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Biała Fabryka - Centralne Muzeum Włókiennictwa (White Factory - Central Museum of Textiles; classicist building constructed in Łódź in 1835–1839 to host a textile factory which belonged to Ludwik Geyer), Park Reymonta (Reymont Park), Ulica Piotrkowska (Piotrkowska Street), Łódź tramway
The combination of red and white colors is one of the essential features of the direction of Russian classicism in architecture. In general, in ancient Russia, the word "red" meant "beautiful" ... later it was used only to refer to color.
The bell tower of St. Nicholas Cathedral (known as the flooded bell tower) is a historical and architectural monument on the artificial island of the Uglich reservoir near the town of Kalyazin..The bell tower was built in 1800 under Nikolsky Cathedral (built in 1694) of the former Nikolo-Zhabensky monastery in the style of classicism; had five tiers, a dome with a head and a spire. The bell tower (height 74.5 m) was built in 6 years. It had 12 bells.
By the 1940s, the Volgostroy project was approved, which envisaged the artificial expansion of the Volga River and the creation of hydroelectric power stations in its water area. When the Uglich reservoir was created, the old part of Kalyazin was in the flood zone; the cathedral was demolished, and the bell tower was left as a lighthouse. Immediately, as laden barges began to go along the Volga, it became clear that it was impossible to orient to other signs, since a very sharp turn of the river runs here..On August 18, 2016, 5 new bells were installed on the bell tower; they were cast by special order in the Moscow workshop of Ilya Drozdihin. Now the bell ringing accompanies each service.
Currently, the flooded bell tower is the main symbol of Kalyazin and attracts many tourists. In the summer, regular prayers are held near the bell tower.
The Louisiana Capitol, a 34-story, 450-foot Alabama limestone-clad skyscraper, is an excellent example of a greatly simplified classicism with Art Deco details that were in vogue for monumental buildings in the late 1920s
NRHP Reference#:
78001421
The central entrance to the palace. Moscow Museum-Estate "Kuskovo".
Kuskovo is a former estate of the Sheremetev earls, where the architectural and artistic ensemble of the 18th century was preserved.
The ensemble includes: a palace built in the second half of the 18th century in the style of classicism; regular, decorated with sculpture park with pavilions: "Grotto", "Orangery" (projects of the serf architect Fyodor Argunov, second half of the XVIII century), "Hermitage" (second half of the XVIII century), "Italian" (XVIII century) and " Dutch ”(XVIII century) houses; The Church of the Savior of All-Merciful (XVIII century); Ceramics Museum.
The center of the ensemble is the palace, in which the layout and decorative furniture of the interiors with works of Russian and Western European visual and applied art have been preserved; bestowal portraits of Russian emperors and several generations of the owners of the manor - the Sheremetev earls.
I've never seen a black balloons so I saw and took this photo.
A historical place in Moscow is Petrovskie Linii Street. The modern street is located on the site where the "Old Kuznetskaya Sloboda" existed. History refers us to the XV-XVI centuries. An unexplored cultural layer of that period still lies under the asphalt layer. Petrovskikh Lines Street is also famous for the fact that for the first time in the city there were installed electric lamp posts.
The building according to the project of a profitable apartment building with shops for the "Partnership of Petrovsky Trade Lines in Moscow" was designed by architect Boris Freidenberg with the participation of engineer K.I. Shestakov. The construction was completed by 1876. The history of the house is connected with the famous Kovalevsky family, who lived in this house from 1878 to 1883: Sofya Vasilievna - a famous mathematician and mechanic, Vladimir Onufrievich - a geologist and paleontologist, a member of the Paris Commune.
On the right is the Budapest hotel. Which was built in 1876 by the architect Freudenberg. Its architecture is a typical transition from classicism to modernity for that time.
Last image to complete the small series of church interior panoramas.
This image of St. Elisabeth in Nuremberg was never planned as a panorama. While browsing my archive I found two individual images from 2019, one showing the dome and another one the chancel.
To my surprise, using the recently learned techniques and tools both images stitched to a beautiful vertorama that looks much more impressive than two individual captures.
Technical remark: Here, the twisted columns are not due to taking the captures with a fisheye lens, but due to the panorama projection. Using a rectangular projection results in straigtht lines but high distortion of shapes towards the image margins. When doing such panos, it seems you always need to chose the lesser of two evils.
The Church of St. Nicholas the Wonderworker in the city of Uglich (Russia) is a cultural heritage site of regional significance. The building of the temple is made in the Russian-Byzantine style with elements of classicism. The church was built in 1858-1881 at the expense of the merchant Mikhail Zharenov. In its place until the Time of Troubles was the monastery of St. John the Theologian, known since 1482. Later, a wooden parish church was built.
The temple has been closed since 1930 and has not been used for its intended purpose. On the door of the church, I saw the schedule of services ...
The roots of Abramtsevo go far into the past: for the first time the village "Obramkovo" was mentioned in the documents of the 16th century, but how about the estate has been known about it since the beginning of the 18th century - then it belonged to the representative of the boyar family of the Golovins Fyodor Ivanovich. It was under him that the main manor house was erected, which still stands - however, it has come down to us after numerous restorations and rebuildings. Under Golovin, the estate did not bring income, but he was very loved for its nature and picturesque view: the one-story main house stood on a hill by the river Vory, and on the sides of the estate was surrounded by an orchard and a green park. After the Golovins, Abramtsevo belonged to the Molchanov family - they built a mezzanine over the main house, several terraces on the street and laid out a pond by the river. But in 1841 the estate was bought by Vasily Vasilyevich Nevedomsky, who sold it to S.T. Aksakov two years later - then a new era began in Abramtsevo. Unfortunately, after the death of Sergei Timofeevich, his family began to stay at the estate less and less, and then sold it to S.I. Mamontov.
The manor house is the main building of Abramtsevo and a real architectural monument of Russian wooden classicism. The house has only one floor and a mezzanine with two rooms - under the Aksakovs, there was the office of Konstantin (and then Ivan) Aksakov and a guest room.
For 10 years, the Mamontovs have rebuilt the kitchen and the human; a wind pumping station and a barn, a horse shed and a coach house appeared on the territory. Where the orchard used to bloom, there are greenhouses and greenhouses. The manor house was restored and completed: the Mamontovs added a lower floor, another mezzanine on the north side, and a bay window-lantern.
Now in the main manor house there are expositions: "The Aksakovs family and its entourage" and "Mamontov's art circle".
The Wittelsbach fountain is a monumental fountain on the northwestern outskirts of Munich city center, at the transition from Lenbachplatz to Maximiliansplatz. It was built in the years from 1893 to 1895 according to plans by the sculptor Adolf von Hildebrand with the help of Erwin Kurz (sculptor) in the style of classicism. His motive is an allegory of the primal forces of the element water. With regard to the peaceful and clear design, as well as among the urban aspects of the fountain is one of the most artistically accomplished investments in the Bavarian capital.
Source: Wikipedia
the courtyard of the Palazzo Medici Riccardi, Florence, Italy
(composite image, LE sky was shot separately)
It is a Renaissance palace built for Cosimo de' Medici, head of the Medici banking family, which today serves as the seat of the Metropolitan City of Florence.
The palace was designed by Michelozzo di Bartolomeo and was built between 1444 and 1484. The tripartite elevation of the building expresses the Renaissance spirit of rationality, order, and classicism on human scale. This tripartite division is emphasized by horizontal stringcourses that divide the building into stories of decreasing height. The transition from the rusticated masonry of the ground floor to the more delicately refined stonework of the third floor makes the building seem lighter and taller as the eye moves upward to the massive cornice that caps and clearly defines the building's outline.
(from Wikipedia)
The Gennadius Library (Greek: Γεννάδειος Βιβλιοθήκη), also known as the Gennadeion, is one of the most important libraries in Greece, with over 110,000 volumes on Greek history, literature and art from Antiquity until modern times. The library is located on the slopes of Mount Lycabettus, in central Athens, and is one of the two belonging to the American School of Classical Studies.
On the front is written a quote of Isocrates: "Greeks are called those who take part in our own education", part of "Panegyricus".
Latvian National Museum of Art
Riga
"The building of the Latvian National Museum of Art is a national architectural monument and is one of the most impressive historical buildings within the Riga avenue circle.
The main building of the Latvian National Museum of Art is the first building constructed specifically for a museum in the Baltics. It was designed by the Baltic German architect Wilhelm Neiman in 1905. Its majestic facade is made in the Baroque and Classicism style."
Biała Fabryka - Centralne Muzeum Włókiennictwa (White Factory - Central Museum of Textiles; classicist building constructed in Łódź in 1835–1839 to host a textile factory which belonged to Ludwik Geyer), Park Reymonta (Reymont Park), Ulica Piotrkowska (Piotrkowska Street)
Our Lady of Sorrows Church (Latvian: Sāpju Dievmātes Romas katoļu baznīca) is a Roman Catholic church in Riga, the capital of Latvia. The church is situated at the address 5 Pils Street. It was built in 1785.
The white and blue Our Lady of Sorrows Church was the first stone church built in Riga after the Reformation had reached Livonia (a historic region once encompassing present-day Latvia and Estonia). The idea of constructing the church was especially supported by Holy Roman Emperor Joseph II. The Classicism-style building was dedicated to Our Lady of Sorrows symbolising the oppressed Catholic Religion in Terra Mariana.
Our Lady of Sorrows Church was preceded by a modest and small chapel build under Father Isidor Schmidt and noticed by Emperor Joseph II, who paid a visit to Riga in 1780. Emperor promised to talk to Catherine II in order to get her consent to building a new Catholic church. The construction began after four years and was finished in 1785.
According to an order by the Empress of Russia, the church was designed in the Classicism style like the all surrounding buildings on Pils Square. It was dedicated to Our Lady of Sorrows as a symbol to the oppressed Catholic Religion in Terra Mariana. The name also applies to the bellfry which was erected rather low and unpretentious.
From 1858 to 1860, the church was rebuilt according to design of Riga architect Johann Felsko - the presbytery was located in the SW wing, with a new sacristy being added and the facade being changed into the Pseudo-Roman style. Only the white and blue colours still remind one of its Classicism past.
www.liveriga.com/en/visit/what-to-see/sightseeing/churche...
La Catedral Nova de Lleida o Seu Nova és l'actual seu del Bisbat de Lleida. Se situa al bell mig de la ciutat, davant de l’Antic Hospital de Santa Maria, actual seu de l'Institut d'Estudis Ilerdencs. És un elegant edifici d'estil barroc amb tendència al classicisme academicista, construït entre 1761 i 1781 per substituir la Seu Vella, que havia estat convertida en caserna. Tot i les diferents destruccions i espolis que ha patit, la Seu Nova de Lleida conserva importants conjunts artístícs i decoratius, com les pintures murals, els vitralls o els ornaments litúrgics. S'hi venera també la Mare de Déu del Blau, una imatge de l'escultor Jordi Safont (1447), restaurada el 1989 i objecte de devoció per part dels lleidatans.[1]
The New Cathedral was built bet-ween 1761 and 1781 with en-do-w-ments from the people of Lleida, King Carlos III and Bishop Joa-quín Sánchez. Built in the ba-ro-que style with hints of Fren-ch academic classicism, the main entrance is topped with the coat of arms of the Borbon fa-mi-ly.
A staircase leads to three ar-ched doorways fitted with iron gates and flanked on each side by towers. Inside, the nave and two aisles are lined with slim Corin-thian columns su-pporting roun-ded arches. The choir, crea-ted in the Baroque style by Lluís Bo-nifas Massó, was destroyed du-ring the Spanish Ci-vil War (1936).
The Cathedral houses a sculp-tu-re by Josep Obiols of Our Lady of Montserrat, the patron of Ca-talonia, whom pilgrims visit on 27 April each year. Also ce-le-bra-ted on 2 Fe-brua-ry each year is the feast of the Verge del Blau (or Bruised Virgin), named be-cau-se of the damage done when its sculptor, finding that his appren-tice had completed the work to a higher artistic stan-dard than his own, threw a ha-m-mer at the finished work.
The New Cathedral is also home to the Chapter Archive, re-garded as the richest ec-cle-sias-tical ar-chive in Catalonia, with a co-llec-tion of more than 13,000 books, 16,000 parchments and a huge number of codices and ear-ly ma-nus-cripts. One of the jewels in the collection is the Lleida Bi-ble, an historic illuminated co-dex and the largest of the an-cient Spa-nish bibles in exis-ten-ce. The-re is also a periodicals library, a music archive and a collection of maps and pho-to-gra-phs.
Landscapes are usually about simplification of a scene and this shot of the Westertoren in the Grachtengordel neighborhood is a riot of detailed activity but for me it somehow works and is one of my favorite shots I so far have taken of Amsterdam.
The Ouwe Wester built in 1638 stands 87m high and is the tallest church tower in the city, the blue crown you see topping the tower represents the Imperial Austrian crown of Maximillian but from 1906-2006 it was the golden yellow of Rembrandt to honor him 300 years after his birth until recent renovations brought back the original blue color.
The Westerkerk that the tower is attached to is the largest protestant church of Holland and was designed by chief city architect and sculptor Hendrick de Keyser who had previously built the Zuiderkerk and the East India house, unfortunately Hendrick did not live long enough to see the completion of his greatest work but he did usher in the Dutch Classicism architectural style of the 17th century and left his mark on Amsterdam.
Rembrandt van Rijn was buried in the Westerkerk hence the color change to crown on the 300th anniversary of his death but nobody is sure where they buried him as he died a pauper and as is customary to the time the poor would be laid to rest in numbered kerkgraf or stone grave which would be emptied and the contents disposed of after a 20 year period.
Though they may lost the exact location of Rembrandt’s grave they honor him every year on his birthday July 15 with a concert of music from his period and flowers are hung on his memorial marker from 1909 taken from his famous painting the Nachtwacht or Nightwatch in English.
I took this on Sept 9th, 2017 with my D750 and Nikon 28-300mm f/3.5-5.6 Lens at 36mm 1/320 sec f/11 ISO1600 processed in LR, PS +Lumenzia, Topaz , Luminar and DXO
Disclaimer: My style is a study of romantic realism as well as a work in progress
The castle Berge, also house Berge called, stands on the south side of Gelsenkirchen in the part of town Buer in North Rhine-Westphalia. It was built as a water castle for the protection of the today's Gelsenkirchener of part of town Erle and was till 1433 headquarters of the family Von Berge. From 1521 house Berge was a property of the family of Boenen whose member Ludolf Friedrich Adolf von Boenen climbed up in the imperial count's state. His daughter Maria Anna Wilhelmine, a lover Beethoven, was born on Berge.
Changed in the first half of the 16th century to a castle converted and in the last quarter of the 18th century once more, the mansion of the arrangement presents itself in the style of the late baroque in the threshold to the classicism. Today it is used as a hotel restaurant.
The cathedral, built under the leadership of Grigory Fedorov in the 1710s on the site of a dismantled ancient temple, is characteristic of the Yaroslavl architecture of the XVII century. It is a five-domed temple, made in one volume, without pillars.
The southern facade of the temple faces the city and is characterized by a portico in the classical style, added in the XIX century.
The painting of the cathedral was made at the beginning of the XIX century also in classicism by a group of artists led by the serf of Prince Golitsyn Timofey Medvedev.
The detached bell tower was built in 1730 to the south of the cathedral. It is decorated with a modern clock that has replaced the previously existing ones.
The Largo is an architectural ensemble of three Socialist Classicism edifices in central Sofia, built in the 1950s with the intention of becoming the city's new representative centre. Next to the buildings lie the ruins of the ancient city of Serdica, which are now restored and exposed under glass domes.
exhibition hall, late classicism, national gallery of the present
Thank you very much for your visits, comments and faves
The Musikverein is a concert hall in the 1st district of Vienna. It is the home of the Vienna Philharmonic. Its "Great Hall" (Großer Saal) is considered one of the most beautiful and acoustically best halls in the world.
The plans for the concert hall were designed by Theophil Hansen, a Danish-Austrian master builder and architect of classicism and historicism. The building was inaugurated on 6 January 1870.
Welcome to the library!
Stockholm Public Library (Stockholms stadsbibliotek) is an open and inviting space, designed by famous Swedish architect Gunnar Asplund and officially opened 1928.
Stockholm Public Library is one of Asplund's most important works and illustrates his gradual shift from classicism to functionalism.
Stockholm Public Library is a great example of the style called Swedish Grace. This library has been listed as one of the world's most beautiful libraries.
The 360-degree tower of books is open to the public, who can climb to the top of the stacks and peer down on the selections below.
The Louisiana Capitol, a 34-story, 450-foot Alabama limestone-clad skyscraper, is an excellent example of a greatly simplified classicism with Art Deco details that were in vogue for monumental buildings in the late 1920s
NRHP Reference#:
78001421
At the Theseus Temple in the Volksgarten ("People's Garden") in Vienna's 1st district
This classicist building, built from 1819 to 1823 by architect Peter von Nobile, serves primarily as a decorative source of shade and as a backdrop for group photos. Other purposes are beyond my knowledge.
The Wilhelmshöhe Castle, designed in the classicism style, was built in the second half of the 18th century. It not only houses an extraordinary collection of paintings, but Napoleon III was also under arrest here, as well as the - long ago - German imperial family who had their summer residence here.
Schloss Wörlitz, the house that established neo-classicism in Germany, was built for Prince Franz after designs by Friedrich Wilhelm von Erdmannsdorff. It still contains its original late 18th century furnishings and decoration.
After returning from his Grand Tour Prince Franz chose Wörlitz as the starting point for his project to enhance the appearance of his country. This included the construction of a new house. Between 1769 and 1773 the Schloss was built emulating the country houses of the English nobility. The perfectly preserved, elaborate interior of the house reflects the travels and interests of the Prince. It includes antique sculptures, Italian and Dutch paintings (e.g. Rubens) and English pottery. The elaborate stucco work and the bespoke furniture made specifically for the house by Abraham and David Roentgen bear witness to the artistic inclinations of their patron.
Khrustal'nyy pereulok (Crystal Lane) in Moscow is located in the Central Moscow District of Kitay-Gorod. Connects, being a through passage, Ilyinka and Varvarku streets.
Named in the XIX century by the Crystal shopping arcade of the Gostiny Dvor. In 1903, the middle part of the Gostiny Dvor, located on the side street, was rebuilt in the spirit of pseudo-classicism, designed by architect K.K. Gippius.
The historical center of Vilnius (“old town”) is the oldest part of the Lithuanian capital. The total area of the district is just over three and a half square kilometers. The historical center of Vilnius began to form in the Middle Ages, so the buildings here impress with the variety of architectural styles - in the old town you can find Gothic and Art Nouveau, Classicism and Baroque. Most of the houses are officially recognized as architectural monuments, and the district itself is included in the UNESCO list of World Cultural Heritage.
Der Bahnhof Hilden wurde am 18. November 1874 eröffnet und befindet sich am westlichen Rand der Innenstadt. Er hat vier Durchgangsgleise. Die östlichen Gleise 4 und 5 sind die Durchgangsgleise der Güterzuglinie Troisdorf – Opladen – Hilden – Düsseldorf-Eller – Mülheim-Speldorf und haben keinen Bahnsteig. Die westlichen Gleise 1 und 3 liegen an der von S-Bahn-Zügen der Linie S 1 und der Regionalexpress-Linie RE47 befahrenen Bahnstrecke Düsseldorf – Solingen und haben einen Mittelbahnsteig, der über eine Treppe und barrierefrei über Aufzüge erreichbar ist.
Hilden train station was opened on November 18, 1874 and is located on the western edge of downtown. It has four through tracks. The eastern tracks 4 and 5 are the through tracks of the freight train line Troisdorf - Opladen - Hilden - Düsseldorf-Eller - Mülheim-Speldorf and have no platform. The western platforms 1 and 3 are on the Düsseldorf-Solingen railway line, which is used by S-Bahn trains on line S 1 and the regional express line RE47, and have a central platform that can be reached via stairs and barrier-free elevators.
Christ Church in Upper Canada Village, near Morrisburg, Ontario
Christ Church was built in 1837 in an aesthetic style known as Picturesque. Although the building reflects that sense of order, symmetry and balance that were the hallmarks of 18th century classicism, the pointed Gothic window arches and decorative trim on the tower add a Romantic touch to the building.
Санкт-Петербург и Петроград,
Любимый Питер, Ленинград,.
Моё признание в любви.
К тебе навечное. Лови!
Великолепный, Нереальный, волшебный,
в небеса портальный!
В нём, в монолитных изваяньях,
любуясь музыка застыла.
И вместе с песней заблудила...
Их след в оградах витьеватых
и двориках замысловатых,.
И в изумительно-прекрасных,
роскошных парках и садах,.
В пустых кварталах,в новостройках.
В метро,на людных площадях.
А в театральном свете рампы ,
в вечернем свете фонарей,.
и в светлости его ночей-.
Мелодия слышна сильней....
Великий.Стать его свободна.
Не сгорблена.Не сломлена.
Сияет в крестном блеске храмов.
И Невском блеске без изъяна,.
как зеркале отражена.
Глубоко,честно, на века.
Пропитан мастерским искусством.
И всё,что свято в нём-Не пусто!
И гениальностью идей
своих родителей, детей.
Там даже барабанит дождь,
с таким особым тактом, чувством!
Что прямо с неба проникает.
к душе восторженной моей!!!..Нева, стадион Динамо и Князь-Владимирский собор на Петроградской стороне Санкт-Петербурга — действующий православный храм Санкт-Петербургской епархии РПЦ. Собор является памятником архитектуры, стиль которого специалисты определяют как переходный от барокко к классицизму. Каменный пятиглавый храм с трехъярусной колокольней был спроектирован итальянским архитектором Антонио Ринальди... .
.................................................St. Petersburg and Petrograd,
Beloved St. Petersburg, Leningrad,.
My declaration of love.
To you forever. Catch it!
Magnificent, Unreal, magical,
portal to heaven!
In it, in monolithic sculptures,
admiring the music froze.
And together with the song I lost...
their trail in ornate fences
and intricate courtyards,.
And in amazingly beautiful,
luxurious parks and gardens,.
In empty neighborhoods, in new buildings.
In the subway, in crowded squares.
And in the theatrical light of the footlights,
in the evening light of the lanterns,.
and in the brightness of his nights-.
The melody is heard stronger....
Great.Become his free.
Not hunched over.Not broken.
Shines in the splendor of the cross temples.
And Nevsky brilliance without a flaw,.
as reflected in a mirror.
Deeply, honestly, for centuries.
Imbued with masterful art.
And everything that is sacred in it is not empty!
And the genius of the ideas
of their parents, children.
There's even a drumming rain,
with such a special tact, feeling!
That comes straight from the sky.
to my enthusiastic soul!!!...Neva, Dynamo Stadium and Prince Vladimir Cathedral on the Petrograd side of St. Petersburg are the current Orthodox church of the St. Petersburg Diocese of the Russian Orthodox Church. The cathedral is an architectural monument, the style of which experts define as transitional from Baroque to classicism. The stone five-domed temple with a three-tiered bell tower was designed by the Italian architect Antonio Rinaldi...
The Old Royal Naval College of 1694 (Greenwich, London) seen through a 'pancake' lens. View from the driveway of Queen's House with the skyscrapers of Canary Wharf (across the Thames) in the background. Raw conversion in Luminar and refined in macOS Mojave photo editor.
The beginnings of town hall in Głogów date back to the end of 13th century, i.e. the time when Konrad I Głogowski founded it town. As time passed, it was expanded and in 1349 it was already a two-wing and brick town hall. Later, it was rebuilt and destroyed by fires many times. In the years 1823–1835, the town hall lost its renaissance form, when two contrasting wings were created. The western one was in the Prussian classicism style and the eastern one in the then fashionable Florentine style.
During the fights for Głogów in 1945, the town hall was seriously damaged and burned down, just like the entire city of that time. In May 1984, it was rebuilt in the form it had in 1835, together with the tower.. The reconstruction took 18 years. Since 2002, the Town Hall serves to inhabitants again and is the seat of the city authorities.
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Początki ratusza w Głogowie sięgają końca XIII wieku, czyli czasów gdy Konrada I Głogowski lokował miasto. W miarę upływu czasu był rozbudowany i w 1349 roku był był już ratuszem dwuskrzydłowym i murowanym. Później był wielokrotnie przebudowywany i niszczony pożarami. W latach 1823–1835 ratusz utracił swoją formę renesansową, powstały wtedy dwa kontrastujące ze sobą skrzydła. Zachodnie było w stylu klasycyzmu pruskiego a wschodnie w modnym wówczas stylu florenckim.
W czasie walk o Głogów w 1945 ratusz został poważnie zniszczony i wypalony, tak jak całe ówczesne miasto. Od maja 1984 roku przystąpiono do jego odbudowy w formie jaką posiadał w 1835 razem z wieżą. Odbudowa trwała przez 18 lat. Od 2002 roku ratusz ponownie służy mieszkańcom miasta i mieści się w nim Urząd Miejski.
Château de Chenonceau. Loire valley. France. View of the gallery and the bridge over the rive.
The bridge was built by Philibert de l'Orme. He's also known as the father of the French Classicism. 10 year later, around 1570, the gallery on the bridge, was added by Jean Bullant, another French Renaissance architect.
Bei der Mölker Bastei im 1. Bezirk von Wien. Das sog. Dreimäderlhaus vorne rechts ist ein Bürgerhaus aus der Zeit des josephinischen Klassizismus. Es wurde 1803 erbaut.
Near the Bastion Mölker in the 1st district of Vienna. The so-called Dreimäderlhaus ("House of the Three Girls") at the front right is a townhouse from the period of the Josephinian Classicism. It was built in 1803.
de.wikipedia.org/wiki/Mölker_Bastei en.wikipedia.org/wiki/Das_Dreimäderlhaus de.wikipedia.org/wiki/Schreyvogelgasse
The High Altar of St Michael's Church in Steyr
"The main part of the interior dates from the period 1763 to 1771. The interior is characterised by late baroque and classicism.
The mighty high altar, which takes up the entire choir, dates from 1766/67 and is neoclassically influenced in its construction. In 1769, the Steyr-based master Franz Xaver Gürtler painted the altarpiece depicting the archangel Michael as victor over Lucifer." de.wikipedia.org/wiki/St._Michael_(Steyr)
The Joffe's house is located on the corner of Zagorodny Prospekt and Rubinstein Street. To this day, it has been preserved in the guise that the architect Alexander Lishnevsky gave it in 1913, when he remodeled the existing building in a style drawn to the glorious traditions of classicism and Art Nouveau.
Before that, a three-storey house of Lapin merchants stood on the site of the grandiose building. However, when in 1913 the commission agent Joffe, who owned an auction hall on Zagorodny Prospekt and sold antiques, buys a house from the heirs of merchants, the building takes on a completely different look.
The new house was not designed to accommodate a large number of people, there were only six apartments, two on each floor, which were intended for wealthy people. The landlord and his family lived on the top floor.
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Tamron 28-105
Russia, Moscow
Under Stalin architectural decisions were not taken at random, he needed to create a popular identity. It was a valuable tool for propaganda. The style imposed by Stalin , was called the "Socialist Realism movement." It aimed to make people and socialism, heroics. It has evolved over time, from the ornamental neo classicism, to architecture of symmetry. These two styles together in Moscow, struck me. They show as much the power of architecture than the architecture of power.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.