Architects and architects of the Urals. Modern architecture of the southern Urals

November 19th, 2015

In the Sverdlovsk region there is a small village - Nizhnyaya Sinyachikha. Once there was a rather large plant here, now only a dam and a pond remain from it, as is usual in the Urals. This village is famous for its open-air museum, which was created by almost one person: Ivan Danilovich Samoilov. Back in the 1970s, Ivan Danilovich, on his own enthusiasm, began work on the restoration of an abandoned, crumbling church in Nizhnyaya Sinyachikha on his own.

With my luck, I got to the village on the very day when the museum was closed, so I didn’t manage to get inside the houses, although inside they didn’t interest me that much, since such life was about the same in all of Central Russia, and all this can be seen in our museum at Shchelkovsky farm.

In this museum, I was most interested in wooden architecture, of which a lot has been preserved not even in museums in the Urals, much more than in Central Russia, at least, as it seemed to me.

At the entrance to the village, the Spaso-Preobrazhensky Church immediately catches the eye. This grandiose in its beauty temple, made in the Siberian baroque style, has no analogues anywhere else in the Urals. Its construction began in 1794 by order of the factory owner Sergei Yakovlev (son of the founder of the dynasty, Savva Yakovlev). However, the construction was completed and the temple was consecrated only after almost 30 years - in 1823.

Wells

There are many wells of various systems in Nizhnyaya Sinyachikha. For example, this earlier well of the beginning of the 20th century is interesting for its large wooden wheel.
By turning the wheel, a wooden roller is set in motion. A rope or chain is wound around it, and a bucket filled with water rises. The well is local, and the wheel was brought from the village of Savina.

By the way, local residents named one of the springs in honor of the founder of the museum, Danilych.

Chapel of the Ascension

The date of construction of this chapel dates back to the beginning of the 19th century. The chapel, which was on the verge of complete destruction, was brought here in 1980 from the abandoned village of Karpova in the Verkhoturye district.

Thanks to its bright coloring, the chapel stands out noticeably in the panoramas of Nizhnyaya Sinyachikha. Yes, and Ivan Danilovich Samoilov himself considered the Ascension Chapel to be the brightest and most cheerful building in the museum-reserve.
There is a permanent exhibition of works of applied art by folk master Khristina Denisovna Chuprakova - fabric paintings, woven rugs, clay figurines, home-made toys, etc.

Manor of a peasant of the 19th century

Very many houses in the Urals still consist of two buildings connected by a fence, and the yard between them is paved with wood, sometimes even with a canopy.

Details

Manor of a peasant of the 18th century

The estate of the 18th century contains all the outbuildings necessary for the life of people in the village: here, in addition to the hut and the barn, there are cold and warm sheds, sheds, a cellar with a pit, a bathhouse "in black", a well with a "crane". The entire courtyard is surrounded by a powerful fence (plot) - a wall of logs. The gate is to match the fence: made of ancient trees, at the top, like a roof, a log split along is strengthened.

Inside the hut, along the walls, there are benches made of massive chipped planks, similar to floor planks, with ends cut into the walls. Above the windows there are wooden shelves (police, bastards). To the right in the corner is an adobe stove, on a wooden frame - guardianship. Adjacent to the stove is a golbets - a wooden outbuilding on which they slept, and its door led to the underground (or basement), where food was stored. In the middle of the hut hangs a cradle (cradle, cradle), suspended on a thin birch perch (ochepe). In addition, there are many household items in the hut: jugs, tubs, sourdough, silnitsa are made of wood, tuesa (beetroot) from birch bark (birch bark) ...

Opposite the house is a barn. Next to the barn, a single-slope shed, under which there is a cart on a wooden track, lies a plow.

Near the garden gate is a well with a "crane".

Near the well lies a pine log, from which they fed and watered livestock. She was brought from the village of Gryaznukha. Under a canopy adjoining the porch of the hut, there are agricultural tools, vehicles, and other household items.

Next to the shed there is a shelter and a stable (warm shed) for livestock.

At the end of the garden there is a bathhouse "in a black way", its frame is built into three crowns of thick log halves.

Special mention must be made of black bath.

The bath itself was transported to the museum from the village of Gorodishche.

The “black” bathhouse has been preserved in its original form for the longest time of all the buildings of the old village.

As a utilitarian building, the bath has a simple form. This is a small crate made of thick pine halves, folded into three crowns (the thickness of the log is 55 cm!). The cage is covered with a gable roof, on top - a massive okhlupen (a hollowed out log covering the upper joint of two roof slopes).

The cage of the bath is cut "into the oblo" ("obly" means "round"): the ends of the logs are released beyond the plane of the wall and at the same time they are left round. This type of connection was also called cutting "into the bowl".

The bath was heated in a black way: the smoke came out through a small hole in the upper part of the bath.

The sauna is equipped with a heater and benches. Inside the bathhouse, in the near left corner, near the door, there is a heater - a stone oven, without a chimney. Benches stretch along the right and back wall. I have never seen a more massive bath.

Stella indicating the location of the local factory.

Chapel of Alexander Nevsky

It is located on a small rock Kameshok on the bank of a pond. Due to the unusual architecture for chapels, from a distance it looks more like a gazebo for relaxation. This chapel-rotunda of the 19th century was brought from the village of Ostanino in the same Alapaevsky district.

Watch tower

This wooden tower also served to watch the fires. It is not surprising that the tower is the tallest building on the territory of the museum-reserve. Its height is 35 meters. By the way, it became the first exhibit of the Nizhnesinyachikha Museum of Wooden Architecture. She was brought here in 1979 from the village of Krasnogvardeisky (Artemovsky district). The top of the tower is crowned with a weather vane with the numbers "1928-79". They mean the date of construction and the date of transfer of the structure.

It is a pity that they are not allowed inside the tower. But from its top, presumably, a good view should open.

Tower of Aramashevsky prison

The tower, built in 1656, adjoins a palisade of logs pointed at the top. Unlike most other buildings, this is not a building transferred from other villages and villages, but a reconstruction. And no wonder, because fortresses and prisons in the Urals were set up only in the 17th-18th centuries to protect against the raids of the Tatars and Bashkirs. Since then, a lot of time has passed and they simply did not reach us.
So, before us is the reconstructed tower of the Aramashevsky prison. And this prison once stood on a high, picturesque rock above the river Rezh. In the place in the village of Aramashevo, on which the stone church now stands. Pro .

fire department

This building comes from the village of Katyshka, Alapaevsky district. Fire facilities used to play a huge role, since fires in the old Urals were a real disaster.
On the roof of the building is a watchtower. From there, they monitored the village and its environs. Seeing fire somewhere, the sentinel immediately rang the bell. A solid bell hanging side by side between two pillars also served to warn residents about a fire.

In Nizhnyaya Sinyachikha, they came up with the idea of installing bars on the doors of some buildings. As a result, there is no need to constantly monitor the safety of the exhibits, and tourists can see everything themselves. It's the same here in the fire department.

Behind the fire station and the bell is a vat of water, rickety from time to time. From it firefighters took water. By the way, it is also completely made of wood.

Chapel of Savvaty and Zosima of Solovetsky

According to the information plate on the chapel, it was built in the distant 17th century by "fugitive associates of Stepan Razin." Brought to Sinyachikha in 1981 from the village of Koksharova.

Now this village can no longer be found on the map. And once it was located on the territory of the present Verkhnesaldinsky district.
The building of the chapel houses a museum of woodcarving. The most interesting exhibit of this museum is a huge, beautiful model of the Exaltation of the Cross Church of the Kyrtomsky Monastery. By the way, this wooden temple of I.D. Samoilov also planned to move to Nizhnyaya Sinyachikha. Alas, this was not destined to come true. In the summer of 1972, the grandiose temple burned down due to a lightning strike. As a result, now we can see it only on the layout.

Cemetery chapel of Elijah the Prophet

On the hill behind the dam there is a local cemetery, at the entrance to which there is a beautiful wooden chapel. An excellent example of Russian wooden architecture. Dating on the tablet - XVIII century.

Windmill

The mill was built in 1916 in the village of Mochishchensk in the deaf Garinsky district, and was transported here in 1985. The blades of the mill are fixed, so they do not rotate (although they could).

This is the most remote exhibit of the museum-reserve, located on the left bank of the pond. There are few places in Russia where you will see a real windmill, so this building enjoys well-deserved interest among tourists.

On the ground near the mill lies a stone millstone. With the help of it, grain was ground in a mill.
Ivan Danilovich Samoilov planned to transport a water mill to Nizhnyaya Sinyachikha from the village of Aramashevo. But, alas, the mill building was lost forever...

River Rezh

Well, so that you don’t think that such huts are only in museums - there are a few photographs of similar houses that I met during the trip.

The text of the Nash Ural portal was used:

The architects of the first Ural factories were the so-called. dam masters who solved the problem of creating water pressure for water-acting technology for the production and processing of metal. Hydrotechnical complexes of the Ural factories of the 18th century. were not only the most powerful and perfect for their time, but also determined the city-forming basis of the first industrial settlements. As a rule, industrial and residential buildings until the end of the XVIII century. were performed in a tree and have not survived to this day. The exception was the dams of factory ponds - the earliest monuments of the industrial architecture of the Urals. Of the industrial buildings, this is the Nevyansk leaning tower (1725), which combined the functions of a factory laboratory, A. Demidov's office, a watchtower and a bell tower. Provision warehouses (mid-18th century) in Nizhny Tagil, made in stone, have also been preserved. The architecture of these buildings bears the features of the Russian Baroque and is largely borrowed from the architecture of the Kremlin and monasteries of the 17th century. To a greater extent, this period is valuable for the formation of the principles of industrial urban planning, since most of the Ural factories served as the basis for the first industrial cities. The plant was the central core of the settlement, the pre-factory areas were administrative and commercial centers, connecting the plant with residential areas.

Among the factories of the Urals, Ekaterininsky (1723) stands out, which, unlike the others, was planned as an industrial city - a military-administrative, cultural and commercial center of the mining Urals. It organically combined the features of a factory and a regular fortress with a settlement in the best traditions of European fortification art. Ekaterinburg can be considered the first industrial city in the history of urban art. Its founder was V.N. Tatishchev and V.I. de Gennin, who combined here their knowledge of European urban planning and large-scale industrial production.

As a field of professional activity, industrial architecture developed in the beginning. XIX century, when the corps of the architectural mining department was formed in the Urals - graduates of the St. Petersburg Academy of Arts. A particularly fruitful stage in the activity of industrial architecture specialists in the Urals was the first half. XIX century, when factories were rebuilt in stone on the basis of the latest achievements in architectural creativity and construction. The forms of architecture in the style of Russian classicism and the principles of harmony, ensemble, comfort and rationality were involved in industrial construction, new types of industrial, residential and civil buildings were created. Developed master plans for cities and industrial settlements, which determined their development up to the first half. 20th century The basic professional principles developed in the Urals formed the basis of Soviet urban planning.

The most prominent architects of the industrial architecture of the Urals in the first half. 19th century are I.I. Sviyazev, M.P. Malakhov, S.E. Dudin, I.M. Podyachev, A.P. Chebotarev, A.V. Komarov, F.A. Telezhnikov, V.N. Petenkin. Mining ensembles of the Urals in the first half. 19th century still form the centers of most settlements. Some of them were distorted by later layers, but they still constitute the subject of the originality and cultural significance of the architecture of the Urals.

Among them, the ensembles of the Ekaterininsky, Verkh-Isetsky, Nevyansky, Nizhne-Tagilsky, Verkh-Neyvinsky, Bilimbaevsky, Kyshtymsky, Kasli, Zlatoustovsky, Alapaevsky, Artinsky, Nizhne-Sysertsky, Izhevsk, Votkinsky, Kamensky factories are distinguished by high architectural value. The rest were either completely rebuilt in later periods, or survived in fragments.

During this period, the scientific foundations of industrial architecture began to take shape. The first scientific works of the Ural architect I.I. Sviyazev, who summarized the experience of creating new types of industrial buildings. In the second floor. 19th century graduates of the St. Petersburg Institute of Civil Engineers, as well as mining engineers, come to industrial architecture. The sphere of industrial architecture in the Urals becomes the cradle of the new "modern" style. A number of factories in the Urals, completely rebuilt in the late XIX - early. XX century., demonstrate the possibilities of new architecture: Baranchinsky, Kushvinsky, Satka, Pashiysky. Among them, the Baranchinsky Electrotechnical Plant, reconstructed during the First World War in connection with the evacuation of the Volta plant, stands out in particular.

13 Question Academic artists Bronnikov, Vereshchagin...

Fedor Andreevich Bronnikov (1827, Shadrinsk, Perm province - 1902, Rome) - Russian artist, professor of historical painting.

Biography

Born in 1827 in the family of a Shadrin icon painter. From childhood he was fond of drawing. His father gave him his first painting lessons. After the death of his father, at the age of sixteen, he goes with a passing convoy to St. Petersburg, dreaming of entering the Academy of Arts. But the doors of this institution were closed to Bronnikov. Then he becomes an apprentice in an engraving workshop. The famous sculptor Pyotr Klodt drew attention to the capable young man. He got him a free ticket for a volunteer in the drawing classes of the academy. Fedor Bronnikov successfully passes all classes and receives a silver medal.

But only after, at the request of the artist's patrons, in Shadrinsk in 1850 they agreed to expel him from their petty-bourgeois society, he became a student of the Academy, where he studied with the professor of historical painting A. T. Markov. In 1853, F. A. Bronnikov graduated from the Academy. For a painting on a given theme "The Mother of God - Joy to All Who Sorrow" he receives a large Gold Medal, the title of an artist and a business trip to Italy.

Before going abroad, Fedor Andreevich visited his native city. In Italy, he remains even after the end of the business trip, since poor health requires a warm and mild climate. Bronnikov paints paintings on themes from ancient Greek, ancient Roman history, as well as on the themes of contemporary Italian folk life.

In 1863, Bronnikov brought to Russia a large canvas: "Questor reading the death sentence to Senator Trazei Pet." For this work, he receives the title of professor of historical painting.

The trip to his homeland was a turning point in the work of Fyodor Bronnikov. Here he becomes close to the Wanderers and, under their influence, writes a number of genre paintings: “A poor family driven out of an apartment”, “The Old Beggar Man” (Tretyakov Gallery), “Golden Wedding” and others. And in 1873, F. A. Bronnikov joined the Association of Traveling Art Exhibitions. The protocol on his reception was signed by Kramskoy, Myasoedov, Perov, Shishkin, Klodt, Savrasov and others. Together with the best Russian masters, Fedor Andreevich exhibits his works. Among them - "Sick at the Catholic Monastery", "Abandoned", "Artists in the rich man's waiting room". The latter is very popular with spectators and connoisseurs. The well-known critic V. V. Stasov wrote: “One of the most remarkable paintings of the traveling exhibition is a small painting by Mr. Bronnikov “Artists in the Reception Room of a Rich Man”, ... one of the most successful small comic scenes expressed by painting, the work of details is excellent ...”

In 1878, Fyodor Bronnikov created the remarkable canvas “The Cursed Field”, a tragic pictorial story about the brutal reprisal of patrician slave owners over slaves. “This picture is an example of the amazing impact of composition, colors and drawing ... everything is full of truth, everything speaks, everything exposes,” wrote V. V. Stasov.

In the 70s and 80s, Fyodor Bronnikov also painted pictures on the subjects of modern Italy.

F. A. Bronnikov died in 1902 and was buried in the Russian cemetery in Rome. Having lived for many years in Italy, he never forgot his fatherland, his native city. This is evidenced by his testament on the transfer of over 300 paintings, sketches, drawings and 40 thousand rubles to Shadrinsk to establish an art school here. The desire of the painter was fulfilled only in Soviet times. Now such an educational institution is open in the city. And the bequeathed works became the basis of the art department of the local history museum.

Painting

The versatile artist Fyodor Andreevich was a great master of portraiture. His works of this genre, which are in the Shadrinsk Museum, are distinguished by their fine drawing, striking resemblance to nature, they are distinguished by the psychological content of the portrait and the persuasiveness of the pictorial language. In landscapes, the artist truthfully and penetratingly conveys the state of the surrounding world. They are marked by color harmony and purity of colors. The artist's love for nature originated from childhood in the Trans-Urals. It is no coincidence that in letters to relatives in Shadrinsk, he often recalls the beauty of his native places. “There are no those boundless fields here that you have there, in Russia, there are no dense forests ... and this is a pity. I love the space and our Russian fields, like the boundless sea, ”Fyodor Andreevich shared his feelings with fellow countrymen.

Famous works of Bronnikov - "The Hymn of the Pythagoreans to the Rising Sun", "Consecration of Hermes", "Cursed Field" and others are in the State Tretyakov Gallery. Some of his paintings are abroad: in England, Denmark and other countries. The best works were exhibited at the World Exhibitions along with outstanding works of the Russian school.

Pythagorean hymn to the rising sun. 1869

F. Bronnikov. Roman baths. 1858. Oil on canvas. Perm State Art Gallery.

Academy of Arts and Art of the Urals*

The influence of the Academy of Arts on the development of plastic arts in the Urals has long attracted the attention of researchers, but so far they have been limited to certain types of art and specific chronological periods. In January 1995, the Department of Art History of the Ural State University held a scientific-practical conference "The Urals and the Russian Academy of Arts" [see: Golynets S., 1996, 602-605], which brought together art historians from Moscow, St. Petersburg, Perm and Yekaterinburg. The conference marked one of the scientific directions of the department's work, which became part of the topic "Russian Art: History and Modernity, Capitals and Provinces, Relations with Other National Schools". In the proposed article, an attempt is made to trace the artistic ties between the Urals and the Academy as a whole. We are motivated to do this not only by historical interest, but also by practical considerations - preparations for the opening of the Ural branch of the Russian Academy of Arts.

In 1724, Peter I signed a decree on the establishment of the "Academy, or the societe of arts and sciences", which thus became almost the same age as Yekaterinburg and Perm. In the same period, the plans for the Academy of Arts proper were drawn up, including the project of one of the founders of our city, V. N. Tatishchev. But it took decades to realize the inherent value of the artistic creativity of the new Russia transformed by Peter the Great.

At times, a utilitarian, applied view of art won: “It will be impossible to do without a painter and a city master, since publications that will be repaired in the sciences, have copied and graded to be,” the emperor stated in the above-mentioned decree [Materials on the history of the Imperial Academy of Sciences, 1885 , 19]. In fact, Tatishchev spoke of the same thing, albeit with an everyday, everyday intonation in his “Two Friends Conversation about the Benefits of Science and Schools”, calling the arts “dandy sciences”: “There are a considerable number of these sciences, but I will only mention a few to you , like: 1) poetry, or poetry, 2) music, Russian buffoonery, 3) dancing, or dancing, 4) vaulting, or sitting on a horse, 5) signing and painting. Which on occasion can be useful and necessary, as dancing is not only dancing, but more propriety, how to stand, walk, bow, turn around teaches and instructs. Significance in all crafts is necessary” [Tatishchev, 1979, 92].

Such an applied approach to art corresponded to the spirit of the harsh industrial Urals, a characteristic example of the artistic culture of which was the factory graphics, in particular the illustrations by Mikhail Kutuzov and Ivan Ushakov for the manuscript of V. I. de Gennin “Description of the Ural and Siberian factories”. The introduction of drawing and modeling as compulsory subjects in schools at mining and processing enterprises contributed to the development of both industrial and artistic education in the Urals, which was clearly manifested in the activities of the Yekaterinburg Lapidary Factory, which sent its masters to improve in St. Petersburg - to the Academy Sciences and the Peterhof Lapidary Factory.

The Academy of Fine Arts, founded in 1757, a year later began to work in St. Petersburg and soon received the name of the Academy of the Three Most Noble Arts, immediately became all-Russian in its composition. One of its first leaders and authors of the project of the famous building on the banks of the Neva - Tobolyak Alexander Kokorinov. Among the first pupils, and then teachers - Muscovite Fyodor Rokotov, Little Russians Anton Losenko and Dmitry Levitsky, Fedot Shubin from Kholmogory. The opening of the new Academy also strengthened artistic contacts between the capital and the Urals, most clearly manifested in architecture and decorative and applied arts based on the processing of stone and metal.

In the first half of the XIX century. master masons, brought up by the old guild method, were replaced by a galaxy of architects who studied at the Academy of Arts, including Alexander Komarov, Mikhail Malakhov, Alexander Chebotarev, Semyon Dudin, Fedor Telezhnikov, Ivan Sviyazev. They brought to the Urals the conquests of classicism - the foundations of academic art, while in the center of the Urals the Moscow architectural school dominated, in the Kama region - the St. Petersburg school. The traditions of building city-factories, industrial, civil and religious architecture developed at that time were preserved in the region even when classicism was replaced by eclecticism and subsequent architectural styles, and graduates of institutes of civil engineers took the place of academicians.

Similar Ural-academic contacts were established in the field of stone-cutting art. The Imperial St. Petersburg Academy of Arts sent drawings of future products, guidelines, and then its graduates to the Ural mining plants. A new impetus to the development of stone-cutting art was received under the presidency of A. S. Stroganov (1800-1811), who simultaneously held the positions of commander of the Yekaterinburg cutting and grinding factory and the Gornoshchitsky marble factory. From cutting simple marble slabs, the Urals came to the design of palace interiors, the manufacture of obelisks, floor lamps, vases, to the widespread use of Russian and Florentine mosaics, the creation of reliefs and round sculpture, cooperation with the capital's architects - the largest representatives of Russian classicism Andrei Voronikhin, Karl Rossi, Ivan Galberg , Alexander Bryullov. The style of classicism manifested itself both in monumental works and in glyptics - miniature cameos made at the Yekaterinburg factory in the 1810-1840s. Genuine artists were formed in Yekaterinburg, such as Yakov Kokovin, who, after completing his education at the Academy of Arts in 1806, returned to the factory and created his best works here; his student and follower Gavrila Nalimov (the works of both of them adorn the collections of the Hermitage), awarded the title of academician Alexander Lyutin, the creator of a three-dimensional mosaic of large shapes from ornamental and jewelry stones and one of the authors of the monument to A. N. Karamzin in Nizhny Tagil.

Hermitage. St. Petersburg

With the products of Yekaterinburg stone-cutters in their all-Russian and world glory, Zlatoust engraving on steel can compete, a number of masters of which in the first half of the 19th century. also studied at the Academy of Fine Arts. Among them, one of the most talented is Ivan Boyarshinov. The Academy had an even greater influence on another type of artistic metal processing - cast iron casting. According to the projects of those who studied at the Academy and worked in the Urals in the first half of the 19th century. architects at mining factories cast columns, brackets, fences and other architectural plastic, which largely determined the appearance of the Ural cities. The special merit of the Academy is in the development of artistic casting, produced by the Kasli plant. In the second half of the 19th century, when many types of arts and crafts began to decline for various reasons (local and national, artistic and economic), Kasli casting, primarily the so-called cabinet plastic, flourished. This was facilitated by the organizational and pedagogical activities in Kasly of the graduates of the Academy of Arts Mikhail Kanaev and Nikolai Bakh, which ensured close ties between the Ural artistic casting and the achievements of Russian sculpture, with the work of such prominent representatives of academism as Konstantin Claude, Evgeny Lansere, Roman and Robert Bakhi, Nikolai Laveretsky, Fedor Kamensky, Artemy Ober. The result of the development of Kasli casting in the 19th century. was a cast-iron pavilion designed by Academician Yevgeny Baumgarten for the World Exhibition in Paris and awarded there, along with other products of the factories of the Kyshtym mountain district, the Crystal Globe Grand Prix and a large gold medal 1 .

The role of the Academy in the formation of painting in the Urals is less obvious than in the history of Ural architecture, stone-cutting art or artistic casting, but undoubtedly significant. The basis of the region's pictorial culture since its Christianization has been iconography, which has developed in several directions. One of them was icon painting, performed for the Old Believers and keeping the Old Russian canons, the influence of the Academy almost did not affect him. However, it can be assumed that the strengthening in the first decades of the XIX century. classic tendencies in the Old Believer icon comes into contact with the work of masters who have received academic training. Icons and murals belonged to another direction, created according to the official orders of the Russian Orthodox Church and oriented towards the art of the New Age. This direction, closely connected with the appearance of secular painting in the Urals, was undeniably influenced by the Academy.

One of the centers of the emergence of the Ural painting was Demidov Nizhny Tagil. Already in the middle of the XVIII century. here the art of painting on metal was born, which, thanks to the invention of "crystal" varnish, is gaining wide recognition. Tagil craftsmen cover trays, caskets, tables and other items with flower and plot paintings. Mythological and historical motifs are borrowed from Russian and Western European engravings, and everyday scenes from the surrounding reality are sometimes used.

At the end of the 1790s. N. N. Demidov instructed Fyodor Dvornikov, who had been trained by Gavriil Kozlov, one of the first teachers of the Academy, to take classes with factory artisans, and in 1806, having ordered the creation of a painting school to improve the artistic level of icons and paintings on metal, the owner of the Nizhny Tagil factories invited as its leader, a graduate of the battle class of the Academy, Vasily Albychev. A fellow student of Alexander Stupin, obviously, dreamed of a school similar to Arzamas. Only partly succeeded in doing so by his successors. Two students of the Nizhny Tagil school, Pavel Bazhenov and Yakov Arefiev, were sent to Italy to improve their skills, and then to the Academy in St. Petersburg, where they studied for three years. Only the state of serfdom did not allow them to receive the official title of artist. Returning to the Urals, they taught at the Nizhny Tagil school, and after its closure in 1820, at the Vyisky factory school. Business trips of talented Tagil residents to the capital and abroad were practiced in the future. Among those sent to Italy in 1827, where Karl Bryullov was in charge of painting, was a representative of the well-known dynasty of Tagil painters Stepan Khudoyarov, who, upon his return, painted churches in Nizhny Tagil, and after studying mosaic work during his second trip to Italy (1848- 1851) who worked on mosaics for St. Isaac's Cathedral in St. Petersburg.

The spread of metal paintings in Tagil stimulated the development of oil painting on canvas. This was also facilitated by the patronage of the Demidovs, thanks to which significant works of Russian and Western European art fell into their Ural possessions, professionals from other cities were invited, including pupils of the Arzamas school and the Academy of Arts Pavel Vedenetsky and Vasily Raev, who played a significant role in the formation of " vid-paintings "of the Urals. Thus, Raev's Panorama of Nizhny Tagil (State Historical Museum, Moscow) created by Raev in 1837 served as a model for several works by Isaac Khudoyarov 2 .

Similarly, at the end of the 18th - the first half of the 19th century. painting also developed in the Kama region (in the estates of the Stroganovs and Lazarevs). In the village of Ilyinsky, under the guidance of the local icon painter and portrait painter Gavrila Yushkov, Andrey Voronikhin learned the basics of artistic literacy of the serf count A. S. Stroganov; starting as a painter, he became an outstanding architect, professor of architecture at the Academy of Arts. The fate of other Kama serfs was not so brilliant, only a few of them (Nikolai Kazakov, Pyotr Lodeyshchikov) managed to complete an academic course. Nevertheless, the influence of the Academy on the development of painting in the Western Urals cannot be denied: it was transmitted both through its students who ended up in the Kama region, and through those who taught at the Arzamas and Nizhny Novgorod art schools, where some of the Kama painters studied. The synthesis of pre-Petrine traditions with academic lessons allowed the serfs of the Stroganovs and Lazarevs to express themselves both in ecclesiastical and secular painting - in portrait, landscape and even in the everyday genre - giving vivid examples of naive realism.

P. P. Vereshchagin. Arkhipovka. 1876 Oil on canvas. 22.5 ґ 45. Perm State Art Gallery

The abolition of serfdom, the general democratization of public life, the construction of railways strengthened contacts between the Russian capital and the provinces. Talented young men came to the Academy from different parts of the vast country: let's remember Ilya Repin from Chuguev, Vasily Surikov from Krasnoyarsk, Viktor Vasnetsov from Vyatich, Ivan Shishkin from Yelabuga. To them we can add the less famous names of the Urals: Vasily and Pyotr Vereshchagin from Perm, Alexei Korzukhin from Yekaterinburg, Fyodor Bronnikov from Shadrin. Having taken a prominent place in the history of Russian painting as a whole, awarded high academic titles, they maintained ties with the region that nurtured them. This manifested itself in different ways: in the landscapes of the Chusovaya River and those places where the mining and factory railway was built, by Pyotr Vereshchagin, in the concerns about replenishing the collections of the Ural museums of his brother and Bronnikov, in portraits of fellow countrymen and in a painting that was rare in terms of subjects for its time " Alexander I at the Nizhneisetsky plant in 1824" (1877, State Russian Museum) Korzukhin. At the same time, less well-known graduates of the Academy appeared in the Urals: in Yekaterinburg, Nazariy Ivanchev, Vladimir Kazantsev and Nikolai Plyusnin (a fellow student of Surikov and the first teacher of Leonard Turzhansky, familiar to visitors of the Yekaterinburg Museum of Fine Arts in his academic program - the painting "David before Saul"), in Perm African Shanin, Alexei Zelenin, Afanasy Sedov, Trofim Merkuriev and others. 3 They taught drawing in gymnasiums, real schools and theological seminaries, contributed to the emergence of artistic life in the Ural cities and the further success of the fine arts of the region.

Ever since the reign of Catherine II, having received the Privilege and Charter, the Academy of Arts claimed the role of not only a higher educational institution, but also the artistic center of the country. In an effort to fulfill its educational functions, the Academy in the 1880s. held several traveling exhibitions in a number of Russian cities. One of them took place in Yekaterinburg. Here the Academy came into contact with the activities of the Ural Society of Natural Science Lovers (UOLE). The world-famous local history organization, not limited to natural science, contributed to the development of many areas of science in the Urals and played a significant role in the history of art and the artistic life of the region. In 1887, on the initiative of the UOLE, the Siberian-Ural Scientific and Industrial Exhibition was held in Yekaterinburg. Deployed on the banks of the Iset on the site of the old Yekaterinburg plant (now the Historical Square), it became a review of economic achievements and natural wealth of the territories, which, using the expression of Lomonosov, “Russia grew”. Exhibited at the exhibition were also handicrafts and Ural icon painting, which had recently flourished, and in the second half of the 19th century. declining to decline.

The actual art section, which exhibited works of secular painting and sculpture by several professionals and amateurs, turned out to be extremely poor, because easel art in the cities of the Urals was just in its infancy. Then the leadership of the Uole, through the mediation of Vasily Petrovich Vereshchagin, turned to the Academy of Arts with a request to include a traveling art exhibition in the scientific and industrial exhibition already opened in Yekaterinburg. She was given the halls of the Alexander II men's classical gymnasium located near the main exhibition premises. The opening ceremony took place on July 28. “If it weren’t for the Siberian-Ural Scientific and Industrial Exhibition, then we, permanent residents of Yekaterinburg, would never have had the opportunity to get acquainted with the brush of Semiradsky, Perov, Aivazovsky, Shishkin, Kivshenko, Korzukhin, Lagorio, Meshchersky and other luminaries of Russian painting ... our children Having seen enough of the works decorating the traveling exhibition, they will understand the immeasurable difference that exists between true art and its profanation in the form of oleography and popular prints, their taste will be ennobled, and this is very important and necessary for young people beginning to live.

The number of items on display is very extensive: 114 oil paintings, 19 watercolors, 40 watercolor drawings-decorations by the professor of decorative painting, Mr. Shishkov, 20 drawings depicting perspective views of churches and buildings built by Russian artists, and a collection of horse figurines (12) works famous, late professor of sculpture Baron Klodt. There is something to see, something to admire and something to learn…” wrote the Yekaterinburgskaya Nedelya correspondent enthusiastically [quoted from: H. (Si), 1887, 538]. At the end of the exhibition, the Academy donated twenty-three works of painting and graphics to the city, including paintings by Bogdan Villevalde, Alexei Bogolyubov, Lev Lagorio, Pavel Kovalevsky. A special place among them was occupied by Stanislav Rostvorovsky's painting “Embassadors of Yermak brows Ivan the Terrible, bringing the conquered kingdom of Siberia” to the local theme, which was awarded the Gold Medal of the Academy three years before the exhibition. By the decision of the Perm Governor, the paintings and drawings were transferred to the Ural Society of Natural Science Lovers along with the collection of iron castings from the Kasli Plant, which also arrived at the UOL after the closing of the exhibition. Together with donations from private individuals, they formed the basis of the art department of the Uole Museum, opened in 1901. In 1909, the Academy sent nine more exhibits to the museum. Following the example of Yekaterinburg, in 1902, an art department began to form in the scientific and industrial museum of the provincial center - Perm, where the Academy also sent a collection of paintings and engravings.

At the turn of the XIX-XX centuries. the artistic life of the region is revived, exhibitions of local and metropolitan painters are opened. Art associations arise: in 1894 the Yekaterinburg Society of Fine Arts Lovers, in 1897 - the Orenburg Society of Art Lovers, in 1909 - the Perm Society of Lovers of Painting, Sculpture and Architecture. Representatives of the Academy of Arts play a significant role in each of them.

In the Yekaterinburg Society, the department of painting was headed by Nikolai Plyusnin, and the head of the society was academician Julius Dyutel, perhaps the only one of the graduates of the architectural class of the Academy of that time, who connected most of his life and work with the Urals. During the eclectic period, Dutel brought to the architecture of Yekaterinburg, Irbit, Perm and other Ural cities a high culture of working with historical styles, brought up by the Academy.

Among the active figures of the Perm society are African Shanin, Alexei Zelenin, Afanasy Sedov, already mentioned by us, as well as younger Dmitry Nikolaev, Ivan Chirkov, Vladimir Mamaev and Petr Evstafiev, who graduated from the Higher Art School under the already reformed Academy. The favorite student of Dmitry Kardovsky, Evstafiev, possessed genuine artistic skill and an undoubted gift for painting. Among the Orenburg artists, Lukian Popov stood out, who also graduated from the Higher Art School (workshop of V. E. Makovsky) after the reform of the Academy of Arts in 1893-1894. Honored at the end of his life (1912) with the title of academician, Popov was nevertheless close to democratic circles. His canvases, thematically related to his native land, subtly reflect peasant moods on the eve and during the First Russian Revolution 4 . With all the artistic and educational benefits, the activities of the Academy in the Russian provinces were affected by the crisis phenomena of late academic art, the long opposition to the realistic trend, clearly expressed in the work of the Wanderers. Meanwhile, an objective rapprochement between the Wanderers and academism was already outlined in the 1880s, a clear example of which is the work of Korzukhin.

V. P. Vereshchagin. Portrait of a wife

daughter. 1874 Oil on canvas, 106.5 x 71.

Yekaterinburg Museum

fine arts

Under all conditions, the Academy of Arts retained its role as a bearer of time-tested traditions of art education. Polemic in the early 1890s. with a constant opponent of the Academy, V. V. Stasov, I. E. Repin wrote: “... We are not able to close the Academy ... The Wanderers (our richest society of artists) have not started a single school of students in 20 years! Where do you order the Russian youth of artists to study, who are now growing like mushrooms all over Russia. And that's all, like moths to a light at night, crawl and fly to the Academy? Is it possible to satisfy this national need of a giant country by private means?!” [AND. V. Repin and V. V. Stasov. Correspondence, 1949, 209].

As a result of the reform of 1893-1994. The Academy was divided into two institutions, forming the administrative and scientific and methodological center of Russia in the field of plastic arts and the Higher Art School subordinate to it, in which Wandering artists were invited to lead the painting workshops. During this period, new lyrical and romantic tendencies, plein-air and decorative searches developed in art, associated primarily with the Moscow art school, with graduates of the Moscow School of Painting, Sculpture and Architecture, whose influence on the visual arts of the Urals affected in the first decades of the 20th century. These trends also captured the graduates of the renewed St. Petersburg Academy of Arts, in particular the aforementioned Popov and Evstafiev, as well as Vladimir Kuznetsov, in whose paintings, dedicated to the Ural Old Believers ("Eve", 1909, State Museum of the History of Religion; "God's People", 1916, State Russian Museum), you can see the features of the neo-Russian style - the national-romantic version of the Art Nouveau style 5 . During the same period, several future constructivists (Leonid Vesnin, Ivan Antonov, Sigismund Dombrovsky), who played a big role in the architecture of the Urals and especially Sverdlovsk, studied at the architectural workshops of the Academy.

V. G. Kazantsev. The sun has set. 1886 Oil on canvas. 42.5 x 67.5. Yekaterinburg Museum of Fine Arts

Bringing the Academy closer to the living process of art development, the reform prompted it to increase its attention to art education in the Russian provinces. The school of arts and crafts created in Yekaterinburg in 1902 was not a direct brainchild of the Academy, as, for example, the Kazan Art School opened seven years earlier. Training of masters of applied art at the beginning of the 19th century. moved in the capitals to other educational institutions, on the basis of which the Stroganov School in Moscow and the Central School arose. Among the teachers was Vasily Konovalov, a student of Pavel Chistyakov, who brought up several generations of the best Russian artists. The Yekaterinburg School combined the experience of capital and local art and industrial educational institutions with the achievements of academic pedagogy, based on a thoughtful transition in the educational process from simple to complex and attentive attitude to nature. This made it possible for the Yekaterinburg School of Industrial Art, and later the Yekaterinburg Art School. ID Shadra to become in the Urals up to the present day the foundation of education in the field of fine and decorative arts, architecture and design.

The avant-garde aspirations of the beginning of the 20th century, stimulated in Russia by political events, prompted artistic pedagogy to bold experiments, which led to both gains and losses both in the capitals and in the provinces. Formally liquidated in 1918, the Academy of Arts, having undergone various transformations, was restored in Leningrad in 1932 and received the name of the All-Russian, and in 1947, transferred to Moscow, it became the Academy of Arts of the USSR. Called to develop the realistic traditions of Russian art, it, having become one of the ideological pillars of the totalitarian state, limited ideas about these traditions, and contributed to the isolation of Soviet art from the world artistic process. Many talented masters were removed from teaching work.

But even in these conditions, educational institutions subordinate to the Academy did a lot of useful things. A special role in the development of the art of the Urals and specifically Sverdlovsk was played by the Institute of Painting, Sculpture and Architecture. I. E. Repina. A close relationship was established between him and the local school. The best pupils of the school entered the academic institute, after which they returned to the Urals and often became teachers themselves. It was they who determined the high level of the Ural art, its recognition in our country and abroad.

In the current social conditions, the functions of the Russian Academy of Arts have become more complex. At a time when the old forms of artistic life have collapsed, and new ones are only emerging, when the art market is only at its initial stage, the Academy acts as a qualified patron, an intermediary between the state and creative unions, supports art in all its manifestations. The Academy includes as full members and corresponding members masters who were previously very distant from it, including one of the best Moscow sculptors Adelaide Pologova, who at one time graduated from the Sverdlovsk School. The Museum of Modern Art, created a few years ago in Moscow on the initiative of Academy President Zurab Tsereteli, has become a field of tolerance. Its halls paradoxically combine the creations of famous masters of world art and little-known artists, academicians and avant-garde artists, realists and non-objectives, “all directions and trends under the common motto of artistry and talent”, using the words of Alexander Benois, said at one time about the “World of Art” [ see: Benois, 1913].

N. M. Plyusnin. David before Saul. 1873 Oil on canvas. 103 ґ 148. Yekaterinburg Museum of Fine Arts

Of course, the tolerance of the Academy cannot be unlimited; the costs of postmodernism remain beyond its borders. Being the custodian of the high traditions of the world heritage, it turns out to be conservative to a certain extent, although it listens to new trends much more sensitively than in the past. At the same time, the Academy must be stricter towards petty-bourgeois tastes, towards the kitsch that has overwhelmed our culture, from its frankly amateurish manifestations to skillful craftsmanship. No, we certainly do not call for administrative bans. Let shocking exhibitions be held if they excite someone, although shocking is becoming more and more annoying and banal. Let pictures with spectacular sunsets, erotic scenes and astrological signs be sold on the streets and in squares. Let modern nouveau riche decorate apartments and offices with salon paintings and sculptures. But the Academy is called upon to take a position of principle in relation to these phenomena.

Taking care of the school remains the main task of the Academy, which assumes the scientific and methodological leadership of both the institutes and lyceums directly subordinate to it, and all the art educational institutions of the country. This is timely and relevant: the teaching of drawing - the basis of academic excellence - leaves much to be desired, which, of course, also applies to the Urals. It is equally important to pay attention to the development of compositional and plastic thinking of students. It is necessary to expand the understanding of the national art school, because it is not limited to the names of Bryullov and Chistyakov, Repin and Kardovsky, even Favorsky and Matveev. What convincing models for future easel and muralists, designers and architects can be both Tatlin's brilliant full-scale drawing and Malevich's architectonic module. The legacy of the Russian avant-garde, creatively included in the educational process, will contribute to the renewal of the art school dictated by the demands of life. In this regard, the proto-designer pedagogical experiments of Pyotr Sokolov and Anna Boeva in the Yekaterinburg Higher Free Art Workshops, the Ural State Practical Institute, as it was called in the late 1910s and early 1920s, deserve careful, differentiated attention. Yekaterinburg art and industrial school.

During the recent celebration of its centenary, a sharp discussion unfolded about the current problems of art education. Representatives of the old academic pedagogy insisted: "In order to move away from school, you need to go through it in full." Others, paraphrasing this thesis, polemically stated: "You need to go through school precisely in order to move away from it." In equally fair statements - a long-standing contradiction between school and free creativity, between craftsmanship and art. The modern Russian Academy of Arts strives to overcome this contradiction by attracting bright creative individuals to teaching, artists who are able not only to teach, but also to set an example for young people with their own creativity, which, of course, does not exclude the value of teachers in their main vocation. Success is achieved by combining both in one team.

One of the main tasks of the modern Academy is to work with the regions. Here, problems specific to a "giant country," as Repin puts it familiar to us, arise 6 . Created in the city born by the will of Peter the Great, the “Academy of the Three Most Noble Arts”, with all the variety of its connections with the Russian provinces, remained essentially a metropolitan institution, designed to give examples of high art throughout Russia. The first decades of the XX century. beckoned by the prospect of other, more equal relations between the capital and the provinces, but Soviet totalitarianism restored the cultural vertical. In the period of democratization of society, when interest in the identity of the regions is growing, the theory of “cultural nests” is being revived, the Academy is required to have a more flexible artistic policy that takes into account the diversity of local traditions that reflect the spirit and mentality of various regions of our country. Following the Academy of Sciences, the Academy of Arts is following the path of creating regional branches.

fragment of the article (source: Ural Historical Encyclopedia)

Industrial architecture is subdivided into industrial urban planning, the architecture of industrial buildings, the architecture of industrial buildings. It arose in the Urals simultaneously with the colonization of the region by Russians during the construction of salt towns (Usolye - 1430) and received intensive development from the beginning. 18th century - the time of the mining development of the Urals.

The emergence of architecture in the Urals is associated with the colonization of the region by Russians and the penetration of Russian building culture. The first military-defensive settlements were built by Novgorodians to collect tribute from the local population in the northern Urals. The chronicles mention the city of Khlynov (Vyatka, 1374) and the city of Anfalovsk (1398-1409). In the XVI century. organized colonization of the Urals began, the strongholds of which were the "sovereign prisons". At the beginning of the XVI century. the center of colonization was located in Pokche, from 1535 - in Cherdyn. The network of prisons included Kankor (1558), Orel-gorodok (1564), Nizhne-Chusovskoy (1568), Sylvensky and Yayvensky, Ochersky (1597), Verkhne-Chusovskoy gorodok (1610). A chain of defensive settlements was erected along the Kama to protect trade routes: Ufa (1574), Sarapul (1556), Birskaya and Tabynskaya fortresses. The way to Siberia was guarded by the Upper Tagil town (1583), the fortresses of Lozva (1590), Verkhoturskaya (1598) and Turinskaya (1600). Active colonization was accompanied by building fortresses and prisons and required the creation of new fortified points in the Trans-Urals: Nevyanskaya (1621), Nitsinskaya (1624), Tagilskaya (1625), V.-Nitsinskaya (1632), Irbitskaya (1633), Murzinskaya (1639), Pyshminskaya (1646), Chusovskaya (1656) fortresses, Katai-kiy prison (1655), Chelyabinsk prison * (link to Chelyabinsk.Architecture) (1658), Shadrinsky prison (1662), Tsarevo settlement (Kurgan, 1662), Kamyshlovskaya (1666 -1667), Krasnoyarsk (1670), Aramil (1675-1676), Novopyshminsk (1680), Bagaryak (1698), Beloyarsk (1695) fortresses. Kungursky (1649), Torgovinsky and Kishertsky prisons were erected in the Urals. In the first half of the XVIII century. defensive lines were built to protect against the Kirghiz-Kaisaks in the Southern Urals: Zakamskaya (1732), Samara (1736-1742), Yekat. (1737), Staraya Ishimskaya (1737), Sakmarskaya (1739-1742), Upper and Lower Uisky (1737), which later merged into the Orenburg lines. Fortresses and prisons until the 17th century. were erected according to the traditions of architecture of Central Russia on elevated places at the confluence of the rivers. They had an irregular configuration, surrounded by wooden walls with towers at the corners and at the entry points. A number of fortresses and prisons at the intersection of trade routes had settlements with quarters of merchants and artisans and later grew into the first Ural cities (Vyatka, Cherdyn, Verkhoturye, Kungur, Irbit, Ufa, etc.). Fortress of the 18th century were built in accordance with European traditions, had a regular geometric layout according to all the rules of fortification art. The settlement of many of them had a regular plan. The penetration of Christianity in Ukraine was accompanied by the construction of monasteries: the Pyskorsky-Preobrazhensky Monastery, which was transferred to Kankor (1570–79), and the Nikolaevsky Monastery. in Verkhoturye (1604), the Dalmatov Monastery (1644) and others. The monasteries of the Urals were also built according to the traditions of defensive architecture of the center of Russia, gradually rebuilt in stone, occupying a prominent place in the mountains. building.

The defensive role of the settlements of the Urals by the end of the 18th century. was exhausted. However, this period left a strong imprint on the expressiveness of the planning and development of the cities of the Urals, leaving such wonderful works of architecture as the Verkhoturye Kremlin, the Orenburg and Nikolaev fortresses, the Nikolaev Monastery in Verkhoturye, the Dalmatov Monastery, built in the best traditions of Russian architecture. This period gave the Urals original schools of masters of architecture (Gusev T.M., Stafeev A.D., Soroka I.B.). In addition to monasteries, the Christianization of the Urals. actively went through the construction of separate temples in cities and villages. At the early stages, wooden churches of the Klet type were built (churches in the village of Pyanteg - the 17th century, the village of Yanidor-1707, Cherdynsky district). The first stone churches bore the features of Moscow and Yaroslavl architecture with a local interpretation (Trinity Cathedral in Solikamsk, 1684-1697). In the XVIII century. in the Urals, the stylistic features of the Moscow baroque (church architecture) appeared. The number of master masons who created remarkable architectural monuments of the 17th-18th centuries increased. (Veshnyakov L.A., Gorboveky I., Kichigin A., Korsakov L., Kremlev I.T.). The industrial development of the Urals began with the founding of the salt town of Usolye Kamskoye by the townspeople Kalinnikovs. With the transfer of the lands of the northern Kama region to the Stroganovs, salt deposits began to be intensively developed, the first industrial settlements appeared: Novoye Usolye, Dedyukhin. Industrial buildings of this period were built mainly in wood and have not been preserved. The second wave of industrial development of the Urals began in the 18th century, when more than 200 metallurgical plants were built. The Urals has become the main metallurgical base of Russia. Most of the metallurgical plants later grew into cities and laid the foundation for a special architectural urban culture of the Urals (industrial architecture). During the XVIII century. urban planning principles and new types of buildings and structures for Russia were formed. Stone construction in the industrial cities of the Urals began mainly at the end of the 18th century. after the fires of the Pugachev uprising. The provisions of the Commission on the structure of St. Petersburg with the ideas of regular European urban planning were taken as the basic principles for planning and building up industrial cities. Therefore, most of the industrial settlements of the Urals received a regular plan with a clear functional zoning. However, unlike the administrative-commercial and defensive settlements, the city center was formed by a factory with a system of pre-factory areas. In the first half of the XIX century. a galaxy of talented architects worked at the Ural factories - graduates of the St. Petersburg Academy of Arts (Komarov A.3., Lutsenko K.A. (* - link), Podyachev I.M., Malakhov M.P., Chebotarev A.P. , Dudin S.E., Telezhnikov F.A., Sviyazev I.P.). These architects of the mining department brought a high culture of classical architecture to the industrial cities of the Urals and created unique industrial ensembles of the European level. These ensembles still form the centers of Yekaterinburg, Nizhny Tagil, Izhevsk, Votkinsk, Nevyansk, Zlatoust, Kyshtym, Kasley, Kamensk-Uralsky, Beloretsk, Ocher, Alapaevsk and others. The architects of the mining department, their students took an active part in the development of the existing administrative -trade cities of the Urals, having developed general plans for their development and the main classical ensembles of the city center (civil architecture). Second half of the 19th - early 20th centuries in connection with the intensive development of capitalist relations, the rapid growth of settlements is marked by the implementation of master plans for cities. Classical architecture was replaced by national-romantic searches. At the beginning of the XX century. in architecture, the Art Nouveau style was established, which most fully reflected the process of the industrial revolution. The architects of the mining department were replaced by mining and civil engineers. The emphasis in the development of the architecture of the Urals was shifted to the environment of the urban center and the nodes of transport communications. This period is characterized by the appearance of new types of buildings in the Urals: gymnasiums, theaters, apartment buildings, banks, clubs, hospitals, schools, colleges, stations, ports, depots, arcades, shopping arcades. Among the Ural engineers and architects, the bright talents of the Permian architects Turchevich A.B., the Vyatka architect Charushin I.A., the Yekaterinburg architect Dutel Yu.O. stand out.

The Soviet stage in the development of architecture in the Urals is characterized by the industrialization of the region and the attraction of funds not only for industry, but also for civil and residential construction. The 1920s - early 30s were especially productive - the time of active work of the pioneers of Soviet architecture, developing the creative concepts of constructivism. There was a final specialization of architecture into industrial and civil. The basic principles of Soviet urban planning were taking shape: regional planning, zoning of territories, specialization and cooperation of production, unified systems of transport and consumer services, landscaping and landscaping, large ensembles and complexes. A standard design system was created, large state design institutes arose. In industrial design, the leading place was occupied by the State Design Institute "Promstroyproekt", where the architects Myslin V.A., Zilbert A.E., Nadezhdin V.P., Shcherbakov S.N., Burdunin V.S., Dementiev V.E. ., Zhukova N.P. and others. The projects of large technological units of the Magnitogorsk plant were developed by the architects V.D. Sokolov, V.L. Gofman, A.I. Lubnin, N. Tikhonov, and others. architecture).

The change in the stylistic orientation of Soviet architecture in the 1930s towards neoclassicism slowed down the development of architectural creativity in the USSR. However, this period gave a lot to the architecture of the cities of the Urals, which received large urban ensembles of their centers and main streets, harmoniously combined with the classical heritage of the first half of the 19th century. Many constructivist architects changed their creative views in connection with the social order, sincerely carried away by the development of the classical past. During this period, the foundations of professional architectural education were laid in the Urals. Architectural and construction technical schools were opened in Perm and Sverdlovsk, and in 1949 at the UPI - an architectural specialty, which gave rise to the Ural architectural school. Its founder is architecture, Professor Babykin K.T. On the basis of this specialty, in 1967 the country's second independent university (the Sverdlovsk Institute of Architecture) was established. AIS has qualitatively changed the situation in the Urals in the preparation of qualified architects. Currently, the Ural State Academy of Architecture and Art, the former Sverdlovsk Architectural Institute, belongs to the category of elite creative universities in Russia for the training and retraining of highly qualified specialists in the field of architecture, design, monumental, decorative and decorative arts. The architectural art school of the Urals acquired the status of the academy in 1995. Currently, the Academy is one of the leading universities in Russia and the CIS in the field of architecture and art in terms of the size and quality of training. Over the years of its existence, it has trained over 5,000 architects and designers who are successfully working in Russia and abroad. Among its graduates are two academicians of architecture, four corresponding members of the Russian Academy of Architecture and Building Sciences and the Russian Academy of Arts, 16 Honored Architects and Artists of Russia.

Since the 1960s, state policy in the region. page excluded A. from the sphere of lawsuits. The dictatorship of the polit is being replaced by the dictatorship of the construction industry and austerity. Standard construction is being actively introduced into the mass construction of the cities of the Urals to the detriment of artistic, environmental and comfortable qualities. A single customer and contractor represented by the state leaves no room for architectural creativity. State monopolism has led to a sharp decline in the quality of construction, its technology is experiencing a period of deep stagnation. Under these conditions, architectural creativity is confined within the walls of universities and takes the form of "paper architecture", divorced from construction practice. Modern concepts of architecture and urban planning are not being implemented. In the 1970s, poor-quality urban development met with widespread public protests, especially in the historical cities of the Urals. Protective zones and zones of regulation of new development act as a tool for protecting the historical center of cities and towns at this time. Archaeological and ethnographic museums appear in the settlements of Khokhlovka in the Perm region and in the village of Nizhnyaya Sinyachikha (*link) in the Sverdlovsk region. The former take on the role of a reservation of immovable monuments of architecture, the latter become a form of physical preservation of monuments of folk architecture by transferring them to museum reserves. The underestimation of the architectural heritage has led to the loss of many thousands of architectural monuments and valuable historical buildings in the Urals. The historical centers of the cities of Perm, Chelyabinsk, Izhevsk, Votkinsk, Kurgan, Kamyshlov, Turinsk, Nevyansk, Nizhny Tagil, Kungur and others have undergone gross distortions.

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