The closest the art of classicism to modern people. Classicism in painting
Classicism is the direction of European culture of the late 17 - early 19th century. The name comes from the Latin word Classicus, which translated means "exemplary". A distinctive feature of classicism is considered a strictly developed system of artistic norms, which were to be sure to be observed, the manifestation of creative fantasy was considered invalid. The ideas of classicism were present in all spheres of cultural life. Classicism in art, literature, painting, architecture, music was supposed to express universal harmony.
The basic principles of classicism were formulated in the treatise of Nicolas Baual (France 1674). In it, he convincingly substantiated a number of artistic requirements, which were presented to literary creativity. Dramatic works were supposed to be withstanding in strict unity of the site implies a fixed space where events occur, the unity of time is a certain, limited time interval, the unity of action is one central storyline.
Also, according to F. Phenelon and M. V. Lomonosov, representatives of classicism in literature are obliged to observe a strict hierarchy of genres and styles. "High County" - sublime vocabulary, genres: ODY, heroic poems. Middle Castle - Elegy, Satirical Works, Drama. "Low County" - Private and Casual Life, Genres: Basni, Comedy, Letters. It was forbidden. By the beginning of the 19th century, classicism began to exist with a pedestal such styles as sentimentalism and romanticism. Pogging behind the rigor and clarity has been suspended.
In Russia, classicism appeared only at the beginning of the 18th century. The theory of "three calm" of Lomonosov, the reform of Trediakovsky and the impetus to its development of the "Three Chang". The most famous representatives of classicism in Russia: Denis Ivanovich Fonvizin (comedy), Antiha Dmitrievich Kantemir (Satira), Gabriel Romanovich Dervin and Mikhail Vasilyevich Lomonosov (ODA), Ivan Ivanovich Chemnitzer and Alexander Petrovich Sumarokov (Basnya). The central problem of society of that time was the problem of power, therefore Russian classicism has peculiar parties in contrast to the classicism of Western. Since after no emperor came to power legally, then the problem of intrigue, palace coups, the inconsistency of the monarch of the expectations of the court and the people was relevant. It is these problems that are reflected in Russian classicism.
Representatives of classicism in music, for example, Josef Haydn, Wolfgang Amadeus Mozart, Ludwig Van Beethoven, were forever entered world history. Their works have become a guideline of the development of a further musical composition. Music works began to have a clearer structure, all parts of one work were balanced.
Classicism has greatly influenced such a branch of culture as architecture. Antique forms were used, Greek, Roman motifs are visible. Pastel shades prevail. In Russia, a very noticeable mixing and Russian baroque. Representatives of classicism in Russian architecture: Cossacks, Eroprkin, Zemtsov, Korobov, Rossi, Stasov, Monferran.
As a rule, emphasizes the smoothness of the forms, and the main elements of the form are line and lightness. N. Poussin and K. Lorren are recognized as one of the best painters. Poussin created masterpieces where heroic exploits were depicted, plots in historical style. Lorren, in turn, was engaged in landscapes, where the connection of man and nature is noticeable, the harmony of their interaction. Representatives of classicism in Russian painting: unsurpassed master themes A.P. Losenko, his students (I. A. Akimov, P. I. Sokolov and others).
Classicism (from Latin Classicus - exemplary), style and artistic direction in the literature, architecture and art of the 17th - early 19th century Classicism is preferably related to the Renaissance Epoch; occupied, along with Baroque, an important place in the culture of the 17th century; continued its development in the Epoch of Enlightenment. The origin and distribution of classicism is associated with the strengthening of the absolute monarchy, with the influence of the philosophy of R. Descarte, with the development of accurate sciences. At the heart of the rationalistic aesthetics of classicism - the desire for equilibrium, clarity, the logicality of the artistic expression (in many ways perceived from the aesthetics of revival); The conviction in the existence of universal and eternal, not exposed to historical changes of the rules of artistic creativity, which are interpreted as skill, skill, and not a manifestation of spontaneous inspiration or self-expression.
Having perceiving the idea of \u200b\u200bcreativity as a way-rising to Aristotle, the classicists understood nature as an ideal norm, which had already been incarnation in the works of antique masters and writers: the orientation on the "excellent nature", transformed and ordered in accordance with the unshakable laws of art, thus assumed imitation Antique samples and even competition with them. The developing idea of \u200b\u200bart as rational activity based on the eternal categories of "beautiful", "expedient", etc., classicism of more than other artistic directions contributed to the emergence of aesthetics as a generalizing science about beautiful.
The central concept of classicism is likely - did not imply accurate reproduction of the empirical reality: the world is not as much as it is, but it should be. The preference for the universal norm as "due" to everything private, random, concrete corresponds to the ideology expressed by the classicism of the absolutist state, in which all personal and private subordinate to the continued will of state power. The classicist portrait not a specific, single person, but a disheveled person in a situation of universal, non-historical moral conflict; Hence the orientation of classicists on antichny mythology as an embodiment of universal knowledge about the world and man. The ethical ideal of classicism suggests, on the one hand, the subordination of personal common, passions - debt, mind, resistance to the transformations of being; On the other hand, restraint in the manifestation of feelings, compliance with the measure, relevance, the ability to like.
Classicism strictly subordinate the work of the rules of the genre-style hierarchy. "High" delimited (for example, the epic, tragedy, Oda - in the literature; historical, religious, mythological genre, portrait - in painting) and "low" (satire, comedy, fables; still life in painting) genres, which corresponded to a certain style, Circle of themes and heroes; It was prescribed to clearly swaying the tragic and comic, elevated and lowland, heroic and ordinary.
From the mid-18th century, classicism gradually resulted in new currents - sentimentalism, predocutantism, romanticism. Traditions of classicism in the late 19th - early 20th century were resurrected in neoclassicism.
The term "classicism", ascending to the concept of classics (exemplary writers), first used the Italian critic of the city of Wisconti in 1818. It was widely used in the controversy of classicists and romantics, and in Romantics (J. De Stal, V. Hugo, etc.) had a negative color: classicism and classics, which imitated antiquities were opposed to innovative romantic literature. In literary studies and artificial knowledge, the concept of "classicism" began to be actively used after the work of scientists of cultural and historical school and Völdflin.
Stylistic trends, similar to classicism of the 17-18th century, are seen by some scientists and in other epochs; In this case, the concept of "classicism" is interpreted in an expansion sense, denoting a stylistic constant, periodically actuating at various stages of the history of art and literature (for example, "antique classicism", "Renaissance classicism").
N. T. Pakhsaryan.
Literature. The origins of literary classicism - in the regulatory poetics (Yu. Ts. Scaliger, L. Castelvetro, etc.) and in the Italian literature of the 16th century, where the genre system was created, correlated with the system of language styles and oriented to ancient samples. The highest flourishing of classicism is associated with French literature of the 17th century. The founder of classicism poetics was F. Mallb, who carried out the regulation of a literary language based on a live speech; The reform conducted by him was fixed by the French Academy. In the most complete form, the principles of literary classicism were set forth in the Treatise "Poetic Art" N. Balo (1674), which summarized the artistic practice of his contemporaries.
Classicist writers relate to literature as an important mission of the incarnation in the Word and transfer to the reader of the requirements of nature and reason, as to the way to "teach, entertaining". The literature of classicism is directed to a clear expression of significant thought, meaning ("... The meaning always lives in creating my" - F. von Logau), it refuses stylistic sophistication, rhetorical jewelry. Multiple classicists preferred laconicism, metaphorical complications - simplicity and clarity, extravagant - decent. Following the established standards did not mean, however, that classicists encouraged pedanthism and ignored the role of artistic intuition. Although the rules and presented to the classicists to keep creative freedom within the boundaries of the mind, they understood the importance of intuitive inspection, which is forgiving the talent derogation from the rules, if it is appropriate and artistic effectively.
Characters of characters in classicism are built on the allocation of one dominant feature, which contributes to the transformation of them into universal universal types. Favorite collisions are a clash of debt and feelings, the struggle of the mind and passion. In the center of the works of classicists - a heroic person and at the same time, a good-bought person who is precipitated to overcome their own passions and affects, curb or at least realize them (like the heroes of tragedies J. Rasina). Cartesian "I think, therefore, the role of not only the philosophical-intellectual, but also ethical principle plays in the worldship of the characteristics of classicism.
At the heart of the literary theory, classicism is a hierarchical system of genres; Analytical breeding for various works, even artistic worlds, "high" and "low" heroes and is combined with the desire to reflect "low" genres; For example, to save satire from a coarse burlesque, comedy - from the farce damns ("High Comedy" of Moliere).
The main place in the literature of classicism was held by a drama based on the rule of three unity (see three units of the theory). Her leading genre was the tragedy, the highest achievements of which - the works of P. Cornel and J. Rasin; The first tragedy acquires heroic, in the second - lyrical character. Other "high" genres play a much smaller role in the literary process (the mining experience of J. Shaplen in the genre of the epic poem subsequently parodirs Voltaire; the solemn ODDs wrote F. Maleb and N. Balo). At the same time, "low" genres are obtained by "low" genres: Iroocomic poem and satire (M. Rainier, Baual), Basnya (J. De Lafonten), comedy. The genres of small didactic prose are cultivated - Aphorisms (Maxims), "Characters" (B. Pascal, F. De Larocheter, J. De Labryuer); Oratoric prose (J. B. Bossyu). Although the theory of classicism did not include a novel into a system of genres, worthy of serious critical understanding, the psychological masterpiece M. M. Lafayets "Princess Klevskaya" (1678) is considered a sample of the classic novel.
At the end of the 17th century, there was a decline of literary classicism, but archaeological interest in antiquity in the 18th century, the excavation of Herculaneum, Pompei, the creation of I. I. Winquelman's ideal image of Greek antiquity as "noble simplicity and calm greatness" contributed to his new rise in the era of enlightenment. The main representative of the new classicism was Voltaire, in whose work rationalism, the cult of the mind served justification no longer standards of absolutist statehood, but the rights of the person to freedom from the claims of the Church and the state. Educational classicism, actively engaging in cooperation with other literary directions of the era, is not based on the "Rules", but rather to the "enlightened taste" of the public. Appeal to antiquity becomes a way to express the heroic of the French revolution of the 18th century in poetry A. Shhenie.
In France, in the 17th century, classicism was in a powerful and consistent artistic system, had a noticeable effect on Baroque literature. In Germany, classicism, arising as a conscious cultural effort to create a "right" and "perfect", worthy of other European literatures of the poetic school (M. Opole), on the contrary, was drowned by Baroque, the style of which more corresponded to the tragic era of the thirty-year-old war; Belaced attempt to I. K. Gothsheda in the 1730-40s to send German literature on the path of classic canons caused a fierce controversy and was generally rejected. An independent aesthetic phenomenon is Weimar Classicism I. V. Goette and F. Schiller. In the UK, early classicism is associated with the work of J. Dryden; Its further development proceeded in the direction of the Enlightenment (A. Pup, S. Johnson). By the end of the 17th century, classicism in Italy existed in parallel with Rococo and sometimes intertwined with him (for example, in the work of the poets "Arkady" - A. Zeno, P. Metastasio, P. Ya. Martello, S. Maffeei); Educational classicism is represented by V. Alfiery.
In Russia, classicism was approved in the 1730-1750s under the influence of Western European classicism and the ideas of enlightenment; At the same time, the connection with Baroque is clearly traced in it. Distinctive features of Russian classicism - pronounced didacticism, accusatory, socio-critical orientation, national-patriotic pathos, support for folk creativity. One of the first principles of classicism to the Russian soil was transferred by A. D. Kantemir. In his satire, he followed I. Baual, but, creating generalized images of human defects, adapted them to domestic reality. Kantemir introduced new poetic genres to Russian literature: Arrangements of Psalms, Basni, heroic poem (Petrida, is not over). The first sample of the classic praiseing ODA created V. K. Tredyakovsky ("Ode solemn about the delivery of the city of Gdanska", 1734), who accompanied her theoretical "reasoning about ODE generally" (and the other - after Baual). The impact of Baroque poetics is noted by ODD M. V. Lomonosov. The most fully and consistently Russian classicism is represented by the creativity of A. P. Sumarokov. Presenting the main provisions of the classic doctrine in the imitation of the treatise, the epistole about the poem (1747), Sumarokov sought to follow them in their works: tragedies focused on the work of French classicists of the 17th century and Voltaire's playwriter, but converted mainly to the events of national history; Partly - in the comedies, the sample for which the creativity of the Moliere was becoming; In satire, as well as the fables, who brought him the fame of the Northern Longontaine. I also developed a genre of a song that was not mentioned at Baual, but was incorporated by the Sumarokov himself in the list of poetic genres. Until the end of the 18th century, the classification of genres, proposed by Lomonosov, prefaced to the collection of works 1757 - "On the benefits of church books in Russian," which has been trying to three styles with concrete genres, tied with a high "shtail" heroic poem, ORD, solemn speech; with the middle - tragedy, satir, elegio, eclog; Low - comedy, song, epigram. The sample of the Iroocomic poem was created by V. I. Mikov ("Elisha, or irritable Vaca", 1771). The first completed heroic epic was Russiaida M. M. Heraskova (1779). At the end of the 18th century, the principles of classic drama were manifested in the work of N. P. Nikolev, Ya. B. Knyazhnina, V. V. Kapnika. At the turn of the 18-19th centuries, classicism is gradually displaced by new trends in literary development related to predocutantism and sentimentalism, but some time retains its influence. Its traditions can be traced in the 1800-20 years in the works of poets-Radishvtsev (A. Kh. Vostokov, I. P. Pinn, V. V. Parrots), in literary criticism (A. F. Merzlyak), in literary and aesthetic The program and the genre-stylistic practice of the Poets-Decembrists, in the early work of A. S. Pushkin.
A. P. Losenko. "Vladimir and Rogned". 1770. Russian Museum (St. Petersburg).
N. T. Pakhsaryan; T. G. Yurchenko (Classicism in Russia).
Architecture and visual art. The trends of classicism in European art have been planned already in the 2nd half of the 16th century in Italy - in the architectural theory and practice A. Palladio, theoretical treatises of J. Yes Vinologi, S. Serlio; More consistently - in the writings of J. P. Bellyri (17th century), as well as in the aesthetic regulations of academists of the Bologna school. However, in the 17th century, classicism, which developed in the acutelymatic interaction with Baroque, was only in the French artistic culture in a holistic style system. Mostly in France, classicism of the 18th - early 19th century was formed, which became a pan-European style (the latter in foreign arts is often referred to as neoclassicism). The basis of the aesthetics of classicism principles of rationalism led to an artistic work as on the fruit of the mind and logic, triumphant over the chaos and the fluidity of a sensually perceived life. The orientation of the reasonable principle, the normative of the requirements of the aesthetics of classicism, the regulation of art rules, the strict hierarchy of genres in visual arts (to the "high" genre include works on mythological and historical scenes, also "perfect landscape" and a parade portrait; to " Low "- still life, household genre, etc.). Consolidation of theoretical doctrines of classicism contributed to the activities of Paris-based royal academies - painting and sculptures (1648) and architecture (1671).
The architecture of classicism, in contrast to the baroque with its dramatic conflict of forms, energetic interaction of the volume and spatial medium, relies on the principle of harmony and internal completion, both a separate building and an ensemble. The characteristic features of this style are the desire for clarity and unity of the whole, symmetry and equilibrium, the definition of plastic forms and spatial intervals, creating a calm and solemn rhythm; The propocation system based on multiple relations of integers (a single module defining the patterns of formation). The constant treatment of the masters of classicism to the heritage of the ancient architecture implied not only the use of its individual motives and elements, but also the comprehension of the general laws of his architectonics. The basis of the architectural language of classicism was the architectural order, proportions and forms closest to antiquity than in the architecture of previous eras; In the buildings, it is used in such a way that does not darken the general structure of the structure, but becomes its subtle and restrained accompaniment. The interiors of classicism are characterized by the clarity of spatial members, the softness of colors. Widely used in monumental-decorative painting promising effects, the masters of classicism fundamentally seduced the illusory space from the real one.
An important place in the architecture of classicism belongs to the problems of urban planning. Projects of "ideal cities" are being developed, a new type of regular absolutist residence city is created (Versailles). Classicism is committed to the continuation of the traditions of antiquity and revival, laying the principle of proportionality to the basis of its decisions and, together with the factory, giving the architectural image the heroic-raised sound. And although the rhetorical pomp of the palace decor comes in contradiction with this dominant trend, a steady shaped structure of classicism retains the unity of the style, there may be many modifications in the process of historical development.
The formation of classicism in the French architecture is associated with the works of J. Lemercia and F. Mansar. The appearance of buildings and construction techniques first resemble the architecture of castles of the 16th century; The decisive fracture occurred in the works of L. Levo - first of all, in the creation of a palace and park ensemble of V. Le-Viscount, with the solemn anfilage of the Palace itself, impressive paintings by Sh. Lebedin and the most characteristic expression of new principles - a regular partner park of A. Lenotra. The program product of the architecture of classicism was the eastern facade of the Louvre, implemented (since the 1660s) according to the plan of K. Perso (it is characteristic that the projects of J. L. Bernini and others were rejected in the baroque style). In the 1660s, L. Levo, A. Lenotr and Sh. Lebedre began to create an ensemble of Versaille, where the ideas of classicism are expressed with a special fullness. Since 1678, the construction of Versailles was led by J. Ardenen-Mansar; According to his projects, the palace was significantly expanded (the wings are attached), the central terrace is redone to the mirror gallery - the most representative part of the interior. He also built the palace of a large trianon and other facilities. Versal's ensemble is inherent rare stylistic wholeness: even the fountain jets were connected to a static shape, a similar column, and trees and shrubs were trimmed in the form of geometric shapes. The symbolism of the ensemble is subordinate to the glorification of the "Sun King" of Louis XIV, but the artistic and figurative basis it was the apoophosis of the mind, the powerful transforming natural elements. At the same time, the lined decorativeness of the interiors justifies the use of the Versaille of the style of "Baroque Classicism".
In the 2nd half of the 17th century, new planning techniques are developing, providing for the organic compound of urban development with elements of the natural environment, the creation of open areas spatially merging with the street or the embankment, ensemble solutions of the nodal elements of the urban structure (Louis Square of the Great, now Vandom, and Victory Square ; Architectural ensemble of the house of persons with disabilities, all - J. Arden-Mansar), triumphant entry arches (Gate of Saint-Denis on the project N. F. Blondeja; all - in Paris).
The traditions of classicism in France of the 18th century were almost not interrupted, but in the 1st half of the century the style of Rococo prevailed. In the mid-18th century, the principles of classicism were transformed in the spirit of aesthetics of enlightenment. In the architecture, the appeal to the "naturalness" put forward the requirement of a constructive justification of the arrangements of the composition, in the interior - the need to develop a flexible planning of a comfortable residential building. The ideal environment of the house was the landscaped (garden-park) environment. A great influence on the classicism of the 18th century had a rapid development of knowledge about Greek and Roman antiquity (excavation of Herculaneum, Pompey, etc.); Proceedings of I. I. Wincelman, I. V. Götte, F. Militsia contributed to the theory of classicism. In the French classicism of the 18th century, new architectural types were identified: an exquisite intimate mansion ("Hotel"), a parade public building, an open area connecting the main highways of the city (Square Louis XV, now the area of \u200b\u200bconsent, in Paris, Architect J. A. Gabrielle; They also built a small trianon palace in the Versailles Park, combining the harmonic clarity of forms with lyric refinement of the drawing). J. J. Suflo realized his project of Saint-Geneviev's church in Paris, relying on the experience of classical architecture.
In the era, preceding the French revolution of the 18th century, the architecture showed a desire for harsh simplicity, bold searches for monumental geometrism of a new, lackless architecture (K. N. Leda, E. L. Bull, J. Zh. Leku). These searches (also marked by the influence of architectural etchings by J. B. Piranetsi) served as a starting point for the late phase of classicism - French ampira (1st third of the 19th century), in which magical representativeness increases (S. Perce, P. F. L. Fonten , J. F. Shalgren).
English Palladianism of the 17-18th century is largely known to the system of classicism, and often merged with it. Orientation to the classics (not only on the ideas of A. Palladio, but also on antiquity), strict and restrained expressiveness of plasticly clear motifs are present in the work of I. Jones. After the "Great Fire" of 1666, K. Ren built the largest building of London - St. Paul's Cathedral, as well as over 50 parish churches, a number of buildings in Oxford, noted by the influence of ancient solutions. Extensive urban planning plans were implemented by the middle of the 18th century in regular buildings of the city of Bat (J. Wood Senior and J. Wood Jr.), London and Edinburgh (Adam Brothers). Building W. Cheimbers, W. Kent, J. Paine is connected with the flourishing of country parks. R. Adam was also inspired by Roman antiquity, but its version of classicism acquires a softer and lyrical appearance. Classicism in the UK was the most important component of the so-called Georgian style. At the beginning of the 19th century, there are features close to Ampuir (J. Sun, J. Nash) in English architecture.
In the 17th and early 18th century, classicism was formed in the architecture of Holland (Ya. Van Kampen, P. Post), who had a particularly discreet version. Crossings with French and Dutch classicism, as well as with early baroque, they affected the short flourishing of classicism in the architecture of Sweden of the late 17 - early 18th century (N. Teszin Jr.). In the 18th - early 19th century, classicism was also established in Italy (J. Piermarini), Spain (H. De Villanueva), Poland (Ya. Camsetser, H. P. Aigner), USA (T. Jefferson, J. Hoban). For the German architecture of classicism 18 - 1st half of the 19th century, the strict forms of Palladian F. V. Erdmansdorf, "Heroic" Hellenism K. G. Langhans, D. and F. Zhilly, historicism L. Klenza. In the work of K. F. Shinkel, the harsh monumentality of images is combined with the search for new functional solutions.
By the middle of the 19th century, the leading role of classicism comes down; He has historical styles for replacing (see also neo-shared style, eclecticism). At the same time, the artistic tradition of classicism comes to life in neoclassicism of the 20th century.
Fine art classicism regulatory; Its figurative is inherent in the explicit signs of social utopia. Antique legends, heroic acts, historical plots, i.e., interest to the fate of human community, to the "anatomy of power" predominate in the iconography of classicism. Without satisfying a simple "portrait of nature", artists of classicism seek to rise over concrete, individual - to the overall one. Classicists defended their idea of \u200b\u200bartistic truth, which did not coincide with the naturalism of Caravaggio or Small Dutch. The world of reasonable acts and bright feelings in the art of classicism erected over imperfect everyday life as the incarnation of the dream of the desired harmony of being. Orientation on the sublime ideal spawned and choosing "excellent nature". Classicism avoids a random, deviating from the norm, grotesque, coarse, repulsive. Tectonic clarity of classic architecture answers a clear distinction of plans in sculpture and painting. Plastic classicism, as a rule, is designed for a fixed point of view, characterized by the smoothness of the forms. The moment of movement in the scenes of the figures usually does not disturb their plastic closetness and calm statuarity. In the painting of classicism, the basic elements of the form - line and lightness; Local colors clearly detect objects and landscape plans, which brings the spatial composition of the pictorial product to the composition of the stage platform.
The founder and the largest master of classicism of the 17th century was the French artist N. Poussin, the paintings of which are marked by the hill of philosophical and ethical content, harmony of the rhythmic system and color.
High development in the painting of classicism of the 17th century received the "ideal landscape" (N. Poussin, K. Lorren, G. Dug), which embodied the dream of classicists about the "golden age" of mankind. The most significant masters of French classicism in sculpture of the 17th - early 18th century were P. Puzh (heroic topic), F. Giradon (searching for harmony and laconide forms). In the 2nd half of the 18th century, French sculptors again turned to socially significant topics and monumental solutions (J. B. Pigal, M. Klodion, E. M. Falcon, J. A. Hudon). Civil pathos and lyricity were combined in mythological painting J. M. Vieen, decorative landscapes of Y. Robert. The painting of the so-called revolutionary classicism in France is represented by the works of J. L. David, the historical and portrait images of which were marked by courageous drama. In the late period of French classicism, painting, despite the emergence of individual major masters (J. O. D. Engr), degenerates into official-apologetic or salon art.
The International Center for Classicism of the 18th - early 19th century became Rome, where an academic tradition was dominated in art with a combination of nobility of forms and cold, abstract idealization (painters A. R. Mengs, J. A. Koh, V. Kamuchchini, Sculptors A. What and B. Torvaldsen). In the visual art of German classicism, contemplating in spirit, portraits of A. and V. Tishbayinov, mythological cardons A. Ya. Krastens, plastic IG Shadova, K. D. Rauha; In decorative and applied art - furniture D. Röntgen. In the UK, classicism of graphics and sculpture of J. Flaksman, in decorative and applied art - Ceramics J. Wajwood and the masters of the plant in Derby.
A. R. Mengs. "Perseus and Andromeda". 1774-79. Hermitage (St. Petersburg).
The flowering of classicism in Russia belongs to the last third of the 18th - 1st third of the 19th century, although the beginning of the 18th century is noted by creative appeal to the urban-planning experience of French classicism (the principle of symmetric-axial planning systems in the construction of St. Petersburg). Russian Classicism embodied a new, unprecedented for Russia in spidabuse and ideological fullness, the historical stage of the heyday of Russian secular culture. Early Russian classicism in architecture (1760-70s; J. B. Vallen-Demotam, A. F. Kokorinov, Yu. M. Felten, K. I. Blank, A. Rinaldi) retains more plastic enrichment and dynamics of forms inherent Baroque and Rococo.
Arching mature pores of classicism (1770-90s; V. I. Bazhenov, M. F. Kazakov, I. E. Starov) created the classic types of the Moscow Palace - manor and a comfortable residential building, which became samples in the wide construction of the country nozzles And in the new, parade construction of cities. The art of the ensemble in country park estates is the major contribution of Russian classicism into world artistic culture. In the manor construction there was a Russian version of Palladianism (N. A. Lvov), a new type of chamber palace (Cameron, J. Kaprengy) has developed. The peculiarity of Russian classicism is an unprecedented scale of state urban planning: regular plans of more than 400 cities were developed, ensembles of Caluga centers, Kostroma, Poltava, Tver, Yaroslavl, etc.; The practice of "regulation" of urban plans, as a rule, successfully combined the principles of classicism with the historically established planning structure of the Old Russian city. The 18-19th century is marked by the largest urban-planning achievements in both capitals. The grand ensemble of the center of St. Petersburg (A. N. Voronikhin, A. D. Zakharov, J. F. Tom de Tonon, Later, K.I. Rossi). "Classic Moscow" was formed on other urban beginnings, built in the period of its recovery after a fire of 1812 with small mansions with cozy interiors. The beginning of the regularity here was consistently subordinated to the common picturesque freedom of the spatial structure of the city. The most prominent architects of the late Moscow classicism - D. I. Livadi, O. I. Bow, A. G. Grigoriev. The construction of the 1st third of the 19th century belongs to the style of the Russian ampier (sometimes referred to as Alexander classicism).
In the visual art, the development of Russian classicism is closely related to the St. Petersburg Academy of Arts (based in 1757). The sculpture is represented by the "heroic" monumental-decorative plastic forming a finely thoughtful synthesis with architecture performed by civilian pathos by monuments, imbued with an email enlighteability of tombstones, machine plastic (I.P. Prokofiev, F. Gordeev, M. I. Kozlovsky, I. P. Martos, F. F. Shchedrin, V.I. Deuto-Malinovsky, S. S. Pimenov, I. I. Terebenev). In painting, classicism was most pronounced in the works of the historical and mythological genre (A. P. Losenko, G. I. Ugryumov, I. A. Akimov, A. I. Ivanov, A. E. Egorov, V. K. Shebowev, early A. A. Ivanov; in scenography - in the work of P. di G. Gonzago). Some features of classicism also inherent in the sculptural portrait of F. I. Schubin, in painting - portrait of D. G. Levitsky, V. L. Borovikovsky, landscapes F. M. Matveev. In the decorative and applied art of Russian classicism, artistic modeling and carved decor in architecture, bronze products, cast-iron casting, porcelain, crystal, furniture, calf tissues, etc.
A. I. Kaplun; Yu. K. Zolotov (European Fine Arts).
Theatre. The formation of theatrical classicism began in France in the 1630s. The activating and organizing role in this process belonged to literature, due to which the theater was established in a number of "high" arts. Samples of theatrical art of the French saw in the Italian "scientific theater" of the Renaissance. Since the court society was the legislator of tastes and cultural values, then the court ceremony and festivities, ballets, solemn techniques were influenced by the stage style. The principles of theatrical classicism were developed at the Paris Snaps: in the head of Mondori theater "Mare" (1634), in the Cardinal Richelieu "Pale-Cardinal" (1641, from 1642 "Pale-Royal"), whose device responded to high demands of Italian scenic equipment ; In the 1640s, the Burgundian hotel became the platform of theatrical classicism. The simultaneous scenery gradually, by the middle of the 17th century, was replaced by a picturesque and uniform promising decoration (palace, temple, house, etc.); A curtain appeared, which rose and sank at the beginning and at the end of the performance. The scene was to frame as a picture. The game unfolded only on the outstandence; The performance was centered by several figures of protagonist characters. An architectural backdrop, a single place of action, a combination of acting and picturesque plans, the total three-dimensional Mizanszen contributed to the creation of the illusion of truth. In the stage classicism of the 17th century, the concept of the "fourth wall" existed. "He comes in this way - he wrote about the actor F. E. A'obignac (" Theater Practice ", 1657), - As if the viewers do not exist at all: his characters act and say as if they really were kings, not Mondori and Belzosis, as if they were in the Palace Horace in Rome, and not in the Burgundy hotel in Paris, and as if they were seen and hear only those who are present on the stage (i.e. in the place in the place). "
In the high tragedy of classicism (P. Cornel, J. Rasin) to change the dynamics, entertainment and adventure plots of Pieces A. Ardi (amounted to the repertoire of the first permanent French troupe V. Lekontta in the 1st third of the 17th century) came static and deepeble attention to mental The world of the hero, the motives of his behavior. New dramaturgy demanded changes in the executive art. The actor became the embodiment of the ethical and aesthetic ideal of the era, creating his game portrait of a contemporary close-up; His costume stylized for antiquity corresponded to modern fashion, plastic was subordinate to the requirements of nobility and grace. The actor was supposed to have a speaker pathos, a sense of rhythm, musicality (for the actress M. Shanmele J. Rasin inscribed notes over rows of roles), the art of an eloquent gesture, dancer skills, even physical power. The drama of classicism contributed to the emergence of the school of the stage declamation, which united the entire set of performing techniques (reading, gesture, facial expressions) and became the main expressive means of the French actor. A. Vitesz called the declamination of the 17th century "prosodic architecture." The performance was built in the logical interaction of the monologues. Using the word, the technique of excitation of emotion and control of it was carried out; From the strength of voting, his soundness, timbre, possession of paints and intonation, the success of execution was depended.
"Andromaha" J. Rasin in the Burgundy hotel. Engraving F. Shawovo. 1667.
The separation of theatrical genres on the "high" (tragedy in the Burgundy hotel) and "low" (comedy in the "Pale-Royal" of the Moliere time), the appearance of the role was secured by the hierarchical structure of the classicism theater. Staying within the boundaries of the "refined" nature, the drawing of the execution and outlines of the image was determined by the individuality of the largest actors: the manner of J. Floridor's declamation was more natural than that of an overly positive belost; M. Shanmele was characterized by a sonorous and singer "speech", and Montflery did not know the passion in affects. The presentation of the canon of theatrical classicism, which consisted of standard gestures (surprise was depicted with hands raised to the level of shoulders, and palms facing the audience; disgust - head, turned to right, and hands that repulse the object of contempt, etc.) , refers to the era of decline and degenerate style.
In the 18th century, despite the decisive waste of the theater towards the educational democratism, the actors "Comedi Francaise" A. Lekurren, M. Baron, A. L. Lenin, Dimeril, Claron, L. Previl developed the style of stage classicism in accordance with tastes and requests Epochs. They retreated from the classic norms of the declaignation, reformed costume and attempted to direct the performance, creating an acting ensemble. At the beginning of the 19th century, in the midst of the struggle of romantics with the tradition of the "courtie" theater, F. J. Talma, M. Jhorzh, Mars proved the viability of the classic repertoire and performing manner, and in the work of Rachel classicism in the romantic era again gained the meaning of "high "And in demand style. Traditions of classicism continued to influence the theater culture of France at the turn of the 19-20 centuries and even later. The combination of the styles of classicism and modernity is typical of the game of J. Muna-Sully, S. Bernard, B. K. Cockle. In the 20th century, the French directorial theater became close to the European, the stage style lost its national specificity. However, significant events in the French theater of the 20th century correlate with the traditions of classicism: the performances of J. Sopo, J. L. Barro, L. Zhuva, J. Vilara, Vitez experiments with a classic of the 17th century, R. Tamstone, J. Desault and etc.
Lost in the 18th century the value of the dominant style in France, classicism found successors in other European countries. I.V. Goethe consistently introduced the principles of classicism in the Weimar Theater leadership. Actress and entrepreneur F. K. Neumber and the actor K. Ekgf in Germany, English actors T. Beterton, J. Quen, J. Kamble, S. Siddonsus promoted classicism, but their efforts, despite personal creative achievements, turned out to be small and, Ultimately, they were rejected. Stage classicism became the object of the pan-European controversy and thanks to the German, and for them and Russian theoretics of the theater received the definition of "Flapsclass".
In Russia, classic style worried flourishing at the beginning of the 19th century in the work of A. S. Yakovlev and E. S. Semenovoy, later manifested itself in the achievements of the Petersburg theater school in the face of V. V. Samoilova (see Samoyov, V. A. Karatygin (see Karatygin), then Yu. M. Yuryeva.
E. I. Galfunkel.
Music. The term "classicism" in relation to music implies not the orientation of the ancient samples (only monuments of an ancient Greek musical theory were known and studied), and a series of reforms designed to end the baroque styles in the music theater. Classicist and baroque trends were contradictory in the French music tragedy of the 2nd half of the 17th - 1st half of the 18th century (the creative Commonwealth of the Librettist F. Cinema and Composer J. B. Lully, Opera and Opera Ballets J. F. Ramo) and in Italian opera series, which took the leading position among the musical and dramatic genres of the 18th century (in Italy, England, Austria, Germany, Russia). The flourishing of the French musical tragedy came to the beginning of the crisis of absolutism, when the ideals of the heroes and citizenship of the period of struggle for the national state were replaced by the spirit of festivity and the parade official, a luxury and sophisticated hedonism. The sharpness of a typical conflict of the conflict of feelings and debt in the conditions of mythological or knightly legendary plot of the musical tragedy decreased (especially in comparison with the tragedy in the dramatic theater). The requirements of the classicism are associated with the requirements of genre purity (lack of comedy and household episodes), unity of action (often also place and time and time), "classical" 5-acting composition (often with a prologue). The central position in musical drama occupies a recitative - an element, the closest rationalistic verbal and conceptual logic. In the intonation sphere, the declamation-pathetic formulas (questionative, imperative, etc.) are dominated in the intonational sphere, at the same time rhetorical and symbolic figures, characteristic of baroque opera, are excluded. Extensive choral and ballet scenes with fantastic and pastoral and idyllic topics, the overall orientation for entertainment and entertainment (which ended up the dominant) to the greater the traditions of Baroque, rather than the principles of classicism.
The cultivation of singing virtuosity, the development of the decorative element, was traditional for Italy. In line with the requirements of classicism nominated by some representatives of the Roman Academy "Arkady", the North-Italian Librettists of the early 18th century (F. Silvani, J. Friedimelika-Roberti, A. Zeno, P. Pariat, A. Salvi, A. Piogen) expelled from serious opera comic and household episodes, plot motifs associated with the intervention of supernatural or fantastic forces; The circle of the plots was limited to historical and historical and legendary, anticipating and ethical issues were put forward to the fore. In the center of the artistic concept of the early opera-series - the sublime heroic image of the monarch, the less often of the statesman, the court, epic hero, demonstrating the positive qualities of an ideal personality: wisdom, tolerance, generosity, dedication to debt, heroic enthusiasm. A 3-acting structure for the Italian opera was preserved (5-acting dramas remained experiments), but the number of acting persons declined, intonational expressive tools, forms of overtures and arias, the structure of vocal parties were typed in music. The type of dramaturgy, fully subordinate to the musical tasks, developed (since the 1720s) P. Metastasio, with the name of which the vertex stage in the history of the opera series is connected. In his plots, classic pathos is noticeably weakened. The conflict situation, as a rule, arises and deepens due to the protested "misconceptions" of the main actors, and not as a result of the real contradiction of their interests or principles. However, a special addiction to the idealized sense expression, to the noble gusts of the human soul, albeit distant from a strict rational justification, ensured the exclusive popularity of the metastasio libretto for more than half a century.
The culmination in the development of the musical classicism of the Epoch of Enlightenment (in the 1760-70s) was the creative Commonwealth of K. V. Glitka and Librettist R. Calckebiji. In the operations and ballets of the glitch, classic tendencies expressed in emphasized attention to ethical issues, the development of ideas about heroic and generosity (in the musical dramas of the Parisian period - in direct contact with the topic of debt and feelings). The norms of classicism also corresponded to genre purity, the desire to maximize the concentration of action, reduced to almost one dramatic collision, strict selection of expressive means in accordance with the tasks of a particular dramatic situation, the limit restriction of the decorative element, the virtuoso start in singing. The enlightening nature of the interpretation of images affected the plexus of noble qualities inherent in classic heroes, with the naturalness and freedom of feelings, reflecting the effect of sentimentalism.
In the 1780-90s, the tendency of revolutionary classicism, reflecting the ideals of the French revolution of the 18th century, are found in the French Music Theater. Genetically associated with the preceding stage and presented mainly by the generation of composers-followers of the glukovskoy opera reform (E. Megyul, L. Kerubini), the revolutionary classicism accentuated, primarily a civil, thiranobor paphos, previously peculiar to the tragedies of P. Cornell, Voltaire. Unlike the works of the 1760-70s, in which the permission of the tragic conflict was difficult to find it and required the intervening of external forces (the tradition of "Deus Ex Machina" - the Latin "God from the car"), for the writings of the 1780-1790s Through the heroic act (refusal of obedience, protest, often an act of retaliation, the murder of Tirana, etc.), which created a bright and spectacular discharge of tension. A similar type of dramaturgy is based on the "Opera Salvation" genre, which appeared in the 1790s at the intersection of the traditions of the classic opera and realistic Meshchansky drama.
In Russia, in the music theater, the original manifestations of classicism are identical (Opera "Cefal and Princis" F. Araii, Orpheus Melodrama E. I. Fomina, Music O. A. Kozlovsky to tragedies V. A. Ozerov, A. A. Shakhovsky and A. N. Georgintsev).
In relation to the comic opera, as well as the instrumental and vocal music of the 18th century, not related to theatrical action, the term "classicism" is largely applied conditional. It is sometimes used in the expansion sense to designate the initial stage of the classic and romantic era, gallant and classic styles (see the article by the Vienna classic school, classic in music), in particular in order to avoid evaluation (for example, when translating the German term "Klassik" or in The expression "Russian Classicism", distributed to the entire Russian music of the 2nd half of the 18th - early 19th century).
In the 19th century, classicism in the music theater is inferior to romanticism, although certain features of the classic aesthetics are sporadically reborn (in Spontini, Berlioz, S. I. Taneyev, etc.). In the 20th century, classic artistic principles were revived in neoclassicism.
P. V. Lutsk.
Lit.: Common work. Zeitler R. Klassizismus und Utopia. Stockh., 1954; Peyre N. QU'EST-CE QUE LE CLASSICISME? R., 1965; Bray R. La Formation De La Doctrine Classique en France. R., 1966; Renaissance. Baroque. Classicism. The problem of styles in the Western European art of the XV-XVII centuries. M., 1966; Tapié V. L. BAROQUE ET CLASSICISME. 2 éd. R., 1972; Benac N. Le Classicisme. R., 1974; Zolotov Yu. K. Moral Fundamentals of action in French classicism of the XVII century. // Izvestia Academy of Sciences of the USSR. Ser. Literature and language. 1988. T. 47. No. 3; Zuber R., Cuénin M. Le Classicisme. R., 1998. Literature. Vipper Yu. B. The formation of classicism in French poetry of early XVII century. M., 1967; Oblomiyevsky D. D. French classicism. M., 1968; Serman I. Z. Russian Classicism: Poetry. Drama. Satire. L., 1973; Morozov A. A. The fate of Russian classicism // Russian literature. 1974. No. 1; Jones T. V., Nicol V. Neo-Classical Dramanatic Criticism. 1560-1770. Camb., 1976; Moskvichva G. V. Russian classicism. M., 1978; Literary manifestes of Western European classicists. M., 1980; Averintsev S. S. Ancient Greek poetics and world literature // Poetics of ancient Greek literature. M., 1981; Russian and Western European classicism. Prose. M., 1982; L'Antiquité Gréco-Romaine Vue Par Le Siècle Des Lumières / éd. R. Chevallier. Tours, 1987; Klassik Im Vergleich. Normativität Und Historizität Europäischer Klassiken. Stuttg.; Weimar, 1993; PMPYANSKY L.V. To the history of Russian classicism. Pumpyansky L. V. Classical tradition. M., 2000; Génétiot A. LE Classicisme. R., 2005; Smirnov A. A. Literary theory of Russian classicism. M., 2007. Architecture and visual art. Gallet P. P. History of Arts .. M., 1907. T. 3; He is History of Arts. Western European baroque and classicism. M., 2005; Brunov N. I. Palaces of France XVII and XVIII century. M., 1938; Blunt A. François Mansart And The Origins of Frhench Classical Architecture. L., 1941; IDEM. ART AND ARCHITECTURE IN FRANCE. 1500 to 1700. 5th ED. NEW HAVEN, 1999; Hautecoeur L. Histoire de L'Architecture class Classique en France. R., 1943-1957. Vol. 1-7; Kaufmann E. Architecture in The Age Of Reason. CAMB. (Mass.), 1955; Rowland V. The Classical Tradition in Western Art. CAMB. (Mass.), 1963; Kovalenskaya N. N. Russian Classicism. M., 1964; Vermeule S. S. European Art And The Classical Past. CAMB. (Mass.), 1964; Rotenberg E. I. Western European Art of the XVII century. M., 1971; He is Western European painting 17 century. Thematic principles. M., 1989; Nikolaev E. V. Classical Moscow. M., 1975; Greenhalgh M. The Classical Tradition in Art. L., 1978; Fleming J. R. Adam and His Circle, in Edinburgh and Rome. 2nd ed. L., 1978; Yakimovich A. K. Classicism of the era of Poussin. Fundamentals and principles // Soviet art and artificiality'78. M., 1979. Vol. one; Zolotov Yu. K. Poussin and Volnoduumsy // ibid. M., 1979. Vol. 2; Summerson J. The Classical Language Of Architecture. L., 1980; Gnudi S. L'Ideale Classico: Saggi Sulla Tradizione Classica Nella Pittura del Cinquecento E del Seicento. Bologna, 1981; Howard S. Antiquity Restored: Essays on the Afterlife of the Antique. Vienna, 1990; The FRENCH Academy: Classicism and Its Antagonists / Ed. J. Hargrove. NEWARK; L., 1990; Arkin D. E. Images of architecture and sculpture images. M., 1990; Daniel S. M. European Classicism. St. Petersburg, 2003; Karev A. Classicism in Russian painting. M., 2003; Bedretinova L. Catherine classicism. M., 2008. Theater. Celler L. Les Décors, Les Costumes et la Mise EN Scène Au Xviie Siècle, 1615-1680. R., 1869. Gen., 1970; Manzius K. Moliere. Theater, public, actors of his time. M., 1922; Mongredien G. les Grands Comédiens du XVIIE Siècle. R., 1927; Fuchs M. La Vie Théâtrale en Province Au Xviie Siècle. R., 1933; About the theater. Sat Articles. L.; M., 1940; Kemodle G. R. From Art to theater. Chi., 1944; Blanchart R. Histoire de la Mise En Scène. R., 1948; Vilar J. On the theater tradition. M., 1956; History of the Western European Theater: at 8 t. M., 1956-1988; Velehova N. in spores about style. M., 1963; Boyadzhiev G. N. Art of classicism // Questions of literature. 1965. No. 10; Leclerc G. Les Grandses Aventures du Théâtre. R., 1968; Mintz N. V. Theatrical collections of France. M., 1989; Gitelman L. I. Foreign acting XIX century. St. Petersburg, 2002; History of the foreign theater. SPb., 2005.
Music. Materials and documents on the history of music. XVIII century / Edited by M. V. Ivanova-Boreletsky. M., 1934; Bureugen E. Music of the Rococo and Classicism era. M., 1934; He is Heroic style in the opera. M., 1936; Livanova T. N. On the way from the Renaissance for Enlightenment of the XVIII century. // from the Renaissance era to the XX century. M., 1963; She is. The problem of style in the music of the XVII century. // Renaissance. Baroque. Classicism. M., 1966; She is. Western European music of the XVII-XVIII centuries. in a row of arts. M., 1977; Liltolf M. Zur Rolle der Antique in Der Musikalischen Tradition Der Französischen Epoque Classique // Studien Zur Tradition in Der Musik. Münch., 1973; Keldish Yu. V. The problem of styles in Russian music of the XVII-XVIII centuries. // Keldysh Yu. V. Essays and research on the history of Russian music. M., 1978; Lutsker P.V. Style's problems in musical art at the turn of the XVIII-XIX centuries. // Epochlines in the history of the West Art. M., 1998; Luzker P. V., Susidko I. P. Italian opera XVIII century. M., 1998-2004. Part 1-2; Kirillina L.V. Reformed glitch operas. M., 2006.
Translated from the Latin "Classicus" means "exemplary". Simple words, classicism at the dawn itself of his formation was considered ideal from the point of view of painting. The artistic style developed in the XVII century and began to gradually disappear in the XIX century, yielding to such areas as romanticism, academism (combination of classicism and romanticism) and realism.
The style of painting and sculptures of classicism appeared at the time when artists and sculptors turned to the art of antiquity and began to copy many of his features. The ancient art of Greece and Rome in the Renaissance era produced a real splash of interest in works of art and creativity. The authors of the Renaissance, which today are considered among the greatest creators in history, turned to antique motives, plots, and most importantly, the forms of the image of human figures, animals, environment, compositions, and so on. Classicism expresses an exact image, however, the figures in the paintings of the artists look quite sculpturally, you can even say - exaggeratedly unnaturally. People on such canvases may seem like frozen sculptures in the "speaking" poses. Posses of people in classicism themselves say for themselves what is happening at the moment and what emotions are experiencing one or another character - heroism, defeat, grief and so on. All this is presented in an exaggerated-sharing manner.
Classicism, which was built on the basics of an ancient image of men and women of idealized athletic or exaggerated feminine physique, demanded from the artists of the Renaissance and artists of subsequent periods to portray people and animals in their pictures in such a form. Therefore, in classicism it is impossible to find a man or even an old man with flue skin or a woman with a shapeless figure. Classicism is an idealized image of everything that is present in the picture. Since the antique world to portray a person was made, as the ideal creation of gods, which has no flaws, the artists and sculptors who began to copy this manner to fully correspond to this representation.
Also, classicism often resorted to antique mythology. With the help of ancient Greek and ancient Roman mythology, they could be depicted, both directly the plots themselves from myths and modern for artists plots with elements of antique mythology (antique architecture, gods of war, love, muses, amuras and so on). Mythological motives in the pictures of classicist artists subsequently took the form of symbolism, that is, through antique symbols, artists expressed this or that promise, meaning, emotion, mood.
Classicism paintings
GRO Antoine Jean - Napoleon Bonaparte on Arkolk Bridge
Giovanni Tapolo - Pie Cleopatra
Jacques-Louis David - Goraciyev Oath
Grez Jean Batist - Spoiled Child
Europe 17 - 19th centuries, the most important feature of which was a deep appeal to the ancient art as an ideal, standard, classicism. In painting, as in sculpture, architecture and other types of creativity, the traditions of revival continued - faith due to the human mind, the worship of the ideals of measures and harmony
Classicism trends appeared in Italy at the end of the 16th century. The pan-European style began to form in the Lowe of France. The aesthetic value of this era has only non-losing time, increasing. The educational and social function of art attached great importance. Therefore, classicism in painting nominates the latest ethical norms, which forms images of its heroes: the subordination of common personal, passions - reason, debt, the supreme interests of the public, the laws of the universe, the resistance before the transformations of the Being and the cruelty of fate. The orientation for incredit images, a reasonable start determined the regulation of artistic laws, the regulations of the requirements of classical aesthetics, a strict hierarchy of existing genres - from "low" (portrait, landscape, still life) to "high" (mythological, historical, religious). Each genre pushed the meaningful strict boundaries and formal clear signs.
The first classicism in painting introduced Frenchman N. Poussin, he is his founder. Artist's paintings - "Death of Germany", "Rinaldo and Armida", "Arcade shepherds", "Finding Moses", etc. All of them are marked by the harmoniousness of the rhythmic flavor and the building, the hill of ethically-philosophical content.
Classicism in Russian painting was expressed by the approval of the beauty of an individual, unique, unusual. The highest achievement of this epoch in painting is not historical topics, but a portrait (A.Antropov, A.Agorunov, F. Kotov, D. Lytitsky, V. Korovikovsky, O. Kiprensky). B occupies an honorable place because it has its discoveries and features. O. Kiprensky, for example, discovered not only new but the latest painting opportunities. All his portraits are different: everyone has its own original picturesque system. Some are built on the picturesque contrast of the shadow and light. In others, fine gradation is manifested in similar, close colors.
Russian classicism in painting is necessarily associated with the invaluable canvases of the bullov. They are distinguished by an alloy of academic classicism and romanticism, novelty scenes, theatrical effects of plastics and lighting, complexity of composition. A.Ivanov managed to overcome many templates, characteristic of academic technology and gave his work the character of sacrificial judgments to ideas.
Classicism in the painting of Russia also promoted such well-known artists: I. Rupin, I. Surikov, V.Serov, I.Shikhkin, A.Saversov, I. Levitan. All of them made a lot for the art of their country, and together are taken together for the culture of the whole world.
Classicism is a painting style that began to develop in the Renaissance Epoch. Translated from the Latin "Classicus" means "exemplary". Simple words, classicism at the dawn itself of his formation was considered ideal from the point of view of painting. The artistic style developed in the XVII century and began to gradually disappear in the XIX century, yielding in such areas as romanticism, academism and realism. The Renaissance Style of Painting and Sculptures of Classicism appeared at the time when artists and sculptors turned to the art of antiquity and began to copy many of his features. Classicism expresses the exact image, however, the figures in the paintings of the artists look quite sculpturally, you can even say exaggerated - unnaturally. People on such canvases may seem like frozen sculptures in the "speaking" poses. Posses of people in the classicism themselves say for themselves what is happening at the moment and what emotions are experiencing one or another character heroism, defeat, grief and so on. All this is presented in an exaggerated - disguised manner.
Classicism Classicism, which was built on the basics of an ancient image of men and women of idealized athletic or exaggerated feminine physique, demanded from the artists of the Renaissance and artists of subsequent periods to portray people and animals in their pictures in such a form. Therefore, in classicism it is impossible to find a man or even an old man with flue skin or a woman with a shapeless figure. Classicism is an idealized image of everything that is present in the picture. Since the antique world to portray a person was made, as the ideal creation of gods, which has no flaws, the artists and sculptors who began to copy this manner to fully correspond to this representation. Also, classicism often resorted to antique mythology. With the help of ancient Greek and ancient Roman mythology, they could be depicted, both, directly the plots of the myths and modern plots for artists with elements of ancient mythology. Mythological motives in the paintings of artists - classicists subsequently accepted the form of symbolism, that is, through the ancient symbols, artists expressed one or another promise, meaning, emotion, mood.
Nikola Poussna was born in Normandy in 1594. He is considered the most significant French painter of the XVII century after initial training in Ruang in 1612 came to Paris, then I was struck in Italy and settled in Rome in 1624, where he lived the rest of the world's first They have the works and reached us to work already in the Roman period, he performed large orders and became a recognized head of classicism Creativity of this master was the top of French classicism and had an impact on many artists of the following centuries.
"Healing the blind" picture "Healing of the Blind" is written on the gospel plot against the background of a pretty rigidly executed landscape with a picturesque architecture among the courtyard of the trees showing a group of people, consisting of two parts: Christ with students and a group of citizens with cranked blind, to which Christ is touching Hand
Most of the plots of Pussy's paintings have a literary basis, some of them are written on the work of the poet of the Italian Renaissance Tarkvato Tasso "liberated by Jerusalem", telling about the camps of the crusaders in Palestine
"Landscape with a polyfem" An important place in the work of Poussin was held by the landscape. It is always inhabited by mythological characters. This is reflected in the names of works: "Landscape with a polyfem", "Landscape with Hercules" but their shapes are small and almost imperceptible among huge mountains, clouds and trees antique characters. Mythologies are here as a symbol of spirituality of the world. The same idea expresses and the composition of the scenery is simple, logical, ordered
Claude Lorren () Claude Lorren was a contemporary Poussin real name of the artist Claude Zvel, and he got a nickname, he got the name of his birth to the province of Lorraine, he got into Italy, where he began to study painting most of his life the artist spent in Rome
Morning in Harbor Lorren dedicated his creativity to the landscape that in France XVII century. It was the rarity of his canvas embody the same ideas and compositional principles as the landscapes of Poussin, but differ more than the fineness of the flavor and the virtuoso-built perspective of Lorrene were interested in the game of tones, an image of air and light on canvas
Half the artist for soft light and even scattered lighting, allowing the effect of the "dissolution" of the outlines of objects in the foreground figures seem to be almost imperceptible compared to epically magnificent trees, mountain slopes, a sea rock, on which Lorren's gentle glare plays Consider the founder of traditions of the French landscape
Charles Lebrene () In the vast heritage of Charles Lebedin, the changes that French classicism has passed the title of the first painter of the king, Lebedges participated in all official projects, primarily in the design of the Big Palace in Versaille, his painting glorified the power of the French monarchy and the greatness of Louis XIV King of the Sun Lebedras wrote a lot of portraits by his customers was mostly royal ministers and court aristocracy painted in everything Potacled their tastes, turning his paintings into a parade theatrical action so shown the Chancellor of France Pierre Segeye: this politician received a nickname in a nickname "Dog in Great Collar", But Lebeds did not even hint on his brutality of a nobleman with a noble posture and a face performed by wise dignity, squeezes on horseback
The entry of Alexander Macedonsky in Babylon, thanks to Lebedre in 1648, the French Royal Academy of Painting and Sculptures was founded, he led the royal manuff of tapestries and furniture in his long pedagogical activities at the Lebrene Academy manifested himself with a real dictator, insisting, first of all, on careful learning The drawing and neglecting the flavor referring to the authority of Poussin, he imperceptibly turned his principles in the dead dogma
