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In Russia, classicism originated in the 18th century, after the reforms of Peter I. Lomonosov carried out a reform of Russian verse, developed the theory of “three calms,” which was essentially an adaptation of French classical rules to the Russian language. The images in classicism are devoid of individual features, since they are designed primarily to capture stable generic characteristics that do not pass over time, acting as the embodiment of any social or spiritual forces. In Russia, classicism originated in the 18th century, after the reforms of Peter I. Lomonosov carried out a reform of Russian verse, developed the theory of “three calms,” which was essentially an adaptation of French classical rules to the Russian language. The images in classicism are devoid of individual features, since they are designed primarily to capture stable generic characteristics that do not pass over time, acting as the embodiment of any social or spiritual forces. Classicism in Russia developed under the great influence of the Enlightenment - the ideas of equality and justice have always been the focus of attention of Russian classic writers. Therefore, in Russian classicism, genres that require the author’s obligatory assessment of historical reality have received great development: comedy (D. I. Fonvizin), satire (A. D. Kantemir), fable (A. P. Sumarokov, I. I. Khemnitser), ode (Lomonosov, G. R. Derzhavin). V.L. Borovikovsky. Portrait of G.R. Derzhavin In connection with Rousseau’s proclaimed call for closeness to nature and naturalness, crisis phenomena were growing in classicism of the late 18th century; The absolutization of reason is replaced by the cult of tender feelings - sentimentalism. The transition from classicism to pre-romanticism was most clearly reflected in German literature of the era of Sturm and Drang, represented by the names of J. W. Goethe (1749-1832) and F. Schiller (1759-1805), who, following Rousseau, saw art as the main force of education person.
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Music Music of the classical period, or music of classicism, refers to the period in the development of European music approximately between 1730 and 1820. The concept of classicism in music is firmly associated with the work of Haydn, Mozart and Beethoven, called the Viennese classics and who determined the direction of further development of musical composition. The concept of "music of classicism" should not be confused with the concept of "classical music", which has a more general meaning as the music of the past
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Classicism in art
Performed:
Kudryavtseva Natalya
Teacher MBOU "Secondary School No. 4"
G. Kolpashevo
Municipal institution "Secondary school No. 4". Literature 9th grade. Classicism in art.
Contents 1. Introduction 2. Slide presentation on the topic “Classicism”, Literature 9th grade. 3. Conclusion 4. List of references Introduction Classicism - (from Latin classicus - exemplary), style and direction in literature and art 17 - early. 19th centuries, turning to the ancient heritage as the norm and ideal model. Classicism developed in the 17th century. in France. In the 18th century classicism was associated with the Enlightenment; Based on the ideas of philosophical rationalism, on ideas about the reasonable regularity of the world, about beautiful ennobled nature, he strove to express great social content, lofty heroic and moral ideals, and to the strict organization of logical, clear and harmonious images. In accordance with the sublime ethical ideas and educational program of art, the aesthetics of classicism established a hierarchy of genres - “high” (tragedy, epic, ode, history, mythology, religious painting, etc.) and “low” (comedy, satire, fable, genre painting, etc.) etc.). In literature (tragedies by P. Corneille, J. Racine, Voltaire, comedies by Molière, the poem "The Art of Poetry" and satires by N. Boileau, fables by J. Lafontaine, prose by F. La Rochefoucauld, J. Labruyère in France, works of the Weimar period by I. V. Goethe and F. Schiller in Germany, odes by M.V. Lomonosov and G.R. Derzhavin, tragedies by A.P. Sumarokov and Ya.B. Knyazhnin in Russia) the leading role is played by significant ethical conflicts and normative typified images. For theatrical art (Mondori, Duparc, M. Chanmele, A. L. Lequin, F. J. Talma, Rachel in France, F. K. Neuber in Germany, F. G. Volkov, I. A. Dmitrevsky in Russia) Characterized by a solemn, static structure of performances and measured reading of poetry. In the musical theater, heroism, normativity and elation of style, logical clarity of dramaturgy, the dominance of recitative (operas by J.B. Lully in France) or vocal virtuosity in arias (Italian opera seria), noble simplicity and sublimity (reform operas by C.V.) were established. Gluck in Austria). The architecture of classicism (J. Hardouin-Mansart, J. A. Gabriel, C. N. Ledoux in France, C. Wren in England, V. I. Bazhenov, M. F. Kazakov, A. N. Voronikhin, A. D. Zakharov, K.I. Rossi in Russia) are characterized by clarity and geometric shapes, logical layout, a combination of a smooth wall with an order and restrained decor. Fine arts (painters N. Poussin, C. Lorrain, J. L. David, J. O. D. Ingres, sculptors J. B. Pigalle, E. M. Falconet in France, sculptors G. Schadow in Germany, B. Thorvaldsen in Denmark, A. Canova in Italy, painters A.P. Losenko, G.I. Ugryumov, sculptors M.I. Kozlovsky, I.P. Martos in Russia) is distinguished by the logical development of the plot, clarity, and balance of composition. In literature (tragedies by P. Corneille, J. Racine, Voltaire, comedies by Molière, the poem "The Art of Poetry" and satires by N. Boileau, fables by J. Lafontaine, prose by F. La Rochefoucauld, J. Labruyère in France, works of the Weimar period by I. V. Goethe and F. Schiller in Germany, odes by M.V. Lomonosov and G.R. Derzhavin, tragedies by A.P. Sumarokov and Ya.B. Knyazhnin in Russia) the leading role is played by significant ethical conflicts and normative typified images. For theatrical art (Mondori, Duparc, M. Chanmele, A. L. Lequin, F. J. Talma, Rachel in France, F. K. Neuber in Germany, F. G. Volkov, I. A. Dmitrevsky in Russia) Characterized by a solemn, static structure of performances and measured reading of poetry. In the musical theater, heroism, normativity and elation of style, logical clarity of dramaturgy, the dominance of recitative (operas by J.B. Lully in France) or vocal virtuosity in arias (Italian opera seria), noble simplicity and sublimity (reform operas by C.V.) were established. Gluck in Austria). The architecture of classicism (J. Hardouin-Mansart, J. A. Gabriel, C. N. Ledoux in France, C. Wren in England, V. I. Bazhenov, M. F. Kazakov, A. N. Voronikhin, A. D. Zakharov, K.I. Rossi in Russia) are characterized by clarity and geometric shapes, logical layout, a combination of a smooth wall with an order and restrained decor. Fine arts (painters N. Poussin, C. Lorrain, J. L. David, J. O. D. Ingres, sculptors J. B. Pigalle, E. M. Falconet in France, sculptors G. Schadow in Germany, B. Thorvaldsen in Denmark, A. Canova in Italy, painters A. P. Losenko, G. I. Ugryumov, sculptors M. I. Kozlovsky, I. P. Martos in Russia) is distinguished by the logical development of the plot, clarity, and balance of composition. The practical significance lies in the fact that this material can be used as additional visual material in literature, history lessons, and extracurricular activities. Our media product on the topic “Classicism” will first of all help students learn the biographies of representatives of classicism, as well as get acquainted with their work. This will be a kind of creative gift for ninth graders. What is classicism? CLASSICISM (from the Latin classicus - exemplary), a style and direction in literature and art of the 17th - early 19th centuries, which turned to the ancient heritage as the norm and ideal model. Formed in the 17th century. in France. He strove to embody ideas about the rational laws of the world, about beautiful ennobled nature, and lofty heroic and moral ideals. The founder of classicism in musical theater was J.B. Lully (the creator of lyrical tragedy), features of classicism and baroque are combined in the genre of opera seria. The work of Voltaire, G.E. is associated with the enlightenment of classicism. Lessinga, I.V. Goethe and F. Schiller (1780 - 90s); in music - operas by K.V. Gluck; The art of the Viennese classical school became the pinnacle stage in the development of musical classicism. In Russia, classicism (which emerged in the last quarter of the 18th century) is represented by the poetry of M.V. Lomonosov, G.R. Derzhavin, satyrs by A.D. Kantemir, tragedies of A.P. Sumarokov and Ya.B. Princess; in Russian musical culture (in combination with other artistic movements) - the works of M.S. Berezovsky, D.S. Bortnyansky, E.I. Fomina and others. The normative aesthetics of classicism (a set of “rules” of poetics is given in N. Boileau’s “Poetic Art”) prescribed a strict hierarchy of genres (“high” - tragedy, epic, ode, historical, mythological, religious painting, and “low” - comedy, satire, fable, genre painting), unity of time, place and action (in drama), linguistic purism. Such great people as F. J. Haydn, W. A. Mozart, Ludwig van Beethoven created in this era. In Russia, classicism (which emerged in the last quarter of the 18th century) is represented by the poetry of M.V. Lomonosov, G.R. Derzhavin, satyrs by A.D. Kantemir, tragedies of A.P. Sumarokov and Ya.B. Princess; in Russian musical culture (in combination with other artistic movements) - the works of M.S. Berezovsky, D.S. Bortnyansky, E.I. Fomina and others. The normative aesthetics of classicism (a set of “rules” of poetics is given in N. Boileau’s “Poetic Art”) prescribed a strict hierarchy of genres (“high” - tragedy, epic, ode, historical, mythological, religious painting, and “low” - comedy, satire, fable, genre painting), unity of time, place and action (in drama), linguistic purism. Such great people as F. J. Haydn, W. A. Mozart, Ludwig van Beethoven created in this era. Classicism in Russian literature CLASSICISM is one of the most important trends in the art of the past, an artistic style based on normative aesthetics, requiring strict adherence to a number of rules, canons, and unities. The rules of classicism are of paramount importance as means to ensure the main goal of enlightening and instructing the public, turning them to sublime examples. The aesthetics of classicism reflected the desire to idealize reality, due to the refusal to depict a complex and multifaceted reality. Classicism establishes a strict hierarchy of genres, which are divided into high (ode, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined characteristics, the mixing of which is not allowed. The most important standards of classicism—the unity of action, place and time—follow from those substantive premises discussed above. In order to more accurately convey the idea to the viewer and inspire selfless feelings, the author should not have complicated anything. The main intrigue should be simple enough so as not to confuse the viewer and not deprive the picture of its integrity. The requirement for unity of time was closely linked to unity of action, and many different events did not occur in the tragedy. The unity of place has also been interpreted in different ways. This could be the space of one palace, one room, one city, and even the distance that the hero could cover within twenty-four hours. Particularly bold reformers decided to stretch the action for thirty hours. The tragedy must have five acts and be written in Alexandrian verse (iamb hexameter). The visible excites more than the story, But what the ear can tolerate, sometimes the eye cannot tolerate. (N. Boileau) The pinnacle of Russian classicism is the work of D.I. Fonvizin (“The Brigadier”, “The Minor”), the creator of a truly original national comedy, who laid the foundations of critical realism within this system. Classicism in Russia developed under the great influence of the Enlightenment, the ideas of equality and justice have always been the focus of attention of Russian classic writers. Therefore, in Russian classicism, genres that require the author’s obligatory assessment of historical reality have received great development: comedy (D. I. Fonvizin), satire (A. D. Kantemir), fable (A. P. Sumarokov, I. I. Khemnitser), ode (Lomonosov, G. R. Derzhavin). In connection with Rousseau’s proclaimed call for closeness to nature and naturalness, crisis phenomena were growing in classicism at the end of the 18th century; The absolutization of reason is replaced by the cult of tender feelings, sentimentalism. The transition from classicism to pre-romanticism was most clearly reflected in German literature of the era of Sturm und Drang, represented by the names of J. V. Goethe (1749-1832) and F. Schiller (1759-1805), who, following Rousseau, saw art as the main force for educating a person. D. I. Fonvizin G. R. Derzhavin
Classicism in music
Classicism in music Music of the period of classicism, or music of classicism, refers to the period in the development of European music approximately between 1730 and 1820. The concept of classicism in music is firmly associated with the work of Haydn, Mozart and Beethoven, called the Viennese classics and who determined the direction of further development of musical composition. The concept of "music of classicism" should not be confused with the concept of "classical music", which has a more general meaning as the music of the past that has stood the test of time. The aesthetics of classicism was based on the belief in the rationality and harmony of the world order, which was manifested in attention to the balance of parts of the work, careful finishing of details, and the development of the basic canons of musical form. It was during this period that the sonata form was finally formed, based on the development and opposition of two contrasting themes, and the classical composition of the sonata and symphony movements was determined. During the period of classicism, a string quartet consisting of two violins, a viola and a cello appeared, and the composition of the orchestra expanded significantly. Wolfgang Amadeus Mozart Haydn's art had a tremendous impact on the formation of Mozart's symphonic and chamber style. Based on his achievements in the field of sonata-symphonic music, Mozart introduced many new, interesting, and original things. The entire history of art does not know a more striking personality than him. Mozart had a phenomenal memory and hearing, had brilliant skills as an improviser, played the violin and organ beautifully, and no one could challenge his primacy as a harpsichordist. He was the most popular, the most recognized, the most beloved musician in Vienna. His operas are of great artistic value. For two centuries now, The Marriage of Figaro and Don Giovanni have enjoyed success, striking with their charmingly elegant melody, simplicity, and luxurious harmony. And “The Magic Flute” went down in the history of music as Mozart’s “swan song”, as a work that most fully and vividly reveals his worldview, his cherished thoughts, as an epilogue to his whole life, as a kind of grandiose artistic testament. Mozart's art is perfect in skill and absolutely natural. He gave us wisdom, joy, light and goodness. Ludwig van Beethoven Beethoven became famous as the greatest symphonist. His art is permeated with the pathos of struggle. It implemented the advanced ideas of the Enlightenment, which established the rights and dignity of the human person. He owned nine symphonies, a number of symphonic overtures (Egmont, Coriolanus), and thirty-two piano sonatas formed an era in piano music. The world of Beethoven's images is diverse. His hero is not only brave and passionate, he is endowed with a finely developed intellect. He is a fighter and a thinker. In Beethoven's music, life in all its diversity - violent passions and detached daydreaming, dramatic pathos and lyrical confession, pictures of nature and scenes of everyday life. Completing the era of classicism, Beethoven simultaneously opened the way for the coming century. Joseph Haydn Haydn is called the founder of classical instrumental music, the founder of the modern symphony orchestra and the father of the symphony. He established the laws of the classical symphony: he gave it a harmonious, complete look, determined the order of their arrangement, which has been preserved in its main features to this day. The classical symphony has a four-digit cycle. The first part goes at a fast pace and most often sounds energetic and excited. The second part is slow. Her music conveys the lyrical mood of a person. The third movement – minuet – is one of the favorite dances of Haydn’s era. The fourth part is the finale. This is the result of the entire cycle, a conclusion from everything that was shown, thought out, felt in the previous parts. The music of the finale is usually directed upward; it is life-affirming, solemn, and victorious. In the classical symphony an ideal form has been found that can contain very deep content. In Haydn's work, the type of classical three-movement sonata is also established. The composer's works are characterized by beauty, order, subtle and noble simplicity. His music is very bright, light, mostly in major key, full of cheerfulness, wonderful earthly joy and inexhaustible humor. Classicism in Classicism in painting Classicism in European painting Classicism is an artistic style in European art of the 17th–early 19th centuries, one of the most important features of which was the appeal to the forms of ancient art as an ideal aesthetic and ethical standard. Classicism, which developed in intensely polemical interaction with the Baroque, formed into an integral stylistic system in the French artistic culture of the 17th century. The principles of rationalistic philosophy underlying classicism determined the view of theorists and practitioners of the classical style on a work of art as the fruit of reason and logic, triumphing over the chaos and fluidity of sensory life. Orientation towards a rational principle, towards enduring patterns determined the firm normativity of ethical requirements (subordination of the personal to the general, passions - reason, duty, the laws of the universe) and the aesthetic demands of classicism, the regulation of artistic rules; The consolidation of the theoretical doctrines of classicism was facilitated by the activities of the Royal Academies founded in Paris - painting and sculpture (1648) and architecture (1671). Greuze Jean Baptiste Greuze Jean Baptiste (1725–1805), French painter. Born August 21, 1725 in Tournus, Burgundy. Between 1745 and 1750 he studied in Lyon with C. Grandon, then at the Royal Academy of Painting and Sculpture in Paris. In 1755–1756 he visited Italy. The head of the sentimental-moralizing trend in French painting in the second half of the 18th century, Greuze shared the opinion of the enlighteners about art as an active means of educating morals. In his genre paintings (“The Paralytic, or the Fruits of a Good Education,” 1763, State Hermitage Museum, St. Petersburg), Greuze glorified the virtues of the third estate, which initially aroused the energetic support of the philosopher Diderot. The works of the artist Jean Baptiste Greuze are characterized by a combination of sensitivity with exaggerated pathos, idealization of nature, and sometimes quite a well-known sweetness (especially in the numerous images of children's and women's heads). "White Hat" 1780, Boston Museum of Art “Vow of Fidelity to Eros” 1767, Wallace Collection London David Jacques-Louis David Jacques-Louis, French painter. Born on August 30, 1748 in Paris. From 1766 to 1774 he studied at the Royal Academy of Painting and Sculpture with the historical painter Joseph-Marie Vien, and in 1775–1780 he studied ancient art in Rome. In the 1780–1790s, Jacques Louis David became the founder and recognized leader of the so-called revolutionary classicism - a movement in French art of the late 18th century, which adopted the cult of reason and natural feeling from the rationalist educational philosophy of the 18th century, putting forward a new type of artist-fighter, designed to educate the viewer has high moral qualities and civic virtues. "Belisarius" 1781 Museum of Fine Arts, Lille “Oath of the Horatii” 1784 Louvre Museum, Paris Canaletto Antonio Canaletto Giovanni Antonio (1697-1768). Italian painter of the Classical era and etcher. Actually, the real name is Canal. Born October 28, 1697. He studied with his father, theater artist Bernardo Canal. He worked mainly in Venice, but also in Rome (1719-1720 and around 1740) and London (1745-1755). A master of the architectural veduta landscape, Canaletto painted panoramic views of Venice and other cities, filling them with colorful images of city life. Canaletto's vedutas were valued on a par with the works of the recognized master of this genre, Karlevaris. But the painter Canaletto, unlike Karlevaris, magically filled his works with colorful vibrant life and amazing light. The documentary accuracy of the drawing and the perfection of perspective construction are combined in his works with the elegance and freshness of the color scheme, light-air effects, and the elegant spectacle of the compositional solution (“The Stonemason’s Court,” circa 1730, National Gallery, London; “The Departure of the Venetian Doge for Betrothal to the Adriatic Sea,” 1740s, State Museum of Fine Arts, Moscow; “Portic of the Palace”, 1765, Academy Gallery, Venice; “Old Walton Bridge”, 1754). Canaletto’s landscape etchings (“Veduta”) are marked by subtle observation and ease of light and shadow gradations. "The Thames and the Houses of the Suburb of Richmond" 1747 Private collection “The Grand Canal and the Cathedral of Santa Maria della Salute” 1730 Museum of Fine Arts, Houston "Piazza San Marco" 1730 Classicism in Russian art Classicism as a movement in art arose in Russia and other countries on a political basis. It arose during the strengthening of absolutism and was supposed to serve its strengthening and glorification. Mature educational classicism was established in Russia in the second half of the 18th century. At this time, historical painting and ceremonial portraits occupied one of the leading places. A large series of portraits was created by the largest painter of the second half of the 18th century, Dmitry Grigorievich Levitsky. He was a wonderful colorist. His portraits are always subtly harmonized in color, and the artist often resorts to very intense tones (juicy crimson velvet, white satin, blue moiré), collected in a single color scheme. Dmitry Levitsky Ukrainian by origin. Along with F. S. Rokotov and V. L. Borovikovsky, he is one of the largest Russian portrait painters of the 18th century. The father of the future master, Grigory Kirillovich Nos (who changed his surname to “Levitsky”), is a priest of the village of Mayachka (Poltava region of Ukraine) and one of the outstanding engravers of the Ukrainian Baroque [his illustrations for the “Apostle” and “Gospel” (both editions - 1737) and others are known religious and secular compositions, including engraved portraits] - was also the first teacher of Dmitry’s son. Arriving in St. Petersburg around 1758, Levitsky Jr. studied with A.P. Antropov. In his youth he painted icons; in 1762, as an apprentice under Antropov, he participated in the decorative and pictorial decoration of Moscow on the occasion of the coronation of Catherine II. Portrait of Suvorov Portrait of the architect A.F. Kokorinov Portrait of E. I. Nelidova (pupil of the Empress of the Educational Society for Noble Maidens) Aivazovsky Ivan Aivazovsky Ivan Konstantinovich (Ivan Aivazovsky), 1817–1900, Russian artist. Born in Feodosia on July 17 (29), 1817 in the family of an Armenian businessman. He studied at the St. Petersburg Academy of Arts under M.N. Vorobyov (1833–1839). He worked in Crimea, Italy, and also visited France, England and a number of other countries. He loved to travel, but from 1845 he worked mainly in his hometown. Experienced the special influence of the French Marina of classicism. By getting rid of too sharp contrasts of classicist composition, Aivazovsky eventually achieves genuine pictorial freedom. Bravno - the catastrophic “The Ninth Wave” (1850, Russian Museum, St. Petersburg), where the impression of a “boundless” sea space is achieved, can serve as the result of his early period. In his most textbook and rightfully especially popular paintings (such as “The Black Sea”, 1881, etc.), Aivazovsky, like no one else, was able to show the living, permeated with light, ever-moving water element. A painter of the Main Naval Staff (since 1844), Aivazovsky took part in a number of military campaigns (including the Crimean War of 1853–1856), creating many pathetic battle paintings (Chesme Battle, 1848, Feodosia Art Gallery). Although he painted many “purely earthly” landscapes, among which Ukrainian and Caucasian views stand out, it is the sea that usually appears in his works as the universal basis of nature and history, especially in scenes with the creation of the world and the flood. “Portrait of the artist’s wife Anna Burnazyan” 1882 "Ice Mountains" 1870 "The Ninth Wave" 1850 Bogaevsky Konstantin Bogaevsky Konstantin Fedorovich (12.1.1872, Feodosia, - 17.2.1943, ibid.), - Russian landscape artist, painter and graphic artist, creator of the original epic-romantic style of landscape in the eastern part of Crimea - Cimmeria. In 1890, Bogaevsky entered the Academy of Arts, where he worked in the workshop of Arkhip Kuindzhi. In the spring of 1898, Bogaevsky traveled to Italy, where he became acquainted with the paintings of Claude Lorrain, who became his another teacher. And during his second visit to Italy in 1909, he was influenced by Andrea Montegni and Nicolas Poussin. "Italian Landscape" 1911 "Morning" 1910 Tretyakov Gallery, Moscow "Seashore" 1907 Tretyakov Gallery, Moscow Classicism is a style and direction in art and literature of the 17th - early 19th centuries, which marked a return to the ancient heritage as the norm and ideal model. This direction is characterized by rationalism, normativity, a tendency towards harmony, clarity and simplicity of expression, balance of composition and at the same time a certain amount of schematization and idealization in works of art, which was expressed, for example, in the hierarchy of “high” and “low” styles in literature , the requirement of “three unities” - time, place and action - in drama, emphasized purism in the field of language, etc. Under the influence of the rationalistic philosophy of the great French thinker Rene Descartes, the principles of classicism are established in all types of art. The main aesthetic postulate of classicism is fidelity to nature, the natural rationality of the world with its objectively inherent beauty, which is expressed in symmetry, proportion, measure, harmony, which must be recreated in art in perfect form. By the middle of the 19th century. classicism, lagging behind the development of public aesthetic feeling, degenerated into lifeless academicism.
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Art movements Art movements
Classicism Classicism is a European cultural and aesthetic movement, guided by ancient literature and mythology. Horse Tamer Klodt. Anichkov Bridge.
Classicism Classicism developed in France in the 17th century in connection with the beginning of the era of absolute monarchy. The word comes from the Latin name, which means “exemplary.” The classicists imitated the ancient Greeks and Romans
Classicism in art painting
Principles of classicism The main theme is the conflict of personal and civil interests, feelings and duty. The highest dignity of a person is the fulfillment of duty, service to the state idea. Following antiquity as a model. Imitation of “decorated” nature.
Principles of classicism 5. The basis of everything is reason. Only what is reasonable is beautiful. 6. The main category is beauty. 7. The main task is to strengthen the absolute monarchy, the monarch is the embodiment of reason.
Classicism in painting Painting by Jacques Louis David “The Oath of the Horatii”
Classicism in Lysenko’s painting “Hector’s Farewell to Andromache”
Versailles Versailles, the residence of the French kings, was proud of its park, designed by Andre Le Nôtre.
Landscape art. Versailles. Nature took on strictly geometric forms in it, prescribed to it by the human mind.
Landscape art. Versailles. The park was distinguished by the clear symmetry of alleys and ponds, strict rows of trimmed trees and flower beds, and the solemn dignity of the statues located in it.
The park was distinguished by the solemn dignity of the statues located in it. Landscape art. Versailles.
Classicism in Russian architecture
Samson tearing the mouth of a lion Ancient hero, his beauty, patriotic themes, glorification of the monarch
A.D. Zakharov Admiralty
Exchange and Spit on the Neva (Peter and Paul Fortress - Spit of Vasilievsky Island - Palace Embankment)
Rostral column Rostra - an architectural decoration in the form of the bow of an ancient ship
A.N. Voronikhin. Kazan Cathedral 1801-1811 – construction of the Kazan Cathedral. The Kazan Cathedral in St. Petersburg was consecrated on September 27, 1811.
K.A.Ton Cathedral of Christ the Savior
Resources http://i054.radikal.ru/1003/ba/c348e3d4be99.jp http://de.trinixy.ru/pics4/20100628/saint_petersburg_38.jpg http://turometr.s3.amazonaws.com/images/gallery /02/03/76/2010/10/30/6dc68e__61c0f80984_600.jpg
On the topic: methodological developments, presentations and notes
Educational film "Classicism in the palace interior. Enfilade of the Alexander Palace."
At the end of 2009, the Alexander Palace regained the status of a museum and restoration work began. And in 2010, the first three main halls: Semicircular, Portrait and Marble Living Room...
Presentation for a literature lesson in 9th grade "Classicism"
This presentation can be used when studying the topic "Classicism" in a literature lesson in 9th grade...
Presentation Classicism as a literary movement
On this page you will find a presentation that outlines in great detail the features and main distinguishing features of such a literary movement as classicism, the features of the Russian class...
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The presentation on the topic "Classicism" can be downloaded absolutely free on our website. Project subject: MHC. Colorful slides and illustrations will help you engage your classmates or audience. To view the content, use the player, or if you want to download the report, click on the corresponding text under the player. The presentation contains 17 slide(s).
Presentation slides
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Classicism is a style in the art of the 17th – early 19th centuries. The very concept of “classicism” translated from Latin means “exemplary”. Features: - appeal to ancient culture as a model; - declaration of the idea of a perfect society; - the advantage of duty over feeling; - exaltation of reason and rationality; - subordination of a person to the state system.
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The concept of the classicism style in architecture is rationality, constructiveness, materiality, distinguished with the help of clear rhythms and soft plastic combinations. The laws of beauty are determined by the means of reason. In architecture, these are the means of mathematics and geometry. One becomes fully convinced of the enduring value of ancient art, that all the laws of beauty have already been found, and in order to understand these laws, one turns to ancient architecture.
Antique orders and ornaments are widely used. Creative borrowing of forms, compositions and examples of art from the ancient world returns the columned portico, which is the dominant compositional part of the building, to the architecture. The façade is completed on both sides by projections or small porticos. This technique not only emphasizes the grandeur and dominance of the main portico, but also helps to perceive the building as a plastic whole, asserting itself in the surrounding space.
Jacques-Germain Soufflot Pantheon. 1790 Paris
Architecture
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A remarkable monument of this style in France is the ensemble of the royal palace at Versailles. It was built in several stages, starting from the first half of the 17th century, and it was completed in 1679. The architect Mansar gave the palace a strict, solemn appearance.
Distinguished by its particular clarity, symmetry and constructiveness, the plan of Versailles includes an extended main palace; two front yards; one-story Grand Trianon palace; three avenues radiating from the main palace; alleys; swimming pools; channels; fountains. The center of the entire architectural layout of Versailles is the royal palace. Enfilades of luxurious state rooms lead to the apartments of the king or queen.
Thought out to the smallest detail, the rationally organized ensemble is an example of an ideal state, built according to the laws of reason and harmony.
Slide 5
From the palace the terraces of the Versailles Park go down and the alleys move away towards the Grand Canal. The plan of the park is strict and geometric, wide spaces are easily visible. The composition is based on straight lines, regular planes of lawns and ponds. The complete subordination of nature to the will and mind of man, reflected in the layout of the park, is fully consistent with the concept of classicism: not everything in nature is beautiful, but only what is natural, unchanging, and stable.
Fountains, sculptural groups, relief compositions complete the decoration of this most wonderful French, so-called “regular” park, which served as a model of landscape art for all of Europe
Slide 6
An example of mature French classicism of the 17th century. is the Louvre - a royal palace in Paris. Stretching 173 m in length, decorated on two floors with a massive colonnade and risalits protruding in the middle and at the corners of the façade in the form of classical porticoes, it gives the impression of power and stern grandeur, expressing the idea of the inviolability of law and order.
Slide 7
In the middle of the 18th century. classicism in France is experiencing its rebirth. The surge of increased interest in antiquity is reinforced by the discovery of remarkable monuments of artistic culture during excavations of the ancient cities of Pompeii and Herculaneum, which were once buried during a volcanic eruption. A prominent representative of the “new” classicism in architecture is Jacques-Anji Gabriel.
Tall columns of the Corinthian order, placed on the plinth, unite the two floors. The building has a flat roof ending in a balustrade. Strict harmony and simplicity are combined in it with a feeling of calm dignity.
His views on classicism found expression in the Petit Trianon, the country palace of the French king in Versailles, which rather resembled a small mansion.
Slide 8
The square, rectangular in plan, is connected to the city by the rays of three alleys. It is surrounded on two sides by the green areas of the Tuileries Gardens and the Champs Elysees, and on the third by the river. The ensemble is closed by two buildings, with wings covering the square on the fourth side.
New urban planning tasks put forward by time are also embodied in Gabriel’s work. The Place de la Concorde, planned by him, represents the triumph of a single, clearly organized space of the urban environment.
Slide 9
The composition of the square receives its final completion in the Empire period, i.e. mature classicism, thanks to the construction of the Madeleine Church (architect Pierre Vignon, 1806).
Classicism in its last stage takes on massive, heavy forms. Large planes of the walls are contrasted with decorative finishing elements. In the Church of the Madeleine we again see the monumental forms of the ancient peripterus.
Slide 10
Slide 11
Appeal to the ideals of ancient art brings something new to the understanding of the image of an ideal person, as well as clarity, simplicity, and proportionality to his clothing. Initially, Parisian fashionistas and fashionistas tried to accurately copy antique clothes. Men wore a short tunic that reached to the knees and was held at the waist by a belt, a cloak was put on over the tunic, and they also wore sandals with ribbons tied around the legs. Women wore a long, light tunic cut at the sides, tied under the chest with a belt and beautifully draped. With her entire appearance, the woman was supposed to resemble a marble sculpture. That is why clothes were worn exclusively in white. Powder came into fashion in large quantities, with which fashionistas covered not only their faces, but also their necks, chests, backs, and arms.
Jacques-Louis David Portrait of Madame Verninak. 1977
Slide 12
As the style develops, the costume ceases to be an exact reproduction of the ancient one. The need to adapt to the climate of Western Europe required the return of sleeves and a blind collar. Long dresses are made from one-color, usually white, fabric with embroidery along the lower edge of a somewhat shortened skirt. The straight cut gives the dress a cylindrical shape, but now it is decorated with numerous bows and frills. It is also characterized by a very high waist and a fluffy collar that covers the neck. In men's fashion, ancient traditions no longer manifest themselves, but the principles of classicism - rationalism, rigor, functionality and efficiency - are fully inherent in men's clothing of this period.
Slide 13
Comfortable and varied furniture dates back to the examples of Ancient Greece and Rome. Compared to the furniture of the previous style, it is simple and calm, has a solemn and cold appearance. The silhouette of the furniture is dominated by straight lines, the proportions are expressive and harmonious. The laconic decor goes back to ancient ornamental motifs: acanthus leaves, meander, oak and laurel garlands, legs covered with flutes.
The solid heaviness of the forms is emphasized by the legs tapering downwards in the form of thin columns, decorated with a capital on top. The armrests of the chairs also have a straight shape and rest on volutes with acanthus sheet. Seating furniture is distinguished by its particularly fine lines and soft outlines.
Slide 14
The artists and sculptors of classicism are not interested in the specific character of a person, filled with individual originality, but in a typical, generalized image. The indispensable conditions for works of painting and sculpture, as well as architecture, remain symmetry, harmony, and a mood of elation. The main subjects are mythological scenes. The attention of artists is focused on outstanding personalities of history and ideal mythological heroes. Masters of the realistic movement, developing within the framework of classicism, observe everyday life full of contradictions.
Painting and sculpture
Slide 15
Nicolas Poussin (1594 - 1bb5), who is the trendsetter of this style of painting, depicts scenes from ancient mythology, ancient history, and scenes from the Bible with extraordinary power of feeling. Using their example, the artist reveals the possibilities of education and self-improvement of a modern person. His works are full of citizenship and high moral impulse. As befits the painting of classicism, these works carry the idea of majestic calm, sublime poise, and presence of mind.
Arcadian shepherds. 1638-1639.
Inspired by the art of Antiquity and the Renaissance, the artist depicts an ideal hero who does not lose self-control, self-confidence, and readiness for heroism in any test.
Slide 16
Claude Lorrain (real name Claude Jelle) is an artist who managed to open a new page in the genre of idyllic landscape. Despite all the typicality of the compositional techniques used, characteristic of landscape painting of classicism, the artist managed to breathe new life into the old classicist scheme, which led to the renewal of the genre in the 19th century. Lorrain managed to create paintings filled with amazing picturesque charm, in which, with some theatricality characteristic of the works of classicism, one can feel the living breath of nature and the air.
Landscape with the nymph Egeria mourning Numa Pompilius. 1669 g
Classicism (from Latin classicus - exemplary) is the artistic style of European art of the 17th-19th centuries, one of the most important features of which was the appeal to ancient art as the highest example and reliance on the traditions of the High Renaissance. (from Latin classicus - exemplary) - the artistic style of European art of the 17th-19th centuries, one of the most important features of which was the appeal to ancient art as the highest example and reliance on the traditions of the High Renaissance. Bordeaux The city is famous for its ensembles of squares in the style of classicism (XVIII century)
M.F.Kazakov. Petrovsky Palace Russian classicism is one of the brightest pages in the history of world architecture.
V.I. Bazhenov. Pashkov house - 1788
O. Montferrand. St. Isaac's Cathedral - 1830
A.N. Voronikhin. Kazan Cathedral - 1811 And the Kazan Cathedral spread its hands. Embracing the blue evening... I. Demyanov.
Classicism in sculpture Fidelity to the ancient image. Heroic and idyllic compositions. Heroic and idyllic compositions. Idealization of military valor and wisdom of statesmen. Idealization of military valor and wisdom of statesmen. Public monuments. Public monuments. Contradiction with accepted moral standards. Contradiction with accepted moral standards. Absence of sudden movements, external manifestations of emotions such as anger. Absence of sudden movements, external manifestations of emotions such as anger. Simplicity, harmony, consistency of the composition of the work. Simplicity, harmony, consistency of the composition of the work.
Classicism in painting Interest in the art of ancient Greece and Rome. Systematization and consolidation of the achievements of the great artists of the Renaissance. Systematization and consolidation of the achievements of the great artists of the Renaissance. A meticulous study of the heritage of Raphael and Michelangelo, imitating their mastery of line and composition. A meticulous study of the heritage of Raphael and Michelangelo, imitating their mastery of line and composition. Simplicity, harmony, consistency of the composition of the work. Simplicity, harmony, consistency of the composition of the work. Social, civil issues. Social, civil issues. The main characters are kings, generals, statesmen. The main characters are kings, generals, statesmen. Support of classicism through funding of academic institutions. Support of classicism through funding of academic institutions.
