Representation of the Baroque Style in the Decor of the Crimean Architecture of the Art Nouveau Period

Kotliar Elena Romanovna PhD in Art History Associate Professor, Department of Visual and Decorative Art, Crimean Engineering and Pedagogical University named after Fevzi Yakubov 295015, Russia, Republic of Crimea, Simferopol, lane. Educational, 8, room 337 allenkott@mail.ru Other publications by this author

Khlevnoi Vladimir Aleksandrovich Assistant, Department of Fine and Decorative Arts, Crimean Engineering and Pedagogical University named after Fevzi Yakubov 295015, Russia, Republic of Crimea, Simferopol, lane. Educational, 8, room 337 allenkott@mail.ru

 Researchers call the Baroque one of the main stylistic systems in architecture, fine and decorative arts of Western and Eastern Europe of the XVII century. The purpose of which was to strengthen the position of Catholicism in the conditions of the reformation gaining momentum.

The pronounced lush decorativeness, pathos, emotionality, affectivity was aimed at creating among the masses an impression of the power of divine providence and its translation by the Catholic Church ^[13].  Since the percentage of the literate population was low, the instrument of such influence was architecture and visual art – sculpture, painting, decorative and applied art. In architecture, sculpture, and painting, the primary task was to convey dynamics, sharpness, affect, and a powerful emotional impression. To do this, architects and artists have developed a number of methods. In the painting of Michelangelo Merisi da Caravaggio (1574-1610) used a sharp counter-openwork due to the directional light, unexpectedly snatching out of the darkness the center of the composition, in turn, shifted relative to the geometric center of the painting. Sharp scenes from the Bible and their vivid reading by the artist made a strong impression on the viewer, creating an atmosphere of divine presence ^[14].

In the sculpture of Giovanni Lorenzo Bernini (1598-1680), he also used subjects filled with emotional experiences, and unexpected angles made it possible to view the round sculpture from different viewpoints, and the realistic presentation of the sculpture created the full effect of the presence of the image.

In turn, the following techniques are characteristic of Baroque architecture:

1.                 The combination of curved shapes formed by semicircles and curls in the silhouettes of the gables and the decoration of the facades of the building; asymmetry and hypertrophied proportions and volumes of facades, compared with the Renaissance;

2. Synthesis of architecture, sculpture and painting – a large number of dynamic sculptures and high reliefs on facades, roofs and individual sculptures in the overall architectural ensemble; a large number of murals and paintings in the interiors;

3. Large depth of the facade relative to the edge of the roof; non-linear silhouette of the facade in terms of;

4. Contrasting combinations of bright shades, especially in interiors (for example, red satin or velvet wall upholstery, gilding on furniture and figurines, and white walls);

Speaking about the Baroque, art historians note that its origin dates back to the XVII century, in accordance with the requests of the church and the aristocracy. However, some researchers, such as R. Bernstein-Vishnitzer, noted that the source of Baroque pictorial motifs were engravings with patterns of ornaments, widely used by artists, jewelers, woodcarvers. The basis of these decorative motifs were arabesques that came to Europe from the East during the Crusades (XI–XIII centuries) and were woven ornaments that included patterns of leaves, fruits suspended on cords, bouquets, images of birds, dragons. Arabesques were enclosed in intricate cartouche frames, incised with curls ^{[2, p. 392]}. The second wave of Arabesque penetration into Europe is associated with the Reconquista (which ended at the end of the XV century) and the influence of Spanish-Moorish art.

In this context, it is necessary to decipher the meaning of the concept of "Arabesque". Arabesque (ital. arabesco, French arabesque – Arabic) is originally an Arabic ornament consisting of combinations, multiplication and inversions of plant and geometric forms, characterized by the density of space filling. In Arabesques, the so–called horror vacui principle is used - "fear of emptiness". In a philosophical sense, an arabesque is a complete harmony in which every detail has an important symbolic and plastic meaning ^{[3, p. 402]}. In the originals of Arabesques, not only decorative elements appeared, but also words and whole sayings, however, in later non–Muslim interpretations, Arabic texts were most often not used, or, in some cases, were replaced by sayings in Latin, the language of Catholicism.

According to the combinations of elements and their character, researchers subdivide different types of arabesques according to their origin and expressive stylistics. When analyzing ornaments in the decor of Baroque architecture, we can distinguish three types of arabesques, most often used by European masters: Byzantine, Moorish and Arabic. This conclusion, made with the help of a plastic artistic analysis of architectural elements, is supported by the geography of the Crusades (the direction through Byzantium to the Arabian Peninsula) and the Reconquista (medieval Moorish Spain). Thus, it can be stated that the time frame of the existence of the Baroque style should be expanded, at least its origins do not lie in the XVII century. and they originate much earlier. Also, thanks to the extensive geography of these origins, we can say that the Baroque style is a synthesis of various cultures and styles, which, however, took shape during its heyday into a well-defined system.

Among the most characteristic elements of this style are the following:

1. "Fillets" forming a complex curved shape, both closed and linear;

2. Cartouche, aka "lunette" or "mirror" – an element in the form of a figured frame framing the void or an element inscribed in it in turn;

3. Spiral endings of lines (plant or geometric elements); as well as double and s-shaped spiral;

4. Border or single image of palm leaves and acanthus leaves;

5.                 The image of lush bouquets of flowers and fruits in vases, sometimes suspended by cords;

6.                 Stylized figures of symbolic animals or people, as well as chimeras, inscribed in ornaments.

All the designated elements originally (in arabesques) had a symbolic meaning, which was either lost or updated during borrowing, so the interpretation of the Islamic originals of ornaments and their borrowings in the Christian world may differ from each other. Often the elements of the ornament were used in the Baroque only for decorative purposes, they were not given a symbolic meaning ^[14].

Our research is devoted to the analysis of the representation of the Baroque style in the architectural decor of the Crimea of the Art Nouveau period. The Art Nouveau style was widespread in architecture, decorative, applied and fine arts of Western and Eastern Europe, Russia and the Crimea proper (the last quarter of the XIX – first third of the XX century). The main patterns of the "new style" were the appeal to curved natural forms, elegant decorativeness, including in the decor of architecture. Stylized natural forms, fancy vignettes of woven plant stems creating a common decorative background became common during the Art Nouveau period. The ornamental type of composition prevailed in the decoration. The plastic of the Art Nouveau decor was a solid or linear rapport composed of plant segments, with larger compositional elements inscribed in it, for example, figures of animals, birds, people, vases with fruits, etc., inscribed in oval, round or arched cartouches ^{[12, p. 4]}.

 Free natural forms were used not only in the curved plastic of lattices, stained glass, stucco, but also conditioned the choice of non-trivial methods of composition of facades of buildings, in which asymmetry, omega-shaped window and door openings, curved cornices, arches, facade decor were often used. French critic Charles Blanc wrote about Art Nouveau architecture: "Architecture in its highest sense is not a structure that is decorated, but an ornament that is being built." The architect, according to Blanc, is a "builder of jewelry." According to A. I. Kovalenko, "... relief ornamentation (Art Nouveau) merges with the form, becomes inseparable from it. It is impossible to draw a line between an ornament symbolizing a construction and a real construction that has received an ornamental interpretation" ^[11].

Based on the above characteristics, it can be concluded that in a number of ways Art Nouveau closely echoes the Baroque, although both styles have a number of individual features. Stylistically, Art Nouveau was an artistic synthesis, an eclecticism of elements of previous styles, the use and composition of which depended on the free imagination of architects and artists. With the predominance of the character of a particular style, modern architecture is concretized as "neo-Baroque", "neo-Rococo", "neo-Gothic", etc. In addition to the above-mentioned general historical styles, the Art Nouveau decor also included ethno-national elements, which enriched the overall picture and made it possible to create a truly unique work. This is especially true for Crimea, which has historically been a multi-ethnic region since ancient times ^[10]. At the same time, certain stylistic elements often became popular in the decoration of buildings regardless of the ethnic or religious affiliation of the customer, thus acquiring a regional significance ^{[1, p. 10]}.

According to A. I. Kovalenko, the regional character of Crimean architecture is almost always distinguishable, since: "for Crimea, in this case, the East and ancient Greece have always served as the dominant. That is why the "symbiosis of traditions" in the architectural monuments of the Crimea has its own unique plastic appearance, which makes it possible to accurately identify its geographical origin" ^[7].

As examples and analysis of the Crimean Art Nouveau, we will consider a number of architectural structures of the cities of Crimea. One of the central streets of Simferopol is Pushkin Street (formerly Priyutinskaya). Many mansions and apartment buildings on this street belonged to entrepreneurs, the Schneider brothers: Peter, Nikolai, Franz and their children, as well as other entrepreneurs and civil servants – I. I. Vodotsian, O. A. Semerdzhiev and others.

Fig. 1. I. I. Vodotsian's mansion, Simferopol (now city dentistry)

On Pushkin Street, 16, there is a recognizable building with a characteristic decor, built in 1890 – the mansion of Erganov, later the property of one of the heads of the factory inspection of merchant I. I. Vodotsian (Fig. 1). In 1909, a women's club operated in the building, headed by Sofia Schneider (nee Nalbandova), an honorary citizen of the city. The club had clubs on preschool education, the legal status of women, conducted foreign language studies, reports, readings. Currently, the building houses the regional dentistry.

The decor of the building is one of the characteristic examples of modern architecture of the Crimea, a synthesis of various styles and eras. The mansion is a one-story building with several entrances. The general structure of the building has classical features, the facade is divided by transverse panels into five parts (tiers). A decorative balustrade with potbellied columns is placed above the cornice. The frieze tier is divided by vertical sectors, like triglyphs, into several metope sectors, in which sculptural reliefs are placed. Some windows and doors on the facade have a semicircular completion, framed by ionic pilasters and molded sculptural reliefs. The lower space between the foundation line and the windows is decorated with decorative vertical inserts with reliefs between them. The general structural proportions of the architectural components: a significant removal of the cornice, massive (in comparison with trunks), column capitals, deep window niches, as well as an abundance of massive stucco decorative elements, allows this building to be classified as neo-baroque. The Baroque style also includes a monogram in the form of the letter "E" in a cartouche-scroll above the entrance, crowned with a crown, and laurel branches, grape fruits, quinces, intertwined with a ribbon, intertwined in the form of a wreath. Both the wreath and monogram are surrounded by small curls, which gives them an oriental, "Arabesque" character. Numerous characteristic images of bundles of fruits hanging on cords, found in the decor of the architecture of the Crimea of the Art Nouveau period, are a clear borrowing from the European Baroque. The same applies to other plant elements of the relief, namely: lion cartouches framed by branches on the sides of the door, a laurel wreath, etc. The bas–relief on the frieze also has a distinctly Baroque character, almost realistically depicting the head of a lion - an element whose origin refers to hunting castles with trophies.

At the same time, the combination of stucco and individual elements of architecture (for example, wooden carved high reliefs on doors, capitals, cornice decorations, etc.) is a synthesis of European Baroque and decorative art of the Crimea, in particular, includes Scythian-Sarmatian features.

S-shaped curved spirals are placed on the frieze of the building, which was also characteristic of Arabesques and later for the Baroque. At the ends of the branches facing each other, stylized lion heads are depicted, and the opposite ends represent tails. The image of various animals can be a borrowing from both the animal style of the Scythian-Sarmatians, and from later Gothic and Baroque, for which the image of chimeras was characteristic. Wooden high reliefs on the doors with images of winged lions and eagles have a similar solution ^[9].

Chimeras adorn a number of Crimean buildings of the Art Nouveau period: it is worth mentioning one of the most recognizable buildings in the center of Simferopol – the famous "House with Chimeras" – the mansion of merchant Chirakhov at the corner of Kirov and Odessa streets (Fig. 2), decorated with images resembling winged seahorses with bird heads; reliefs in the form of dragon lizards with a toothy beak the facade of the Simferopol mansion on Kirova street, 44, etc. is decorated.

Fig. 2. Trading house of H. K. Chirakhov, Simferopol (now there is a pizzeria and a restaurant in the building)

Fig. 3,4. I. R. Semerdzhiev's manufactory, Simferopol (a photo studio has been located in the building throughout its history)

The building of the photo studio is distinguished by its elegant decorativeness, on which the inscription with the pre–revolutionary spelling "Fotografiya" is placed - the manufactory of merchant I. R. Semerdzhiev (Pushkin Street 7 / Yekaterininskaya, 12), a building built as a complex of manufactory shops and a photo studio. The style of the building can be defined as classical, with the inclusion of late Renaissance and Baroque elements. This idea is suggested by double semicircular windows with "false" railings and relief half-balusters under them (like Italian balconies), pilasters decorated with the heads of angels, a beveled corner with a semicircular balcony ending in an attic, brackets under the cornice in the form of blades decorated with volute, decor in the form of acanthus leaves. The facade on Pushkin Street above the entrance to the photo studio (which has not changed its purpose for more than 100 years) is decorated with a protruding semicircular Baroque pediment with a relief cartouche, and caryatids supporting the cornice of the entrance. The impression of grandeur is enhanced by decorative Baroque wreaths of laurel branches and fruits framing the window brackets. The Oriental-baroque character of the building is also given by numerous palmettes.

Renaissance and Baroque elements are also found in the decor of other buildings in Simferopol, for example, in the house of merchant I. M. Levitan on Pushkin St., 19/11 (now the building houses the Tchaikovsky Children's Music School). Thus, a semicircular pediment with an attic, an Italian balcony, ionic columns with wreaths with tassels, a round cartouche above the balcony, double semicircular windows are characteristic of the light, relaxed Italian style, a mixture of Renaissance, Baroque and classicism ^[9].

Art Nouveau architecture in Simferopol is represented in a very diverse way, buildings of this period are diverse in their original styles, so, in addition to Neo-Baroque, Neo-Rococo and Neo-Renaissance in Simferopol, there are also preserved examples of Neo-Moorish style (neo-Mudekhar), Neo-Gothic, neoclassicism.

Fig. 5,6. Hotel "Bo-Rivage", Evpatoria (now boarding house "Orbit")

A similar architectural synthesis of Baroque and Renaissance architecture is distinguished by the architecture of the architectural monument of Yevpatoria, the hotel "Bo-Rivage" (fr.) – "Beautiful Coast", on Revolution Street, 45/ Karaev street, 2/ nab. Tereshkova, 26. The construction of the hotel was commissioned by I. I Neumann and was completed in 1916, the author of the project is unknown, but there is an assumption that its architect was P. I am Saferov, since many of the buildings of his authorship echo the style of the architecture of the hotel ^[5]. The outline of the cornice above the entrance and above the rounded corner of the building has a pronounced Baroque character. The facades are decorated with mythological and theatrical images. The semicircular projection of the corner is crowned by the head of the Muse framed by flowers, beads and ribbons, and on the side facades at the top are placed male theatrical masks in the neighborhood of women's heads, which at the same time resembles both ancient theater and mythological themes of Baroque painting and sculpture. Cartouches bordered with twisted cords with tassels complete the impression of magnificent baroque. In general, the building is an elegant dominant of the square ^[6].

Fig. 7. Apartment house of S. E. Duvan, Yevpatoria

Another famous architectural monument of Yevpatoria is the apartment house of the mayor, the famous philanthropist who did a lot for the city, S. E. Duvan (Fig. 7). The author of the project is P. Ya. Saferov. The building, built in 1908, is located at 2/3 Letny Lane ^[4]. As in the hotel "Beau-Rivage", one of the corners of the building is rounded and ends at the top with a cartouche decorated with lush stucco in the form of braided cords, with a through cut. The pediment also, as in the previous example, has a figured silhouette made up of semicircles, which is characteristic of the Baroque. Figured cartouches on the facades are decorated with women's heads and lion masks. The high reliefs framing the cartouches have a non-baroque character, although in general, by design, the building has a classical character. There is a creative synthesis of the author in it, who used both the principles of classicism and the features of the Baroque in the project ^[8].

In general, the ancient architecture of Yevpatoria is very rich and diverse, many modern buildings are quite well preserved, and are of great interest to researchers.

Fig. 8. Estate of General K. D. Khlebnikov, Sevastopol

Sevastopol, which suffered more than other cities of the Crimea during the Second World War, practically did not preserve pre-revolutionary buildings, however, on its Northern side there are remains of the estate of the tsarist General K. D. Khlebnikov (Fig. 8). The time of construction and the architect are unknown, the building was badly damaged by time, as well as by fire. However, the preserved end pediment is very interesting and is an example of the Crimean neo-Baroque. Above each window there is a "castle" decorated with an acanthus leaf, and on the corner portal, crowned with a semicircular cornice, there is a magnificent Baroque monogram made of vegetable curls.

When analyzing the literature concerning the emergence and development of the Baroque style in architecture, it should be clarified that the dating of the style to the XVII century is rather conditional, since plastic samples, namely Arabesques, have a much earlier origin. In our opinion, it would be more correct to talk about the wide spread of the style in Western Europe, its ideas, but not about its origin, etymology.

The Baroque style gets a "second life" in the architectural decor of Art Nouveau, when its elements are part of the compositional interpretations of architects. Having considered some examples of the use of characteristic Baroque elements in the architecture of the Crimean Art Nouveau, it can be stated that there are practically no samples of the "pure" neo-Baroque style in the urban architecture of the Crimea. Most often, a synthesis of classicism, Baroque, Renaissance, Moorish Mudejar style, as well as elements of numerous ethno-cultural styles is presented. It should also be noted that the Arabesque elements that make up the Baroque decor could have been brought to Crimea not only from Western European Baroque, but also directly from Asia Minor, which modified their character, adding an additional note to the regional style. In the author's architectural composition of the decoration of buildings, embodied by urban planners in the Art Nouveau era, the foundations of the elegant and recognizable "Crimean style" of urban and manor architecture were formed.