Pussy paintings with titles and descriptions. Nikola Pussen paintings

Normandes by origin, Nikola Poussin (1594-1665) was born in Les-Anselli, a small town on the coast of the Seine. A good education was provided with a good education and the opportunity to explore the initial artist's art stages. For more detailed acquaintance with the secrets of skill, he learned after moving to Paris, where he studied at the masters.

Portraitist Ferdinand Van Elle became the first mentor of a young painter, later Poussa studied at the Master, painting churches - Kgenna Varna, and the court artist George Lallleman, who adhered to the new style of Mañaryism. To "fill the hand" helped him and copying pictures of recognized painting masters, by this he could freely practice in Louvre.

First period of creativity in Italy

In 1624, the name of Poussin was already known among the connoisseurs of painting, and its most increasingly fascinated the work of Italian masters. Deciding that the French mentors he learned everything he could, Poussin moved to Rome. In addition to Italian painting, Poussin highly appreciated and poetry, in many respects, thanks to a meeting with Giambattist Marino, a representative of halane poetry. They made friends in Paris, and Nikola illustrated the poem of his friend "Adonis". From the early Paris period of artist's creativity, only illustrations are preserved to our time.

Poussin studied mathematics and anatomy, the sculptures of the times of antiquity served him with sample samples, and the scientific works of Durera and Da Vinci helped in understanding how the proportions of the human body should be transferred to artistic art. Theoretical knowledge he acquired in geometry, optics, prospects.

Carragechi, Titian, Raphael and Michelangelo - the works of these masters were deeply impressed by the French painter. The first years of life in Rome were the time to search for their own style, and its work was then characterized by sharp angles, gloomy tones and abundance of shadows. Later, his artistic style has changed, the color scheme has become more warm, and the elements of the paintings obeyed the Unified Center. The theme of the work of that time was the heroic plots and actions of ancient mythology.

By order of one of the Roman patrons of Poussin, Cassiano del Pozzo, a series of paintings "Seven sacraments" was created by the artist, and the "Destruction of Jerusalem" and "Abduction of Sabinets" brought him wider fame. To mythological themes of their paintings, he added the trends of modernity, organizing the composition and transferring the action to the forefront of the picture. Poussin sought to achieve the naturalness of the provisions of the actors and give them the gestures and expressions of persons clearly. Harmony and unity with nature characteristic of antique myths inspired the artist, it can be traced in the pictures of "Venus and Satira", "Diana and Endimion", "Education of Jupiter".

Ovid's "Metamorphosis" served as the basis for the "kingdom of flora", the picture became a kind of hymnive revival and spring renewal of nature. The previously acquired theoretical knowledge allowed him to accurately follow the compositions adopted by the laws, and warm, clear colors made paintings by truly alive ("Tancred and Hermine", "Venus and Shephi"). Additional accuracy of images attached preliminary preparation: it made the models of the shape figures from wax, and, before proceeding to work on the picture, experimented with the game of light and the position of these figures.

Paris Intrigue and Return to Rome

The most successful in Pussen career were the years that he spent in the work on the decoration of the Louvro Gallery at the invitation of Cardinal Richelieu (the second half of the 30s.). Having received the title of the first royal painter, he also worked on the gallery, and over many other orders. Such success did not add him popularity among colleagues, and those who also claimed work in Louvre were especially unhappy.

The intrigues of ill-wishers forced the artist to leave Paris and in 1642 to move again to Rome. During this period of creativity (up to the 50s), the source of topics for paintings by Pusssen became the Bible and the Gospel. If natural harmony reigned in the early works, now the heroes of the paintings became biblical and mythological characters who won the victory over their passions and possessing the power of the will (Coriolian, Diogen). A sign of that period - "Arcade shepherds", compositely speaking about the inevitability of death and peaceful adoption of this awareness. This picture became a model of classicism, the artist's manner acquired a more discreet character, not so emotionally lyric, as in the works of the first Roman period. In the color scheme, the predominant was the contrast of several colors.

The last work, "Apollo and Daphne", did not have time to complete the artist, but it was in his paintings that French classicism was formed.

The creativity of Poussin for the history of painting is difficult to overestimate. He is the founder of such a painting style as classicism. French artists have been traditionally familiar with the art of Itanodoresans. But they were inspired by the works of Masters of Itanalyanomanism, Baroque, Caravagizism. Pussen was the first French painter who took the tradition of classic style Leonardo da Vinci and Raphael. Turning to the themes of ancient mythology, ancient history, the Bible, Poussin revealed the themes of the modern era. He brought up his perfect personality, showing and having funny examples of high morality, civil values. Clarity, constancy and orderliness of fine techniques of Pussen, the ideological and moral orientation of his art later made his work with the reference to the educated painting and sculpture of France, which took up the development of aesthetic norms, formal canons and generally binding rules of artistic creativity (the so-called Academism).

Nikola Poussin (Nicolas Poussin), 1594-1665 · the famous French artist, the founder of the style of classicism. Turning to the themes of ancient mythology, ancient history, the Bible, Poussin revealed the themes of the modern era. He brought up his perfect personality, showing and having funny examples of high morality, civil values.

France XVII century. It was an advanced European state that provided it with favorable conditions for the development of national culture, which became the succession of Italy Renaissance. The views of the Descartes (1596-1650) were influenced by the development of science, philosophy, literature, art. Descartes - mathematician, the scientist, the Creator of Philosophical Rationalism - touched the philosophy from religion and tied it with nature, arguing that the principles of philosophy are extracted from nature. Descartes built the principle of the primacy of the mind over a sense. This idea was based on classicism in art. New Style Theorists said that "Classicism is the doctrine of the mind." The artistic condition was proclaimed symmetry, harmony, unity. According to the doctrine of classicism, nature was supposed to be shown not as it is, and beautiful and reasonable, the classics simultaneously declared wonderful what truthfully, urging to learn this truth from nature. Classicism established a strict hierarchy of genres, making them on the "high", to which historical and mythological, and "low" - household belong.

Nikola Pussen was born in 1594 in Normandy, near the town of Le Anselki. His father, the veteran of the army of King Henry IV (1553-1610), gave his son a good education. Since childhood, Poussin paid attention to his tendencies to draw. At 18, he rides to Paris to engage in painting. Probably his first teacher was portrastruitist Ferdinand Van Elle (1580-1649), the second is the historic painter Georges Lallman (1580-1636). Having become acquainted with the Cameryman of the Widrow Queen Mary Medici, the Keeper of the Royal Art Collections and Libraries, Poussin got the opportunity to visit Louri Copy there pictures of Italian artists. In 1622, Pushsen and other artists were instructed to write six large paintings on the plots of their lives of St. Ignatia Loiol and St. Francis Xaveria (not survived).

In 1624, Poussin went to Rome. There, he studies the art of an ancient world, the work of the masters of the era of the High Renaissance. In 1625-1626, he received an order to write a picture of the "Destruction of Jerusalem" (not preserved), but later he wrote a second version of this picture (1636-1638, Vienna, Museum of Art History).

In 1627, Poussin wrote a picture of "Death of Germany" (Rome, Palazzo Barberini) in the plot of the Ancient Roman historian Tacitis, which considers the program work of classicism; It shows the farewell of legionnaires with a dying commander. The death of the hero is perceived as a tragedy of social importance. The topic is interpreted in the spirit of calm and harsh heroes of an ancient narrative. The idea of \u200b\u200bthe picture is the ministry of debt. The artist placed the figures and objects in a shallow space, dismembering it to a number of plans. In this work, the main features of classicism were revealed: the clarity of the action, architectonicity, the harness of the composition, the opposition of groupings. The ideal of beauty in the eyes of Poussin consisted in the proportionality of parts of the whole, in the external orderliness, harmony, clarity of the composition, which will become the characteristic features of the mature wizard style. One of the peculiarities of the creative method of Pussen was rationalism, which was not only affected by the scenes, but also in the wellness of the composition.

Poussin wrote machine paintings mainly medium size. In 1627-1629, he fulfilled a number of paintings: "Parnas" (Madrid, Prado), "Poet inspiration" (Paris, Louvre), "Salvation of Moses", "Moses, Cleansing Water Merra", "Madonna, who is St. Jacob Senior" ("Madonna on the post") (1629, Paris, Louvre). In 1629-1630, Poussin creates a wonderful expression and the most vital truthful "removal from the Cross" (St. Petersburg, Hermitage).

In the period 1629-1633, the subject of paintings of Poussin changes: he less often writes pictures on religious topics, referring to mythological and literary plots. "Narcissus and Echo" (approx. 1629, Paris, Louvre), "Selena and Endimion" (Detroit, Art Institute). Special attention is paid to the cycle of paintings written by the poems of Torquatto Tasso "liberated by Jerusalem": "Rinaldo and Armida" (OK 1634, Moscow, GMIA. A.S. Pushkin). The idea of \u200b\u200bhuman strugnures and the problem of life and death was based on the early version of the painting "Arcade shepherds" (1632-1635, England, Cheworth, a private meeting), to which he returned to the 50s (1650, Paris, Louvre). On the Sleeping Venus canvas (approx. 1630, Dresden, Art Gallery) The Goddess of Love is represented by the earthly woman, while remaining an inaccessible ideal. Picture "The Kingdom of Flora" (1631, Dresden, Picture Gallery), written in the motives of the poemship, is amazing the beauty of the picturesque embodiment of the ancient images. This is a poetic allegory of the origin of flowers, where the heroes of the ancient myths turned into flowers are depicted. Pussen soon wrote another version of this picture - "Triumph Flora" (1631, Paris, Louvre).

In 1632, Pussen was elected a member of the Academy of St. Luke.

The vast popularity of Poussin in 1640 attracted the attention of Louis XIII (1601-1643) to his work, at the invitation of which Poussin came to work in Paris. The artist received an order from the king to write pictures for his chapel in Fontainebleau and Saint-Germain.

In the fall of 1642, Poussin leaves again in Rome. Themes of his paintings of this period were the virtues and validity of the rulers, biblical or antique heroes: "Genot of Scypion" (1643, Moscow, GMI them. A.S. Pushkin). In his canvases, he showed perfect heroes, loyal civil debt, selfless, generous, while demonstrating the absolute universal ideal of citizenship, patriotism, sincere greatness. Creating ideal images on the basis of reality, he deliberately corrected nature, taking a beautiful and discarding the ugly.

In the second half of the 40s, Poussin created a cycle "Seven sacraments", in which revealed the deep philosophical meaning of Christian dogmas: "Landscape with the Apostle Matfey", "Landscape with the Apostle John on the Patmos Island" (Chicago, Institute of Arts).

The end of the 40s - the beginning of the 50s is one of the fruitful periods in the work of Poussin: he wrote the paintings "Eliasar and Rebeka", "Landscape with Diogen", "Landscape with a big road", "Solomon's court", "Ecstasy St. Paul "," Arcade shepherds ", the second self-portrait.

In the last period of creativity (1650-1665), Pussen became increasingly applied to the landscape, heroes were associated with literary, mythological plots: "Landscape with a polyfem" (Moscow, GMI them. A.S. Pushkin). In the summer of 1660, he creates a series of landscapes "four-time year" with biblical scenes, symbolizing the history of peace and humanity: "Spring", "Summer", "Autumn", "Winter". Landscapes of Poussin Multi-Finds, alternating plans was emphasized by strips of light and shadows, the illusion of the space and the depth addressed them the epic power and greatness. As in historical paintings, the main characters are usually located in the foreground and are perceived as an inseparable part of the landscape. Latest, unfinished mastener fabric - "Apollo and Daphne"(1664).

The value of Pussen's creativity for painting history is huge. French artists and before him were traditionally familiar with the art of Italy Renaissance. But they were inspired by the works of Masters of Italian Mannerism, Baroque, Caravagizism. Poussin was the first French painter who took the tradition of classic style Leonardo da Vincia Rafael. Clarity, consistency and ordering of fine techniques of Pussen, the ideological and moral orientation of his art later made his creativity with a reference for the Academy of Painting and Sculpture of France, which took up the development of aesthetic norms, formal canons and generally binding rules of artistic creativity.

Classic Landscape in French PaintingXVII century.

In the 17th century, before the French people, after the period of bloody civil wars and the economic destroyer, the tasks of further national development were faced in all areas of economic, political and cultural life. In the conditions of the absolute monarchy - with Henrich IV and especially in the second quarter of the 17th century. With Richelieu, the energetic minister of healing Louis XIII, the system of state centralization was laid and intensified. As a result of the consistent struggle against feudal opposition, effective economic policy and strengthening its international status, France has achieved significant success, becoming one of the most powerful European powers.

The statement of French absolutism was based on the folk exploitation of the masses. Richelieu said that the people were like Mulu, who was used to carry gravity and spoils from a long stay more than from work. French bourgeoisie, the development of which absolutism patronized with his economic policy was in a dual situation: she sought to politically dominant, but because of his immaturity, he could not stand on the path of gap with the royal authority, heading the masses, because the bourgeoisie was afraid of them and was interested in Preservation of privileges given by absolutism. This was confirmed in the history of the so-called parliamentary frond (1648-1649), when the bourgeoisie, frightened by a powerful rise in the folk revolutionary element, having made a direct betrayal, made a compromise with the nobility.

Absolutism predetermined many characteristic features in the development of French culture of the 17th century. Scientists, poets, artists were attracted to the royal court. In the 17th century, the grandiose palace and public structures were erected in France, majestic city ensembles were created. But it would be wrong to reduce the entire ideological variety of French culture 17 century. Only to the expression of the ideas of absolutism. The development of French culture, being associated with the expression of national interests, was more complex, including trends, very far from official requirements.

The creative genius of the French people showed itself bright and multifaceted in philosophy, in literature and in art. The 17th century gave France of the great thinkers of Descartes and Gassendi, Korifeev Korneli, Racina and Moliere, and in plastic arts - such great masters, as the architect Arduuen-Mansar and the painter Nikola Poussin.

Acute social struggle imposed a certain imprint on all the development of the French culture of the time. Public contradictions appeared, in particular, in the fact that some advanced figures of French culture were in a state of conflict with the royal court and were forced to live and work outside of France: Descartes left for Holland, and Poussin spent almost all his life in Italy. Official court art in the first half of the 17th century. Developed mainly in the forms of pompous baroque. In the fight against official art, two artistic lines have developed, each of which was an expression of advanced realistic trends of the era. The master of the first of these directions, who received the name of Peintres de La Realite in French researchers, that is, the painters of the real world, worked in the capital, as well as in provincial art schools, and with all their individual differences were combined by one common feature: avoiding ideal forms, they They turned to direct, direct embodiment of phenomena and acts of real reality. Their best achievements relate primarily to a household picture and portrait; Biblical and mythological plots were also embodied by these masters in images inspired by everyday reality.

But the most profound reflection of the essential features of the era was manifested in France in the forms of the second of these progressive currents - in the art of classicism.

The specifics of various areas of artistic culture identified certain features of the evolution of this style in drama, poetry, in architecture and visual arts, but with all these differences, the principles of French classicism have a certain unity.

In the conditions of absolutist, the dependence of a person from public institutions should be discovered with a special sharpness, from state regulation and estate barriers. In the literature in which the ideological program of classicism found its most complete expression, the dominant of civil debt, the victory of the public start over the beginning of personal. Imperfection of reality Classicism opposes the ideals of rationality and harsh discipline of the person, with the help of which the contradictions of real existence should be overcome. A conflict of mind and feelings, passion and debt characteristic of the dramatic of classicism, the reflection of the contradictions inherent in this era and the world around him. Representatives of classicism found the embodiment of their public ideals in ancient Greece and the Republican Rome, as well as the personification of the aesthetic norms for them was an antique art.

At the beginning of the 17th century, after the period of civil wars and the well-known decline in cultural life, in visual arts, as in architecture, it was possible to observe the struggle of the remnants of the old with the sprouts of the new, examples of following oblique traditions and bold artistic innovation.

The most interesting artist of this time was working in the first decades of the 17th century, Engraver and Jacques Callo drawer (approx. 1592-1635). He was born in Nancy, in Lorraine, young men went to Italy, where he lived at the beginning in Rome, and then in Florence, where he was up to his return to his homeland in 1622.

A very prolific master, Callo created more than a thousand five hundred engravings, extremely diverse in its topics. He had to work with the French royal yard and the duke yards of Tuscany and Lorraine. However, the brilliance of the court life did not deplorable from him - a thin and acute observer - the diversity of surrounding reality, full of sharp social contrasts, who aburred cruel military shocks.

Callo - an artist of the transition era; The complexity and inconsistency of his time explain the contradictory features in his art. Callo remnants of mannerism are still noticeable - they affect the artist's worldview and in its visual receptions. At the same time, Callo's creativity gives a vivid example of penetration into the French art of new, realistic trends.

Callo worked in the technique of the etching, which he improved. Usually the master used when engraving the repeated etching, which allowed it to achieve the special definition of the lines and the hardness of the drawing.



Jacques Callo. The etching from the series "Beggars". 1622.



Jacques Callo. Cassandr. The etching from the series "Three Pantalon." 1618.

In the works of Calla early period, elements of fiction are still strong. They affect the desire for bizarre plots, to exaggerated grotesque expressiveness; The artist's skill sometimes takes the character of self-sufficient virtuosity. These features are particularly bright in the series of gravy 1622.- "Balley" ("Dances") and Gobby ("Gorbny"), created under the impression of the Italian comedy of masks. Works of this kind, still largely superficial, indicate a somewhat one-sided search by the artist of external expressiveness. But in other series, engravings are more clearly expressed by realistic trends. Such is the whole gallery of types, which the artist could directly see on the streets: citizens, peasants, soldiers (Caprichecchi series, 1617), Gypsy (series "Gypsies", 1621), vagrants and beggars (series "Beggars", 1622). These small figures, made with exceptional sharpness and observation, possess extraordinary mobility, acute characterity, expressiveness of poses and gestures. With virtuoso artistry, Caldo has been transmitted by the elegant ease of Cavallar (Caprichecchi series), a clear rhythm of dance in the figures of Italian actors and their underpants (series "Balli"), heavy primacy of the provincial aristocracy (Larring Nobility series), senile figures in rags (series "Beggars").



Jacques Callo. Martyrdom of sv. Sebastian. Etching. 1632-1633

The most informative in the work of Callo its multifigure compositions. Themes are very diverse: this is the image of the court festivals ("Tournament in Nancy", 1626), fairs ("Fair in Impress", 1620), military triumphs, battles (Panorama "Siege Bredi", 1627), hunt ("big hunting" , 1626), scenes for mythological and religious plots ("Martyrdom of St. Sebastian", 1632-1633). In these relatively small lists, the master creates a wide picture of life. Callo engravings are panoramic; The artist looks at what is happening as if from afar, which allows it to achieve the widest spatial coverage, to include in the image huge masses of people, numerous variekractive episodes. Despite the fact that the shapes (and even more details) in the compositions of Callo are often very small in size, they are made by the artist not only with the remarkable figure of drawing, but also fully have vitality and characteristics. However, the Callo method in itself negative sides; Individual features of actors, individual details are often elusive in the total mass of numerous event participants, the main thing is lost among the secondary. No wonder they are usually said that Callo looks at his scenes as if in an inverted binoculars: his perception emphasizes the remoteness of the artist from the event depicted. This specific feature of Callo is not a formal technique at all, it is naturally connected with its artview. Callo worked in the era of the crisis, when the ideals of the Renaissance have lost their strength, and new positive ideals have not yet approved themselves. Man in Callo is essentially powerless before external forces. It is not by chance that the theme of some compositions of Callo acquire a tragic color. Such, for example, engraving "Martyrdom of St. Sebastian. " The tragic principle in this work is concluded not only, in his story decision - the artist presented numerous shooters, calmly and clarifically, as a target on the shooting range, producing arrows in the Sebastian post, but also in that sense of loneliness and impotence, which is expressed in Capped by the cloudy arrows of the tiny, difficult to distinguish the figure of saint, as if lost in a huge limitless space.

The greatest acute reaches Callo in the two series of "War Disasters" (1632-1633). With merciless truthfulness showed an artist of suffering, which fell on his native Lorraine, captured by royal troops. Engravings of this cycle depict the scenes of executions and robberies, the punishment of marauders, fires, victims of war and road cripples. The artist tells in detail about terrible events. In these pictures there is no idealization and sentimental pity. Callo as if not expressing his personal attitude to what was happening, he seemed impassive observer. But in the very fact of an objective disaster discharge of the war, a certain focus and the progressive meaning of the art of this artist was concluded.

At the early stage of French absolutism in the court art, the predominant importance was the direction of a baroque character. Initially, however, since there were no significant masters in France, the royal yard turned to famous foreign artists. For example, in 1622 to create monumental compositions, decorated the newly built Luxembourg palace, Rubens was invited.

Gradually, along with foreigners began to advance French masters. At the end of the 1620s. The honorary title of "First Artist of the King" received Simon VEU (1590-1649). For a long time VWE lived in Italy, working on the muffins of churches and on orders of patrons. In 1627, he was called by Louis XIII to France. Many of the paintings created by VEU have not been preserved before our time and are known by engravings. It belongs to the pompous, weathered in the bright colorful tones of the composition of religious, mythological and allegorical content. Samples of his work can serve "St. Karl Borry "(Brussels)," Bringing to the Temple "(Louvre)," Hercules among the Gods of Olympus "(Hermitage).

VEU created and headed the official, court direction in French art. Together with his followers, he suffered into French monumental decorative painting techniques of Italian and Flemish Baroque. Essentially, the work of this masters was not enough. The appeal of VEU in its later works to classicism was also reduced only to purely external borrowing. Lisured genuine monumentality and strength, sometimes priority to the priority, superficial and beating on the external effect, the art of VEU and his followers was poorly connected with a live national tradition.

In the fight against the official direction in the art of France, the new realistic current - Peintres de La Realite ("Paints of the Real World") was formed. The best masters of this destination, who turned in their art to a specific image of real reality, created humane, full of high dignity of the image of the French people.

At the early stage of development of this area, many of the insignificant masters have experienced the effects of Caravaggio's art. For some Caravaggio, it turned out to be an artist, to a large extent predetermined their subjects and the visual techniques themselves, other masters managed to more creatively use the valuable aspects of the Karavaggist method.

The first of them belonged to Valenten (actually, Jean de Boulon; 1594-1632). In 1614, Valenten arrived in Rome, where his activity flowed. Like other Karavaggers, Valenten wrote pictures on religious plots, treating them in the genre spirit (for example, "Peter's renunciation"; the Museum of Fine Arts. A. S. Pushkin), but its large-burning genre compositions are most famous. The motifs traditional for Caravageism in them are in them, Valenten tends to their more acute interpretation. An example of this is one of the best pictures of the "Map Players" (Dresden, Gallery), where the drama of the situation is spectacular. The naivety of the inexperienced young man, the composure and self-confidence of the Shulera playing with him and especially the ominous appearance of a compliment to his partner, feeding signs from behind the young men, is also expressive. Contrasts of lighting in this case are used not only for plastic modeling, but also to enhance the dramatic stress of the picture.

The outstanding masters of their time belongs to Georges de Latur (1593-1652). Famous in his time, he was continued completely forgotten; The appearance of this wizard revealed only recently.

So far, the creative evolution of the artist remains in many ways unclear. Few biographical information, preserved about the lature, extremely fragmentary. Lattat was born in Lorraine near Nancy, then moved to Luneville, where he spent his rest. There is a suggestion that in his youth he visited Italy. Latur experienced a strong influence of the art of Caravaggio, but his work went far beyond the limits of a simple following to the receptions of Caravagism; In the art of the Luneville Masters, the original features of the emerging national French painting of the 17th century found the expression.

Latt wrote mainly paintings on religious plots. The fact that he spent his life in the province imposed his mark on his art. In the naivety of his images, in the shade of religious inspiration, which can be caught in some of his works, in the underlined staticness of its images and in a peculiar elementality of his artistic language also affect some extent to the echo of the medieval worldview. But in the best works, the artist creates the images of a rare spiritual purity and great poetic power.



Georges de latat. Christmas. 1640-E.

One of the most lyrical works of Latural, the picture "Christmas" (Rennes, Museum). It is characterized by simplicity, almost spare arts and at the same time deep truthfulness, which is depicted by a young mother, with a thoughtful tenderness of a baking child, and an elderly woman who, carefully bother with a burning candle, peers into the features of the newborn. The light in this composition is of great importance. Dispelled the night darkness, it highlights clear with plastic tactacations, to the limit of the generalized volumes of figures, the face of the peasant type and the touching figure of a ripe child; Under the action of light, deep, rich in the strong color sound of the tone of clothes. Its smooth and relaxing radiance creates an atmosphere of solemnity of night silence, which is disturbed only by the measuring breathing of the sleeping child.

Closely in his mood to "Christmas" and Louvra "worship of the shepherds." The truthful appearance of the French peasants, the beauty of their simple feeling, the artist embodies with brewing sincerity.



Georges de latat. St. Joseph-Carpenter. 1640-E.



Georges de latat. The phenomenon of the angel of St. Joseph. 1640-E.

Pictures of Latural on religious topics are often interpreted in the genre spirit, but at the same time they are deprived of the shade of triviality and everyday life. These are already mentioned "Christmas" and "worship of the shepherds", "daring Magdalen" (Louvre) and genuine masterpieces of Latural, "St. Joseph-carpenter "(Louvre) and" Angel's phenomenon of St. Joseph "(Nantes, Museum), where an angel is a slim girl - concerns the hand of Joseph's candle with a gesture simultaneously and gentle. The feeling of spiritual purity and calm contemplation in these works raises images of a loyature over everyday life.

1. 

   Georges de latat. St. Sebastian, mourned by St. Irina. 1640-1650-E.

   To the highest achievements of Latural refers "St. Sebastian, mourned by St. Irina "(Berlin). In the silence of deep nights, illuminated only by a bright flame of the candle, over the open body pierced by Arlasia Sebastian droop the mournful figures of mourning his women. The artist managed to pass here not only the overall feeling that unites all the participants in the action, but also the shades of this feeling in each of the four plackers - a depleting frost, sorrowful bewilderment, bitter cry, tragic despair. But the latur is very restrained in the case of suffering, he does not allow exaggeration anywhere, and the stronger the impact of its images in which there is not so much a person, how much movement, gestures, the silhouettes themselves themselves acquired a huge emotional expressiveness. New features are tracked in the form of Sebastian. In his excellent elevated height, the heroic beginning is embodied, which relates this image with the creations of masters of classicism.

   In this picture, Latour moved away from the domestic color of the images, from several naive elementality inherent in its earlier works. Former chamber coverage of phenomena, the mood of focused intimacy has changed here more monumentality, a sense of tragic magnitude. Even a beloved of a burning candle's motive is perceived in a different, more pathetic - her huge, who belonged up the flame reminds the flame of the torch.

   Extremely important place in the realistic painting of France of the first half of the 17th century. It occupies the art of Louis Lenin. Louis Lenen, like his brothers Antoine and Mathieu, worked mainly in the field of the peasant genre. The image of the life of the peasants gives the works of Lenen bright democratic color. Their art was forgiven for a long time, and only from the middle of 19 century. Studying and collecting their works began.

   Brothers Lenen - Antoine (1588-1648), Louis (1593-1648) and Mathieu (1607-1677) -In the natives of the city of Lana in Picardia. They came from a small bourgeois family. Youth spent in his native Picardia gave them the first and most vivid impressions of rural life. Having moved to Paris, Lenos remained alien to the noise and glitter of the capital. They had a common workshop, headed by the eldest of them - Antoine. He was the direct teacher of his younger brothers. In 1648, Antoine and Louis Lenen were adopted in the newly created Royal Academy of Painting and Sculpture.

   Antoine Lenin was a conscientious, but not very gifted by the artist. In his work, in which portrait works prevailed, many more archaic; The composition is fraction and frozen, the characteristics are not distinguished by the manifold ("family portrait", 1642; Louvre). Antoine's art marked the beginning of creative search for his younger brothers, and above all the largest of them - Louis Lenin.

   The early works of Louis Lenin are close to works by his older brother. It is possible that Louis, together with Mathieu, traveled to Italy. Karavadzhist tradition provided a well-known impact on the formation of his art. Since 1640 Louis Lenen manifests itself as a completely independent and original artist.

   Georges de Lutur, people from the people were pictured in works on religious plots. Louis Lenen directly turned in his work to the life of the French peasantry. The innovation of Louis Lenin is a fundamentally new interpretation of the life of the people. It is in the peasants that the artist sees the best parties to man. He belongs to his heroes with a sense of deep respect; The feeling of rigor, simplicity and truthfulness is filled with his scenes of peasant life, where the magnitude-calm, complete advantages are modest, leisurely people.

   In his canvases, he deploats the composition on the plane like a relief, placing figures in certain spatial boundaries. Revealed by a clear, generalized loop line, the figures are subordinate to the well-thought-out compositional intent. Lovely colorist, Louis Lenen subordinates the restrained flower gamut with a silver tone, reaching the softness and sophistication of colorful transitions and ratios.

   The most mature and perfect works of Louis Lenin were created in the 1640s.

   

   Louis Lenen. Visiting grandmother. 1640-E.

   Scuse breakfast of a poor peasant family in the painting "Peasant Trapez" (Louvre), but what a sense of self-esteem is imbued with these workers who focus on the melody, which the boy is playing on the violin. Always restrained, little associated with each other, the heroes of Lenin are perceived, however, as members of the team, united by the unity of mood, the generality of the perception of life. A poetic feeling, incessing his painting "Prayer before lunch" (London, National Gallery); Strictly and simple, without any shade of sentimentality, a scene is depicted a visit to the old peasant woman with grandchildren in the Hermitage canvas "Visit Babushka"; Solemn full of calm cheerfulness, classically clear "rider stop" (London, Victoria and Albert Museum).

   

   Louis Lenen. Family of the thrush. 1640-E.

   In the 1640s. Louis Lenen also creates one of his best works, "Familia" (Hermitage). Early, hewed foggy morning; The peasant family goes to the market. With a warm sense, the artist of these ordinary people is depicting, their open persons: a tired peasant, a Tolstip, prudent worker and painful, fragile, no serious girl. Plata finished figures clearly protrude on a lightweight air background. Wonderful Landscape: A wide valley, a distant city on the horizon, air-powered with a silver chimney blue in abroad sky. With great skill, the artist transfers the materiality of objects, their textured features, dull radiance of the copper bidon, the hardness of rocky soil, rudeness of simple household clothes of peasants, shaggy wool donkey. The technique of smear is very diverse: a smooth, almost an enamel letter connects with a free stray painting.

   

   Louis Lenen. Forge. 1640-E.

   The Louis "Forge" can be called the highest achievement of Louis Lenin. Usually Louis Lenen depicted peasants during meals, recreation, entertainment; Here the object of its image has become a work scene. It is great that it was in the work that the artist saw the true beauty of man. We will not find in the work of Louis Lenin's images that would be extended to the strength and pride as the heroes of His "Forge" - a simple blacksmith surrounded by a family. In the composition more freedom, movement, sharpness; Formerly smooth, multiple lighting changed by contrasts of lighting, reinforcing emotional expressiveness of images; In the smear itself more energy. The exit beyond the traditional plots, appeal to the new topic contributed in this case to the creation of one of the early impressive images of labor in European visual arts.

   In the peasant genre Louis Lenin, imbued with special nobility and clear, as if purified perception of life, are not reflected in the direct form of sharp social contradictions of that time. His psychological images are sometimes too neutral: the feeling of calm composure as it would absorbs all the variety of experiences of his heroes. Nevertheless, in the era of the folder exploitation of the folk masses, brought the life of the French peasantry to almost the standard of living of animals, in the conditions of a powerful folk folk protest, Louis Lenin, who argued human dignity, the moral purity and moral strength of the French people, had a great progressive importance .

   During the period of further strengthening of absolutism, the realistic peasant genre did not have favorable prospects for its development. This is confirmed by an example of the creative evolution of the younger of Lenen - Mathieu. Being younger than Louis for fourteen years, he, essentially belonged to another generation. In his art, Mathieu Lenen has for the tastes of the noble society. He began his creative path as follower Louis Lenin ("Peasants in Zabachka"; Hermitage). In the future, the topics and the whole nature of his creativity change dramatically - Mathieu writes portraits of aristocrats and elegant genre scenes from the life of a "good society."

   To the direction of the "painters of the real world" belonged a large number of provincial artists who, significantly inferior to such craftsmen as Georges de Latur and Louis Lenen, managed to create lively and truthful works. Such, for example, Robert Turny (1604 - 1670), author of a strict and expressive painting "Removing from the Cross" (Toulouse, Museum), Rishar Tassel (1580 - 1660), who wrote a sharp portrait of the portrait of the nun Catherine de Montolon (Dijon, Museum) , other.

   In the first half of the 17th century Realistic trends are also developing in the field of French portrait. The largest portrait of this time was Philip de Champion (1602 - 1674). Flemandes in origin, he spent his whole life in France. Being close to the yard, Shampeny used the patronage of King and Richelieu.

   Shampen began his career as a master of decorative painting, he also wrote paintings on religious plots. However, the most widespread graduation of Shampena revealed in the portrait area. He was a kind of historiogram of his time. He owns portraits of members of the royal house, statesmen, scientists, writers, representatives of the French clergy.

   

   Philip de Champin. Portrait of Arno d "Andilia. 1650

   Among the works of Champs are the most famous portrait of Cardinal Richelieu (1636, Louvre). Cardinal is depicted in full growth; It seems slowly in front of the viewer. His figure in the Cardinal Mantle with Wide Fallen Folding Disseminate Clear and Clear Contour Against the Background of Barching. The saturated tone of the pinkish-red mantle and the golden background are shadowed with a thin, pale face of Cardinal, his movable hands. With all its paradacy, the portrait, however, is deprived of external infrared and is not overloaded with accessories. His genuine monumentality is in the sense of internal force and collens, in the simplicity of the art decision. Naturally, portraits of Champs, deprived of a representative nature differ even greater severity and vital persuasiveness. To the best works of the master belongs to the portrait of Arno D "Andilia (1650).

   And the artists of classicism and the "painters of the real world" were close to the advanced ideas of the era - a high idea of \u200b\u200bthe dignity of a person, the desire for ethical evaluation of his actions and clear, purified from the entire random perception of the world. By virtue of this, both directions in painting, despite the differences that had had between them, closely in contact with each other.

   Classicism acquires leading importance in French painting from the second quarter of the 17th century. The work of His largest representative of Nicola Poussin is the top of French art 17 centuries.

   Poussin was born in 1594 near the town of Andeli in Normandy in the family of a poor military. On the youthful years of Poussin and his early work is known very little. Perhaps his first teacher who was visiting the Aneli Kantnen Waren in these years, the meeting with whom was crucial to determine the artistic vocation of the young man. Following Waren, Poussin secretly leaves his native city and leaves for Paris. However, this trip does not bring good luck. Only a year later, he immediately falls into the capital and spends several years there. Already in the youthful years, Poussin reveals great purposefulness and tireless thirst for knowledge. He studies mathematics, anatomy, ancient literature, acquainted on engravings with works by Rafael and Julio Roman.

   In Paris, Poussin meets with the fashionable Italian poet Kavaler Marino and illustrates his poem "Adonis". These illustrations preserved to our time are the only reliable works of Pussen of his early Parisian period. In 1624, the artist leaves for Italy and settles in Rome. Although Poussin was destined to live almost all of his life in Italy, he was warmly loved his homeland and was closely connected with the traditions of French culture. He was alien to careerism and is not inclined to find easy success. His life in Rome was devoted to persistent and systematic work. Poussin sketched and measured antique statues, continued his studies with science, literature, studied the treatises of Alberti, Leonardo da Vinci and Durera. He illustrated one of the lists of Treaty Leonardo; Currently, this most valuable manuscript is in the Hermitage.

   Creative quest for Poussin in the 1620s. Were very complex. The master went long by creating his artistic method. Antique art and the artists of the Renaissance were for him with the highest samples. Among the modern Bologna masters, he appreciated the most strict one of them - Domenicino. Treating negatively to Caravaggio, Poussin still did not remain indifferent to his art.

   Throughout the 1620s. Pussen, already enhancing the path of classicism, often looked sharply beyond his framework. Such pictures such as the "beating of babies" (Shantilia), "Martyrdom of St. Erasmus "(1628, Vatican Pinakotek) is marked by the features of proximity to Caravagizism and Baroque, a well-known reduction in images, exaggeratedly a dramatic interpretation of the situation. Unusually for Pussen in its aggravated expression in the transmission of a sense of heartbreaking sorrow, an Hermitative "Removing from the Cross" (approx. 1630). The drama of the situation here is strengthened by an emotional interpretation of the landscape: the action is deployed against the background of the thunderstorm sky with the reflections of red ominous dawn. Another approach characterizes his work performed in the spirit of classicism.

   The cult of the mind is one of the main qualities of classicism, and therefore neither one of the great masters of the 17th century. The rational start does not play such a significant role as Poussin. The master himself said that the perception of the artwork requires a concentrated thinking and tense work. Rationalism affects not only in the purposeful follow-up to the ethical and artistic ideal, but also in the art created by it. He built the theory of the so-called modes, which tried to follow in his work. The modus of Pussen meant a kind of figurative key, the sum of the techniques for the emotional characteristics and the composition-scenic solution, which most corresponded to the expression of a certain topic. These modes of Poussin gave names coming from the Greek items of various lands of a musical building. For example, the theme of the moral feat is embodied by the artist in strict harsh forms united by Pussen in the concept of Doriy Lada, the themes of a dramatic nature - in the form of "Frigian Lada", the themes of joyful and idyllic - in the forms of "Ionian" and "Lidius" Ladins. The strength of the works of Pussense are achieved as a result of these artistic techniques a clearly pronounced idea, clear logic, a high degree of completion of the plan. But at the same time, the subordination of the art with certain stable standards, the introduction of rationalistic moments was also a greater danger, since it could lead to the prevocation of an unshakable dogma, a deadly creative process. It was to this that all academists who followed only the external techniques of Pussen were coming. Subsequently, this danger stood in front of the Pussen himself.

   

   Poussin. Death of Germany. 1626-1627

   One of the characteristic samples of the ideological and artistic program of classicism can serve as the Pussenovsky composition "Death of Germany" (1626/27; Minneapolis, Institute of Arts). Here is already indicative of the selection of the hero - a courageous and noble commander, the squad of the best hopes of the Romans, poisoned by order of the suspicious and envious Emperor Tiberius. The picture depicts Germany on his deathbed alpine, surrounded by his family and devotees to him soldiers embraced by the general feeling of excitement and grief.

   Very fruitful for the creativity of Poussin was the passion for the art of Titian in the second half of the 1620s. The appeal to Tizian tradition facilitated the disclosure of the most lively parties to the talent of Pussen. The role was the role of Titian Colorism and in the development of painting to give to Pussen.

   

   Poussin. The kingdom of flora. Fragment. OK. 1635.

   In his Moscow film "Rinaldo and Armida" (1625-1627), the plot of which is taken from the poem of Tasso "liberated by Jerusalem", the episode from the legend of the medieval chivalry is treated more like a motive of antique mythology. The magician of the Armid, finding the sleeping knight-Crusader Rinaldo, takes him into his magic gardens, and the horses of the Armid, who put her chariot on the clouds and barely held back by beautiful girls, look like the horses of the god of the Sun of Helios (this motive is often often found in Pussen's paintings). The moral height of a person is determined for Pussen by the correspondence of its feelings and actions of reasonable laws of nature. Therefore, the ideal of Poussin is a man who lives a single happy life with nature. This topic, the artist devoted such webs 1620-1630, as "Apollo and Daphne" (Munich, Pinakotek), "Vakhanlia" in Louvre and the London National Gallery, "The Kingdom of Flora" (Dresden, Gallery). He resurrect the world of ancient myths, where darkness satires, slender nymphs and cheerful amrants are depicted in unity with beautiful and joyful nature. Never subsequently appear in the work of Poussin, such serene scenes, such adorable women's images appear.

   Construction of paintings, where plastically tangible figures are included in the overall rhythm of the composition, has clarity and completeness. It is always clear that the movement of the figures, this, according to Poussin, "body language" is always different. Color range, often saturated and rich, also subordinate to the thoughtful rhythmic ratio of colorful spots.

   In the 1620s. Created one of the most captive images of Poussin - Dresden "Sleeping Venus". The motive of this painting is the image of the goddess submerged in the sleep surrounded by the beautiful landscape - goes back to the samples of the Venetian Renaissance. However, in this case, the artist took the ideality of the images from the masters of revival, and the other of their essential quality is a huge vitality. The paintwork itself is the type of goddess, young girl with a face-made face, with a slim elegant figure, full of such naturalness and some special intimacy of the feeling that this image seems snapped right from life. In contrast with the serene rest of the sleeping goddess even more felt the thunder voltage of a hot day. In the Dresden canvas brighter than anywhere, the connection of Poussin with Colorism of Titian is tangible. In comparison with the common brownish, saturated dark gold pattern, the shades of the naked body of the goddess are especially beautifully distinguished.

   

   Poussin. Tancred and Hermine. 1630-E.

   The Hermitage Waterway "Tancred and Hermine" (1630s) was dedicated to the dramatic theme of the love of Amazon Herminia to the Knight-Crusader Tancredu. The plot is also taken from the poem of Tasso. In the deserted terrain, on the rocky soil, wounded in a tancred duel. With a caring tenderness it supports the faithful friend of Wafrine. Herminia, just, having descended from the horse, rushes to the beloved and rapid silence of the sparkling sword, cuts off the strand of his blond hair to tie his wounds. Her face, a look, chained to Tancred, the rapid movements of a slender figure are spiritualized by a large inner feeling. The spiritual elevation of the image of the heroine is emphasized by the color decision of her clothes, where the contrasts of gray-steel and deep blue tones sound with increased force, and the general dramatic mood of the picture finds its own echo in the landscape filled with the flaming gloss of evening dawn. The armor of Tancred and the sword of Herminium reflect all the wealth of paints in their sweeps.

   In the future, the emotional moment in the work of Poussin is to a greater extent associated with the organizing principle of reason. In the works of the mid-1630s. The artist reaches a harmonic equilibrium between mind and feeling. The leading importance is the image of a heroic, perfect person as an embodiment of moral majesty and spiritual power.

   

   Poussin. Arcade shepherds. Between 1632 and 1635

   The example of a deep philosophical disclosure of the topic in the works of Poussin gives two options for the composition "Arcade shepherds" (between 1632 and 1635, Cezoort, the assembly of the Duke of Devonshire, see Ill. And 1650, Louvre). The myth of Arcadia, a country of serene happiness, often embodied in art. But Pussen in this idyllic plot expressed a deep idea of \u200b\u200bthe frequency of life and the inevitability of death. He presented the shepherds, who suddenly saw the tomb with the inscription "And I was in Arkadia ...". At the moment when a person is filled with a feeling of cloudless happiness, he seems to hear the voice of death - a reminder of the short-life of life, about the inevitable end. In the first, more emotional and dramatic London version, the confusion of shepherds is stronger, which as if suddenly appeared in the face of death, who invaded their bright world. In the second, a much later Louis version of the Heroes are not even overshadowed, they retain calm, perceiving death as a natural pattern. This thought with a special depth is embodied in the image of an excellent young woman, the appearance of which the artist gave the features of the stoic wisdom.

   

   Poussin. Inspiration of the poet. Between 1635 and 1638

   The Louvra picture "The Inspiration of the Poet" is an example of how the abstract idea is embodied by Pussen in the deep, which have a great power of exposure to images. Essentially, the plot of this work seems to be bordered by allegories: we see the young poet, topped with a wreath in the presence of Apollo and Muse, however, the least in this picture of allegorical dryness and contrived. The idea of \u200b\u200bthe picture is the birth of an excellent in art, his celebration is not perceived as an abstract, but as a specific, figurative idea. Unlike common in the 17th century. Allegoric compositions whose images are combined externally rhetorically, for the Louvro picture is characterized by an internal association of images with the general building of the senses, the idea of \u200b\u200bthe sublime beauty of creativity. The image of an excellent muse in the Pussy Picture makes you remember the most poetic female images in the art of classical Greece.

   Composite construction of a painting in its kind of exemplary for classicism. It is characterized by a large simplicity: the figure of Apollo is placed in the center, on both sides, the figures of the muse and poet are symmetrically located. But in this decision there is no slightest dryness and artificiality; Minor subtly found displacements, turns, movements of figures, a tree, flying to the side, flying Amur - all these techniques, not depriving the composition of clarity and equilibrium, bring into it the sense of life, which is distinguished by this work from the conditionally schematic creations of the academicists who have patched.

   In the process of becoming an artistic and composite plan for the picturesque work of Poussin, his wonderful drawings had great importance. These sepese sketches made with exceptional latitude and courage based on comparison of light and shadow stains play a preparatory role in turning the idea of \u200b\u200bthe work into a finished pictorial integer. Alive and dynamic, they, as it were, reflect all the wealth of the artist's creative imagination in his search for a composite rhythm and an emotional key corresponding to ideological intent.

   In subsequent years, the harmonic unity of the best works of the 1630s. gradually loses. In painting Pussense, the features of abstractness and rationality are growing. The brewing crisis of creativity is sharply intensified during his trip to France.

   Fame Pussen reaches the French yard. Having received an invitation to return to France, Poussa in every way pulls the ride. Only a cold-imperative personal letter of King Louis Xiii makes him obey. In the autumn of 1640, Poussin leaves for Paris. A trip to France brings a lot of bitter disappointment to the artist. His art meets the fierce resistance to those who worked with the court representatives of the decorative baroque direction led by Simon VEU. The network of dirty intrigues and denunciations of "these animals" (so called their artist in his letters) ends up Pussen, a person's immaculate reputation. The entire atmosphere of the court life inspires him a squeamish disgust. The artist, according to him, it is necessary to break out of the loop, which he put on his neck to the neck, so that again in the silence of his workshop to engage in real art, for, "if I stay in this country, he writes, - I will have to turn into Pachkun, like Another here is here. " The royal court fails to attract a great artist. In the fall of 1642, Pussen under the pretext of his wife's disease leaves back to Italy, this time forever.

   Creativity Poussin in the 1640s. Noted by the features of the deep crisis. This crisis is not explained not so much by the specified facts of the artist's biography, as first of all the internal contradictions of the classicism itself. Live reality of that time far did not correspond to the ideals of rationality and citizen virtue. A positive ethical classicism program started to lose the soil.

   Working in Paris, Poussin could not completely dismiss him from the tasks set in front of him. The works of the Paris period are cold, official in nature, they are significantly expressed to the achievement of the external effect of the Baroque art feature ("time saves the truth from envy and discord", 1642, Lille, Museum; "Miracle of St. Francis Xaveria", 1642, Louvre) . It was this kind of work that was subsequently perceived as samples of the artists of the academic camp, led by Charlin Lebed.

   But even in those works in which the master strictly adhered to the classic artistic doctrine, he no longer reached the same depth and vitality of images. The rationalism characteristic of this system, the regulation, the predominance of an abstract idea over a sense, the desire for ideality is obtained by his one-sided exaggerated expression. An example is the "generosity of Scypion" of the Museum of Fine Arts. A. S. Pushkin (1643). Depicting the Roman commander of Scypion of African, who abandoned his rights to the captive Carthaginian princess and returning it to the bridegroom, the artist glorifies the virtue of the wise commanders. But in this case, the theme of the temptation of moral debt received a cold, rhetorical embodiment, the images lost the vitality and spirituality, gestures are conditional, the depth of thought was replaced by contradiction. The figures seem to be frozen, color - motley, with a predominance of cold local paints, a picturesque manner is distinguished by unpleasant malication. Similar features are characterized by created in 1644-1648. Pictures from the second cycle of "seven sacraments".

   The crisis of the classic method affected primarily on Pussen plot compositions. From the late 1640s. The highest achievements of the artist are manifested in other genres - in the portrait and in the landscape.

   By 1650, one of the most significant works of Poussin is its famous Louvrian self-portrait. The artist for Poussin is, above all, a thinker. In the era, when the traits of external representativeness were emphasized in the portrait, when the significance of the image was determined by the social distance separating the model from ordinary mortals, Pussen sees the value of a person in the strength of his intellect, in creative power. And in a self-portrait, the artist retains the strict clarity of the compositional construction and clarity of the linear and volumetric solution. The depth of the ideological content and the wonderful completion of the "self-portrait" of Poussin significantly exceeds the works of French portraits and belongs to the best portrait of European art of the 17th century.

   Passion to the Landscape is associated with a change. His worldview. There is no doubt that Pussen has lost the whole idea of \u200b\u200ba person who was characteristic of its works of 1620-1630s. Attempts to embody this presentation in the plot compositions of the 1640s. led to failure. The figurative system of Pussen from the late 1640s. It is already built on other principles. In the works of this time, the artist's attention is the image of nature. For Poussna, nature is the personification of the highest harmony of being. A person has lost its dominant position. It is perceived only as one of many species of nature, the laws of which he is forced to obey.

   Walking around Rome, the artist with his inherent toastfulness studied the landscapes of Roman Campaigns. His immediate impressions were transferred in wonderful landscape drawings from nature, distinguished by the extraordinary freshness of perception and subtle lyrism.

   Picturesque landscapes of Poussin do not have a sense of directness, which inherent in its drawings. In his picturesque works, the perfect, generalizing principle is stronger, and nature in them appears as a carrier of perfect beauty and greatness. Sounded ideological and emotional content, landscapes of Poussin belong to the highest achievements common in the 17th century. The so-called heroic landscape.

   Pussenian landscapes are imbued with the feeling of the grandeur and greatness of the world. Huge bulky rocks, lush bumps, crystal transparent lakes, cool springs, current among stones and shady bushes, are connected in a plasticly clear, holistic composition based on alternating spatial plans, each of which is located parallel to the canvas plane. View of the viewer, following the rhythmic movement, covers the space in his entire gradation. Colorist gamma is very restrained, most often it is built on a combination of cold blue and bluish tones of sky and water and warm brownish gray tones of soil and rocks.

   In each landscape, the artist creates a unique image. As a wide and solemn anthem, nature is perceived by the "Landscape with a Polyfem" (1649; Hermitage); Her mighty greatness conquers in the Moscow "landscape with Hercules" (1649). Depicting John the theologian on the island of Patmos (Chicago, Institute of Arts), Pussen refuses the traditional interpretation of this plot. It creates a rare beauty and powers of the landscape - the living personification of the beautiful eldla. The image of John in the interpretation of Poussin reminds not a Christian hermit, but an ancient thinker.

   In the late years, even the thematic paintings of Poussin embodies in landscape forms. This is its picture of Fokion Funeral (after 1648; Louvre). The ancient hero Fokion was executed by the sentence of his ungrateful fellow citizens. He was denied even in the burial in his homeland. The artist presented the moment when slaves are out of Athens on the stretchers of Fokion's remains. Against the background of blue sky and green trees, temples, towers, urban walls are highlighted. Life goes to her! The shepherd grabs herd, on the road of the will pull the wagon and rider rushes. A beautiful landscape with a special sharpness makes you feel the tragic idea of \u200b\u200bthis work - the theme of the loneliness of a person, his impotence and the fragility in the face of eternal nature. Even the death of the hero can not overshadow its indifferent beauty. If the preceding landscapes argued the unity of nature and man, the idea of \u200b\u200bopposing the hero and the surrounding world appears in the Fokion Faune, which personifies the human conflict and reality characteristic of this era.

   The perception of the world in his tragic contradictions was reflected in the famous Pussen landscaped cycle "four time of year", made in the last years of his life (1660 -1664; Louvre). The artist puts and decides in these works the problem of life and death, nature and humanity. Each landscape has a certain symbolic value; For example, "Spring" (Adam and Eve are presented in Paradam in Paradise) - this bloom of the world, the childhood of mankind, "winter" depicts a flood, the death of life. Nature of Poussin and in the tragic "winter" is performed by magnitude and strength. Water that fluttering to the ground, with inexorable inevitability absorbs all living things. Nowhere is no salvation. The outbreak of lightning cuts through the night darkness, and the world embraced by despair appears as it were like petrified in immobility. In the feeling of chilling dish, penetrating the picture, Pussen embodies the idea of \u200b\u200bapproaching ruthless death.

   The tragic "winter" was the last work of the artist. In the autumn of 1665, Pussen - dies.

   The value of the art of Pussena for its time and the following epochs is enormous. His true heirs were not French academists of the second half of the 17th century, and representatives of the revolutionary classicism of the 18th century, who managed in the forms of this art to express the great ideas of their time.

   If the creativity of Pussen found their deep implementation various genres - a historical and mythological picture, a portrait and landscape, then the other masters of French classicism worked mainly in any one genre. As an example, Claude Lorrene can be called (1600-1682) -ruplen, along with Pushend, a representative of the classic landscape.

   Claude Jelly was born in Lorraine (French Lorraine), from where it happened nickname Lorren. He came from the peasant family. Early Osapotev, Lorrane went to Italy, where he studied painting. Almost all life is Lorrena, except for a two-year stay in Naples and a short-term visit to Lorraine, passed in Rome.

   Lorren was the creator of a classic landscape. Separate works of this kind have appeared in the art of Italian masters of the end of the 16th - early 17 V.-Annibal Karracchi and Domenicino. The German painter Elsheimer who worked in Rome was a great contribution to the landscape painting. But only Lorrene landscape has developed in the finished system and turned into an independent genre. Lorren was inspired by the motives of real Italian nature, but these motives are transformed into an ideal image corresponding to the standards of classicism. Unlike Pussen, whose nature was perceived in the heroic plan, Lorren primarily a lyrics. He is more directly expressed by a living sense, a shade of personal experience. He likes to depict the limitless gave sea (Lorren often wrote sea harbor), wide horizons, overflowing light in the clock of sunrise or sunset, predestous fog, condensed twilight. For early landscapes, Lorrena is characterized by some overload architectural motifs, browned tones, strong lighting contrasts - for example, in Campo Vachchino (1635; Louvre) depicting the meadow on the site of the ancient Roman forum, where people roam among the ancient ruins.

   

   Claude Lorren. Seascape with acisis and Galatea. 1657.

   In his creative flourishing, Lorren joins the 1650s. From this time, his best works appear. Such, for example, "Abduction of Europe" (approx. 1655; The Museum of Fine Arts A. S. Pushkin). The compositions of mature Lorrene do not depict - for few exceptions - any particular landscape motif. They create a generalized image of nature. In the Moscow picture, a beautiful azure bay is presented, the coast of which is bordered by the hills of calm outlines and the transparent baths of trees. The landscape will flood with bright sunlight, only in the center of the bay on the sea lay down a light shadow from the cloud. All full of blissful rest. Human figures do not have such an important importance from Lorrene, as in the landscapes of Poussin (Lorren himself did not like to write figures and instructed them to perform other masters). However, an episode from an ancient myth in the idyllic spirit of an ancient myth on the abduction of Zeus, which turned into a bull, a beautiful girl in Europe corresponds to the overall mood of the landscape; The same applies to other Lorren's paintings - nature and people are given in them in a certain thematic relationship. To the best works Lorrene 1650s. Belows the Dresden composition "Acyc and Galatia" 1657.

   In the late work of Lorrena, the perception of nature is becoming more emotional. It is interested, for example, changes in the landscape depending on the time of day. The main means in the transfer of mood are light and color. So in the paintings of the holistic cycle stored in the Leningrad Hermitage, the artist embodies the thin poetry "morning", clear peace of "half a day", a foggy-golden sunset "Evening", a bluish darkness "Nights". The most poetic of these paintings is "Morning" (1666). Here is all shroudedly silver-blue smoke starting dawn. On the brightening sky, a transparent silhouette of a large dark tree is highlighted; In a gloomy shadow, antique ruins are still shipped - the motive introducing the shade of sadness into a clear and quiet landscape.

   Lorren is also known as engraver etcher and as a draftsman. His landscape sketches from nature performed by the artist during walks around Rome are especially remarkable. In these figures with exceptional brightness, the emotional and immediate feeling of nature affected Lorrane. The sketches of these, performed internally with the use of washing, are characterized by astounding latitude and freedom of picturesque manner, the ability to achieve strong effects. The motifs of the drawings are very diverse: it is a landscape of a panoramic nature, where a few bold brush strokes makes the impression of the endless latitude, then a thick alley, and the rays of the sun, making his way through the foliage of the trees, fall on the road, just overgrown with a stone on the banks of the river, finally , finished drawing of a majestic building surrounded by a beautiful park ("Villa Albani").

   Pictures of Lorrene for a long time - until the beginning of 19 V.- remained samples for landscape painting masters. But many of his followers who perceived only his external visual techniques lost the truly living sense of nature.

   The influence of Lorren is felt in the work of his contemporary Gaspara Dug (1613-1675), which introduced elements of emotion and drama in the classic landscape, especially in the transmission of the effects of alarming thunder lighting. Among the works of Du is the most famous landscape cycles in the Roman palaces of Doria Pamphili and the column.

   The classic direction was joined by Estash Lesyur (1617-1655). He was a Vouse's disciple and helped him in performing decorative work. In the 1640s. Lesuer experienced a strong impact of the art of Pussen.

   The creativity of Lesuer is an example of the adaptation of the principles of classicism to the requirements that root and cleric circles have stood before the art. In its largest painting of the Lambera hotel in Paris, Lesuer tried to combine the principles of aesthetic classicism doctrine with purely decorative effects. It is not by chance that there is no way that in its large cycle "Life of St. Bruno "(1645 -1648, Louvre), made on the order of church circles, there are damnities to the baroque direction, which affect the sugary idealization of images and in the overall spirit of Catholic fanaticism, which all this cycle penetrates. The art of Lesuer is one of the first symptoms of the rebirth of the classic direction in Court Academaism.

   In the second half of the 17th century. Absolute monarchy in France reaches its greatest economic and political power and external heyday.

   The process of centralization of the state received a final completion. After the defeat of the front (1653), the king power intensified and adopted unlimited, despotic character. In an anonymous pamphlet of the opposition literature of the end of 17 century. Louis XIV is called an idol, the victim of which the whole France was brought. In order to strengthen the economic situation of the nobility, important events were conducted. A economic system was carried out based on conquering wars and on the consistent implementation of mercantilism policies; This system was called Kolbertism - named Kolbera, the first king minister. The royal yard was the political center of the country. His location served magnificent country residences, and above all (from the 1680s.) - Famous Versailles. Life at the courtyard took place in endless festivities. The focus of this life was the personality of the Sun king. His awakening from sleep, morning toilet, lunch, etc. D.- All obeyed a certain ritual and occurred in the form of a ceremony ceremony.

   The centralizing role of absolutism also affected the fact that around the royal court in the second half of the 17th century. They were assembled essentially all the cultural forces of France. The most prominent architects, poets, playwrights, artists, musicians were created by the orders of the courtyard. The image of Louis XIV is as a generous monarch, the predeveloped winner served the theme for historical, allegorical, battle paintings, for the front portraits and for tapestries.

   Different directions in the art of France were leveled from now on in the "big style" of the noble monarchy. The art life of the country has undergone strictest centralization. Back in 1648, the Royal Academy of Painting and Sculpture was established. The basis of the Academy had a positive value: for the first time the activities of artists were released from the oppression of the workshop and an ordered system of art education was created. But since the beginning of its existence, the activities of the Academy were subordinate to the interests of absolutism. In 1664, in accordance with the new tasks, Kolber held the reorganization of the Academy, turning it into a state institution, fully delivered to the courtyard.

Self-portrait. 1650.

At the self-portrait, Nikola Poussin depicted himself a thinker and the Creator. Next to him, the music profile, as if personifies the power of antiquity over him. And at the same time it is an image of a bright personality, a man of his time. The portrait embodies the classicism program with his commitment to nature and idealization, the desire for the expression of high civil ideals, which served the art of Pussen.

Nikola Poussin is a French artist, the founder of the style of "Classicism". Turning to the themes of ancient mythology, ancient history, the Bible, he revealed the topics of the modern era. He brought up his perfect personality, showing and having funny examples of high morality, civil values.

Nikola Poussin was born on May 5, 1594 in Normandy, near the town of Le Anselki. His father, the veteran of the army of King Henry IV (1553-1610), gave his son a good education. Since childhood, Poussin paid attention to his tendencies to draw. At 18, he rides to Paris to engage in painting. Probably his first teacher was portrastruitist Ferdinand Van Elle (1580-1649), the second is the historic painter Georges Lallman (1580-1636). Having become acquainted with the Cameryman of the Widdling Queen Mary Medici, the keeper of the royal art collections and libraries, Poussin got the opportunity to visit the Louvre and copy pictures of Italian artists there. In 1622, Pussena and other artists were instructed to write six large paintings on the scenes of the life of St. Ignatia Loiol and St. Francis Xaveria (not survived).

In 1624, Nicolas Poussin went to Rome. There he studied the art of an ancient world, the work of the masters of the high rebirth era. In 1625-1626, he received an order to write a picture of "Destruction of Jerusalem" (not survived), later he wrote a second version of this picture (1636-1638, Vienna, Museum of Art History).

In 1627, Poussin wrote a picture of "Death of Germany" (Rome, Palazzo Barberini) in the plot of the Ancient Roman historian Tacitis, which considers the program work of classicism; It shows the farewell of legionnaires with a dying commander. The death of the hero is perceived as a tragedy of social importance. The topic is interpreted in the spirit of calm and harsh heroes of an ancient narrative. The idea of \u200b\u200bthe picture is the ministry of debt. The artist placed the figures and objects in a shallow space, dismembering it to a number of plans. In this work, the main features of classicism were revealed: the clarity of the action, architectonicity, the harness of the composition, the opposition of groupings. The ideal of beauty in the eyes of Poussin consisted in the proportionality of parts of the whole, in the external orderliness, harmony, clarity of the composition, which will become the characteristic features of the mature wizard style. One of the peculiarities of the creative method of Pussen was rationalism, which was not only affected by the scenes, but also in the wellness of the composition.

In the period 1629-1633, the subject of paintings of Poussin changes: he less often writes pictures on religious topics, referring to mythological and literary plots.

Narcissus and Echo, about 1629

Rinaldo and Armida. 1635.

The plot of the paintings is borrowed from the poem of the Italian poet of the XVI century Tarkvato Tasso "liberated by Jerusalem". The magician of the Armida shifts the young knight Rinaldo, sent to the crusade. She wants to kill a young man, but, conquered by His beauty, falls in love with Rinaldo and takes it into his enchanted gardens. Pussen, the head of the painting of classicism, interprets the medieval legend in the spirit of an antique myth. Completion of the composition, the unity of rhythmic construction is the main features of the art of Pussen. The flavor is felt the influence of Titian, whose creativity Poussin was fond of these years. The painting is a steam room to "Tancredu and Herminia" stored in the State Hermitage.

Tancred and Hermine. 1630 - 40.

The leader of the Amazon of Herminia, in love with the Knight of Tancreda, finds him wounded after the fight with a giant Argant. Waphrin's squire raises the still body of Tancred, and Hermine, in the unrestrained impulse of love and compassion, cuts off his hair with a sword to tear the wounds of the knight. Almost all on the canvas calmly - powerlessly lies on the ground Tancred, froze the waffers over him, stationary horses, the body of arganta is spread out in distance, the deserted and disadvantaged landscape. But in this frozen silence, the pathetic movement of Herminium is broken, and everything around its irrepressible spiritual takeoff is lighting up. The immobility is done intense, strong and deep colorful spots face each other in sharp contrasts, glimpses of orange sunset in the sky become threatening and disturbing. Erminia's emotion is transmitted to every detail of the picture, each line and light glare.

In 1640. POLICK POLICTY POLYUNA Louis XIII attracted the attention of Louis XIII (1601-1643) and, according to his persistent invitation, Pussen came to work in Paris, there he received an order from the king to write pictures for his chapel in Fontainebleau and Saint-Germain.

In the fall of 1642, Poussin leaves again in Rome. Themes of this period were the virtues and validity of the rulers, biblical or antique heroes.

Genhable scipiona. 1643.

In the second half of the 40s, Poussin created a cycle "Seven sacraments", in which revealed the deep philosophical meaning of Christian dogmas: "Landscape with the Apostle Matfey", "Landscape with the Apostle John on the Patmos Island" (Chicago, Institute of Arts).

End 40.- - The beginning of the 50s is one of the fruitful periods in the work of Poussin: he wrote the paintings "Eliasar and Rebek", "Landscape with Diogen", "Landscape with a Big Dear", "Solomon Court", "Ecstasy St. Paul", "Arcade shepherds", the second self-portrait.

Landscape with polyfem. 1648

In the last period of creativity (1650-1665), Pussen became increasingly addressed to the landscape, heroes were associated with literary, mythological plots.

In the summer of 1660, he creates a series of landscapes "four-time year" with biblical scenes, symbolizing the history of peace and humanity: "Spring", "Summer", "Autumn", "Winter".

Landscapes of Poussin Multi-Finds, alternating plans was emphasized by strips of light and shadows, the illusion of the space and the depth addressed them the epic power and greatness. As in historical paintings, the main characters are usually located in the foreground and are perceived as an inseparable part of the landscape.

The latter, unfinished cloth of the master - "Apollo and Daphne" (1664).

The story of the love of Apollo and Daphne is told by Ovid. Daphne gave the floor to keep the chastity and stay celibe, like Bogynesetemide. Apollo, having gone love to beautiful nymph, caused her horror. As if she saw in it through blinding beauty, the ferocity of the wolf. But in the soul of God, the feeling of the refusal, the feeling was increasingly flawed.

What do you run from me, nymph? - He shouted, trying to catch up with her. - Not a robber I! Not a wild shepherd! I am Apollo, Son Zeus! Stop!

Daphne continued to escape what had strength. Closer chase, the girl already feels behind the hot breath of Apollo. Do not leave! And she prayed to Father on Help:

Father! Help your daughter! Hide me or change my appearance so that this beast does not touch me!

Mostly sounded these words, as Daphne felt that her legs were treated and went to the Earth on the ankle. The folds are wet from sweat of clothing turn into a bark, the hands are pulled out in the branches: the gods turned the Daphne to the laurel tree. In vain, Apollo hug a beautiful laurel, he did his favorite and sacred plant from grief and decorated his head with a wreath woven from laurel branches.

On the orders of Apollo, the Song of the Peloponnese king Enonaya Levkipp, in love with her, and pursuing her disguised in a female dress, so that no one could find out.

Daphne - an ancient vegetable deity, entered the circle of Apollo, losing its independence and becoming the attribute of God. Before the Delphic Oracle began to belong to Apollon, in his place was the oracle of the earth of Gay, and then Daphne. And later in the delta victoriesthe organizers on the competition were given laurel wreaths. About the sacred laurer at Delje mentions Callima. The gomemerg anthem is reported by the Gomerovsky Anthem. At the feast of Daphneforius in the philas carried laurel branches.

November 19, 1665. NikolaPussen died. INelico The significance of his creativity for the history of painting. French artists and before him were traditionally familiar with the art of Italy Renaissance. But they were inspired by the works of Masters of Italian Mannerism, Baroque, Caravagizism. Pussen was the first French painter who took the tradition of classic style Leonardo da Vinci and Raphael. Clarity, constancy and orderliness of fine techniques, ideological and moral orientation of art Pussen Later, made his work with a reference for the Academy of Painting and Sculpture of France, who took the production of canons,aesthetic norms and general cube rules of artistic creativity.

Landscape with Diana and Orion. 1660 - 64.

Diana is the goddess of vegetation, akin to the lingerie, the personification of the moon, was identified with Artemida and Perekatoy. It was called the trivia - the "Goddess of Three Roads" (her image was placed at the intersections), also interpreted as a sign of the Supreme Power Diana: in the sky, on earth and underground.

Known Sanctuary of Diana on Mount Typhate in the campaign (hence the epithet of Diana Tipatina) and in the Ariza area in the grove on the lake Nemy. Diana was considered the patroness of the Latin Union, and with the transition of the depth of this union to Rome to Rome, the King of Diana, who became a favorite destination for those who came from those who had moved or captured Latinan, Plebeev and slaves were founded on Aventine; The anniversary of the foundation of the temple was considered the feast of slaves - Servorum Dies. It provided Diana popularity among the lower classes that made up the numerous colleges of its admirers.

A legend of the Unusual Cow was connected with Diana Temple on Auntina, whose owner was predicted that the one who would sacrifice Diana in this temple will provide its city over Italy. The king of servicing Tully, having learned about this prediction, the cunning cunning cunning, brought her sacrifice and attached her horns in the temple.

Diana was considered by the personification of the moon, as well as her brother Apollo in the period of the Late Rima antiquity was identified with the Sun. Subsequently was identified with the Nemeless and Carthaginian heavenly goddess a kilantal. The Roman provinces under the name Diana revered the native goddesses - "Miscellenses of the Forests", Bognny Mother, a grocery of vegetable and animal fertility.

greekroman.ru/gallery/art_poussin.htm.

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Catch the bird of happiness for a multicolored tail is far from everyone. And, alas, not everyone is destined to glorify their name as widely as it managed to a talented person who had only a couple of brushes, palette and canvas in arsenal. Nikola Poussin (Nicolas Poussin) - An outstanding French artist and one of the founding fathers who stood at the origins of classicism.

In 1594, in Normandy, near the city of Le Andeli, a boy appeared on the world, who since childhood demonstrated amazing success in drawing. Having reached the age of majority, Nicola went to the French capital to devote himself to stubborn classes of painting. In Paris, the talent of a young man saw portraitist Ferdinand Van Elle, who became the first teacher of Poussin. After a while, the place of the teacher took the painter Georges Lallman. This acquaintance brought Nikola dual benefit: besides the opportunity to overtake the skill under the sensitive leadership of the famous mentor, Poussin got access to the Louvre, where he copied the pictures of Italian artists of the Renaissance.

By that time, the career of a young artist was gaining momentum, and his head was spinning from awareness of what vertices he can climb if he continues to work hard. Therefore, to improve the skill, Poussin went to Rome - a peculiar Mecca of all artists of those years. Here the artist is actively "gnawing granite science", studying work, and. Focusing on the great predecessors and communicating with modern artists, Poussin actively engaged in ancient and learned to measure the proportions of stone sculptures with fantastic accuracy.

The artist saw the source of his inspiration in poetry, theater, philosophical treatises and biblical topics. It was this cultural base that helped him veiled to demonstrate the image of the modern era in the paintings. The hero of the works of Nikola is an idealized personality.

In Rome, Nicola Pussen glorified his name, the authoritative master trusted the painting of the cathedrals, made orders for the canvas with classical or historical plots. One of these was the painting "Death of Germany", which is based on the work of the historian of Tacitis. She was written in 1627, the artist depicted on it the last minutes of the life of the Roman commander.

The uniqueness of the canvas is that it combined absolutely all the features of classicism whose beauty for Pussen was reflected in the proportionality of each part, the clarity of the composition and sequence of actions.

After the "death of Germany" and up to 1629, the artist created several more paintings, among whom a special place is taken by the "Removal from the Cross" canvas.

In the picture, which is now in the Hermitage, Poussin paid great attention to the sad face of Mary, who transmitting the sorrow of all the people for the deceased Savior. An ominous red background and dark sky - symbols of the approximation of the imminent hour of pumped for the deed. But even stronger contrast to the snow-white clothes of Jesus Christ with a crumpled painting background. The legs of the Savior mournfully clapped innocent angels.

In the next few years, the master preferent with mythological plots. For a short time, a painting "Tancred and Herminine" was written, which was based on the poem "liberated by Jerusalem" Tasquatto Tasso and the Kingdom of Flora, written under the influence of the works of Ovid.

Soon after the completion of the work at the invitation of Cardinal Richelieu Nikola Poussin returns to Paris to decorate the Gallery of the Louvre. A year later, Louis XIII was interested in the artist's talent. Soon he made Poussin the first painter at the court. The artist got the desired glory, and orders fell on him as an abundance horns. But the sweet taste of Triumph Poussin spoiled envious gossip from the art elite, which in 1642 forced Nikola to leave Paris and take the reverse course on Rome.

From that time until the end of his days, Poussin lived in Italy. This period was for the artist the most fruitful and rich in bright work, among whom a special place occupies the cycle "Seasons".

The plot was based on the events described in the Old Testament, which the artist allegorically compared with the time of year, identifying each with a period of origin, growing, aging and death. In one work, Poussin showed mountainous landscape of the Canaan Earth, famous for his fertility, and collected Abraham grapes with a lot like a symbol of divine generosity. And the end of a sinful life, the artist depicted on the last picture of the cycle, the type of which could hit even the most persistent audience.

In recent years, Pussen has actively painted landscapes and worked quickly to catch the finish starting the picture. The artist did not have time to complete the cloth "Apollo and Daphne".

Nikola Poussin signed his name in one row with glorious masters, whose experience once studied.