XE3F8584 Monumento a Nicolás I de Rusia (San Petersburgo) - Monument to Nicholas I (Saint Petersburg) - Памятник Николаю I (Санкт-Петербург)
Monumento al emperador Nicolás I de Rusia
Fecha de construcción: (1856 – 1859)
Escultor: Piotr Clodt.
Arquitecto: Auguste Montferrand
El monumento al emperador ruso Nicolás I se alza majestuoso en el centro de la plaza de San Isaac de San Petersburgo (Rusia). Se trata de una estatua ecuestre.
El escultor Piotr Clodt, realizó un preciso cálculo matemático que le permitió utilizar solo dos puntos de apoyo para fijar el monumento.
Desde cualquier punto de la plaza puede percibirse perfectamente la silueta del grupo escultórico. La magistral ejecución de la estatua y el lugar bien escogido de la ubicación para el monumento, en el centro de la plaza de San Isaac, lo convierten en excelsa obra de la escultura monumental.
majocobe.blogspot.com/2010/11/monumento-al-emperador-nico...
The Monument to Nicholas I (Russian: Памятник Николаю I) is a bronze equestrian monument of Nicholas I of Russia on St Isaac's Square (in front of Saint Isaac's Cathedral) in Saint Petersburg, Russia. Created by French sculptor Auguste de Montferrand and unveiled on July 7 [O.S. June 25] , 1859, the six-meter statue was considered a technical wonder at the time of its creation. It is one of only a few bronze statues with only two support points (the rear hooves of the horse). Another example is the 1852 equestrian statue of U.S. President Andrew Jackson.
The Neo-Baroque monument to the Russian ruler Nicholas I was designed by the French-born architect Auguste de Montferrand in 1856. When he planned the registration of Saint Isaac's Square, the uniform architectural ensembles of the Palace Square (in 1843) and the Senate Square had already been finished (in 1849). Monuments to the emperors Peter I and Alexander I dominated these squares. By tradition, de Montferrand intended to construct a monument on the new site, to unite the buildings of different architectural styles already there.
At the personal request of his successor Alexander II, Nicholas was represented as a prancing knight, "in the military outfit in which the late tsar was most majestic". Around the base are allegorical statues modelled on Nicholas I's daughters and personifying virtues. The statue faces Saint Isaac's Cathedral, with the horse's posterior turned to the Mariinsky Palace of Nicholas's daughter, Grand Duchess Maria Nikolayevna of Russia. This was said to have caused the Grand Duchess considerable discomfort.
The monument also depicts the social activities of the emperor: Nicholas I was for many years the chief of the nearby Konnogvardejsky regiment. Elements of the city topography, the Konnogvardejsky parkway and Konnogvardejsky lane, and the Konnogvardejsky arena are combined with the Konnogvardejsky regiment uniform in which the emperor is dressed.
Soviet historians and critics considered it a 'composite-stylistic' monument because they thought its elements did not combine to form a uniform composition:
Contemporaries noticed that Peter the Great was the idol of Nicholas I who had in all things tried to imitate his glorious ancestor.
The ballerina Mathilde Kschessinska (1872–1971), who was a favourite of Nicholas II, was offered the Mariinsky Palace as a place of residence. She refused, with the rejoinder that two emperors had already turned away from an ill-fated building and Nicholas did not want to be the third to join them. By this reference to 'two emperors' Kschessinska meant the statues of the Bronze Horseman and the Monument to Nicholas I. Later similar rumours began to be attributed to the Grand Duchess Maria Nikolayevna of Russia. However this legend has been called into question because Maria actively participated in work on the monument.
Contemporaries have noticed that this monument is aligned with the statue of the Bronze Horseman, and is almost an identical distance from Saint Isaac's Cathedral. This juxtaposition has generated numerous jokes of the type "Kolya to Petia catches up, but Isaak's Cathedral disturbs!" Russian: Коля Петю догоняет, да Исакий мешает!
There is also a city legend, which claims that the day after the monument was unveiled, on a foot of the horse there was found a wooden tablet on which had been written: "you will not catch up!". On the basis of this legend in the 19th century in St. Petersburg there was a saying: "the Fool of the clever catches up, but the monument to it disturbs" Russian: Дурак умного догоняет, но памятник ему мешает!
Several different sculpture models were used in creating the monument. A large model of the horse which Nicholas I sits on was commissioned from the Tsar's favourite sculptor, Peter Klodt. The initial sketch created by it represented the horseman on easy standing game. The author planned by means of a mimicry and gestures to reflect character of the emperor, but this variant has been rejected of Monferran's for the reason that could not serve the primary purpose of association of spatial ensembles.
Klodt has created the new sketch in which it has represented a horse in the movement, leaning only on back pair feet. It is composite, the prompt pose of a horse is resisted by the smart figure of the emperor extended in a string. For an embodiment of this sketch the sculptor precisely calculated the weight of all horse figure that it stood, leaning only on two points of support. On Monferran's drawing sculptor Robert Salemann executed the monument's model "in 1/8 full sizes with all architectural parts and ornaments" (Russian: в 1/8 натуральной величины со всеми архитектурными частями и украшениями). This variant was accepted by the architect and the emperor, it is embodied in bronze; this model has remained and is in a museum of a city sculpture.
The monument's technical proficiency was cited as a reason why this statue — the only one from a cluster of outdoor sculptures representing 19th-century Russian royalty — survived the Soviet period virtually intact. However, a bronze fencing around the monument, first installed in 1860, was dismantled in 1940. During World War II the monument was covered by a case from the boards, filled with bags of sand.
In 1987–1988 the State Museum of City Sculpture undertook a full restoration of the monument. Restorers opened the hatch on a croup of the horse, surveyed the condition of the internal skeleton, and engaged in complex technical expert appraisal, including gamma-ray examination of the feet of a horse. Lost fragments were recreated, inserts in bronze, granite, and marble were made. Gilding of signs on an inscription by galvanic way was made.
In 1991–1992 restorers cast new fencing using the sample of a link which has remained, using funds of the Museum of City Sculpture. Works were executed by the factory "Monumentskulptura".
In 2009 the State Museum of City sculpture made an inspection of the base of the statue. Julia Loginova was managing the maintenance of monuments, work supervision. Results of the research were to be available on 15 October, and based on them the museum would estimate the amount of works which would begin at the end of 2009.
en.wikipedia.org/wiki/Monument_to_Nicholas_I
XE3F8584 Monumento a Nicolás I de Rusia (San Petersburgo) - Monument to Nicholas I (Saint Petersburg) - Памятник Николаю I (Санкт-Петербург)
Monumento al emperador Nicolás I de Rusia
Fecha de construcción: (1856 – 1859)
Escultor: Piotr Clodt.
Arquitecto: Auguste Montferrand
El monumento al emperador ruso Nicolás I se alza majestuoso en el centro de la plaza de San Isaac de San Petersburgo (Rusia). Se trata de una estatua ecuestre.
El escultor Piotr Clodt, realizó un preciso cálculo matemático que le permitió utilizar solo dos puntos de apoyo para fijar el monumento.
Desde cualquier punto de la plaza puede percibirse perfectamente la silueta del grupo escultórico. La magistral ejecución de la estatua y el lugar bien escogido de la ubicación para el monumento, en el centro de la plaza de San Isaac, lo convierten en excelsa obra de la escultura monumental.
majocobe.blogspot.com/2010/11/monumento-al-emperador-nico...
The Monument to Nicholas I (Russian: Памятник Николаю I) is a bronze equestrian monument of Nicholas I of Russia on St Isaac's Square (in front of Saint Isaac's Cathedral) in Saint Petersburg, Russia. Created by French sculptor Auguste de Montferrand and unveiled on July 7 [O.S. June 25] , 1859, the six-meter statue was considered a technical wonder at the time of its creation. It is one of only a few bronze statues with only two support points (the rear hooves of the horse). Another example is the 1852 equestrian statue of U.S. President Andrew Jackson.
The Neo-Baroque monument to the Russian ruler Nicholas I was designed by the French-born architect Auguste de Montferrand in 1856. When he planned the registration of Saint Isaac's Square, the uniform architectural ensembles of the Palace Square (in 1843) and the Senate Square had already been finished (in 1849). Monuments to the emperors Peter I and Alexander I dominated these squares. By tradition, de Montferrand intended to construct a monument on the new site, to unite the buildings of different architectural styles already there.
At the personal request of his successor Alexander II, Nicholas was represented as a prancing knight, "in the military outfit in which the late tsar was most majestic". Around the base are allegorical statues modelled on Nicholas I's daughters and personifying virtues. The statue faces Saint Isaac's Cathedral, with the horse's posterior turned to the Mariinsky Palace of Nicholas's daughter, Grand Duchess Maria Nikolayevna of Russia. This was said to have caused the Grand Duchess considerable discomfort.
The monument also depicts the social activities of the emperor: Nicholas I was for many years the chief of the nearby Konnogvardejsky regiment. Elements of the city topography, the Konnogvardejsky parkway and Konnogvardejsky lane, and the Konnogvardejsky arena are combined with the Konnogvardejsky regiment uniform in which the emperor is dressed.
Soviet historians and critics considered it a 'composite-stylistic' monument because they thought its elements did not combine to form a uniform composition:
Contemporaries noticed that Peter the Great was the idol of Nicholas I who had in all things tried to imitate his glorious ancestor.
The ballerina Mathilde Kschessinska (1872–1971), who was a favourite of Nicholas II, was offered the Mariinsky Palace as a place of residence. She refused, with the rejoinder that two emperors had already turned away from an ill-fated building and Nicholas did not want to be the third to join them. By this reference to 'two emperors' Kschessinska meant the statues of the Bronze Horseman and the Monument to Nicholas I. Later similar rumours began to be attributed to the Grand Duchess Maria Nikolayevna of Russia. However this legend has been called into question because Maria actively participated in work on the monument.
Contemporaries have noticed that this monument is aligned with the statue of the Bronze Horseman, and is almost an identical distance from Saint Isaac's Cathedral. This juxtaposition has generated numerous jokes of the type "Kolya to Petia catches up, but Isaak's Cathedral disturbs!" Russian: Коля Петю догоняет, да Исакий мешает!
There is also a city legend, which claims that the day after the monument was unveiled, on a foot of the horse there was found a wooden tablet on which had been written: "you will not catch up!". On the basis of this legend in the 19th century in St. Petersburg there was a saying: "the Fool of the clever catches up, but the monument to it disturbs" Russian: Дурак умного догоняет, но памятник ему мешает!
Several different sculpture models were used in creating the monument. A large model of the horse which Nicholas I sits on was commissioned from the Tsar's favourite sculptor, Peter Klodt. The initial sketch created by it represented the horseman on easy standing game. The author planned by means of a mimicry and gestures to reflect character of the emperor, but this variant has been rejected of Monferran's for the reason that could not serve the primary purpose of association of spatial ensembles.
Klodt has created the new sketch in which it has represented a horse in the movement, leaning only on back pair feet. It is composite, the prompt pose of a horse is resisted by the smart figure of the emperor extended in a string. For an embodiment of this sketch the sculptor precisely calculated the weight of all horse figure that it stood, leaning only on two points of support. On Monferran's drawing sculptor Robert Salemann executed the monument's model "in 1/8 full sizes with all architectural parts and ornaments" (Russian: в 1/8 натуральной величины со всеми архитектурными частями и украшениями). This variant was accepted by the architect and the emperor, it is embodied in bronze; this model has remained and is in a museum of a city sculpture.
The monument's technical proficiency was cited as a reason why this statue — the only one from a cluster of outdoor sculptures representing 19th-century Russian royalty — survived the Soviet period virtually intact. However, a bronze fencing around the monument, first installed in 1860, was dismantled in 1940. During World War II the monument was covered by a case from the boards, filled with bags of sand.
In 1987–1988 the State Museum of City Sculpture undertook a full restoration of the monument. Restorers opened the hatch on a croup of the horse, surveyed the condition of the internal skeleton, and engaged in complex technical expert appraisal, including gamma-ray examination of the feet of a horse. Lost fragments were recreated, inserts in bronze, granite, and marble were made. Gilding of signs on an inscription by galvanic way was made.
In 1991–1992 restorers cast new fencing using the sample of a link which has remained, using funds of the Museum of City Sculpture. Works were executed by the factory "Monumentskulptura".
In 2009 the State Museum of City sculpture made an inspection of the base of the statue. Julia Loginova was managing the maintenance of monuments, work supervision. Results of the research were to be available on 15 October, and based on them the museum would estimate the amount of works which would begin at the end of 2009.
en.wikipedia.org/wiki/Monument_to_Nicholas_I