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Palaces in St. Petersburg / Re: Russian Palace Architecture
« on: May 13, 2012, 12:13:14 PM »So I would argue that Russian architecture -- at least imperial and aristocratic architecture -- did not "copy for localization" anything any more than did English, French, German, Italian, or Austrian architecture. Every one of these countries was rife with buildings that were in the central flow of transnational movements with origins from all over the world. If Rastrelli's work in St. Petersburg was a Russianized "copy" of anything, then Palladio's work in Italy was a modernized "copy" of early classical forms. If Quarenghi's work in Russia was a Russianized "copy" of anything, then Wren's work in London was an Anglicized "copy" of French architecture and Italian (especially Bernini's) architecture. If Cameron's work at Tsarskoye Selo was a "copy" of anything, then one would also have to speak of Adams' work at Syon House in London as a copy of Pompeii.
In short, I do not think Russia copied anything in architecture. I think that, as it unified under Ivan III and began to think more and more of itself as a member of an international community, it eventually joined the other European powers in drawing from the same transnational movements from which they drew for their architecture.
The only difference I see here is that the architects named in your examples are not actually native born Russians. Russia seems to not only have borrowed the styles for these structures (the great Palaces) from transnational movements in the West but also borrowed the actual human talent too. Quarenghi and Rastrelli were both born in Italy while Cameron was born in Scotland. In contrast, Wren and Adam are both highly acclaimed native-born British architects. Their ideas may be borrowed from cultures outside Britain, but they themselves were British. Not so with Russia; not only were the ideas borrowed, but there doesn't seem to have been any native talent available to execute them; if there was, they were passed over for some reason. The fact that the structures are located in Russia is almost incidental.
This touches upon the ongoing argument of Russia's overall contribution to world culture; something Russians are very self-conscious about. I think their overall contribution is undeniably rich, but I agree with you that is not the case with their 18th and 19th century palaces.
And where they can claim credit, they sometimes don't get it! It's ridiculous to look at a painting by Kandinsky in a museum and see him described as a GERMAN painter with no reference to his Russian heritage.