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Fine art of classicism and rococo. Fine art of classicism and rococo by Nicolas Poussin

Nicolo Poussin is an artist of classicism. - His work is considered the pinnacle of classicism in painting. He saw his ideal of beauty in the proportionality of the parts of the whole, in the external orderliness of harmony and clarity of forms. His paintings are distinguished by balanced composition, a rigid, mathematically verified system of organizing space, a chased drawing, amazing sense of rhythm, based on the ancient doctrine of musical modes. Poussin's main criterion is reason and thought in artistic truth and beauty: to create in the way "as nature and reason teach".

Topics: heroic deeds and deeds based on high civic motives. Battles, divine. The main subject of art is that which is associated with the idea of the sublime and beautiful, which can serve as a role model and a means of educating the best moral qualities in a person. Poussin devoted his work to the glorification of a heroic person. His favorite heroes are people of high morality.

In historical subjects, Poussin looked for those in which there were action, movement and expression. He began work on the picture with a careful study of the literary source. The idea of classicism, in his opinion, should reflect the composition of the picture. He contrasted improvisation with a carefully considered arrangement of figures and main figures and main groups. The space should be easily visible, the plans should clearly follow each other. For the action itself, only a small area should be allocated foreground. In most of the paintings, the Artist uses the golden ratio, when the point of intersection of the diagonals of the picture is its most important semantic center. Always with him Notebook, in which he entered what interested him. In his work, he went from the general to the particular.

He was not interested in individual figures or details, but in the arrangement of the main groups. The arrangement of the groups was verified with the help of wax figurines and special lighting. The compositional system of Poussin's paintings was built on two principles: the balance of forms (building groups around the center) and free ratio (shifted away from the center), which made it possible to achieve the impression of orderliness, freedom and mobility of the composition. Pay attention to color. From dark to light. The sky and shadows of the background are subtle. He preferred ultramarine, copper blue, yellow and red ocher, green and cinnabar to many colors. I used a system of reflections: an intense color in the center of the composition is usually accompanied by soft neutral colors.

It has long been rightly noted that the emotional expressiveness inherent in the color system of Poussin's works is associated with the expressiveness of music. Author of numerous paintings on mythological, historical, religious and landscape themes. "Arcadian Shepherds" - the composition of the picture is simple and logical. The characters are grouped near the tombstone depicted in the foreground of the picture. Their figures, reminiscent of antique sculptures, plastic, the movements of the heroes are rhythmically coordinated with each other by a symbolic gesture of the hands.

Most of the paintings created by Poussin on mythological themes belongs to the masterpieces of world art "Gathering manna in the desert" "Adoration of the golden calf" "Moses pouring water from the rock" "Judgment of Solomon" "Descent from the cross" He really was "one of the most daring innovators known to the history of painting" (E . Delacroix).

Fine art of classicism and rococo

Nicolas Poussin - classicist painter

The pinnacle of classicism in painting, the French Academy proclaimed the work of the artist Nicolas Poussin(1594-1665). During his lifetime, he was called "the most skillful and experienced of contemporary masters brushes”, and after his death was declared “a beacon of French painting”.

Being a vivid exponent of the ideas of classicism, Poussin developed a creative method based on own representation about the laws of beauty. He saw his ideal in the proportionality of the parts of the whole, in the external orderliness, harmony and clarity of forms. His paintings are distinguished by a balanced composition, a rigid, mathematically verified system of organizing space, an accurate drawing, and an amazing sense of rhythm based on the ancient theory of musical modes.

According to Poussin, the main criteria of artistic truth and beauty are reason and thought. This is what he called for to create in the way "as nature and reason teach it." When choosing topics, Poussin preferred heroic deeds and deeds based on high civic motives, and not base human passions.

The main subject of art, according to the artist, is what is associated with the idea of the sublime and beautiful, which can serve as a role model and a means of educating the best moral qualities in a person. Poussin devoted his work to the glorification of a heroic man, capable of knowing and transforming nature by the power of a powerful mind. His favorite heroes are strong, strong-willed people with high moral qualities. They often find themselves in dramatic situations that require special composure, greatness of spirit and strength of character. The painter conveyed their lofty feelings through postures, facial expressions and gestures.

Of the historical subjects, Poussin chose only those in which there was action, movement and expression. He began work on the painting with a careful study of a literary source (Holy Scripture, Ovid's Metamorphoses or T. Tasso's Jerusalem Liberated). If he met the goals set, the artist did not think about the complex inner life of the characters, but the climax of the action. Mental struggle, doubts and disappointments were relegated to the background. Poussin's usual plot formula was as follows: "The die is cast, the decision is made, the choice is made" (Yu. K. Zolotov).

The ideas of classicism, in his opinion, should reflect the composition of the picture. He contrasted improvisation with a carefully considered arrangement of individual figures and main groups.

Visual space should be easily visible, plans should clearly follow each other. For the action itself, only a small area in the background should be allocated. In most of Poussin's paintings, the intersection point of the diagonals of the picture turns out to be its most important semantic center.

The compositional system of Poussin's paintings was built on two principles: the balance of forms (the construction of groups around the center) and their free ratio (shift away from the center). The interaction of these two principles made it possible to achieve an extraordinary impression of orderliness, freedom and mobility of the composition.

Great importance in the artistic system of Poussin, color occupies. The interrelation of the main color sounds was achieved thanks to a system of reflections: an intense color in the center of the composition is usually accompanied by soft neutral colors.

Nicolas Poussin is the author of numerous paintings on mythological, historical, religious themes as well as landscapes. In them one can almost always find polished mise-en-scenes, full of thought and drama. Turning to the distant past, he did not retell, but creatively recreated, rethought well-known stories.

Painting by N. Poussin "Arcade Shepherds"- one of the pinnacles of the artist's work, where the ideas of classicism have found a full and vivid embodiment. It feels the author's desire for sculptural clarity of forms, plastic completeness and accuracy of the drawing, clarity and balance. geometric composition using the golden ratio principle. The severity of proportions, smooth, clear linear rhythm perfectly conveyed the severity and loftiness of ideas and characters.

At the heart of the picture lies a deep philosophical thought about the frailty of earthly existence and the inevitability of death. Four shepherds, residents of happy Arcadia (a region in southern Greece, which is a symbol of eternal prosperity, a serene life without wars, illness and suffering), accidentally find a tomb among the bushes with the inscription: “Iya was in Arcadia. But now I am not among the living, just as you, who are now reading this inscription, will not be.” The meaning of these words makes them think... One of the shepherds humbly bowed his head, resting his hand on the gravestone. The second, kneeling down, runs his finger through the letters, trying to read the half-erased inscription.

The third, not taking his hands off the sad words, raises an inquiring look at his companion. The woman on the right is also calmly looking at the inscription. She put a hand on his shoulder, as if trying to help him come to terms with the thought of an inevitable end. Thus, the figure of a woman is perceived as the focus of spiritual peace, that philosophical balance to which the author brings the viewer.

Poussin is clearly striving to create generalized images that are close to the canons of ancient beauty: they are really physically perfect, young and full of strength. The figures, in many respects resembling antique statues, are balanced in space. In their writing, the artist used expressive chiaroscuro.

Deep philosophical idea, underlying the picture, is expressed in a crystal clear and classically rigorous form. As in Roman relief, the main action takes place in a relatively shallow area of the foreground. The composition of the picture is extremely simple and logical: everything is built on a carefully thought-out rhythm of balanced movements and is subordinated to the simplest geometric shapes achieved due to the accuracy of mathematical calculation. The characters are grouped almost symmetrically near the gravestone, connected by the movement of their hands and the feeling of a prolonged pause. The author manages to create an image of an ideal and harmonious world arranged according to the higher laws of the mind.

The coloristic system of Poussin's paintings was usually based on the author's belief that color is the most important means for creating volume and depth of space. The division into planes was usually emphasized by the consonance of strong colors. The foreground was usually dominated by yellow and brown colors, on the second - warm, green, on the third - cold, primarily blue. In this picture, everything is subject to the laws of classical beauty: the color clash of the cold sky with the warm foreground, and the beauty of the naked human body, transmitted in even diffused lighting, was perceived especially effectively and sublimely against the backdrop of lush green foliage of a serene landscape.

In general, the picture was imbued with a feeling of hidden sadness, peace and idyllic peace of mind. A stoic reconciliation with fate, a wise, dignified acceptance of death made Poussin's classicism related to the ancient worldview. The thought of death did not cause despair, but was perceived as an inevitable manifestation of the laws of being.

Masters of the "gallant genre": Rococo painting

The main themes of Rococo painting are the exquisite life of the court aristocracy, "gallant festivities", idyllic pictures of "shepherd's" life against the backdrop of pristine nature, the world of complex love affairs and ingenious allegories. Human life is instantaneous and fleeting, and therefore it is necessary to catch the “happy moment”, hurry to live and feel. “The spirit of charming and airy little things” (M. Kuzmin) becomes the leitmotif of the work of many artists of the “royal style”.

For most Rococo painters, Venus, Diana, nymphs and cupids outshine all other deities. All sorts of "bathing", "morning toilets" and instant pleasures are now almost the main subject of the image. Exotic color names come into fashion: “the color of the thigh of a frightened nymph” (corporeal), “the color of a rose floating in milk” (pale pink), “the color of lost time” (blue). Well-thought-out, slender compositions of classicism give way to an elegant and sophisticated pattern.

Antoine Watteau(1684-1721) contemporaries called "the poet of careless leisure", "the singer of grace and beauty". In his works, he captured picnics in evergreen parks, musical and theatrical concerts in the bosom of nature, passionate confessions and quarrels of lovers, idyllic dates, balls and masquerades. At the same time, there is an aching sadness in his paintings, a sense of the transience of beauty and the ephemeral nature of what is happening.

One of the famous paintings of the artist - "Pilgrimage to the Island of Cythera", thanks to which he was admitted to the Royal Academy of Painting and Sculpture and received the title of "master of gallant festivities." Charming ladies and gallant gentlemen gathered on the flower-strewn shore of the sea bay. They sailed to the island of Cythera - the island of the goddess of love and beauty Venus (identified with Greek goddess love Aphrodite), where she, according to legend, came out of the sea foam. The festival of love begins at a statue depicting Venus and cupids, one of which reaches down to lay a garland of laurel on the most beautiful of the goddesses. At the foot of the statue are stacked weapons, armor, lyre and books - symbols of war, arts and sciences. Well, love really can conquer everything!

The action unfolds like a film, sequentially telling about the walk of each of the couples in love. In the relationship between the characters, the language of allusions reigns: suddenly

thrown glances, the inviting gesture of a fan in the hands of a girl, a speech cut off in mid-sentence... The harmony of man and nature is felt in everything. But it is already evening, the golden sunset colors the sky. The holiday of love fades away, filling the carefree fun of couples in love with sadness. Very soon they will return to their ship, which will take them from unreal world into the world of everyday reality. A wonderful sailboat - the ship of love - is ready to sail. Warm, soft colors, muted colors, light brush strokes that barely touched the canvas - all this creates a special atmosphere of charm and love.

And again I love the earth for

What are the rays of the sunset so solemn,

With a light brush Antoine Watteau

Touched my heart once.

G. Ivanov

The painting by Watteau belongs to the true masterpieces. Gilles (Pierrot), created as a sign for performances by itinerant comedians. Gilles is the main and favorite character of the French comedy of masks, consonant with Pierrot, the hero of the Italian comedy dell'arte. The clumsy, naive creature seems to have been specially created for the constant ridicule and tricks of the dexterous and cunning Harlequin. Gilles is depicted in a traditional white suit with a cape and a round hat. He stands motionless and lost in front of the viewer, while other comedians settle down to rest. He seems to be looking for an interlocutor who is able to listen and understand him. There is something touching and unprotected in the absurd pose of the comedian with his hands limply lowered, his gaze fixed. In the tired and sad appearance of the buffoon, the thought of the loneliness of a person forced to amuse and entertain a bored audience lurked. The emotional openness of the hero makes him one of the most profound and significant images in the history of world painting.

Artistically, the painting is brilliant. The ultimate simplicity of motif and composition is combined here with a precise drawing and carefully thought-out colors. The ghostly white hoodie is painted with careful and at the same time bold brush strokes. Shimmering pale silvery, ash-lilac, grayish-ocher tones flow and shimmer, break into hundreds of trembling highlights. All this creates an amazing atmosphere for the perception of deep philosophical meaning paintings. How can one disagree with the statement of one of his contemporaries: "Watto writes not with paints, but with honey, molten amber."

Francois Boucher(1703-1770) considered himself a faithful student of Watteau. Some called him "the artist of graces", "Anacreon of painting", "royal painter". The latter saw in him a "hypocritical artist", "who has everything but the truth." Still others skeptically remarked: "His hand picks roses where others find only thorns."

The artist's brush belongs to a number of ceremonial portraits of the mistress of King Louis XV, Marquise de Pompadour. It is known that she patronized Bush, more than once ordered him paintings on religious subjects for country residences and Parisian mansions. in the picture "Madam de Pompadour" the heroine is presented surrounded by scattered flowers and luxurious objects, reminiscent of her artistic tastes and hobbies. She reclines regally against the backdrop of lush, solemn draperies. The book in her hand is a clear hint of enlightenment and commitment to intellectual pursuits. The Marquise de Pompadour generously thanked the artist, appointing him first as director of the Gobelin Manufactory, and then as president of the Academy of Arts, giving him the title of "the king's first painter."

Francois Boucher more than once turned to the depiction of frivolous scenes, the main characters of which were cutesy, shy shepherdesses or plump naked damsels in the form of mythological Venus and Diana. His paintings are replete with ambiguous hints, piquant details (the raised hem of the shepherd's satin skirt, the coquettishly raised leg of the bathing Diana, the finger pressed to the lips, the eloquent, inviting look, the lambs clinging to the legs of lovers, kissing doves, etc.). Well, the artist knew the fashion and tastes of his era very well!

In the history of world painting, Francois Boucher still remains a magnificent master of color and exquisite drawing. Witty compositions, unusual angles of characters, rich color accents, bright reflections of transparent colors applied with small, light strokes, smooth, flowing rhythms - all this makes F. Boucher an unsurpassed painter. His paintings turn into decorative panels, decorate the lush interiors of halls and living rooms, they call to the world of happiness, love and beautiful dreams.

MHK, 11th grade

Lesson #6

Art of classicism and rococo

D.Z.: Chapter 6, ?? (p. 63), tv. tasks (p.63-65), tab. (p. 63) fill in the notebook

LESSON OBJECTIVES

give an idea of the art of classicism, sentimentalism and rococo;
expand horizons, skills of analysis of genres of art;
to educate national self-consciousness and self-identification, respect for the musical creativity of the rococo.

CONCEPTS, IDEAS

O. Fragonard;
classicism;
G. Rigaud;
rococo;
sentimentalism;
hedonism;
rocaille;
mascarons;
V.L. Borovikovsky;
empire;
J. J. Rousseau

Checking students' knowledge

1. What are the characteristics musical culture baroque? How is it different from Renaissance music? Justify your answer with specific examples.

2. Why is C. Monteverdi called the first baroque composer? What was the reformist nature of his work? What is characteristic of the "Excited Style" of his music? How is this style reflected in operatic works composer? What unites musical creativity K. Monteverdi with works of baroque architecture and painting?

3. What distinguishes the musical work of J. S. Bach? Why is it customary to consider it within the framework of the musical culture of the Baroque? Have you ever listened organ music J. S. Bach? Where? What are your impressions? What works of the great composer are especially close to you? Why?

4. What are the characteristic features of Russian baroque music? What were the partes concerts of the 17th - early 18th centuries? Why is the development of Russian baroque music associated with the formation composer school in Russia? What impression does the spiritual choral music of M. S. Berezovsky and D. S. Bortnyansky make on you?

Universal learning activities

 evaluate ; identify ways and means find associations organize and summarize
 define the essential features of styles classicism and rococo, correlate them with a certain historical era;
explore cause and effect relationships , patterns of change in artistic models of the world;
evaluate aesthetic, spiritual and artistic the value of the cultural and historical era ;
identify ways and means expression of social ideas and aesthetic ideals of the era in the process of analyzing works of art of classicism, rococo and sentimentalism;
find associations and differences between the artistic images of classicism, baroque and rococo, presented in various types art;
characterize the main features , images and themes of the art of classicism, rococo and sentimentalism;
hypothesize, engage in dialogue , to argue their own point of view on the formulated problems;
organize and summarize acquired knowledge about the main styles and trends of art of the 17th-18th centuries. (working with a table)

STUDY NEW MATERIAL

Aesthetics of classicism.
Rococo and sentimentalism.

Lesson assignment. What is the significance of the aesthetics of classicism, rococo art and sentimentalism for world civilization and culture?

sub-questions

Aesthetics of classicism. Appeal to the ancient heritage and humanistic ideals of the Renaissance. Development of own aesthetic program. The main content of the art of classicism and its creative method. Features of classicism in various forms of art. Formation of the style system of classicism in France and its influence on the development of the artistic culture of Western European countries. The concept of the Empire style.
Rococo and sentimentalism *. Origin of the term "rococo". The origins of the artistic style and its characteristic features. Rococo tasks (on the example of masterpieces of arts and crafts). Sentimentalism as one of the artistic movements within the framework of classicism. Aesthetics of sentimentalism and its founder J. J. Rousseau. The Specificity of Russian Sentimentalism in Literature and Painting (V. L. Borovikovsky)

Aesthetics

classicism

New art style - classicism(Latin classicus exemplary) - followed the classical achievements of Antiquity and the humanistic ideals of the Renaissance.
Art Ancient Greece And ancient rome became for classicism main source themes and plots: appeals to ancient mythology and history, links to authoritative scientists, philosophers and writers.
In accordance with ancient tradition, the principle of the primacy of nature was proclaimed.

Levitsky D.G.

Portrait

Denis Diderot. 1773-1774 Museum of Art and History of the City of Geneva in Switzerland.

"... to study Antiquity in order to learn to see Nature"

(Denis Diderot)

Aesthetics

classicism

Aesthetic principles of classicism:

1. Idealization of ancient Greek culture and art, orientation to moral principles and ideas of citizenship

2. The priority of the educational value of art, recognition of the leading role of the mind in the knowledge of beauty.

3. Proportionality, rigor, clarity in classicism are combined with completeness, completeness artistic images, universalism and normativity.

The main content of the art of classicism was the understanding of the world as a rationally arranged mechanism, where a person was assigned a significant organizing role.

O. Fragonap. Portrait

Denis Diderot. 1765-1769 Louvre, Paris

Aesthetics

classicism

Creative method of classicism:

striving for reasonable clarity, harmony and strict simplicity;
approaching an objective reflection of the surrounding world;
observance of correctness and order;
subordination of the private to the main;
high aesthetic taste;
restraint and calmness;
rationality and logic in actions.

Claude Lorrain. Departure of the Queen of Sheba (1648). London National Art Gallery

Aesthetics

classicism

Each art form was

have their own special features:

1. The basis of the architectural language

classicism becomes order ( type

architectural composition, using

certain items and

subject to a certain architectural

style processing ) , much more

close in shape and proportion to

architecture of antiquity.

2. Works of architecture distinguish

strict organization

proportion and balance

volumes, geometric

correctness of lines, regularity

layouts.

3. Painting is characterized : clear

delimitation of plans, rigor

drawing, meticulously crafted

light and shade modeling of volume.

4. Special role in the decision

educational task played

literature and especially theater ,

became the most widespread

art of this time.

C. Persier, P.F.L. Foppep.

Arc de Triomphe in Place Carrousel in Paris. 1806 (style - Empire)

Aesthetics

classicism

in the era of the reign of the "king - the sun" Louis XIV (1643-1715), a certain ideal model of classicism was developed, which was imitated in Spain, Germany, England and in countries of Eastern Europe, North and South America.
at first, the art of classicism was inseparable from the idea of absolute monarchy and was the embodiment of integrity, grandeur and order.

G. Rigaud. Portrait of Louis XIV.

1701 Louvre, Paris

Aesthetics

classicism

Kazan Cathedral in St. Petersburg (1801-1811) arch. A.N. Voronikhin.

Art in the form of so-called revolutionary classicism served the ideals of the struggle against tyranny, for the establishment civil rights personality consonant with the French Revolution.
At the last stage of its development, classicism actively

expressed the ideals of the Napoleonic Empire.

He found his artistic continuation in the style empire (from French style Empire - “imperial style”) - late (high) style

classicism in architecture and applied arts. Originated in

France during the reign of Emperor Napoleon I.

Rococo and

With e n T And m e n T A l And h m

characteristic feature of the 18th century. in Western European art has become an indisputable fact of the simultaneous existence of baroque, rococo and sentimentalism with classicism.
Recognizing only harmony and order, classicism "straightened out" the bizarre forms of baroque art, ceased to tragically perceive spiritual world person, and transferred the main conflict to the sphere of relations between the individual and the state. Baroque, which has outlived itself and come to its logical conclusion, has given way to classicism and rococo.

O. Fragonard. Happy

swing possibilities. 1766

Wallace Collection, London

Rococo and

With e n T And m e n T A l And h m

In the 20s. 18th century in France

formed a new style art -

rococo (fr. rocaille - shell). Already

the name itself reveals

home, feature this

style - passion for exquisite

And complex forms, whimsical

lines, much like

shell outline.

The shell then turned into

complex curl with some

strange cuts, then in

shield decoration or

half-folded scroll with

depiction of a coat of arms or emblem.

In France, interest in style

Rococo weakened by the end of the 1760s

years, but in the countries of Central

Europe, his influence was

perceptible until the end of the XVIII

centuries.

Rinaldi rococo:

interiors of the Gatchina castle.

Gatchina

Rococo and

With e n T And m e n T A l And h m

home purpose of rococo art - deliver sensuality

pleasure ( hedonism ). Art should have

please, touch and entertain, turning life into a sophisticated masquerade and "gardens of love."

Complex love intrigues, fleeting hobbies, daring, risky, society-defying actions of heroes, adventures and fantasies, gallant entertainment and holidays determined the content of Rococo works of art.

Allegory of fine arts,

1764 Oil on canvas; 103 x 130 cm. Rococo. France. Washington, National gallery.

Rococo and

With e n T And m e n T A l And h m

Characteristic features of the Rococo style in works of art:

grace and lightness, intricacy, decorative refinement

and improvisation, pastorality (shepherd's idyll), craving for the exotic;

Ornament in the form of stylized shells and curls, arabesques, flower garlands, figurines of cupids, torn cartouches, masks;

a combination of pastel light and delicate tones with a lot of white details and gold;

the cult of beautiful nudity, dating back to the ancient tradition, sophisticated sensuality, eroticism;

The cult of small forms, intimacy, miniature (especially in sculpture and architecture), love for trifles and knick-knacks (“Charming trifles”) that filled the life of a gallant person;

aesthetics of nuances and hints, intriguing duality

images, conveyed with the help of light gestures, half-turns,

barely noticeable mimic movements, a half-smile, a blurred

look or a wet gleam in the eyes.

Rococo and

With e n T And m e n T A l And h m

The Rococo style reached its greatest flourishing in the works

decorative and applied arts of France (interiors of palaces

and costumes of the aristocracy). In Russia, it manifested itself primarily in architectural decoration - in the form of scrolls, shields and intricate shells - rocaille (decorative ornaments, imitating

combination of bizarre shells and outlandish plants), as well as maekaranov (stucco or carved masks in the form of

human face or the head of an animal placed over windows, doors, arches, fountains, vases and furniture).

Rococo and

With e n T And m e n T A l And h m

Sentimentalism (fr. sentiment - feeling). In ideological terms, he, like classicism, relied on the ideas of the Enlightenment.

An important place in the aesthetics of sentimentalism was occupied by the image of the world of feelings and experiences of a person (hence its name).

Feelings were perceived as a manifestation of the natural principle in a person, his natural state, possible only with close contact with nature.

Achievements of a civilization with many

temptations that corrupt the soul

"natural man", acquired

clearly hostile.

a kind of ideal

sentimentalism has become the image of rural

citizen who followed the law

primeval nature and living in

absolute harmony with her.

Court Joseph-Desire (Jose-Desery Court). painting. France

Rococo and

With e n T And m e n T A l And h m

The founder of sentimentalism is considered the French educator J.J. Rousseau proclaiming a cult

natural, natural feelings and

human needs, simplicity and

cordiality.

His ideal was sensitive,

sentimental dreamer,

obsessed with the ideas of humanism,

"natural person" with " beautiful soul”, not corrupted by bourgeois civilization.

The main task of Rousseau's art

saw in teaching people

virtues, call them to the best

life.

The main pathos of his works

is a praise of human feelings, high passions that came into conflict with social, class prejudices.

French philosopher, writer, thinker of the Enlightenment. Also a musicologist, composer and botanist. Born: June 28, 1712, Geneva. Died: July 2, 1778 (aged 66), Ermenonville, near Paris.

Rococo and

With e n T And m e n T A l And h m

It is most legitimate to consider sentimentalism as one of the artistic movements that operated within the framework of classicism.

If Rococo focuses on the external manifestation of feelings and emotions, then sentimentalism

highlights the inner

the spiritual side of human existence.

In Russia, sentimentalism found its most striking embodiment in literature and painting, for example, in the work of V. L. Borovikovsky.

V.L. Borovikovsky. Lizynka and Dashinka. 1794 State

Tretyakov Gallery, Moscow

Control questions

1 . What is aesthetic program classical art? What were the connections and differences between the art of classicism and baroque?

2. What models of Antiquity and the Renaissance followed the art of classicism? What ideals of the past and why did he have to give up?

3. Why is Rococo considered the style of the aristocracy? What features of it corresponded to the tastes and moods of its time? Why was there no place in it for the expression of civic ideals? Why do you think the Rococo style reached its highest peak in the arts and crafts?

4. Compare the basic principles of baroque and rococo. Is it possible

5*. On what ideas of the Enlightenment was Sentimentalism based? What are its main focuses? Is it right to consider sentimentalism within the framework of big style classicism?

Topics for presentations, projects

"The Role of France in the Development of European Artistic Culture".
"Man, Nature, Society in the Aesthetic Program of Classicism".
"Patterns of Antiquity and the Renaissance in Classical Art".
"The Crisis of Baroque Ideals and the Art of Classicism".
"Rococo and Sentimentalism - Accompanying Styles and Currents of Classicism".
"Features of the development of classicism in the art of France (Russia, etc.)".
"AND. J. Rousseau as the founder of sentimentalism.
"The Cult of Natural Feeling in the Art of Sentimentalism".
"The Further Destiny of Classicism in the History of World Art".

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Literature:

Programs for educational institutions. Danilova G. I. Mirovaya art culture. – M.: Bustard, 2011
Danilova, G.I. Art / MHK. 11 cells A basic level of: textbook / G.I. Danilova. M.: Bustard, 2014.
Kobyakov Ruslan. Saint Petersburg

Nicolas Poussin - classicist painter

The pinnacle of classicism in painting, the French Academy proclaimed the work of the artist Nicolas Poussin(1594-1665). During his lifetime, he was called "the most skillful and experienced of modern masters of the brush," and after his death he was declared "the beacon of French painting."

Being a vivid exponent of the ideas of classicism, Poussin developed a creative method based on his own idea of the laws of beauty. He saw his ideal in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. His paintings are distinguished by the balance of the composition, a rigid, mathematically verified system of organizing space, an accurate drawing, an amazing sense of rhythm based on the ancient theory of musical modes.

According to Poussin, the main criteria for artistic truth and beauty are reason and thought. This is what he called for to create in the way "as nature and reason teach it." When choosing topics, Poussin preferred heroic deeds and deeds, which were based on high civic motives, rather than base human passions.

The main subject of art, according to the artist, is that which is associated with the idea of the sublime and beautiful, which can serve as a role model and a means of educating the best moral qualities in a person. Poussin devoted his work to the glorification of the heroic man, capable of knowing and transforming nature by the power of a powerful mind. His favorite heroes are strong, strong-willed people with high moral qualities. They often fall into dramatic situations that require special composure, greatness of spirit and strength of character. The painter conveyed their elevated feelings through postures, facial expressions and gestures.

Of the historical subjects, Poussin chose only those in which there was action, movement and expression. He began work on the painting with a careful study of a literary source (Holy Scripture, Ovid's Metamorphoses or T. Tasso's Jerusalem Liberated). If he met the set goals, the artist did not think about the complex inner life of the characters, but the climax of the action. Mental struggle, doubts and disappointments were relegated to the background. Poussin's usual plot formula was as follows: "The die is cast, the decision is made, the choice is made" (Yu. K. Zolotov).

The ideas of classicism, in his opinion, should reflect the composition of the picture. He contrasted improvisation with a carefully considered arrangement of individual figures and main groups.

Visual space should be easily visible, plans should clearly follow each other. For the action itself, only an insignificant zone in the background should be allocated. In most of Poussin's canvases, the point of intersection of the diagonals of the picture turns out to be its most important semantic center.

Of great importance in the artistic system of Poussin is color. The interrelation of the main colorful sounds was achieved thanks to a system of reflexes: an intense color in the center of the composition is usually accompanied by soft neutral colors.

Nicolas Poussin is the author of numerous paintings on mythological, historical, religious themes, as well as landscapes. In them one can almost always find polished mise-en-scenes, full of thought and drama. Turning to the distant past, he did not retell, but creatively recreated, rethought well-known stories.

Painting by N. Poussin "Arcade Shepherds"- one of the pinnacles of the artist's work, where the ideas of classicism have found a full and vivid embodiment. It shows the author's desire for sculptural clarity of forms, plastic completeness and accuracy of the drawing, clarity and balance of the geometric composition, using the principle of the golden section. The strictness of proportions, the smooth, clear linear rhythm perfectly conveyed the severity and loftiness of ideas and characters.

The picture is based on a deep philosophical thought about the frailty of earthly existence and the inevitability of death. Four shepherds, residents of happy Arcadia (a region in southern Greece, which is a symbol of eternal prosperity, a serene life without wars, illness and suffering), accidentally find a tomb among the bushes with the inscription: “Iya was in Arcadia. But now I am not among the living, just as you, who are now reading this inscription, will not be.” The meaning of these words makes them think... One of the shepherds humbly bowed his head, resting his hand on the gravestone. The second, kneeling down, runs his finger through the letters, trying to read the half-erased inscription.

The third, not taking his hands off the sad words, raises an inquiring look at his companion. The woman on the right is also calmly looking at the inscription. She put her hand on his shoulder, as if trying to help him come to terms with the thought of an inevitable end. Thus, the figure of a woman is perceived as the focus of spiritual peace, that philosophical balance to which the author brings the viewer.

Poussin is clearly striving to create generalized images that are close to the canons of ancient beauty: they are really physically perfect, young and full of strength. The figures, in many ways reminiscent of antique statues, are balanced in space. In their writing, the artist used expressive chiaroscuro.

The deep philosophical idea underlying the picture is expressed in a crystal clear and classically strict form. As in Roman relief, the main action takes place on a relatively shallow foreground area. The composition of the picture is extremely simple and logical: everything is built on a carefully thought-out rhythm of balanced movements and is subject to the simplest geometric forms achieved thanks to the accuracy of mathematical calculation. The characters are almost symmetrically grouped near the tombstone, connected by the movement of their hands and the feeling of a continuing pause. The author manages to create an image of an ideal and harmonious world arranged according to the higher laws of the mind.

The coloristic system of Poussin's paintings was usually based on the author's belief that color is the most important means for creating volume and depth of space. The division into planes was usually emphasized by the consonance of strong colors. In the foreground, yellow and brown colors usually prevailed, in the second - warm, green, in the third - cold, primarily blue. In this picture, everything is subject to the laws of classical beauty: the color clash of the cold sky with the warm foreground, and the beauty of the naked human body, conveyed in even diffused lighting, was perceived especially effectively and sublimely against the backdrop of the lush green leaves of the serene landscape.

In general, the picture was imbued with a feeling of hidden sadness, peace and idyllic peace of mind. A stoic reconciliation with fate, a wise, dignified acceptance of death gave birth to Poussin's classicism with an ancient worldview. The thought of death did not cause despair, but was perceived as an inevitable manifestation of the laws of being.

Masters of the "gallant genre": Rococo painting

The main themes of Rococo painting are the exquisite life of the court aristocracy, "gallant festivities", idyllic pictures of "shepherd" life against the backdrop of pristine nature, the world of complex love affairs and ingenious allegories. Human life is instantaneous and fleeting, and therefore it is necessary to catch the “happy moment”, hurry to live and feel. “The spirit of charming and airy little things” (M. Kuzmin) becomes the leitmotif of the work of many artists of the “royal style”.

For most Rococo painters, Venus, Diana, nymphs and cupids outshine all other deities. All sorts of "bathing", "morning toilets" and instant pleasures are now almost the main subject of the image. Exotic color names come into fashion: “the color of the thigh of a frightened nymph” (flesh), “the color of a rose floating in milk” (pale pink), “the color of lost time” (blue). Well-thought-out, slender compositions of classicism give way to an elegant and sophisticated pattern.

Antoine Watteau(1684-1721) contemporaries called "the poet of careless leisure", "the singer of grace and beauty." In his works, he captured picnics in evergreen parks, musical and theatrical concerts in the bosom of nature, passionate confessions and quarrels of lovers, idyllic dates, balls and masquerades. At the same time, there is a poignant sadness in his paintings, a sense of the transience of beauty and the ephemeral nature of what is happening.

One of the famous paintings of the artist - "Pilgrimage to the island of Cythera", thanks to which he was admitted to the Royal Academy of Painting and Sculpture and received the title of "master of gallant festivities." Charming ladies and gallant gentlemen gathered on the flower-strewn shore of the sea bay. They sailed to the island of Cythera - the island of the goddess of love and beauty Venus (identified with the Greek goddess of love Af-rodite), where, according to legend, she emerged from the foam of the sea. The celebration of love begins at a statue depicting Venus and cupids, one of which reaches down to lay a garland of laurel on the most beautiful of the goddesses. At the foot of the statue are weapons, armor, a lyre and books - symbols of war, arts and sciences. Well, love really can conquer everything!

The action unfolds like a film, sequentially telling about the walk of each of the couples in love. In the relationship of the characters, the language of allusions reigns: suddenly

thrown glances, an inviting gesture of a fan in the hands of a girl, a speech cut off in mid-sentence ... In everything, one can feel the harmony of man and nature. But it is already evening, the golden sunset colors the sky. The holiday of love fades away, filling the carefree fun of couples in love with sadness. Very soon they will return to their ship, which will take them from the unreal world to the world of everyday reality. A wonderful sailing ship - the ship of love - is ready to sail. Warm, soft colors, muted colors, light brush strokes that barely touched the canvas - all this creates a special atmosphere of charm and love.

And again I love the earth for

What are the rays of the sunset so solemn,

With a light brush Antoine Watteau

Touched my heart once.

G. Ivanov

The painting by Watteau belongs to the true masterpieces. Gilles (Pierrot), created as a sign for performances by itinerant comedians. Gilles is the main and favorite character of the French comedy of masks, consonant with Pierrot, the hero of the Italian comedy dell'arte. The clumsy, naive creature seems to have been specially created for the constant ridicule and tricks of the clever and cunning Harlequin. Gilles is depicted in a traditional white suit with a cape and a round hat. He stands motionless and lost in front of the viewer, while other comedians settle down to rest. He seems to be looking for an interlocutor who is able to listen and understand him. There is something touching and unprotected in the ridiculous pose of a comedian with limply lowered hands, a fixed gaze. In the tired and sad appearance of a buffoon, the thought of the loneliness of a person forced to amuse and entertain a bored audience was hidden. The emotional openness of the hero makes him one of the most profound and meaningful images in the history of world painting.

Artistically, the picture is brilliantly executed. The ultimate simplicity of motif and composition is combined here with a precise pattern and a carefully thought-out color scheme. The ghostly white hoodie is painted with careful and at the same time bold brush strokes. Shimmering pale silver, ash-lilac, grayish-ocher tones flow and shimmer, break into hundreds of trembling highlights. All this creates an amazing atmosphere for the perception of the deep philosophical meaning of the picture. How can one disagree with the statement of one of his contemporaries: "Watto writes not with paints, but with honey, melted amber."

The artist's brush belongs to a number of ceremonial portraits of the favorite of King Louis XV, the Marquise de Pompadour. It is known that she patronized Bush, more than once ordered him paintings on religious subjects for country residences and Parisian mansions. in the picture "Madam de Pompadour" the heroine is presented surrounded by scattered flowers and luxurious objects, reminiscent of her artistic tastes and hobbies. She reclines regally against the backdrop of lush, solemn draperies. The book in her hand is a clear hint of enlightenment and commitment to intellectual pursuits. The Marquise de Pompadour generously thanked the artist, appointing him first as director of the Gobelin Manufactory, and then as president of the Academy of Arts, giving him the title of "the king's first painter."

Francois Boucher more than once turned to the depiction of frivolous scenes, the main characters of which were cutesy, shy shepherds or plump naked charms in the form of mythological Venus and Diana. His paintings are replete with ambiguous hints, piquant details (the raised hem of the shepherd’s satin skirt, the coquettishly raised leg of the bathing Diana, the finger pressed to the mouth, the eloquent, inviting look, the lambs clinging to the legs of lovers, kissing doves and etc.). Well, the artist knew the fashion and tastes of his era very well!

Questions and tasks

1. Why is the work of N. Poussin called the pinnacle of classicism in painting? What was the reason for the proclamation of the cult of this master? What topics and why did he prefer? Could you prove the validity of the assessment french artist J. L. David, who spoke of Poussin as an “immortal” master who “perpetuated on canvas the most exalted lessons of philosophy”?

2. Poussin noted: “For me, there are no trifles that can be neglected ... My nature leads me to seek and love things perfectly organized, avoiding disorder, which is as disgusting to me as darkness is to light.” What embodiment does this principle find in the artist's work? How does it compare with the theory of classicism he developed?

3. What unites the greatest masters of the "gallant genre" - A. Watteau and F. Boucher? What is their difference? Can Boucher be called a true student of Watteau?

creative workshop

1. Compare self-portraits of artists you know with Poussin's "Self-Portrait". What exactly makes this piece stand out? Can it be argued that it is made in a classic manner?

2. Get acquainted with the picture of Poussin "The Death of Germanicus", which brought him fame and is considered the program work of classicism. What features art system this style reflected in it? How legitimate is the statement that “this one picture would be enough to keep the name of Poussin in Eternity” (A. Fusli)?

3. Conduct a study of the evolution of the landscape in the work of Poussin. What is it artistic role? Why do you think nature "as it is" did not satisfy the artist and he never painted landscapes from nature? How in his works the contrast of the eternal existence of nature and short duration is conveyed human life? Why is the presence of man always felt in his landscapes? Why in many paintings can you see lonely human figurines peering into the surrounding space? Why are they often brought to the fore, and their gaze is fixed in the depths of the landscape?

4. E. Delacroix saw in N. Poussin "a great painter who understood architecture more than architects." How fair is this point of view? Can it be argued that architecture most often becomes the main and goodie his works? Do you agree that Poussin often organizes space according to the principles of a classic theatrical performance?

5. Is it possible to prove the validity of the words of one of the researchers that “in material art, Watteau miraculously managed to express what seemed accessible only to music”? Is it so? Listen to the music French composer F. Couperin (1668-1733). How much is it consonant with the works of the artist, to what extent did it express the taste and mood of the Rococo era?

6. The French educator Denis Diderot ironically criticized Boucher's work: “What colors! What variety! What a wealth of objects and ideas! This man has everything, except for the truth... What a dump of heterogeneous objects! You feel all its senselessness; and you can't take your eyes off the picture. She attracts you, and involuntarily you return to her. This is such a pleasant po-rock, this is such an inimitable and rare folly. It has so much imagination, effect, magic and lightness!” What assessments of Diderot do you share, and what do you disagree with? Why?

Topics of projects, abstracts or messages

"Nicolas Poussin and Antiquity: the heroism of plots and images"; "The artistic role and evolution of the landscape in the work of Poussin"; "Architectural motifs in the work of Poussin"; "Predecessors and followers of Poussin"; "Creativity of Poussin and the traditions of the theater of classicism"; “Masters of the “gallant genre” (rococo painting)”; "A. Watteau is a painter of joy and sadness”; "The mastery of color in the works of A. Watteau"; "Theatricality and musicality of A. Watteau's painting"; “The “Artist of the Graces” by F. Boucher”; "Characteristic features of decorative and applied art of Rococo".

Books for additional reading

German M. Yu. Watteau. M., 2001.

Glikman A. S. Nicolas Poussin. L.; M., 1964.

Daniel S. M. Rococo. From Watteau to Fragonard. SPb., 2007.

Zolotov Yu. K. Poussin. M., 1988.

Kantor A. M. and others. Art of the XVIII century. M., 1977. (Small history of arts).

Kaptereva T., Bykov V. Art of France in the 17th century. M., 1969.

Kozhina E.F. Art of France of the 18th century. L., 1971.

Nemilova I. S. Riddles of old paintings. M., 1996.

Rotenberg E.I. Western European art of the 17th century. M., 1971. (Monuments of world art).

Sokolov M.N. Everyday images in Western European painting of the XV-XVII centuries. M., 1994.

Chegodaev A. D. Antoine Watteau. M., 1963.

Yakimovich A.K. New time: Art and culture of the XVII-XVIII centuries. SPb., 2004.

In preparing the material, the text of the textbook “World Artistic Culture. From the 18th century to the present” (Author Danilova G. I.).

MHK, 11th grade
Lesson #6
Art
classicism and
rococo
DZ: Chapter 6, ?? (p. 63), tv.
tasks (p.63-65), tab. (With.
63) fill in the notebook
© A.I. Kolmakov

LESSON OBJECTIVES
give an idea of art
classicism, sentimentalism and
rococo;
broaden horizons, analysis skills
art genres;
bring up national
self-awareness and self-identification,
respect for music
rococo.

CONCEPTS, IDEAS

O. Fragonard;
classicism;
G. Rigaud;
rococo;
sentimentalism;
hedonism;
rocaille;
mascarons;
V.L. Borovikovsky;
empire;
J. J. Rousseau

Checking students' knowledge

1. What are the characteristic features of the musical culture of the Baroque? How
is it different from renaissance music? Argument
your answer with specific examples.
2. Why is C. Monteverdi called the first baroque composer? IN
What was the reformative nature of his work? What
characteristic of the "Excited Style" of his music? Which
this style is reflected in operatic works
composer? What unites the musical creativity of K.
Monteverdi with works of baroque architecture and painting?
3. What distinguishes the musical work of J. S. Bach? Why him
considered as part of the musical culture of the Baroque?
Have you ever listened to J.S. Bach's organ music? Where?
What are your impressions? What are the works of the great
composers are especially close to you? Why?
4. What are the characteristic features of Russian baroque music? What
were partes concerts of the 17th - early 18th centuries?
Why is the development of Russian baroque music associated with
the formation of a composer school in Russia? Which
the sacred choral music of M.S. makes an impression on you.
Berezovsky and D.S. Bortnyansky?

Universal learning activities

determine
identify significant
essential features
style signs
classicism styles
classicism
And
and rococo,
rococo, correlate
correlate them with a certain historical
epoch;
epoch;
research
explore cause and effect relationships
communications,
patterns
shift patterns
artistic
art models
models of the world;
peace;
evaluate
assess the aesthetic
aesthetic, spiritual
spiritual and
and artistic
artistic
value
value of cultural and historical
cultural and historical era;
eras;
reveal
identify ways
ways and
and funds
means of expression
expressions of public
ideas
ideas and
and aesthetic
aesthetic ideals
ideals of the era
era in
in progress
analysis process
analysis
works
works of art of classicism,
classicism, rococo and
sentimentalism;
sentimentalism;
find
find associative
associative links
communications and
and differences
difference between
artistic
artistic images of classicism, baroque and
rococo,
Rococo, presented in various
various types
types of art;
arts;
characterize
characterize the main
main features,
features, images
images and themes
Topics
art
classical art,
classicism, rococo
rococo and
and sentimentalism;
sentimentalism;
nominate
put forward hypotheses
hypotheses, join
enter into a dialogue
dialogue, argument
argue
own
own point
point of view
vision by
according to the formulated
formulated
problems;
problems;
systematize
systematize and
and generalize
generalize the
received knowledge
knowledge about
about
major
main styles and currents of art
art of the XVII-XVIII centuries.
(Job
(working with a table)
table)

STUDY NEW MATERIAL
1. Aesthetics
classicism.
2. Rococo and
sentimentalism.
Lesson assignment. What is the significance for the World
civilizations and cultures have aesthetics
classicism, rococo art and
sentimentalism?

sub-questions

1.
1.
2.
2.
Aesthetics
Aesthetics of classicism.
classicism. Appeal
Appeal to the antique
antique
heritage
heritage and
and humanistic
humanistic ideals of the Renaissance.
Working out
Development of own
own aesthetic
aesthetic program.
programs.
Main
The main content of art
Classical art
classicism and
and his
his
creative
creative method.
method. Features
Features of classicism
classicism in
in different
various
types
types of art.
art. Formation of a style system
systems
classicism
classicism in France
France and its impact on development
artistic
artistic culture
Western European cultures
Western European countries.
countries.
concept
The concept of
about style
empire style.
empire
Rococo
Rococo and
and sentimentalism*.
sentimentalism*. Origin
Origin of the term
term
"rococo".
"rococo". origins
The origins of the artistic
artistic style
style and
and his
his
characteristic
characteristics. Tasks
Rococo tasks
rococo (on
(For example
example
masterpieces
masterpieces of arts and crafts
decorative and applied arts).
Sentimentalism
Sentimentalism as
as one
one of
from artistic
artistic movements
currents
V
within
within the framework of classicism.
classicism. Aesthetics
Aesthetics of sentimentalism
sentimentalism and
And
his
its founder
founder J.
J. J.
J. Rousseau.
Rousseau. Specificity
Russian specifics
Russian
sentimentalism
sentimentalism in literature
literature and painting (V. L.
Borovikovsky)
Borovikovsky)

Aesthetics
classicism
Levitsky D.G.
Portrait
Denis Diderot.
1773-1774
gg. Museum
art and
stories
cities
Geneva in
Switzerland.
New artistic
style - classicism (lat.
classicus exemplary) followed the classical
achievements of antiquity and
humanistic ideals
Renaissance.
Art of Ancient Greece and
Ancient Rome became
classicism
source of themes and stories:
appeal to ancient
mythology and history,
links to authoritative
scientists, philosophers and
writers.
According to the ancient
“... to study Antiquity in order to
tradition was
learn to see nature
the principle
(Denis Diderot)
superiority of nature.

Aesthetics
classicism
O. Fragonap. Portrait
Denis Diderot. 1765-1769
Louvre, Paris
Aesthetic principles of classicism:
1. Idealization of ancient Greek
culture and arts, orientation to
moral principles and ideas
citizenship
2. The priority of educational
art values, recognition
the leading role of the mind in cognition
beautiful.
3. Proportionality, severity,
clarity in classicism combined with
completeness, completeness
artistic images,
universalism and normativity.
The main content of art
classicism became an understanding of the world
as a rationally arranged mechanism,
where a person was given
significant organizing role.

10.

Aesthetics
classicism
Claude Lorrain. Departure of the Queen
Savskoy (1648). London
National Art Gallery
creative method
classicism:
striving for reasonable
clarity, harmony and
strict simplicity;
approach to
objective reflection
the surrounding world;
compliance
correctness and order;
subordination of private
main;
high aesthetic
taste;
restraint and
calm;
rationalism and
logic in actions.

11.

Aesthetics
classicism
Each art form was
have their own special features:
1. The basis of the architectural language
classicism becomes an order (type
architectural composition, using
certain items and
subject to a certain architectural style processing), much more
C. Persier, P.F.L. Foppep.
triumphal arch on
Place Carousel in Paris.
1806 (style - Empire)
close in shape and proportion to
architecture of antiquity.
2. Works of architecture distinguish
strict organization
proportion and balance
volumes, geometric
correctness of lines, regularity
layouts.
3. Painting is characterized by: clear
delimitation of plans, rigor
drawing, meticulously crafted
light and shade modeling of volume.
4. Special role in the decision
educational task played
Literature and theater in particular
became the most widespread
art of this time.

12.

Aesthetics
classicism
during the reign
G. Rigaud. Portrait of Louis XIV.
1701 Louvre, Paris
Sun King Louis
XIV (1643-1715) was
developed an ideal
model of classicism, which
imitated in Spain,
Germany, England and countries
Eastern Europe, Northern
and South America.
art first
classicism was
inseparable from the idea
absolute monarchy and
was the embodiment
integrity, grandeur and
order.

13.

Aesthetics
classicism
Kazan Cathedral in St. Petersburg (1801-1811) arch. A.N. Voronikhin.
Art in the form of so-called revolutionary classicism,
served the ideals of the struggle against tyranny, for the establishment
civil rights of the individual, consonant with the French Revolution.
At the last stage of its development, classicism actively
expressed the ideals of the Napoleonic Empire.
He found his artistic continuation in the Empire style (from fr.
style Empire - "imperial style") - the style of the late (high)
classicism in architecture and applied arts. Originated in
France during the reign of Emperor Napoleon I.

14.

Rococo and
sentimentalism
characteristic feature of the 18th century.
in Western European art
became an indisputable fact
coexistence with
classicism baroque, rococo and
sentimentalism.
Recognizing only harmony and
order, classicism "rectified"
whimsical baroque forms
art, ceased tragically
perceive the spiritual world
person, but the main conflict
transferred to the sphere of relations between
individual and
state. Baroque, obsolete
himself and come to the logical
completion, gave way
classicism and rococo.
O. Fragonard. Happy
swing possibilities. 1766
Wallace Collection, London

15.

Rococo and
sentimentalism
Rinaldi rococo:
interiors of the Gatchina castle.
Gatchina
In the 20s. 18th century in France
a new style of art emerged
rococo (fr.rocaille - shell). Already
the name itself reveals
main feature of this
style - passion for exquisite
and complex forms, bizarre
lines, much like
shell outline.
The shell then turned into
complex curl with some
strange cuts, then in
shield decoration or
half-folded scroll with
depiction of a coat of arms or emblem.
In France, interest in style
Rococo weakened by the end of the 1760s
years, but in the countries of Central
Europe, his influence was
perceptible until the end of the XVIII
centuries.

16.

Rococo and
sentimentalism
The main goal of Rococo art
- deliver sensuality
pleasure (hedonism).
Art should have
like, touch and
entertain by turning
life in sophisticated
masquerade and "gardens of love".
Complicated love affairs
fleeting hobbies,
bold, risky,
challenging society
actions of heroes, adventures
and fantasies gallant
Allegory of fine arts,
entertainment and holidays
1764 Oil on canvas; 103 x 130 cm.
determined the content
Rococo. France.
works of art
Washington, National gallery.
rococo.

17.

Rococo and
sentimentalism
Characteristic features of the Rococo style in works of art:
grace and lightness, intricacy, decorative refinement
and improvisation, pastorality (shepherd's idyll), craving for
exotic;
ornament in the form of stylized shells and curls, arabesques,
flower garlands, figurines of cupids, torn cartouches,
masks;
a combination of pastel light and delicate tones with a large
the number of white parts and gold;
the cult of beautiful nudity, dating back to ancient tradition,
sophisticated sensuality, eroticism;
cult of small forms, intimacy, diminutiveness (especially in
sculpture and architecture), love for little things and knick-knacks
("Lovely trifles"), which filled the life of a gallant
person;
aesthetics of nuances and hints, intriguing duality
images, conveyed with the help of light gestures, half-turns,
barely noticeable mimic movements, a half-smile, a blurred
look or a wet gleam in the eyes.

18.

Rococo and
sentimentalism
Style furniture
rococo
The greatest flourishing style
Rococo reached in works
arts and crafts
art of France (interiors
palaces
and costumes of the aristocracy). IN
Russia, he appeared before
only in architectural decoration in the form of scrolls, shields and
intricate rocaille shells (decorative
ornaments imitating
mix of fancy shells
and outlandish plants), and
also maekarans (stucco or
carved masks in the form
human face or head
beast placed above
windows, doors, arches,
fountains, vases and furniture).

19.

Rococo and
sentimentalism
Court Joseph-Desire
Kur). painting. France
Sentimentalism (fr. sentiment - feeling).
In ideological terms, he, like
classicism, based on the ideas
enlightenment.
An important place in the aesthetics of sentimentalism
occupied the image of the world of feelings and
human experiences (hence
Name).
Feelings were perceived as a manifestation
natural principle in man, his
natural state possible
only in close contact with
nature.
Achievements of a civilization with many
temptations that corrupt the soul
"natural man", acquired
clearly hostile.
a kind of ideal
sentimentalism has become the image of rural
citizen who followed the law
primeval nature and living in
absolute harmony with her.

20.

Rococo and
sentimentalism
French philosopher, writer,
Enlightenment thinker.
Also musicologist, composer and
botanist. Born: June 28, 1712
city, Geneva. Died: July 2, 1778 (66
years), Ermenonville, near Paris.
The founder of sentimentalism
consider the French Enlightener
J.J. Rousseau proclaiming a cult
natural, natural feelings and
human needs, simplicity and
cordiality.
His ideal was sensitive,
sentimental dreamer,
obsessed with the ideas of humanism,
"natural person" with "beautiful
soul", not corrupted
bourgeois civilization.
The main task of Rousseau's art
saw in teaching people
virtues, call them to the best
life.
The main pathos of his works
constitutes the praise of human
feelings, high passions that came
in conflict with the public
class prejudice.

21.

Rococo and
sentimentalism
It is best to consider
sentimentalism as one of
artistic movements,
operating under
classicism.
If Rococo focuses on
outward expression of feelings and
emotions, then sentimentalism
highlights the inner
the spiritual side of human existence.
In Russia, the brightest
epitome of sentimentalism
found in the literature and
painting, for example
the work of V. L. Borovikovsky.
V.L. Borovikovsky. Lizynka and
Dashinka. 1794 State
Tretyakov Gallery, Moscow

22. Security questions

1 . What is the aesthetic program of the art of classicism? IN
what are the connections and differences between art
Classicism and Baroque?
2. What examples of Antiquity and Renaissance should
classic art? From what ideals of the past and
why did he have to refuse?
3. Why is Rococo considered the style of the aristocracy? What are his
features corresponded to the tastes and moods of their
time? Why was there no place for expression in it
civic ideals? Why do you think the rococo style
reached its peak in the arts and crafts
art?
4. Compare the basic principles of baroque and rococo. Is it possible
consider Rococo a continuation of the Baroque? What's new style
Rococo "added" to the Baroque? What are the differences
emotional impact on a person of these styles?
5*. On what ideas of enlightenment was based
sentimentalism? What are its main focuses? rightfully
whether to consider sentimentalism within the grand style
classicism?

23. Creative workshop

24. Topics for presentations, projects

1.
2.
3.
4.
5.
6.
7.
8.
9.
"The Role of France in the Development of the European Artistic
culture".
"Man, nature, society in the aesthetic program
classicism".
"Patterns of Antiquity and Renaissance in Art
classicism".
"The Crisis of Baroque Ideals and the Art of Classicism".
"Rococo and sentimentalism are accompanying styles and
currents of classicism.
"Features of the development of classicism in the art of France
(Russia, etc.)”.
"AND. J. Rousseau as the founder of sentimentalism.
"The cult of natural feeling in art
sentimentalism."
"The further fate of classicism in the history of the world
arts."

25. reflection

Evaluate your work in class
complete the sentences:
Today I found out...
It was interesting…
It was difficult…
I learned…
I was able...
I was surprised...
I wanted…

26. Literature:

Programs for educational institutions.
Danilova G.I. World art culture. – M.:
Bustard, 2011
Danilova, G.I. Art / MHK. 11 cells A basic level of:
textbook / G.I. Danilova. M.: Bustard, 2014.
Kobyakov Ruslan. Saint Petersburg

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