered another disappointment. Empress Catherine ordered the reconstruction of the Moscow Kremlin. Vasily Ivanovich’s project was approved again, but then problems began - due to digging pits, ancient monuments could be damaged.

How could the unlucky master console himself?! Catherine's favorite Grigory Orlov secured for his friend the rank of captain and the place of chief architect in the artillery list. In this position, the architect created several military buildings and began the construction of majestic structures.

Residence Tsaritsyno

One of these important imperial orders was a ten-year construction project for a palace and park ensemble in the south of Moscow. The architect Vasily Ivanovich Bazhenov gave his whole soul to him.

He lived at the construction site with his whole family, purchased materials himself, selected workers himself, and managed the finances himself.

It is noteworthy that when constructing the palace, the architect did not adhere to a specific style. He easily and boldly combined Baroque with Gothic, notes folklore with state symbols.

The Empress was delighted with the architect’s project, she called him “my Bazhenov” and wanted to see a worthy residence in Tsaritsino for her pleasures as soon as possible.

The master tried as hard as ever. In accordance with the empress's tastes, as well as his own, he abandoned the monumentality and majesty of a single palace, creating a real town from white stone and red brick (such distinctive materials from each other). The building ensemble included several magnificent palace buildings for the imperial family, as well as various original and elegant houses for the nobility and servants. All this was decorated with other, small and exquisite objects located in the park area: the Figured Gate, the Cavalry Corps, the Opera House, the Big Bridge, the Bread House. Let's take a closer look at these structures.

Figured Bridge

This part of the palace complex, located on a steep slope, was perceived as an entrance gate that unobtrusively hid the panorama of the entire building ensemble.

Made of red brick according to the principle of a viaduct and decorated with various geometric reliefs and St. George's crosses, the bridge became an echo of knightly times and old romantic legends.

It has survived to this day unreconstructed, clearly displaying the power of its creator’s talent.

Cavalry Corps

This is the name of three buildings in Tsaritsino, very similar to each other: small in size, one-story in height, with obvious geometric proportions.

The first of them has the shape of a square with a flaw, the second is built in the form of an octagon, and the third is a round structure built in the shape of a semi-rotunda.

It was this building, built on a hill and topped with a belvedere turret, that was made so elegantly and luxuriously that the empress herself used it.

The story of other buildings by architect Bazhenov erected in Tsaritsyno is sad and depressing. By subjective reasons Catherine the Great did not like them, and she ordered them to be destroyed. Most likely, the empress’s decision was influenced by the Masonic symbols that the famous architect used in the design. Or perhaps the empress did not like the genius himself due to his frequent communication with the heir to the throne.

Be that as it may, Bazhenov was removed from construction and fell out of favor. Tsaritsyn's main architect was his student, Matvey Kazakov.

Private buildings

After his disgrace, Vasily Ivanovich began designing for private individuals. Among the works orally attributed to his authorship is the Pashkov House, an impressive building erected on an elevated hill.

In relation to the main street, the house is set slightly at an angle, which makes it more special and unusual in appearance. The mansion, having a “U”-shaped layout, amazes with its splendor and interesting silhouette. The principle of contrast applied by the architect is also impressive, where the large and small sizes of the entire complex are contrasted.

The design of the facades of Pashkov's house is also noteworthy - a large order, three porticoes, a colonnade, a balustrade, a belvedere. All this is harmoniously combined into one composition, directed upward.

Another private building of the architect Bazhenov is the Dolgov house, decorated with the Doric order in the form of facade decoration with pilasters.

The windows of the estate are distinguished by their large volumes, topped with massive cornices and decorative attics.

Religious buildings

The building, clad in white stone, has two floors and combines a fantastic combination of Gothic and Baroque forms.

The church in Bykovo, designed by architect Bazhenov, is equipped with a magnificent, impressive staircase with two steps and a light rotunda decorated with a high spire. The interior and exterior decoration of the temple is unusually rich and varied.

The Master's Fate

How did it end? life path great architect? Having experienced several bitter disappointments and failures, having lost his son and the royal favor, in his old age Vasily Bazhenov was favored by Paul I. He was given an honorary position at the Academy of Arts and was offered to engage in epoch-making architectural research. The talented architect was ready to devote himself entirely to a new important task.

Perhaps he could accomplish a lot and achieve a lot. But his life ended abruptly. At the age of sixty-two, surrounded by caring and loving children, Vasily Ivanovich Bazhenov died.

MOSLENTA continues the story about the architects, thanks to whom our city acquired its unique appearance. Today we will talk about a brilliant artist, a native Muscovite Vasily Ivanovich Bazhenov - the creator of the most beautiful house in the capital, one of the symbols of our city, the famous Pashkov House.

The history of architecture is often unfair to the people who create it. Sometimes magnificent buildings reach us, but the names of their creators are lost through the centuries. And sometimes the names of architects remain in people’s memory, and the fruits of their deeds fade into oblivion. It also happens that we associate buildings not with the names of their creators, but with completely different people, sometimes not at all corresponding to their scale. Such is the fate of one of the architectural masterpieces of our city, known as the Pashkov House - perhaps the most beautiful and harmonious building in Moscow. It immortalized the name of the vodka merchant, eccentric millionaire Pyotr Pashkov, although in fairness it should have glorified another person - the brilliant architect Vasily Ivanovich Bazhenov.

###On the role of vodka in urban planning

The Pashkov family has been known since the time of Ivan the Terrible; under the first Romanovs, its representatives became governors. Yegor Ivanovich was an orderly at young Peter First, by the Battle of Poltava he became a captain of the guard, then he was a prosecutor of the Military Collegium, and in his old age he was appointed to the post of Astrakhan governor. He became famous for participating in many investigations related to embezzlement, and sent many thieving boyars and officials to Siberia. At the same time, he acquired confiscated property, which was legal in those days.

His son Pyotr Yegorovich was enrolled in the guard from childhood, but did not advance further in the service than captain-lieutenant of the Semenovsky regiment. But he became skilled in what was then called farming out: the country had a monopoly on vodka (which gave up to 40 percent of the budget), and he bought from the treasury for a fixed fee the right to produce and sell the potion. If the trading and tavern business was conducted correctly, the benefits were enormous. Pashkov became a millionaire. But here’s the problem: such activities did not bring respect in high society, rather, on the contrary. Pashkov’s pride was wounded, and he decided to respond in a spirit that was quite logical for people of his type: to build a luxurious palace that would outshine all the “aristocrats of the spirit.”

Below are two stone pools with fountains in the middle. The house is separated from the street by a wonderfully patterned grille. The garden, like the pond, is teeming with rare foreign birds. Chinese geese, various breeds of parrots, white and motley peacocks are here free or hanging in expensive cages. These rarities, together with the general beauty of this house, attract people here on Sundays and holidays large crowds of people

Johann Richter

"Moscow. Eine Skizze", 1799

To do this, the millionaire bought land on the high Vagankovsky Hill, opposite the Kremlin, and invited the most famous architect of his time, Vasily Bazhenov, giving him complete creative carte blanche and almost unlimited funds. Thus, thanks to the vanity of the vodka king and the talent of the great master, Moscow received a palace that became its adornment for centuries.

Engraving “View of Mokhovaya Street near Pashkov’s House” by Gerard Delabarte

Mikhail Ozersky / RIA Novosti

A magnificent view of the palace from Borovitskaya Square, in fact, it reverse side or rear facade. The architect wanted to build the palace in the most advantageous place - on the edge of a hill overlooking the Kremlin and the Moscow River. But on this side the hill was very steep, which excluded the possibility of convenient access for carriages. Bazhenov found a way out: he placed the main entrance and the main entrance with opposite side, but he designed the building itself in such a way that its back looked no less presentable and elegant than the front. The palace is located slightly diagonally to right angle Mokhovaya and Vozdvizhenka, but it looks great from afar. The hillside was given over to a park with fountains and a small menagerie. It was clearly visible from Mokhovaya Street, which is why onlookers always crowded along the palace fence.

“Below are two stone pools with fountains in the middle. The house is separated from the street by a wonderfully patterned lattice. The garden, like the pond, is teeming with rare foreign birds. Chinese geese, various breeds of parrots, white and motley peacocks are here free or hanging in expensive cages. These rarities, together with the general beauty of this house, attract large crowds of people here on Sundays and holidays.” Johann Richter, “Moskwa. Eine Skizze", 1799.

By the way, the elegant staircase that we see now did not originally exist; it appeared only a century and a half later, in 1934. Its author is the famous landscape designer and architect Vitaly Dolganov.

You can find everything in Bazhenov’s creation architectural styles, inherent in the second half of the 18th century (construction was carried out in 1784-86). It is based on classical forms, with porticoes, columns and a belvedere. The contours of the building are harmonious and elegant. At the same time, the author did not skimp on the rich decor, which is more consistent with the Baroque, and in some details even the Gothic tradition. But we have said more than once that a great artist is always above narrow stylistic boundaries, and Bazhenov’s work is too much for that confirmation. Pashkov's house is in some ways reminiscent of French castles in the Rhone or Loire valley, and in some ways - Russian Empire palaces of the subsequent era. In many ways, Bazhenov was ahead of his time, but this was in his character. In general, he was a figure who was difficult to fit into generally accepted frameworks.

The first pensioner of the Academy

Vasily Ivanovich Bazhenov was born into the family of a church psalm-reader in 1737 or a year later. According to some sources, his father served in the Passionate Monastery, according to others - in the Church of John the Baptist, “behind the golden bars” in the Kremlin. Since childhood, Vasily sang in the church choir, but his true passion was drawing.

“...I will dare to mention here that I was already born an artist... My father, a poor man, had no idea about my urgency, and although he noticed me, only he did not have the money to send me somewhere to study. I learned to draw on sand, on paper, on walls and in any such place where I found a way... in winters I made chambers and statues from snow, so that now I would like to see it.” .

Unknown artist. Portrait of Vasily Ivanovich Bazhenov

Vasily Fedoseev / RIA Novosti

The young self-taught man began to earn extra money by painting churches, and even began to earn money. His talent attracted attention, and Vasily Ivanov (young people in the documents of that time were called without surnames, but by patronymic) was assigned to the architectural school of the famous Moscow architect Prince Dmitry Ukhtomsky. But the young man lacked basic knowledge, and he was sent to study at Moscow University. From there, the university's patron, Ivan Shuvalov, transferred him to the newly created Academy of Arts. It was located in St. Petersburg, although it was affiliated with Moscow University. Shuvalov transported the talented young man to the capital and settled him in his palace, entrusting him to the care of another famous master Savva Chevakinsky. Bazhenov himself later called Ukhtomsky and Chevakinsky his teachers.

Bazhenov found himself at the very center of the country's social and political life. He gained experience in the construction of the St. Nicholas Naval Cathedral, and thanks to the fact that he lived in the house of the all-powerful Elizabethan favorite, he was able to communicate with the most prominent people of his time. In many ways, this enlightened circle shaped his values ​​and ideals. Around 1760, Vasily Bazhenov and the artist Anton Losenko were sent to Paris to continue their studies - they went down in history as the first pensioners of the Academy of Arts.

Bazhenov spent five years abroad - first in France, then in Italy. He graduated from the Paris Academy with a gold medal, was the first Russian architect to receive the title of professor at the Roman Academy, and became a member of the Florence and Bologna academies. I drew, designed, and made layouts a lot.

“...I was the first to start the Academy of Arts, from where I was sent to foreign lands, in France I studied in theory, for which I received praise from the entire Academy of Paris, I also noticed practice, where all the architects looked at my work with more eagerness, and my my young French comrades stole my products and greedily copied them...” (from the autobiography of V.I. Bazhenov).

Academician-artilleryman

Returning to Russia, Bazhenov found himself in the new, Catherine’s Russia. Under the influence of the young empress, the country was changing, and there was serious talk about the imminent abolition of serfdom. Of course, the enthusiastic young artist plunged completely into public life, even becoming a member of the then fashionable Masonic lodge. He almost immediately received an imperial order to rebuild Ekateringhof, upon completion of which he was awarded the title of academician. But he did not receive the paid title of professor at the Academy of Arts due to difficult relations with the new head of the academy, Ivan Betsky. The obstinate character of the architect will come back to haunt him more than once in the future...

As a result, Bazhenov was “sheltered” by the all-powerful favorite Grigory Orlov, who headed the artillery department. The architect received the rank of captain and the status of chief architect of the artillery Chancellery; he was entrusted with the construction of a new Arsenal and palace on Kamenny Island. The project received enthusiastic reviews, but never came to fruition, remaining in the drawings.

But Bazhenov is in favor - he is sent to Moscow, where Catherine conceived the construction of a new Kremlin palace. Vasily Ivanovich, who was not even thirty, was appointed chief architect of the project.

Forum for the Empress

Either the money is in the treasury because Crimean War and Pugachev’s uprisings ended, either the plan seemed too revolutionary, or something else, right up to Bazhenov’s Freemasonry

The architect's plan was grandiose and conceptual. He conceived a complete change in the ideology of the Kremlin and the urban planning structure of the center of Moscow. To do this, it was proposed to demolish some of the no longer relevant fortress walls, not the most significant churches and old buildings, slightly change the landscape and create a single ensemble, which would include ancient Kremlin churches and squares. They were supposed to be connected by colonnades and porticos, into which new palaces and public buildings fit. The center of the complex was to be an amphitheater, where the enlightened monarch could communicate with his people. The architect called it all the “Forum of the Great Empress.”

Model of the Grand Kremlin Palace by Vasily Bazhenov in the Museum of Architecture

Bazhenov's idea was so unexpected that it caused mixed reviews - delight from some and active rejection from others. Some were frightened by the loss of the Kremlin's historical appearance, others by democratic innovations. Catherine initially assessed the idea positively and gave instructions to proceed. On June 1, 1773, the first stone was solemnly laid. The builders managed to demolish the southern wall of the Kremlin (which is along the Moscow River), after which the office received an order to stop the work. At first the construction was mothballed, and then abandoned altogether. The official reason was never given, and speculation abounded: either the money in the treasury ran out because of the Crimean War and Pugachev’s uprising, or the idea seemed too revolutionary (Pugachevism greatly influenced Catherine’s views), or something else, right up to Bazhenov's Freemasonry.

The model was put on public display (a special pavilion was even built for it) and it was shown as one of the attractions of Moscow. Now it is in the Shchusev Museum of Architecture, so anyone can get acquainted with it and form their own opinion about the grandiose, but unfulfilled project.

Bazhenov gave seven years to the Kremlin. Over the years, a circle of young architects formed around him, from whom a whole galaxy of outstanding masters would later emerge - Matvey and Rodion Kazakov, Ivan Egotov. In addition, the architect was involved in charity work: “I recruited the poorest, ordered the necessary books for their education, bought prints, rare paintings, plaster and everything related to art.” Quite in the spirit of the Age of Enlightenment. Because of this, Bazhenov got into debt that would haunt him throughout his life.

Despite the incompleteness of the Kremlin epic, the master still received orders from the treasury. For example, together with his friend and student Matvey Kazakov, Bazhenov built a complex of pavilions on Khodynskoye Field to celebrate the victory over the Turks, and then received an order to build a new Moscow imperial palace in Black Mud, which was renamed Tsaritsyno for this occasion.

The Unfulfilled Dream of a Genius

The Tsaritsyn story is similar to the Kremlin story - the author’s plan was so grandiose that it was never fully realized. The sequestered complex was completed by Kazakov, but was also not completed. This is the second big tragedy in Bazhenov’s life, because he gave ten years of his life to Tsaritsyno...

Once again, the reasons why construction stopped remained unclear. From the architect's letters it becomes clear that there were serious problems with financing: money was allocated irregularly, and the estimate turned out to be greatly exceeded. Bazhenov invested his money, was again mired in debt and was even forced to sell his Moscow house, collection of paintings and library. Large family the architect huddled in a wooden house right at the construction site.

In Soviet times, when it was fashionable to make any person a fighter against autocracy, it was the version about the complex relationship between the artist and the authorities that became especially popular

The second reason is the inconvenience of the palace for living. Captivated by the conceptual design, the architect did not always care about the comfort of the future inhabitants, which caused Catherine’s dissatisfaction. During a visit to Tsaritsyno, she drew attention to some everyday nuances and ordered construction to be stopped. At the same time, she was verbally merciful to the master and allowed his wife to “get in touch.” The third version, as is usually the case, is conspiracy theological and is associated with Bazhenov’s Masonic activities. By this time, the empress had finally moved away from the democratic passions of her youth, and those who did not grasp this gradually found themselves in disgrace. Suffice it to recall the repressions against Alexander Radishchev and Nikolai Novikov. Bazhenov did not hide his friendship with the latter, and actively used Masonic symbols in the Gothic Tsaritsyn decor. In Soviet times, when it was fashionable to make any person a fighter against autocracy, it was the version about the complex relationship between the artist and the authorities that became especially popular.

But “every cloud has a silver lining.” Dismissed (more precisely, on leave for health reasons) from the government service, Bazhenov began to actively work privately, and it was during these years that his best masterpieces were created, including the already mentioned Pashkov House. And also Yushkov’s house on Myasnitskaya, which still stands opposite the Post Office. Now located there Russian Academy painting, sculpture and architecture, which is very symbolic. It is worth paying attention to the famous Rumyantsev house on Maroseyka, which now houses the Belarusian embassy. Although the building has been extensively rebuilt, Bazhenov’s extraordinary handwriting is noticeable in it. The master also built quite a lot in the Moscow region, in particular, he is credited with the authorship of the Vladimir Church in Bykovo, built by order of the Moscow mayor Mikhail Izmailov. It is possible that the Znamenskaya Church was also built according to Bazhenov’s design in the village of Veshalovka in the Lipetsk region, where the Tatishchev estate was located. This is from what has survived.

In 1796, Empress Catherine died, and Paul ascended the throne. For Bazhenov, who was friendly with the emperor, the happiest period of his career began. He receives the rank of actual state councilor (a general's rank that gave the right to hereditary nobility), becomes vice-president of the Academy of Arts, and receives a gift of a village “with a thousand souls,” which finally solved his financial troubles. Pavel entrusts Bazhenov with the design and construction of his new palace - Mikhailovsky Castle. Unfortunately, this happy period was short-lived - in 1799 the master was struck by paralysis and soon died. Bazhenov never had time to finish his last work.

By various reasons, Bazhenov failed to reach his full potential. But even what he did is enough to recognize him as an absolute genius. And before you refute this statement, go to the center of Moscow and look at Pashkov’s house again. And the desire to argue will most likely disappear.

Georgy Oltarzhevsky

A story about the architecture of the city of Moscow would be incomplete without mentioning the name of such an outstanding Russian architect as Vasily Ivanovich Bazhenov.

Delicate Gothic - this is the style of most of Bazhenov’s surviving creations. The Tsaritsyno complex was built in this manner. Most of the buildings and structures have suffered greatly over time, but the restoration work carried out over the years Soviet power and in post-Soviet times, helped restore most of them.

Childhood and youth

The exact place and date of birth of Vasily Bazhenov is not known. He was born on March 1, 1737 or 1738, and died on August 2, 1799. The great Russian architect was from the family of a minor church official. According to some sources, he was born in Moscow, according to others, in Maloyaroslavets, and moved to Moscow at the age of three months. In 1753, Vasily became a student of Dmitry Ukhtomsky. From him he received his first lessons in architecture and construction. The future architect Bazhenov did not complete the full course of study, since the difficult financial situation of his family forced him to quit his studies and go to work. In 1755 he began studying at Moscow University. Bazhenov’s first biographer, Kiev Metropolitan Evgeniy Bolkhovitinov, wrote that Vasily also studied at the Slavic-Greek-Latin Academy. Subsequent researchers refuted this fact. Probably, in this way the clergyman tried to raise the prestige of the educational institutions under his control.

Showing talent

In 1758, Vasily Bazhenov, among the 16 best students, on the recommendation of Ivan Shuvalov, was sent to St. Petersburg to the newly created Academy of Arts. Your first exam talented student Vasily Bazhenov passed brilliantly and took first place in the academic rankings. The chief architect of the Russian Admiralty, Chevakinsky, became the personal mentor of a promising, very capable and intelligent young man.

Three years later, Vasily Bazhenov and Anton Losenko became the first students of the Academy of Arts to be awarded a scholarship.

Further training in the craft took place in Paris in the workshop of Charles de Wailly. Subsequently, the architect Bazhenov became the main propagandist of French neoclassicism in Russia and, based on the ideas of De Wailly, established the stylistic canon of neoclassical Moscow.

He returned to Russia in May 1765 with glowing reviews regarding his impeccable professional and moral qualities. Nevertheless, the new leadership of the Academy subjected his work to strict examination and demanded that he provide new work. The young Russian architect was noticed by Catherine II and her son Paul. The heir to the throne ordered Bazhenov to design and build a mansion on Kamenny Island, and in 1766 Grigory Orlov entrusted him with the construction of the Arsenal. This was the end of Vasily Ivanovich’s activities in St. Petersburg. Architect Bazhenov moved to Moscow, where he lived and worked until the end of his life.

Kremlin Palace

Catherine proposed the idea of ​​renovating the dilapidated palaces of the Moscow Kremlin. Bazhenov set to work with enthusiasm. Already in 1767, he presented the fantastic project of the Big Orlov for the Highest consideration and doubted the feasibility of constructing such a huge building, but the architect remained adamant in his vision of the Imperial residence and by the end of the summer of 1768 he completed the creation of the project. According to his plan, it was supposed to be the largest palace complex in Europe, designed in the neoclassical style. It was supposed to replace the old Kremlin completely. It was planned to preserve unchanged only the cathedrals, which became invisible from the river, because they were obscured by the walls of the future palace. According to the plan, the entire southern side, that is, the six-hundred-meter wall from the Konstantinovskaya Tower in the east to Borovitskaya in the west and further, along the western wall of the Arsenal to the north, was to be occupied by a new four-story palace. Bazhenov planned to place it directly on a steep slope between the plateau and which was supposed to be demolished. The architect provided for the laying of stone buttresses to prevent the building from sliding into the river. It was planned to strengthen the bank with an embankment and tarred logs.

According to the project, the historical cathedral square was preserved, but a new one was to be built in the eastern part of the Kremlin. It was supposed to mark the beginning of new radial streets running from the center to the north, northwest and northeast. From the palace there was an exit to Tverskaya Street. The implementation of the project was supposed to be the beginning of the modernization of all of Moscow. In 1775, through joint efforts under the leadership of Pyotr Kozhin and Nikolai Legrand, the plan was officially approved.

Tsaritsyno

In the summer of 1775, Bazhenov developed the first project for Tsaritsyno, which has not survived to this day. Bazhenov's buildings were a coherent complex of free-standing buildings in the Russian neoclassical style. After finalization and agreement with the empress, this plan was approved. The dominant object was to be a palace consisting of two buildings connected by a greenhouse. One wing was intended for Catherine, and the second for her son and heir Paul. Traditional Russian colored tiles with ornaments were planned as decoration. Catherine objected and insisted on more simple version- red brick walls with white decorations and yellow glazed roof tiles.

Bazhenov began construction of the complex with a front row of small buildings, gates and bridges, decorated with fine fine decoration, which was later lost. In 1776, the decorative Figured Bridge across the ravine was finally completed. The work was difficult due to a lack of highly qualified craftsmen and interruptions in funding.

In 1777, Bazhenov demolished the old wooden house of the former owners of the estate and began construction of the main palace. It was erected over eight years. To the two main buildings, another one was added - the central one, for the children of Paul. Governor Jacob Bruce, who inspected Tsaritsino in 1784, was puzzled by the absence of a main, official building. But he nevertheless sent Catherine a glowing report.

Termination of work on the Tsaritsyn project

In June 1785, Catherine unexpectedly visited Tsaritsino and was dissatisfied with the slow pace of work. The empress assessed the palace as unsuitable for living: very dark rooms, low ceilings, narrow staircase. This year, relations between Catherine and Paul deteriorated irreversibly. The Empress dealt with issues of succession to the throne. And the twin palaces became a politically incorrect phenomenon. Catherine ordered the demolition of the buildings and the construction of a new main palace. Bazhenov and Kazakov were ordered to develop new projects. Architect Bazhenov presented his project by the end of 1785, but it was rejected and Vasily Ivanovich was fired. Ekaterina chose Kazakov's project. Bazhenov's Palace was demolished in the summer of 1786. There is an opinion that Catherine did not accept Bazhenov’s project because of the Masonic symbolism and Gothic style. This cannot be true, since Kazakov preserved and repeated Gothic and Masonic symbols in his projects.

Kitchen building

In Tsaritsyno, another building of Bazhenov has been preserved - the kitchen building, or Bread House. This square building with rounded corners was originally intended for kitchens, storage rooms and servants' quarters. The entrances to it are made from the inside - so that servants and various household movements do not catch the eye of the guests and owners of the estate. The ground floor is made of white stone and has glaciers that perfectly maintain the temperature. The entire facade is decorated with various symbols: loaves of bread with salt shakers, garlands of glasses, Masonic rulers, etc. Currently, the Bread House is used for concerts and other cultural events. Sometimes banquets are held there.

Middle Palace

The Opera House, or Catherine's Middle Palace, with double-headed eagles on the parapets of the facades, was originally intended to be used for small official receptions, as well as for concerts and performances in the summer. For a very long time the palace was not used in any way. All that was left of it were the walls. In 1988, eight years began. The excellent acoustics of the building allow concerts to be held in it. Art exhibitions are also held there.

Pashkov House

Vasily Bazhenov is an architect who created one of the world-famous symbols of Moscow. This is the Pashkov House, built in 1785-1786. The recognizable structure can often be found in paintings, engravings, postcards, postage stamps, boxes of chocolates, etc. After being removed from the Tsaritsyno project, Vasily Ivanovich Bazhenov began taking private orders from wealthy Muscovites. So, on Vagankovsky Hill he built a luxurious palace made of white stone for the captain-lieutenant and his wife. The facade of the building faces in the direction of Starovagankovsky Lane, and its back side faces the Kremlin. It is assumed that in this way the architect demonstrated to the empress his resentment for Tsaritsyno.

After the death of the childless owners Pashkov, the house was inherited by a distant relative who, having happily married a rich bride, the daughter of a gold miner, was able to keep the building in order. Subsequently, the Pashkovs sold the house to the treasury.

Revival of Russian style in architecture

Adherent of neoclassical Russian architectural school, graphic artist, architectural theorist and teacher Vasily Ivanovich Bazhenov and his colleagues and students Matvey Kazakov and Ivan Starov created the Russian national architectural language, interrupted by Peter I. At that time, foreign architects set the tone in Russian urban planning - Quarenghi, Rinaldi, Cameron and others .

The sad fate of a talented architect

The early manifestation of his talent as an architect brought Bazhenov into the circle of wealthy, powerful magnates and courtier politicians. Inexperience in commerce and diplomacy caused tragedies in the personal and professional spheres of Vasily Ivanovich’s life. Two of his major construction projects were abandoned for political or financial reasons. He failed to implement his project to reconstruct the Grand Kremlin Palace. The Imperial Palace in Tsaritsyno, which was supposed to become the core of the entire Tsaritsyno complex, was destroyed by Catherine II. Another project, the building of Moscow State University, caused an acute conflict with the architect’s former benefactor, Prokofiy Demidov, and led Bazhenov to complete bankruptcy. Before his death, Vasily Ivanovich was most worried about the fate of his children, because he was afraid that they would be drawn into the construction business, which he considered a dishonest and treacherous business.

Bazhenov's legacy

Bazhenov’s legacy still remains incompletely studied. There are doubts about the authorship of some objects attributed to him. In particular, regarding whether Bazhenov the architect built the Pashkov House? There is an opinion that this is the work of his students, whom he trained quite a few over the years of teaching at the Academy of Arts. After the death of Catherine, Paul I appointed Vasily Ivanovich vice-president of the Academy. Many researchers have studied his heritage, in particular Igor Grabar, Shvidkovsky D.O. Thanks to them, much, although not everything, became clearer. In “Notes on the Sights of Moscow,” Karamzin compares Bazhenov’s projects with Plato’s Republic and Thomas More’s utopia. Perhaps that is why they were not implemented.

BUILDINGS BY ARCHITECT V. I. BAZHENOV
ALBUM OF AUTOTYPES MOSCOW - 1950
Introductory article by E. A. BELETSKAYA

One of the most prominent representatives of advanced culture and art of the 18th century was the wonderful Russian architect Vasily Ivanovich Bazhenov (1737-1799).
The significance of Bazhenov’s creativity in the history of Russian culture is not limited to the creation of beautiful works of architecture and majestic architectural projects. It is also contained in his deeply patriotic social activities aimed at educating and training domestic artists and introducing knowledge to the wider population. Bazhenov’s creative and life path was illuminated by the high ideals of serving his Motherland and his people.
Bazhenov’s activities took place in the era of the formation of national science and culture. He was the first to raise architecture to the level of an advanced science for his time, giving a deeply substantiated presentation of architectural theory and a generalization of practical experience. He developed the laws of architectural construction and design methods, introduced innovative engineering and construction techniques, and resolved the problems of organizing construction and training the younger generation of architects.
Bazhenov was one of the most educated people of its time. Having achieved comprehensive knowledge through hard work in conditions of poverty and deprivation of children and teenage years, Bazhenov did not confine himself to the circle of personal and purely professional interests. Having achieved world fame at the age of 27, being a member, academician or professor of Russian and three foreign academies, he continued to improve his skills as an architect, artist, and civil engineer. Having mastered the art of architecture, he tirelessly sought to pass on his knowledge to others. In this respect, Bazhenov was a direct follower of his great contemporary, Lomonosov. Bazhenov has in common with Lomonosov a love for his people, a consistent, deeply principled struggle for the development of Russian culture, against the dominance of foreigners in Russian science, and intransigence in defending creative beliefs.
The breadth of Bazhenov’s creative interests was reflected in his creation of an architectural school, where the poor studied for free, and in his proposal to organize an art museum and open a printing house for printing books on art, and in the preparation of a multi-volume publication of drawings of structures and projects of domestic architecture.
A man of bold, often daring dreams for his time, Bazhenov was at the same time a true practitioner who understood the urgent need for the tasks put forward by life. For example, his note on the reorganization of the Academy of Arts was a scientifically developed program based on vast experience.
Bazhenov’s creativity was subordinated to the idea of ​​serving the people. His speech at the foundation stone of the Kremlin Palace was imbued with an ardent patriotic feeling and awareness of the social significance of the architect’s work: “My mind, my heart and my knowledge will not spare either my peace or my health,” he said.
Bazhenov’s patriotism was reflected in his deep respect for the history of his people and love for their rich, varied creativity. Just as the ardent patriot and revolutionary, Bazhenov’s great contemporary Radishchev, knew and loved Russian folk songs, Bazhenov highly valued the works of Russian folk architecture.
Standing firmly on Russian national soil, the architect knew how to take a critical approach to the creativity of the peoples of other countries, highlighting what had social significance and without accepting architectural images that are alien and distant to him.
As an artist of great creative generalizations, Bazhenov could not help but reflect in his work the ideas that worried the minds of the leading people of his era. This is the progressive significance of the activities of great masters of art in all periods of human history.
The class limitations of Catherine's noble empire, in which Bazhenov lived, narrowed the scope of the architect's activities and created insoluble conflicts between Bazhenov's most majestic plans and the possibility of their implementation. His inspiration was not put into practice creative work- the project of the Kremlin Palace, which has survived to this day in drawings and a grandiose model; One of the most poetic ensembles, the Tsaritsyno estate near Moscow, was also not completed.
Bazhenov occupies an exceptional place in the history of architecture. Along with Kazakov and Starov, he can be called the founder of Russian architectural classics, who not only influenced the work of his contemporaries, but also indicated the path of development of architecture to subsequent generations of Russian artists.

1. Pashkov House, now the V.I. Lenin Library, in Moscow. 1784-1786 General view.

2. Pashkov's house. Fragment of the central part of the main facade.

3. Pashkov's house. Fragment of the main facade (side pavilion).

4. Pashkov's house. Courtyard facade.

5. Pashkov's house. Gates.

6. Pashkov's house. Fragment of the gate.

7. Tsaritsyno estate. 1775-1785 "Opera House".

8. Tsaritsyno estate. "Figured" gates.

9. Tsaritsyno estate. “Small” or “Semicircular” palace.

10. Tsaritsyno estate. Fragment of the wall of the “Semi-Circular” Palace.

11. Tsaritsyno estate. Gate of the "Bread" house.

12. Tsaritsyno estate. "Figured" bridge.

13. Tsaritsyno estate. Bridge over the ravine.

14. Church in the village of Znamenka. 1768

15. Mikhalkovo estate. 1779 Entry.

16. Church in the village of Bykovo. 1789 General view.