On the way to classicism of the XVIII century: features of classicism, appearance in Russian literature. Classicism in Russian literature of the XVIII century and its originality Russian classicism Definition

Classicism is a literary style that was developed in France at 17 V. He received his distribution in Europe in the 17-19 centuries. The direction addressed to antiquity as an ideal model is closely related to based on the ideas of rationalism and rationality, it sought to express the social content, to the formation of a hierarchy of literary genres. Speaking about the world representatives of classicism, it is impossible not to mention Racina, Moliere, Cornel, Larochefukuk, Baual, Labryura, Goethe. In the ideas of classicism, Mondori, Lena, Rachel, Talma, Dmitrievsky were penetrated.

The desire to display perfect in real, eternal in the temporary - this is the characteristic feature of classicism. The literature creates a not a certain character, but a collective image of a hero or a villain, or lowland. In classicism, the mixing of genres, images and characters is unacceptable. There are borders here, which are not allowed to anyone.

Classicism in Russian literature is a certain round in art that attached particular importance to such genres as an ex, tragedy. The founder is considered to be Lomonosov, tragedy - Sumarokov. Publicism and lyrics were combined in ODE. The comedies were directly related to the ancient times, while in the tragedies narrated about the figures of domestic history. Speaking about the great Russian workers of the period of classicism, it is worth saying about Derzhadina, Princess, Sumarokov, Volkov, Fonvizin, and others.

Classicism in Russian literature 18 in., As in French, relied on the position of the royal power. As arts themselves said, art should be guarded by the interests of society, to give people a certain idea of \u200b\u200bcivilian behavior and morality. The ideas of serving the state and society are consonant with the interests of the monarchy, so classicism has acquired distribution throughout Europe and in Russia. But it is not necessary to associate it only with the idea of \u200b\u200bthe glorification of the power of monarchs, Russian writers reflected in their works the interests of the "average" layer.

Classicism in Russian literature. Basic signs

The basic can be attributed to:

• appeal to antiquity, its various forms and images;
• the principle of unity of time, actions and place (one storyline prevails, the action lasts up to 1 day);
• in the comedies of classicism, good soles over evil, vices are punishable, based on the love line - a triangle;
• the heroes of the "speaking" names and surnames themselves have a clear separation on positive and negative.

Delighted in history, it is worth remembering that the era of classicism in Russia originates from the writer who first wrote works in this genre (epigram, satire, etc.). Each of the writers and poets of this era was the discoverer in his field. Lomonosov played a major role in the reform of the literary Russian language. At the same time, the reform of the storming occurred.

According to Fedorov V.I., the first prerequisites of classicism in Russia appeared during Peter 1 (in 1689-1725). Like a genre of literature, classicism style formed by the mid-1730s. In the second half of the 60s there is a rapid development. There is a dawn of publicistic genres in periodicals. He already evolved by 1770, the crisis began in the last quarter of a century. By that time, sentimentalism was finally imposed, the trends in realism increased. The final fall of classicism occurred after the publication "conversation of lovers of the Russian word".

Classicism in Russian literature 30-50s has affected the development of the era of enlightenment. At this time, there was a transition from the ideology of church to secular. Russia needed knowledge and new minds. All this and gave her classicism.

In recent years, the number of culture issues has increased in the tests of the USE. In particular, many questions appeared on visual art and architecture. Tests check knowledge of basic artistic styles, painter personals, sculptors, architects and other cultural figures, as well as their works.

You will be able to download all the images of the works of the classic era of one folder at the end of this article.

Difficulties cause students to task in which questions are accompanied by images of artwork. Usually in such tasks, the authorship of the work is checked, the artist's belonging to one or another direction in art or his commitment to any artistic style. The question may be connected, for example, with a historical event, which is devoted to the creation of a picture, sculpture or architectural structure.

To successfully cope with such tasks, you need to know the basics of art history. To do this, you need to learn the main features of artistic styles and directions. It is not as difficult as it may seem. For example, we can consider the topic "Classicism in the culture of Russia" .

Classicism (FR. Classicisme, from lat. Classicus - exemplary) In the very first approximation - this is a style focusing on the artistic legacy of antique Greece and Rome as a sample to imitate or a source of inspiration.

For classicism in Russia, clarity and clarity of lines, rationality, proportionality and balance, manifested in various types of art are characteristic. In order to recognize these features, you need to turn to the study of the original source - ancient art, and try to understand what the same antique aesthetic ideal consists in relation to sculpture, painting and architecture. Later, these ideals were revived and embodied in their works artists of the era of classicism.

First we will analyze the origins of classicism, and then consider how this style was embodied in the culture of Russia

Antique origins of classicism

So, in ancient Greece in the V-IV centuries. BC e. After the victory of the Greeks over the Persians, the era of unprecedented flourishing culture comes, which gave rise to masterpieces, which are still unrivaled, classical. It was this ancient Greek classic that later in ancient Rome, and then in Italy, the Renaissance, enriching and developing artistic techniques.

In the center of ancient art is an image of a harmonious, beautiful, strong person who performs feats or defeating in sports. Even the gods of the ancient world anthropomorphic (humanoid), they were depicted in the form of beautiful and powerful men and women.

Sculpture of antiquity

These ideals of antiquity in sculpture appeared especially brightly. In the ancient Greeks, an athletic, proportionally folded body has become an athletic. At the same time, the canons of beauty Greek artists represented very clearly based on the mathematically verified ratio of the proportions of the body and face. Without going into details of the canons, we will show a number of images of those masterpieces that served as a model for many generations of artists and formed the basis of classicism.

Please note that the faces of the ancient Greek statues of gods and heroes are very similar to each other (both men and women). This is the same "Greek profile" with a straight line of forehead and nose, big eyes and small chubby lips.

And all because the artists of the Greek classics did not strive for individualization of images, but portrayed the ideal of beauty generalized them. The statures of the statues are almost always impassable, there are the seal of the "Olympic Tranquing" (because the gods inhabited on Mount Olympus were alien to the bustle of the Burning World, and they, according to the ideas of the ancient Greeks, were calm and majestic).

The bodies of ancient sculptures are more often naked or slightly covered with drapery. Poses statues are solemn, calm and balanced, even if they are depicted in motion.

Most ancient Greek statues have not been preserved. They reached us in Roman copies, which often do not transmit the entire perfection of the original. The ancient Romans also made a significant contribution to the development of the sculpture: unlike the Greek sculptors depicting the distracted ideal of beauty, the Roman authors sought to transfer the portrait similarity that had accounted for to naturalism.

The Roman sculptors were most often portrayed by their real characters (politicians, commander, emperors) in armor or draped into ancient Roman robe - Togu. Such statues were called thugs. Romans also created equestrian monuments.

Antique Painting

The ideas about the ancient painting gives us an ancient Greek vazopa or the preserved ancient Roman frescoes and mosaics.

Favorite stories of painting - illustrations to myths and ancient epic, dedicated to the feats of gods and heroes. In the ancient Roman era, the plots were replenished with the deeds of the great commander and emperors. Paints followed the same canons of people images as sculptors.

Antique architecture

Improvered value have the achievements of ancient architecture, which also ended with a model for architects of other eras. We will get acquainted with those elements of ancient architecture, which are widely used by followers of classicism.

This is primarily developed in ancient Greece system of so-called orders. In the very short form, the order is a certain ratio between the carriers and the incomicious parts of the building. Doric, ionic and Corinthian orders allocate. The most visible difference is in the execution of columns and their capitals - the upper decorating parts of the column.

The ancient Greek architecture is harmonious and commensurate to human growth, it does not go to giantism, such as the Ancient Egyptian (remember the pyramids). In ancient Greece, a type of peripteer church appeared ("Operate" columns from all sides).

Such temples, as a rule, were rectangular in the plan, had a double roof. A triangle is formed between the double roof and the overlap. It was filled with sculptural compositions. Porticists appeared - open gallery with colonnade, which framed the temples or were independent structures.

In ancient Rome architecture, semicircular arches were widely used, for example, in the form of triumphant arches. They were constructed in honor of significant events, or military victories.

And the Romans learned to build the dome over stone buildings.

All of these features of ancient art were fully studied, learned and creatively reworked by artists of the era of classicism, originating as an artistic style in France in the XVII century.

Classicism in Russian culture

Classicism came to Russia in the second half of the XVIII century and was further developed in the first half of the XIX century. This artistic style bloomed on the soil of the ideas of enlightenment.

The ideals of patriotism and public benefits were drawn in the era of an ancient Greek classics, which represented the time of the free development of a harmonious human person under the auspices of a fair state. The proclamation of Catherine II of the Board in the spirit of enlightened absolutism gave a powerful impetus to the development of classicism in Russian culture.

Classicism architecture

In the era of Catherine II, the growth of the power of the Russian Empire was accompanied by the large-scale construction of palaces, estates and socially significant buildings. The appearance of Russian cities changed: classicism came to change the Baroque style. Antique aesthetic ideals of solemn strictness in the architecture of visibly embodied the increased prestige of Russia.

M. F. Kazakov, V. I. Bazhenov, A.F. Kokorinov, J.B.M. Wallen-Demotam, J. Kaprengy - This is not a complete list of the names of Russian and foreign architects, with which the development of classicism in Russian architecture in the XVIII century is connected. In the first quarter of the XIX century. Sounded new names of architects: A.N. Voronikhin, T Tomon, A. D. Zakharov, O. I. Bowe, A. A. Mikhailov, D. Zhilladi, K. Rossi, O. Monferran.

After the victory in the Patriotic War of 1812 and the overseas campaign of the Russian army, the aesthetics of late classicism was introduced into the architecture of Russia - an ampira. Ampire (from FR. Style Empire - "Empire Style") originated in France during the reign of Emperor Napoleon I.

Ampire artistic means for samples of the imperial Rome, ancient Egypt and differed more magnificity and paradity. The facilities in the spirit of an ampyr were designed to emphasize the military power of the Russian Empire and perpetuating her triumph. Ampire remained a leading style in architecture until 1830-1840.

The most famous creations of architects of the era of classicism need to learn to recognize "in the face". Perhaps it will not immediately be able to remember which one of them is designed which of the buildings below. But this is not the most important thing. It is necessary to remember the names of the architect and tie them with the architecture of classicism. Tasks in the exam tests, as a rule, offer to determine the style of buildings or relate them to the era of the rule of one or another prince, king, the emperor, the Secretary General, etc.

We can only assume exactly which monuments of architecture will get to you in tests on the exam in history, so it is important to be able to allocate the stylistic features of architectural structures. Even if you see the building for the first time (because everything is impossible to know!), You can easily distinguish the architecture of classicism from, for example, baroque or modern, finding familiar elements.

According to the photographs of buildings built in Russia by architects in the style of classicism in the XVIII-XIX centuries, it is necessary to take care of finding elements of ancient architecture, characteristic of this style: Porticists with columns, triangular frontones, dome, semicircular arches. Please note that most of the architectural monuments of the era of classicism are symmetric and strict facades with a minimum of decor. Exception - structures in the spirit of an ampury, enriched with the sculptural decor, as a rule, in the style of Rome Epoch of the Empire.

Sculpture of the era of classicism

The sculpture of classicism vividly reminds us of antique samples with characteristic characters and the magnitude, moving to some pathos, which, however, is inherent in most monuments. F.I. Shubin, M.I. Kozlovsky, I.P. Martos, B.I. Orlovsky, V.I. Demoust-Malinovsky and S.S. Pimenov are the names of the leading Russian sculptors who were working on the influence of aesthetics of classicism.

They must be remembered. They captured the images of rulers, great commander and statesmen in their monumental works. However, foreign authors worked in Russia, which made a serious contribution to the development of the Russian monumental sculpture. Among them, M. E. Falcone should be noted, one of the authors of the famous monument to Peter I, known as the "Copper Horseman".

Painting of the era of classicism

Russian painting of the era of classicism has almost been manifested in "pure form", actively mixing with other styles of that time. The most viewing classicism was manifested in the historical genre of painting, and among the artists who worked in this genre, the names A. P. Losenko, G. I. Ugryumova, I. A. Akimov, can be distinguished.

In the paintings of these artists, we see characteristic of painting classicism heroic plots, very unnatural postures and pathetic gestures of characters. Even in the canvases dedicated to Russian history, the heroes are painted most often in antique or fantasy robes and armor. Artificiality and definition are clearly visible in the compositions of paintings.

The canvases look like fragments of theatrical productions and, in general, quite far from the historical realities of the image of the era. However, in those years, when these works were created, such a very conditional art language was considered the norm and caused approval from the public.

Classic techniques in painting, mixed in romanticism, were cultivated for a long time in the walls of the Imperial Academy of Arts. Such painting was named Academism. For decades, Russian visual art almost completely closed in the framework of the illustration of biblical and mythological plots, as well as events of ancient and ancient Russian history.

In the end, this led to an open rebellion in the walls of the Academy of Arts, when applicants for a gold medal refused to write paintings on the already boring themes of antiquity and mythology. But this is a completely different story ...

Out of accounting for nationally caused humanistic ideology and its originality, it is impossible to understand and historically specifically explain the most important moments of the aesthetic development of the literature of the XVIII century. The impact of this ideology has previously affected the artistic practice of large poets of Russian classicism.

Classicism as a certain direction was formed before all in France in the XVII century. Using the modern achievements of philosophical thought, French classicism liberated a person and from the influence of the religious and church morality, putting forward the human mind as a supreme and unimpressed authority.

In this, he relied on the experience of human development in his constant desire to approve a person as the highest value of being, to defend his rights, to determine everything is truly beautiful in it. Thus, classicism, speaking by the heir of antiquity, in whose art, first of all, he found the perfect expression of human capabilities, spiritually united humanity, produced the general language of art.

So the conditions and the possibility of expressing the original ideals, the individual experience of the historical life of each individual nation, uniquely national solutions to the human problems, disclosing the ideal of a person in his social, national and historical practices, in his social, national and historical conditional practices, were prepared.

Russian classicism, going to the historical stage of the century later, was the necessary stage of the development of Russian literature as a panic literature. He answered the needs of the creation of nationwide art and therefore developed with extraordinary intensity.

Classicism created a multi-sentence art, but it approved its being only by a poetic word. Russian poetry of the XVIII century. And performed within classicism. Its advanced development was historically natural. Prose will develop later - from the 1760s. and on another aesthetic basis. Many genres of lyric and satirical poetry were developed for the efforts of several generations of poets.

The classic school poets (Lomonosov, Sumarokov, Heraskov, Princess) approved the genre of the tragedy, thereby prepared the conditions for the organization and successful activities of the Russian theater: created in 1756. The Russian Theater began his work under the leadership of Sumaro. Classicism, having started the creation of national literature, contributed to the development of ideals of citizenship, formed an idea of \u200b\u200bthe heroic character, highly raised the poetic culture, included the artistic experience of ancient and European art in the national literature, showed the ability of poetry to the analytical disclosure of man's mental world.

Classicism from the moment of its formation in France theoretically denied the identity and in the artist, and in the writer. The spirit of discipline, the suppression of the subjective will of the artist therefore led to the need to create regulatory poetics.

She subordinated the consciousness of the writer and the artist with strict rules, determining the brutal regulation of the creative process. The fact that classicism in Russia was established in the era, when the problems of Renaissance were intensively solved, created unique in difficulty and originality of the conditions of aesthetic development.

Humanism of Renaissance collided with the anti-infidalistic philosophy of the new direction. Stormy events of the Epoch and Humanism of Renaissance were powered by a personal beginning in the literature, the ideals of poets were formed, and the rationalistic system of regulation and rules (in Russian classicism formulated in the epistole "on the poem" A. P. Sumarow) did not allow the author's personality manifestation in the work. So Russian classicism began its history with a sharply designating contradiction. This contradiction gave rise to the peculiarities of Russian classicism as a national version of the pan-European style. Science has long noted such features of its originality, as a link with folklore, the development of satirical direction and satirical genres.

But this contradicts it also caused another important phenomenon - retreat in the real practice of poets from the aesthetic regulatory code, which appeared under the onslaught of live validity.

The retreat from the rules was, for example, the either creativity of the brilliant poet of the Russian classicism of Lomonosov, since ODDs turned out to be an expression of the author's personality.

Retreats do not mean the lack of historically natural, natural relationship and the dependence of one from the style of classicism. But the dependence did not prevent Lomonosov to bother to violate many "rules", to create a fundamentally new feature form of ODD, which complied with the needs of the historical era and discovered the poetic embodiment of the specific phenomena of Russia's political and national life.

Lomonosov turned out to be able to poetically to summarize the experience of the nation on his worldwide historical existence conquered. In an effort to capture the entertainment and vastness of the Russian state and the power of People's Russia, he created the geographical image of Russia.

This is the image of Russia in its ambitious scale from the north to the south - from the Neva to the Caucasus, and from the West to the East - from the Dnieper and Volga to China (Khaina) carries a powerful charge of emotional energy transmitting the patriotism of the Russian man, his love, pride and admiration for his Motherland. Lomonosov's poetry contributed to the development of the self-consciousness of Russian people. The Lomonosov image of Russia was learned by the subsequent poetic tradition (see the poem of Batyushkova "Transition through Rhine" and Pushkin "Slevotees of Russia").

Lomonosov, relying on the artistic experience of mankind, wrote deeply national, original ODA, expressing the spirit of the risening nation. Paphos of his poetry was the idea of \u200b\u200bapproving the grandeur and power of Russia, youth, energy and creative activities believe in their forces and their historical calling of the nation. The idea of \u200b\u200bapproval was born in the process of creative explanation and summarizing experience, the real practice of "Russian sons".

The poetry created by Lomonosov existed next to the satirical direction, whose score was Kantemir. The vitality of the Lomonosov destination confirmed the subsequent history of Russian poetry of the XVIII-XIX centuries.

History of Russian literature: in 4 volumes / edited by N.I. Protkova and others - L., 1980-1983.

Changes in the political, cultural, economic life of Russia set a number of urgent tasks in literature: it was necessary to realize the changes that occurred and, meaningful, to display the surrounding reality. The literature of this period is no longer only reproduces new phenomena, but also gives them an assessment, comparing with the past, speaking in defense of Petrovsky conquests. In30-50 years, a new direction is formed in the literature – russian classicism . This led to radical changes in the field of literature, which can be called the first steps of Russian classicism: new classic genres are created, literary language and poems are formed, theoretical treatises are written, justifying such innovations.The founders of this direction in Russian literature are Cantemir, Tredyakovsky, Lomonosov, the creativity of which is entirely owned by the XVIII century. All of them were born in the era of Peter, since childhood breathed her air and their work sought to approve and defend Petrovsky reforms in the years that had arrived after the death of Peter the Great. The foundation of Russian classicism in the literature was the ideology that established as a result of the awareness of the strengths of Petrovsky reforms. Russian Classicism created a generation of European educated young writers defending this ideology.

Word classicism Comes from the Latin word Classicus, i.e. exemplary. So called the ancient literature, which classicists widely used. Classicism received the most vivid embodiment in the XVII century, in France in the works of Cornel, Racina, Moliere, Bouoy. The foundation of European classicism is absolutism and advanced philosophical teachings of that time. The aesthetic ideal of classicism becomes a person who mastered his passions, subordinating personal social. In art, the concept of "debt" in relation to its state, this debt is above all. In the conflict of passion and debt always wins debt. A person must have high moral principles, then he will prefer to fulfill state or public debt to his personal interests.

The main thing in the ideology of classicism is state pathos. The state was announced by the highest value. Classicists believed in the possibility of its further improvement. The state in their representation was a reasonably arranged by a social organism, where every class performs responsibilities assigned to it. Man, from the point of view of classicists, egoist, but he is amenable to education, the effects of civilization. The key to positive changes in human "nature" is the mind that classicists opposed emotions, "passions". The mind helps the awareness of "debt" before the state, while "passions" distract from socially useful activities.

Russian classicism was formed under similar conditions of the absolutist power of the emperor, however, he arose much later, so he has his differences:

1. Russian Classicism is formed in the Epoch of European Enlightenment, therefore its main task is to reorganize the Company based on the ideas of enlighteners. Classicist writers were confident that it is possible on reasonable grounds, by proper upbringing, which should organize the state led by an enlightened monarch, to end the human "worship", to create a perfect society.

2. Russian classicism arises after Peter I death, during the reaction period, and the new Russian literature begins not with OD, glorifying the acts of the emperor, and with Satire Kantemir, whose heroes are not antique heroes, but contemporaries, and cantemir raises no specific human vices And gives social disadvantages, fighting reactionaries.

3. The first Russian classicists have already known the educational idea of \u200b\u200bthe natural equality of people. But this thesis at that time was not yet embodied in the requirement of equality of all classes before the law. Cantemir, based on the principles of "natural law", called the nobles to the humaneous appeal with the peasants. Sumarokov pointed to the natural equality of the nobles and peasants.

4. The main difference of Russian classicism from the European was the fact that he combined the ideas of absolutism with the ideas of early European Enlightenment. First of all, this is the theory of enlightened absolutism. According to this theory, the state must lead the wise "enlightened" monarch, requiring an honest service from each of the estates and individuals. An example of such a ruler was for Russian classicists Peter Great. Russian literature begins the process of teaching and upbringing autocrat.

He reigns the people to bliss,

And the benefit of general leading to perfection:

Not crying orphan under his scepter,

Nevarny Nikovo is not frightened ...

... does not bow to the footsmorn lestings

The king is equal to all of the judge and equal to the whole Father ...

- wrote A. P. Sumarokov. The king must remember that he is the same person as his subjects, if he cannot approve the proper order, then it is an "idol of a vile", "the enemy of the people."

5. The word "enlightened" meant not just an educated person, but a citizen man who helped to realize their responsibility to society. "Ignorance" implied not only the lack of knowledge, but also the misunderstanding of their debt before the state. That is why in Russian classicism of 30-50 years old, a huge place was given to the sciences, knowledge, enlightenment. Almost all of his own gifts talk about the benefits of sciences M.V. Lomonosov. The defense of "exercises" is devoted to the first satire of Kantemir "to the mind of his own. On huge teachings. "

6. Russian classicists were close to the struggle of enlighteners against the Church, church ideology. They were denied ignorance and coarse morals of the clergy, defended the science and its adherents from the persecution by the Church.

7. The art of Russian classicists is based not only on the works of antiquity, it is quite closely associated with the national tradition and oral folk creativity, their literature often takes as the basis of the event of domestic history.

8. In the artistic area, the Russian classicists stood very complex tasks. Russian literature of this period did not know the well-processed literary language, did not have a certain genre system. Therefore, the Russian writers of the second third of the XVIII century were to not only create a new literary direction, but also to put a literary language, a system of poems and master unknowns until the genre in Russia. Each of the authors was the discoverer: Kantemir marked the beginning of Russian satire, Lomonosov legalized the genre of Oda, Sumarokov made as the author of tragedies and comedies.

9. Russian classicists have created many theoretical works in the field of genres, literary language and poems. V. K. Tredyakovsky wrote a treatise "New and short way to the addition of Russian poems" (1735), in which the basic principles of the new Syllabo-Tonic system substantiated, and Lomonosov in the "letter of Russian poems" (1739) developed and finally issued syllabo tonic poems /41 /. In his reasoning "On the benefits of church books in Russian", Lomonosov reformed a reform of the literary language and suggested the doctrine of the "three hundred shines". Sumarokov in the treatise "instruction of the even-writers" gave a characteristic of the content and style of classic genres.

As a result of such studies, a literary direction was created, which had its own program, creative method and a slender system of genres.

Artistic creativity was considered by classicists as strict following "reasonable" rules, eternal laws created on the basis of studying the best examples of antique authors and French literature XVII in. According to classic canons, they differed "correct" and "wrong" works. Even the works of Shakespeare belonged to the "wrong". Strict rules existed for each genre and demanded strictest observance. Genres differed "purity" and unambiguous. For example, it was not allowed to introduce "touching" episodes into the comedy, and the tragedy is comic. Classicists have developed a strict genre system. Genres were divided into "high" and "low." The "high" genre treated Odi, an epic poem, commendable speech. To "low" - comedy, fables, epigram. True, Lomonosov offered more "medium" genres - tragedy and satire, but the tragedy was "high", and satire - to "low" genres. In the "High" genres, heroes were depicted, which could serve as an example for imitation - monarchs, commander, etc., the most popular of them was the image of Peter the Great. The "low" genres displaced characters covered by a "passion".

The basis of the creative method of classicists was rationalistic thinking. Classicists sought to decompose the human psychology on its simplest composite forms. In this regard, in the literature of classicism there are abstract-generalizants, without individualization, images (buy, KHANZH, SHIECHOL, BSTOVAN, MIRCER, etc.). It should be noted that in one character it was categorically forbidden to connect various "passions" and especially "vices" and "virtue." Intimate, household sides of the life of the usual (private) man did not interest classicist writers. Their heroes are usually kings, commander, deprived of typical national traits, abstract schemes, carriers of author ideas.

When creating dramatic works, it was necessary to observe the same strict rules. These rules concerned " three unity " - places, time and action. Classicists wanted to create a kind of illusion of life on stage, so the stage time had to be approximately the time that the viewer spends in the theater. The time of action could not exceed 24 hours - it unity of Time. Unity of place It is determined by the fact that the theater divided into the scene and the auditorium gave the opportunity to see the audience to see someone else's life. If the action is transferred to another place, this illusion will be broken. Therefore, it was believed that it was best to play the action in some, unmensed scenery, much worse, but permissible when events developed within the same house, castle or palace. Unity of action required the presence of only one storyline in the play and the minimum number of actors. The strictest observance of the three unity, the inspiration of the playwrights was shot. However, in such stage regulations was a rational grain - the desire for a clear organization of the dramatic work, the concentration of the viewer on the heroes themselves and their relationships. All this did many theatrical acts of the era of Russian classicism with true art.

Despite the strict regulation of creativity, the works of each of the classicists were distinguished by their individual peculiarities. So, Cantemir and Sumarokov attached great importance to civil education. They called on the nobles to their fulfillment of public debt, pounded selfie and ignorance. To achieve this goal, Cantemir wrote his satire, and Sumarokov - tragedy, where he subjected to the harsh court of the monarchs themselves, appealing to their civil debt and conscience.

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In the 60s of the 18th century, Russia, like other European countries, stepped into a consistent way of changing styles and directions in art. A strict and rational style of classicism came to replace the lush baroque. By this time, the main features of the worldview were developed in Russian society, contributing to the development of this style: rationalistic philosophy, the idea of \u200b\u200ba reasonable organization of the world, interest in antiquity.

Another major background of new style appearance - the formation of an absolutist state, enlightened monarchy in Russia.
Rejoicing from the mandatory service for the "Decree of the Validity of the Noble", the nobles will settle out of the city, and the result is flourishing type of country construction. Arrows type of Manor Palacelocated in the middle of the park. In cities in this era, first of all in St. Petersburg and Moscow, ambitious complexes of state and cultural purposes will be erected.
Periodization of Russian classicism.

1. early Classicism - 1760-1780
2. strict classicism - 1780-1800
3. high Classicism and Ampire - 1800-1840

Architects - foreigners who have implemented the "whim" of Empress Catherine II, building classic buildings in St. Petersburg and suburbs:

• Antonio Rinaldi (1709 - 1794)
• Giuseppe Kurengy (1744 - 1817)
• Vincenzo Brenna (1745-1820)
• J.-B. Wallen-Demotamov (1729-1800)
• George (Yuri) Felten (1730-1801) and many others

The founders of Russian classicism in Russia:
V. I. Bazhenov (1738 - 1799)
M.F. Cossacks (1738 - 1812)
I.E. Starov (1748 - 1808)
At the early phase of the development of Russian classicism, J. Valentine-Demotam and A.F. Cockerins associated with the Academy of Arts in St. Petersburg.
Academy of Arts in St. Petersburg (1764 - 1788)

The Academy occupies the whole quarter of the embankment on Vasilyevsky Island.

In the plan - a clear square with the circle of walking in it - the courtyard for walking.

Externally extended and calm. Very small dome, deepened in the base. Four floors are grouped in pairs: 1 and 2 - heavy, 3 and 4 - lightweight. Interesting middle part, reminiscent of Baroque times: convex and concave elements, columns and statues. But at the very facade of the columns are replaced by pilasters, and the columns themselves are not yet collected in six and eight-colonous portists with a fronton, and dispersed throughout the facade.
At the same time, the Neva "dressed in granite." The Palace Embankment has become restrained and strict, it was necessary to change the framing the summer garden accordingly.

In 1771 - 1786, the famous summer garden grille.Architects - Felten and Egorov.

Felten Yuri Matveevich, artist of Christineek Karl Ludwig

Color range, as in the baroque era, black and gold, but if the baroque grille is twisted, the drawing resembles the living greenery shoots, the completion is woven into the pattern, the summer garden lattice is clearly geometric: vertical peaks crosses the stretched-up rectangular frames. The base of the lattice is alternating through certain gaps of cylindrical, similar to columns of poles, completed with vases.
Architect Antonio Rinaldi built a marble palace in St. Petersburg, 1768-1785).

The architect decided that the marble palace would attract attention not only by the size, nobility of forms and proportions, but also the beauty of stone facing, made from the Russian marbles who have loved to him, who mined in quarries near Ladoga and Onega Lakes. The noble sulfur of Gamma Marble Palace with Pink Color The Pilaster is greatly combined with the lead waters of the Neva, on the embankment of which it is worth it.

V. I. Bazhenov (1735 - 1799)

Bazhenov Vasily Ivanovich

The son of a poor psaller, who received in Moscow in the disciples to the painter, Baizhenov joined Ukhtomsky school, graduated from a gymnasium at Moscow University, then the Academy of Arts in St. Petersburg. Pensioner Academy sent abroad, where for the creation of projects and models of architectural structures became professor Roman, then Bologna and Florentine Academies Returned to the homeland, where difficulties were waiting for him.

In the Academy Bazhenova, Chevaakinsky, Kokorinov, Demotamov and Rastrelli were taught. From these teachers in the positions of classicism, only Demotamov stood.
Abroad, he met developed classicism. In 1767, Bazhenov from St. Petersburg was sent to Moscow, where he spent 25 years. It was the era of redeveloping the cities of Russia in the spirit of the new time. Just during these years, Bazhenov conceived his grand project of the Grand Kremlin Palace in Moscow With redevelopment in essence, the Kremlin ensemble.

Catherine The second, having entered the throne, played an enlightened public from himself. She supported the idea of \u200b\u200bturning the Kremlin in an ancient Roman forum - in the place of popular will. So it continued until the Pugachev uprising, after which Bazhenov had to turn all the work. Only drawings and the project are preserved, but they also had a huge impact on the whole Russian architecture. Among Bazhenova's associates was Cossacks and other Moscow architects. Even in the model created by Bazhenov, the palace is striking imagination: here are the grandiose in the length of the facade, then walking in a straight line, then the envelopes of the Kremlin Hill, and magnificent colonnades at very high rushed bases. But the main thing - the palace was conceived as a center of Square, where the architect was going to arrange buildings of the colleges, arsenal, theater, tribunes for popular assembly. So vividly had to embody the ideas of citizenship, samples of Rome and Athens. The death of this idea was the first tragedy of the architect.
At this time in Europe in art there are some hobbating Gothic - forever the romantic era. Bazhenov found his way and here. His task is to make a gothic not a toy - a passion, but a deep, original direction, the essence of which is to feel the old. It is the red and white decor of the Moscow towers and called Bazhenov by Russian Gothic. So the plan arose Tsaritsyn Complex (1795 - 1785).

Catherine bought the Tsaritsyn estate at Kantemir, the manor was located on a high ripple of the prud.
White stone decor and red brick - traditional Russian color scheme. It was in this gamma that the complex was resolved. Strengted arches, curly windows, input portals, thin columns, split teeth - all these parts are transformed by the architecture of the wizard. He was able to see them in the Kremlin architecture. But in the Tsaritsinsky complex a lot of mysteries associated primarily with Masonic symbolism, which richly decorates the walls of buildings. This or something else was the cause of the empress discontent, but by visiting the construction, Catherine asked: "What is this: Palace or Prison?" The fate of the complex was predetermined. Partially rebuilt him later the Cossacks. But the work on the Tsaritsyn complex did not pass for the Cossacks for the gift. The construction of the Petrovsky Palace at the St. Petersburg highway, the Cossacks will decide it in the style of Bazhenovsky Tsaritsyn.
The most famous building Bazhenova - House Pashkov in Moscow at the Vagankovsky Hill against the Kremlin (1784 - 1786)

A striking in power, originality, perfection of execution This building is the true decoration of Moscow. The facade is drawn to the street, it was deep in the hill and was separated from the street with a small garden (it was a completely new solution). The entrance and courtyard of the house are on the reverse side and open with solemn gates. Wonderful balustrade with vases, ornament, pilasters of the order system, Rust with arches of the basement. Beautiful richly decorated round dome with paired columns. In the architecture of lateral flies, an antique tradition is seen: they are solved as a portico with a fronton.
A variety of decisions of different floors, outgames and the main building are diverse. The interlacing of baroque painting and classic severity makes this building uniquely beautiful.
Other buildings Bazhenova: Church in the village of Stoyanov and in the village of Bykov, in the villages of Vinogradov, Mikhalkov.

Church of Vladimirskoy Our Lady in Bykovo near Moscow

Remarkable yushkova House on the corner of the meat street in Moscow: Original His semicircular Rotunda, going outside.

At 19 in. this building will be located School of Painting, Sculpture and Architecturewhich will have a huge impact on Russian art. Paul first found retarded from the affairs of the architect, and Bazhenov took part in the work on Mikhailovsky Castle in St. Petersburg. He designed the entrance waggels from the Sadovaya Street. Paul gave an entry to the estate near Pavlovsky, where the architect and died in the year of birth of Pushkin. The grave was lost.
M.F. Cossacks (1738 - 1812)

Cossacks Matvey Fedorovich

The most vivid expressant of the ideas of Moscow classicism . He studied only at Ukhtsky school, he worked as an assistant Bazhenov on the construction of the Kremlin complex, where a magnificent school was held at the Grand Architect. Cossacks did not finish the Academy or the University, but later himself founded the first architectural school.
The largest buildings of Kazakov:

Senate Building in the Kremlin (1776 - 1787)

Church of Metropolitan Philip (1777 - 1788)

The building of the Noble Assembly (80s)

Golitsyn Hospital (1796 - 1801)

Old University Building (burned)

Petrovsky access palace at the St. Petersburg highway.

Total Cossacks built about 100 buildings.

Senate Building in the Kremlin
The triangular form is inscribed in the complex of the already existing buildings of the Kremlin.

The top of the triangle has become a round room with a huge dome (in diameter - 24 meters and a height of 28 meters). The dome is focused on the Red Square, determining the center of the entire area. The extended facade is evenly dissected by large details of the order. The portal is decorated in the form of a portico with dual columns and a triangular fronton. The combination of a portico with a fronton and a round dome will become traditional for Russian classicism.
Golitsyn Hospital (First Gradskaya) on Kaluga Street.

The hospital and church building is connected. The lateral wings of the building were not processed with anything, and in the center a powerful colonnade of a doric order, a triangular fronton, over which the church dome drum rises.

In the building of the Noble Assembly (noble assembly) The most original column hall. It is distinguished by vastness and height. This is the main interior room. The appearance of the hall defines the Corinthian colonnade, repeating the outlines of the hall. It highlights the central space intended for balls and receptions. Columns are made of artificial white marble, which shines white. This gives the hall of a joyful character.
Petrovsky Palace

In solving this palace, the Cossacks embodied his quest in the Mauritanian-Gothic style, started by Bazhenov. The appearance of this building determine the red brick color and the white decor in oriental style.
The name of M.F. Kazakova is firmly connected with classic Moscow, because it is his best buildings that created the image of the city of Ekaterininskaya era - Barsky, "Speaker".

The most famous Cossack estates were house on the Gorokhovaya Street Street-breeder Ivan Demidov, who retained the magnificent gilded carving of the front interior, the house of the breeder M.I. Bubina on Petrovka, the manor of the laryborn on meat.

Cossack urban manor - large, massive, almost devoid of decoration building with column portic - House dominating the rest of the economic and supervisory buildings. It was usually located in the depths of the extensive courtyard, and the fligels and fences went on red Street line.

I. E. Starov (1745 - 1808)

Together with Bazhenov, Ivan Starov arrived at the Academy from Moscow. Following Bazhenov, he went to Italy. Then returned and worked in St. Petersburg.
It was the Epoch of the Golden Age of the nobility. The idea of \u200b\u200ba representative monarchy collapsed, and the construction of country manshes, palaces, mansions becomes increasingly important.
The most famous structure of Starov is the Tavrichesky Palace on a Torar Street in St. Petersburg (1783 - 1789).

Type of three-faded residential building. It consists of the main building and lateral filtiels. This scheme will be the main for the construction of educational institutions and the royal palaces of the times of classicism.
Facade of the Palace of Surov and Strict. A simple doric colonnade of the hexual portico (columns without cannelurur), the portico is crowned with a dome, eoppy methops. This severity contrasts with luxury interior.
From the rectangular lobby through the solemn "gates", the viewer fell into the octagonal hall, then into a cross-oriented huge gallery with rounded ends gallery, acquired by a double spherical column. Behind the palace was broken by the garden.

Holy Trinity Cathedral in Alexander Nevsky Lavra

Single temple with two bunk towers-bell tower was solved in the forms of early classicism. The inner space of the cathedral, cruciform in the plan, is divided into three sofa with massive pylons that support vaults. Cathedral is crowned with a dome on a high drum. The total composition includes two monumental bell tower, towering on the parties of the loggia of the main entrance, decorated in a portist of 6 columns roman Doric Order . The facades are treated with pilasters and shallow fillets.

Prince-Vladimir Cathedral

Under the leadership of the architect I. E. Starov, who made changes to the design facades the temple was rebuilt. October 1, 1789 The new cathedral was sanctified in honorholy Prince Vladimir .

Temple - architectural monument In style, transition from Baroque to classicism. The main volume of the cathedral is crowned with a powerful five-key, the interior is divided by pylons for three nefs, the walls are dissected by pilasters doric orders .
Architecture of the late XVIII century Russia.
By the end of the 18th century, classicism remained dominant style in Russian architecture. At this time, strict classicism is formed, the brightest representative of which was Jacomo Kurengy.
Jacomo Kurengy (1744 - 1817)

He came to Russia in the 80s. In Motherland, in Italy, the Kurengy was a fan of Roman antiquity, ideas of city mansions and private mansions. The quarters spoke not only as the creator of wonderful architectural works, but also as the theoretical architectra.

The main principles are the following:
1. The price scheme of a residential or administrative building includes a central body and two symmetric flaglels connected to a central body with straight or rounded galleries.
2. The central body is marked by a portico. This is the building of the Academy of Sciences in St. Petersburg, built quarters, a new building for the Institute of Noble Maiden - Smolny Institute next to the old monastery of Rastrelli.

Academy of Sciences

Smolny Institute

3. The situation is parallelepiped, most often in the three floors.

4. Available or richly decorated angular compositions, the boundaries of the facade are simple angles, the edges of the volume are smooth, no decorated planes, windows are rectangular or three-part, window openings without framing, sometimes crowned with rigorous triangular front thinners - Sandricks.

5. On the background of a smooth, clean surface - a large or giant order portico, hugging the entire height of the building. It looks like the only scenery. The portico is crowned with a fronton, the extreme points of which are sometimes accented by vertical statues.

6. Colonna resolutely move away from the wall for a large passage and smoothly rising to the ramp.

7.Colongs are deprived of a flute, the power of exposure is strengthened. Sometimes a colonnade smacks. Such is the colonnade of the Alexander Palace in the royal village

These principles of the quarters implemented in their buildings in the city and in its surroundings.
Vincenzo Brenna (1745-1820)

Artist decorator and architect, by origin Italian. In Russia, he worked in 1783-1802. He participated in the construction and decoration of the premises of palaces in Pavlovsk and Gatchina (Big Gatchina Palace), Mikhailovsky Castle in St. Petersburg (together with V.I. Bazhenov). He was an architect of the Rumyantsev Obelisk on the Marsfield, now on Vasilyevsky Island.

Mikhailovsky (engineering) Castle

In the plan, the castle represents a square with rounded corners, inside which the central octagonal parade courtyard is inscribed. The main entrance to the castle is from the south. Three bridge arranged at the corner combined the building with an area in front of it. Through the ditch surrounding the area of \u200b\u200bthe Contotabl with a monument to Peter I in the center, a wooden lifting bridge was moved, on both sides of which there were guns. For the monument - ditch and three bridges, and the middle bridge was intended only for the imperial family and foreign ambassadors and kept to the main entrance. "The Russian emperor, thinking of his construction, was repelled from the scheme of rectangular constructing in the European capitals with a rectangular courtyard and round corner towers.
Charles Cameron (1740 - 1812)

In 1779, he was invited to Russia. Cameron knew how to combine architecture and nature, harmony of the whole and miniature item. He showed himself in country construction, the creation of palace ensembles, small pavilions, in the art of the interior.
In the royal village, he adds a complex from the so-called Palace Cameron Gallery, Agate Rooms, Hanging Garden, To which a special ramp leads a large length, cold baths in the first floor. All this together creates a corner of antiquity in Russian soil, shelter inspiration of the sophisticated enlightened nature.

Cameronova Gallery and agate rooms away

In the building of the Cameton Gallery, the thin columns of the ionic order are interesting, they give extraordinary ease of top, ascended on heavy arcades, lined with gray pudozhsky stone. The basis of the image is the contrast of the rough coarse surface of the facing and the gentle-fawn tone of the walls, white panels (thin boards in the frame) and medallions - contrast of force and fragility. In the interior of the Grand Palace, Cameron first used the Greek order in Russia, which will appear in the 19th century.

Another side of the Cameron's activities - Pavlovsky ensemble.

The palace is the square with a round room in the center, the gallery covers the courtyard space. Palace put on a high hill above the river Slavica. The quarters took the widespread type of Italian villa with a flat dome, but rethought the idea in the spirit of the Russian country estate. The palace was created with the English Park. The park crosses the leisurely waters of the Slavic River. Through the river transfer the bridges. On the shores, the dark crowns of Yves are inclined, the shores threw reed. Deciduous and coniferous rocks create a new range of colors at any time of the year, and special seats give space for a variety of species. A marble and bronze sculpture, adorning the park, a number of wonderful pavilions, among whom they occupy a special beauty and compatibility with the scenery "Temple of Friendship" and Pavilion "Three Graces".

Temple of friendship