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Chelyabinsk Region Picture Gallery
 
Peter The Great term. The beginning of Petersburg period

A sudden leap, break, but yet connection with national traditions of the Russian culture and at the same timeimpetuosity of some actions and their violent forms leave a mark of untimely character that can explain dramatic and intense effect in the monuments of Peter the Great period.

The country-seat of Golovin in Moscow area

Shkhonebek, Adrian
Pikart, Peter
The country-seat of Golovin in Moscow area. 1705

The common state in the art of Peter the Great period is isolation of architectural styles, combination of progressive and regressive forms. The Russian art of 18-19th century becomes oriented to city culture and nobility - the main exponent of the Russian art culture of 18th - the first third of 19th.

You can easily feel the influence of the North European culture in the baroque of early Peter the Great period, presented in this exposition by engravings of A.Zubov, A.Shkhonbek, P.Pikart, N.Larmessen.

Marina Battle scene Landscape with figures

Goderis Hans/Yan
Marina

Unknown artist 17th Flamand school
Battle scene

Unknown artist 17th Flamand school
Landscape with figures

The programme of the art of Peter the Great period: utility, rejection of magnificent beauty is first of all embodied in the new Russian capital-St. Petersburg, in engravings of both Russian and foreign artists and also in the sculpture relief "the Foundation of St.Petersburg, in the medallion of the Triumph column created in the honor of the North war by the sculptor B.K.Rastrelly.

Due to personal sympathies and ideals of Peter the Great, Holland painting streamed to Russia, having reflected north European direction of the Russian culture (X.Goderis, S.Dauv, A.Hondius, T.Villeborts, I van Baden and other unknown Holland artists.

Sebastian Flowers

Williborts Thomas, called Boshart
Sebastian

Monnoyer? Jean Baptiste
Flowers

The rejection from old fashioned Holland utility and appeal to eloquent splendor of French absolutism and rationalism is reflected in a pretentious, ponderous style of the portrait engraving of the first third of 18th century (L. Karavakk and 10 years later I.Shtenglin).