Caravaggio - Italian painting of the XVII century. Italy in the XVII-XVIII centuries Caravaggio

The dominant position in the public life of Italy was occupied by aristocracy and the highest Catholic clergy. In the conditions of a deep economic decline of the country, only major secular and church feudals have yet had significant material wealth. The Italian people - the peasants and the townspeople were in an extremely difficult situation, was doomed to poverty and even for extinction. The protest against the feudal and foreign oppression finds an expression in numerous folk uprisings that broke out for the 17th century and sometimes taking the formidable scope, such as the rebellion of Masanello in Naples.

The overall nature of the culture and art of Italy in the 17th century was due to all the peculiarities of its historical development. It is in Italy that the art of Barochko is born and gets the highest development. However, being dominant in the Italian art of the 17th century, this direction was not the only one. In addition to him, and in parallel with it, realistic trends are developing related to the ideology of the democratic layers of Italian society and receiving significant development in many art centers of Italy.

The monumental architecture of Italy 17th century satisfied almost exclusively requests from the Catholic Church and the highest secular aristocracy. During this period, mainly church structures, palaces and villas are being built.

The serious economic situation of Italy did not give the opportunity to build very large structures. At the same time, the church and the highest aristocracy needed strengthening their prestige, their influence. From here - the desire for unusual, extravagant, parade and acute architectural solutions, the desire for increased decorativeness and the soundness of the forms.

Construction of impressive, although not so large structures contributed to the creation of the illusion of the social and political well-being of the state.

Baroque reaches the greatest voltage and expression in religious, church facilities; Its architectural forms, it is impossible to better meet the religious principles and the ritual side of militant Catholicism. The construction of numerous churches The Catholic Church sought to strengthen and strengthen their prestige and influence in the country.

The Baroque style, which was produced in the architecture of this time, is characterized, on the one hand, the desire for monumentality, on the other, the predominance of decorative and picturesque beginnings over tectonic.

Like the works of fine art, monuments of the Baroque architecture (especially church structures) were calculated on the strengthening of the emotional impact on the viewer. The rational beginning, which underlited the art and architecture of the Renaissance, gave way to the beginning of irrational, static, calm - dynamics, tension.

Baroque - style of contrasts and uneven distribution of composite elements. Of particular importance in it are large and juicy curvilinear, arcuate forms. For Baroque structures are characteristic - frontal, facade of construction. Buildings are perceived in many cases on the one hand - from the main facade, often obscured the volume of the structure.

Baroque pays great attention to the architectural ensembles - urban and park, however, the ensembles of this time are based on a different principle than Renaissance ensembly. Baroque ensembles of Italy are built on decorative principles. They are characterized by isolation, comparative independence from the general system of planning urban territory. An example is the largest ensemble of Rome - the area in front of the Cathedral of St. Peter.

Colonnades and decorative walls, closing the space in front of the entrance to the cathedral, covered the disorderly, random development for them. There is no connection between the area and adjacent to it a complex network of lulls and random homes. Separate buildings included in the baroque ensembles, as if losing their independence, fully obeying the overall composite plan.

Baroque put the problem of art synthesis in a new way. Sculpture and painting playing in the buildings of this time a very large role, intertwining among themselves and often shrone or illusively deforming architectural forms, contribute to the creation of the impression of saturation, pomp and splendor, which constantly produce baroque monuments.

Creativity Michelangelo had a great importance for the formation of a new style. In his works, he developed a number of forms and techniques that were used later in the Baroque architecture. Vigola architect can also be characterized as one of the direct baroque precursors; Its works can be noted a number of early signs of this style.

New style - Baroque style in Italy's architecture - comes to replace Renaissance in the 1980s of the 16th century and develops throughout the 17th and first half of the 18th century.

Conditionally, within the architecture of this time, three stages can be highlighted: early baroque - from the 1580s to the end of the 1620s, high, or mature, baroque - until the end of the 17th century and later - the first half of the 18th century.

The first masters of Baroque is considered to be architects Giacomo della Port and Domenico Fountain. They belonged to the next generation towards Vigola, Alesi, Ammanati, Vazari and finished their activities in the early 17th century. At the same time, as previously noted, the traditions of the late Renaissance continued to live in the work of these masters.

Jacomo della port. Jacomo Della Port (1541-1608) was a vigol student. Early His Construction - Church of the Site Catarina in Funari (1564) - in its style belongs to Renaissance. However, the facade of the Church del Jesu, which this architect ended after the death of Vinoli (from 1573), significantly baroque the original draft of his teacher. The facade of this church with a characteristic division into two tiers and side volutes, the plan of structures were a model for a variety of Catholic churches in Italy and other countries. Dzhacomo Della Port completed after the death of Michelangelo to build a large domes of the Cathedral of St. Peter. This master was also the author of the famous Villa Aldobrandini in Frascati near Rome (1598-1603). As usual, the main body of the villa is located on the mountainside; The main entrance brings the double-sided spining ramp. From the opposite side, the garden is adjacent to the building. The foot of the mountain is located a semicircular in terms of grotto with arches, there is a water cascade in the frame of the stairs. The building itself is a very simple prismatic form completed with a huge broken fronton.

In the composition of the villa, in the components of its park buildings and in the nature of plastic parts, the desire for the deliberate beautifulness, refined architecture, so characteristic of Baroque in Italy, is clearly shown.

In the time consideration, the Italian Park system is finalized. It is characterized by the presence of a single axis of the park located on the mountainside with numerous descents and terraces. On the same axis there is a main building. A characteristic example of such a complex and is the Villa Aldobrandini.

Domenico fountain. Another major architect of the early baroque was Domenico Fountain (1543-1607), which belonged to the number of Michelangelo and Vigola's Roman successors. The largest work is the Lateran Palace in Rome. The palace in the form that the fountain gave him is an almost right square with prisoner inside the square yard. The facade solution of the palace is completely based on the architecture of Palazzo Farneza - Antonio Sangallo younger. In general, the palace construction of Italy 17th century is based on the further development of the composite type of Palazzo Palace, which was developed by the Architecture of the Renaissance.

Together with his brother Giovanni Fontana Domenico built in Rome in 1585-1590, Fountain Aqua Paolo (without Attica, made later Carlo Madern). Its architecture is based on the processing of forms of antique triumphant arches.

Carlo Madern. Pupil and nephew Domenico Fountain - Carlo Madern (1556-1629) finally strengthened a new style. Its creativity is transitional to the period of developed baroque.

The early work of Maderna - the facade of the early Christian Basilica Susanna in Rome (approx. 1601). Created based on the facade of the Church of Del Jesu, the facade of the Susanne church is clearly dissected by orders, decorated with statues in niches and numerous ornamental decorations.

In 1604, Maderna was appointed chief architect of the Cathedral of St. Peter. By order of Pope Paul V Maderna compiled a project to expand the cathedral by extension anterior, input part. The clergy insisted on the elongation of the Greek Cross to the form of Latin, which corresponded to the traditions of church architecture. In addition, the dimensions of the Cathedral of Michelangelo did not cover the entire places where an ancient basil was located, which was unacceptable from the point of view of servants of the Church.

As a result, when building a new front facade of the Madern Cathedral, Michelangelo's original intention completely changed. The latter conceived the cathedral standing in the center of a large square, which would allow the building around and see it from all sides. The Maderna closed the sides of the cathedral from the viewer, the sides of the cathedral: the width of the facade exceeds the width of the longitudinal part of the temple. The elongation of the building led to the fact that the dome of the Cathedral of St. Peter is perceived entirely at a very long distance, as it approaches the building, it gradually hides behind the facade wall.

The second period of the architecture of Barochko - a period of maturity and heyday of the style - associated with the work of the largest masters: L. Bernini, F. Borrombini, K. Rainaldi - in Rome, B. Longen - in Venice, F. Rickini - in Milan, Gvarino - in Milan Turin.

Lorenzo Bernini. The central figure of Mature Baroque is Lorenzo Bernini (1598-1680). He was not only an architect, but also the largest sculptor of the 17th century in Italy.

Since 1629, Bernini, after the death of Madern, continued the construction of the Cathedral of St. Peter. In 1633, he built a large bronze model in the Cathedral over the main dome, supported by four twisted decontstructive columns. According to the tradition, this model is considered to be conditionally the first product of mature baroque. Bernini, the interior decoration of the cathedral was suggested to him by the project Michelangelo. This finish is a wonderful example of baroque church interior.

The largest architectural work of Bernini was the design of the area in front of the Cathedral of St. Peter (1655-1667). The architect created two squares - a large elliptical, framed by columns, and directly adjacent area in the form of a trapezoid, limited from the opposite side by the main facade of the cathedral. Within the oval area, Obelisk and two symmetrically located fountains were installed.

Bernini continued and developed the design of Madern: the colonnades do not allow the opportunity to approach the cathedral from the side. For the viewer, only the main facade remains available.

The majestic architecture of Bernini Square was a worthy background for the congress ceremony for a solemn service committed in the cathedral. In the 17-18th centuries, this congress was a magnificent and solemn sight. Square Cathedral St. Peter is the largest ensemble of Italian-baroque.

In the Vatican Bernini, a parade royal staircase was created - the "rock of Reggia" ("Site Rock"), in which he used to accept artificial enhancement of a promising reduction. Due to the gradual narrowing of the march and reducing the columns, the impression of greater depth of room and increase the size of the ladder itself.

The most characteristic works of Bernini include a small church of San Andrea In Quirinale (1678), the main facade of which has a portal with pilasters and a triangular fronton. This portal is mechanically connected to the main volume of the building, oval in terms of.

The main work of Bernini in the field of civil architecture is Palazzo Odessales in Rome (1665), solved by the usual Renaissance scheme. The composite center of the building is, as usual, the courtyard limited in the first floor of arcades. The distribution on the facades of windows and decorative their decoration is also reminded by the Palazzo of the 16th century. In a new way, only the central part of the main facade was developed: the two upper floors are covered by a large order in the form of the Corinth Pilaster, the first floor in relation to this order plays the role of a pedestal. A similar breakdown of the facade wall will receive later, in the architecture of classicism, great distribution.

Bernini also continued to be launched by the Madnoral Building of Palazzo Barberini. The construction does not have a closed yard, usual for Italian palaces. The main body is limited on two sides protruding filtiels. The central part of the main facade is perceived as an application imposed, in decorative purposes, on the surface of the wall. The central risalat has very wide and high arched, windows, half-column placed between them; In the first floor there is a deep loggia. All this sharply distinguishes the central part of the facade from more massive side parts decorated in the tradition of architecture of the 16th century. This technique received in the architecture of the Italian baroque is also very large distribution.

Interesting oval staircase Palazzo Barberini with spiral marches based on double Tuscan columns.

Francesca Borrombsh. No less important for the Italian baroque has the work of Francesco Borrombini (1599-1667) - the employee of Bernini, later - his rival and the enemy. The works of borryni are distinguished by a special fusion and the "dynamicity" of forms. Borrombini brought the Baroque style to maximum tension.

The main work of borrings in the field of temple architecture is the Church of San Carlo "in four fountains" (1638-1667). The facade is perceived as an independent architectural composition, independent of the building. He is granted bent, wave-like forms. Within this facade, you can see the entire arsenal of baroque forms - torn arcuate cornices, oval cartridges and other decorative parts. The church itself has a complex shape, reminiscent of two bells, folded together with their bases. The overlap is the oval dome. As in many other buildings of this time, the composition of the church is built on the contrast of external and internal architectural volumes, on the surprise of the effect that occurs at the entrance to the structure.

One of the most significant works of the architect is the Roman Church of San Ivo, included in the building of the Sapirection (University, 1642-1660). The complex outlines of the Plan of the Church and the complete inconsistency of the outer and inner shells of the dome should be noted. Outside, the impression of a high drum and flat sauccia dome covering this drum is created. Entering the same inside, you are convinced that the fifth units of the dome coating are located directly at the base of the drum.

Borrorini designed Falkoniery Villa in Frascati. In addition, he rebuilt the palazzo recession and worked to Bernini over Palazzo Barberini (see above).

Carlo Rainaldi. Carlo Rainaldi (1611-1691) is one of the main builders of the baroque heyday. The most important works of Rainaldi - Church of San Anise and the site Maria In Campitelle.

Church of San Anzya (started in 1651) is located on the axis of the Navona Square, which preserved the outline of the previously ancient circus of Domitian here. The area is decorated with typical baroque fountains of Bernini for this time. The church has a centrian plan and is completed by a large dome; Arcuid, a concave facade is limited on both sides by bell tower. Unlike most Roman churches of this time, the dome is not hidden by the facade plane, but acts as the main composite center of the entire area.

The church of the Maria In Campitelley site is built later, in 1665-1675. The bunk facade of it, solved by the System of the Church of Del Jesu, and internal design is a typical example of the architecture of mature baroque.

Rainaldi also owns the rear facade of the Roman Church of Santa Maria Maggiore (1673).

In the 17th century, Roman architecture has been enriched with several new villas located in the vicinity of the city. In addition to Villa Doria Pamfili, built by architects Algardi and Grimaldi (approx. 1620), were created among other villages of Mandragon and Villa Torlonia - both are in Frascati, as well as the villa d "Este in Tivoli. In these parade estates - beautiful Pools, rows of cypresses, evergreen shrubs, diversely decorated terraces with balustrades, grottoes, numerous sculpture. The sophistication and pomp of the decorative decoration were often combined with the elements of wildlife in the artificially created landscape.

Baroque outside Rome put forward a number of large architects. In Genoa in the 17th century, Bartolomeo Bianco worked. Its main work is the University building in Genoa (from 1623) with a wonderful courtyard, limited by two-storey arcades and the beautiful stairs adjacent to them. Due to the fact that Genoa is located on the slope of the mountains, the amphitheater, descending to the sea, and separate buildings are built on areas with a large bias, the placement of buildings and yards at various levels prevails. In the University's building on one composite horizontally located axis, the main lobby, the central courtyard and, finally, are behind the open-air bunk arcade ladder leading to the garden.

Venice worked as an architect Baltass Longen (1598-1682). The main work of it is the biggest, along with the Cathedral of St. Mark, Church of Venice Santa Maria Delle Salute (1631-1682); It is located on the arrow between the jaudcca canal and the Grande Channel. This church has two dome. For the main, eight-marched volume, topped with a dome, is the second volume enclosing the altar; It is also endowed with a dome, but already smaller in size. The entrance to the temple is decorated in the form of a triumphal arch. The main dome drum is combined with the main walls of the church of 16 spiral-shaped wolves with sculptures installed on them. They enrich the silhouette of the building, give it a special characterity. Despite the magnification of the decoration, in the appearance of the church there is a well-known fragmentation of architecture and dryness of parts. Inside the church, lined with light gray marble, is spacious, but cold and official.

On the large channel of Venice there are both most significant Palazzo, built by Longen, - Palazzo Pesaro (approx. 1650) and Palazzo Rezzonico (1680). According to the structure of its facades, the latter are largely similar to the Palaces of Venice, the times of Renaissance, in particular with the Palazzo Corner Sancean Wine, but at the same time differ from them incomparably greater saturation and decorativeness of forms.

In Turin, the architect of Hvbanino Gvbnini was worked (1624-1683), the former the monk of the Order of the Thams. Gvarino Gvarini - "The most baroque of all Baroque architects" - can be compared in its creative temperament only with Francesco Borrorini. In his works, he often used in decorative purposes in addition to conventional forms, recycled motifs of Moorish and Gothic architecture. They were erected by many buildings of Turin, including Palazzo Carignano (1680), a parade and magnificent, but purely decorative on design. Typically, the decision of the main corps of Palazzo. In the main rectangular volume, as it were inserted central part with a front-end staircase. Walls, its limiting, and marches are arcuate in terms of form. All this is respectively reflected on the facade. If its lateral areas retain rectangular outlines, the center is bent in the opposite sides with a slot in the middle, which is inserted in the form of a completely different motive - bunk loggia is also curved shape. Window platbands on facades have a broken cartilaginous configuration. Pilastres are made by small, graphic in the nature of the forms.

Among the churches built, the Church of Madonna Della Consolate with oval Neum, which is the hex altar, should be highlighted. The constructed clinies of the church is even greater whimsality and complexity of forms than its civilian structures.

In the visual art, as in the architecture of Italy, in the 17th century, the Baroque style receives a dominant value. It arises as a reaction against the "mannerism", contrived and complex forms of which opposes first of all the most simplicity of images, asked both the creations of the masters of high rebirth, and due to independent study of nature. Justly peering into the classic heritage, often borrowing individual elements from him, the new direction seeks to possibly greater expressiveness of the forms in their stormy dynamics. New features of art correspond to new picturesque techniques: the calm and clarity of the composition are replaced by their freedom and as if by chance. The figures are shifted from their central position and are built into groups mainly in diagonal lines. This construction is important for the baroque value. It enhances the impression of movement and contributes to the new transmission of space. Instead of usual for the art, the revival of his membership on separate layers is covered by a single look, creating the impression of a random fragment of an immense whole. Such a new understanding of space belongs to the most valuable achievements of Baroque, which played a certain role in the further development of realistic art. The desire for the expressiveness and dynamics of forms generates another line, no less typical for Baroque, is the use of all kinds of contrasts: contrasts of images, movements, oppositions of illuminated and shadow plans, color contrasts. All this is complemented by a pronounced decorative burden. At the same time, the picturesque texture, turning from the linear-plastic interpretation of forms to an increasingly wide painting of vision.

The marked features of the new style over time they purchased increasingly defined features. This justifies the division of Italian art of the 17th century on the three uneven stages: "Early", "mature", or "high", and "later" baroque, the domination of which lasts a lot longer than others. These features, as well as chronological limits, will be marked further.

The baroque art of Italy serves the mainly dominant and approved after the Tident Cathedral of the Catholic Church, Princely Courts and Numerous Nobility. The tasks put in front of the artists had as much ideological as decorative. Decorating the churches, as well as palaces for nobility, monumental murals of domes, plafones, walls in fresco technique get unprecedented development. This type of painting becomes a specialty of Italian artists who worked both in their homeland and in Germany, Spain, France, England. They retain the indisputable priority in this field of creativity until the end of the 18th century. Themes of church paintings are the lush scenes of the glorification of religion, her dogmas or the saints and their acts. Allegorical and mythological scenes are dominated at the palafones of palaces, which serve as the glorification of the provisions of the surnames and their representatives.

Extremely common are still large altar paintings. In them, along with the solemn-great images of Christ and Madonna, the images that have provided the strongest impact on the viewer are especially common. This is the scene of the executions and the torment of the saints, as well as the states of their ecstasy.

SUSHING STAKA Painting most willingly fell on the themes of the Bible, mythology and antiquity. As independent of its species get the development of the landscape, the battle genre, still life.

On the verge of 16 and 17th centuries as a reaction against mannerism two directions, of which the entire subsequent painting of Italy is developing: Bologna Academism and Caravagism.

Balance School. Brothers Carragechi. Bologna Academism is composed of a slim artistic system in the mid-1580s. Three Bologna artist - Louis Carragechci (1555-1609) and his cousins \u200b\u200bof Agostino (1557-1602) and Annibal (1560-1609), which occupies the first place among the brothers, - produces the foundations of a new style, relying mainly on the study of the classic heritage of the 16th century . The impact of the Venetian school, Correzo's creativity and the 16th century's Roman art leads to a decisive turn from mannerism towards simplicity, and at the same time the magnifier of the images.

The first works of Brothers Carragechi for painting Bologna Palaces (Palazzo Fawa, Palazzo Manyani) still do not allow to clearly differentiate their stylistic features. But Machine paintings by Annibal Carragechi, in which the reminiscence of the Parma school is initially strong, indicate the composed bright artistic individuality. In 1587 and 1588, he creates two altar paintings, which would be the first works of a new style: "Ascension of Madonna" and "Madonna with St. Matvey "(both in the Dresden Gallery). If in the first many more manners in the movement of the figures and in their expression, then "Madonna with St. Matvey "is characterized by the calm magty of images, indicative for the beginning of a new stage of Italian painting.

In the 1580s, the Carragechi brothers opened the Academy in Bologna, named by them "Academy dei-Inkaknati" (academy, entering into a new path). Instead of the previous training of future artists, providing for the acquisition of the necessary skills in the apparent work in the workshops of painters, Carrenci spoke in favor of systematic teaching of items required in the practice of the artist. Along with training, the drawing and painting in the named academy was taught anatomy, perspective, as well as such disciplines as history, mythology, literature. The new method was destined to play a largest role in the history of European art, and the Bologna Academy was a prototype of all subsequent academies that opened from the 17th century.

In 1595, the Carragechi brothers who have already gained great fame were invited to Rome Cardinal Farneshee for the painting of his palace. At the invitation, one Annibal responded, who left forever Bologna. In Rome, close contact with the traditions of the local school and the influence of antiquity was discovered in the art of the masters a new phase. After a relatively insignificant painting of one of the Hall of Palazzo Farneza ("Kamerino", mid-1590s. Annibal Karratica creates a famous gallery plane, which appeared as if the crown of his creativity and the initial point of most decorative paintings of the 17th century. Gallery premises (about 20 × 6 m), blocked by a low box arch, Annibal divides on a number of independent segments. The composite construction of the Plafon resembles the painting of the Sicistin Capella Michelangelo, from which he borps in addition to breaking the plane is also the illusionistic nature of the interpretation of sculptures, living human figures and picturesque paintings. A generalized theme serve lovers of the Gods of Olympus. In the center of the Plafon, a crowded and noisy "triumphal march of Vakha and Ariadna" is placed. On the sides there are two other mythological compositions, and the band decreases, dismembered by the marble by Herma and Atlanta, whose legs are sitting as if living boys. These figures are framed that round medallions imitating bronze, with antique scenes, then purely picturesque narrative compositions. At the corners, this frieze is designed by the image of the balustrade, over the background of the sky, amuras written. This item is important as an early, another timid attempt to break the real space, receiving, which has become particularly characteristic of baroque celers. The plastic power of the figures, a variety of decorative forms and colorful wealth created an ensemble of an extraordinary pomp.

Machine paintings created by Annibal Carragechi in the Roman period of creativity are devoted mainly to religious plots. Cold perfection of forms leaves little place in them the feeling. "The mourning of Christ" (1599, Naples, the National Gallery), where the same is equally high and the other belongs to exceptions. In the manner of painting of most paintings, the desire for a clear linear and plastic identification of figures prevails. "Myrova's wives at the coffin of Christ" (approx. 1605, Hermitage) belong to the characteristic samples of this type of artist's work.

Referring often to the landscape genre, Annibal Carragechci becomes a prisoner widespread in the future of the so-called "classic" landscape. The essence of the latter lies in the fact that its representatives, using sometimes very thin observed motives of nature, seek primarily to "reform" its forms. Landscapes are built in the artist's workshop using the developed schemes, in which the most important role is played by the balancing of the masses, soft lines of the contours and the use of trees or ruins groups in the form of rings. "Landscape with worship of Magi" Annibal Carragechi in the Doria Gallery in Rome can be called one of the first stylisticly complete samples of this type.

Caravagism. A few years later, after the addition of Bologna Academism, another, even more opposition in relation to manherism, is an artistic course, which is distinguished by a pronounced search for the realism of images and is largely democratic. The course of this is extremely important in the overall history of development of realism, is usually indicated by the term "Caravagism" originating on behalf of his head - Michelangelo Merisi da Caravaggio (1574-1610). He received wide fame named his homeland, Caravaggio has developed as a painter under the influence of the art of Northern Italy. Another young man he gets to Rome, where attracts attention to a number of genre paintings. The depicted semi-phigures of girls and young men, Gypsies and Shulers are endowed with an unknown dotole materiality. The details of the composites are as financially outlined: baskets of flowers and fruits, musical instruments. The picture "Butter" (1594-1595, Hermitage), belonging to the best works of this circle, gives an idea of \u200b\u200bthe type of such work. It is characteristic of the early Caravaggio and a clear linear manner of painting.

A simple image, devoid of all idealization, resolutely different from the refined images of Carragechci, gives Caravaggio in his "Vakhe" (1596-1597, Florence, Uffizi),

At the end of the 1590s, Caravaggio receives the first major order for the creation of three paintings for the Church of San Luigi-de-Francise in Rome. In the altar picture, "The Honor of the Apostle Matvey, the hand of which guides the angel" (1597-1598, the picture died during the Second World War) Caravaggio refused any idealization of the apostle, depicting it with an untrined truthfulness in the form of a person from the people. Such an image caused a sharp condemnation of customers who demanded the replacement of the picture to another, more acceptable option for them. In one of the following compositions of the same order representing the "calling of the apostle Matthew" (1598-1599), Caravaggio gave the first example of the so-called "cellar" painting. In this picture, dark tonality prevails, opposed sharply illuminated parts, especially important for the composition: heads, outlines of figures, hand gestures. This technique had a particularly defined effect on the European painting of the first third of the 17th century.

The first years of the 17th century (1601-1603) is given by one of the most famous masterpieces of painting Caravaggio - "Position in the Coffin" (Rome, Pinakotek Vatican). Built diagonally in height, this composition is characterized by emergency expressiveness and vitality of images; In particular, the figure of the leaning student who supports the legs of the Dead Christ has been transferred to the ultimate realism. The same non-idealization realism is distinguished by several years later "Mary's Assumption" (1605-1606, Louvre). Over a slightly touched by the flow of the lying body of Madonna in deep sorrow, pupils of Christ are standing. The genre-household nature of the painting, in which the artist resolutely retreated from the traditional transfer of the topic, again caused the complaints of the church.

The rebellious temperament of Caravaggio constantly led him to collisions with the environment. It happened so that during a quarrel he killed his opponent on the game of the ball and was forced to flee from Rome. In the Master's biography, a new stage was opened, marked by constant variation of the place. After a short stay in Naples, it turns out to be on the island of Malta, where in the service of the grandmaster of the Maltese Order has a major success, it is being built into the rank of nobleman, but soon, after a new quarrel, he comes to prison. He then appears again in Naples, after which it receives permission to return to Rome, but due to the mistake of the authorities who take it over the other, the property is deprived of the property, falls on a deserted seashore and dies from fever.

At this late period of creativity, the master created several wonderful works. The most outstanding can be classified as an impact of the realism of the image "Portrait of the grandmaster of the Maltese Order of Aloof de Vinyakura" (1608), as well as an exceptional one for the simplicity of the story and the deep humanity "worship of shepherds" (1609, Messina).

The work of the master, the different novelty mapping of life and the peculiarity of the picturesque techniques, has had the strongest influence on many artists, both the Italians and those who worked in Rome in the Rome. Thus, it was the most important incentive of the development of realism in the pan-European painting of the 17th century. Among the Italians, the most prominent followers of Caravaggio belongs to Orazio Dustlezki (1565-to 1647).

Domenicino. As for the nearest disciples and the continuers of the art of Karratic, then dominicino is especially outstanding among them. Domenico Callets, Nicknamed Domenicino (1582-1641), is known as the largest representative of the monumental narrative fresco painting in the 17th century. It combines the magnifier of idealized, but preserving the naturalness of forms with the seriousness of the transmission of the content. These features are mostly affected by the Mural of the Roman Church of St. Andrea-Della Valle (1624-1628), where at the end of the aksida among stucco, white with gold, the ornament Domenicino depicted scenes of the evangelical narration from the life of the Apostles Andrei and Peter, and on the sails of the dome - Four evangelical angels surrounded by angels. From the Masters Masters Master is the most famous "The last communion of Saint Jerome" (1614, Rome, Vatican). The classical of the forms caused by partly by the passion of Rafael is combined in the interpretation of persons with a deep religious feeling. Domenicino works are often marked by the lyrical character of images. In this regard, his early "girl with a unicorn", written above the front door of the gallery Palazzo Farneza, and especially the picture, conditionally called "Hunt Diana" (1620, Rome, Borghese Gallery). The picture depicts a competition of satellites Diana in archery and the episode of the appearance among them. The naturalness of the drainage is intensified by the freshness of the interpretation of images.

Francesca Albani. Francesco Albani (1578-1660) was mainly an artist-stankist and interesting, by the way, by introducing a new type of cloth - small, so-called "cabinet" paintings designed to decorate the premises of limited volumes. In them, Albani usually depicted idyllic landscapes, against the background of which frolish and dancing the figurines of the Amurov.

Guado Reni. Guido Reni (1575-1642), who was headed after Carrency, the head of the Bologna school, in the early period of his creativity experienced the effect of Caravaggio's art. It is manifested in the absence of idealization of images and cutting contrast of lighting ("Crucifixion of the Apostle Peter", approx. 1605, Rome, Vatican). Soon, however, Reni produces their own style representing the most vivid expression of one of the currents observed in the art of Italy of the 17th century. This is the so-called "classic" direction of the early baroque is characterized by the restraint of the artistic language, as well as the strictness of idealized forms. With all the completeness of the manner of Guido Reni reveals for the first time in the famous "Aurora" (1613-1614, Palazzo Rospillosis), written in the technique of frescoes on the Flafone of the Roman Palazzo Rospillosis. Against the background of the golden yellow sky, the Apollo on the chariot rushes around the dance of the grace. Flying in front of him Aurora Pilot flowers on the ground and lead sea, which has not yet touched the rays of the sun. Linearo-plastic interpretation of forms, balanced composition, built like a machine-made picture, as well as the oppression of different, but computed paints, make this fresco extremely indicative for the early stage of the development of baroque decorative painting. The same features, but with more embossing, positive and appear in the later easel picture - "Atalanta and IpPomen" (approx. 1625, Naples). In his religious paintings, Reni often makes the features of sentimentalism and sorry. The Hermitage picture "Youth Madonna" (1610th) attracts the intimacy of the transfer of those engaged in the sewing of the pretty girls. In a number of other works, the idealization of images does not exclude their naturalness and depth of feeling ("mourning Christ", Bologna, Pinakotek, 1613-1614; "Madonna with a baby", New York, private collection, end of the 1620s.).

The third decade of the 17th century opens a new stage of baroque art, covered by the concept of "high, or mature, baroque". Its essential features are the strengthening of dynamism and expressiveness of forms, their painting of their transfer and emergency strengthening of decorativeness. In the painting to the marked features joins intense colorfulness.

Giovanni Lanfranco. One of the masters claiming the domination of a new style, Giovanni Lanfranco (1580-1641), based mainly on the monumental art of Korredjo, by 1625 it creates his painting of the Dome of St. Andrea-Della Valle, depicting "paradise". Having concentric circles countless figures - Madonna, Saints, Angels, he takes the eye of the viewer into an infinite space, in the center of which the luminous figure of Christ is depicted. For this artist, it is also characterized by combining figures into broad masses forming picturesque flows of light and shadow. The same techniques of painting are repeated in the Machine paintings of Lanfranco, among which one of the above is the "vision of the Holy Margarita Cortonskaya" (Florence, Palazzo Pitti). The state of ecstasy and the construction of groups diagonally is extremely characteristic of the Baroque art.

Grumply. The conventional Baroque illusion of the viewers of the viewers of the space is still definitely definitely defined than Lanfranco, expressed by his contemporary Francesco Barbieri, which is nicknamed (1591-1666). In the Plafon Palazzo, Ludovisi in Rome (1621-1623), as well as in the above-mentioned Flafone, Gvido Reni, is depicted Aurora, this time carrying on the chariot among the cloudy sky. The compositions depicted along the edge of the vertices of the walls and the raging cypresses when considering from a certain point of view create the illusion of continuing the real architecture of the room. Grobrikino, which, as it were, the link between the artistic manners of Carragechi and Caravaggio, borrows at the first character of his figures, the second one - the techniques of his black and white painting. "The burial of St. Petronillo" (1621, Rome, Capitol Gallery) is one of the visual examples of painting of early fraternity, in which the naturalness of images is combined with the breadth and energy of the pictorial execution. In the "execution of sv. Catherine "(1653, Hermitage), as in other later works of the Master, the truthfulness of images is replaced by the elegance of the composition.

Domenico Fetty. Of other artists of this time, Domenico Fetty should also be mentioned (1589-1624). In his compositions, elements of a realistic household genre get along with a rich colorful palette, which the art of Rubens had its impact. His paintings "Madonna" and "Healing Tobit" (1620s., Hermitage). Different than the sound and soft flashes, allow you to make a certain idea of \u200b\u200bthe colorful quests of the artist.

Lorenzo Bernini. The central figure of the high baroque art is the brilliant architect and sculptor Lorenzo Bernini (1599-1680). The sculpture of the master represents a unique connection of all the characteristic features of the Baroque style. It organically merged the limit sharpness of the realistic image with immense breadth of decorative vision. This joins the unsurpassed ownership of marble processing technique, bronze, terracotta.

The son of the sculptor, Lorenzo Bernini belongs to the masters, very early with their art language and almost from the first steps reaching maturity. For about 1620, Bernini has created several marble sculptures belonging to undisputed masterpieces. On 1623, his statue "David" (Rome, Borghese Gallery) dates back. It is distinguished by the extraordinary skill of realistic transmission of the voltage of the spiritual and physical forces of the biblical hero depicted at the time of throwing the prash stone. Two years later, Apollo Group, pursuing Daphne (1620s, Rome, Borghese Gallery) is performed. The painting of the forms of the running figures and the exceptional perfection of surface treatment are complemented by a rare fineness of the expression of Daphne, which has not yet felt performing metamorphosis (turning it into a laurel tree), and Apollo, who understands that the victim overtook is irretrievably lost.

The twentieth and thirtieth years of the 17th century - the police time of Urban VIII - strengthen the position of Bernini as a leading artist Rome. In addition to numerous architectural works, it creates a number of monumental sculptures, portraits, as well as works of a purely decorative nature. From the latter, the most perfect belongs to the Rome Triton Fountain (1637). The bizarre outlines of the huge shell, which the dolphins are maintained, and the trees rummaged above it are harmonized with streams of falling water.

The most pronounced decorativeness of most works of the wizard can be opposed to the most important steps of the activities of Bernini amazing in realistic sharpness of the characteristics related to the 1630th portraits of Constance Buonarelli (Florence, National Museum) and Cardinal Scypiona Borghese (Rome, Borghese Gallery).

Entry in 1640 on the papal throne of Innocent X led to the temporary removal of Bernini from the leading role in the construction and decoration of Rome. In a short period separating it from the newly coming official recognition, Bernini performs a number of new wonderful works. Bearing in mind the temporary non-recognition of its artistic merit, he creates an allegorical group "Truth, which reveals time." The time figure remains unfulfilled, but the seated allegorical female figure is striking the extreme expressiveness of realistic forms.

The masterpiece of the monumental sculpture baroque was the famous group "Ecstasy St. Teresa ", adorning Cornaro Cornaro Corno Church-Vittoria Church (1645-1652), an angel with an arrow in his hand beyond the holy ecstasy. Teresa's feelings are expressed with all the inexpressibility of realistic transmission. The interpretation of its wide apparel and the angel figure encompasses the features of decorative. White color of a marble group placed on the background of golden rays, merges with colorful shades of colored marble architectural environment in an elegant color ensemble. Theme and execution are very characteristic of the style of Italian baroque.

1628-1647 is given by another of the overhaul creatures of Bernini - the gravestone of Pope Urban VIII in the Cathedral of St. Peter in Rome. According to the magnitude of the expressiveness of the plan and skill of the plastic solution, this monument belongs to the wonderful works of tomb sculpture. Against the background of a colored marble marble, a white pedestal with an expressive bronze figure of the dad is elevated. His hand raised for the blessing reports Figure Terrible greatness. Below on the sides of the Green Marble Sarcophague are white figures, personifying the virtues of Urban VIII - wise justice and mercy. Growing due to sarcophagus bronze semi-imaging of the winged skeleton attaches to the pedestal board with the inscribed name of the deceased.

The period of temporary non-recognition of Bernini is replaced soon with the same Innocent X recognition by its official head of the Roman school, and almost with greater fame than before. Of the sculptural works of the second half of Bernini, the grandiose bronze department of the Cathedral of St. Peter's in Rome, the figure galloping on a horse of the Emperor Constantine (ibid), and in particular the creation of a new type of portrait, the best way that represents the marble bust of Louis XIV, by the master during his stay in 1665 (at the invitation of the French court) in Paris. When constructing expressiveness, the traits of the face, the main attention is focused on the decorativeness of the whole, achieved by the picturesque interpretation of the huge wig off the picturesque interpretation of the curls and as if climbed by the wind fluttering drapery.

Endowed with exceptional expressiveness, the originality of the visual style and the perfection of technical skills, the art of Bernini found countless fans and imitators who influence the plastic art of Italy and other countries.

Petro yes Norton. From painters, the most significant for the style of High Baroque is the Pietro Berrettini da Norton (1596-1669). He initially nominated with its multi-digurized machine paintings ("Victory Alexander Macedonsky above Darim", "Abduction of Sabinjanok" - the 1620s, both - the Capitol Museum, Rome), in which he found a deep knowledge of the material culture of ancient Rome, acquired as a result of the study of antiquity monuments . But the main conquests of Nortes belong to the field of monumental-decorative paintings. Between 1633 and 1639, he fulfills the Grand Plafof in Palazzo Barberini (Rome), which is a bright sample of baroque decorative painting. The plafof glorifies the head of the house Barberini Pope Urban VIII. In the space covered by the heavy rectangular frame, is depicted surrounded by a set of allegorical characters the figure of the Divine Wisdom. On the left above it takes off to heaven a slim girl with a crown of stars in the arms raised, personifying immortality. Even above, powerful shapes of the MUZ, who serve as a reminder of the poetic activity of Urban VIII, carry a huge wreath, in the center of which three bees of Arm Barberini fly. On the frames of the frame, on the roundabout of the transition to the walls, the mythological scenes are depicted, in an allequiscient form telling about the activities of the Pope. The richness of the picturesque motives, the diversity and vitality of images corresponds to the sonicity of the whole.

The organic merger characteristic of the monumental style is organic merging into a single decorative system of architectonics of compositions, painting and plastic ornamentation found the most complete expression in the painting of a number of Palazzo Pitty halls in Florence (1640s), denoted by the names of the Gods of Olympus. The glorification of the Medici at home is distinguished by an extraordinary variety of compositions. The most interesting is the ceiling that decorates the Hall of Mars and reads about the military virtues of the Palazzo owners. Inherent in this image of the dynamics, the asymmetry of the construction, as well as the irrationality of the composition, expressed in the fact that the lungs of the Amurov support the massive stone coat of arms of the Medici, belong to the extreme expressions of the Baroque style, which has achieved its completeness.

At the same time, realistic tendencies are developed in the work of a number of Italian masters, preferably worked outside Rome.

Rose Salvator. The most original artists of the mid-17th century belongs to the Rosa Salvator (1615-1673), which was not only a painter, but also a poet, pamphletist and actor. A native of Naples, where the influence of the Karavago school was particularly resistant, rose is close to the latest reality of images and manner of painting with dark shadows. The subject of creativity of this artist is extremely diverse, but the most important for the history of art is its numerous scenes of battles and landscapes. In battle compositions, a rapid temperament of the artist was performed in full force. A similar battle genre, picked by imitators, will be widespread in all European art. Landscapes Masters depicting the rocky sea coasts, due to the motives of the pictured nature, the dynamics of the composition, a sharp contrast of lighting and the emotionality of a general solution may be called romantic. Thus, they can be opposed to the classic landscapes of the Carragejevsky school and the all-terrible landscapes of northern schools. Among the large-burning paintings, Roses are allocated stored in the Hermitage "Odyssey and Navykaya" (1650s.) And "Democrat, surprised by the agility of the protagoda" (the same time). They serve as excellent examples of narrative style and scenic masters.

From the sixties, the last 17th century the last, the longest phase of the development of the Baroque art of Italy, the so-called "later baroque". It is characterized by a smaller rigor of constructing compositions, greater ease of figures, especially noticeable in female images, growing outflows of color and, finally, further enhanced decorativeness.

Giovanni Battista Gauli. The main expressive of new tendencies of painting is Giovanni Battista Gauli (1639-1709), known as a stankist and as an artist who created a number of frescoes. His art closely adjoins the art of Late Bernini. For the best works, Gauli belongs to his early, weathered in the bright colors of the packed sails of the Sant Anise-In-Piazza-Navona in Rome (approx. 1665). Instead of evangelicals, the most common church architecture in these places, Gauli portrayed the ease of allegorical scenes of Christian virtues. Particularly attractive is the one in which two young girls are represented, of which one places the flower wreath to another. The works of the mature style of Gauli are the paintings of the Plafon, the dome and the kings of the Absida of the main church of the Jesuit Order Il-Jesu in Rome (1670-E-early 1680s.). This ceiling, known as the "worship of the name of Jesus", is very indicative for the style of late Baroque. Among the written architecture, which continues the real forms of the church, presented to the depth of heavenly space, filled with innumerable figures, as waves overflowing from dark to all lighter groups. Another view of the picturesque works of the Master are his devoid of all sorts of decorative gloves, psychologically superbly characterized portraits of contemporaries ("Pope IX", Rome, Gallery of St. Luki; "Portrait of Bernini", Rome, Corsini Gallery).

Andrea Pozzo. The quest for illusion of architectonic constructions reaches its highest development in the work of Andrea Pozzo (1642-1709). His capital product is the flood fresco of Saint-Inhacio church in Rome, overlooked from the central nef, shown on it by tiers of terraces, arcade, a colonnade of racing walls, over which Ignati Loyola is distinguished among the many figures, it creates the illusion of architectural space. Like other similar plaffones, the slightness and correctness of the construction are immediately violated as soon as the viewer moves away from the point to which it was calculated.

The Neapolitan Luke Jordano (1632-1705) also belongs to the most famous masters of decorative painting (1632-1705). A talented and extremely prolific master, he was still deprived of the inner strength and originality and often imitated other artists. For its best works belongs to the glorifying family of Medici Florentine Palazzo Ricardee.

In the field of machine painting from contemporaries of these artists, a Roman school of the late 17th century Carlo Maratta (1625-1713) is distinguished (1625-1713). He took the place of the largest representative of the Late Baroque. His altar paintings are characterized by the smoothness of the lines and the magnificent calmness of the compositions. As a strong artist, he discovered himself in the field of portrait. Among his works is allocated by the characteristic and magnificent painting Hermitagon "Portrait of the Pope of Clement IX" (1669). Francesco Solima (1657-1749) who worked in Naples in his biblical and allegorical paintings by sharp contrasts of light and shadow leads to the memory of Caravaggio's techniques, but uses them in purely ornamental compositions. Late Bologna Giuseppe Maria Kressee (1664-1747), which is one of the gifted artists of the period under consideration, had a strong influence on the painting of the 18th century. Masters characterizes a strongly pronounced realistic orientation. It is manifested in religious compositions, so more visually in his household paintings ("the end of St. Joseph", approx. 1712, Hermitage; "Series of the Mysteries", 1710th, Dresden Gallery).

In the XVII century, Italy was not already the best country, which she was in the Renaissance Epoch. The country turned out to be fragmented by small principalities covered by permanent internecakes captured by foreign dominance. Left as a result of great geographical discoveries aside from the main economic centers, Italy in the XVII century is experiencing a deep crisis. However, the level, it can be said to the degree, artistic life, intense spiritual work of the nation, the tone of culture is far from always depend on the level of economic and political development. Often some inexplicably in cruel, the most unsuitable conditions, on the most stony, unfavorable soil flourish a beautiful flower of high culture and amazing art height. It happened in Italy at the end of XVI - early XVII century, when Rome, based on a centuries-old cultural tradition, 30-40 years earlier than other European countries responded to the change of historical epochs, the new challenges that the new era has set European culture. For a short period of time, Italy revives its influence on the art life of the continent, it is here that the first works of a new baroque style appear. It is formed by his character and spirit. Baroque in Italy became a logical continuation of the achievements of the art of preceding eras, such as the late creativity of Michelangelo or Italian architecture of the last quarter of the XVI century. The principles of the baroque art used to be formed in the architecture of Rome, which was the center for the development of the architectural thought of the stake of centuries and attracted a huge number of masters from different countries.

The image of Il-Jesu's church was so relevant, close to the spirit of the epoch, and reflecting new features of the worldview, that he became a prototype for many Catholic churches of Italy, as well as the whole of Europe.

Church of Ile-Jesu

An example is the church in Santa Susanna, built at the very turn of centuries by architect Karl Modern. Its facade is somewhat more compact than in Il-Jazu, all forms and details are combined with a common rhythm rhythm, which is not interrupted by the antablement separating tiers. On the contrary, the front of the first floor seems to be repeated in the energetic takele of the main fronton. Rhythm, starting at the foot of the colon of the first tier, is actively picked up by the rhythm of the second floor pilasters. This union of the entire facade in a single energetic rhythm emphasizes the repetition of the elements of the order on a different scale, as well as the two volitions by the already installed signs of the era. The wealth of the facade is enhanced due to the active plastic of Corinthian capitals, which flourishing the lush leaves of the Akanfa and flowers. Due to the volumetric cards and reliefs, as well as, thanks to the statues of plastic facade hosted in the niches, it is enhanced.

Santa Susanna

All these parts, their complex dynamic interaction, surface voltage and lighting contrasts reinforce the decorative expressiveness of the facade. The wall turns into a single architectural mass endowed with plasticity and dynamics, and as if subordinate to the laws of organic being. We are not by chance that it is now in detail in detail on the analysis of the architecture of these monuments of the baroque architecture. In their entirety, characteristic features, details that will develop in the European architecture of the XVISC, manifest themselves to a greater or lesser extent in different national schools. The key monument of this era on the one hand summoned the results of the previous development, and on the other hand, the beginning of the new post-research stage is the Church of Il-Jesu, built on the Vigoli project in 1568. The bright part of the church - the facade was completed in 10 years on the project of architect Jacoma Della port (Fig. 1). The Basilical Plan of the Church is somewhat changed in accordance with the needs and needs of Catholic worship. The central nave with dominant over him with a semi-complete space and an accented altar part is framed on sides by small challenges, which transformed lateral milmis. Such membership of the indoor space is not reflected in the exterior of the temple, on the organization of its facade, on which all means of architectural design and decor are concentrated. Two facade tiers are united by huge volitions, one of the favorite elements of the Baroque architecture. The warrant on the facade is not a reflection of the internal membership of the interior. It is more likely to rhythmically organizes the wall - it is saturated with its rhythms and internal energy. This restrained rich energy gives a semicircular footer over the central portal, reminding its outlines curved, prepared for the shot, to straightening, onions, also semi-windows in the frame of the windows.

The charm of the temple considered by us, activity, the dynamism of the facade, we will see in an even more pronounced version in other works of the Italian baroque temple architecture of the XVII century, for example, in the Church of Sant Inonya, built in the middle of the XVII century by the architect of Allegradi, in the Church of Sant Anise, the middle of the century and Santa Maria Church In Competelli architects Carlo Rainaldi and Borrombini. I would especially like to note the spatial activity of the baroque architecture and its connection with the surrounding space of Square, streets, cities.

Santa Maria in Completelli

In addition to a distinctive facade of the large role in communicating the building with the environment plays a ladder, such as the eastern facade staircase Santa Maria Maggiore Church, built in 1673 we have already mentioned architect Carlo Rainaldi. This famous staircase, three ledges climbing the walls of the temple, as if continuing a semicircular protrusion eastern apse outside, connects the building with the surrounding space.

Santa Maria Maggiore

Detailed semicircular, curved, elastic forms were loved by a baroque architecture, close to her rhythm actively broadcasting himself, such as in the church of Santa Maria della-Pazu, the middle of the XVII century architect Pietro de Cororton, where the lower tier of the facade of the elastic arc is wounded into the external Street space, the portico acquires semicircular in terms of the outline.

Santa Maria de la Pazh.

This energetic arc is repeated in the large central window of the second floor, and in a semicard fronton, inscribed in the frontton, a triangular crown building. Another famous staircase in the Baroque architecture is the royal staircase or the so-called "rock of Reggia" built Lorenzo Bernini in 1663-1666, it connects the Cathedral of St. Peter and the Vatican Palace. In this building, Bernini resorts to a promising trick, to the game in general, a characteristic baroque architecture. As the ladder is removed from the lower platform, and the columns placed on its steps come closer and decrease in height. Different heights received both the steps themselves. All this creates a special effect. The staircase seems much higher than it really is.

It creates the impression of a huge scale and a big length, which in turn, makes a particularly spectacular yield of Pope, his appearance in the cathedral during worship.

Baroque principles built in the form in their very limit expression in the works of the architect Francesco Borrombini. In the works of this master, the expression of forms reaches its maximum strength, and plastic wall acquires almost sculptural activity. The facade of the Church of San Carlo-Alla Coatro Fountain in Rome, built in 1634-1667, may be an excellent illustration of these words. This temple is located at the corner of two streets converging to the area of \u200b\u200bfour fountains, and at the same time borrings the main facade of the church makes not the square, but turns it to one of the narrow streets.

San Carlo-Alla Coatro Fountain

This technique creates a very interesting point of view to the church, diagonally, on the side, with a strengthened game of lighting. In addition, this location of the facade in relation to the inner space of the building is completely confused by the viewer. The exterior does not speak anything about the interior, it exists in itself, regardless of the organization of the inner space. This is a significant change in the architecture ofXVII century. Unlike the Architecture of the Renaissance, where the building design is always clear and clearly read. A constructive role in the baroque architecture ceases to play and order. It only becomes an ornamental detail that serves expressiveness of the architectural appearance of the building. This is clearly seen by the example of the facade of the Church of San Carlo-Alla Coatro Fountain, where the order loses the logic of architectonics. And in the first and in the second tier of the facade, we see round columns, instead of traditional pilasters in the second floor. In this facade, we actually do not see the wall, it is all filled with various decorative elements. The wall dissolves, like all play a wave, then speaking round columns, tabs, then curving like venturing inside the U-shaped, rectangular niches, windows. Entablature is bent inward, then outward, division does not receive complete, the entablature of the second floor is broken in the center, which is placed an oval cartouche, which is supported by two flying angels. The complicated dynamics of the facades and the stress plastic of the exterior of the borrings churches receives a continuation in the interiors of its temples, for example, in the Sant IVO church of 1642-1660. In the plan, which is a rectangle, where various niche shakes alternate between the triangular protrusions of the walls. It seems that the interior is deprived of internal logic, it is not symmetrical, the impulse and directed upwards, where it matches the silent in the form of the star dome.

The dome of the baroque churches usually had a complex architectural and decorative study, combining caissons in themselves and sizes, sculptural finish, which increased the impression of movement and take-off forms. Such synthesis of arts peculiar to Baroque, where architecture, sculpture and painting serve as a common goal of expressiveness of the work, we will see in the best works of baroque architecture. Wonderful monuments of secular architecture - Palazzo, Palaces Knight, urban and country residences, villas were created in Italy by Baroque architects.

Perhaps the most striking example of such a structure can be Palazzo Barberini in Rome 1625-1663, in the construction of which the best architects of Italy XVII century Carlo Moderno, Lorenzo Bernini, Francesco Borrurini, Pietro de Cororton. The external and internal layout of the palace on the baroque is spatial. From the side of the street, the extended wings form a parade courtyard to the main facade of Palazzo, which is resolved in the best restrained traditions of baroque architecture. In the interior, due to the anflad construction of space, it opens in front of the viewer gradually, as if solemn scenes in the theater representation. Barnoccoe inherits the preceding era typology of the country villa, the residence of the nobility, which turns into a solid baroque ensemble with a terraced park on the hill's slope with stairs connected by stairs and ramps. Favorite baroque dynamics is expressed in frequent use in the ensembles of fluid surfaces of water - cascades, water bodies, grottoes, fountains, combined with sculptural small architectural forms, with natural and cutting greens. For example, this villa is Aldobrandini in Foskatti, the architects of the port of Port and Carlo Moduzerno.

Villa Borghese

Villa Pamphily, created in the middle of the XVII century, Architect, created in the middle of the 18th century, and Villa Borghese was built in the first half of the XVII century by architect Vasanzio Friimi. Such an ensemble character of the baroque architecture turned out to be very popular and necessary in the XVII century, when medieval cities begin to rebuild, when projects of redevelopment of individual parts of urban spaces arise. So for example, according to the plan, the Fontano, the main entrance to Rome from the north was associated with the most significant ensembles of the city. From Piaza Del Poll, three straight streets radially diverged, and the space of the square was united by two the same symmetrically put on the corners of the Dome churches of the architect Raidaldi, as well as obeliski and fountains. For the first time, the detailed three-beam system of the city layout will be popular in Europe XVII-XVIIIVs popular in Europe. We can see her incarnation even in the layout of St. Petersburg.

The best architectural ensemble of Italy XVII century is not accidentally recognized by the Square of Peter in Rome, designed Lorenzo Bernini in 1657-1663.

Square St. Peter

In this project, the architect solved several tasks at once. Firstly, this is the creation of a solemn approach to the Cathedral - the chief temple of the Catholic world, as well as the design of space in front of him, intended for religious ceremonies and celebrations. Secondly, this is the achievement of the impression of the composite unity of the cathedral, the buildings built over two centuries with different architects of different styles. And Bernini brilliantly copes with both tasks. From the facade, built at the beginning of the XVIIV, the architect of Carlo is modern, two galleries are departed by two galleries then turning into a colonnade, which, according to Bernini, "Like open arms wrapped the area". Colonnade becomes like a continuation of the facade of modernity working out its motifs. In the center of a huge area there is obelisk, and the fountains on sides are fixed by its transverse axis. When moving through the area, the viewer perceives the cathedral as a replacing a series of species and angles in a complex movement and the development of impressions. The facade grows in front of the viewer at the time of the immediate approach to it, when it turns out to be in front of the trapezoid area in front of the Facade of the Cathedral itself. Thus, the stunning gradation of the cathedral is prepared by the gradual increase in the dynamics of movement when driving through the area.

LateBar architecture in Italy did not give such monuments of equivalent works of early and mature baroque for their artistic quality and style height. Architects of the last third of the XVII century began XVIII varies in a variety of options for taking baroque architecture, often exaggerating the shape, overloading, overly complicating plastic and rhythms. One of the best samples later baroque architecture is the work of architect Hvbanino Gvarini, who worked mainly in the north of Italy. The Church of San Lorenzo in Turin, which striking the casualties and redundancy of its forms is one of its typical works.

Sant Lorenzo in Turin.

Baroque architecture in Italy created stunning works that have enormous influence on the entire European culture of the XVII century.

Introduction

In the history of Italian literature, the border of the XVII century. As a literary era, mostly coincide with the boundaries of the XVII century, although, of course, not absolutely accurately.

In 1600 in Rome, on the square of flowers, Gordano Bruno was burned. He was the last great writer of Italian revival. But Rome, surrounding the bonfire of Bruno, was already detained by baroque churches. The new artistic style was born in the depths of the preceding century. It was a long and gradual process. However, it had a kind of "gradual gap", the transition to a new quality. Despite the fact that the individual and fairly impressive symptoms of Baroque are observed in Italy throughout the second half of the XVI century, "the real fracture occurs at the turn of the XVI and XVII centuries, and at the same time in many arts - architecture, painting, music. And although the remnants of mannerism in Italy still continue to affect the first, and even in the second decade of the XVII century., In essence, overcoming Manherism in Italy can be considered completed by 1600 "(B. R. Vipper).

By 1600, many Italian writers of the XVII century. - Campanella, Sarpi, Galilee, Boccalini, Marino, Chiabira, Tassoni - were already

quite formed writers; However, the most significant works of baroque and classicism are created by them only in the first decades of the new century. The frontier between the two epochs is wanted clearly, and he was already visible to contemporaries. The "gradual rupture" reflected in the self-consciousness of the culture and gave rise to a sharp opposition of modernity in the past, and not only the Greco-Roman antiquity, but also the classical Renaissance. "New", "modern" becomes at the beginning of the XVII century. Fashion words. They turn into a kind of battle cry, with which the traditions are attacked and authorities are ignited. Galilee publishes conversations about "new sciences"; Chiabiara talks about the desire, like his countryman Columbus, "open new lands" in poetry; The most popular poet of the century - Marino declares that he doesn't smile at all "stand in the same row with Dante, Petrarch, Fra Gwitton and izh with them," because his goal is to "settle the living", and the aesthetic thesauro assures that the modern literary language The language of the Great Twitters - Dante, Petrarks and Boccaccio exceeded. At the beginning of the XVII century. Italian writers often talk about the superiority of their era over the time of those who have passed, about the rapid growth of human knowledge, about the absoluteness of progress. The most vivid expression is a new attitude to the well-established authorities and traditions found in the works of Alessandro Tassoni, the poet, publicist and one of the most brilliant literary critics of the XVII century. His "reflections on poems of Petrarki" (1609) and especially ten books of "various thoughts" (1608-1620) - an important link in the preparation of that "dispute about the ancient and new authors", which, on the outcome of the XVII century, will unfold in France.

At first glance, it may seem that its glorification of the new time, the progress of knowledge and poetry Italian writers of the XVII century. Remind Humanists Quattrocerto - Janozzo Manetti or Martilyo Fechino. In fact, it is not. A fierce controversy with past, feverish searches for a new, unusual, extravagant, so characteristic of the entire artistic atmosphere of Italy XVII century, in themselves do not serve as a guarantee of the authenticity of the innovation of Seictist literature. On the other hand, the denial of cultural traditions of the last century does not always imply in the Italian writers of the XVII century. Enthusiastic, apologetic attitude to his own time. Equally conscious of the deep gap between the XVII century. And the period preceding him, such writers like thesauro and Campanella, were completely different to the socio-political reality of the modern Italy. If Jesuit Tezauro with all his baroque "modernism" was a political conservative, separated by the retrograde positions of the Catholic Church, then the incorrigible "heretic" of Campanella, with all his medieval religiosity and loan to the "Study of Times", became a social reformer, who was even in astronomy, the signs of the coming Public cataclysms designed to see the feudal system and approve the kingdom of labor, justice and property equality on its wreckage.

Not so sharp, but also fundamental discrepancies in estimates of both modern reality and the content of "new" in art and literature existed between Kyabreroy and Marino, between Tassoni and Lanchellotti, between Sarpi and Sforza Pallavicino. In its literary and aesthetic content of the Italian XVII century - a period of complex, socially inhomogeneous and to extreme contradictory. He is incomparably more controversial than the rebirth preceding him. And this is also reflected in his self-consciousness. If the classic Renaissance dialectically removed its contradictions in the highest, almost absolute harmony of artistic images and ideological synthesis, then the Italian XVII century, on the contrary, in every way the inconsistency of the contradictions inherent in him. It builds dynamic disharmony in the structural principle of culture and puts the antitrity for the basis of its main, dominant style. To change the comprehensively developed, "universal person" of the Italian revival, calm, majestic and "divine" in his "naturalness", in the XVII century. Italian baroque man comes - a hedonistic pessimist, nervous, painfully restless, extravagant, in a medieval spacing between the spirit and flesh, between the "Earth" and the "sky", extremely self-confident and, at the same time, always trembling the deleasibility of death and fortune, hiding its true Face under a vulgar-bright theatrical mask. In the XVII century Even the most advanced and bold thinkers, continuing in the new historical conditions of the Renaissance, lose the internal integrity, which was so characteristic of the titans of the past era.

However, talking about the absolute decline of Italian culture in the XVII century. - as it was often done - it is impossible to one after the fact that Seictiest ITALY continued to remain part of Western Europe, culture

Illustration:

Giovanni Lorenzo Bernini.
Extas Terezia

1645-1652
Rome, Church of Santa Maria della Vittoria

which at this time was on the rise, compensating the loss of renaissance wholeness not only by the great natural science discoveries, but also significant aesthetic conquests. In the first half of the XVII century. The language of Italian literature was still the language of an educated European society, although it was already a few french and partly Spanish. In some areas of cultural life, Italy still retained a leading position in Europe and even gained new positions. The latter refers primarily to the music. In 1600, the poet Ottavio Rhinuchchini and composer Jacopo Pier showed in Florence the Music drama "Eurydika", which began the beginning of the Opera, or, as they said, emphasizing the syncreatibility of a new genre and its integralness from literature, "melodrame". The Great Works of Claudio Monteverdi followed "Euridic": "Orpheus" (1607), "Ariadne" (1608), "Coronation of Poppy" (1642). The unknown world opened before mankind. In music - opera, as well as instrumental (Frescaldi, Korelli) - the Italian XVII century left a lot of irreversive aesthetic values. Italian music provided the Baroque style - Monteverdi called it "Stil Concetato", the style "excited", "excited," - the same honorable place in European artistic culture, which before this was taken by the style of the attic tragedy, French gothic cathedrals and poetry of Italian, French and English Renaissance.

Significant success reached Italy and in the field of fine arts. In architecture, painting and sculpture, Baroque was formed earlier than just in Rome, where Giovanni Lorenzo Bernini was created, Pietro and Cortona, Francesco Borrison. On their works, artists of France, Spain, Germany studied not only decorativeness and pompousness, but also new forms of expressiveness, reproduction of movement, intimate-personal experiences and ability, even in the sculptural portrait, capture the lives of the environment of the environment.

However, it should not be thought that Italy's impact on architecture, sculpture and painting of the rest of Europe was limited in the XVII century. The sphere of court-aristocratic art. Even more than the example of Lorenzo Bernini and Pietro and Corton, the bold experiments of Annibal Carragechci influenced the European artistic culture ("Butcher's Logging", "Bob Summer") and the mighty genius of Caravaggio, whose works were introduced into Italian painting XVII century. New aspects of the real world, more democratic as compared to the art of the classical Renaissance themes, situations, images. In one way or another "Caravagism" reflected in the work of almost all wonderful artists of Spain, Flanders, Holland and especially those of whom they were called the greatest realists of the XVII century. - Velasquez and Rembrandt.

Outstanding achievements achieved in the XVII century. Italian science. To replace the literary academies of the Renaissance, degenerated in the XVII century. In the Great Salons, who turned poetry to fun and junning, came the Academy Natural Sciences: Academy of Dei Linchi (Academy of Ryshi) in Rome, Academy of Deli Investigative (Academy of Researchers) in Naples, Academy of Del Chimento (Academy of Experienced Knowledge) in Florence. In the literary life of Italy XVII century. They played a role, in many respects resembling the role of philosophical circles of Quattrochto. It is with them, as a rule, was connected at this time the formation of Italian classicism. In this sense for

italian XVII century The creativity of Galileo Galileo is extremely characteristic of the greatest scientist and the largest Writer Seicato, who had no less, rather than Dante and Machiavelli on the formation of Italian national prose.

The successes of Italian musicians, artists and naturalists did not exclude the fact that in general the culture of Seictytian Italy did not rise to the level of the classical Renaissance. In addition, unlike the culture of Holland, England and France, it developed mainly on the downward. If at the beginning of the XVII century, when the impact of the Italian baroque on the literature of Western Europe was manifested with a special force, Jambattist Marino not only was the idol of the court society of Paris, but also could influence the theophily de VIO and Poussin, then in the 70s, the legislator of Western European " Good taste "Bouoy will say dismissively:

Leave Italians
Empty tinsel with her fake gloss,
In total, the meaning is more important ...

In the sharp change of artistic tastes, so characteristic for the end of the XVI - early XVII century, reflected qualitative changes that occurred at this time in the political, economic and social structures of the entire Italian society. The progress of Italian literature was relative primarily because in the XVII century. Literature in Italy developed in the conditions of decline of the economy and, perhaps, even more important than the social degradation of precisely those public layers, which before this was made possible magnificent and relatively long blossom of the culture of Italian revival.

At the end of the XVI century, the feudal-catholic response broke into the economy and received a wide base for its further expansion. The head of the reaction was the papal Rome, which was managed in the XVII century. To attach to its territories to Ferrara and Urbino, and feudal Spain, which made the full owner of most of the Apennine Peninsula in the Kato-Cambrezian world. Only Venice and the recently educated Duchy of Savoy retained some political independence in Seictytian Italy and in some cases a counteraction of Spain and Rome's pressure on them.

The strengthening of the positions of the Church and the feudal nobility in the economic and public life of Italy contributed to the expansion of the feudal-catholic reaction in all spheres of culture. Terror of the Inquisition, started during the Thirtent Cathedral, continued. The Spaniards supported him. Campanella spent many years in prison, he was subjected to cruel torture. In 1616, the Holy Congregation forbidden to discuss and express Copernicus's teachings. In 1633, the process was arranged over Galileem. Spanish Governor Pedro Toledo dispersed all scientific societies and literary academies in Naples, with the exception of Jesuit. In the XVII century The Catholic Church and the Spanish authorities were still seen in advanced culture not only an ideological, but also a political enemy.

Nevertheless, in the cultural policy of the feudal-catholic reaction occurred in the XVII century. Some significant qualitative changes that make a clear boundary between the XVII century and the late revival. If in the second half of the XVI century. The Roman church was occupied primarily by the hard struggle with the "German heresy", ruthless

the eradication of Renaissance freight and cleaning its own rows, from the beginning of the XVII century, it takes attempts to restore the direct and total influence on science, literature and art that was lost in the Renaissance era. The feudal-catholic reaction begins in the XVII century. To build a culture that meets the vital interests of both the church and the nobility and at the same time can affect the relatively wide masses. She receives solid support from the Society of Jesus, who has become a serious social and political force by this time. In the XVII century Jesuits acquired a monopoly on the upbringing and education of the younger generation and founded their colleges in most of Italy. Almost everywhere their school became the centers of propaganda of counter-deformation ideas and views. It is from the rows of Jesuits that the most preachers, thinkers and writers who created the part of Italian literature, which can be called official literature of the feudal-Catholic reaction. To this kind of literature, there should be primarily the various manifestations of religious eloquence, which extremely flourished in Italy throughout the XVII century. And acquired, especially in the works of Jesuita Paolo Sieney (1624-1694), the features of a typical sequential genre. This genre learned the poetch of Barochko, developed his own theory (treatises by Francesco Panigarolo and Terzauro) and, without limiting the framework of church sermons, was transformed into a descriptive, so-called "artistic prose", where the form has already obviously prevailed over the content, and the religious topic was developed on the history of history , geography, ethnography, etc., the most significant representative of the "artistic prose" of the XVII century. In the literature of Italy was Daniello Bartoli (1608-1685), the author of the "History of the Jesus Society", "a sore and unsurpassed master periods and phrases of the pretentious and flowery style" (de Sanctis).

The counterreformation is widely and in a sense successfully used the possibilities of Baroque style to create official, feudal-aristocratic literature, which meets the interests of both the church and the dominant class. But for the sake of this feudal-Catholic reaction, it was necessary to enjoy in Italy by those moral and religious rigorism, which characterized its cultural policy in the second half of the XVI century. The aesthetic theories of counter-deformation peripatetics, according to which literature and arts should set themselves first of all religious-educational tasks, changed in the XVII century. Concepts of aesthetic hedonism. The very ideologists of Italian counterformation, which seemingly recently recently indignant by the blasphemous nagging of the "terrible court", now the patriousness of artists who introduced in their works not simply emphasized sensual, but also frankly erotic motives. And it should not be especially surprising. This is explained not only by the fact that the baroque with its pompousness, painfulness, metaphoricity and rhetoric could have been much stronger on the imagination of the people's audience, which is strict, the collected intellectuality of the Renaissance. In no less significant, it turned out to be different: in the works of the aristocratic baroque, sensuality performed as one of the manifestations of the fraud and illusion of the material, "sewn" world, and erotica, as at first glance, neither paradoxically, wrapped in a preaching of religious asceticism. This was the possibility of Italian counter-processing to use the imaginary excitation of the aristocratic baroque for propaganda of their own reaction ideas, addressing the hedonism of marinistic poetry and prose against the rationalism of the new materialistic science and philosophy.

Between the gloves of killed

the aristocrat and a look at the world of Picaro - a look characteristic of Naples Lumpen - there were well-known points of contact, and this explains some of the features of the baroque prose, first of all the baroque burlesque; However, in general, the vital ideals of both the Italian peasantry and Italian urban bases came in the XVII century. For antagonistic contradictions with the ideology of dominant classes. While the former trade and industrial bourgeoisie finally became a class of politically cowardly, reactionary, supporting not only feudal orders, but also the Spanish conquerors, the peasantry and city grounds of Italy responded to everything intensifying social, political and economic oppression of banditry, "hidden peasant war" (According to F. Stradel), rebellors that are simultaneously antipodeal, and anti-spanish, national liberation. Naples and Palermo became taken in the XVII century. The main centers are not only baroque, but also folk unrest, not stopped throughout the century. Especially wide scale, the anti-refortion movement has acquired in Italy in 1647-1648, when the city bottoms headed by the first fisherman Tommaso Anuello (Maasanlohlo), and then Gennare Ansely, captured the power in Naples and held it during the year. The Neapolitan uprising was supported by Palermo, where the city management for a while also passed into the hands of the rebel people, and the series of peasant riots, riding throughout southern Italy. In 1674-1676 Sicily shook the anti-West uprising, the center of which was Messina this time. In 1653-1655 Savoy's peasants rose to the partisan war against the feudalists under the banner of the revived Waldense heresy.

Folk, antipodeal movements of the XVII century. Could not grow into Italy in the bourgeois revolution, as it was in England, nor in the victorious national liberation war, as happened in the Netherlands. In Italy XVII century. There was no class that could lead the revolutionary struggle against feudalism and bring it to a victorious end. However, this did not mean that the protest of the Italian people against their own and foreign oppressors was completely fruitless that he was not reflected in the Italian literature of the XVII century. And there was no influence on the nature of her styles. And the point here is not even that the rebellion of Masanyllo received a direct response in Satire Salvator Roses and in the poems of Antonio Basso, which paid his head for active participation in anti-refortional movement 1647-1648. The protest of the oppressed people was much greater importance, he contributed to the formation of the Italian literature of the XVII century. From the inside, breaking into creativity not only Sarpi, Tassoni, Boccalini, but also such, it would seem very far from the politics of writers, like a Jambattist Basile. One of the manifestations of the inconsistency of the Italian XVII century. It was that the social development of this time was facilitated not only by aristocraticization, but also in a certain sense of democratization of Italian literature. If the culture of the Italian Renaissance, the socio-economic base was connected mainly with the most developed cities-states of the XIV-XVI centuries, the peasant, as a rule, ignored, then the so-called refidelization, carried out the center of gravity of the Italian economy to the village, made everyone exploited and The oppressed peasant is the figure, by which in the XVII century. The most sensitive, conscientious and thoughtful representatives of the Italian creative intelligentsia could not pass. The life of the entire Italian society also depended on the peasant, and this was reflected in the aesthetic consciousness of the era.

In the XVII century The fact of Italian national culture is not only a folk comedy of masks originated in the XVI century. On the periphery of high Renaissance, but also the magic fairy tale and "folk novels" Julio Cesare Croce about Bertoldo and Bertoldino, which was based on the peasant folklore. Folk creativity has been feeding and enriched by Italian Baroque, introducing its aesthetic and life ideals into it. That is why it is fundamentally incorrect to consider Baroque as a level of counter-processing and link it only with the feudal nobility, although Baroque, indeed, originally arose in those countries where the nobility was dominant class. And in relation to the Italian literature of the XVII century, and in relation to the Italian art of this time we can talk about two tendencies of the baroque - aristocratic, reactionary and advanced, folk. That is a passionate, feverish desire for a new one, which, as already noted, was so characteristic of the entire literature of the Italian XVII century, and especially for Italian Baroque, it was fed not only by the feeling of gap with the era of the revival and stunning discoveries in physics or astronomy, but also the desire folk, peasant masses to freedom and social justice. It is not by chance that one of the largest Italian poets of the XVII century.

tommaso Campanella, the Great Writer of the Democratic Baroque. Explaining the origins of their innovative ideas and daring projects, he spoke of the Inquisitors: "Complaints from each head peasant, and from anyone, with whom I have spoken, I learned that everyone is arranged to change." It is the connection of the most significant works of Italian literature XVII century. With the people, with his anti-refortion struggle, it seems to be the fact that even in the conditions of almost absolute economic, social and political decline, Italy's literature has not lost its national content and continued to create new spiritual values.

In its development, Italian literature XVII century. There were two large periods, the frontier between which comes at about the middle of the century. In their meaningability, they are not equal to each other. The first period is incomparably richer and internally tense. It was in the first half of the XVII century. In Italy, classicism is formed, there are various trends inside Baroque literature: marinism, chiabiarism, democratic baroque Campanella, basil, rose salvator. By the end of this period, esteestic treatises formulating the theory of baroque are created by the end of this period.

The second period is characterized by a certain decline of both classicism and marinas. At this time, in Italy, the stabilization of the socio-political system occurs and, after the defeat of the folk movements of the late 40s, the opposition of the reaction in the literature is noticeably weakened. In the Italian literature, the second half of the century defeats the classic tendency inside the baroque, which is reborn in the end in Rococo. The second period in the literature of Seicato passes under the sign of the preparation of Arcadia. It ends in 1690, when the creation of this Academy puts the beginning of a new stage in the development of Italian poetry, prose and literary theory.

Already from the mid-16th century, Italy's historical development is characterized by the onset and victory of the feudal-catholic reaction. The economically weak, fragmented to individual independent states, Italy is not able to withstand the onslaught of more powerful countries - France and Spain. The long struggle of these states for the domination in Italy ended with Spain's victory, enshrined by a peace treaty in Kato-Cambrey (1559). From that time, the fate of Italy turns closely related to Spain. With the exception of Venice, Genoa, Piedmont and Papal Region, Italy for almost two centuries was actually in the position of the Spanish province. Spain involved Italy to ruin wars, which were often walled in the territory of Italian states, promoted the spread and strengthening of the feudal reaction in Italy both in the economy and in cultural life.
The dominant position in the public life of Itulchi was occupied by aristocracy and the highest Catholic clergy. In the conditions of a deep economic decline of the country, only major secular and church feudals have yet had significant material wealth. The Italian people - the peasants and the townspeople were in an extremely difficult situation, was doomed to poverty and even for extinction. The protest against the feudal and foreign oppression finds an expression in numerous folk uprisings that broke out for the 17th century and sometimes taking the formidable scope, such as the rebellion of Masanello in Naples.
The overall nature of the culture and art of Italy in the 17th century was due to all the peculiarities of its historical development. It is in Italy that the art of Barochko is born and gets the highest development. However, being dominant in the Italian art of the 17th century, this direction was not the only one. In addition to him, and in parallel with it, realistic trends are developing related to the ideology of the democratic layers of Italian society and receiving significant development in many art centers of Italy.

Italian art of the XVII century

The center of development of the new Baroque art at the turn of the XVI-XVII centuries. Was Rome. "Roman Baroque" - the most powerful artistic style in the art of Italy the second half of the XVI-XVII century. Born primarily in architecture and ideologically connected with Catholicism, with the Vatican. Architecture of this city in the XVII century. It seems as if in the opposite of the Renaissance classicism and, at the same time, firmly associated with it. It is not by chance that his forerunner acts as already mentioned, Michelangelo.

The Baroque Masters are riveted with many artistic traditions, with its harmonious, balanced volumes. Baroque architects include in a holistic architectural ensemble not only individual structures and areas, but streets. The beginning and end of the streets certainly noted by any architectural (square) or sculptural (monuments) by accents. Representative of the early baroque architect Domenico Fontana (1543-1607) For the first time in the history of urban planning, it applies a three-way system of streets, divergent from Piazza Del Popolo ("People's Square"), which achieves the connection of the main entry into the city with the main ensembles of Rome. Obeliski and fountains, set at the gathering points of radial prospectuses and in their ends, create an almost theatrical effect of the outgoing distance in the distance. The principle of the fountain was of great importance for the entire subsequent European urban planning (recall the three-bearing system of at least St. Petersburg).

To replace the statue as the beginning, organizing the square, comes the obelisk with its dynamic aspiration, and even more often - a fountain, abundantly decorated with sculpture. Bernini Fountains were a brilliant example of Baroque fountains: "Triton" (1643) on Barberini Square and Fountain "Four Rivers" (1648-1651) on Navona Square.

At the same time, new types of palaces, villas, churches have been created in the Epoch of the Early Baroque, as a decorative element was strengthened: the interior of many Renaissance Palazzo turned into an amphiland of lush assholes, the portals decor became complicated, a lot of attention the baroque masters began to devote in the courtyard, palace garden. Special scope reached the architecture of villas with their rich garden-park ensemble. As a rule, the same principles of axial construction were developed here as in urban planning: the central access road, the front hall of the villa and the main alley of the park on the other side of the facade passed along the same axis. Grots, balustrades, sculptures, fountains are abundantly decorated with the park, and the decorative effect is even more enhanced by the location of the entire ensemble terraces on the cool terrain.

Lorenzo Bernini. Fountain of four rivers on Piazza Navona. Rome

An architectural decor in the period of mature baroque, from the second third of the XVII century, becomes even more lush. Not only the main facade is decorated, but also the walls on the side of the garden; From the frontist lobby you can get immediately into the garden, which is a magnificent park ensemble; On the part of the main facade, the lateral wings of the building are put forward and form a parade courtyard - the so-called Kurdoner (Franz. Cour D "Honneur, letters. - Honorary courtyard).

In the iconic architecture of mature baroque plastic expressiveness and dynamism increase. Numerous fasteners and breaks, cornices, frontones in a sharp black and white contrast create an extraordinary facade painting. The direct planes are replaced by deposited, alternation of the curved and concave planes also enhances the plastic effect. The interior of the baroque church as a place of a lush theatrical ceremony of the Catholic service is the synthesis of all types of visual arts (and with the advent of the organ - and music). Different materials (Colored marbles, stone carving and wood, stucco, gilding), painting with its illusionistic effects - all this, together with the fortune of volume, created a sense of irreal, expanded the space of the temple to infertility. Decorative saturation, the sophistication of the game of the planes, the invasion of ovals and rectangles instead of loved by the revived masters of circles and squares is enhanced from one architectural creation to another. It is enough to compare the Church of Ile Jesu (1575) Giacomo Della port (approx. 1540-1602) with the Church of Sant Ivo (1642-1660) Francesco Borrombini (1599-1667): here are sharp triangular protrusions of the walls, star in terms of dome create an infinitely diverse impression, deprive object form; Or with his Church of San Carlo Alla Quatro Fountain (1634-1667).

Francesco borrings. Church of Sant Ivo Alla Sanienza. Rome

Francesco Boromini. Dome of the Church of San Carlo Alla Quatro Fountain in Rome

The most closely with the architecture associated sculpture. It adorns the facades and interiors of churches, villas, urban palazzo, gardens and parks, altari, tombstones, fountains. In Baroque, it is sometimes impossible to divide the work of the architect and the sculptor. The artist who connected in himself and the other talent was Giovanni Lorenzo Bernini (1598-1680). As the court architect and the sculptor of the Roman Dads, Bernini performed orders and headed all the main architectural, sculptural and decorative work, which was conducted on the decoration of the capital. To a large extent, thanks to the churches, built on his project, the Catholic capital and acquired a baroque character (Church of Sant Andrea Al Quirinale, 1658-1678). In the Vatican Palace of Bernini issued a "royal staircase" (Scala Regia), connected by the Papal Palace with the cathedral. It belongs to him the typical creation of Barochko - blinding the decorative wealth of various materials, the unrestrained artistic fantasy of the Sen (Kyivory) in the Cathedral of St. Peter (1657-1666), as well as many statues, reliefs and tombstones of the cathedral. But the main creation of Bernini is the grand colonnade of St. Peter's Cathedral and the design of the Giant Square at this cathedral (1656-1667). Square depth - 280 m; In the center it stands Obelisk; The fountains on the sides are emphasized by the transverse axis, and the square itself is formed by the most powerful column of the four-ranks of the Tuscan Orders of nineteen meters high, component of a strict figure, an unclosed circle, "like open arms", as Bernini said.

Colonnade, as a wreath, was crowned by the Cathedral, to which the hand of all the great Zodki Renaissance from Brampti to Raphael, Michelangelo, Baldassar Pieruszi (1481-1536), Antonio da Sangalla Jr. (1483-1546). The latter was issued by the chief porticist student of Bramte Carlo Madern (1556-1629).

Lorenzo Bernini. Colonnade Square in front of the Cathedral of St. Peter. Rome

Bernini was an equally famous sculptor. Like Renaissance masters, he applied to the plots of both antique and Christian. But his image of "David" (1623), for example, sounds differently than Donatello, Verokkio or Michelangelo. "David" Bernini is the "militant plebey", the rebellion, there is no clarity and simplicity of the images of the Quatrocherto, the classical harmony of high Renaissance. His subtle lips are stubbornly compressed, small eyes evil narrowed, the figure is extremely dynamic, the body is almost turned around its axis.

Bernini created a lot of sculptural altars for Roman churches, tombstones of the famous people of their time, fountains of the main squares of Rome (already mentioned fountains on Barberini Square, Navona Square, etc.), and in all these works there are their organic communication with the architectural medium. Bernini was a typical artist who worked on the request of the Catholic Church, so in a hundred altar images created with the same decorative gloss as other sculptural works, the tongue of baroque plastics (illusory transmission of objects of objects, love for a combination of different materials not only on the texture, but And but the color, theatricalization of action, the overall "painting" sculpture) is always clearly expressed a certain religious idea ("Ecstasy Holy Teresa Avilsk" in the Church of Santa Maria della Vittoria in Rome).

Bernini was the creator of a baroque portrait, in which all the features of Baroque are fully identified: this is an image of a parade, theatrical, decorative, but the general parade of the image does not block the real appearance of the model (portraits of the Duke d Ests, Louis XIV).

In Italy's painting at the turn of the XVI-XVII centuries. Two main artistic directions can be distinguished: one is associated with the work of the Carrenci brothers and got the name of Bologna Academism, another - with the art of one of the largest artists of Italy XVII century. Caravaggio.

Annibal and Agrostino Karracchi and their cousin Lodovico founded in 1585 in Bologna, the Academy of Enters the True Way (Accademia Degli Incamminati), in which the artists trained according to a specific program. Hence the name - "Bologna Academism" (or "Bologna School"). The principles of the Bologna Academy, which was the prototype of all European academies of the future, are traced in the work of the most talented of the brothers - Annibal CarRachchi (1560-1609).

Carrency carefully studied and studied nature. He believed that the nature is imperfect and it needs to be transformed, to improve, in order for it to become a worthy subject of the image in accordance with the classical norms. Hence the inevitable distraction, rhetoric of the images of Carragechci, Paphos instead of genuine heroic and beauty. The art of Karracchi turned out to be a very timely, corresponding to the spirit of official ideology and received rapid recognition and distribution.

Annibal Carrachci. Venus and Adonis. Vienna, Museum of Art History

Brothers Carragechi - Master of Monumental Decorative Painting. Their most famous work is the painting of the gallery in Palazzo Farneza in Rome on the plots of Ovidiyevaya "Metamorphosis" (1597-1604) typically for baroque painting. In addition, Annibal CarRachchi was the creator of the so-called heroic landscape - the scenery of an idealized, fictional, for nature, like a person (according to Bologna), is imperfect, rude and requires refrigeration to be represented in art. This landscape, deployed with the help of a scene, with the balanced masses of the coup of trees and an almost obligatory ruin, with small figures of people who are only the Stafferage to emphasize the greatness of nature. Bologuns are as conditional and color: dark shadows, local, clearly on the scheme arranged color sliding light. The ideas of Carragechi were developed by a number of his students (Guido Reni, Domenicino, etc.), in whose work, the principles of Academism were almost canonized and spread throughout Europe.

Michelangelo Merisi (1573-1610), nicknamed Caravaggio (at the place of birth), is an artist who has given the name of a powerful realistic flow in art, bordering naturalism, - Caravagism, which has gained followers in all Western Europe. The only source from which Caravaggio finds decent to draw art topics - surrounding reality. The realistic principles of Caravaggio make it the heir of the Renaissance, although he left the classical traditions. The Caravaggio method was Antipode Academism, and the artist Bunters revealed against him, arguing his own principles. Hence the appeal (not without challenged the standards) to unusual characters like ladder, cheelers, fortune-tales, various types of adventures whose images of Caravaggio laid the beginning of household painting a deep realistic spirit combining the observation of the Netherlands genre with clarity and chasing the form of the Italian school ("Butterist", OK. 1595; "Players", 1594-1595).

But the main for the master remains the topics of religious (altar images), which Caravaggio seeks to embody with truly innovative courage as vital. In the "Evangelist Mattheme with an angel" (1599-1602) the apostle looks like a peasant, he has a coarse, familiar hand, elegant with wrinkles face tense from unusual lessons - reading.

Caravaggio. The vocation of the apostle Matthew. Church of San Luigi Dei Francise in Rome

Caravaggio has a strong plastic shape modeling, it imposes paint with large, wide planes, snatching the most important parts of the composition from the darkness. This sharp light, the contrast of color stains, large plans, the dynamism of the composition create an atmosphere of internal tensions, drama, emotion and great sincerity. Caravaggio puts on his heroes in modern clothes, puts the situation in a simple, familiar viewers than achieving even greater persuasiveness. The works of Caravaggio sometimes achieved such a force of realistic expressiveness, unfortunately, sometimes reaching naturalism that customers refused them without seeing in images of due pieces and ideality (some researchers are applied for Caravaggi). So it was with an altar "Assumption of Our Lady": the customer rejected it, motivating the fact that the master portrayed not the greatness of the Assumption of Mary, and death in his entire urgentness.

The addiction to naturalistic details, the reliability of the situation does not obscure the main thing in the works of Caravaggio, the best of which is emotionally expressive, deeply dramatic and elevated ("position in the coffin", 1602). For mature creativity of the master, the monumentality, majesty of compositions, the sculpture of the form, the classical clarity of the drawing is characteristic. At the same time, the gradation of light and shadow becomes softer, the color nuances is thinner, the space is air (already mentioned "Mary's Assumption", 1606).

The art of Caravaggio gave rise to true followers of its artistic method, and surface imiters who have learned only external techniques. From the most serious followers in Italy, Crescents, Gentilles, all Venetian "tendhenists" can be called; In Holland, Terbrewgen and in general, all the so-called "Utrecht School of Cavaragists". The effect of Caravaggio experienced young Rembrandt, in Spain - Ribera, Surbaran, Velasquez.

From the very early period, the Italian Baroque as a style was formed in many respects in general principles with the Bologna Academic System. Idealization and patience were especially close to the official circles of Italian society and the church - the main customer of the works of art. This style took something from Caravaggio: the materiality of the form, energy and drama, innovations in understanding the black and white modeling. As a result of alloy of two different artistic systems and the art of Italian Baroque was born: the monumental-decorative painting of Griefly (Francesco Barbieri, 1591 - 1666) with its realistic types and karavaji light, Pietro and Corton (Berrettini, 1596-1669), Luke Jordano (1632- 1705); Stankovaya painting the closest Caravaggio Bernardo Strozzi (1581 -1644), a beautiful colorist of Fetty Domenico (1588/89-1623), who has experienced the strong influence of Rubens (as, however, and stroke). A little later, in the middle of the century, brilliant in their colorful advantages appeared, the gloomy-romantic compositions of the Rosa Salvator (1615-1673).

Caravaggio. Position in the coffin. Vatican, Pinakotek

In the last third of the XVII century. In the art of Italian baroque there are definite changes. Decorativeness is increasingly enhanced, compositions and angles are complicated, the impression is created that the figures rush in the rapid and disorderly movement. Painting with her promising illusionism, in fact, destroys the wall, "breaks" the ceiling or dome, which has always contradicted the rules of classical art. Plafon of the Roman Church of St. Ignatius "Holy Ignatius", executed Andrea del Pozzo (1642-1709), architect, painter, theoretics of art, whom was not found to be called the head of the style of Jesuit, "the brightest example of such a floating painting with her" deception of eyes " , expressiveness of expressive money, mysticism and ecstatic mood (Rome, 1684).

By the end of the century in compositions, both monumental-ornamental and machines, coldness, rhetoric, false pathos win more and more often. However, the best artists still knew how to overcome these features of the late Baroque. Such are the romantic landscapes of Alessandro Manya (1667-1749), monumental (plafoons, altar images) and Stankovaya (portraits) Painting Giuseppe Kresses (1665-1747) - artists standing at the turn of the new century.

Rose Salvator.

Moscow State Regional University

Abstract on the history of art

Italian art 17th century.

Performed:

student of the correspondence department

33 groups of faculties from and hp

Minakova Evgenia Yuryevna.

Checked:

Moscow 2009.

· Italy in the 17th century

· Architecture. Baroque style in architecture.

· Architecture. Early baroque.

· Architecture. High, or mature, baroque.

· Architecture. Baroque architecture outside Rome.

· Art. General characteristics.

· Art. Early baroque.

· Art. Realistic current.

· Art. The second generation of artists of the Bologna school.

· Art. High, or mature, baroque.

· Art. Later Baroque.