Realism (from lat. "Realis" - real, real) is a direction in art, it originated at the end of the 18th century, reached the peak of his heyday in 19, continues to develop at the beginning of the 20th century and exists so far. Its purpose is the real and objective reproduction of objects and objects of the surrounding world, while maintaining their typical features and features. In the process of the historical development of the whole art as a whole, realism acquired specific forms and methods, as a result of which three of its stages are distinguished: the educational (Epoch of Enlightenment, the end of the 18th century), critical (19th century) and socialist realism (beginning of the 20th century).

For the first time, the term "realism" was used by the French literary critic Zhelem Zhanflery, who in his book "Realism" (1857) interpreted this concept as an art created to confront such trees as romanticism and academism. He performed as a form of a response to idealization, which is characteristic of romanticism and classical principles of Academism. Having a sharp social orientation, he was called critical. This area reflected acute social problems in the world of art, gave an assessment of various phenomena in the life of the society of that time. Its leading principles were to objectively display the essential parties to life, which at the same time contained the height and truth of copyright ideals, in reproducing characteristic situations and typical characters, while maintaining the completeness of their artistic individuality.

(Boris Kustodiev "Portrait of D.F. Bogoslovsky")

The realism of the beginning of the twentieth century was aimed at finding new human relations with his reality, new creative ways and methods, original means of artistic expressiveness. Often he was not in its pure form, it is characterized by a close relationship with such directions in the art of the twentieth century as a symbolism, religious mysticism, modernism.

Realism in painting

The emergence of this direction in French painting is primarily due to the name of the artist Gustava Kurbie. After several paintings, especially many meaningful for the author, were rejected as the exhibits of the World Exhibition in Paris, in 1855 he opened his own "realism pavilion". The principles of a new direction in painting were proclaimed in the artist declaration, the purpose of which was the creation of live art, who passed the moral, customs, ideas and the appearance of his contemporaries. "Realism of Kurbie" immediately caused an acute response of society and critics, who claimed that he, "hiding behind the realism, slander to nature," called his artisan in painting, made parody of the theater on him in every way.

(Gustina Kurbie "Self-portrait with a black dog")

The basis of realistic art is its own, a special look at the surrounding reality, which criticins and analyzing many aspects of society. Hence the name of the realism of the XIX century "Critical", because he criticized primarily the anti-human essence of a cruel exploitory system, showed the blatant poverty and the suffering of an offended simple people, injustice and permissiveness of the power of the property. When criticized the foundations of the existing bourgeois society, the realist artists were noble humanists who believed in good, the highest justice, universal equality and happiness for everyone without exception. Later (1870), realism decays into two branches: naturalism and impressionism.

(Julien DuPre "Return from the Fields")

The main topics of artists who wrote their realism style canvas were genre scenes of urban and rural life of ordinary people (peasants, workers), scenes of street events and incidents, portraits of regulars of street cafes, restaurants and nightclubs. For realist artists, it was important to convey the moments of life in its dynamics, as can be plausible to emphasize the individual characteristics of the acting characters, to realistically show their feelings, emotions and experiences. The main characteristic of the canvases depicting human bodies is their sensuality, emotionality and naturalistic.

Realism as a direction in painting has developed in many countries of the world such as France (Barbizonskaya School), Italy (was known as Verizh), United Kingdom (figurative school), USA (School of garbage buckets "Edward Hopper, Art School of Thomas Ikins), Australia (Heidelberg School, Tom Roberts, Frederick McKabin), in Russia he was known as the movement of Movie artists.

(Julienne Dupere "Cowel")

The French paintings written in the spirit of realism often belonged to the landscape genre, in them the authors tried to convey the nature around them, the beauty of the French province, rural landscapes, which, in their opinion, should not be better demonstrated to "real" France in all its magnificence. The pictures of French realist artists did not depict idealized types, there were real people, ordinary situations without embellishment, there was no usual aesthetics and imposing universal truths.

(Onor house "Third Class")

The most prominent representatives of French realism in painting were artists Gustav Kurbie ("Artist's Workshop", "Stone's Crushers", "Knittar"), Onor Houses ("Third Class Wagon", "On the street", "Brochka"), Francois Mill (" Sower "," Collectors of Kohliyev "," Angela "," Death and Woodrovosk ").

(Francois Mill "Collectors of Kohlis")

In Russia, the development of realism in visual art is closely related to the awakening of the public consciousness and the development of democratic ideas. Advanced citizens of the society have denied the existing state system, showed a deep sympathy for the tragic destiny of a simple Russian people.

(Alexey Savrasov "Graci flew")

To the group of artists-Mobile, formed by the end of the XIX century, such great Russian masters of brushes belonged as artists-landscape players Ivan Shishkin ("Morning in the Pine Forest", "Rye", "Sosnovy Bor") and Alexey Savrasov ("Graci flew", "Rural view", "Rainbow"), Masters of genre and historical paintings by Vasily Pereov ("Troika", "Prival Hunters", "Rural Procession at Easter") and Ivan Kramskaya ("Unknown", "Unknown Woe", " Christ in the desert "), an outstanding painter Ilya Repin (" Burlaki on the Volga "," did not wait "," the procession in the Kursk province "), a master of the image of large-scale historical events of Vasily Surikov (" Morning Streletskaya execution "," Fear Morozova ", "Transition Suvorov through the Alps") and many others (Vasnetsov, Polenov, Levitan),

(Valentin Serov "Girl with Peaches")

By the beginning of the twentieth century, the tradition of realism was firmly entrenched in the visual art of the time, such artists like Valentin Serov ("Girl with Peaches" "Peter I"), Konstantin Korovin ("Winter", "Town Table", "Boris Godunov" . Coronation "), Sergey Ivanov (" Family "," Arrival of Governor "," Death of the Migrant ").

Realism in the art of the XIX century

Critical realism appeared in France and reached its heyday in many European countries by the middle of the XIX century, arose in opposition to the traditions of the areas previously in art, such as romanticism and academism. Its main task was the objective and truthful mapping of the "Truth of Life" with the help of specific arts.

The emergence of new technologies, the development of medicine, science, various industrial production industries, the growth of cities, the strengthening of the exploitative pressure on the peasants and workers, all this could not affect the cultural sphere of the time as he led to the development of a new movement in art - realism Designed to reflect the life of a new society without embellishment and distortion.

(Daniel Defoe)

The founder of European realism in the literature is the English writer and publicist Daniel Defo. In his works "The Diary of the Plague Year", "Roxan", "Joy and Sorry Mol Flenders", "Life and Amazing Adventures of Robinson Cruzo" It displays various public contradictions of that time, they are based on the approval of the good beginning of each person, which can change under pressure from external circumstances.

The founder of literary realism and psychological novel in France - Writer Frederick Standal. His famous novels "Red and Black", "Red and White" showed readers that the description of ordinary scenes of life and everyday human experiences and emotions are possible to fulfill with the greatest skill and build it in the rank of art. Also, the French representatives of the XIX century include the French Guytal Flaubert (Madame Borovan), Gi de Madame ("Cute Friend", "strongly as death"), Onor de Balzac (a series of novels "Human Comedy"), Englishman Charles Dickens ("Oliver Twist", "David Copperfield"), Americans William Falkner and Mark Twain.

The sources of Russian realism stood such an outstanding masters of the pen as the playwright Alexander Griboedov, the poet and writer Alexander Pushkin, the Basinist Ivan Krylov, their successors Mikhail Lermontov, Nikolai Gogol, Anton Chekhov, Lion Tolstoy, Fedor Dostoevsky.

For painting the period of realism of the XIX century, an objective image of real life is characteristic. French artists, under the leadership of Theodore Rousseau, paint rural landscapes and scenes from street life, proving that ordinary nature without sticks can also be a unique material to create masterpieces of fine art.

One of the most scandalous artists of realists of the time, which caused a storm of criticism and condemnation was Gustav Kurbie. His still lifes, landscape paintings ("Deer at the aqua"), genre scenes ("Funeral in Ornan", "Stone Crushers").

(Pavel Fedotov "Major Watch")

The Russian realism is an artist Pavel Fedotov, his famous paintings "Major's Major", "Fresh Cavalier", in its works he will expose the spread of the society in their works, and expresses his sympathy to poor and oppressed people. The continuents of his traditions can be called the movement of the Movie artists, which was founded in 1870 by the fourteen best graduate artists of the Imperial St. Petersburg Academy of Arts together with other painters. The first of their exhibition, opened in 1871, had a huge success among the public, it demonstrated the display of the real life of a simple Russian people, which is in terrible conditions of poverty and oppression. These are the famous paintings by Repina, Surikov, Perov, Levitan, Kramsky, Vasnetsova, Polenov, Ge, Vasilyeva, Queenji and other outstanding Russian-realist artists.

(Konstantin minor "Industry")

In the 19th century, architecture, architecture and associated applied arts were in a state of a deep crisis and decline, which predetermined unfavorable conditions for the development of monumental sculpture and painting. The predominant capitalist system was hostile to the species of art that were directly related to the social life of the team (public buildings, ensembles of wide civil value), realism as a direction in art was fully able to turn around in visual art and partly in sculpture. Outstanding sculptors-realists of the 19th century: Konstantin less ("Loader", "Industry", "Pudlinger", "Molotoboez") and Auguste Roden ("Thinker", "Step", "Citizens Kale").

Realism in the art of the XX century

In the post-revolutionary time and during the creation and heyday of the USSR, the socialist realism became the dominant direction in Russian art (1932 - the emergence of this term, its author Soviet writer I.Gronsky), which was aesthetic reflection of the socialist concept of Soviet society.

(K. JUN "New Planet")

The main principles of socialism aimed at the truthful and realistic image of the world in its revolutionary development were principles:

• Nathodics. Use common speech turns, proverbs, in order for literature to be clear to the people;
• Idea. Identify the heroic actions, new ideas and paths necessary for happiness of ordinary people;
• Concreteness. Picture the surrounding reality in the process of historical development corresponding to its materialistic understanding.

In the literature, the main representatives of social realism were writers Maxim Gorky ("Mother", "Foma Gordeev", "Life of Klim Samgin", "At the bottom", "Song of the Petrel"), Mikhail Sholokhov ("Raised virgin", Roman-epic "Silent Don "), Nikolai Ostrovsky (Roman" How Steel hardened "), Alexander Serafimovich (Tale" Iron Stream "), Poet Alexander Tvardovsky (Poem" Vasily Terkin "), Alexander Fadeev (Romans" Rod "," Young Guard ") and Dr.

(M. L. Zvyagin "to work")

Also in the USSR, the creative work of such foreign authors as writer-pacifist writer Henri Barbus (Roman "Fire"), poet and prose Louis Aragon, German playwright Berrtolt Brecht, German writer and Communications Anna Zhegers (Roman "Seventh Cross") , Chilean poet and politician Pablo Neruda, Brazilian writer George Amada ("Captains of Sand", "Donna Flor and two of her husband").

Bright representatives of the source of socialism in Soviet painting: Alexander Deineka ("Defense of Sevastopol", "Mother", "Future pilots", "Physical culture"), V. Favorsky, Kukryniksy, A. Gerasimov ("Lenin on the Tribune", "After the rain" , "Portrait of a ballerina O. V. Lepheshinskaya"), A. Plaks ("bathing horses", "Dinner of tractor drivers", "collective farm flock"), A. Laction ("Letter from Front"), P. Konchalovsky ("Lilac" ), K. JUON ("Komsomolskaya", "People", "New Planet"), P. Vasilyev (portraits and stamps with the image of Lenin and Stalin), V. Svarog ("Executive heroes in the Kremlin before flying", "First May - Pioneers "), N. Baskakov (" Lenin and Stalin in Smolny ") F. Reshetnikov (" Again Double "," arrived at the holidays "), K. Maksimov, etc.

(Faith Mukhina Monument "Worker and collective farmers")

The Outstanding Soviet Sculptors-monumentalists of the Social Realism era were Vera Mukhina (the monument "Worker and collective farmer"), Nikolai Tomsky (Bas-relief from 56 figures "Defense, Labor, Rest" on the House of Soviets on the Moscow Avenue in Leningrad), Evgenia Vuchetich (Monument "Warrior Liberator "in Berlin, the sculpture" Motherland-Mother calls! "In Volgograd), Sergey Konenkova. As a rule, for large-scale monumental sculptures, especially durable materials were chosen, such as granite, steel or bronze, installed them on open spaces for perpetuating especially important historical events or heroic-epic exploits.

The most significant place in the development of Western European realism belongs to French art. And it is not by chance. Since the late 18th century, France has played a leading role in the socio-political life of Europe, and the class struggle between the nobility, the bourgeoisie and the proletariat took clear classic forms in it. Hiding for the royal and imperial mantle or claiming its power in an uncomplicated form, the bourgeoisie triumphed victory. "Industry and trade crumbled in immense sizes," wrote K. Marx about France 50-60s, - exchange speculation celebrated its cosmopolitan orgies; The poverty of the masses sharply performed next to the incomplete brilliance of a rapid luxury, a fit of felt and a crime. "
The democratic and proletarian movement in the middle of the 19th century takes a wide range in France. The revolution of 1830 follows the revolution of 1848; On the political arena, the proletariat, heading the wide masses, is becoming increasingly strong. In June 1848, he openly rises against the bourgeoisie, and in 1871, proclaiming the Paris commune, makes the first heroic attempt to take political power in his hands.
The aggravation of public contradictions, grandiose class battles, new social problems, the issues of a democratic reorganization of society could not not worry the best minds, forcing the analysis of the reality phenomena, to look for new ways in art. In France, which gives the most distinct picture of the formation and development of the main currents of the 19th century, the rise of realism is observed earlier than in other countries, the realistic direction turns out to be the most closely related to the social and political life, it puts forward the largest representatives of the 19th century art.
The July 19930 revolution was a substantial milestone towards the development of French art. Under its influence, the romantic illusions takes place, interest in social theme is being increased, an independent theoretical program of realism is produced. The basic requirements for new art were formulated by Lavirion and Galbacho in the "Salon of 1833". They received their further development in the works of large theorists-defenders of realism: Torah-Begin, Charflerry, Duranti, Kastanyari and others. All these critics - representatives of the generation of 1848 - nominated the question of the educational role of art to the fore. Art, they approved, should contribute to the development of society along the path of progress, should be a "teacher of life", and for this he needs to be relevant, socially saturated, understandable people. Art should help people know the world around them, sort out its contradictions. It will be able to do this by throwing away all kinds of idealization, the intensification of life. The truthfulness of the image is put forward as one of the necessary conditions of creativity - the artist writes what he knows what he sees in front of himself. The call for the abandonment of generally accepted samples and to the approval of the vital truth in art helped advanced artists in the development of new methods and means of artistic expressiveness, opened wide prospects for creative quest. At the same time, some critics of the mid-19th century sometimes reduced the concept of realism to the external reliability of the image, the illusion of the apparent world, which is definitely disoriented by artists.
Philip Genon. Among the predecessors of large realist artists deserve to mention some less significant masters. Without possessing the gifting of its followers, they prepared soil for them. They include Philip Genon (1809-1877). He was a member of the revolutions of 1830 and 1848, often acted in press with the protection of realistic principles. Already in the early work of "Children on Barricade" (1831, Museum in Cana), the genon turned to the immediate image of revolutionary events. In later works, he gave a social analysis of reality, opposing each other representatives of various classes of modern society: nobility, bourgeoisie and proletariat. When depicting workers, the artist emphasized their poverty and suffering, without avoiding some sentimentality. The genre is known as well as a portraitist. He left expressive portraits of advanced people of his time - representatives of the Republican intelligentsia.

Realism in France and in England (literature and art in the XIX century)

By the middle of the century, realism becomes a dominant direction in European culture.

Realism arose in France and England in the context of the established capitalist relations. Social contradictions and disadvantages of the capitalist system identified a sharply critical attitude towards writers of realists. They were denied the comprehension, blatant inequality, egoism, hypocrisy. According to its ideological focus, it becomes critical realism. At the same time, the creativity of great realist writers is permeated with the ideas of humanism and social justice.

Literature France. A sample of realistic poetry of France in the 19th century was the poet Pierre Jean de Berance (1780-1857), he made himself back during the Napoleonic monarchy and in 1813 in the song "King Yveto" condemned the military adventures of Napoleon and its tax policy. During the restoration period, he became a real fighter poet. His perky songs during this period ridicule the rich and prosperous burghers. The political song Beranta is saturated with democracy, marked with the seal of the living national humor.

A brilliant representative of critical realism was Standal (Ensure. Henri Bale, 1783-1842). The worship of the writer caused people with an active, strong character. He saw such heroes among the Renaissance figures ("Italian chronicles"), Shakespeare, among contemporaries.

One of the wonderful novels Standal- "Red and Black" (1830). Hero of the Roman - Julien Sorel, a passionate fan of the Napoleonic era, a man with an elevated and sensitive soul, striving to defeat the oblique social environment. However, it does not succeed, since the dominant classes did not accept him - plebey by origin. In the novel "Parm Resident" writer condemns the reactionary era, predetermined the tragedy of smart, talented, deeply feeling people.

Top, the highest point of the development of Western European realism - the work of the ones Balzaca (1799 -1850). According to Balzak, his main work - the "Human Comedy" epic should consist of 143 books reflecting all parties to the life of French society. This Titanic work Balzac gave all his strength, he created 90 novels and the novel.

In this epic, novels are associated with a common idea and many characters. It includes such novels as the "unknown masterpiece", "Shagreen Skin", "Eugene Grande", "Father Gorio", "Caesar Baroto", "Lost Illusions", "Cousin Betta" and many others. The epic - the most important coverage of the realistic picture, reflecting the morals and contradictions of the public life of France. Balzac gives his heroes to mind, talent, strong character. His works are deeply dramatic, they are depicted in the power of the "money principle", decomposing old patriarchal bonds and family bonds, inciting flames of egoistic passions.

Master Novella was Prosper Merima (1803-1870), an outstanding writer-realist. His novels are concise, strict, elegant. They act in strong and bright characters, solid nature capable of strong feelings - "Carmen" (served as the basis for the Opera Bizet of the same name), "Colomba", "Falc". Even in those novels where the writer depicts romantic heroes and romantic situations, the action is translated not in the romantic plane, but is given realistic motivation.

Wrote Merima and plays. One of the outstanding works of the writer is a play-chronicle "Jacceria", reflecting the peasant movement of the XIV century. They were written by the only big novel "Chronicle of the Times of Charles IX", telling about the struggle of Catholics and Protestants and events of the Bartholomevian night. The author debaculates fanatic intolerance.

In connection with the change in the political position of the bourgeoisie after the revolution of 1848 and the refusal of it from cooperation with the working class in the literature of France, there is a new type of critical realism - writers refuse to create mighty images, and the concept of typical is reduced to the most common, ordinary. In general, art is even more approaching life.

The largest representative of the new phase of realism was Gustave Flaubert (1821-1880). The ratio of the writer to the social segments of the population was controversial: he hated the bourgeoisie, it was contemptuous to the folk masses, political activity was considered meaningless. Therefore, Flaubert calls on the artist "go to the tower from ivory", serve beauty. Despite the inconsistency of such a position, Flaubert gave a wonderful critical image of bourgeois vulgarity, without remaining aside from the public struggle. One of the outstanding works Flaubert- Roman "Madame Bovarie". In the center of the novel - the image of a woman from the bourgeois medium. Romanized by romantic literature, she dies in a collision with a blessing reality. In the novel, the "Education of the Sovereign" depicted morals of the province and Paris, a moral nobility of the bourgeois. This novel has developed the theme of a young man, sluggish, inert, not capable of active activity. The novels "Salambo", "Legend of Holy Juliana Milosive" and "Irodiada", in which the situation of remote eras restored with scientific objectivity. The writer has achieved a scrupulous accuracy of reproduction of realistic parts, the depth of the psychological analysis disclosed by the inner monologue.

England:

Literature of England. Scottish writer Walter Scott (1771-1832) brought interest in Middle Ages with romantics. At the beginning of his creative path, he was engaged in collecting Scottish folklore, wrote romantic poems. The worldwide fame brought him a realistic prose.

Walter Skol is the creator of the genre of a historical novel that combines romantic and realistic trends. The death of the Scottish generic clan is displayed by the writer in the novels "Veverley", "Rob Roy". Novels "Ivanho", "Quentin Dorvard" paint the picture of medieval England and France. The novels "Puritan", "Legend of Monrocery" illuminate the class struggle that unfolded in England in the XVII-XVIII centuries.

The creativity of V. Scott is characterized by a special composition of novels, predetermined by the nomination of the description of life, life and morals of the people himself, and not kings, commander, nobles. At the same time, depicting privacy, the writer reproduces the picture of historical events.

One of the great artists of world literature - Charles Dickens (1812-- 1870), he is the founder and leader of the critical realism of English literature, an outstanding satirist and humorist. In the early works of "Notes of the Pykvik Club", Patriarchal England is depicted. Falling over the beautifulness, the gullibility, the naiveness of his hero, Dickens sympathizes him, having shared his unfortunately, honesty, faith in good.

Already in the next novel, the "Adventures of Oliver Twist" depicts a capitalist city with his slums and the lives of the poor. The writer, believing in the celebration of justice, his hero makes overcome all obstacles and achieve personal happiness.

However, works Dickens full of deep drama. The writer gave a whole gallery of public evil carriers, which are representatives of the bourgeois class. This is a Raalph Ralph Niklby, a cruel teacher Okvirs, a hypocrite Perekksnif, Sprudge mansman, Capitalist Baunderby. The greatest achievement of Dickens - the image of Mr. Dombey (Roman "Dombei and the Son") - a person who has died of all feelings, and its complacency, stupidity, egoism, are revealed to the world owners.

Quality qualities of Dickens as indestructible optimism, bright and very national humor, sober, realistic look at life, - all this makes him the greatest after Shakespeare the popular Writer of England.

Contemporary Dickens - William Tekkerei (1811-1863) In the best novel, the "Vanity Fair" brightly and figuratively exposes the vices of the bourgeois society. In this society, everyone plays a role designed to him. Tekkerei does not see positive heroes, he has only two categories of actors - deceivers or deceived. But the writer is committed to psychological truth, avoids grotesque and exaggeration characteristic of dickens. Tekkerei with contempt refers to the bourgeois-noble top of society, but it is indifferent to the life of the bottom. He is pessimist, skeptic.

At the end of the XIX century. The realistic direction of the English literature was represented by creativity mainly three writers who have won world famous: John Golsuorussi (1867-1933), George Bernarda Show (1856-1950), Herbert George Wells (1866-1946).

So, D. Golsuvourcia in the trilogy "Saga on Forsyites" and "Modern Comedy" gave the epic picture of the morals of the bourgeois England of the late XIX-early XX centuries. Obtain a disappointing role of ownership of both public and private life. They are written dramas. He was engaged in journalism, where he defended the principles of realism. But in the trilogy, the end of the chapter showed conservative trends.

D. B. Show is one of the founders and the first members of the Socialist "Fabian society", the creator of drum discussions, in the center of which - a collision of hostile ideologies, an uncompromising solution to socio-ethical problems ("House of Widow", "The profession of Mrs. Warren", " Applecart"). For the creative method of the show, a paradox is characterized as a means of unstedened dogmatism and bias ("Andrkl and Lev", "Pygmalion"), the traditional of ideas (historical plays "Caesar and Cleopatra", "Holy John").

D. Wells - Classic Sci-Fiction Literature. In the novels "Machine of Time", "Nividimka", "War of the Worlds" Writer relied on the latest scientific concepts. Problems arising from people in connection with scientific and technical progress, the writer associates with social and moral forecasts of the development of society: "The history of mankind is increasingly becoming a contest between education and disasters."

Musical art. In and t and l and in the XIX century. In the conditions of political reaction, the Opera showed itself as the most massive and democratic genre of theatrical art. The top of the realism in the musical opera art of the XIX century. - Creativity of the great Italian composer Juset Verdi (1813-1901), closely connected with the Italian liberation movement ("Nabucco", "Lombard in the first crusade"). In such opera works, like "Ernani", "Macbeth", "Battle of Lenyano", protested against any violence and oppression. Representations of the operas of Verdi, imbued with the ideas of the struggle for the liberation and unification of Italy, were accompanied by stormy patriotic manifestations.

Masterpieces of opera realism - Opera Verdi "Ida", "Othello" and "Falstaf". These are musical dramas with continuous development of action. The scenes are built freely, with a flexible transition from a cleattee to a monologue, from solo to ensemble. An important place is assigned to the orchestra. Verda has a complete merging of music with dramatic action. Democratic, the deep humanity of Verdi's creativity brought him great popularity. His operas are constantly in the repertoire of the opera theaters of the world.

Italian operas caused new principles of vocal and stage execution to life: the dramatic expressiveness of singing, acting skills of the singer, the historical accuracy of scenery and costumes. Wonderful vocalists, representatives of Belkanto with the world glory were singers A. Pat, J. Pasta, I. Kolbran, and others, singers M. Battistini, F. Goldi, etc.

In the same period, a new direction appears in the opera - correct (NT. Verismo, from Vero - true, truthful). His representatives - composers R. Leonkallo (1857-1919), P. Maskanya (1863-1945), mind. Jordanna (1867 -1948), J. Pucchini (1858-1924). At the heart of the works of these masters - vital plots; Truthful mapping of the spiritual world of ordinary people; Emotionally expressive music, lack of a high public idea. There was a certain performing style - exaggerated expression, sentimental supervision, acute drama. The best works of this area are the "rural honor" of Maskagany, "PAYTS" Leonkallo. Thanks to the psychological depth, the creativity of J. Pucchini, who wrote to the "God", "longing" "Chio-Chio-san," overcomes the framework of the Verism.

In F R A N C and, the development of a lyrical opera, which differs from a large opera more intimate theme and plots borrowed from classical literature. This is the Opera "Manon" and "Werker" J. Massne, "Faust" and "Romeo and Juliet" Sh. Guno, Hamlet A. Tom and others. Lyrical operas were created on exotic oriental scenes. This is "Lakme" L. Delibe, "Pearl seekers" and "Jamile" J. Bize, Samson and Dalila K. Saint-Sansa. In lyrical operations, human experiences are truthfully and subtly embodied. For the outcome of life is characterized by poetry. The musical language of these operas is democratic, close to urban folklore.

The vertex of realism in the opera art of France is recognized as Opera J. Biza "Carmen". For creativity, the bise is characterized by the deposit of forms, the clarity of the presentation. Opera Heroes are ordinary people with strong and contradictory characters. In this opera embodied the Spanish national musical flavor. It is a stressful course of dramatic events, a variety of folk scenes. This is one of the most popular operas in the world. P.I. Tchaikovsky recognized her "in the full sense of the word as masterpiece."

Mid XIX century Became the birth time of a new musical genre - operetta - light opera, including dance, and dialogue (occurred from the comic opera). Motherland Operetta - F R A N C and I, and the heroes - composers F. Erve and J. Offenbach.

In and in with t and and at the beginning of the XIX century. Along with the vein musical centers, Salzburg, Zeizenstadt, Esterhaza, etc. Vienna court opera was opened in 1869, this theater became the leading musical theater of the country. In his repertoire, French and Italian operas prevailed. In the last third of the XIX century. Received the development of venet "Operetta. Its founders: F. Zupe (1819--1895), who wrote a "beautiful Galati", "Bokcchcho" and one of his best operetta - Donna Juanita; I. Strauss (son) (1825 -1849) - the best creations of the "Gypsy Baron", "Bat Mouse", etc. The major composer of this genre - K. Miakeker (1842-1899) - the author of the operetta "Beggar Student", "Gasparon "," Poor Ionafan ".

In the work of these composers, folk melodies are widely used, dance rhythm, operetta is melodious.

Worldwide Fame I. Straus also brought Viennese Walts ("Blue Danube", "Tales of the Vienna Forest", etc.), thanks to which he received the name "King Waltz."

Despite the fact that for the creativity of the English composers of the XIX century. In general, the absence of a pronounced national nature is characterized, the opera culture is in A H G and and intensively grew. The theater "Covent Garden" was the largest in England, there were performances of the Italian royal opera in it. In 1856, the royal English opera was formed. At the end of the XIX century. The period comes in history under the name of the English musical revival - the interest of composers to the national subject increases.

Art. In this form of art, the main sign of realism is the comprehension of the social character of man. However, in painting, realism is closer than in literature, is associated with visual means that create an illusion of visual reliability.

The realistic direction in painting F R A N C and also strengthened its position in the middle of the XIX century. After the revolution of 1848 in the history of French art, the fighting of two camps, two fundamentally opposite artistic cultures was not so acute as during this period. The best features of the French people and his advanced art embodied by artists like Mill, Kourbe, mana, carp. They were not allowed to exhibitions, poisoned in newspapers and magazines. They were opposed by the mass of Deltsov from the art, Napoleon III fans and the entire reaction bourgeoisie of the second empire.

J. F. Mime (1814-1875) In his epically monumental and complete vital truth, the French peasantry showed paintings, his work, its moral strength ("Collectors of Kohlis", "Angela").

Mill and Kourbe became predecessors of impressionism. The works of Eduard Mana (1832-1883) are dedicated to Paris. He is one of the brilliant colors of world art. In his paintings, the truthful characteristic of all sorts of inhabitants of Paris was passed in his paintings ("Breakfast in the workshop", "reading", "in the boat", "Dana"), which are inflicted to this day the appearance of the then France. Although Mana in the first paintings tried to rethink the images and plots of old masters in the spirit of modernity ("breakfast on the grass", "Olympia"), then he began to create paintings on domestic, historical, revolutionary topics. The strongest page in the history of French critical realism is its last painting "Bar in Foli-Berger" - about the loneliness of human existence. Anticipating impressionism, he turned to light plenuar painting ("Argent") (plenuer (Fran. Plein Air, letters. - Outdoor air) - In painting, reproduction of airflow changes caused by sunlight and the state of the atmosphere).

Flowering a n g l and y with k o b painting falls in the XIX century. On the first third century. It is connected with the development of brilliant landscape painting.

One of the most distinctive artists of his time was William Term (1775-1851). He traveled a lot in Europe, and his landscapes acquired a romantic orientation ("shipwreck"). Bold on coloristic and light-air searches, with a distorted scale of objects, its paintings are as it were from the predecessors of impressionism ("rain, steam and speed"). He also became famous as a historic painter who created landscapes with mythological or historical scenes ("Garden-Garden", "Didona, Carthage," etc.)

Creativity F. Goya. After the death of Velasquez in 1660, over a hundred years, Spanish art stayed in a state of deep decline. And only at the end of the XVIII - early XIX centuries. The backward Spain suddenly nominated a brilliant artist who became not only one of the greatest painters and charters of Spain, but also had a deep impact on all European arts of the XIX and XX centuries. - Francisco Goyuy (1746 - 1828). They created a huge number of beautiful frescoes, paintings, etchings, lithographs, drawings. (Etching (from Franz. Nitrogen acid) is the form of engraving, where the figure is sprinkled by a engraving needle in a layer of acid-resistant varnish covering the metal plate. Scratched places are rushing with acid, and the resulting in-depth image is filled with paint and thawed on paper.)

Theatre. In politically fragmented, theater life focused in small cities, in which the court theaters played a classic repertoire.

Cancellation in 1869 monopolies of the court theaters led to the emergence of many commercial theaters and a decrease in the artistic level of the repertoire. The struggle for the creation of performances as a single stage work began the Maingen theater in 1871 by the city theater. The largest actors in Germany of the middle and end of the XIX century. Being B. Davison, A. Mashkovsky, E. Possarch.

In the play, Gaptman, Great Tragica I. Caina shone, and A. Zorm.

At the turn of the centuries, Berlin became the theatrical center of Germany. In 1883, a German theater was opened, in 1889 - a free theater, promoting the playwrith of Ibsen, Hauptman, E. Zol, L. Tolstoy.

At the beginning of the XIX century. Theatrical life A in C T R and is marked by a large creative flourishing of theaters. Indisable, which was associated with the activities of the playwright F. Ramunda and actor I. N. Pestray. However, after the revolution of 1848, these theaters lose their democratic nature, entertainment plays predominate in their repertoire.

In the second half of the XIX century. The leading place in the theater life of Austria was held by Burg-theater. His head of Laube approved the classics on stage. In 70-8q-E GG. The theater was led by F. Dilgenstedt, who put the cycle of Shakespeare tragedies, the plays of Ibsen, Gogol, Turgenev, L. Tolstoy.

Ballet. The birthplace of the modern European ballet - and t a l and me. Italian ballet was based on the traditions of antique pantomime and dance and richest culture of national dance. At the turn of the XVIII-XIX centuries. In the development of Italy's ballet, a new stage began, which coincided with the period of liberation struggle of the Italian people. Performances were created based on the principle of effective ballet, saturated with drama, dynamics, expression. The ballets of John and S. Shepit were put on, they performed pantomimist dancers.

The theater "La Rock" Theater was considered the largest ballet art center in Europe, in 1813 a ballet school was created at the theater.

In the second half of the XIX century. In Italy, as in other countries of Western Europe, there was a decline of ballet art. At this time, the virtuoso style of execution is approved. The attention is focused on overcoming technical difficulties, and dramatic expressiveness moves into the background. In the 80s of the XIX century. Made predominantly enchanting views, characterized by cumbersome and, as a rule, devoid of ideological content.

Bajler Charles - French poet. B. Poetic activity coincided with the flourishing in French lit-re romantic and parnas trends. After the storm of the French revolution and the epic, the Napoleonic wars in France established a bourgeois procedure that did not fulfill the aspirations of the wide masses, but also the aspirations of medium-sized layers, the small bourgeoisie, which was given the greatest number of artists in particular in particular writers and poets.

It should be noted yet that in the era of 1848, when a strong revolutionary cramp shook the bourgeois world, Baudelaire woke up. By this time, his works are "Twilight", "Dawn" and "Pirushka of Ragchikov". Democratic and slightly revolutionary notes began to manifest itself in Poetry B., but they soon fade in an even more gloomy disappointment.

The main thing its work is "Flowers evil" (Les Fleurs du Mal, 1857; there are Russian. Transl. Yakubovich-Melshina and Ellis; translated it and many other poets: Sologub, Vyacheslav Ivanov, etc.). "Flowers evil" - the quintessence of those sentiments, we talked about to-ryy above. Contemporary Parnassians who demanded an extraordinary filigree poems, the hardness of the structure, savings in words, strict rhythm and the choice of images and deep compliance with the expressions, B. not only submitted to all these conditions, but it turned out to be one of the largest masters such, classical in its own way, forms verse. B. belongs to the breed of poets-sculptors. He carries her poems or a whip. His works are hard, every word is definitely in its place. Mastery here is courageous.

Realism as an independent direction was established in the 40s of the 19th century., Later, the critical realism turned into the form of critical realism (the highest point of realism is the chief of the vices of society). The development of realism was accompanied by the development of the capitalist method of production, and, consequently, the growing social contradictions, which was reflected in the art of this time.

Realism in art 19 V. Unites with romanticism

Disappointment in the results of revolutions

Negative attitude to bourgeois reality

Reversible to the spiritual world of man

Struggle for self-affirmation of the individual

Close theme of the nation

However, in contrast to romantics running from reality, emergency situations, extraordinary individuals, heroic situations, turbulent passions of life, realism penetrates deeply in reality in public life.

New approaches of realist artists 19 in. In order to reflect what is really done "here and now."Artists were convinced of the possibility of knowledge of the objectively existing world by means of art. They appealed to the scenes of bourgeois life, covered the life of peasants, labor weekdays of urban bases.

One of the first realists in France's painting was Gustave Kourbewho applied to the topic of labor ("stone crushers"), wrote social canvases based on real motifs ("Funeral in Ornan"). "Prosecity" of Kourbe is an open challenge official criticism.

Francois Mill - the peasant genre, without melodramatic and ethnographic shades, but through the transfer of poses, gestures, the movements of the bodies revealed the nature of the labor process, the strength and dexterity of the peasants ("peasants with a twig", "collectors of the command") - Epically monumental canvases, full vitality and truth .

Onor houses - an artist of critical realism, created, like O. Balzac, created the "human comedy" of the era in thousands of lithographs, drawings and paintings - caricatures on the King Louis-Philippe in Satyric magazines "Karicatur" and "Sharivari" ("Lower the curtain" ), the main genre is Satira Nravov: the philistine world of scammers, fools, provincials in the capital ("Justice figures"). "Broke" is not a portrait, but a collective image of all Parisian laundry; A portrait in which the author expressed all his people. A series of illustrations to Don Quixhot, where, in the image of the main character, the artist tried to reflect his own position in societies, the subject of the suffering of man. Social pointedness of his plots - counterweight forbidden censorship.

French National Landscape:

Jean Batist Camille Coro - Poetic spirituality of nature; Favorite motive - "After the rain", i.e. a changeable state of nature; Silver tonality of his painting "Gray Chimka Coro".

Barbizonskaya school - Home Objective: An image of the originality of the national landscape, the transfer of variable states of nature, the refusal of composite canons. Theodore Rousseau - "Landscape with a bridge" - landscape from nature, special attention to the form, all trees are individual, picturesque modeling makes them volumetric and almost sculptural, their monumentality is emphasized by a low horizon.

Jules Dupre. - "Autumn landscape" - the effect of the setting sun emphasizes the contrast of the colors of the autumn landscape after the rain, especially solemn the trees dominant in the composition.

Charles Kotovy - River landscapes ("banks of the UAZ River"), the desire to catch the slightest changes in the state of nature, a thin picturesque transmission of light, enveloping objects.

From the end of the XVIII century. France played a major role in the socio-political life of Western Europe. XIX century It was marked by a wide democratic movement that covered almost all the sections of the French society. For the revolution of 1830, the revolution was followed by the revolution of 1848. In 1871, the people proclaimed the Paris Commune, made the first in the history of France and the entire Western Europe, an attempt to take hold of political power in the state.

The critical situation that established in the country could not affect the world weight of people. In this era, the advanced French intelligentsia seeks to find new ways in art and new forms of artistic expression. That is why in France's painting, realistic trends were discovered much earlier than in other Western European countries.

The revolution of 1830 brought into the life of France, democratic freedoms that artists-graphics were not configured. The sharp political cartoons aimed against the ruling circles, as well as the vices reigning in society, filled the pages of Sharivari magazines, "Karikatur". Illustrations for periodicals were performed in lithography techniques. In the cartoon genre, such artists worked as A. Monie, N. Charle, J. I. Granville, as well as a wonderful French schedule of O. Ddomie.

An important role in the art of France in the period between revolutions of 1830 and 1848 was played by a realistic direction in landscape painting - t. N. Barbizonskaya school. This term comes from the name of a small picturesque barbizon village near Paris, where in the 1830-1840s. Many French artists came to explore nature. Not satisfied with the traditions of academic art, devoid of living concreteness and national originality, they sought to Barbizon, where, carefully examining all changes occurring in nature, wrote pictures with the image of the modest corners of the French nature.

Although the works of the masters of the barbizon school are distinguished by truthfulness and objectivity, they always feel the mood of the author, his emotions and experiences. Nature in the landscapes of barbizons does not seem majestic and removed, it is close and understandable to man.

Often artists wrote the same place (forest, river, pond) at different times of the day and under different weather conditions. They were processed in the open air of Etudes in the workshop, creating a whole picture on a composite construction. Very often in the finished pictorial work disappeared the freshness of paints inherent in etudes, so the canvas of many barbizons were distinguished by a dark color.

Theodore Rousseau was the largest representative of the barbizon school, who, being an already famous landscape officer, moved away from academic painting and arrived in Barbizon. Tested against the barbarian deforestation of forests, Rousseau gives the nature of human qualities. He himself said that he hears the voices of the trees and understands them. Beautiful connoisseur of the forest, the artist very accurately conveys the structure, the breed, the scale of each tree ("Forest Fontainebleau", 1848-1850; "Oaks in Agramon", 1852). At the same time, the works of Rousseau show that the artist, the manner of which was formed under the influence of academic art and painting the old masters, could not, no matter how he tried, solve the problem of transferring a light-air environment. Therefore, the light and flavor in its landscapes is most often observed.

The art of Rousseau had a great influence on young French artists. Representatives of the Academy, who were engaged in the selection of paintings in the salons, tried to prevent the work of Rousseau to the exhibition.

The famous masters of the barbizon school were Jules Dupra, in the landscapes of which there are features of romantic art ("big oak", 1844-1855; "Landscape with cows", 1850), and Narsis Diaz, inhabited forest Fontaineblo nude figures nymph and ancient goddesses ("Venus With Amur ", 1851).

The representative of the younger generation of Barbizontsev was the Charles of Konovi, who began his creative way with illustrations, but in the 1840s. Deadly landscape. His lyrical landscapes dedicated to unpretentious corners of nature are filled with sunlight and air. Very often, Konovi wrote from nature not only etudes, but also finished pictures. He built a boat-workshop, which sailed on the river, stopping in the most attractive places.

The largest French artist XIX centuries was close to the barbizons. K. Coro.

The revolution of 1848 led to an unusual rise in the public life of France, in its culture and art. At this time, two major representatives of realistic painting were worked in the country - J.-F. Mill and Kurba.

French realism is primarily connected with the names of Standal and Balzak, and it is historically fair. However, we must not forget that they had talented predecessors, in the works of which the realistic principles of letters were noticed quite definitely. We are talking about the poet of Pierre Jean Berance, who gained wide fame with his songs, and Prosaika-Louis Courier, famous Pamfletist, who returned to French, according to Standal, "former simplicity." Bearding songs and pamphlets Courier contributed to the development of realistic poetics. The same goal was pursued by household, moralopsychiatric and "physiological" essays that were a mass school of French realism.

In the first half of the XIX century, the Great Writers who brought His world glory appear on the literary stage of France: Frederick Standal (Henri-Marie Beil's alias; 1783- 1842), Onor de Balzac (real last name - Bals; 1799- 1850) and Prosper Merim (1803 -1870).

Standal (novels "Armana", "Red and Black", "Parm Resident", "Lucien Levena", "Lamel", the story of "Memories of the Egoist", the novel "Vanina Vanini", the book "Life of Gaidna, Mozart and Metastasio", " History of painting in Italy "," Rome, Naples and Florence "," On Love "," Rossini's Life "," Rasin and Shakespeare "and other writings) was the creator of a realistic psychological novel. This was his main merit, which was not the world literary movement.

Standal was a democrat that was looking for the reasons for phenomena in the surrounding reality. He fell exceptional interest in the human mind and his relationship with feelings. Standal was used to think that the basis of all actions of a person lies personal, selfish desire, which, however, should be subordinate to the moral feeling. He attached great importance to the will and considered it one of the main forces of the person.

In the artworks, Standal, unlike other realists, in particular from Balzak, makes a stronger emphasis on the inner world of man than in society and at the external environment of the hero. A person attracts him not as much as a social product, how much the life of his consciousness. But still standal does not refuse social and historical determinism. So, surrounding the Pietro, the hero of the novel "Vanina Vanini", a romantic halo, Standal motivates his passion of nationality (Italian), a special role of religion in his consciousness (after defeating he, Patriot, feels punished and resorts to the help of religion), social feeling, He commanding him prefer love of a woman love for his homeland. Having settled the principles of creativity, the standal enjoys his experience and draws the characters depicted in them from among the people who are familiar to him: "I take one of the people I knew, and tell myself: this person acquired certain habits, going every morning to hunt for happiness, And then I will give him a little more mind. " Standal believed that man (and in many ways and society) manage passion. The main one of them is love that has become the center of his artistic interest.

Standal allocates four love passions ("On Love"): "Passion-love", "passion-ambition", "Passion-attraction", "Passion physical". Preferential attention is paid to the first first, of which "passion-love" is true and eternal, and "passion-ambition" is a hypocritical and born in the XIX century.

The psychology of the stand is built on the contrast of "love passions" and "passion-ambition", on the one hand, and on the contrast of passion and mind - on the other. Hero of Standal, as later Pechorin at Lermontov, notes that in him in one face would seek two: one lives and acts, and the other is watching him. From the experience of contemplation, the writer makes an important conclusion: "The soul has only states, it does not have sustainable properties." The most profound way to identify the inner world, the life of the soul is an internal monologue, which is peculiar to all major heroes of the writer - Julienus, Lucien Levien, Fabrizio del Dongo, etc.

In the mental life of Standal, the movement of thought, since passions are permeated by rational principle. The writer stops before the study of mental states, only pointing to them. However, the actions of the heroes are always depicted by them in aggregate with reactions on them, and this gives an idea of \u200b\u200bthe infinite individuality of the intelligent and sensual experience of people.

The French realism of the XIX century takes place in its development two stages. The first stage is the formation and approval of realism as a leading direction in the literature (the end of the 20s - 40s) - represented by the creativity of Beranta, Merim, Standal, Balzac. The second (50-70s) is associated with the name of Flaubert - the heir to the realism of the Balzakovsky-Standalevsky type and the predecessor of the "naturalistic realism" of the School of School.

The history of realism in France begins with the song creativity Berance, which is quite natural and natural. The song is small and therefore the most mobile genre of literature, instantly reacting to all remarkable phenomena of modernity. During the formation of realism, the song is inferior to the Championship of the Social Roman. It is this genre, by virtue of its specificity, opens the writer rich opportunities for a wide image and an in-depth analysis of reality, allowing Balzak and stand to solve their main creative task - to capture the living appearance of the modern France in his creations in all its completeness and historical uniqueness. A more modest, but also a very significant place in the general hierarchy of realistic genres occupies the novel, the unsurpassed master of which in those years is rightfully considered to be Merim.

The formation of realism as a method occurs in the second half of the 20s, i.e., in the period when romance play a leading role in the literary process. Next to them in line with romanticism begin their writer's path to Merim, Standal, Balzac. All of them are close to the creative associations of romantics and are actively involved in the fight against classicists. It is the classicists of the first decades of the XIX century that taught the monarchist government of Bourbon, and in these years the main opponents of the emerging realistic art. Almost simultaneously published by the Manifesto of French Romantics - the preface to the Kromwell drama of the Hugo and the aesthetic treatise of Standal "Rasin and Shakespeare" have a common critical orientation, being two decisive blows of the classic art of the laws of classicist art. In these most important historical and literary documents and the Hugo and Standal, rejecting the aesthetics of classicism, tasty for the expansion of the image of the image in art, for the abolition of the forbidden scenes and those for the performance of life in its entirety and contradictions. At the same time, for both the highest example, to which the Great Master of the Renaissance Shakespeare is the great master of the era of the revival of Shakespeare. Finally, the first realists of France with romantics of the 20s brings together the community of socio-political orientation, which detected not only in the opposition to the Bourbon monarchy, but also in the progressive perception of bourgeois relations that approved in their eyes.

After the revolution of 1830, which was a significant milestone in the history of France, the paths of realists and romantics will disperse that, in particular, will be reflected in their controversy of the beginning of the 30s. His championship in the literary process romanticism will be forced to yield to realism as a direction that best meets the requirements of the new time. However, after 1830, the contacts of yesterday's allies to combat classicists will continue. Remaining faithful to the fundamental principles of its aesthetics, romance will successfully explore the experience of artistic discoveries of realists, supporting them in almost all the most important creative endeavors

Recents of the second half of the XIX century. They will reproach their predecessors in "residual romanticism", detected in Merim, for example, in its cult exotics (the so-called exotic novels of the type "Mateo Falcon", "Colomba" or "Carmen"). Standal - in the addiction to the image of bright individualities and exceptional passions for its strength ("Parm monastery", "Italian chronicles"), Balzac - in a taiga to adventure plots ("History of Thirteen") and the use of fiction techniques in philosophical standards and novel "Shagreen leather." The reproaches are not devoid of grounds. The fact is that between the French realism of the first period - and in this one of its specific features - and romanticism there is a complex "related" relationship, detected, in particular, inheritance characteristic of the romantic art of receptions and even individuals and motives (the topic of lost illusions, motive disappointment, etc.).

Note that at that time, the terms "Romanticism" and "Realism" still did not occur. Throughout the first half of the XIX century. Realists were almost invariably called romantics. Only in the 50s - after the death of Stendal and Balzak, the French writers of Chafflery and Duranti in special declarations were offered the term "realism". However, it is important to emphasize that the method, the theoretical substantiation of which they devoted many works, has already been significantly different from the method of Standal, Balzak, Merim, carrying the imprint of their historical origin and caused by them dialectical connection with the art of romanticism.

The meaning of romanticism as the forerunner of realistic art in France is difficult to overestimate. Romance was the first critics of the bourgeois society. It also owns the merit of the opening of a new type of hero who comes into confrontation with this society. A consistent, uncompromising criticism of bourgeois relations with high positions of humanism will be the strongest side of the French realists who expanded who have enriched their predecessors in this direction and, the main thing - the new, social character that attached antiburious criticism.

One of the most significant achievements of romantics by law is seen in their art of psychological analysis, in the opening of them of an inexhaustible depth and multiformity of an individual personality. This achievement of romance also served a considerable service of realists, having paving them the way to new altitudes in the knowledge of the inner world of man. Special discoveries in this direction were to be stopped, which, relying on the experience of the modern medicine (in particular, psychiatry), significantly clarifies the knowledge of the literature on the spiritual side of the human life and connects the individual psychology with his social being, and the inner world of a person will present in dynamics, in Evolution caused by the active impact on the identity of a multi-line environment in which this personality is.

Of particular importance in connection with the problem of literary continuity acquires the most important from the principles of romantic aesthetics - the principle of historicism. It is known that this principle involves the consideration of humanity of humanity as a continuous process, in which all its stages are dialectically interrelated, each of which has its own specifics. Its, named by romantics historical flavor, and were called upon to reveal the artists of the Words in their works. However, the principle of historicism among romantics formed in the fierce controversy with classicists had an idealistic foundation. It is fundamentally different filling around realists. Based on the opening of the school of modern historians (Tierry, Misha, Gizo), proven that the main engine of history is the struggle of classes, and the force, decisive outcome of this struggle, the people, revenues offered a new, materialistic reading of history. It was precisely this that stimulated their special interest both to the economic structures of society and to the social psychology of the broad masters. Finally, speaking about the complex transformation of open romantic principles of historicism in realistic art, it is necessary to emphasize that this principle is implemented by realists in the image of the recently past eras (which is typical for romantics), and the modern bourgeois reality shown in their works as a certain stage in historical Development of France.

The flourishing of French realism, represented by the work of Balzak, Standal and Merim, falls on the 1830-1840s. It was the period of the so-called July monarchy, when France, ending with feudalism, founds, according to Engels, "the pure domination of the bourgeoisie with such a classic clarity, as no other European country. And the struggle of the head of the proletariat against the dominant bourgeoisie also acts here in such an acute form, which is unknown to other countries. " "Classical clarity" of bourgeois relations, especially the "acute form" of antagonistic contradictions revealed in them and prepare the exceptional accuracy and depth of social analysis in the works of great realists. View sobriety on modern France is a characteristic feature of Balzac, Standal, Merim.

The Great Realists see their main task in the artistic reproduction of reality as it is, in the knowledge of the internal laws of this reality, determining its dialectics and a variety of forms. "The historian himself had to be French society, it remained only to be his secretary," says Balzac in the preface to the "human comedy", proclaiming the principle of objectivity in the approach to the image of reality to the most important principle of realistic art. But the objective reflection of the world as it is - in the understanding of realists of the first half of the XIX century. - Not a passive mirror reflection of this world. For sometimes, I notices the standal, "Nature is unusual spectacles, sublime contrasts; They can remain incomprehensible for a mirror that reproduces them unconsciously. " And, as if picking up the thought of Standal, Balzac continues: "The task of art is not to copy nature, but to express it!" A categorical rejection of plane empiricism (which will sow some realists of the second half of the XIX century) is one of the remarkable features of the classical realism of the 1830-1840s. That is why the most important from the installations is to recreate life in the forms of life itself - does not exclude for Balzak, standal, merimoma of such romantic techniques, like fantasy, grotesque, symbol, allegory, subordinates, however, the realistic basis of their works.

Realism of the second half of the XIX century, presented by the work of Flaubert, differs from the realism of the first stage. There is a final gap with a romantic tradition, officially declared in the novel "Madame Bovari" (1856). And although the main object of the image in art is still bourgeois reality, the scale and principles of its image are changing. On the replacement of the bright individualities of the heroes of the realistic novel of the 30-40s come ordinary, few noteworthy people. The multi-color world is truly Shakespeare Passion, cruel fights, heartbreaking drams, captured in the "human comedy" Balzak, works of standal and merima, is inferior to the "world of color of mold", the most noteworthy event in which marital treason is becoming a vulgar adulter.

The principal changes are noted, compared with the realism of the first stage, and the relationship between the artist with the world in which he lives and which is the object of its image. If Balzac, Standal, Merima showed a hot interest in the fate of this world and constantly, according to Balzak, "told the pulse of his era, they felt her diseases, observed her physiognomy," i.e. Felt themselves with artists deeply involved in the life of modernity, the Flaubert declares the principled detachment from the bourgeois reality unacceptable for him. However, an obsessed with a dream to break all the threads binding him with the "world of mold color", and hiding in the "ivory tower", to devote themselves to serving high art, Flaubert is almost fatally chained to his own modernity, staying her stringent analyst and objective judge. Rates it with realists of the first half of the XIX century. And the anti-bourgeois orientation of creativity.

It was the deep, beactic criticism of the antihuman and socially unfair fundamentals of the bourgeois system, who approved on the wreckage of the feudal monarchy, and is the main force of realism of the XIX century.

French art of the 18th century. Realistic direction in painting.

Against the sophisticated art of rokail, the art of salons and budov, "subordinate fantasy and whims of the persons of rich, bored, celebrating, the taste of which is also spoiled, like their owns," spoke in the 60-70s, representatives of bourgeois criticism led by Denis Didro. The piercing art of the aristocracy for its convention and the lack of naturalness, they demanded the creation of art, a truthfully reflective life, free from manners, not fearing ordinary. In contrast to the art of Rocail, the main task of which to deliver the pleasure of the spoiled feast of people, Didro and his supporters demanded the creation of an effective art that places their task not only to reproduce reality, but also the upbringing of a new person. In their opinion, in addition to truthfulness, art should have a deep content that has public importance should have a beneficial effect on society, to help a person in resolving major vital problems.

These views with the greatest completeness were developed by Didro in his "salons" - from 1759 reviews of art exhibitions in Louvre.

Jean Batist Simeon Charden. The bright contrast of the dominant aristocratic line of development of art is the work of the largest masters of the realism of the 18th century Jean Batista Simeon Sharden (1699-1779). The son of the Parisian craftsman-carpentry, he passed a learning from academic painters, but very soon broke with their work method - according to the samples of other masters and imagination. By this method, he opposed work from nature and its close study is the principle to which he remained faithful throughout his life. In 1728, Charden drew attention to the two still lifes, put on the Open-air Dauphin Square, where young artists could show their paintings. The success of his share allowed him to submit his work to the Academy. Here, his still-life received unanimous confession, and Charden was elected academician.

Natubort was a favorite genre of Sharden. This genre entered the fashion in the 18th century under the influence of the Dutch, whom he had echoed with the straightened literature to simplicity and naturalness. But in his still lifes, the French masters usually repelled not from the realistic foundations of Dutch art, but from his decorative elements. To this decorative still life, Chadin contrasted his simple, unassuming, deprived of any external effects of the picture. He wrote clay jugs, bottles, glasses, simple kitchenware, surrounded by fruits and vegetables, sometimes fish or bitu ditch. But in these ordinary items, he opened the striking wealth of colorful shades, which allowed him with an extraordinary force to express the material qualities of things. These advantages of painting Sharden immediately appreciated the Didro, who considered him the "first colorist" of the salon and, maybe one of the first colorists in painting. " "... how the air is moving around these items," Didro exclaims, "this is who understands the harmony of paints and reflexes." And indeed, Charden is one of the largest colorists in Western art.

Great painting occupies the most important place in the work of Sharden. It is devoted to the image of simple scenes of life of the French third class - small bourgeoisie and labor. From this environment, Charred himself came out and the connection with her did not break until the end of his days. For the first time in the art of the 18th century, the life of the third class is in the center of attention of the artist, who conveys it with a deep feeling. The plots of the genre paintings of Sharden are ordinary and simple, they are deprived of drama or narration. In most cases, this is an image of a peaceful homemade life: a mother with children reading a prayer in front of a modest meal ("Prayer before lunch", 1744, Hermitage); Bundochka, laundry, and a bubble bubble-like bubbles ("Booka", Ok. 1737, Hermitage), a boy, a diligent folding card house ("Card House", Louvre), are typical plots of paintings by the wizard. All in them naturally and simply and at the same time the great poetry is performed. The genre works of Sharden are completely devoid of literary and didactic trends, as well as sentimentality and the anecoticity inherent in similar works of most of its contemporaries. But just like Sharden in his still lifes opened the beauty of simple kitchen utensils, he managed to detect a whole world of human feelings under a modest appearance of everyday home scenes, which acquire genuine moral significance in his paintings. Sincerity and deep truthfulness are combined in these works of Sharden with artistry inherent in it, taste and exquisite pictorial-colorful skill. As well as still lifes, they are written softly and generalized, and their devoid of brightness color is built on the thinnest nuances of the computiated tones.

In the French art of the 18th century Charden was also one of the creators of a realistic portrait. The most beautiful portraits of the artist belong to his self portrait and a portrait of his wife, made by Pastel (Louvre, 1770s.).

The realistic art of Sharden immediately received support for advanced artistic criticism. Sharden Didro appreciated especially highly, in his "salons" repeatedly praised his paintings for the vital truthfulness and high picturesque advantages. However, not in all respects the art of Sharden satisfied new criticism. Now, when the arts demanded that it becomes, in the expression of Didro, the "school of morals, a dumb speaker, tolding us in virtues and sublime actions," those artists began to use a special success in whose work didactic features.

Jean Batist Dream. The head of the sentimentally moralizing flow in French art in the second half of the 18th century began Jean Batist Dream (1725-1805). The work of Guest, devoted to the main image of the life of small bourgeoisie, was marked by strong idealizing trends and are imbued with sentimental sensitivity. They are close in nature to the sentimental drama arising during this period - the literary genre in which Didro wrote.

Dream first among French artists became a preacher bourgeois morality than a largely explained the success of such works, as "Father of the family, explaining the Bible to his children," appeared in the Salon of 1755 (Paris, Private Assembly), or the "Rustic Bride" (Salon 1761, currently located in Louvre). In these paintings, the contemporaries of Guest were attracted and sensitive plots and sentimental praise of family virtues.

Highly appreciated the work of Guest and Didro. "Here is truly my artist is a dream," wrote Didro, analyzing the picture of the Guest "Paliartik" (Hermitage) in his "salon" of 1763. Didro admires this picture, as it is "moral painting", which is on a par with dramatic poetry, "we can touch, to teach, correct and encourage to virtue."

However, according to its artistic advantages, the work of Guest is inferior to Sharden's works. The compositions of his paintings are often artificial and theatrical, the type is uniformly idealized and deprived of genuine expressiveness, gestures of figures are appeared and repeated with similar situations, poses are spectacular and deliberate. Often conditioned and color of the paintings of Guest. But its numerous drawings have great advantages. This composite sketch or etudes of figures are usually made by an Italian pencil or sanguine, free by manner, alone and directly transmitting the model.

Along with the scenes of the small-bourgeois life, the dreams wrote portraits (portrait of a young man, 1750s., Hermitage), as well as idealized images of pretty girls, in which the sentimentality of the expression is often becoming unpleasant. However, it is precisely these so-called "heads" of Guest at one time enjoyed much popularity.

However, the art of Guest had only temporary success. The closer the moment of joining the bourgeoisie in the period of class battles was taken, the less time they could satisfy the sentimental paintings of Wick with their limited family life issues, especially since Guest's sentimentalism would usually imbued with erutics.

On the eve of the revolution of 1789, classicism comes to the change of Didactic domestic art.

Jean support Fragonar. In French art, the second half of the 18th century continues to live and the traditions of Rococo style, in which, however, now penetrate the realistic quest. The largest representative of this direction was Jean Onor Fragonar (1732-1806), a brilliant painter master and a thin colorist. Expensively fame used by Fragonar gallant scenes and images of parks.

While being a pensioner in Rome, Fragonar, together with the landscape of Gubert Robert, was fond of drawing by Roman villas. Together with the same Robert, Fragonar lives in the Saint Nona Ville d granted by him, Este in Tiber, surrounded by a picturesque fleet, located in the amazing in its beauty of the terrain. Here, Fragonar and Robert write a number of etudes and participate in the undressed Nona edition dedicated to Naples and Sicily, performing drawings for engraving.

In the image of love scenes, the fragonar develops even bolder than Bush, sensual and erotic elements. These notes sound especially strongly in such works as the "stolen shirt" (Louvre), "Swing" (London, Wallace Assembly), "Kiss Snoop" (Hermitage) and others. Rich fantasy, ease of writing, bold smear, brilliant craftsmanship is characteristic of Fragonard's creativity. Fragonar and work depicting scenes everyday, sometimes and folk life, such as "children of farmer" (Hermitage) and others. They are imbued with a warm feeling and differ in the vitality of images, great skill in the transmission of light, the fineness of the flavor and the free broad manner of the letter. They feel the study of the works of Dutch painters of the 17th century. The influence of the latter affects the brilliantly transmitted characteristic of things, interest in the image of animals. Like all the artists of his time, Fragonar was distinguished by a great versatility, wrote portraits, religious paintings, decorative panels, illustrated books, made miniatures.

The art of France, a very politicized country, invariably responded to events affecting the depths of the world order. Therefore, the country in the XIX century. The surviving fall of the empire, the restoration of Bourbon, the two revolutions participating in many wars ceased to need an artistic presentation of power. People wanted to see, and the masters create a canvas inhabited by contemporaries operating in real circumstances. Creativity of the great artist Onor House (1808 - 1879) reflected the era of the XIX century, rich in social shocks. Widespread fame, becoming a kind of chronicles of life and morals of the era, received graphics houses, masters of a political caricature, implacing the monarchy, social injustice, militarism. The picturesque talent houses revealed in the 1840s. The artist himself did not seek to put his paintings. Its canvases saw only a few close people - Delacroix and Baudelaire, Coro and Korotovy, Balzac and Misha. It was they who were the first to highly appreciated the picturesque talent of the house, which is often called "sculptural". In an effort to bring your creations to perfection, the artist often sculpted figures from clay, strengthening characteristic features or exaggerating natural proportions. Then he took a brush and, using this "kind of nature," created picturesque images. In painting, the houses usually allocate grotesko-satirical, lyrical, heroic, epic lines.