Europe 17-19 centuries. This period revealed many talented authors who made a significant contribution to the development of art: literature, painting, sculpture, music and architecture. For the first time, classicism trends appeared in France, when it resumed to the ancient times and ideals of that time.

Traits of classicism

The main features of this direction take their origin in antiquity. Thinking authors was artistically aimed and trended to a clear, holistic expression, as well as simplicity fine remedies, equilibrium and logic of statements. Therefore, it can be said that the thinking of a human classicism era is rationally idealized.

If we say that classicism is related to antiquity, it is important to note that their similarity was in the form, which, however, could not meet the standards that were adopted in classic art distinguishes from others, first of all, respect for long-standing values \u200b\u200band their ability Display even when they are irrelevant.

The characteristic feature of classicism is an ontological understanding of beauty. Here it is out of time, and therefore eternal, and also much attention is paid to the laws of harmony.

Psychologically, classicism is explained by the fact that in complex historical periods that are transitional and carriers a lot of new things, a person seeks to turn to what is invariably: for example, to the past. In this, he finds a support: the ancient Greeks are an example of rationalism in thinking, they gave humanity completed ideas about space and time, and many other phenomena in life, and made it in a simple and affordable form. Complicated and suitful thoughts and the same design do not mean clarity and concreteness that were required to humanity in a sharply changing world. Therefore, antiquity played an important role in the formation of classicism.

The ideas of classicism are romantic, so many have the opinions that they are inseparable. And yet there are significant differences in them: romanticism is more separated from reality in their ideals and ways to display them than classicism.

What is classicism? This tried to explain V. Tatarkevich with the help of several principles, which, in turn, were initially set forth by the theorist L. B. Alberti:

1. Beauty is an objective property of real objects.
2. Beauty is an order, the correct composition that is assessed by the mind.
3. As art enjoys science, it means that it should have a rational discipline.
4. The image created in the direction of classicism can be real, but shown according to the sample of antiquity.

What is classicism in painting

The main feature of this direction in artistic work is manifested in relation to the artist for the work: its feelings expressed by painting are subordinated and logic.

Among the bright representatives, N. Prussine, which wrote pictures with mythological themes can be distinguished. Special attention in them attracts accurate geometric composition and thoughtful combination of colors. Also, K. Lorren: Although the theme of his paintings is different from the works of N. Prussine (landscapes of the neighborhood of the city), but the rationalism performed is also set aside: he harmonized them with the help of the light of the setting sun.

What is classicism in sculpture and architecture

Since antique work was performed in classicism as a sample, then during sculpture, the authors faced with a contradiction: in ancient Greece the models were depicted nagi, but now it was immoral. Art figures came out from the position of cunning path: they portrayed real people In the image of antique gods. During the reign of Napoleon, the sculptors began to make the models on which the guises are made.

Classicism in Russia originated much later, but, nevertheless, it did not prevent a talented authors in this country, which were created according to his ideas: Boris Orlovsky, Fedot Shubin, Ivan Martos, Mikhail Kozlovsky.

The architecture also sought to recreate the forms inherent in antiquity. Simplicity, rigor, monumentality and logical clarity are the main features.

What is classicism in literature

The main achievement of classicism is that they were divided into hierarchical groups: among them were high (epic, tragedy, s) and low (bass, comedy and satire).

The literature summed up a strict requirement for observing genre signs in the work.

Among art styles, classicism has been important, which has been distributed in the advanced countries of the world in the period from 17 to the beginning of the 19th century. He became the heir of the ideas of enlightenment and manifested itself in almost all types of European and Russian art. Frequently engaged in confrontation with Baroque, especially at the stage of formation in France.

The age of classicism in each country is yours. Previously, he developed in France - back in the 17th century, a little later - in England and Holland. In Germany and Russia, the direction has established itself closer to the middle of the 18th century, when the time of neoclassicism has already begun in other states. But this is not so significant. More importantly: this direction has become the first serious system in the field of culture, which laid the foundations of its further development.

What is classicism as a direction?

The name comes from the Latin word Classicus, which translated means "exemplary". The main principle manifested itself in circulation to the traditions of antiquity. They were perceived as the norm, to which should strive. The authors of the works attracted such qualities as simplicity and clarity of the shape, conciseness, rigidity and harmony in everything. It concerned any works created during the classicism: literary, musical, scenic, architectural. Each Creator sought to find everything his place, clear and strictly defined.

The main signs of classicism

For all types of art, the following features are characterized, helping to understand what classicism is:

• a rational approach to the image and the exception of everything related to sensuality;
• the main purpose of man - serving the state;
• strict canons in everything;
• the established hierarchy of genres, whose mixing is unacceptable.

Specifying art features

An analysis of certain types of art helps to understand how "Classicism" style embodied in each of them.

How classicism was realized in literature

In this form of art, classicism was determined as a special direction in which the desire to be pronounced brightly expressed by the word. The authors of artistic works believed in a happy future, where justice will dominate, freedom of all citizens, equality. It implied, first of all, exemption from all types of oppression, including religious and monarchical. Classicism in the literature certainly demanded compliance with the three units: actions (no more than one storyline), time (all events were laid per day), places (there was no movement in space). Larger recognition in this style was obtained by J. Molter, Voltaire (France), L. Biebon (England), M.Tven, D.Fontvizin, M. Lomonosov (Russia).

The development of classicism in Russia

The new artistic direction was established in Russian art later than in other countries - closer to the mid-18th century - and occupied the leading position until the first third of the 19th century. Russian classicism, unlike Western European, was more relieved on national traditions. It was in this that he manifested his originality.

Initially, it came to architecture, where he reached the highest heights. It was associated with the construction of a new capital and the growth of Russian cities. The achievement of architects was the creation of majestic palaces, comfortable residential buildings, country nobles. Separate attention deserves the creation of architectural ensembles in the city center, which fully make it clear what classicism is. This, for example, the construction of the royal village (A.rinaldi), Alexander Nevsky Lavra (I. Starov), the Arrow of the Vasilyevsky Islands (J. De Tonon) in St. Petersburg and many others.

The vertex activity of the architects can be called the construction of a marble palace on the project A. Romandi, in the finishing of which a natural stone was used for the first time.

No less known and petrodvorets (A. Shluter, V.Rastrelli), which is a sample of garden-park art. Numerous buildings, fountains, sculptures, planning itself - everything affects its proportionality and cleanliness.

Literary direction in Russia

Separate attention deserves the development of classicism in Russian literature. Its founders became V. Northakovsky, A.Kanthemir, A.Surokov.

However, the greatest contribution to the development of the concept, which is classicism, introduced the poet and scientist M. Volonosov. He developed a three-calm system that had determined the requirements for writing artistic works, and created a sample of a solemn message - the OD, which was most popular in the literature of the second half of the 18th century.

Fully the traditions of classicism manifested themselves in the Pieces of D.Fontvizin, especially in the comedy "inexpensive." In addition to the mandatory observance of the three unities and cult of the mind, the following points include the peculiarities of the Russian comedy:

• clear division of heroes on the negative and positive and presence of a resonance expressing the position of the author;
• the presence of a love triangle;
• punishment of vice and triumph of good in the final.

Works of the era of classicism in general became the most important component in the development of world art.

1. Introduction.Classicism as an art method...................................2

2. Aesthetics of classicism.

2.1. The basic principles of classicism .......................... ....................... 5

2.2. Painting of the world, the concept of personality in the art of classicism ... ... ... 5

2.3. The aesthetic nature of classicism ............................................... ........nine

2.4. Classicism in painting ............................................... .........................fifteen

2.5. Classicism in sculpture ............................................... .......................sixteen

2.6. Classicism in architecture ................................................... .....................eighteen

2.7. Classicism in literature ............................................... .......................twenty

2.8. Classicism in music ............................................... .............................. 22.

2.9. Classicism in the theater ............................................... ............................... 22.

2.10. The originality of Russian classicism ................................................. .... 22.

3. Conclusion……………………………………...…………………………...26

Bibliography..............................…….………………………………….28

Applications ........................................................................................................29

1. Classicism as artistic method

Classicism is one of the artistic methods that really existed in the history of art. Sometimes it is denoted by the terms "direction" and "style". Classicism (FR. classicisme., from lat. classicus. - Exemplary) - art style and aesthetic direction in the European art XVII-XIX explosive

The basis of classicism is the ideas of rationalism, which were formed simultaneously with the same ideas in the philosophy of Descartes. Artistic work, from the point of view of classicism, should be built on the basis of strict canons, thereby finding the slightness and logicality of the universe itself. Interest for classicism represents only the eternal, unchanged - in each phenomenon, he seeks to recognize only significant, typological features, discarding random individual signs. Aesthetics of classicism gives great value social and educational function of art. Many rules and canons classicism takes from ancient art (Aristotle, Horace).

Classicism establishes a strict hierarchy of genres that are divided into high (soda, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined signs whose mixing is not allowed.

The concept of classicism as a creative method involves its content historically determined method of aesthetic perception and modeling of reality in artistic images: the picture of the world and the concept of the personality, the most common for the mass aesthetic consciousness of this historical era, find their incarnation in ideas about the essence of verbal art, his relationship with reality , his own internal laws.

Classicism occurs and is formed in certain historical and cultural conditions. The most common research belief connects classicism with historical transition conditions from feudal fragmentation to a single national-territorial statehood, in the formation of which a centralizing role belongs to the absolute monarchy.

Classicism is an organic stage of development of any national culture despite the fact that the classic stage of various national cultures take place at different times, due to the individuality of the national version of the formation of a general social model of a centralized state.

Chronological framework of the existence of classicism in different european culturesah are defined as the second half of the XVII - the first thirty-year XVIII century, despite the fact that the early classic trends are tangible on the outcome of the Renaissance, at the turn of the XVI-XVII centuries. In these chronological limits, French classicism is considered the reference embodiment of the method. Closely associated with the flourishing of French absolutism second half XVII c., He gave European culture not only the great writers - Cornel, Racina, Moliere, Lafontaine, Voltaire, but also the great theoretics of classic art - Nikola Bouoyon-Depeo. Being a practicing writer, who earned his satiri's lifetime, was mainly famous for the creation of the Aesthetic Code of Classicism - the didactic poem "Poetic Art" (1674), in which she gave a slender theoretical concept of literary creativity, derived from the literary practice of his contemporaries. Thus, classicism in France became the most self-subsidizing embodiment of the method. From here and its reference value.

The historical backgrounds of the occurrence of classicism associate aesthetic issues of the method with the era of the exacerbation of the relationship between the personality and society in the process of the formation of an unique statehood, which, coming to the change of social permissiveness of feudalism, seeks to regulate the law and clearly distinguish the spheres of public and private life and the relationship between the person and the state. This determines the meaningful aspect of art. The main principles are motivated by the system of philosophical views of the era. They form a picture of the world and the concept of personality, and already these categories are embodied in aggregate art techniques Literary creativity.

The most common philosophical concepts present in all philosophical currents of the second half of the XVII - end of the XVIII century. and are directly related to the aesthetics and poetics of classicism - these are the concepts of "rationalism" and "metaphysics", relevant both for idealistic and materialistic philosophical teachings of this time. The founder of the philosophical doctrine of rationalism is the French mathematician and philosopher Rene Descartes (1596-1650). The fundamental thesis of his doctrine: "I think, therefore I exist" - realized in many philosophical currents of the time united by the general name "Cartesianism" (from the Latin version of the name of Descartes - Cartesis), in the essence of his thesis is idealistic because it displays material existence from idea. However, rationalism, as the interpretation of the mind, as the primary and higher spiritual ability of a person, is also characteristic of the materialistic philosophical currents of the era - such, for example, as the metaphysical materialism of the English Philosophical School of Bekon-Locke, which recognized the source of knowledge, but set it Below the generalizing and analytical activities of the mind deriving from a variety of facts extracted the highest idea, a means of modeling space - higher reality - from the chaos of individual material items.

To both varieties of rationalism - idealistic and materialistic - the concept of "metaphysics" is equally applied. It genetically goes back to Aristotle, and in his philosophical teaching indicated the branch of knowledge that explores inaccessible for the senses and only rationally-speculatively comprehended tops and constant beginnings of everything. And Descartes, and Bacon used this term in Aristotelian sense. In a new time, the concept of "metaphysics" gained additional importance and began to denote the anti-phateectic method of thinking, perceiving phenomena and objects outside their relationship and development. Historically, this very accurately characterizes the features of the thinking of the analytical era of the XVII-XVIII centuries, the period of differentiation of scientific knowledge and art, when each branch of science, standing out from the syncretic complex, acquired its separate subject, but at the same time lost contact with other branches of knowledge.

2. Aesthetics of classicism

2.1. Basic principles of classicism

1. Cult of mind 2. Credit debt cult 3. Appeal to medieval plots 4. Distractions from the image of the life, from the historical national originality 5. Imitation of antique samples 6. Compositional harness, symmetry, unity of the artwork 7. Heroes are carriers of one main traitDases outside the development 8. Antiteza as the main reception of creating an artistic work

2.2. Painting of the world, personality concept

in the art of classicism

The picture of the world generated by the rationalistic type of consciousness clearly divides reality into two levels: empirical and ideological. The external, visible and tangible material-empirical world consists of a variety of individual material objects and phenomena, in any way unrelated - it is chaos of individual private entities. However, there is their perfect hypostasis on this random set of individual items - a slim and harmonious whole, the universal idea of \u200b\u200bthe universe, which includes the perfect image of any material object in its highest, purified from particularities, eternal and unchanged: in such what it should be The initial plan of the Creator. This universal idea can be comprehended only by rational-analytical through the gradual cleansing of the subject or phenomenon from its specific forms and appearance and penetration into its ideal essence and purpose.

And since the plan precedes the creation, and the indispensable condition and source of existence is thinking, this ideal reality has the highest root cause. It is easy to see that the main patterns of such a two-level pattern of reality are very easily projected on the main sociological problem of the transition period from feudal fragmentation to unique statehood - the problem of the relationship between the individual and the state. The world of people is the world of individual private human entities, chaotic and indiscriminate, the state is a comprehensive harmonious idea that creates a slim and harmonious ideal world order from chaos. It is this philosophical picture of the world of the XVII-XVIII centuries. Such substantive aspects of the aesthetics of classicism, as the concept of personality and the conflict typology, are universally characteristic (with the necessary historical and cultural variations) for classicism in any European literature.

In the area of \u200b\u200bhuman relations with the outside world, classicism sees two types of connections and provisions - the same two levels, of which the philosophical picture of the world is developing. The first level is the so-called "natural person", a biological creature, standing with all subjects of the material world. This is a private entity, obsessed with egoistic passions, disorderly and unlimited in his desire to ensure their personal existence. At this level human ties With the world, the leading category that determines the spiritual appearance of a person is the passion - blind and unrestrained in his desire for implementation in the name of the achievement of an individual good.

The second level of the concept of personality is the so-called "public person", harmoniously included in the society in its highest, ideal image, which is conscious that its benefit is an integral component of the good of the utmost. "Public man" is guided in his worldview and actions not by passions, but by reason, since it is the mind that is the highest spiritual ability of a person who gives him the possibility of positive self-determination in the context of human generality based on ethical norms of consistent dormitories. Thus, the concept of human personality in the ideology of classicism turns out to be complex and controversial: a natural (passionate) and public (reasonable) person is the same character, torn by internal contradictions and in a situation of choice.

Hence the typological conflict of the art of classicism, directly arising from a similar concept of personality. It is quite obvious that the character of a person is the source of the conflict situation. Character is one of the central aesthetic categories of classicism, and its interpretation is significantly different from the meaning, which invests in the term "character" of modern consciousness and literary criticism. In the understanding of the aesthetics of classicism, this is the perfect hyposta of a person - that is, not an individual warehouse of a particular human personality, but a certain universal view of human nature and psychology, timeless in its essence. Only in such a form of an eternal, unchanged, universal attribute, and could be the object of classic art, uniquely attributed to the highest, the ideal level of reality.

The main components of the nature are passion: love, hypocrisy, courage, misfortune, sense of duty, envy, patriotism, etc. It is on the predominance of some kind of passion that is determined by: "in love", "miser", "envious", "Patriot". All these definitions are exactly the "characters" in the understanding of the classic aesthetic consciousness.

However, these passions are uneven among themselves, although according to the philosophical concepts of the XVII-XVIII centuries. All passions are equal, since all of them - from the nature of a person, all of them are natural, and decide which passion is consistent with the ethical advantage of a person, and some - no, no passion can be in itself. These solutions carry out only the mind. Despite the fact that all passions are equally categories of emotional spiritual life, some of them (such as love, misfortune, envy, hypocrisy, etc.) less and more difficult to consist with the rally of the mind and are more related to the concept of the egoistic good. Others (courage, a sense of duty, honor, patriotism) are more exposed to rational control and do not contradict the idea of \u200b\u200ba common good, ethics of social ties.

So it turns out that the conflict faces passions are reasonable and unreasonable, altruistic and egoistic, personal and public. And the mind is the highest spiritual ability of a person, a logical and analytical tool that allows you to control passion and distinguish good from evil, the truth of the lie. The most common variety of classic conflict is a conflict situation between a personal tendency (love) and a sense of debt to society and the state, which for some reason, excludes the possibility of realizing love passion. It is clear that by nature, this conflict is a psychological, although a necessary condition for its implementation is the situation in which the interests of a person and society are faced. These essential ideological aspects of the aesthetic thinking of the era found their expression in the system of ideas about the laws of artistic creativity.

2.3. Aesthetic nature of classicism

Aesthetic principles of classicism during its existence have undergone significant changes. The characteristic feature of this direction is the worship of antiquity. The art of ancient Greece and ancient Rome was viewed by classicists as an ideal model of artistic creativity. The "poetics" of Aristotle and the "Art of Poetry" Horace had a huge impact on the formation of aesthetic principles of classicism. There is a tendency to create elevated-heroic, ideal, rationalistic and plastically completed images. As a rule, in the art of classicism, modern political, moral and aesthetic ideals are embodied in the characters, conflicts, situations borrowed from Arsenal antique Story, mythology or directly from ancient art.

Aesthetics of classicism oriented poets, artists, composers for the creation of works of art, differing clarity, logicality, strict balance and harmony. All this, according to classicists, fully reflected in the ancient artistic culture. For them, the mind and antiquity are synonyms. The rationalistic nature of the aesthetics of classicism was manifested in the abstract typification of images, strict regulation of genres, forms, in the interpretation of an ancient artistic heritage, in circulation of art to mind, and not to feelings, in the desire to subordinate creative process Unsractible standards, rules and canons (norm - from lat. Norma is the leading principle, rule, sample; generally accepted rule, sample behavior or actions).

As in Italy, the most typical expression was found aesthetic principles of the Renaissance, so in France XVII century. - Aesthetic principles of classicism. By the XVII century. The artistic culture of Italy significantly lost its own effect. But clearly marked the innovative spirit of French art. At this time, the absolutist state was formed in France, which united society and centralized power.

The consolidation of absolutism meant the victory of the principle of universal regulation in all spheres of life, ranging from the economy and ending with a spiritual life. Debt is the main controller of human behavior. The state personifies this duty and acts as a certain one alienated with an individual. Submission to the state, the execution of public debt is the highest virtue of the individual. A person thinks no longer free as it was characteristic of a Renaissance worldview, but subordinate to him the standards and rules limited by him. The regulatory and limiting force acts in the form of an impersonal reason, which should be submitted by the individual and act, following its velats and prescriptions.

The high rise in production contributed to the development of the exact sciences: mathematics, astronomy, physics, and this, in turn, led to the victory of rationalism (from Lat. Ratio - Mind) - the philosophical direction, recognizing the mind of the foundation of the knowledge and behavior of people.

The ideas about the laws of creativity and structure of the artistic work are in the same extent due to the epochal type of worldview as the picture of the world, and the concept of personality. The mind, as the highest spiritual ability of a person, is thinking not only to the instrument of knowledge, but also by the body of creativity, and the source of aesthetic pleasure. One of the brightest leitmotifs of "Poetic Art" was a rational nature of aesthetic activity:

French classicism argued the personality of man as the highest value of being, freeing it from religious and church influence.

Interest in the art of ancient Greece and Rome manifested itself in the era of the Renaissance, which, after the centuries, the Middle Ages turned to forms, reasons and plots of antiquity. The greatest theorist of Renaissance, Leon Batista Alberti, still in the XV century. I expressed ideas that foreshadow the individual principles of classicism and fully manifested in the fresco of Raphael "Athens School" (1511).

Systematization and consolidation of the achievements of the great artists of the Renaissance, especially Florentine led by Rafael and his student Julio Romano, amounted to the program of the Bologna School of the end of the XVI century, whose characteristic representatives of Karratic brothers were. In his influential Academy of Arts, Bologna preached that the path to the vertices of art lies through the scrupulous study of the heritage of Rafael and Michelangelo, imitation of their skill of the line and composition.

Following Aristotle, classicism considered the art of understanding nature:

However, nature was understood by no means as a visual picture of the world of physical and moral, which appears to the authorities, namely, as the highest breath of the essence of peace and humans: not a specific character, and its idea, not a real-historical or modern story, and the universal conflict situation, not Landscape, and the idea of \u200b\u200ba harmonious combination of natural realities in perfectly beautiful unity. Such an ideal-excellent unity Classicism found in the ancient literature - it was she who was perceived by classicism as the top of aesthetic activity already reached, the eternal and unchanged standard of art, which was recreated in its genre models that the highest ideal nature, physical and moral, to imitate the art. It so happened that the thesis on the imitation of nature turned into an order to imitate antique art, from which the term "classicism" came from (from Lat. Classicus - exemplary, studied in class):

Thus, nature in classic art appears not so much reproduced as well as modeled in a high sample - "decorated" by generalizing the analytical activity of the mind. By analogy, it is possible to recall the so-called "regular" (that is, "the right") park, where the trees are trimmed in the form of geometric shapes and symmetrically disassembled, tracks that have the right shape, sprinkled with multi-colored pebbles, and water is enclosed in marble pools and fountains. This style of garden-park art reached his heyard in the era of classicism. From the desire to present the nature of the "decorated" - the absolute predominance in the literature of classicism of poems over prose: if the prose is identical for simple material nature, the poems, as a literary form, are definitely the ideal "decorated" nature. "

In all these ideas about art, namely, as a rational, ordered, normalized, spiritual activity, the hierarchical principle of thinking of the XVII-XVIII centuries was realized. Inside itself, the literature also was divided into two hierarchical series, low and high, each of which was thematically and stylistically connected with one - the material or ideal - level of reality. Low genres were attributed to satire, comedy, bass; To high - Oda, tragedy, epic. IN low genres A household material reality is depicted, and a private person appears in social connections (at the same time, of course, both the person and reality are all the same ideal conceptual categories). In high genres, a person is represented as a creature spiritual and public, in the existent aspect of its existence, alone and along with the eternal foundations of being. Therefore, for high and low genres, not only the thematic, but also the estate differentiation on the basis of the characteristics of the character to one or another public layer was relevant. The hero of low genres is an average conspicuous person; Hero of high - historical face, mythological hero Or a fictional high-ranking character - as a rule, the ruler.

In low genres, human characters are formed by lower household passions (misfortune, hypocrisy, hypocrisy, envy, etc.); In the high genres of passion, they acquire spiritual character (love, ambulance, vitality, sense of duty, patriotism, etc.). And if domestic passions are uniquely unreasonable and viciously, the passions of exisons are divided into reasonable - social and unreasonable - personal, and the ethical status of the hero depends on its choice. It is definitely positive if he prefers a reasonable passion, and is definitely negative if chooses unreasonable. Halftones in an ethical assessment Classicism did not allow - this, this also affected the rationalistic nature of the method that excluded any mixture of high and low, tragic and comic.

Since the genre theory of classicism was legalized as the main genres that reached the greatest heyday in the ancient literature, and the literary creativity thought as a reasonable imitation of high samples, while the aesthetic code of classicism had acquired a normative character. This means that the model of each genre was established once and for all in a clear set of rules, to retreat from which was unacceptable, and each specific text was aesthetically evaluated to the degree of compliance of this ideal genre model.

The source of the rules were the ancient samples: the epic of Homer and Vergil, the tragedy of Eschil, Sofokla, Euripid and Seneki, the comedy of Aristofan, Menander, Terentation and Float, Pindara, Basnia Ezopa and Fedra, Satir Horace and Juvenla. The most typical and indicative case of such genre regulation is, of course, the rules for the leading classic genre, tragedy, hoped both from the texts of antique tragics and from the "poetics" of Aristotle.

For the tragedy, a poems were canonized ("Alexandrian verse" - a six-star Yamba with a steam rhyme), a mandatory five-act construction, three units - time, places and actions, high style, historical or mythological plot and conflict, imposing a mandatory situation between reasonable and unreasonable Passion, and the process of choice itself was to make the action of the tragedy. It was in the dramatic section of the aesthetics of classicism rationalism, hierarchy and the normativeness of the method were expressed with the greatest completeness and evidence:

Everything that was told above about the aesthetics of classicism and the poetics of classic literature in France, equally refers to almost any European variety of the method, since French classicism was historically the earliest and aesthetically most authoritative embodiment of the method. But for Russian classicism, these general theoretical provisions found a kind of refraction in artistic practice, as they were due to the historical and national peculiarities of the formation of a new Russian culture XVIII.

2.4. Classicism in painting

At the beginning of the XVII century, young foreigners flow into Rome to meet the heritage of antiquity and rebirth. The most prominent place among them was taken by the French Nikola Poussin, in his picturesque works, mainly on the themes of ancient antiquity and mythology, which has given unsurpassed samples of a geometrically accurate composition and a thoughtful ratio of color groups. Another Frenchman, Claude Lorren, in its anti-Russian landscapes of the surrounding area " eternal city"Organized the pictures of nature by harmonizing them with the light of the setting sun and the introduction of peculiar architectural scenes.

The cold-rational normativism of Poussin caused the approval of the Versailles yard and was continued by court artists like Lebedna, who saw in classic painting an ideal artistic language for praising the absolutist state "King of Sun". Although private customers preferred various versions of Baroque and Rococo, the French monarchy supported classicism afloat at the expense of funding such academic institutions as a school of elegant arts. The Roman Prize provided the most talented students to visit Rome to direct acquaintance with the great works of antiquity.

Opening of "genuine" antique painting In the excavations of Pompei, the deification of antiquity by the German art historian Winkelman and the cult of Raphael, preached by close to him on the views by the artist Mengs, in the second half of the XVIII century, inhales a new breath (in Western literature, this stage is called neoclassicism). The largest representative of the "new classicism" was Jacques Louis David; Its extremely concise and dramatic artistic language with equal success served as the propaganda of the ideals of the French revolution ("Death of Marat") and the first empire ("Dedication to the emperor Napoleon I").

In the XIX century, classic painting enters into a strip of crisis and becomes a force that restraining the development of art, and not only in France, but also in other countries. The artistic line of David successfully continued the ECR, while maintaining the language of classicism in his works, often appealed to romantic plots with oriental flavor ("Turkish baths"); His portrait work is marked by the fine idealization of the model. Artists in other countries (as, for example, Karl Bryullov) also filled out classic in the form of a work of romanticism; This combination was called Academism. It was served by numerous academies of art. IN mid XIX. A century against conservatism academic establishment Bunning with a young generation, presented in France by a circle of Kourbe, and in Russia - Mobile.

2.5. Classicism in sculpture

The impetus to the development of a classic sculpture in the middle of the 18th century was the writings of Winelman and archaeological excavations of the ancient cities, expanding the knowledge of contemporaries about antique sculpture. On the verge of baroque and classicism fluctuated such sculptors such as Pigal and Hudon. His highest incarnation in the field of plastic Classicism has achieved in the heroic and idyllic works of Antonio Kanov, drawn inspiration primarily in the statues of the Ellinism era (Praxitel). In Russia, to the aesthetics of classicism, Fedot Shubin, Mikhail Kozlovsky, Boris Orlovsky, Ivan Martos.

Public monuments that have received wide distribution in the era of classicism, gave sculptors the possibility of idealization of military valve and wisdom of state husbands. The allegiance of the ancient sample required the image of the models of models by nagi, which confessed with the accepted norms of morality. To resolve this contradiction, the figures of modernity were initially depicted by the sculptors of classicism in the form of nude ancient gods: Suvorov - in the form of Mars, and Polina Borghese - in the form of Venus. Upon Napoleon, the question was solved by the transition to the image of the figures of modernity in ancient alcohol (such are the figures of Kutuzov and Barclay de Tolly in front of the Kazan Cathedral).

Private customers of the era of classicism preferred to perpetuate their names in gravestone monuments. The popularity of this sculptural form contributed to the arrangement of public cemeteries in the main cities of Europe. In accordance with the classic ideal of the figure on the tombstones, as a rule, are in a state of deep peace. Classicism sculpture is generally somehow sharp movements, external manifestations of such emotions as anger.

Late, ampury classicism, presented primarily with a prolonged Danish sculptor Torvaldsen, penetrated dryly by the bag. The purity of the lines, the restraint of gestures, inconsistency of expressions is especially valued. In the choice of samples to follow the emphasis shifts from Hellenism for the period of archaic. Religious images are taken into fashion, which in the Torvaldsen interpretation produce a somewhat chilling impression on the viewer. The tomb sculpture of late classicism is often lightering sentimentality.

2.6. Classicism in architecture

The main feature of the architecture of classicism was to appeal to the forms of ancient architecture as to the standard of harmony, simplicity, rigor, logical clarity and monumentality. The architecture of classicism as a whole is inherent in the regularity of the planning and clarity of the bulk form. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity. For classicism, symmetrical-axial compositions are characterized, the restraint of decorative decoration, a regular cities planning system.

The architectural language of classicism was formulated on the outcome of the era of the revival of the Great Venetian Master Palladio and his follower of Skamoti. The principles of the ancient temple architecture of Venetians were absolutized so much that they were used even during the construction of such private mansions as the Capra villa. Inigo Jones moved Palladianism to the north, in England, where local palladians architects with varying degrees of loyalty followed the covenants of Palladio until the middle of the XVIII century.

By that time, the saturation of the "whipped cream" of the late Baroque and Rococo began to accumulate in the intellectuals of continental Europe. Bernini born Bernini and Borroini Baroque felt in Rococo, mainly a chamber style with an emphasis on finishing interiors and decorative and applied arts. To solve large urban targets, this aesthetics was low-rot. Already under Louis XV (1715-74), urban ensembles are being built in Paris in the "Ancient Roman" taste, such as the area of \u200b\u200bconsent (Arch. Jacques-Ange Gabriel) and the Church of Saint-Sulpis, and with Louis XVI (1774-92) like "noble Lanonism "becomes the main architectural direction.

The most significant interiors in the style of classicism were developed by Scottish Robert Adam, who returned to his homeland from Rome in 1758. A great impression on it was made both archaeological research of Italian scientists and architectural fantasies of Pirase. In the interpretation of Adam, classicism appeared with a style, according to the sophistication of the interiors, it is hardly inferior to Rococo, which has gained popularity in him not only from democratically tuned circles of society, but among the aristocracy. Like its French colleagues, Adam preached a complete refusal of parts devoid of a structural function.

The Frenchman Jacman Suffro in Paris Saint-Geneviev's Church has demonstrated the ability of classicism to organize extensive urban spaces. The massive greatness of its projects foreshadowed Megalomania Napoleonic Ampire and Late Classicism. In Russia, Bazhenov was moving in the same direction with Suffro. The French of Claude Nicolas Led and Etienne-Louis Bulle went even further towards the development of a radical visionary style with a bias into the abstract geometrization of forms. In the revolutionary France, the ascetic civilian pathos of their projects was little in demand; Only modernists of the 20th century appreciated the innovation of Led.

Architects of Napoleonic France drew inspiration in majestic images of military glory left by imperial Rome, such as the Triumphal Arch Septimia of the North and the Column of Tranah. By order of Napoleon, these images were transferred to Paris in the form of a triumphal arch of the Carridge and the Vandom column. With regard to the monuments of the military greatness of the era of the Napoleonic Wars, the term "imperial style" is used - Ampir. In Russia, Carl Rossi, Andrei Voronikhin and Andreij Zakharov, showed uncomplicable masters. In Britain, an ampir corresponds to H. "Regenty style" (the largest representative - John Nash).

Aesthetics of classicism favored large-scale urban projects and led to the streamlining of urban development on the scale of entire cities. In Russia, almost all the provincial and many county cities have been redefined in accordance with the principles of classic rationalism. In genuine classicism museums under open sky There have been such cities like St. Petersburg, Helsinki, Warsaw, Dublin, Edinburgh and a number of others. On the entire space from Minusinsk to Philadelphia, a single architectural language was dominated, ascending to Palladio. The ordinary development was carried out in accordance with the albums of typical projects.

In the period that followed by Napoleonic Wars, the classicism had to be taken around with romantically painted eclectic, in particular with the return of interest in the Middle Ages and the fashion for architectural neoadik. In connection with the discoveries of the Shampolon, Egyptian motives are gaining popularity. Interest in the ancient Roman architecture is replaced by Pietette in front of all ancient Greek ("Neochk"), especially brightly manifested in Germany and in the United States. German architects Leo Background Klenze and Karl Friedrich Shinkel are built up, respectively, Munich and Berlin grand museum and other public buildings in the Spirit of Parfenon. In France, the purity of classicism is diluted with free borrowings from the Renaissance and Baroque architectural repertoire (see Boz-AR).

2.7. Classicism in literature

The founder of the poetics of classicism is the Frenchman Malherb's Frenchman (1555-1628), which carried out the reform of French and verse and developed poetic canons. Tragica Cornel and Rasin (1639-1699) were the leading representatives of classicism in the drama (1639-1699), the main object of creativity was the conflict between public debt and personal passions. High development also achieved "low" genres - Basnya (J. Lafonten), Satire (Baual), Comedy (Moliere 1622-1673).

Bouoye became famous for the whole of Europe as the "legislator of Parnassa", the largest theoretical classicism, expressed his views in the poetic treatise "Poetic Art". Under his influence in the UK, there were poets John Dryden and Alexander PupoP, who made the main form of the British poetry of Alexandrina. For English prose, the era of classicism (Addison, Swift) is also characterized by a latinized syntax.

The classicism of the XVIII century develops under the influence of the ideas of enlightenment. The creativity of Voltaire (1694-1778) is directed against religious fanaticism, the absolutist oppression, filled with Paphos of Freedom. The purpose of creativity becomes a change in the world for the better, construction in accordance with the laws of classicism itself. From the standpoint of classicism, Camuel Johnson's modern literature overlooked the modern literature, around which a brilliant circle of like-minded people was formed, which included Esseist Boswell, the historian of Gibbon and the actor Garrica. For dramatic works are characterized by three unity: the unity of time (the action takes place one day), the unity of the place (in one place) and the unity of action (one storyline).

In Russia, classicism originated in the XVIII century, after Peter I. Lomonosov transformation was reform russian verseThe theory of "three calm" was developed, which was essentially the adaptation of French classic rules to the Russian language. Images in classicism are deprived of individual traits, as they are intended primarily to capture sustainable generic, not moving signs acting as an embodiment of any social or spiritual forces.

Classicism in Russia developed under the great influence of enlightenment - the ideas of equality and justice have always been in the focus of attention of Russian-classicist writers. Therefore, in Russian classicism, a great development of genres, imposing a mandatory author's assessment of historical reality: comedy (DI Phonvizin), Satire (A. D. Kantemir), Basnya (A. P. Sumarokov, I. I. Chemnizer), Oda (Lomonosov, R. Derzhavin).

In connection with the crisis of the late XVIII century, proclaimed Roussely, crisis phenomena increase in the classicism of the end of the XVIII century; The absolutization of the mind comes the cult of gentle feelings - sentimentalism. The transition from classicism to predocutantism is brighter in the German Literature of the Epoch "Storms and Natiska", presented by the names I. V. Goethe (1749-1832) and F. Schiller (1759-1805), who, after Rousseau, saw in art, the main power of upbringing man.

2.8. Classicism in music

The concept of classicism in music is steadily associated with the work of Gaidna, Mozart and Beethoven, called viennese classics and determined the direction of the further development of the musical composition.

The concept of "music of classicism" should not be confused with the concept of "classical music", which has a more general meaning of both the music of the past, withstood the test of time.

The music of the era of classicism chants the actions and actions of a person who experienced emotions and feelings, attentive and holistic human mind.

2.10. The originality of Russian classicism

Russian Classicism arose in similar historical conditions - its prerequisite was to strengthen the autocratic statehood and the national self-determination of Russia since the era of Peter I. The Europeanism of the ideology of Petrovsky reforms aimed Russian culture to master the achievements of European cultures. But at the same time, Russian classicism arose almost per century later French: by the middle of the XVIII century, when Russian classicism began to gain strength in France, he reached the second stage of its existence. The so-called "educational classicism" is a combination of classic creative principles with the pre-revolutionary ideology of enlightenment - in the French literature bloomed in the work of Voltaire and gained antique, socio-critical pathos: over a few decades to the Great French Revolution, the times of the apology of absolutism were already distant history. The Russian classicism, by virtue of its solid connection with the secular cultural reform, first, initially put the educational tasks in order to raise their readers and instruct monarchs to the path of public goods, and secondly, acquired the status of the leading direction in Russian literature The time when Peter I was no longer alive, and the fate of his cultural reforms was put under the blow in the second half of 1720 - 1730s.

Therefore, the Russian classicism begins "not from the fetus of spring - OD, and from the fetus of autumn - satire", and the socio-critical pathos is peculiar to him initially.

Russian Classicism reflected a completely different type of conflict than Western European classicism. If in French classicism, the socio-political beginning is only the soil on which the psychological conflict is developing a reasonable and unreasonable passion and the process of free and conscious choice between their velves is carried out, then in Russia, with its traditionally anti-democratic cattole and the absolute power of society about the personality Otherwise. For russian mentalitywhich only began to comprehend the ideology of personalism, the need to humble individuality to society, the personality before the government was not at all such a tragedy as for the Western world perception. The choice, relevant for the European consciousness as an opportunity to prefer to something one, in the Russian conditions turned out to be imaginary, its outcome was predetermined in favor of society. Therefore, the situation itself of choice in Russian classicism has lost its conflict function, and another has come to replace it.

The central problem of Russian life XVIII century. There was a problem of power and its continuity: none of the Russian emperor after Peter I death and before the focus in 1796. Paul I did not come to power by law. XVIII century - This is an age of intrigue and palace coups, which too often led to the absolute and uncontrolled power of people, by no means that did not meet the ideal of the enlightened monarch, but also the ideas about the role of the monarch in the state. Therefore, Russian classic literature immediately adopted a political and didactic direction and reflected this problem as the main tragic dilemma of the era - the mismatch of the rule of the responsibilities of the autocrat, the conflict of the experience of power as a selfish personal passion with the idea of \u200b\u200bthe power carried out for the benefit of subjects.

Thus, the Russian classic conflict, retaining the situation of choice between a reasonable and unreasonable passion as an external storyline, fully implemented as socio-political in nature. The positive hero of Russian classicism does not humble his individual passion in the name of the common good, but insists on its natural rights, protecting his personalism from tyranny encroachments. And the most important thing is that this national specificity of the method was well realized by the writers themselves: if the plots of French classic tragedies are drawn up mainly from ancient mythology and history, then Sumarokov wrote their tragedies on the plots of Russian chronicles and even for the plots not so distant Russian history.

Finally, another specific feature of Russian classicism was that he did not relieve such a rich and continuous tradition national LiteratureLike any other national European type variation. What anyone has european literature By the time of the emergence of classicism theory - namely, a literary language with an ordered style system, the principles of the stamp, which determined the system of literary genres - all this in Russian had to be created. Therefore, in Russian classicism, the literary theory was ahead of literary practice. Regulatory acts of Russian classicism - the reform of the styer, the style reform and the regulation of the genre system - were carried out between mid 1730 and the end of the 1740s. "That is, mainly before in Russia a full-fledged literary process in line with classic aesthetics unfolded.

3. Conclusion

For ideological prerequisites, classicism is essential that the aspiration of the individual to freedom relies here as legitimate, as well as the need to associate this freedom.

Personal principle continues to maintain something directly social importance, the independent value, which for the first time he was given a revival. However, in contrast to him, now this start belongs to the person along with the role that the society receives the society from now on. And this implies that any attempt of an individual to defend their freedom, contrary to society, threatens him the loss of completeness of life connections and the transformation of freedom into devastated subjectivity devastated by any support.

Category Measures is a fundamental category in the poetics of classicism. It is unusually multifaceted in content, has a spiritual and plastic nature at the same time, it comes into contact, but does not coincide with the other typical concept of classicism - the concept of the norm - and closely connected with all the parties to the ideal approved here.

The classic mind as a source and a guarantor of equilibrium in the nature and life of people bears the seal of the poetic faith in the initial harmony of all things, confidence in the natural move of things, confidence in the presence of a comprehensive conformity between the world's movement and the formation of society, in humanistic, person on a person's oriented nature of this Communication.

I am close to the period of classicism, its principles, poetry, art, creativity as a whole. Conclusions that make classicism regarding people, society, the world is seen the only true and rational. Measure, as the average line between the opposites, the order of things, systems, and not chaos; The robust interconnection of a person with society against their rupture and hostility, excessive genius and egoism; Harmony against extremes - in this I see the ideal principles of being, the foundations of which are reflected in the canons of classicism.

List of sources

Instruction

Classicism literary direction originated in the XVI century, in Italy. First of all, the theoretical developments touched the drama, a little less - poetry, and the last prose. The largest development of the course was in a hundred years in France, and it is connected with such names as Cornel, Rasin, Lafontaten, Moliere and others. For classicism, an anticipation orientation is characteristic. The authors of that time believed that the writer should be guided by not inspiration, but by the rules, dogma, proven models. The text must be connected, logical, clear and accurate. How to determine whether the text is related to you to the direction "Classicism".

For classicism, the position of "Troubles" is fundamentally important. The action is only one, and it occurs in one place and at one time. The only storyline unfolds in one place in - it came to classicism from antiquity.

Deflict definition. For works of the era of classicism, the opposition of the mind and feeling, duty and passion is characteristic. At the same time, negative heroes are guided by emotions, and positive people live by mind, so we win. At the same time, the positions of the heroes are very clear, only white and black. The main concept is the concept of debt, civil service.

When working with heroes, attention is drawn to the presence of sustainable masks. Must be present: the girl, her girlfriend, father, several grooms (at least three), while one of the grooms is a positive, positive hero, reflecting morality. Images are deprived of individuality, because their purpose to capture the main, generic signs of heroes.

Definition of composition. Classicism assumes the existence, strings, the development of the plot, culmination and junction. At the same time, a certain story must be woven into the plot, as a result of which the girl plays a wedding with a "positive" fiance.

Evidence of text belonging to classicism enhance the techniques of catharsis and unexpected junction. In the first case through to negative heroesIn the difficult situation, the reader cleaned spiritually. In the second, the conflict is solved by the intervention from the outside. For example, the command is over, the phenomenon of the Divine Will.

Classicism depicts life idealized. In this case, the task of the work is to improve society and its morals. Texts were calculated for the most important audience, which is why the authors have paid special attention to the genres of drama.

One of the most important elements of the composition of any literary work is climax. Culmination, as a rule, is located in front of the junction itself in the work.

Term "climax" in literary

This term is happening from the Latin word "Culminatio", which has the meaning of the highest point of voltage of any forces inside the work. Most often, the word "Culminatio" is translated as "vertex", "peak", "sharpening". In the literary work, the emotional peak is most often meant.

In literary criticism, the word "climax" is made to designate the moment of high voltage within the development of action in the work. This is the moment when an important clash occurs (even decisive) between the characters in the most sophisticated circumstances. After this collision, the plot of the works rapidly moves to the junction.

It is important to understand that through characters the author usually encounters ideas whose carriers are characters of works. Each of them appears in the work not by chance, namely, with the goal to move its idea and resist the idea of \u200b\u200bthe main (it can often coincide with the author's idea).

Complex climax in the work

Depending on the complexity of the work, the number of active persons, laid ideas, created conflicts, the climax of the work may become more complicated. In some volumetric novels, several culmination moments are found. As a rule, it concerns epic novels (those that describe the lives of several generations). Bright such works are the novels "War and Peace" L.N. Tolstoy, "Quiet Don" Sholokhov.

Complex climax may have not only Roman-epic, but also less volumetric works. Their compositional complication can explain ideological fullness, a large number scene lines and acting persons. In any case, the culmination always plays a significant role in the perception by the text reader. Culmination is able to radically change the ratios within the text and the relationship of the reader to the heroes and development of history.

Culmination - an integral part of the composition of any story

Culmination, as a rule, follows one or more complexes of text. The culmination can follow the disconnection or the final may coincide with the climax. Such a finale is often called "open." In the climax, the essence of the problem of the whole work is revealed. This rule is valid for all species. artistic textStarting from fairy tales, Bassen and ending with large literary works.

Video on the topic

Tip 3: How to highlight key traits of a hero in the novel

The ability to allocate key features of the heroes of works helps when writing essays at school, serves good preparation for the exam in literature. For analysis artistic image It is important to follow a certain procedure, correctly compile a plan. Attentive observation of the art used by the author of the creation of images, the competent generalization of the assembled material will help the most fully and accurately characterize literary characters.

Significant image image tools

Artistic image is created by the author by means of a variety of image tools. Begin to allocate key features from the determination of the hero's place in the system of other actors of the novel: the main, secondary or uncommon. Minor characters make it possible to reveal the main and are in the background. Available fulfill service functions.

Literary images often have prototypes. It is known that the prototype of the young charming Natasha Rostova became the beloved brother L.N. Tolstoy Tanya Bers. Ostap Bender Ilf and Petrov appeared thanks to the prone to the adventures Odessaitu Masip Shore. Set the presence of a prototype of the active face of the analyzed novel.

Watch over the main means of the image of the hero, thanks to which you will get an idea of \u200b\u200bthe key traits of the image. These include:

1. Portrait characteristic - appearance description (face, figures, gait, etc.). Clothing, manner talk and hold on to social position. The change of facial expressions, postures and gestures - evidence of mental experiences. The portrait of the writer to his hero is expressed through the portrait.


2. The main features are disclosed in actions, the attitude towards the surrounding. The character may be simple: a negative or positive hero. Complicated contradictory and paradoxal, it is characterized by various features. The owner of this character is constantly developing spiritually, is in search of its own life path. Behavior indicates humanity or inhumanity, deserves condemnation or empathy. Directly related to the manifestation of different character traits have the living conditions.


3. Speech in classical versions of works embodies the thought of the character and serves as a means of communicating with others. It helps to establish social origins. Indicates on mental capacity and internal qualities.


4. Art Detail is very accurate and brightly replaced. large descriptions. The artist of the word gives this detail emotional and semantic load. For example, MA Sholokhov for disclosure spiritual state His hero Andrei Sokolov Mainly draws to "Eyes, as if sprinkled with ashes."


5. The choice of the writer named after and the surname is usually non-random. The name may indicate the human essence, to predict the actions and fate. Various options indicate personal qualities, contain a hint to understand the key traits of character (Anna, Anka and the Vishka). Surname of the main character of Roman F.M. Dostoevsky "Crime and Punishment" - Raskolnikov. Raskolniki are separable people who rejected the main direction of people. Initially, the theory of Rodion Raskolnikov contradicted the laws of life and morality, so he separated him from others.


6. The direct and indirect author's characteristics of the Hero of the Roman also indicate the key features of the image created by him.

Literary types

For a more complete understanding of the character's image, determine its attitude to a certain literary type. Classicistic are distinguished by maximum typical. Heroes shared strictly on positive and negative. Such types are usually found in tragedies and comedies of the era of classicism. The ability to experience, self-analysis and emotional contemplation inherent in sentimental heroes. An example is the young verter from Roman Goethe. Romantic image appeared as a result of reflection in the art of the Bunlet Human Spirit. Heroes-romance live not by reality, they are characterized by strong feelings and secret desires. Flame passion is the main engine of actions. The most bright realistic types should be considered a "little man", "excess person." Circumstances and medium have a strong impact on the behavior of the characters of realistic novels.

Art of classicism

Introduction

The theme of my work is the art of classicism. This topic is very interested in me and attracted my attention. Art generally grabs a lot, it includes painting and sculpture, architecture, music and literature, and indeed everything that is created by a person. Browsing the works of many artists and sculptors, they seemed very interesting to me, they attracted me with their ideality, clarity of lines, correctness, symmetry, etc.

The purpose of my work is to consider the effect of classicism on painting, sculpture and architecture, music and literature. I also consider it necessary to define the concept of "classicism".

1. Classicism

Term classicism arose from latin Classicus.that in the literal translation means exemplary. In literary studies and artificial science, the term denotes a certain direction, the art method and art style.

This art direction is characterized by rationalism, regulations, harmony, clarity and simplicity, schematics, idealization. Characteristic features are expressed in the hierarchy of "high" and "low" styles in the literature. For example, in drama, the unity of time, actions and place was required.

Supporters of classicism adhered to the loyalty of nature, the patterns of a reasonable world with the beauty inherent in it, all this was reflected in symmetry, proportions, place, harmony, everything was supposed to be ideal in perfect video.

Under the influence of the Great Philosopher, the thinker of that time R. Descartes, the features and signs of classicism spread to all areas of human creativity (on music, literature, painting, etc.).

2. Classicism and world of literature

Classicism as a literary direction has developed in 16 -17. Its origins lie in the activities of Italian, Spanish academic schools, as well as association french writers "Pleiada", which in the era of Renaissance turned to antique art, To the norms set out by antique theorists. (Aristotle and Horace), seeking to find a new support in ancient harmonious images for the ideas of humanism's ideas. The emergence of classicism is historically due to the formation of an absolute monarchy - the transitional form of the state, when the weakening aristocracy and not yet acquainted the strength of the bourgeoisie were equally interested in the unlimited power of the king. The highest flourishing classicism reached in France, where his relationship with absolutism was especially clear.

The activities of classicists were led by the French Academy, founded in 1635 by Cardinal Richel. The creativity of writers, artists, musicians, classicism actors largely depended on the favorable king.

As a direction, classicism developed in different ways in Europe. In France, it was formed by the 1590s and became dominant by the middle of the 17th century, the highest flourishing falls on 1660-1670. Then the classicism undergoes the crisis and in the 1st half of the 18th century a receiver of classicism was the educational classicism, which in the 2nd half of the 18th century lost its leading position in the literature. During the period of the French revolution of the 18th century, educational classicism was based on a revolutionary classicism, which was dominated in all fields of art. Virtually degenerated classicism in the 19th century.

As an artistic method, classicism is a system of the principles of selection, assessment and reproduction of reality. The main theoretical work in which the basic principles of classical aesthetics are presented - "Poetic Art" Baual (1674). The goal of art classicists saw in the knowledge of the truth, which acts as an ideal of the beautiful. Classicists put forward the method of achieving it, based on three central categories of their aesthetics: the mind, sample, the taste that was considered objective criteria for artistry. The great works are the fruit of not talent, not inspiration, not artistic fantasy, but a persistent followation of the rally of the mind, studying the classic works of antiquity and knowledge of the rules of taste. Thus, classicists brought out artistic activities with scientific, so they turned out to be an acceptable philosophical rationalistic method of Descartes. Descartes argued that the human mind possesses innate ideas whose truth does not cause any doubts. If from these truths proceeds to underwater and more complex provisions, dismembering them to simple, methodically moving from the known to unknown, without allowing logical passages, then you can find out any truth. That is how the reason became the central concept of the philosophy of rationalism, and then the art of classicism. The world seemed motionless, consciousness and ideal - unchanged. The aesthetic ideal is eternal and at all times the same, but only in the era of antiquity he was embodied in art with the greatest completeness. Therefore, to reproduce the ideal, it is necessary to turn to antique art and study its laws. That is why the imitation of the samples was valued by classicists much higher than the original creativity.

Turning to antiquity, classicists abandoned the imitation of Christian samples, continuing the struggle of the Humanists of the Renaissance for art, free from religious dogmatic. From antiquity, classicists borrowed external features. Under the names of antique heroes, people were clearly seen 17-18 centuries, and the ancient stories allowed to put the most acute problems of modernity. The principle of imitation of nature was proclaimed, strictly limiting the right of the artist for fantasy. In art, attention was paid not to a private, one, random, and general, typical. Character literary hero It does not have individual traits, acting as a generalization of a whole type of people. Character is a distinctive feature, the general quality, the specificity of a particular human type. Character may be extremely pointed. The morals mean the general, the usual, familiar, character - a special, rare precisely in the degree of severity of the property sprayed in the nrules of society. The principle of classicism led to the separation of heroes on negative and positive, on serious and funny. Laughter becomes satirical and relates mainly to negative heroes.

The classicists are not attracted by all nature, but only "pleasant nature". From art, everything is expelled from the art that contradicts the sample and taste, a number of objects seem "indecent", unworthy of high art. In the event that the ugly phenomenon of reality must be reproduced, it is displayed through the prism of the beautiful.

Much attention Classicists paid the theory of genres. Not all the established genres responded to the principles of classicism. A previously not known principle of the hierarchy of genres appeared, who approved their inequality. There are genres the main and blackout. By the middle of the 17th century, the main genre of literature was the tragedy. Prose, especially artistic, was considered the genre lower than poetry, so prison received prosaic genres, not designed for aesthetic perception, - sermons, letters, memoirs, the artistic prose was in oblivion. The principle of the hierarchy divides genres on "high" and "low", and certain artistic spheres are enshrined behind the genres. For example, the "high" genres (tragedy, soda) was fixed by the issues of a nationwide. In "low" genres it was possible to concern private problems or abstract defects (misfortune, hypocrisy). The main attention of the classicists paid the tragedy, the laws of her writing were very strict. The plot was to reproduce the ancient times, the life of distant states (Ancient Rome, Ancient Greece); He had to guess from the name, the idea - from the first lines.

Classicism as a style is a system of finely expressive means, typifying reality through the prism of ancient samples, perceived as the ideal of harmony, simplicity, uniqueness, ordered system. The style reproduces the rationalistly ordered outer sheath of an ancient culture without transmitting its pagan, complex and undecided essence. The essence of the style of classicism was to express a look at the world of a person of the absolutist era. Classicism was distinguished by clarity, monumentality, the desire to remove everything too much, create a single and one-piece impression.

The largest representatives of classicism in the literature - F. Maleb, Cornel, Rasin, Moliere, Lafonten, F. Larochefuko, Voltaire, J. Miltono, Goethe, Schiller, Lomonosov, Sumarokov, Derzhavin, Princess. In the work of many of them combine the features of classicism and other directions and styles (baroque, romanticism, etc.). Classicism has been developed in many European countries, in the USA, Latin America, etc. Classicism was repeatedly reborn in the forms of revolutionary classicism, an ampury, neoclassicism and affects the world of art until today's days.

3. Classicism and visual arts

The theory of architecture is based on the Treatise of Vitruvia. Classicism acts as a direct spiritual successor of ideas and aesthetic principles of the Renaissance, which was reflected in the Renaissance art and theoretical works of Alberti, Palladio, Vinologi, Serlio.

In various European countries, temporary stages of the development of classicism do not coincide. So in the 17th century, classicism occupied significant positions in France, England, Holland. In the history of the German and Russian art, the era of classicism dates back to the 2nd half of the 18th century - the 1st third of the 19th century, for the previously listed countries, this period is associated with neoclassicism.

The principles and postulates of classicism were and existed in constant controversy and at the same time in cooperation with other artistic - aesthetic concepts: mannerism and baroque in the 17th century, Rococo - in the 18th century, romanticism - in the 19th century. In this case, the severity of the style in different types And the genres of art of a certain period was uneven.

In the second half of the 16th century there is a decay of the inherent culture of the revival of a single harmonious vision of peace and man as its center. Classicism is characterized by regality, rationality, condemnation of all subjective and fantastic demand from the art of naturalness and correctness. Also, the classicism is inherent in the tendency to systematization, to the creation of the completed theory of artistic creativity, to the search for unchanged and perfect samples. Classicism sought to develop a system of general, universal rules and principles aimed at comprehending and embodiment with artistic means of the eternal ideal of beauty and universal harmony. For this area The concepts of clarity and measure, proportions and equilibrium are characteristic. Key ideas of classicism were set forth in the Treatise of Bellory "Bestiography modern artists, sculptors and architects "(1672), the author expressed the opinion of the need to choose the median path between mechanical copying of nature and care from her in the fantasy area.

Ideas and perfect images of classicism are born in the contemplating of nature, a refined mind, and nature itself in classical art appears as purified and transformed reality. Antiquity is the best example of natural art.

In the architecture of the trend of classicism, they declared themselves in the 2nd half of the 16th century in the work of Palladio and Skamoti, Delhorma and Lesko. Classicism of the 17th century had a number of features. Classicism distinguished quite critical attitude towards the creations of ancients, which were not perceived as an absolute sample, but as a reference point in the value scale of classicism. The master of classicism was to learn the lessons of the ancients, but not to imitate them, but in order to surpass them.

Another feature is close connection with others. artistic directionsFirst of all with Barroko.

For architecture of classicism special meaning They have such qualities as simplicity, proportionality, tectonics, regularity of the facade and volume and spatial composition, search for pleasant proportions and integrity architectural image, expressed in visual harmony of all its parts. In the 1st half of the 17th century, classic and rationalistic intricacies were reflected in a number of mining buildings, Lemar. In the 2nd half of the 1630th -1650s, the geometric clarity and integrity of the architectural volumes, the closetness of the silhouette increased. The period is characterized by a more moderate use and the uniform distribution of decor elements, awareness of the independent value of the free plane of the wall. These trends were marked in the secular buildings of the manzar.

The organic part of the classic architecture was the nature and gardening art. Nature performs material from which the human mind can do the right forms, architectural by the appearance, mathematical - in essence. The main expressant of these ideas of Lenotr.

In the visual art of value and the rules of classicism, externally expressed in the requirement of the clarity of the plastic shape and the ideal equilibration of the composition. This led to the priority of the linear perspective and the picture as the main means of identifying the structure and the works of the "idea".

Classicism is penetrated not only into the sculpture and architecture of France, but also in Italian art.

Public monuments, received wide distribution in the era of classicism, they gave sculptors the possibility of idealization of military valve and wisdom of state husbands. The allegiance of the ancient sample required the image of the models of models by nagi, which confessed with the accepted norms of morality.

Private customers of the era of classicism preferred to perpetuate their names in gravestone monuments. The popularity of this sculptural form contributed to the arrangement of public cemeteries in the main cities of Europe. In accordance with the classic ideal of the figure on the tombstones, as a rule, are in a state of deep peace. Classicism sculpture is generally somehow sharp movements, external manifestations of such emotions as anger.

Late, ampury classicism, presented primarily with a prolonged Danish sculptor Torvaldsen, penetrated dryly by the bag. The purity of the lines, the restraint of gestures, inconsistency of expressions is especially valued. In the choice of samples to follow the emphasis shifts from Hellenism for the period of archaic. Religious images are taken into fashion, which in the Torvaldsen interpretation produce a somewhat chilling impression on the viewer. The tomb sculpture of late classicism often carries an easy nick sentimentality

4. Music and classicism

Classicism in music was formed in the 18th century based on the same complex of philosophical and aesthetic ideas as classicism in literature, architecture, sculpture and visual art. No antique images were maintained in music, the formation of classicism in music took place without any support.

The brightest representatives of classicism are composers of the Vienna Classical School Josef Gaidn, Wolfgang Amadeus Mozart and Ludwig Van Beethoven. Their art admires the perfection of composer equipment, the humanistic orientation of creativity and the desire, especially tangible in the music of V.A. Mozart, reflect the media tools perfect beauty. The very concept of a Vienna classical school appeared shortly after the death of L. Van Beethoven. Classic art Distinguished by a subtle equilibrium between feelings and reason, shape and content. Revival music reflected the spirit and breath of their era; In the baroque era, the subject of a person's state of display in music; The music of the era of classicism chants the actions and actions of a person who experienced emotions and feelings, attentive and holistic human mind.

A new bourgeois musical culture is developing with private salons, concerts and opera performances, open to any public, a faceless audience, publishing and musical criticism. In this new culture The musician has to defend its position of an independent artist.

Classicism flourishing occurs in the 80s of the eighteenth century. In 1781, Y. Gaidn creates several innovative works, among which its string quartet is. 33; The premiere of opera V.A. Mozart "Abduction of Seryla"; Drama F. Schiller "Robbers" and "Cleaning Cleaver" I. Kant are published.

In the era of classicism, music is understood as National Art, a kind of universal, understandable language. There is a new idea about self-sufficiency of music, which not only describes nature, entertains and trains, but also is able to express true humiding with the help of a simple and understandable metaphorical language.

Tone musical language Changes with an elevated serious, somewhat gloomy, more optimistic and joyful. For the first time, the basis of the musical composition becomes shaped, free from empty pellery, melody and dramatic contrast development, which has gained its embodiment in a sonate form based on the opposition of major musical topics. Sonataya form prevails in many writings of this period, among which Sonatas, Trio, Quartets, Quintes, Symphonies, at first did not have strict borders with chamber music, and three-part concerts, for the most part Piano and treble. New genres develop divertisment, serenade and cassation.

Conclusion

classicism Art Literature Music

In this paper, I looked at the art of the era of classicism. When writing work, I got acquainted with many articles affecting the topic of classicism, I also viewed a lot of photos with images of paintings, sculptures, architectural buildings of the classicism era.

I believe that the material provided by me is enough for general familiarization with this issue. It seems to me that for the formation of broader knowledge in the field of classicism, you need to visit the museums of fine art, listen musical works of that time and familiarize yourself with at least 2-3 literary works. A visit to museums will make it much deeper to feel the spirit of the era, survive those feelings and emotions that the authors and ends of the works tried to convey to us.

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