Fine art of classicism. classicism - (from lat

MHK, 11th grade

Lesson #8

Fine

art of classicism

and rococo

D.Z.: Chapter 8, ?? (p. 83), tv. tasks (p.83-85)

© A.I. Kolmakov

LESSON OBJECTIVES

• introduce students with characteristic features of the fine arts of classicism and rococo;
• Develop skill independently study the material and prepare it for the presentation; continue to develop the ability to analyze a work of art;
• Bring up culture of perception of works of art.

CONCEPTS, IDEAS

• N. Poussin;
• composition system;
• "Arcadian shepherds";
• A. Watteau;
• "Pilgrimage to the island of Cythera";
• "Gil";
• F. Bush;
• "Madam de Pompadour" ;
• "gallant genre";
• rationalism

Checking students' knowledge

• Why Versailles can be attributed to outstanding works? Explain your answer.
• As urban planning ideas of classicism of the XVIII century. have found their practical application in architectural ensembles Paris, like Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, such as Piazza del Popolo (see p. 74)?
• What is the relationship between Baroque and Classical architecture? What ideas did classicism inherit from baroque?
• What are the historical prerequisites for the emergence of the Empire style? What new ideas of his time did he seek to express in works of art? Which artistic principles does he rely on?

Universal learning activities

•  define reveal originality find and assessments of cultural figures
•  define aesthetic, spiritual content and expression of social ideas in the works of fine art of classicism;
• reveal originality the creative manner of the artists of classicism and rococo in comparison with contemporaries and figures of previous eras;
• find using various means, highlight, structure and present in the form of a message and presentation the necessary information about the painting of classicism and rococo;
• distinguish characteristics individual author's style, evaluate creative manner artist;
• conduct comparative analysis works by masters of the “gallant genre” (A. Watteau and F. Boucher);
• identify and characterize the most important concepts , laws and theories of the fine arts of classicism (on the example of the work of N. Poussin);
• comment on scientific points of view and assessments of cultural figures

STUDY NEW MATERIAL

Lesson assignment. What is the significance of classicism in fine arts for world civilization and culture?

sub-questions

• Nicolas Poussin - classicist painter . Glorification of the heroic man. Characteristic features of paintings (on the example of famous paintings). Rationalism as a fundamental principle of artistic creativity.
• Masters of the "gallant genre": Rococo painting *. The main themes of Rococo painting and their artistic embodiment (on the example of famous works A. Watteau and F. Boucher)

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”.

Poussin worked out creative

method, based on

put your own

concept of laws

beauty.

Mine ideal he saw in

proportionality of the parts of the whole,

in external order,

harmony and clarity of form.

N. Poussin. Self-portrait.

Nicolas Poussin -

Classicist painter

Called to create

so, "how it is taught

nature and reason.

When choosing topics

gave away

preference

heroic

deeds and deeds

based on

lay high

civil

incentives, not

base

human

passions.

main subject

art considered

what is connected with

idea of

sublime and

beautiful that

can serve

model for

imitation and

means

bringing up the best

moral character in

man.

N. Poussin. Tancred and Erminia. Late 1620s early 1630s State Hermitage, Saint Petersburg

Nicolas Poussin -

Classicist painter

From historical stories

choose only those in which

there was action, movement and

expression. Work on a painting

started with careful

studying literary

source (Holy Scripture,

"Metamorphoses" by Ovid or

"Jerusalem Liberated"

T. Tasso). If he answered

Set goals, artist

thought not difficult

inner life heroes,

the climax of the action. Mental strife, doubts and

disappointments pushed back

second plan. Regular storyline

Poussin's formula was:

"The die is cast, the decision

accepted, the choice is made” (Yu.K.

Zolotov).

Poussin. Landscape with Diogenes

Nicolas Poussin -

Classicist painter

composition system paintings

Poussin was built on two

beginnings: balance

shapes (building groups around

center) and on their free

ratio (shift in

away from the center), which

made it possible to achieve

extraordinary experience

orderliness, freedom and

composition mobility.

Great importance V

art system

Poussin takes coloring .

The relationship of the main

colorful sounds

achieved through system

reflexes : intense color in

the center of the composition is usually

accompanied by dim

neutral colors.

Poussin. David the Conqueror

Nicolas Poussin -

Classicist painter

N. Poussin.

Arcadian

shepherds.

The painting is based

deep philosophical

thought of frailty

earthly existence and

the inevitability of death. four shepherds,

inhabitants of happy Arcadia

(regions in southern Greece,

which is a symbol

eternal prosperity,

serene life without

wars, sickness and suffering)

randomly found among

bushes

tomb with the inscription: "And I

was in Arcadia. But now

I am not among the living

there will be no you, now

reading this inscription.

The meaning of these words makes you think about the mortal, rethink the present ...

The painting by N. Poussin "The Arcadian Shepherds" is 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.

Nicolas Poussin -

Classicist painter

Color system of paintings

Poussin was usually built

color is the most important

means to create volume

and depth of space. Division into plans

emphasized consonance

strong colors. On the first

plan most often dominated

yellow and brown colors, on

the second - warm, green, on

third - cold, before

all blue. In this picture

everything is under the law

classic beauty: color

cold skies colliding

warm foreground,

beauty of the naked

human body, transmitted

in even diffused lighting,

was perceived especially

effective and sublime against the background

juicy green foliage

serene landscape.

Nicholas Poussin. Narcissus and Echo. About 1630

A. Batto.

Pilgrimage

to the island of Cythera. 1717

Louvre, Paris

Masters

"gallant genre":

rococo painting

Venus, Diana, nymphs and

cupids outshine everything

other deities. all sorts of

bathing, morning

toilets" and instant

pleasures are

almost now

main subject

Images.

The fashion includes

exotic names

Colors: "Thigh color

frightened nymph"

( bodily ), "rose color,

floating in milk"

( pale pink ), "color

lost time"

( blue ). Clearly

thoughtful, slender

compositions of classicism

give way to grace

and sophisticated design.

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, a world of complex love affairs and ingenious allegories "royal style"

Masters

"gallant genre":

rococo painting

Antoine Watteau (1684-1721)

contemporaries called

"poet of carefree leisure",

"a singer of grace and beauty." In his works he

photographed picnics in

evergreen parks,

musical and theatrical

concerts in the bosom of nature,

ardent confessions and quarrels

lovers, idyllic

dates, balls and masquerades.

At the same time, in his paintings

there is a poignant sadness,

sense of transience

beauty and ephemeral

what is happening.

Masters

"gallant genre":

rococo painting

"Pilgrimage to the Island of Cythera" thanks to which A. Batto was admitted to the Royal Academy of Painting and Sculpture, received the title of "master of gallant festivities." Charming ladies and gallant gentlemen gathered on the flower-strewn and 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 holiday of love begins at the statue With the image of Venus and cupids.

Watteau writes not with paints, but with honey, melted

amber."

Masters

"gallant genre":

rococo painting

To true masterpieces

belongs to the picture Watt A

"Gilles" ("Pierrot") created in

as a sign for

vagrant performances

comedians. Gilles is the chief and

favorite character

french comedy masks,

analogue of Pierrot - the hero of the Italian

comedy del arte . clumsy

naive creature

specially created for

to constantly demolish

ridicule and tricks of the dexterous and

cunning Harlequin. Gilles

depicted in traditional white

a suit with a cape and a round

hat. He is motionless and

lost in front of the viewer,

while other comedians

are on vacation.

A. Bammo. Gilles (Pierrot). Fragment. 1720 Louvre, Paris

Masters

"gallant genre":

rococo painting

Francois Boucher (1703-1770) believed

himself a faithful disciple of Watt. Alone

called him "the artist of grace",

"Anacreon of painting",

"royal painter". Second

saw him as an "artist hypocrite",

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

ceremonial portraits of the favorite

King Louis XV Marquise de

Pompadour: patronized

Bush, ordered him more than once

paintings on religious subjects

for country residences and

Parisian mansions. marquise

generously thanked the artist,

appointing him first director

Gobelin manufactory, then

President of the Academy of Arts,

giving him the title of "first

painter of the king.

F. Bush. Madame de Pompadour.

Masters

"gallant genre":

rococo painting

François Boucher repeatedly addressed

depicting frivolous scenes,

whose main characters were

cutesy, shy cowgirls or

plump naked ladies in

form of mythological Venus and Diana. His

pictures abound with ambiguities

hints.

In the history of world painting Francois

Bush is still

great master of color and

exquisite drawing. witty

solved compositions, unusual

angles of heroes, juicy color

accents, bright reflections of transparent colors,

applied in small, light strokes,

smooth, flowing rhythms - all this

makes F. Bush unsurpassed

painter. His paintings become

in decorative panels, decorate

luxurious interiors of halls and living rooms,

they call to the world of happiness, love and

beautiful dreams. The artist is fine

knew the fashion and tastes of his era!

F. Bush. Breakfast.

Control questions

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. N. Poussin said: “For me, there are no trifles that can be neglected ... My nature leads me to look for and love things that are 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 famous artists with "Self-portrait"

N. Poussin. What exactly makes this piece stand out? Can it be argued that it is made in a classic manner? Justify your answer.

2. Get acquainted with the painting by N. Poussin "The Death of Germanicus", which brought him fame and is considered the programmatic work of classicism. What features of the artistic system of this style are 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 N. 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 you can see lonely human figures peering into the surrounding space? Why are they often brought to the fore, and their gaze is directed into 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? Explain your answer.

5*. Try 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 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?

Topics for presentations, projects

• "Nicolas Poussin and Antiquity: the heroism of plots and images";
• “The artistic role and evolution of the landscape in the work of N. Poussin;
• "Architectural motifs in the work of N. Poussin";
• "The predecessors and followers of N. Poussin";
• "The work of N. 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. Watt";
• "Theatricality and musicality of A. Watteau's painting";
• "The Artist of the Graces" by F. Boucher";
• "Characteristic Features of the Decorative and Applied Art of the Rococo".

• Today I found out...
• It was interesting…
• It was difficult…
• I learned…
• I was able...
• I was surprised...
• I wanted…

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.
• Shilova Galina Gennadievna, MOU teacher Secondary School No. 1, Okhansk, Perm Territory

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 characteristics musical culture 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 musical creativity TO.
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 organ music J. S. Bach? 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
formation composer school in Russia? Which
spirituality makes an impression on you choral music M.S.
Berezovsky and D.S. Bortnyansky?

Universal learning activities

define
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 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, North
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
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.

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 aesthetic program classical art? 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

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 modern masters of the brush," and after his death he 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, an amazing sense of rhythm, based on the ancient doctrine 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.

Of great importance in the artistic system of Poussin is color. 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 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 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 on a relatively shallow area. 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. 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 background of the lush green foliage 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 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 the Greek goddess of 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 sense 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.

Classicism CLASSICISM (from lat. classicus exemplary), style and trend in literature and art 17 early. 19th centuries, who turned to the ancient heritage as a norm and an ideal model. Based on the ideas of philosophical rationalism, on ideas about the rational laws of the world, about the beautiful ennobled nature, he strove to express great social content, sublime heroic and moral ideals, to a strict organization of logical, clear and harmonious images.

Rococo ROCOCO ("quaint", "capricious"; French rococo from rocaille, fragments of stones, shells), style direction, which dominated European art during the first three quarters of the 18th century. Rococo art is a world of fiction and intimate experiences, decorative theatricality, sophistication, sophisticated sophistication; there is no place for heroism and pathos in it; they are replaced by a game of love, fantasy, and lovely trinkets.

Nicolas Poussin Poussin (Poussin) Nicola (), french painter. representative of classicism. Exalted by figurative system, deep in philosophical design, clear in composition and drawing, paintings on historical, mythological, religious themes, affirming the power of reason and social and ethical norms (“Tancred and Erminia”, 1630s, “Arcadian shepherds”, 1630s) ; majestic heroic landscapes (“Landscape with Polyphemus”, 1649; series “The Seasons”,).

Masters of the "gallant genre" 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”. 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”.

Antoine Watteau Watteau Antoine (full Jean Antoine Watteau, Watteau) (October 10, 1684, Valenciennes July 18, 1721, Nogent-sur-Marne), French painter and draftsman. In household and theater scenes gallant festivities, marked by the exquisite tenderness of colorful nuances, the quivering of the drawing, recreated the world of the subtlest states of mind.

Download video and cut mp3 - we make it easy!

Our site is a great tool for entertainment and recreation! You can always view and download online videos, funny videos, hidden camera videos, art films, documentaries, amateur and home videos, music videos, videos about football, sports, accidents and disasters, humor, music, cartoons, anime, TV shows and many other videos for free and without registration. Convert this video to mp3 and other formats: mp3, aac, m4a, ogg, wma, mp4, 3gp, avi, flv, mpg and wmv. Online Radio is radio stations to choose from by country, style and quality. Online Jokes are popular jokes to choose from by style. Cutting mp3 to ringtones online. Converter video to mp3 and other formats. Online TV - these are popular TV channels to choose from. Broadcasting of TV channels is absolutely free in real time - broadcast online.