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Harmony of Style in Architecture: Drawings
by Giacomo Quarenghi (1744-1817) from Italian Municipal Collections The exhibition (The hall of Twelve Columns, N 244) dedicated to the Italian architect Giacomo Quarenghi, shows one hundred thirty works from the Museo Castello Sforzesco in Milan and Civica Biblioteca "Angelo Mai" in Bergamo. Giacomo Quarenghi (1744-1817) was one of the pleiad of the outstanding architects of St. Petersburg. Fascinated by the centuries-long culture of Italy, he came to Russia at the age of thirty six, after thoroughly studying classical literature, painting, music and architecture. His wish was to realize his dreams and use his talents which did not find application in his native country. He designed about forty buildings in St. Petersburg and its suburbs, including the Hermitage Theater, Academy of Arts, Horseguards Manege (Central Exhibition Hall), Yusupov Palace (National University of Railways in St. Petersburg), Smolny Institute, Alexander Palace in Tsarskoye Selo, etc. Giacomo Quarenghi also built outside St. Petersburg, in Moscow, central Russia, Baltic lands and Ukraine. Aware of the national importance of architecture, Catherine II initiated extensive construction works throughout her vast empire. Alongside palaces, new public buildings were constructed including theaters, banks, markets and hospitals. Rivaling in luxury, Russian aristocrats built palaces in both capitals and their estates, usually designed by Quarenghi who was then immensely popular. The birth of each of the master’s creations was preceded by a long period of meditation and search for the solution which took the form of architectural sketches on paper. Though Russian museums possess sizable collections of Quarenghi’s drawings, most of them are concentrated in the Italian cities Bergamo, Milan, Venice and Bassano. During his sojourn in Russia, the architect sent his friends and relatives back home his building designs and drawings of St. Petersburg and its environs. Part of the materials was taken to Italy by Quarenghi himself in 1810, the only time when he managed to visit his native land again. Some works may have accompanied the artist’s widow and son in 1817 when they left Russia after presenting one hundred sixty four designs to the Hermitage. The drawings and sketches of interior decorations and applied art displayed in the exhibit introduce the public to the process of the work of the master who excelled in both large-size and miniature creations. |
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