Foreign artists of the 19th century: the brightest figures of fine arts and their legacy. The artistic culture of Europe in the 19th century European artists of the early 19th century

Art Western Europe first half of the 19th century.

History of the 19th century opens not the calendar year 1801, but the 1789th. Great French revolution(1789-99), which destroyed the monarchy and established a republic, for a long time determined the development of European culture. Freedom, Equality and Fraternity. However, less than five years later, freedom turned into despotism, the idea of ​​equality led to mass executions, and aggressive wars were unleashed in the name of the brotherhood of all people. And yet the main discovery of the century was the realization of the unique value of the human person.

In the art of the first half of the XIX century. two trends competed neoclassicism and romanticism. Rise of neoclassicism fell on the years of the French Revolution and the period of the reign of Napoleon I. This style dominated architecture, fine and decorative arts during the first three decades of the 19th century. for the people of that time, the life of the ancient Greeks and Romans was not only an ideal of beauty, but also a model of the world they were trying to build. A new direction in European culture - romanticism(French romantisme) - expressed the views of the younger generation the turn of the 18th-19th centuries, experienced disappointment in the common truths of the Enlightenment. The world of romantics is mysterious, contradictory and boundless; the artist had to embody its diversity in his work. Main in romantic work- feelings and imagination of the author. For a romantic artist, there were and could not be laws in art: after all, everything that he created was born in the depths of his soul. The only rule that he honored was loyalty to himself, sincerity artistic language. Often, the creations of romantics shocked society with a complete rejection of the prevailing tastes, negligence, and incompleteness.

Architecture

In the first half of the 19th century, urban planning on an unprecedented scale unfolded in Europe. Most European capitals - Paris, St. Petersburg, Berlin - have acquired their characteristic appearance; in their architectural ensembles, the role of public buildings increased. Neoclassicism in the first half of the XIX century. experienced a late bloom. By the middle of the century, the main problem of European architecture was the search for style. Due to the romantic fascination with antiquity, many masters tried to revive the traditions of the architecture of the past - this is how neogothic, neorenaissance, neo-baroque . The efforts of architects often led to eclecticism - mechanical connection of elements different styles, old with new.

French architecture

During the years of the French Revolution, not a single durable structure was built in France. This was the era of temporary buildings. In the art of Napoleonic France, the dominant role remained with neoclassicism. At the same time, architectural forms acquired a special pomp and solemnity, and the scale of construction became grandiose. Neoclassicism of the times of Napoleon I was called Empire (French empire - "empire"). It was supposed to symbolize the greatness and power of the state created by General Bonaparte. Napoleon's main event in the field of architecture was the reconstruction of Paris.

Gabriel Jacques Ange (1698-1782) - the largest architect of France of the XVIII century. One of the founders of neoclassicism.

Place Louis XV (Place de la Concorde) in Paris. 1753-75

Petit Trianon at Versailles. 1762-64

Compiègne castle. 1751-88

Military school in Paris. 1751-75

Souflot Jacques Germain (1713-1780) French architect.

representative of neoclassicism.

Jean Leper, Jacques Gonduin – French architects.

The triumphal column on the Place Vendôme was erected by order of Napoleon in honor of the victory of the French troops at Austerlitz. At first it was called that - "Austerlitskaya", then it was renamed the "Column of Victories", and even later - the "Column of the Great Army".

Triumphal column on Place Vendôme in Paris.

1806-10 Height 44 m; base width 3.67 m

Church of St. Genevieve (Pantheon) in Paris. 1757-90s

Architecture of England

In the architecture of England in the first half of the 18th century. The Neo-Gothic style was established. One of his most impressive examples was the Parliament Ensemble in London (from 1840-1868), architect Sir Charles Barry (1795-1860)

Parliament. 1840-68.

Architect Jean Francois Chalgrin .

Arc de Triomphe at Carousel Square in Paris.

1806-07 (17.6 x 10 x 14.6 m (length, depth, height)).

Architects Ch. Persier, P.F.L. Fontaine.

Arc de Triomphe in Place Charles de Gaulle in Paris.

1806-37 Height 50 m, width 45 m

Arc de Triomphe on Carousel Square, also known as entrance gate Tuileries Palace, was erected by order of Napoleon to commemorate the great victories of French weapons. The reliefs decorating the arch depict scenes of the victories of the Napoleonic army at Ulm and Austerlitz. Until 1815, the arch was crowned with a bronze chariot of Victory, which previously adorned the facade of the Cathedral of San Marco in Venice, then it was replaced by a quadriga by the sculptor F.J. Bosio.

The triumphal arch of the Grand Army was laid in the center of the future Zvezda Square (now Charles de Gaulle Square) by order of Napoleon in honor of the victory of the French emperor in the battle of Austerlitz (1805) over the combined troops of Austria and Russia. Her pylons in the 30s. 19th century were decorated with sculptural reliefs; including the famous composition François Ruda (1784- 1855) "Speech of the Volunteers in 1792 (Marseillaise)" (1833-36). Since 1921, under the vault of the arch, there has been the tomb of the Unknown Soldier - a participant in the First World War.

German architecture The largest center of architecture in Germany in the first half of the XIX century. was Berlin. The development of the German architectural school of this period largely determined the work of two masters - Karl Friedrich Schinkel (1781-1841) and Leo von Klenze (1784-1864).

Old museum. 1824-28 Arch. K.F.Shinkel.

Berlin Drama Theatre.1819.Arch.K.F.Shinkel.

New guardhouse.1816-18. Arch. K.F.Shinkel.

Vender Church. 1824 In Berlin. architect K.F.Shinkel.

European sculpture in early XIX V.

European sculpture at the beginning of the 19th century experienced short period heyday. But already in the 20s. it gave way to decline and stagnation. Dominant and most fruitful style was neoclassicism. Interest in art Ancient Greece and ancient Rome was ubiquitous, the possession of famous ancient masterpieces became an important issue in international politics of that time.

Romanticism brought into sculpture an interest in the individual; Numerous monuments to great people of the past, erected in various European cities in the 20-30s, testify to his influence. 19th century On the whole, sculpture, with its generalized artistic language, could not contain the whole variety of impressions from life, which was changing literally before our eyes. chief art of the 19th century was painting, and sculpture had to follow the path of petty and dull naturalism for a long time, until in the 80s. the French master Auguste Rodin did not return her high destiny.

Canova Antonio (1757-1822) -Italian sculptor and painter.

Thorvaldsen Bertel (1768/1770-1844)- Danish sculptor.

Schadow Johann Gottfried (1754-1850) German sculptor, representative of neoclassicism.

Daedalus and Icarus. 1777-79

Quadriga with the figure of Victory on the Brandenburg Gate in Berlin. 1793

Monument to Nicolaus Copernicus in Warsaw. 1829-30s

Theseus and the Minotaur. 1781-83

Ganymede feeding the Eagle of Zeus. 1817

Princess Frederica. 1795

Spain painting After flourishing in XVII century Spanish painting was in decline. Its artists worked under the influence of Italian and French traditions, and their canvases were weak and imitative. In the second half of the XVIII century. Spain has changed. King Charles III (1759-88) of the French Bourbon dynasty held progressive views for his time. His advisers, trying to transform the country in the spirit of the ideas of the Enlightenment, carried out reforms that limited the power of the church. At this time, talent was formed Francisco Goya (1746-1828) -Spanish painter

Portrait of the Duchess of Alba. 1797

Tableware seller. 1778

Family of King Charles IV. 1800

Painting of France

In the first half of the XIX century. french school painting strengthened its primacy in the art of Western Europe. Theodore Géricault and Eugene Delacroix creatively accepted their free manner and color, preparing the birth of impressionism and thus the whole modern painting. By the beginning of the XIX century. The generally recognized leader among French artists was Jacques Louis David (1748-1825) - the most consistent representative of neoclassicism in painting and a sensitive chronicler of his turbulent times. David's work has a pronounced journalistic orientation, the artist seeks to express heroic ideals through the images of antiquity

Géricault Theodore (1791-1824) - french painter and chart.

Founder romantic direction in the visual arts.

Officer of the horse rangers of the imperial guard,

going on the attack. 1812

Raft "Medusa". 1818-19

Delacroix Eugene (1798-1863) - French painter and graphic artist. Head of the romantic trend in the visual arts.

Tangier fanatics. 1837-38

Freedom Leading the People (Freedom at the Barricades). 1830

David Jacques Louis (1746-1825) - French painter. In the pre-revolutionary era in France largest representative so-called "revolutionary" classicism.

Oath of the Horatii. 1784

Napoleon crossing St. Bernard. 1800

Ingres Dominique (1780-1867) - French painter, draftsman and musician. representative of French neoclassicism. Ingres is a brilliant master portrait genre. In addition to portraits, he created paintings on biblical, mythological, allegorical, literary subjects.

Gros Jean Antoine (1771-1835) - French painter and graphic artist. The official painter of Napoleon I, the chronicler of the Napoleonic epic, capturing its most important milestones. Created portraits and battle paintings, fanned by the spirit of heroics.

Napoleon on the battlefield of Eylau. 1808

Countess d "Ossonville. 1845

Princess de Brogli. 1851-53

Painting of Germany

Germany at the beginning of the 19th century experienced a social and political upsurge. Resistance to the conquests of Napoleon and the war of liberation in 1813 made German patriotism universal, and the subjects of three hundred German dwarf states recognized themselves as a single people. In those years, there was a strong passion for the Middle Ages in Germany, and interest in national history and culture increased. Germany played an exceptional role in the history of romanticism - a trend in European culture of the late 18th - first half of the 19th centuries.

Runge Philipp Otto (1777-1810) - German painter, graphic artist and art theorist. One of the founders and the greatest master of romanticism in German painting.

Rest on the flight to Egypt. 1805-06

Portrait of the artist's wife. 1807

Portrait of the artist's parents with their grandchildren. 1806

Friedrich Caspar David (1774-1840) - German painter, draftsman and engraver. representative of romanticism. Landscape painter.

Giant mountains. 1835

The death of "Nadezhda" in the ice. 1824

Floating clouds. Around 1820

Biedermeier painting Biedermeier (German Biedermeier) is a style in the art of Germany and Austria, which developed in the 10-40s. 19th century The name was given to him by parodic humorous poems by L. Eichrodt and A. Kussmaul, published in 1855-57. in one of the Munich magazines. Their fictional author, the teacher Gottlieb Biedermeier, is a modest layman: complacent, sentimental, unlucky, a lover of a quiet life and comfort. Biedermeier painting is characterized by a small format of canvases, a careful and delicate manner of writing, as a rule, the absence of action in the depicted scenes, and a predilection for small details. Biedermeier mastered the artistic experience of romanticism with its poetic view of the world, sometimes colored with irony, but at the same time smoothed out the extremes of this style, “domesticated” it in accordance with the conflict-free nature of the layman. Biedermeier masters tried their hand at portraiture, landscape and other genres, but everyday painting became the clearest expression of style.

Waldmüller Ferdinand Georg (1793-1865) Austrian painter. One of the greatest masters of European painting mid-nineteenth V. A typical representative of the Biedermeier.

Bouquet in an antique crater. About 1840

Mountain landscape near Mödling. 1859

Nazarenes ( German Nazarener), official Union of Saint Luke (German) Lukasbund)

- grouping German and Austrian Romantic painters of the 19th century who tried to revive the style of the masters of the Middle Ages and the Early Renaissance, who were guided by the art of the 15th century. Most of their paintings are paintings on Christian, historical or allegorical subjects, their style is a legacy of classicism and a reaction to it under the influence of the ideology of romanticism. The leading figures of the movement were Friedrich Overbeck and Peter Cornelius.

Johann Friedrich Overbeck ( 1789 - 1869 ) - German artist, graphic artist and illustrator.

Fresco cycle for the House of Bartholdi in Rome

Peter Joseph von Cornelius ( 1783 - 1867 ) - German artist.

Wise and foolish virgins. OK. 1813

Tavern, around 1820

England painting

In English painting, the academic school, whose foundations were laid in the 18th century by the first president of the Royal Academy of Arts, Joshua Reynolds, retained its dominant position throughout the first half of the 19th century. However, the most noticeable phenomenon in those years was the landscape, which in the academic environment was perceived as a minor, insignificant genre. On the one hand, the desire for a real reflection of the world, the assertion of the intrinsic value of simple rural landscapes, and on the other hand, nature as a world of passions and violent experiences - all this found a vivid expression in the work of English artists. The art of England entered the era of romanticism.

William Blake (1757-1827) -English poet, painter, illustrator. A complex and ambiguous personality, Blake was an iconic figure for his time, the embodiment of the spirit of romanticism.

Creator of the universe.

Frontispiece to the poem "Europe". 1794

A pity. About 1795

Constable John (1776-1837) - English painter. Constable portrayed the ordinary countryside in all its freshness and immediacy, recreating the quivering of the light-air environment.

Hay wagon. 1821

White horse. 1819

William Turner (1775-1851) - the English painter turned to biblical, mythological and historical subjects, revealing a penchant for romantic fantasy, for the embodiment of the dramatic struggle of natural forces, for the transfer of unusual lighting effects.

Mole in Calais. The French are preparing to go to sea: an English passenger ship arrives. 1803

Slave ship. 1840

The last voyage of the ship "Brave". 1838

Plurality artistic directions in the 19th century was the result of a process of modernization. The artistic life of society was now determined not only by church dictates and the fashion of court circles. The change in the social structure led to a change in the perception of art in society: new social strata of wealthy and educated people are emerging who are able to independently evaluate works of art, focusing only on the requirement of taste. It was in the 19th century that the formation of Mass culture; newspapers and magazines from issue to issue, which printed long novels with an entertaining plot, became the prototype of television serials in the art of the 20th century.

In the first half of the 19th century, urban planning on an unprecedented scale unfolded in Europe. Most European capitals - Paris, St. Petersburg, Berlin - have acquired their characteristic appearance; in their architectural ensembles, the role of public buildings increased. The famous Eiffel Tower, built in 1889 for the opening of the World Exhibition, has become the symbol of Paris. The Eiffel Tower demonstrated the technical capabilities of a new material - metal. However, the original artistic solution was not immediately recognized, the tower was called for to be demolished, called monstrous.

Neoclassicism in the first half of the XIX century. experienced a late heyday, now it receives the name Empire (from the French "empire"), this style expressed the greatness of the empire created by Napoleon. By the middle of the century, the main problem of European architecture was the search for style. Due to the romantic fascination with antiquity, many masters tried to revive the traditions of the architecture of the past - this is how the neo-Gothic, neo-Renaissance, neo-baroque arose. The efforts of architects often led to eclecticism - a mechanical combination of elements of different styles, old with new.

IN artistic life Romanticism prevailed in the first half of the 19th century, reflecting disappointment in the ideology of the Enlightenment. Romanticism has become a special worldview and way of life. The romantic ideal of a person who is not understood by society forms the manner of behavior of its upper strata. Romanticism is characterized by the opposition of two worlds: the real and the imaginary. The reality is considered as soulless, inhumane, unworthy of a person and opposing him. The "prose of life" of the real world is opposed to the world of "poetic reality", the world of the ideal, dreams and hopes. Seeing the world of vices in contemporary reality, romanticism tries to find a way out for man. This exit is at the same time a departure from society in different options: the hero goes into his own inner world, beyond the limits of real space and care in another time. Romanticism begins to idealize the past, especially the Middle Ages, seeing in it reality, culture, and values ​​as frost.

Eugene Delacroix (1798-1863) was destined to become the head of French romanticism in painting. The inexhaustible imagination of this artist created a whole world of images that still live on the canvas with their intense, full of struggle and passions life. Delacroix often drew motives from the works of William Shakespeare, Johann Wolfgang Goethe, George Byron, Walter Scott, turned to the events of the French Revolution, other episodes of national history ("Battle of Poitiers"). Delacroix captured numerous images of the people of the East, mainly Algerians and Moroccans, whom he saw during his trip to Africa. In The Massacre on the Island of Chios (1824), Delacroix reflected the struggle of the Greeks against Turkish rule, which then worried all of Europe. The group of suffering captive Greeks in the foreground of the picture, among which there is a woman distraught with grief, and a child crawling to the chest of a dead mother, the artist contrasted the arrogant and cruel figures of the punishers; a burning ruined city is seen in the distance. The picture struck contemporaries with the breathtaking power of human suffering, and with its unusually bold and sonorous coloring.

The events of the July Revolution of 1830, which ended in the defeat of the revolution and the restoration of the monarchy, inspired Delacroix to create widely famous painting"Freedom on the Barricades" (1830). The woman who raised the tricolor banner of the French Republic represents freedom. The image of freedom on the barricades 0 personification of the struggle.

The Spanish artist Francisco Goya (1746-1828) was a world-famous representative of romanticism. Goya developed into a major artist relatively late. The first significant success brought him two series (1776-1791) of numerous tapestries created for the Royal Manufactory of Santa Barbara in Madrid ("Umbrella", "The Blind Guitarist", "Seller of Dishes", "Blind Man's Bluff", "Wedding"). In the 90s. XVIII century in the work of Goya, the features of tragedy, hostility to the feudal-clerical Spain of the "old order" are growing. The ugliness of its moral, spiritual and political foundations Goya reveals in a grotesque-tragic form, feeding on folklore sources, in a large series of etchings "Caprichos" (80 sheets with the artist's comments); the bold novelty of the artistic language, the sharp expressiveness of lines and strokes, the contrasts of light and shadow, the combination of the grotesque and reality, allegory and fantasy, social satire and a sober analysis of reality opened up new ways for the development of European engraving. In the 1790s - early 1800s, Goya's portrait work reached an exceptional flowering, in which an alarming feeling of loneliness (portrait of Senora Bermudez), courageous confrontation and challenge to the environment (portrait of F. Guimardet), the aroma of mystery and hidden sensuality ("Maja dressed "and" Nude Maha "). With amazing power of conviction, the artist captured the arrogance, physical and spiritual squalor of the royal family in group portrait"The Family of Charles IV". Deep historicism, passionate protest permeate Goya's large paintings dedicated to the struggle against the French intervention ("Uprising on May 2, 1808 in Madrid", "Shooting of the rebels on the night of May 3, 1808"), a series of etchings philosophically comprehending the fate of the people "Disasters of War" ( 82 sheets, 1810-1820).

Francisco Goya "Caprichos"

If in literature the subjectivity of an artist's perception is discovered by symbolism, then in painting a similar discovery is made by impressionism. Impressionism (from French impression - impression) is a trend in European painting that originated in France in the middle of the 19th century. The Impressionists avoided any details in the drawing and tried to capture the general impression of what the eye sees at a particular moment. They achieved this effect with the help of color and texture. The artistic concept of impressionism was based on the desire to naturally and naturally capture the surrounding world in its variability, conveying their fleeting impressions. Fertile ground for the development of impressionism was prepared by the artists of the Barbizon school: they were the first to paint sketches from nature. The principle of “painting what you see in the midst of light and air” formed the basis of the plein air painting of the Impressionists.

In the 1860s, young genre painters E. Manet, O. Renoir, E. Degas tried to inspire French painting with freshness and immediacy of observing life, depicting instant situations, unsteadiness and imbalance of forms and compositions, unusual angles and points of view . Working outdoors helped to create on the canvases the feeling of sparkling snow, the richness of natural colors, the dissolution of objects in the environment, the vibration of light and air. Impressionist artists paid special attention to the relationship of an object with its environment, to studies of the change in color and tone of an object in a changing environment. Unlike the romantics and realists, they were no longer inclined to depict the historical past. Modernity was their area of ​​interest. The life of small Parisian cafes, noisy streets, picturesque banks of the Seine, railway stations, bridges, the inconspicuous beauty of rural landscapes. Artists are no longer willing to touch on acute social problems.

The work of Edouard Manet (1832-1883) anticipated a new direction in painting - impressionism, but the artist himself did not join this movement, although he somewhat changed his mind under the influence of the impressionists. creative manner. Manet declared his program: “Live your time and depict what you see in front of you, discovering true beauty and poetry in the daily course of life.” At the same time, in most of Manet's works there was no action, even a minimal plot plot. Paris becomes a constant motive for Manet's work: the city crowd, cafes and theaters, the streets of the capital.

Édouard Manet "Bar at the Folies Bergère"

Edourd Manet "Music at the Tuileries"

The very name Impressionism owes its origin to the landscape of Claude Monet (1840-1926) “Impression. Sunrise".

In the work of Monet leading value acquired the element of light. By the 70s. 19th century The amazing "Boulevard des Capucines" is one of them, where brushstrokes thrown on the canvas convey both the perspective of a busy street that goes into the distance, an endless stream of carriages moving along it, and a cheerful festive crowd. He painted many paintings with the same, but differently illuminated subject of observation. For example, a haystack in the morning, at noon, in the evening, in the moonlight, in the rain, and so on.

Many of the achievements of Impressionism are associated with the work of Pierre-Auguste Renoir (1841-1919), who entered the history of art as a "painter of happiness." He really created in his paintings a special world of captivating women and serene children, joyful nature and beautiful flowers. Throughout his life, Renoir painted landscapes, but his vocation remained the image of a man. He loved to paint genre paintings, where with amazing vivacity he recreated the bustle of Parisian streets and boulevards, the idleness of cafes and theaters, the liveliness of country walks and open-air holidays. All these paintings, painted in the open air, are distinguished by the sonority of color. The painting "Moulin de la Galette" (folk ball in the garden of the Montmartre dance hall) is a masterpiece of Renoir impressionism. It guesses the lively rhythm of the dance, the flashing of young faces. There are no abrupt movements in the composition, and a sense of dynamics is created by the rhythm of color spots. The spatial organization of the picture is interesting: the foreground is given from above, the seated figures do not obscure the dancers. Numerous portraits are dominated by children and young girls, in these portraits his skill was revealed: “Boy with a cat”, “Girl with a fan”.

An active participant in all exhibitions, Edgar Degas (1834 - 1917), was far from all the principles of the Impressionists: he was an opponent of the plein air, did not paint from life, did not seek to capture the nature of various states of nature. A significant place in the work of Degas is occupied by a series of paintings depicting a naked female body. Many of his paintings of recent years are devoted to the "woman at the toilet." In many works, Degas shows the specificity of the behavior and appearance of people, generated by the peculiarities of their life, reveals the mechanism of a professional gesture, posture, movement of a person, his plastic beauty (“Ironers”, “Laundresses with linen”). In the affirmation of the aesthetic significance of people's lives, their everyday activities, the peculiar humanism of Degas's work is reflected. The art of Degas is inherent in the combination of the beautiful, sometimes fantastic, and the prosaic: conveying the festive spirit of the theater in many ballet scenes (“Ballet Star”, “Ballet School”, “Dance Lesson”).

Post-Impressionism covers the period from 1886, when the last Impressionist exhibition was held, which presented the first works of the Neo-Impressionists, to the 1910s, which heralded the birth of a completely new art in the forms of Cubism and Fauvism. The term “post-impressionism” was introduced by the English critic Roger Fry, expressing the general impression of the exhibition of modern French art he organized in London in 1910, which featured works by Van Gogh, Toulouse-Lautrec, Seurat, Cezanne and other artists.

Post-impressionists, many of whom had previously joined impressionism, began to look for methods of expressing not only the momentary and transient - every moment, they began to comprehend the long-term states of the world around them. Post-impressionism is characterized by different creative systems and techniques that influenced the subsequent development of fine arts. Van Gogh's work anticipated the advent of Expressionism, Gauguin paved the way for Art Nouveau.

Vincent van Gogh (1853-1890) created the most striking artistic images by synthesizing (combining) pattern and color. Van Gogh's technique is dots, commas, vertical lines, solid spots. Its roads, beds and furrows really run into the distance, and the bushes burn on the ground like fires. He depicted not one seized moment, but the continuity of moments. He depicted not this effect of a tree bent by the wind, but the very growth of a tree from the ground .. Van Gogh knew how to turn everything random into cosmic. Van Gogh's soul demanded bright colors, he constantly complained to his brother about the lack of strength even of his favorite bright yellow color.

Starry Night was not Van Gogh's first attempt at depicting the night sky. In 1888, in Arles, he painted Starry Night over the Rhone. Van Gogh wanted to portray the starry night as an example of the power of imagination, which can create more amazing nature than we can perceive when looking at real world.

A heightened perception of reality and mental imbalance lead Van Gogh to mental illness. Gauguin comes to stay in Arles, but creative differences cause a quarrel. Van Gogh throws a glass at the artist's head, then, after Gauguin's declaration of his intention to leave, he throws himself at him with a razor. In a fit of madness in the evening of the same day, the artist cuts off his ear (“Self-Portrait with Bandaged Ear”).

The work of Paul Gauguin (1848-1903) is inseparable from his tragic fate. The most important thing in Gauguin's stylistic concept was his understanding of color. On about. Tahiti, where the artist left in 1891, under the influence of the primitive forms of Polynesian art, he painted pictures that are distinguished by decorativeness, flat forms and exceptionally pure colors. Gauguin's "exotic" painting - "Are you jealous?", "Her name is Vairaumati", "Woman holding a fruit" - reflects not so much the natural qualities of the objects as the emotional state of the artist and symbolic meaning the images they conceived. The peculiarity of Gauguin's painting style is a pronounced decorative effect, the desire to paint over large planes of the canvas with one color, in love for ornamentation, which was present on the fabrics of clothes, and on carpets, and in the landscape background.

Paul Gauguin "When to get married" "Woman holding a fetus"

The most important achievement of the culture of the XIX century. is the emergence of the art of photography and design. The world's first camera was made in 1839 by Louis Jacques Mande Daguerre.

Daguerre's early attempts to make a workable camera were unsuccessful. In 1827, he met Joseph Niépce, who was also trying (and by then had slightly more success) to invent the camera. Two years later they became partners. Niépce died in 1833, but Daguerre continued to work hard. By 1837 he was finally able to develop a practical system of photography called daguerreotype. The image (daguerreotype) was obtained on a silver plate treated with iodine vapor. After exposure for 3-4 hours, the plate was developed in mercury vapor and fixed with a hot solution of common salt or hyposulfite. The daguerreotypes were of very high image quality, but only one shot could be taken.

In 1839 Daguerre published his invention but did not file a patent. In response, the French government awarded him and Niépce's son lifetime pensions. The announcement of Daguerre's invention caused a great sensation. Daguerre became the hero of the day, fame fell upon him, and the daguerreotype method quickly found wide application.

The development of photography led to a revision artistic principles graphics, painting, sculpture, combined artistry and documentary, which is not achievable in other art forms. The basis for design was laid by the International Industrial Exhibition in London in 1850. Its design marked the convergence of art and technology and laid the foundation for a new kind of creativity.

Louis Daguerre, Nicephore Niepce and Niepce's Camera Obscura

Joseph Nicephore Niepce. The world's first photograph taken on an alloy of tin and lead, 1826.

Daguerre's "Artist's Studio", 1837

In the 1870s, two inventors, Elisha Gray and Alexander Graham Bell, independently developed devices that could transmit speech via electricity, which they later called the telephone. They both sent their respective patents to the patent offices, the difference in filings was only a few hours. However, Alexander Graham Bell) received the patent first.

Telephone and telegraph are electrical systems based on wires. The success of Alexander Bell, or rather his invention, was quite natural, since, inventing the telephone, he tried to improve the telegraph. When Bell began experimenting with electrical signals, the telegraph had already been in use as a means of communication for about 30 years. Although the telegraph was a fairly successful communication system based on Morse code with its display of letters using dots and dashes, however, the telegraph's big disadvantage was that information was limited to receiving and sending one message at a time.

Alexander Bell speaks in the first phone model

The first telephone, created by Alexander Graham Bell, was a device through which the sounds of human speech were transmitted using electricity (1875). On June 2, 1875, Alexander Graham Bell, while experimenting with his technique, which he called the “harmonic telegraph,” discovered that he could hear sound over a wire. It was the sound of a clock.

Bell's biggest success was achieved on March 10, 1876. Speaking via a tube with his assistant, Thomas Watson, who was in the next room, Bell uttered the words that are known to everyone today “Mr. Watson - come here - I want to see you ”(Mr. Watson - come here - I want to see you). At this time, not only the telephone was born, but the multiple telegraph also died. The potential of communication in demonstrating that it was possible to talk through electricity was very different from what the telegraph could offer with its system of transmitting information using dots and dashes.

The concept of cinema appeared for the first time in its French version - "cinema", denoting a system for creating and showing a film, developed by the brothers Louis Jean and Auguste Lumiere. The first film was shot with a movie camera by the Frenchman Louis Aimé Augustin Le Prinecy (1842–1890) in November 1888 in Great Britain and consisted of two fragments: the first one had 10-12 pictures per second, the second one had 20 pictures per second. But officially it is believed that cinema originates on December 28, 1895. On this day, in the Indian salon "Grand Cafe" on the Boulevard des Capucines (Paris, France), a public screening of the "Cinematograph of the Lumiere brothers" took place. In 1896, the brothers made a world tour with their invention, visiting London, New York, Bombay.

Louis Jean Lumiere graduated from an industrial school, was a photographer and worked in a photographic factory owned by his father. In 1895, Lumière invented the motion picture camera for shooting and projecting "moving photographs". His brother Auguste Lumiere took an active part in his work on the invention of cinema. The device was patented and was called cinema. Lumiere's first film programs showed scenes filmed on location: “Exit of workers from Lumiere's factory”, “Arrival of a train”, “Child's breakfast”, “Sprinkled waterer” and others. Interestingly, the word lumiere in French means "light". Maybe it's an accident, or maybe the fate of the creators of the cinema was decided in advance.

It follows from the representatives of Western European painting of the 19th century, France was still considered the world cultural center at that time (since the 17th century), and romanticism was considered the artistic style that opened the era. Oddly enough, on the Internet it is much easier to find information about the representatives of romanticism in general than about the French of the 19th century. For example, you can refer to the information provided on the smollbay.ru website, which lists romantic artists not only in France, but also in other countries. By the way, the list of representatives of romanticism in painting of the 19th century should begin with one of its founders - the Spaniard Francisco Goya. Also here you can include the names of Jacques Louis David, whose work occupies a borderline state between classicism and romanticism, and the "true romantics" Theodore Géricault and Eugene Delacroix.

Romanticism is being replaced by realistic painting, which also originated in France. Quite capacious about this direction is contained in " encyclopedic dictionary Brockhaus and Efron”, its text can be read on the Internet at dic.academic.ru. The representatives of realism in the fine arts of France, in the first place, include Honore Daumier, Gustave Courbet and Jean-Francois Millet.

One of the brightest pages in history french painting- the emergence and development of impressionism. It is quite easy to find information about impressionist artists by referring to the sites hudojnik-impressionist.ru, impressionism.ru, as well as to numerous printed publications on this topic, for example, “Impressionism. Illustrated Encyclopedia" by Ivan Mosin, "Impressionism. Enchanted moment" by Natalia Sinelnikova, "History of world painting. Impressionism" by Natalia Skorobogatko. The leading masters here are Edouard Manet, Claude Monet, Auguste Renoir, Camille Pissarro, Edgar Degas.

No less common is information about representatives of neo-impressionism and post-impressionism. You can find it on the already mentioned site smollbay.ru or in Elena Zorina's book “The History of World Painting. Development of Impressionism. First of all, the list should be replenished with the names of Georges Seurat, Paul Signac, Paul Cezanne, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec.
Such a trend in English painting of the second half of the 19th century as Pre-Raphaelism is becoming increasingly popular. The names of its representatives can be found on the websites dic.academic.ru, restorewiki.ru or in the books “Pre-Raphaelism” by Ivan Mosin, “The History of World Painting. Victorian Painting and the Pre-Raphaelites" by Natalia Mayorova and Gennady Skokov. The leading masters of this trend are Dante Gabriel Rossetti, John Everett Milles, William Holman Hunt, William Morris, Edward Burne-Jones.

Masters of Russian painting of the 19th century

It is much easier to compile a list of Russian artists of the 19th century by contacting such sites as www.art-portrets.ru, art19.info or one of the many encyclopedias of Russian painting for information. Here we should highlight the representatives of romanticism (Orest Kiprensky, Vasily Tropinin, Karl Bryullov), artists whose work represents the transition from romanticism to realism (Alexander Ivanov, Pavel Fedotov) and, finally, the famous Wanderers (Ilya Repin, Ivan Kramskoy, Vasily Perov, Vasily Surikov, Alexei Savrasov, Ivan Shishkin, Isaac Levitan, Viktor Vasnetsov and many others).

Compiling a list of 19th century artists is not such a difficult task, you just need to make a little effort to find and organize information.

Classicism, art style in European art 17th-early 19th century, one of the most important features of which was the appeal to the forms of ancient art, as an ideal aesthetic and ethical standard. Classicism, which developed in sharply polemical interaction with the Baroque, developed into an integral stylistic system in the French artistic culture of the 17th century.

Classicism of the 18th - early 19th centuries (in foreign art history it is often referred to as neoclassicism), which became a pan-European style, was also formed mainly in the bosom of French culture, under the strong influence of the ideas of the Enlightenment. In architecture, new types of an exquisite mansion, a grand public building, an open city square (Gabrielle Jacques Ange and Souflo Jacques Germain) were determined, the search for new, unordered forms of architecture, the desire for harsh simplicity in the work of Ledoux Claude Nicolas anticipated the architecture of the late stage of classicism - Empire. Civic pathos and lyricism combined in plastic (Pigalle Jean Baptiste and Houdon Jean Antoine), decorative landscapes (Robert Hubert). The courageous drama of historical and portrait images is inherent in the works of the head of French classicism, the painter Jacques Louis David. In the 19th century, the painting of classicism, despite the activities of individual major masters, such as Jean Auguste Dominique Ingres, degenerates into an official apologetic or pretentiously erotic salon art. Rome became the international center of European classicism in the 18th - early 19th centuries, where the traditions of academism dominated, with their characteristic combination of nobility of forms and cold idealization (German painter Anton Raphael Mengs, sculptors: Italian Canova Antonio and Dane Thorvaldsen Bertel). The architecture of German classicism is characterized by the severe monumentality of the buildings of Karl Friedrich Schinkel, for the contemplative-elegiac mood of painting and plastic art - portraits of August and Wilhelm Tischbein, sculpture by Johann Gottfried Schadow. In English classicism, the antiquities of Robert Adam, the Palladian park estates of William Chambers, the exquisitely austere drawings of J. Flaxman and the ceramics of J. Wedgwood stand out. Own variants of classicism developed in the artistic culture of Italy, Spain, Belgium, the Scandinavian countries, the USA; an outstanding place in the history of world art is occupied by Russian classicism of the 1760s-1840s.

By the end of the first third of the 19th century, the leading role of classicism was almost universally fading away, it was being replaced by various forms of architectural eclecticism. The artistic tradition of classicism comes to life in neoclassicism of the late 19th and early 20th centuries.

Jean Auguste Dominique Ingres, (1780-1867) - French artist, generally recognized leader of European academicism of the 19th century.
In the work of Ingres - the search for pure harmony.
Studied at the Toulouse Academy fine arts. After graduating from the academy, he moved to Paris, where in 1797 he became a student of Jacques-Louis David. In 1806-1820 he studied and worked in Rome, then moved to Florence, where he spent four more years. In 1824 he returned to Paris and opened a painting school. In 1835 he returned to Rome again as director of the French Academy. From 1841 until the end of his life he lived in Paris.

Academism (fr. academisme) is a trend in European painting of the 17th-19th centuries. Academic painting arose during the development of art academies in Europe. The stylistic basis of academic painting at the beginning of the 19th century was classicism, in the second half of the 19th century - eclecticism.
Academism grew on following external forms classical art. Followers characterized this style as a reflection on the art form of the ancient antiquity and the Renaissance.

Ingres. Portraits of the Riviere family. 1804-05

Romanticism

Romanticism- a phenomenon generated by the bourgeois system. Like outlook and style artistic creativity it reflects its contradictions: the gap between the proper and the real, the ideal and reality. Awareness of the unrealizability of the humanistic ideals and values ​​of the Enlightenment gave rise to two alternative worldview positions. The essence of the first is to despise base reality and close in the shell of pure ideals. The essence of the second is to recognize the empirical reality, to discard all reasoning about the ideal. The starting point of the romantic worldview is an open rejection of reality, the recognition of an insurmountable abyss between ideals and real being, the unreasonableness of the world of things.

It is characterized by a negative attitude towards reality, pessimism, the interpretation of historical forces as being outside the real everyday reality, mystification and mythologization. All this prompted the search for resolution of contradictions not in the real world, but in the world of fantasy.

Romantic worldview embraced all spheres of spiritual life - science, philosophy, art, religion. It came in two versions:

The first - in it the world appeared as an infinite, faceless, cosmic subjectivity. The creative energy of the spirit acts here as the beginning that creates world harmony. This version of the romantic worldview is characterized by a pantheistic image of the world, optimism, and lofty feelings.

The second is that in it human subjectivity is considered individually and personally, it is understood as the inner self-profound world of a person who is in conflict with the outside world. This attitude is characterized by pessimism, a lyrically sad attitude towards the world.

The initial principle of romanticism was "two worlds": comparison and opposition of the real and imaginary worlds. Symbolism was the way of expressing this dual world.

Romantic symbolism represented an organic combination of the illusory and real world, which manifested itself in the appearance of metaphor, hyperbole, and poetic comparisons. Romanticism, despite its close connection with religion, was characterized by humor, irony, dreaminess. Romanticism declared music to be the model and norm for all areas of art, in which, according to the romantics, the very element of life sounded, the element of freedom and the triumph of feelings.

The emergence of romanticism was due to a number of factors. First, socio-political: the French Revolution of 1769-1793, the Napoleonic Wars, the War of Independence Latin America. Secondly, economic: the industrial revolution, the development of capitalism. Thirdly, it was formed under the influence of classical German philosophy. Fourthly, it was formed on the basis of and within the framework of existing literary styles: enlightenment, sentimentalism.

The heyday of romanticism falls on the period 1795-1830. - the period of European revolutions and national liberation movements, and romanticism was especially pronounced in the culture of Germany, England, Russia, Italy, France, Spain.

The romantic trend had a great influence in the humanitarian field, and the positivist one in the natural sciences, technical and practical.

Jean Louis Andre Theodore Géricault (1791-1824).
A student for a short time of C. Vernet (1808-1810), and then P. Guerin (1810-1811), who was upset by his methods of transferring nature not in accordance with the principles of the school of Jacques-Louis David and addiction to Rubens, but later recognized rationality Gericault's aspirations.
Serving in the royal musketeers, Gericault wrote mainly battle scenes, but after traveling to Italy in 1817-19. he executed a large and complex painting "The Raft of the Medusa" (located in the Louvre, Paris), which became a complete denial of the Davidic trend and an eloquent sermon of realism. The novelty of the plot, the deep drama of the composition and the truth of life of this masterfully written work were not immediately appreciated, but soon it was recognized even by adherents of the academic style and brought the artist fame as a talented and courageous innovator.

Tragic tension and drama. In 1818, Gericault worked on the painting The Raft of the Medusa, which marked the beginning of French romanticism. Delacroix, who posed for his friend, witnessed the birth of a composition that breaks all the usual ideas about painting. Delacroix later recalled that when he saw the finished painting, he "in delight rushed to run like a madman, and could not stop until the house."
The plot of the picture is based on a real incident that happened on July 2, 1816 off the coast of Senegal. Then, on the shallows of Argen, 40 leagues from the African coast, the frigate Medusa was wrecked. 140 passengers and crew members tried to escape by boarding the raft. Only 15 of them survived and on the twelfth day of their wanderings they were picked up by the Argus brig. The details of the voyage of the survivors shocked the modern public opinion, and the crash itself turned into a scandal in the French government due to the incompetence of the captain of the ship and the insufficiency of attempts to rescue the victims.

figurative solution
The gigantic canvas impresses with its expressive power. Gericault managed to create a vivid image, combining the dead and the living, hope and despair in one picture. The picture was preceded by a huge preparatory work. Gericault made numerous sketches of the dying in hospitals and the corpses of the executed. The Raft of the Medusa was the last of Géricault's completed works.
In 1818, when Gericault was working on the painting “The Raft of the Medusa”, which marked the beginning of French romanticism, Eugene Delacroix, posing for his friend, witnessed the birth of a composition that breaks all the usual ideas about painting. Delacroix later recalled that when he saw the finished painting, he "in delight rushed to run like a madman, and could not stop until the house."

Public reaction
When Géricault exhibited The Raft of the Medusa at the Salon in 1819, the painting aroused public outrage, because the artist, contrary to the academic norms of the time, did not use such a large format to depict a heroic, moralizing or classical subject.
The painting was acquired in 1824 and is currently in Room 77 on the 1st floor of the Denon Gallery in the Louvre.

Eugene Delacroix(1798 - 1863) - French painter and graphic artist, head of the romantic trend in European painting.
But the Louvre and communication with the young painter Theodore Gericault became the real universities for Delacroix. In the Louvre, he was fascinated by the works of old masters. At that time, one could see many paintings there, captured during the Napoleonic Wars and not yet returned to their owners. Most of all, the novice artist was attracted by the great colorists - Rubens, Veronese and Titian. But the greatest influence on Delacroix was Theodore Géricault.

In July 1830, Paris rebelled against the Bourbon monarchy. Delacroix sympathized with the rebels, and this was reflected in his "Liberty Leading the People" (we also know this work as "Freedom on the Barricades"). Exhibited at the Salon of 1831, the canvas caused a storm of public approval. The new government bought the painting, but at the same time immediately ordered it to be removed, its pathos seemed too dangerous.

17.3 European painting 19th century

17.3.1 French painting . first two decades of the nineteenth century. in the history of French painting are designated as revolutionary classicism. Its prominent representative was J.L. David (1748- 1825), whose main works were created by him in the 18th century. Works of the 19th century. - is work at court painter Napoleon- "Napoleon at the St. Bernard Pass", "Coronation", "Leonidas at Thermopylae". David is also the author of excellent portraits, such as the portrait of Madame Recamier. He created a large school of students and predetermined the traits artistic from the Empire style.

David's student was J.O. Ingres (1780- 1867), who turned classicism into academic art and for many years opposed romantics. Ingres is the author of truthful sharp portraits (“L. F. Bertin”, “Madame Rivière”, etc.) and paintings in the style of a academic classicism ("The Apotheosis of Homer", "Jupiter and Themis").

Romanticism of French painting in the first half of the 19th century- these are the canvases of T. Gericault (1791 - 1824) ("The Raft of the Medusa" and "Derby in Epsom and others") and E. Delacroix (1798-1863), author of the famous painting Liberty Leading the People.

The realistic trend in painting in the first half of the century is represented by the works of G. Courbet (1819- 1877), the author of the term "realism" and paintings "Stone Crushers" and "Funeral in Ornan", as well as the works of J. F . Millet (1814 - 1875), writer of peasant life and ("The Gatherers of Ears", "The Man with the Hoe", "The Sower").

An important phenomenon of European culture in the second half of the XIX century. was the artistic style of impressionism, which became widespread not only in painting, but in music and fiction. And yet it arose in painting.

In temporal arts, the action unfolds in time. Painting, as it were, is capable of capturing only one single moment in time. Unlike cinema, it always has one “frame”. How to convey movement in it? One of these attempts to capture the real world in its mobility and variability was the attempt of the creators of the direction in painting, called impressionism (from the French impression). This direction brought together various artists, each of which can be characterized as follows. Impressionist is an artist who conveys his immediate impression of nature, sees in it the beauty of variability and impermanence, in creates a visual sensation of bright sunlight, the play of colored shadows, using a palette of pure unmixed colors, from which black and gray are banished.

In the paintings of such impressionists as C. Monet (1840-1926) and O. Renoir (1841-1919), in the early 70s of the XIX century. air matter appears, possessing not only a certain density that fills space, but also mobility. Sunlight streams, vapors rise from the damp earth. Water, melting snow, plowed land, swaying grass in the meadows do not have a clear frozen outline. Movement, which was previously introduced into the landscape as an image of moving figures, as a result of the action of natural forces- the wind, chasing clouds, swaying trees, is now replaced by peace. But this peace of inanimate matter is one of the forms of its movement, which is conveyed by the very texture of painting - dynamic strokes of different colors, not constrained by the rigid lines of the drawing.

The new style of painting was not immediately accepted by the public, who accused the artists of not being able to draw, throwing paint scraped off the palette onto the canvas. So, the pink Rouen cathedrals of Monet seemed implausible to both the audience and fellow artists.- the best of the artist's pictorial series ("Morning", "With the first rays of the sun", "Noon"). The artist is not sought to represent the cathedral on canvas at different times of the day- he competed with the masters of Gothic to absorb the viewer with the contemplation of magical light and color effects. The facade of the Rouen Cathedral, like most Gothic cathedrals, hides a mystical spectacle of x from the sunlight of bright colored stained-glass windows of the interior. The lighting inside the cathedrals varies depending on which direction the sun is shining from, cloudy or clear weather. The sun's rays, penetrating through the intense blue, red color of the stained-glass windows, are painted and lay down with colored highlights on the floor.

One of Monet's paintings owes its appearance to the word "impressionism". This canvas was indeed an extreme expression of the innovation of the emerging pictorial method and was called “Sunrise at Le Havre”. The compiler of the catalog of paintings for one of the exhibitions suggested that the artist call it something else, and Monet, having crossed out “in Le Havre”, put the “impression”. And a few years after the appearance of his works, they wrote that Monet "reveals a life that no one before him was able to catch, about which no one even knew." In the paintings of Monet began to notice the disturbing spirit of birth new era. So, in his work appeared "serial" as a new phenomenon of painting. And she drew attention to the problem of time. The artist's painting, as noted, snatches one "frame" from life, with all its incompleteness and incompleteness. And this gave impetus to the development of the series as successive shots. In addition to " Rouen Cathedrals» Monet creates the “Gare Saint-Lazare” series, in which the paintings are interconnected and complement each other. However, it was impossible to combine the “frames” of life into a single tape of impressions in painting. This has become the task of cinema. Historians of cinema believe that the reason for its emergence and wide distribution was not only technical discoveries, but also an urgent artistic need for a moving image. And the paintings of the Impressionists, in particular Monet, became a symptom of this need. It is known that one of the plots of the first film session in history, arranged by the Lumiere brothers in 1895, was "Arrival of the Train". Steam locomotives, station, rails were the subject of a series of seven paintings "Gare Saint-Lazare" by Monet, exhibited in 1877.

O. Renoir was an outstanding impressionist artist. To his works (“Flowers”, “A Young Man Walking with Dogs in the Forest of Fontainebleau”, “Vase of Flowers”, “Bathing in the Seine”, “Lisa with an Umbrella”, “Lady in a Boat”, “Riders in the Bois de Boulogne” , “Ball at Le Moulin de la Galette”, “Portrait of Jeanne Samary” and many others) the words of the French artist E. Delacroix “The first dignity of any picture are quite applicable- be a holiday m for the eyes. Renoir name- a synonym for beauty and youth, that time of human life, when spiritual freshness and the flowering of physical strength are in complete harmony. Living in an era of acute social conflicts, he left them outside his canvases, focusing waking up on the beautiful and bright sides of human existence. And in this position he was not alone among the artists. Even two hundred years before him, the great Flemish artist Peter Paul Rubens painted pictures of a huge life-affirming beginning (“Perseus and Andromeda”). Pictures like this give people hope. Every person has the right to happiness, and main point Renoir art lies in the fact that each of his images affirms the inviolability of this right.

IN late XIX centuries, post-impressionism was formed in European painting. Its representatives- P . Cezanne (1839 - 1906), W. Van Gogh (1853 - 1890), P . Gauguin (1848 - 1903), taking over from impressionists color purity, searched permanent beginnings of being, generalizing pictorial methods, philosophical and symbolic aspects of creativity. Paintings by Cezanne- these are portraits ("Smoker"), landscapes ("Banks of the Marne"), still lifes ("Still Life with a Basket of Fruit").

Van Gogh paintings- "Huts", "Overs after the rain", "Prisoners' walk".

Gauguin has the features of ideological romanticism. IN last years captivated by the life of the Polynesian tribes, who, in his opinion, retained their primitive purity and integrity, he leaves for the islands of Polynesia, where he creates several paintings, the basis of which was the primitivization of form, the desire to get closer to artistic traditions natives ("Woman holding a fruit", "Tahitian pastoral", "Wonderful source").

Great 19th century sculptor was O. Rodin (1840- 1917), combining in his work impressionistic romanticism and expressionism realistic searches. Vitality of images, drama, expressiveness of a tense inner life, gestures continuing in time and space (what are you doing it is not possible to set this sculpture to music and ballet), capturing the instability of the moment- all this together creates an essentially romantic image and entirely impressionistic vision . The desire for deep philosophical generalizations ("The Bronze Age", " Citizens of Calais”, a sculpture dedicated to the hero of the Hundred Years War, who sacrificed himself to save the besieged city, work for the Gates of Hell, including The Thinker) and the desire to show moments of absolute beauty and happiness (“Eternal Spring”, “Pas de -de")– the main features of the work of this artist.

17.3.2 English painting. Fine art of England in the first half of the XIX century. is a landscape painting, bright representatives which were J. Constable (1776 - 1837), English predecessor impressionists("The Hay Cart Crossing the Ford" and "The Rye Field") and U. Turner (1775 - 1851), whose paintings such as "Rain, Steam and Speed" "Shipwreck", distinguishes predilection for colorful fantasy mountains.

In the second half of the century, F.M. Brown created his works (1821- 1893), who was rightly considered the "Holbein of the 19th century". Brown is known for his historical works ("Chaucer in the court of Edward III" and "Lear and Cordelia"), as well as paintings on the act ual everyday topics (“Last look at England”, “Labour”).

The creative association "Pre-Raphaelite Brotherhood" ("Pre-Raphaelites") arose in 1848. Although the unifying core was the passion for the works of artists of the early Renaissance (before Raphael), each member of this brotherhood had its own theme and artistic credo. The theorist of the brotherhood was the English culturologist and esthetician J. Ruskin, who outlined the concept of romanticism in relation to the conditions of England in the middle of the century.

Ruskin, linking art in his works with the general level of culture of the country, seeing art as a manifestation of moral, economic and social factors, sought to convince the British that the prerequisites for beauty are modesty, justice, honesty, purity and unpretentiousness.

The Pre-Raphaelites created paintings on religious and literary subjects, artistically designed books and developed decorative art, sought to revive the principles of medieval crafts. Realizing the danger decorative arts trend- his depersonalization by machine production, English artist, poet and public figure W. Morris (1834 - 1896) organized artistic and industrial workshops for the manufacture of tapestries, fabrics, stained glass windows and other household items, drawings for which are used he himself and the Pre-Raphaelite artists completed.

17.3.3 Spanish painting. Goya . The work of Francisco Goya (1746- 1828) belongs to two centuries - XVIII and XIX. It was of great importance for the formation of European romanticism. creative us The artist's ladyship is rich and varied: painting, portraits, graphics, frescoes, engravings, etchings.

Goya uses the most democratic themes (robbers, smugglers, beggars, participants in street fights and games- the characters of his paintings). Having received in 1789 title of adv a famous painter, Goya performs a huge number of portraits: the king, queen, courtiers (“The Family of King Charles IV”). The deteriorating health of the artist caused a change in the subject matter of the works. Thus, paintings distinguished by fun and bizarre fantasy (“Carnival”, “Blind Man's Bluff”) are replaced by canvases full of tragedy (“Tribunal of the Inquisition”, “House of Lunatics”). And they are followed by 80 etchings "Capriccios", on which the artist worked for over five years. The meaning of many of them remains unclear to this day, while others were interpreted in accordance with the ideological requirements of their time.

In a symbolic, allegorical language, Goya paints a terrifying picture of the country at the turn of the century: ignorance, superstition, limited people, violence, obscurantism, evil. Etching "The Sleep of Reason Produces Monsters"- terrible monsters surround a sleeping person, bats, owls and other evil spirits. The artist himself gives the following explanation of his work: "Convinced that criticism humanvicesAnddelusions, AlthoughAndseemsthe field of oratory and poetry, can also be the subject of a lively description, the artist chose for his work from the many folly and absurdities inherent in any civil society, as well as from the common people's prejudices and superstitions, legitimized by custom, ignorance or self-interest, those that he considered especially suitable for ridicule and at the same time for the exercise of one's imagination.

17.3.4 Modern – final style European painting XIX V . by the most famous works created in European painting of the XIX century. in the Art Nouveau style, were the works of the English artist O. Beardsley (1872– 1898). HeillustratedworkABOUT. wilde ("Salome"), createdelegantgraphicfantasies, enchantedwholegenerationEuropeans. OnlyblackAndwhiteweretoolsegabout labor: a sheet of white paper and a bottle of black ink and a technique similar to the finest lace (“The Mysterious Rose Garden”, 1895). Beardsley's illustrations are influenced by Japanese prints and French Rococo, as well as the decorative Mannerism of Art Nouveau.

Art Nouveau style, originated around 1890– 1910 gg., characterizedpresencewindinglines, reminiscentcurlshair, stylizedflowersAndplants, languagesflame. StylethiswaswidecommonAndVpaintingAndVarchitecture. ThisillustrationsEnglishmanberdsli, posters and billboards by the Czech A. Mucha, paintings by the Austrian G. Klimt, lamps and metal products by Tiffany, architecture by the Spaniard A. Gaudi.

Another outstanding phenomenon of fin-de-siècle modernity– NorwegianartistE. Munch (1863 – 1944). famouspaintingMunch« Scream (1893)– compositeParthisfundamentalcycle"Friezelife", abovewhichartisthave workedlongyears. Subsequentlywork"Scream"MunchrepeatedVlithographs. Painting"Scream"transmitsstateextremeemotionalvoltagehuman, shefacescreates the despair of a lonely person and his cry for help, which no one can provide.

Most major artist Finland A. Galen-Kallela (1865– 1931) Vstylemodernillustratedepic"Kalevaly". Onlanguageempiricalrealityit is forbiddentellabout the legendary old man– blacksmithIlmarinene, whichforgedsky, knocked togetherfirmament, chainedfromfireeagle; OmothersLemminkäinen, resurrectedhiskilledson; OsingerVäinämöinien, which"hummedgoldenChristmas tree", Gallel- Callelamanagedhand overbunkone power of the ancient Karelian runes in the modern language.