How art is connected with power examples. Art and power: their influence on each other and interaction
An interesting pattern is constantly observed. Art as a manifestation of the free, creative powers of a person, the flight of his imagination and spirit was often used to strengthen power, both secular and religious.
Thanks to works of art, power strengthened its authority, and cities and states maintained prestige. Art embodied in visible images the ideas of religion, glorified and immortalized the heroes. Sculptors, painters, musicians in different times created idealized majestic images of rulers-leaders. They were given extraordinary qualities, special heroism and wisdom, which, of course, aroused respect and admiration in the hearts ordinary people. Traditions coming from ancient times are clearly manifested in these images - the worship of idols, deities that caused awe not only for everyone approaching them, but also for those who looked from afar. The valor of warriors and commanders is perpetuated by works of monumental art. Equestrian statues are being erected, triumphal arches and columns to commemorate the victories won.
What qualities do artists, sculptors emphasize in the images of statesmen, rulers of different eras andcountries ? Whichfeelings cause these images in you?
What are the similarities and differences between these images? What are the common (typical) features that symbolize power.
By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. On the walls of the arch are engraved the names of the generals who fought alongside the emperor.
In the XVIII century. a new chapter has opened Russian history. Peter I, according to the apt expression of Pushkin, "cut a window to Europe" - St. Petersburg was founded.
New ideas are reflected in all kinds of art. Secular painting and sculpture appeared, music changed to a European style. The choir of the sovereign's choristers has now been transferred to St. Petersburg and is becoming the Court Singing Chapel (often Peter I himself sang in this choir). The arts proclaim praise to the Lord and toast to the young tsar of all Rus'.
Now Choir chapel named after M. I. Glinka is a majestic monument of Russian culture, famous throughout the world. The chapel helps to maintain the connection of times and the continuity of traditions.
In the twentieth century, in the era of Stalinism in our country, pompous, magnificent architecture emphasized the strength and power of the state, reducing the human personality to an insignificantly small level, ignoring the individual originality of each person. The soulless mechanism of state coercion highlights the grotesque beginning in music (D. Shostakovich, A. Schnittke and others).
The democratic sentiments of the people find especially vivid expression in art at turning points in history. These are revolutionary songs, marches during the October Revolution in Russia (1917), posters, paintings, musical compositions from the Great Patriotic War (1941-1945). This is both a mass song, reflecting the labor enthusiasm of the post-war years, and an author's song of the second half of the 20th century. (a kind of urban folklore), expressing not only lyrical moods younger generation, but also a protest against the restriction of individual freedom, which was especially pronounced in rock music.
Give examples of historical eras with authoritarian and democratic rule.
Select works of art that reflect the ideas of thesestates . Talk to reference literature.
Look at paintings, fragments from films, listen to musical works that express the ideals of the people at different times in different countries. What can you say about their social ideals?
By what means and for what purpose does art influence people today?
Artistic and creative task
Prepare a report orcomputer presentation on a topic related to the suggestion to the people of certain feelings and thoughts by means of art. Analyze different works of art of the same art form in different eras or choose an era and use the works of various types of art to present its holistic image.
Throughout the history of civilization, one interesting and quite natural connection can be traced - the interaction of art and power. It would seem, how can two completely different spheres of human activity influence each other? But nevertheless, when considering such categories as art and power, it becomes obvious that they are much closer than it is seen initially. Both of them affect the will and emotions of a person, changing them and subordinating them to a specific goal.
How art influences power
In order to understand the nature of the interaction between the political system and creativity, it is necessary to know what they are.
Power is the ability and ability to exert a certain influence on the behavior and activities of people using a set of certain means.
Art is the most important part of cultural life, a kind of spiritual and practical development of the world and the relationships in it.
Art is the embodiment of a flight of fancy, a manifestation of freedom and the creative spirit of man. However, it was often used by those in power to achieve certain political and religious goals. How was it done? The bottom line is that both art and power are capable of capturing the minds of the people and imposing a certain line of behavior on them. Thanks to the works prominent sculptors, poets and artists, leaders of countries strengthened their authority by belittling opponents, and different cities maintained their fame and prestige.
Art makes it possible to translate rituals and religious symbols into reality, to create ideal and majestic images of rulers. They were endowed with extraordinary qualities, wisdom and heroism, which undoubtedly aroused the admiration and respect of citizens.
Thus, one should not underestimate the influence of power on art, which became an excellent tool in establishing a certain political regime. Unfortunately, often the common people became a victim of deception, which was achieved through the works of poets and writers.
Art and power in antiquity
If we consider the interaction of these two industries social life, it becomes obvious that many centuries ago it was a very important tool for influencing people. Especially strongly art and power depended on each other in the ancient superpowers. Thus, the Roman Empire during its heyday is famous for its sculptures depicting emperors and generals. We see their perfect physique, classic features, filled with courage and courage, and involuntarily imbued with respect for them. What can we say about their contemporaries?
Very interesting intertwined art and power in Ancient Egypt. He endowed the pharaohs with the power of mythical creatures. Often they were depicted with a human body and the head of an animal. This emphasized their divine power.
Middle Ages
If we consider art and power in more late period, significant changes can be observed. The techniques of sculptors, painters and poets became more sophisticated as it became increasingly difficult to influence. Now writers, commissioned by the royal administration, created ornate poems in which they described the exploits and majestic deeds of the ruling persons. The art of those times gave mankind many outstanding artifacts. So, Napoleon I, seeking to perpetuate the strength and power of his army, ordered the creation in the center of Paris, which has been perfectly preserved to this day.
The relationship between power and art in our country
The history of the interaction of these categories in Russia dates back to the 15th century. At this time, Byzantium, which was the heiress of Ancient Rome, fell under the onslaught of the barbarians. Moscow became the cultural and Orthodox center of Eurasia. Our state experienced rapid geographical and economic growth, which required the creation of an appropriate image. kings became a haven for outstanding culturally educated and religious figures. They included talented icon painters, architects, musicians and builders.
The relevance of the influence of art on power today
Of course, everything has changed in the modern world, but the topic being described (power and art) remains very important and relevant. The interconnection of these branches of activity is especially strong during periods of significant political and socio-economic changes. Now there is practically no censorship, which means that any person who seeks to express his thoughts and ideas through art can do this without fear of being punished. This is a very important breakthrough regarding the freedom of creativity and spirit.
How does art influence power in our time? Now these two concepts are very far apart from each other, as people can get reliable and complete information about the internal and foreign policy of their state, as well as openly express their opinion. It is no longer necessary to influence the minds of the population with the help of beautiful poems and sculptures in order to strengthen authority.
Exhibitions on the topic of the influence of power on art
Periodically, exhibitions are held in different cities highlighting this problem. They are of great interest to those who are fond of history and political science. Not so long ago, a similar exhibition was held in a Swedish museum. It bore the symbolic name "Art for rulers". It was possible to see more than 100 expositions with the participation of 400 exhibits from different eras.
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Introduction
1. Antiquity
1.1 Art and power of ancient Egypt
1.2 Art and power of antiquity. Ancient Greece and Ancient Rome
1.3 Art and power of Byzantium
2. Medieval
2.1 Art and power of France (XI-XIV centuries)
3. Renaissance period
3.1 Art and power of Italy (XIV-XVI centuries)
3.2 The art and power of Spain (XV-XVII centuries)
4. New time
4.1 Art and power of France (XVIII centuries)
4.2 Art and power in Russia (XIX centuries)
5. Power and art Soviet period Russia (XX centuries)
6. Power and art in our time
Conclusion
Bibliography
Introduction
In development human art there is a certain pattern. Art was often used to enhance power. Through art, power strengthens its authority, and states and cities maintain their prestige.
Works of art embody the ideas of religion, the perpetuation and glorification of heroes. Musicians, artists, sculptors and architects in their time made majestic images of their rulers. They gave them extraordinary qualities, such as wisdom, heroism, fearlessness, which aroused admiration and reverence in the hearts of ordinary people. All this is a manifestation of the traditions of ancient times - the worship of deities and idols.
Generals and warriors are immortalized in monumental art. Triumphal arches and columns are erected in honor of the victories won. New ideas are reflected in all art forms and power is no exception.
In accordance with this, in my work I set the following goalsAndtasks:
aim research is the change of art under the influence of power over the centuries in different countries of the world
Tasks:
* analyze the dependence of the influence of power on art;
* explore the dependence of changes in artistic creativity under the influence of authorities in different countries of the world;
* identify the main features of power in the visual arts;
* analyze the stages of change creative heritage influenced.
object research is power in art.
Itemresearch- art of countries in different periods of time.
methodicalbase made up: paintings by artists, sculptures, frescoes, temples, triumphal arches, monasteries.
Informationalbase- books on the history of art (T.V. Ilyina History, A.N. Benois, F.I. Uspensky), articles from Internet resources.
1. Antiquity
1.1 ArtAndpowerancientEgypt
In the III millennium BC. e. as a result of the unification of the two states of Lower and Upper Egypt, one of the most ancient states was formed, which played an important role in the formation of ancient culture.
Egyptian art is very interesting in that many works created by the Egyptian people in the history of mankind were made for the first time. Egypt for the first time gave a monumental stone architecture, a realistic sculptural portrait, a high quality product of artistic crafts. They handled great different breeds stones, made the finest jewelry work, beautifully carved wood and bone, made colored glass and transparent lightweight fabrics.
Of course, one cannot but say about the Great Egyptian pyramids, which can tell a lot about themselves. They tell us about a society so clearly organized that it became possible to build these artificial giant hills, in just the lifetime of the ruler.
The main distinguishing feature of Egyptian art is that it is aimed at embodying the needs of religion, in particular the state and funeral cult of the divine pharaoh. Religion has been an integral part that has influenced Egyptian culture throughout its existence.
Egyptian art was created for the glory of the kings, for the glory of unshakable and incomprehensible ideas, which were based on despotic rule. And this, in turn, was traced in the images and forms of these ideas themselves and the power that the pharaoh was endowed with. Art began to serve the tops of power, which in turn was called upon to create monuments that glorify kings and nobility of despotism. These works had to be done according to certain rules, which subsequently formed the canons.
An example of a monument glorifying the pharaoh is the Namerna slate, on both sides of which there is a relief image that tells of a historical event: the victory of the king of Upper Egypt Namerna over Lower Egypt and the unification of the Nile Valley into a single state. Here one can clearly see the emphasis on the greatness and inequality of the ruler at the expense of proportionality, characteristic of this early class society. This principle can be traced in ancient Egyptian art for decades. In various frescoes, relief sculptures, the pharaoh is depicted several times larger than all other characters. The Sphinx of Khafre of the III millennium BC, which stands in front of the funeral temple of the pharaoh, amazes with its grandeur. This Sphinx is the largest in Egypt. Despite its huge size, the face of the Sphinx has the features of the pharaoh Khafre. In ancient times, the Sphinx, along with the pyramids, was supposed to inspire an idea of the superhuman power of the ruler.
To emphasize the divine origin, greatness and power of the pharaohs, the sculptors made their rulers idealized. They showed physical strength, discarding minor details, but at the same time retained a portrait resemblance. An example of such works is the statue of Khafre, the ruler of the IV dynasty. Here the image of the ruler is full of majestic calm, he proudly sits on his throne. This statue has a cult character, which, according to the Egyptians, is the receptacle of the spiritual essence of the ruler. The portrait of Khafre is very real, but here the sculptor no longer showed a portrait resemblance, but the character of the pharaoh himself.
In addition to reliefs, frescoes and sculptures, temples were also erected in honor of the divine ruler. One of the best examples is the tomb of Queen Hatshepsut, which was built at the end of the 16th century. BC. in the Dray el-Bahri valley. This temple is dedicated to the sun god Amon-Ra, Hathor and Anubis, but the main deity is the queen herself. There are other monuments erected in her honor, for example, two obelisks that are in the sanctuary of the temple in Karnak, an inscription in the chapel of Stab el Antara. Despite the fact that this queen ruled for only 12 years, she left behind numerous monuments, but, unfortunately, she was not listed in the official lists of kings.
Thus, the cult of the pharaoh, which reached its apogee in the era ancient kingdom, became the state religion and found its embodiment in art, influencing the range of works of art: sculptural portraits of pharaohs, picturesque and relief images of scenes from the life of their families, and, of course, pyramids and temples erected in honor of the ruler, were of predominant importance in ancient Egypt .
1.2 ArtAndpowerAntiquity.AncientGreeceAndAncientRome
The concept of " antique art appeared during the Renaissance, when beautiful works Ancient Rome and Ancient Greece was considered exemplary. This is Greco-Roman antiquity covering the period from the 8th century BC. - VI century. AD At this time, the aesthetic ideal prevails. In painting, sculpture and applied art, the image of an ideally beautiful and harmoniously developed human citizen, a valiant warrior and a devoted patriot dominates, in which the beauty of an athletically trained body is combined with moral purity and spiritual wealth.
Greek masters studied the plasticity of movements, proportions and structure human body during Olympic Games. Artists sought realism in vase painting and sculpture, such as the statues of Myron "Discobolus", Polikleitos "Dorifor" and the statue for the Athenian Acropolis, Phidias.
Ancient Greek architects made a huge contribution to art. The rulers highly revered their gods and the Greeks erected numerous temples in their honor. They created the majestic style of the temple by combining architecture with sculpture.
To replace the classical period from the end of the 4th century. BC. comes a deeper understanding of the world, increases interest in inner world a person, the transfer of powerful energy, dynamics and justice of the image, for example, in the sculptures of Skopas, Praxiteles, Leochar, Lysippus. In the art of this time, there is also a passion for multi-figured compositions and huge statues.
The last three centuries in Greek civilization are called the era of Hellenism. heir art Hellenic civilization was Rome.
The Romans highly appreciated the heritage of Ancient Greece and contributed to further development ancient world. They built roads, water pipes and bridges, created a special system for the construction of public buildings through the use of vaults, arches and concrete.
The sculptural Roman portrait deserves great attention, which are distinguished by their accuracy and realism.
Emperors ordered to build triumphantarches that were dedicated to their victories. The emperor passed under the arch during the triumph. The rulers sought to strengthen their power at the expense of art. In the forums, squares and streets of cities there were statues of rulers. The sculptors depicted their leaders triumphant over their enemies, and sometimes the emperor could also look like a god. For example, Emperor Trajan ordered the construction of a column in honor of his victories, the height of which was as high as a seven-story building.
The Romans perfectly planned the cities, built the imperial baths - the baths, the amphitheater - the Colosseum, erected the temple of all the gods of the Roman Empire - the Pantheon, all this is a great heritage of the world.
Ancient art had the strongest development of the art of subsequent eras. It is difficult to overestimate its importance for the development of Western civilization.
1.3 ArtAndpowerByzantium
Byzantine artistic culture is connected to a greater extent with religion. The church in Byzantium served secular power. The emperor was considered a servant of God on earth and relied on the church as on the bureaucracy. In such an environment, art was under the strict control of the church and the ruling classes.
Since Byzantium was under the pressure of all sorts of wars, its artistic work was aimed at rallying the people. Religious-state patriotism created a form of Byzantine art. At the same time, vital issues were resolved as spiritual ones. Their interpretation was to create aesthetic ideals, including state, religious and personal principles.
Temples played an important ideological and educational role, therefore, the most the best masters, which allowed the most significant construction and artistic problems. In architecture, complex interiors were created that, as it were, involved a person.
There was no development of sculpture in Byzantium as such, because sculpture was considered an idol. But there was a relief, in particular on ivory.
Painting was under strict church-state guardianship. Its development went along three channels: church mosaics and frescoes, icon painting and book miniatures. Here, strict rules in the depiction of saints and events from "sacred stories" were in advantage. The artist loses the opportunity to work from nature. Only high degree craftsmanship, made it possible to fill canonical images with a wealth of human feelings and ideas.
It should also be emphasized that secular art occupied a large place in the artistic culture of Byzantium. Fortifications, residential buildings, palaces were built. Secular sculpture played an important role. Miniatures that were of historical and natural science content never disappeared from Byzantine painting. Most of these art monuments have not been preserved, but their significance artistic culture Byzantium must be taken into account.
The complexity of the stylistic development of Byzantine art was further complicated by the fact that over time the limits of the spread of Byzantine culture also changed. As a result of wars and invasions of neighboring peoples, the borders of the state changed. Separate areas fell away from Byzantium, new art schools were formed in them.
2. Middle Ages
2.1 ArtAndpowerFrance(XI- XIVcenturies)
Art at this time was influenced by churches and monasteries, which in turn were allies of royal power. Many politicians who strengthened the authority and power of kings were at the same time ministers of churches. For example, Abbot Suger is the builder of many churches and adviser to Ludwig VI and Ludwig VII. Therefore, art, in particular architecture, painting and sculpture, was influenced by the monasteries. The construction of monasteries was most often led not by townspeople, but by some monastic order or bishop, who was at the same time the feudal ruler of this city.
Romanesque architecture was integral to monumental sculpture and stone carving. She decorated capitals, portals that filled the entire facade, for example, Notre-Dame-la-Grand in Poitiers. Plastic decor can be traced in the churches of Burgundy (tympanums of the cathedrals in Vezelay and Autun) and Languedoc (Saint-Sernin in Toulouse, XI-XIII centuries),
Painting and sculpture acquired a monumental character. The outer facade was decorated with capitals, sculptures or reliefs. The walls inside the temple were painted with large frescoes and, as a rule, were not decorated with sculpture. One of the earliest monuments of sculpture, which is located on the facade of the temple, is the relief of the architrave of the church of Saint Jean de Fontaine in southwestern France. Monumental paintings were widespread in the churches of France. Now we have about 95 fresco cycles that have come down to us. The main monument is the frescoes of the church of Saint Saven sur Gartan in the region of Poitou (beginning of the 12th century), the rarest example that has preserved the picturesque decoration of France.
Secular farces and religious mysteries competed in the cities. Everywhere there was a struggle between the fantastic and the real and the mystical and the rational. But almost always in artistic creativity life was perceived in its contradictory and changeable balance.
An image of the art of the second half of the 13th century is the portal of St. Stephen on the south side of Notre Dame Cathedral (circa 1260-1270). The many countless statues of the Reims Cathedral, created during the 13th century, also belong to the masterpieces of high Gothic. 30-70s By the middle of the 13th century. a miniature took shape, according to the principle of decoration.
The masters of Gothic sculpture in the second half of the 14th century, during the period, nevertheless managed to show new forces, when the difficulties of the Hundred Years War sharply reduced construction work and the number of artistic orders. In the 13th-14th centuries. book miniature and stained glass painting were widespread. The main centers of stained glass art were in the 13th century. Chartres and Paris. A relatively large number of stained-glass windows have been preserved in Chartres Cathedral. A very good example of the transition from the Romanesque to the Gothic style is the image of the Mother of God sitting with the baby on her knees, which is currently located in the part of the cathedral that survived the fire in 1194.
Miniatures of the late 13th-14th centuries. now they not only decorate, but supplement and comment on the text, acquiring an illustrative character. Typical works of the second half of the 14th century. these are the works of the miniaturist Jean Pucel, whose works include the Bible by Robert Bilsing (1327) and the famous Belleville Breviary (until 1343).
The medieval art of France played a huge role in the history of the art of its people and the peoples of all Western Europe. Its echoes (especially in architecture) lived for a very long time, receding into the past only by the middle of the 16th century.
art creative art power
3. Periodrenaissance
3.1 Italy(XIV- XVI)
Italian Renaissance it is a period of great achievement and change that began in Italy in the 14th century and lasted until the 16th century, marking the transition from the Middle Ages to modern Europe.
The most famous achievements are in the fields of painting and architecture. In addition, there were also achievements in science, philosophy, music and literature. In the 15th century, Italy becomes a leader in all these areas. The Italian Renaissance was accompanied by the collapse of politics. Therefore, all of Italy was divided into separate small states. The Renaissance had a great influence on Rome. In the 16th century, the Italian Renaissance reached its peak when there were foreign invasions that involved Italy in wars. Despite this, Italy retained the ideas and ideals of the Renaissance and spread throughout Europe, eclipsing the Northern Renaissance.
In art at this time, images of saints and scenes from scripture are common. Artists depart from any canons, saints could be depicted in modern clothes for those times. It was popular to portray Saint Sebastian, as he was believed to protect against the plague. Painting becomes more realistic, such as the works of Giotto, Masaccio, Leonardo da Vinci, Michelangelo, Botticelli.
Artists invent new colors, experiment with them. At this time, the profession of an artist is in great demand, and orders cost a lot of money. The portrait genre is developing. The man was portrayed as calm, wise and courageous.
In architecture, the architect Filippo Brunelleschi had a great influence, according to whose designs the Church of San Lorenzo, the Pallazo Rusellai, Santissima Annunziata, the facades of the churches of Santo Maria Navella, San Francesco, San Sebastiano and Sant'Anrea were built.
Thus, the perception of the world becomes more complex, the dependence of human life and nature is more clearly realized, ideas of the variability of life develop, the ideals of harmony and integrity of the universe are lost.
3.2 SpainXV- XVIIcenturies
The Spanish Renaissance is closely related to the Italian, but it came much later. The "golden age" of the Spanish Renaissance is considered the end of the 16th to the second half of XVII centuries.
The development of the heyday of Spanish culture is the unification of a previously fragmented country, under the rule of Ferdinand of Aragon and Isabella of Castile. The centuries-old war with the Arabs stopped, after which new lands were in the possession of Spain, which had not previously belonged to them.
Foreign architects, artists, sculptors were attracted to the royal court. For a short time, Spain became the most powerful European state.
After Philip II founded Madrid, the artistic life of the country was concentrated there, where palaces were built. These palaces were decorated with paintings by Spanish artists and great painters - Titian, Tintorentto, Bassano, Bosch, Brueghel. The courtyard became the main center for the development of art.
In architecture, under the rule of Catholic kings, churches were created in which they propagated the power and greatness of royal power. Buildings dedicated to Spanish victories were also created: for example, the church of the monastery of San Juan de los Reyes in Toledo - as a monument to the victories over the Portuguese in the battle of Toro, Escorial - as a monument to the victory over the French at San Quenten.
The most famous sculptors of that time are Alonso Berruguete, Juan de Juni, Juan Martinez Montañez, Alonso Cano, Pedro de Mena.
Thus, Spain has made a significant contribution to world history art, which influenced the further attitude of people.
4. Newtime
4.1 ArtAndpowerFrance(XVIIIV.)
In the 18th century in France there was a struggle against absolutism, the church, the aristocracy, freethinking, this struggle was preparing the country for the bourgeois revolution.
French artistic culture is on the rise. It departs from the previously used canons, religious painting is becoming a thing of the past, and secular realistic and "gallant" genres are becoming the leading ones. Artists turn to the intimate spheres of human life and small forms. Realism is embodied in the disclosure of the image of a person.
In the XVIII century, there were periodic exhibitions of the Royal Academy - Salons, which were held in the Louvre, as well as exhibitions of the Academy of St. Luke, which were held directly on the squares. A new, characteristic feature was the birth of aesthetics and the development art criticism, which reflected the struggle of currents in art.
People at this time traveled around the countries and borrowed knowledge from each other. There are many Encyclopedias. People analyze works of art. For example, the works of Diderot "Salons", "Experience on Painting", the works of Rousseau "Art and Morality", "Discourses on the Sciences and Arts" and "Emile, or on Education".
Thus, the 18th century became known as the Age of Enlightenment. Enlightenment ideas not only influenced the development of art, the enlighteners actively intervened in its course. Enlightenment has become a powerful movement that refracted previous worldviews.
4.2 ArtAndpowerRussia(XIXV.)
In the 19th century the first decades in Russia there was a nationwide upsurge after the Patriotic War of 1812. Artists are becoming more in demand compared to the 18th century. They can express in their works the significance of their personality, freedom, where social and moral problems are raised.
Russia is now more interested in artistic creativity. Art magazines are published: "The Free Society of Lovers of Literature, Sciences and Arts" (1801), "Journal of Fine Arts" first in Moscow (1807), and then in St. Petersburg (1823 and 1825), "Society for the Encouragement of Artists" (1820), " Russian Museum ... "P. Svinin (1810s) and the" Russian Gallery "in the Hermitage (1825).
The ideals of Russian society are reflected in architecture, monumental and decorative sculpture. After a fire in 1812, Moscow is being restored in a new way, here the builders rely on the architecture of antiquity. Sculptors erect monuments to military leaders, for example, a monument to Kutuzov at the Kazan Cathedral in St. Petersburg. The largest architect of this time, Andrei Nikiforovich Voronikhin. he designed a number of fountains for the Pulkovo road, finished the “Flashlight” office and the Egyptian vestibule in the Pavlovsk Palace, the Viskontiev Bridge and the Pink Pavilion in the Pavlovsk park. The main brainchild of Voronikhin is the Kazan Cathedral (1801-1811). The semicircular colonnade of the temple, which he erected not from the side of the main - western, but from the side - northern facade, formed a square in the center of the Nevsky prospect, turning the cathedral and the buildings around it into the most important town-planning node.
Artists depict historical events that took place in ancient times, for example, K.P. Bryullov "The Last Day of Pompeii", A.A. Ivanov, The Appearance of Christ to the People. Portraits of rulers are depicted, for example, a portrait of Elizabeth II, Peter I. Monuments are erected in honor of the rulers, a monument to Catherine II. During this period of time, a large number of artists appeared: Kramskoy, Ge, Myasoedov, Makovsky, Shishkin, Vasiliev, Levitan, Repin, Surikov, etc.
Complex life processes determined the variety of forms of artistic life of these years. All kinds of arts - painting, theater, music, architecture came out for renewal artistic language for high professionalism.
5. PowerAndartSovietperiodRussia(XXV.)
During the Soviet period in Russia, revolutionary cataclysms occur, these revolutionary transformations call on artists to new creative experiments. artistic life country requires acutely social and understandable art for an unprepared aesthetic mass. The October events that led to the revolution, the artists began to glorify in their work. The victory of art at the front becomes a solid element of the Bolshevik victory.
Artists at this time occupy a very active and very popular position. They are engaged in the design of cities for demonstrations, the sculptors carried out the “Leninist plan for monumental propaganda”, the graphic artists are actively working on the design of classical editions of Russian and foreign literature. A host of new, previously unrealized artistic directions are being developed. New names and new directions appear: “Russian impressionism” - A. Rylov and K. Yuon; "Blue Bears" P. Kuznetsov and M. Saryan; representatives of the "Jack of Diamonds" P. Konchalovsky and I. Mashkov with the carnival festivity of their paintings, decorative in color and composition, A. Lentulov, who made the image of Russian medieval architecture live in the intense rhythms of the modern city. Pavel Filonov worked in the 1920s. Based on the method he called "analytical", he created during these years his famous "formulas" ("Formula of the Petrograd proletariat", "Formula of spring", etc.) - symbolic images embodying his ideal of the eternal and permanent. K. Malevich continued his path in non-objectivity, and Suprematism developed by his students I. Puni, L. Popova, N. Udaltsova, O. Rozanova began to spread in applied art, architecture, design, graphics.
In sculpture, works inspired by "revolutionary romance" were created in the 1920s by Ivan Dmitrievich Shadr (real name Ivanov). These are made by order of Goznak (for the image on new Soviet banknotes, stamps and bonds) "Sower", "Worker", "Peasant", "Red Army Man" (all 1921-1922). One of his most famous works is the work "Cobblestone - the weapon of the proletariat, 1905". This work is dedicated to the 10th anniversary of Soviet power. Shadr sought to use the traditions of world art and create a work inspired by the spirit of modernity, as he understood it.
Thus, painters, sculptors, writers and many others, had to look for public solutions. The means for creating monumental images have become: Soviet heraldry, figurative symbols, which have become a popular designation of the atom, outer space. Symbols of friendship, labor, peace… only great ideas could give great solutions.
6. RatioauthoritiesAndartVis ourtime
In recent times, everything has changed, but the interaction between power and art remains a very important and urgent problem. The relationship between these two industries is especially evident during periods of political and social change. Now there is no censorship, which means that every person who wants to express his thoughts and ideas through art can do this without fear of being punished. This is a colossal breakthrough in the field of freedom of creativity and spirit.
At the moment, in different cities there are numerous exhibitions on various topics. Periodically, exhibitions are held that highlight the problem of art and power. These exhibitions are interesting for people studying history and political science. Recently, a similar exhibition was held in the Swedish Museum, which was called "Art for the rulers." At this exhibition there were more than 100 expositions and with the participation of 400 exhibits from different eras.
Art does not stand still, it develops rapidly from different sides. Nowadays, there are many different directions. The world cultural heritage is replenished and replenished, and this is very good for our time.
Conclusion
In the course of the work, we found out that art has been changing under the influence of power over the centuries in different countries of the world.
After analyzing the situation, we found out that art depends on the political system and the ruler of the country. Art and power arose and developed simultaneously and are an integral part of the formation of social life.
I think that the government had more opportunities to control society and increase its power through art than it does now. Decades later, we finally freed ourselves from strict canons and all sorts of prohibitions. A person can express his individuality, as soon as he invents and wants. Artists, sculptors and musicians have unlimited freedom, but it's hard to say whether it's good or not. But after many years and our centuries, our descendants will admire and be proud.
Listusedliterature:
1. T.V. Ilyin. Art history. Domestic art. Moscow. year 2000
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It is hard not to agree with N. Berdyaev when he states: “Art must be free. This is a very elementary axiom, because of which it is not worth breaking copies. The autonomy of art is affirmed forever. Artistic creativity should not be subject to external norms for him, moral, social or religious... Free art grows out of the spiritual depths of a person, like a free fruit. And only art in which this depth is felt is deep and valuable.
Analyzing the specifics of the art of the 20th century, we found that the process of forming a new style has begun, integrating the features of the development of scientific consciousness, technology and other aspects of culture. The attitude towards art began to change as something only decorating life, it becomes equal with science, comprehending the same problems of life, but by other means: with the help of an artistic image that is adequate to the new reality. This process was characteristic of both European and Russian art.
However, these processes were significantly deformed by the radical transformations taking place in the socio-economic and political spheres the life of mankind.
Understanding the free nature of art has always been characteristic of the artist, but still it is difficult to stay away from actual problems during periods of revolutionary changes in society.
So, K. Malevich, like many other artists of revolutionary Russia, was actively involved at first in social activities for cultural renewal. However, he soon remarks: “To my great chagrin, most young artists believe that the spirit of renewal in art is subordinated to new political ideas and improved social conditions of life, due to which they turn into executors of the will of the rulers, ceasing to renew beauty itself,” wrote He. “They forget that the value of art cannot be reduced to an idea, whatever it may be, and that all arts have long become international values ...”
Let us, however, pay attention to the fact that in totalitarian states art is given special attention. close attention. Let's think about the reasons for this phenomenon.
As you know, the main feature of totalitarianism is the fusion of all spheres of society. Ideology becomes their common denominator: in Italy and Germany - fascist, in the USSR - Marxist-Leninist, in China - Maoist, etc.
Under these conditions, art is regarded as the most important means of ideological influence on the citizens of the country, the formation of a special way of life that corresponds to ideological guidelines.
Modern art, becoming mass, having received new, technical means of distribution, can influence much more effectively than direct propaganda, influencing not only the logic, but also the feelings of people.
The totalitarian government pays special attention to the most prestigious areas. The concentration of economic levers and opportunities in the hands of the state made it possible to provide material support for space exploration, the development of opera, ballet, sports, and to occupy leading positions in the world in these areas. And indeed, a magnificent opera and ballet school Bolshoi Theater, the brilliant concerts of the Moiseevites, the performing school of the Moscow Conservatory have always delighted numerous fans of these genres in many countries of the world.
Cultural figures themselves are involuntarily drawn into the process of ideologization of society. And even if the artist does not declare his political position, he inevitably finds himself involved in a big political game. This game of totalitarian power with people of art has some patterns: the government first uses the most gifted of them, their creative potential and revolutionary impulse for propaganda purposes, and then isolates them from society.
Let us give some typical examples. In 1917, K. Malevich was elected chairman of the art department of the Moscow Council of Soldiers' Deputies, then - a member of the commission for the protection of artistic values of art and the commissar for the protection of values \u200b\u200bof the Kremlin. In 1924 he created and headed State Institute artistic culture. But already in 1926 he was removed from this post, and after a while the institute was liquidated altogether. In 1932, his works were included in the exhibition "The Art of the Age of Imperialism" in the Russian Museum, in 1935 the last show of his works (until 1962) took place in the Soviet Union. But the first representative exhibition was held in Moscow only in 1988.
In Germany, the leaders of the National Socialist Union of Students, speaking in 1933 in the assembly hall of the University of Berlin, declared themselves supporters of expressionism - "original German" art. Until 1936 in the Berlin national gallery the works of Barlach, Nolde, Franz Mark, Kandinsky, Klee were exhibited. Soon, however, such exhibitions were banned or closed by the Gestapo on the day of the vernissage. In 1933, Propaganda Minister Goebbels sent an enthusiastic telegram to Edvard Munch - the "great German master" in honor of his 70th birthday, and soon he ordered the arrest of his paintings.
On July 19, 1937, on the eve of the opening of the Art of Degeneration exhibition, Hitler delivered a hateful speech in Munich: “From now on we will wage a merciless purgatory war against the remaining elements that are destroying our culture ... Let these prehistoric cultural figures return to the level stone age and stammering art in the caves of their ancestors, to add their primitive cosmopolitan scribbles there.
Totalitarianism does not tolerate diversity, and therefore it creates its own standard in art, which is official, like, for example, socialist realism in the USSR. Everything that did not correspond to it was subject to a ban. And the ban is terrible not only because it does not allow you to see the results of creativity, but also because it initially deforms the consciousness of the artist, directing his talent in a given direction.
One of Ray Bradbury's short stories contains a wise warning to mankind. A careless time traveler crushed just one inconspicuous insignificant butterfly with a forged boot. Returning to the present, he discovers that this has led to a change in the state regime.
Mankind impoverishes its spiritual life with each cut off search.
In a totalitarian society, even magical significance was attached to art, because it was believed that in a book, film, etc. there must certainly be a handsome, intelligent, patriotic hero, because, having met him, people will also become like that. But the essence of art is not limited to its social class content, it doesn’t matter for him whether he is a proletarian artist or a bourgeois, but it’s important whether he is talented or mediocre, it doesn’t matter what his hero’s profession is - he’s a jester, a king or a peasant, but it’s important how exactly they are interpreted in the work eternal themes Good and Evil, Love, Truth, Beauty...
The main condition for creativity is freedom. But “totalitarianism destroyed freedom of thought to a degree unthinkable in any of the previous eras,” wrote J. Orwell. - ... The question that is important to us is this: can literature survive in such a society? I think the short answer is: no, it can't. If totalitarianism wins on a world scale, then literature will die ... And in practice, totalitarianism seems to have already achieved such results: Italian literature is in deep decline, and in Germany it has almost ceased to exist. The burning of books is the most revealing side of the activities of the Nazis, and even in Russia the flourishing of literature that was once expected did not occur, most of the talented Russian writers commit suicide or disappear in prisons.
The ban on innovation, the establishment of the photographic aesthetics of "socialist realism", the "return to classicism", the proclamation of "the superiority of Soviet art over the arts of all countries and all past times" turned into a real drama of Russian culture.
Dozens of cultural figures left, and for many years their names were deleted from the culture of Russia (V. Kandinsky, for example, was ranked among German expressionism in Soviet publications), S. Yesenin, Vl. Piast, M. Tsvetaeva committed suicide, P. Filonov, driven to extreme poverty, died in the very first days Leningrad blockade, N. Gumilyov, B. Pilnyak, B. Yasensky and many others - were shot, I. Babel, O. Mandelstam,
V. Meyerhold and many others died in prisons and camps. Vl. Mayakovsky and A. Fadeev shot themselves, realizing the horror of the consequences of giving their talent to the service of the party. Others, like B. Pasternak and A. Akhmatova, were forced to remain silent for decades. B. Pasternak, who was awarded the Nobel Prize, could not go for her.
Another totalitarian state - fascist Germany - could not leave in 1935 another of its laureates - the German journalist Karl Ossetsky, an open opponent of National Socialism. The Nazi newspapers then wrote: "The issuance of the Nobel Prize to the most famous traitor is such an arrogant and shameless challenge, such an insult to the German people, that it should be given an appropriate response." K. Ossetsky was thrown into a concentration camp, after a forced telegram from his wife to the Swedish Academy with the refusal of the prize, he was transferred to a clinic, where he soon died.
What totalitarian regimes have in common is the globalism of art as a consequence of the globalism of tasks: a thousand-year-old Reich in Germany and a wonderful future for all mankind in the USSR. Hence - monumental monuments in both states of unprecedented size. Even that living thing that always nourishes art - custom, tradition - is enveloped in an ideological veil. All that remains is that from which their own dominants of the totalitarian system grow.
So, the "genuine" history of Russia began in 1917, and the prehistory - with the Decembrists, who opened the national liberation movement. History is being rewritten, monuments are being demolished, the historical environment is being destroyed. And in every city, instead of historical names, there are Soviet, Krasnoarmeisky, Communist streets.
However, we will not simplify the problem by arguing that under the conditions of totalitarianism the emergence of unique, talented phenomena of art is impossible.
Life and in totalitarian state always more complicated than schemes. The brightest and most cheerful films that have become classics, such as "Circus", "Volga-Volga", "Merry Fellows", were created in the pre-war years, which were tragic for the country. Their success was predetermined not only by the talent of their creators, but also by the need for such art. Soviet people who lived overwhelmingly in communal apartments, in plain sight and needed, on the one hand, compensation for the realities of a disenfranchised life, and on the other, who firmly believed in a brighter future.
Under these conditions, when, as J. Orwell said, “all art is propaganda”, artists created not only because they had an ideological order, many of them sincerely professed the values of the new society.
At the same time, in totalitarian regimes, along with official art, a parallel culture always develops - the underground, i.e. underground culture, manifested through "samizdat", dissidence, through the wide dissemination of the Aesopian language.
Everyone knows the names of V. Vysotsky, B. Okudzhava, B. Akhmadulina. These are the artists whose exhibition in Moscow (Izmailovo) was crushed by bulldozers. And those artists, writers, directors, whose work was not completely banned, hid the true meaning in the subtext, which the intelligentsia learned to "read". The theaters "Sovremennik" and "On Taganka", "Literaturnaya Gazeta", the magazine "New World", films by A. Tarkovsky were famous for allegories. Artists used Aesopian language to show their works, because, as Vrubel argued, an artist without recognition of his work by the public, without dialogue with the viewer is doomed to non-existence.
The great humanist of our time, A. Schweitzer, in his well-known book "Culture and Ethics", written in 1923, noted:
“... When society influences the individual more strongly than the individual influences society, the degradation of culture begins, because in this case the decisive value - the spiritual and moral inclinations of a person - is necessarily diminished. There is a demoralization of society, and it becomes unable to understand and solve the problems that arise before it. Eventually, disaster strikes.”
This deep thought gives us the key to understanding many processes and phenomena in the field of culture, both past and present, related to the interaction of the artist and society.
An obvious condition for freedom of creativity is the real embodiment of democratic ideals in the life of society. However, no country in the world can claim a solution to this critical problem. The proclamation of democratic norms by the world community and many countries in the 20th century. is undoubtedly a great achievement of mankind. However, their full-blooded implementation has not yet become a reality. Freedom, not secured by the material conditions for its realization, cannot become a reality and remains only in the world of the possible. Moreover, a society in which the power of money is so great cannot, in principle, be truly democratic. By the way, the commercialization of culture, which worries everyone so much, is not accidental, it is a natural consequence of the modern socio-economic structure of democratic societies.
Thus, the art of the XX century. - in one form or another - with losses and gains, it turned out to be included in the social and political context.
Why is the government in one form or another trying to influence art?
What are the forms of influence of power on art in totalitarian and democratic states?
How is the influence of society on art carried out in the conditions of democratic states?
Preview:
Grade 9
Lesson #2
Theme of the lesson: "Art and power"
Target: continue to master the concepts of "art" and "power", "types of art", the diversity of the content of works of art.
UUD:
Cognitive: get acquainted with the types of art, get acquainted with the concepts of "art", "classification"
Regulatory: Acquisition of independent creative experience, which forms the ability for independent actions.
Communicative:Provide opportunities for cooperation - learn to hear and listen. Learn to cooperate with both the teacher and peers. Provide dialogue with the teacher.
Personal: To make learning a meaningful process, to provide the student with the significance of solving educational problems, linking them with real life goals and situations. Direct to consciousness, research and acceptance of life values and meanings, help develop your own life position in relation to the world, the people around him, himself and his future.
Teacher equipment:
Screen for showing presentation, abstract.
Student equipment:
Notebook, pen, pencil.
Lesson type: combined lesson.
During the classes:
- Greetings.
- Readiness check:notebook and pen, textbooks on ports
- Marking absentees.
- Repetition of the topic covered:
- Let's remember what we talked about in the last lesson? On the connection between art and power
- What is art? Art - part of the spiritual culture of mankind, a specific kind of spiritual and practical development of the world.
- What kinds of art do you know? painting, architecture, sculpture, music, fiction, theatre, dance, cinema.
- When did art appear? The origin of art and the first steps in the artistic development of mankind date back to the primitive communal system, when the foundations of the material and spiritual life of society were laid.
- What is power? Power - the ability and ability to impose one's will, to have a decisive influence on the activities, behavior of people with the help of any means - will, authority, law, violence (parental power, state, economic, etc.)
- When did power emerge? Power came with the advent human society and will always accompany its development in one form or another.
- What conclusion can we draw from the above? art and power arose and developed simultaneously and are an integral part of the formation of social life.
- What was the use of art in the development of human culture? (to strengthen power - religious and secular)
- How did art help to strengthen the power and authority of rulers?(art embodied in visible images the ideas of religion; glorified and immortalized the heroes; gave them extraordinary qualities, special heroism and wisdom)
- What traditions are shown in these monumental images? (traditions coming from ancient times - the worship of idols, deities that cause awe)
- What works most clearly strengthened power? (equestrian statues, triumphal arches and columns, cathedrals and temples)
- What arch and in honor of what events was restored in Moscow on Kutuzovsky Prospekt? (in 1814 triumphal gate in honor of the meeting of the Russian liberator army, returning from Europe after the victory over Napoleon; in 1936 it was demolished; in 1960 recreated on Victory Square, near Poklonnaya mountain, at the place where Napoleon's army entered the city)
- What arch is installed in Paris?(by decree of Napoleon in honor of his army; the names of the generals who fought with the emperor are engraved on the walls of the arch)
- When did Moscow become the center of Orthodox culture?(in the XV century after the fall of Byzantium, which was considered the successor of the Roman Empire and was called the Second Rome)
- How did the cultural image of the Moscow State improve?(the courtyard of the Moscow Tsar becomes the place of residence of many culturally educated Orthodox people, architects, builders, icon painters, musicians)
- Why was Moscow called the "Third Rome"? (Muscovite tsars considered themselves heirs of Roman traditions)
- Which architect began to rebuild the Moscow Kremlin? (Italian architect Fiorovanti)
- What marked the completion of the construction of the first stone church in Moscow - the Assumption Cathedral? (the formation of the choir of the sovereign's singing deacons, because the scale and splendor of the temple required greater strength of the sound of music)
- Guess: look at the screen and name the works of art:
- Sun god - Ra
- Octavian August from Prima Porto. Roman statue
- The Pyramid of Cheops
- Narva triumphal gates, St. Petersburg
- Idols. Statues of pagan gods
- Ramses II slaying a Syrian barbarian.
- Hercules
- Moscow triumphal gates, St. Petersburg
- Golden funeral mask of Tutankhamen
- Assumption Cathedral of the Moscow Kremlin
Well done!
6. Learning new material:
We continue with youtopic of the lesson: "Art and power"
Notebook entry:In the second half of the XVII century. According to the grandiose plan of His Holiness Patriarch Nikon - holy places were created in the image of Palestine, associated with earthly life and the feat of Jesus Christ - the New Jerusalem Monastery was built near Moscow.
Its main cathedral is similar in plan and size to the Church of the Holy Sepulcher in Jerusalem. This is the brainchild of Patriarch Nikon - the pinnacle of the development of the ancient traditions of the Russian Church, originating from the time of the baptism of Rus' (X century).
In the "Word about the destruction of the Russian land" it is said:
“O bright and beautifully decorated Russian land! And you are surprised by many beauties; You are surprised by many lakes, steep mountains, great cities, wondrous villages, temples of God, - formidable princes ... you are full of everything, the Russian land!
This beauty has inspired our people for centuries. Monuments of architecture and fine arts, icon painting are an excellent asset of society.
Notebook entry:In the XVIII century. opened a new chapter in Russian history.
Peter I, according to Pushkin's apt expression, "cut a window to Europe" - founded Saint Petersburg .
Notebook entry:New ideas are reflected in all kinds of art. Secular painting and sculpture appeared, music changed to a European style.
Let's listen to V. Titov's Concert dedicated to the Poltava victory.
Vasily Polikarpovich Titov (c. 1650-1710) - Russian church composer, sovereign chorister clerk.
Titov Concert in honor of the Poltava victory
The choir of the sovereign's choristers has now been transferred to St. Petersburg and is becoming the Court Singing Chapel (often Peter I himself sang in this choir). The arts proclaim praise to the Lord and toast to the young tsar of all Rus'.
Now the Glinka Choir Chapel is a majestic monument of Russian culture, famous throughout the world. The chapel helps to maintain the connection of times and the continuity of traditions.
(slide Choir Chapel named after Glinka)
We can observe the chanting of power especially clearly in music.
"God save the Tsar!" -National anthem Russian Empire from 1833 to 1917, replacing the previous anthem "Russian prayer ».
Listen to the anthem "God Save the Tsar!"
- Who can give an example of the use of this kind of hymns in modern history? (God save the queen).
One example modern use similar hymns can serve as the national anthem of Great Britain.
Listening to the British anthem
Anthem of Great Britain in Russian
God save our gracious Queen
Long live our noble Queen
God save the queen
Send her victorious
happy and nice
Long to reign over us
God save the queen
In the twentieth century, in the era of Stalinism in our country, pompous, magnificent architecture emphasized the strength and power of the state, reducing the human personality to an insignificantly small level, ignoring the individual originality of each person.
The Moscow Palace of Soviets is one of the most famous unrealized architectural projects in history. A huge (the largest and tallest in the world) building, which was supposed to become a symbol of victorious socialism, a symbol of a new country and a new Moscow. This project is amazing even today.
Most likely, the Palace of Soviets was built in order to, after the victory of the World Revolution within its walls, accept ... the last republic into the Soviet Union. And then the whole world will be one Union of Soviet Socialist Republics.
The soulless mechanism of state coercion highlights the grotesque beginning in music (D. Shostakovich, A. Schnittke and others).
The democratic sentiments of the people find especially vivid expression in art at turning points in history. These are revolutionary songs, marches during the October Revolution in Russia (1917),
Video fragment of the songs of the October Revolution
…monuments,
posters,
painting,
musical compositions of the times of the Great Patriotic War (1941-1945).
This is both a mass song, reflecting the labor enthusiasm of the post-war years, and an author's song of the second half of the 20th century. (a kind of urban folklore), which expresses not only the lyrical moods of the younger generation, but also a protest against the restriction of individual freedom, which is especially pronounced in rock music.
Such wonderful singers: V. Vysotsky, B. Okudzhava, A. Galich, B. Grebenshchikov……
7. Consolidation of the material covered:
TEST:
A) Assumption Cathedral
B) Cathedral of Christ the Savior
2. What changes in art took place during the time of Peter I? _
Secular and religious
A) B. Iofan B) Dm. Levitsky
C) J. L. David
Dmitry Grigorievich Levitsky
1 - 2 - 3 - 4 - 5
Continue the sentence:
- Today I found out...
- I was surprised...
- I purchased...
- I will try…
- I wanted…
8. Homework
Divided into groups, prepare a presentation:
(3 - 4 slides) or a message on one of the topics:
- Jacques Louis David on Napoleon(presentation)
- Portraits of celebrities by the artist D. G. Levitsky(slides with titles)
- Monuments of the Moscow Kremlin(slides with the name of the monuments)
- triumphal arches of the world(presentation)
- Artistic works of the same type of art (music, painting, literature, architecture, sculpture) in different eras(presentation)
- Artistic works of the same era (Renaissance, Baroque, Classicism, Romanticism, Impressionism, Realism) different types art(presentation)
- Sights of St. Petersburg. Monuments(photo slides)
- Cathedrals of Russia (presentation film)
Preview:
Homework:
1. Textbook retelling (pp. 104-105)(Necessarily)
___________________
1. Artistic works of the same type of art (music, painting, literature, architecture, sculpture) in different eras(presentation)
2. Artistic works of the same era (renaissance, baroque, classicism, romanticism, impressionism, realism) of different types of art(presentation)
3. Sights of St. Petersburg. Monuments(photo slides)
4. Cathedrals of Russia (presentation film)
Preview:
1. Which monastery was built according to the plan of Patriarch Nikon?
A) Assumption Cathedral
B) New Jerusalem Monastery
B) Cathedral of Christ the Savior
________________________________________
A) B. Iofan B) Dm. Levitsky
C) J. L. David
________________________________________
5. Identify the New Jerusalem Cathedral
1 - 2 - 3 - 4 - 5
2. Art and power in Russia after the 17th century.
1. Which monastery was built according to the plan of Patriarch Nikon?
A) Assumption Cathedral
B) New Jerusalem Monastery
B) Cathedral of Christ the Savior
2. What changes in art took place during the time of Peter I? _____________________
________________________________________
A) B. Iofan B) Dm. Levitsky
C) J. L. David
________________________________________
5. Identify the New Jerusalem Cathedral
1 - 2 - 3 - 4 - 5
2. Art and power in Russia after the 17th century.
1. Which monastery was built according to the plan of Patriarch Nikon?
A) Assumption Cathedral
B) New Jerusalem Monastery
B) Cathedral of Christ the Savior
2. What changes in art took place during the time of Peter I? _____________________
________________________________________
________________________________________
A) B. Iofan B) Dm. Levitsky
C) J. L. David
________________________________________
5. Identify the New Jerusalem Cathedral
1 - 2 - 3 - 4 - 5
2. Art and power in Russia after the 17th century.
1. Which monastery was built according to the plan of Patriarch Nikon?
A) Assumption Cathedral
B) New Jerusalem Monastery
B) Cathedral of Christ the Savior
2. What changes in art took place during the time of Peter I? _____________________
________________________________________
A) B. Iofan B) Dm. Levitsky
C) J. L. David
________________________________________
5. Identify the New Jerusalem Cathedral
1 - 2 - 3 - 4 - 5
2. Art and power in Russia after the 17th century.
1. Which monastery was built according to the plan of Patriarch Nikon?
A) Assumption Cathedral
B) New Jerusalem Monastery
B) Cathedral of Christ the Savior
2. What changes in art took place during the time of Peter I? _____________________
________________________________________
A) B. Iofan B) Dm. Levitsky
C) J. L. David
________________________________________
5. Identify the New Jerusalem Cathedral
1 - 2 - 3 - 4 - 5
2. Art and power in Russia after the 17th century.
1. Which monastery was built according to the plan of Patriarch Nikon?
A) Assumption Cathedral
B) New Jerusalem Monastery
B) Cathedral of Christ the Savior
2. What changes in art took place during the time of Peter I? _____________________
________________________________________
A) B. Iofan B) Dm. Levitsky
C) J. L. David
________________________________________
5. Identify the New Jerusalem Cathedral
1 - 2 - 3 - 4 - 5
2. Art and power in Russia
after the 17th century
1. Which monastery was built according to the plan of Patriarch Nikon?
A) Assumption Cathedral
B) New Jerusalem Monastery
B) Cathedral of Christ the Savior
2. What changes in art took place during the time of Peter I?)
2. What innovations appeared in Rus' with the reign of Peter I? (secular painting and sculpture appear; music changes to the European way; the choir of the sovereign choristers becomes the Court Singing Chapel in St. Petersburg)
3. What role did soviet architecture in the XX century in the era of Stalinism? (magnificent, pompous architecture emphasized the power and strength of the state, reducing the human personality to an insignificantly small level, ignoring the individual originality of each person)
4. Which composers had to fulfill the orders of the state? (D.D. Shostakovich, A.G. Schnittke)
5. Give examples of a vivid expression of democratic sentiments in art? (revolutionary songs and marches; posters; music of the times of the Great Patriotic War; mass song about labor enthusiasm; author's song of the middle of the XX century; rock music)
