The political ideal of classicism. Aesthetics of classicism

Classicism (from Latin classicus - first-class) is a trend in art, literature and aesthetics of the 17th-18th centuries. The aesthetics of classicism oriented poets, artists, composers to the creation of works of art that are distinguished by clarity, logic, strict balance and harmony. All this, according to the classicists, found its full expression in ancient artistic culture. For them reason and antiquity are synonymous. The rationalistic nature of the aesthetics of classicism manifested itself in the abstract typification of images, the strict regulation of genres and forms, in the abstract interpretation of the ancient artistic heritage, in the appeal of art to reason, and not to feelings, in the desire to subordinate the creative process to unshakable rules and canons. The most holistic aesthetic system formed French classicism. Reme's French rationalism served as his ideological basis. Descartes(1596-1650). In his programmatic work “Discourses on the Method” (1637), the philosopher emphasized that the structure of the rational completely coincides with the structure of the real world, and rationalism is the idea of ​​fundamental mutual understanding. Submission to the state, the fulfillment of public duty - the highest virtue of the individual. The human thinker is no longer as a free being, which is typical of the Renaissance worldview, but subject to norms and rules alien to him, limited by forces beyond his control. This period is characterized not only by the strengthening of absolutist power, but also by the flourishing of manufactory, which the Renaissance did not know. Thus, the characterized period is distinguished by the victory of regulating manufacturing production, successes in the field of exact sciences, and the flourishing of rationalism in philosophy. Under these conditions, the theory and practice of the aesthetics of classicism is taking shape.

Rationalism and normativism of the aesthetics of classicism. Classicism is one of the most important areas of art. Having established itself in the works and creativity of many generations, putting forward a brilliant galaxy of poets and writers, painters and musicians, architects, sculptors and actors, classicism left such milestones on the path of the artistic development of mankind as tragedies Corneille, Racine, Milton, Voltaire, comedy Molière music lully, poetry La Fontaine, park and architectural ensemble of Versailles, paintings by Poussin.

According to the codes of art, the artist was first of all required to have "nobility of design." The plot of the picture must have had instructive value. Therefore, all kinds of allegories were especially highly valued, in which more or less conventionally taken images of life directly expressed general ideas. The highest genre was considered "historical", which included ancient mythology, plots from famous literary works, from the Bible, and the like. Portrait, landscape, scenes of real life were considered "small genre". The most insignificant genre was the still life.

The establishment of strict rules for creativity is one of the characteristic features of the aesthetics of classicism. A work of art was understood by the classicists not as a naturally occurring organism; but as an artificial, created, created by human hands according to a plan, with a specific task and purpose.

The most complete exposition of the rules and norms of classicism was the largest theoretician of this trend Nicolas Boileau(1636-1711) in the treatise "Poetic Art", which was conceived on the model of Horace's "Science of Poetry" ("Epistle to the Pisos") and completed in 1674.

MHK, 11th grade

Lesson #6

Art of classicism and rococo

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

© A.I. Kolmakov

LESSON OBJECTIVES

• give an idea of ​​the art of classicism, sentimentalism and rococo;
• expand horizons, skills of analysis of genres of art;
• bring up national identity and self-identification, respect for the musical creativity of the rococo.

CONCEPTS, IDEAS

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

Checking students' knowledge

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

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

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

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

Universal learning activities

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

STUDY NEW MATERIAL

• Aesthetics of classicism.
• Rococo and sentimentalism.

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

sub-questions

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

Aesthetics

classicism

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

Levitsky D.G.

Portrait

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

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

(Denis Diderot)

Aesthetics

classicism

Aesthetic principles of classicism:

1. Idealization ancient Greek culture and arts, focusing on moral principles and ideas of citizenship

2. Priority educational value art, recognition of the leading role of reason in the knowledge of beauty.

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

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

O. Fragonap. Portrait

Denis Diderot. 1765-1769 Louvre, Paris

Aesthetics

classicism

Creative method of classicism:

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

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

Aesthetics

classicism

Each art form was

have their own special features:

1. The basis of the architectural language

classicism becomes order ( type

architectural composition, using

certain items and

subject to a certain architectural

style processing ) , much more

close in shape and proportion to

architecture of antiquity.

2. Works of architecture distinguish

strict organization

proportion and balance

volumes, geometric

correctness of lines, regularity

layouts.

3. Painting is characterized : clear

delimitation of plans, rigor

drawing, meticulously crafted

light and shade modeling of volume.

4. Special role in the solution

educational task played

literature and especially theater ,

became the most widespread

art of this time.

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

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

Aesthetics

classicism

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

G. Rigaud. Portrait of Louis XIV.

1701 Louvre, Paris

Aesthetics

classicism

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

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

expressed the ideals of the Napoleonic Empire.

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

classicism in architecture and applied arts. Originated in

France during the reign of Emperor Napoleon I.

Rococo and

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

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

O. Fragonard. Happy

swing possibilities. 1766

Wallace Collection, London

Rococo and

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

In the 20s. 18th century in France

formed a new style art -

rococo (fr. rocaille - shell). Already

the name itself reveals

main feature of this

style - passion for exquisite

And complex forms, whimsical

lines, much like

shell outline.

The shell then turned into

complex curl with some

strange cuts, then in

shield decoration or

half-folded scroll with

depiction of a coat of arms or emblem.

In France, interest in style

Rococo weakened by the end of the 1760s

years, but in the countries of Central

Europe, his influence was

perceptible until the end of the XVIII

centuries.

Rinaldi rococo:

interiors of the Gatchina castle.

Gatchina

Rococo and

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

home purpose of rococo art - deliver sensuality

pleasure ( hedonism ). Art should have

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

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

Allegory of fine arts,

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

Rococo and

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

Characteristic features of the Rococo style in works of art:

grace and lightness, intricacy, decorative refinement

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

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

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

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

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

aesthetics of nuances and hints, intriguing duality

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

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

look or a wet gleam in the eyes.

Rococo and

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

The Rococo style reached its greatest flourishing in the works

decorative and applied arts of France (interiors of palaces

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

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

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

Rococo and

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

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

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

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

Achievements of a civilization with many

temptations that corrupt the soul

"natural man", acquired

clearly hostile.

a kind of ideal

sentimentalism has become the image of rural

citizen who followed the law

primeval nature and living in

absolute harmony with her.

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

Rococo and

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

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

natural, natural feelings and

human needs, simplicity and

cordiality.

His ideal was sensitive,

sentimental dreamer,

obsessed with the ideas of humanism,

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

The main task of Rousseau's art

saw in teaching people

virtues, call them to the best

life.

The main pathos of his works

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

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

Rococo and

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

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

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

highlights the inner

the spiritual side of human existence.

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

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

Tretyakov Gallery, Moscow

Control questions

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

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

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

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

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

Topics for presentations, projects

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

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

- 99.00 Kb

INTRODUCTION

Among the many artistic and aesthetic trends and currents identified by modern culturologists, classicism occupies a very special position. It was he who became the first integral and self-aware system in the history of European culture.

The significance of this direction for the subsequent development of art and literature of the New Age was very important; suffice it to mention that under the sign of all kinds of modifications of classicism, the process of cultural evolution in the countries of Europe, North and Latin America took place over two centuries, and neoclassical tendencies can be traced by individual specialists even in the culture of the many-sided 20th century.

And although the decline of classicism occurred in the 19th century, its significance and role in the history of culture are still being debated, and artists and writers are still turning to its treasury for inspiration and plots.

THE CONCEPT OF CLASSICISM

Classicism (from Latin classicus - exemplary; the term was introduced by the romantics in the 19th century in the process of fighting the classicists) is an artistic style in European art of the 17th - early 19th centuries, one of the most important features of which was the appeal to forms ancient art as an ideal aesthetic standard. Continuing the traditions of the Renaissance (admiration for the ancient ideals of harmony and measure, faith in the power of the human mind), classicism was also its kind of antithesis, since with the loss of Renaissance harmony, the unity of feeling and reason, the tendency of the aesthetic experience of the world as a harmonious whole was lost. Such concepts as society and personality, man and nature, elements and consciousness, in classicism become polarized, become mutually exclusive, which brings it closer (while maintaining all the cardinal worldview and stylistic differences) to the Baroque, also imbued with the consciousness of general discord generated by the crisis of Renaissance ideals.

The artistic conception of the world of classicism is rationalistic, ahistorical and includes the ideas of statehood and stability (sustainability).
Classicism arose at the end of the Renaissance, with which it has a number of related features:

1) imitation of antiquity;

2) a return to the norms forgotten in the Middle Ages classical art(hence its name).

Usually, classicism of the 17th century is distinguished. and classicism of the 18th - early 19th centuries. (the latter is often referred to in foreign art history as neoclassicism), but in the plastic arts, the tendencies of classicism were already evident in the second half of the 16th century. in Italy - in the architectural theory and practice of Palladio, theoretical treatises of Vignola, S. Serlio; more consistently - in the writings of G. P. Bellori (17th century), as well as in the aesthetic standards of the academicians of the Bologna school. However, in the 17th century Classicism, which developed in sharply polemical interaction with the Baroque, only in French artistic culture developed into an integral stylistic system. In the bosom of French artistic culture, the classicism of the 18th century, which became the pan-European style, also predominantly took shape. The principles of rationalism underlying the aesthetics of classicism (the same that determined the philosophical ideas of R. Descartes and Cartesianism) determined the view of works of art as the fruit of reason and logic, triumphing over the chaos and fluidity of sensually perceived life. Aesthetic value in classicism has only enduring, timeless. Attaching great importance to the social function of art, classicism puts forward new ethical norms that form the image of its heroes: resistance to the cruelty of fate and the vicissitudes of life, subordination of the personal to the common, passions to duty, reason, the supreme interests of society, the laws of the universe. The activities of the Royal Academies founded in Paris - painting and sculpture (1648) and architecture (1671) - contributed to the consolidation of the theoretical doctrines of classicism.

In the middle of the 18th century the principles of classicism were transformed in the spirit of the aesthetics of the Enlightenment. In architecture, the appeal to "naturalness" put forward the requirement for constructive justification of the order elements of the composition, in the interior - the development of a flexible layout of a comfortable residential building. The landscape environment of the "English" park became the ideal environment for the house. A huge influence on the classicism of the 18th century. had a rapid development of archaeological knowledge about Greek and Roman antiquity (excavations of Herculaneum, Pompeii, etc.); The works of I. I. Winkelmann, J. V. Goethe, and F. Militsiya made their contribution to the theory of classicism.

Classicism sought to put everything on the shelves, to determine the place and role for everything. It is no coincidence that the aesthetic program of classicism established a hierarchy of genres - “high” (tragedy, epic, ode, history, mythology, religious painting, etc.) and “low” (comedy, satire, fable, genre painting, etc.) .

To the greatest extent, the principles of classicism are expressed in the tragedies of P. Corneille, J. Racine and Voltaire, the comedies of J.B. Molière, satire by N. Boileau, fables by J. La Fontaine, prose by F. La Rochefoucauld (France), in the work of I.V. Goethe and F. Schiller (Germany), odes to M.V. Lomonosov and G.R. Derzhavin, the tragedies of A.P. Sumarokov and Ya.B. Knyazhnina (Russia).

For theatrical art classicism is characterized by a solemn, static structure of performances, measured reading of poetry. The 18th century is often referred to as the "golden age" of the theatre.

The founder of European classical comedy is the French comedian, actor and theatrical figure, the stage art reformer Molière (real name Jean-Baptiste Poquelin) (1622-1673). For a long time Molière traveled with a theater troupe around the provinces, where he got acquainted with the stage technique and the tastes of the public. In 1658 he received permission from the king to play with his troupe at the court theater in Paris. Based on the traditions of the folk theater and the achievements of classicism, he created the genre of social comedy, in which buffoonery and plebeian humor were combined with grace and artistry. Overcoming the schematism of Italian comedies del arte (Italian commedia dell "arte - a comedy of masks; the main masks are Harlequin, Pulcinella, the old merchant Pantalone, etc.), Molière created life-like images. He ridiculed the class prejudices of the aristocrats, the limitations of the bourgeois, the hypocrisy of the nobles ( "The tradesman in the nobility") With particular intransigence, Moliere exposed hypocrisy, hiding behind piety and ostentatious virtue: "Tartuffe, or the Deceiver", "Don Juan", "Misanthrope". The artistic heritage of Moliere had a profound influence on the development of world drama and theater.

The Barber of Seville and The Marriage of Figaro by the great French playwright Pierre Augustin Beaumarchais (1732-1799) are recognized as the most mature embodiment of the comedy of manners. They depict the conflict between the third estate and the nobility. Operas by V.A. Mozart and G. Rossini.

Classical comedy also developed in Italy and England. And in the 18th century, despite the economic recession, Venice remained the capital of carnivals, theaters and carefree fun. There were seven theaters in this small town - as many as in Paris and London combined. At the Venetian carnivals then, as well as two hundred years later, people from all over Europe came together. Carlo Goldoni (1707-1793), creator of the national comedy, worked here. He carried out an educational reform of Italian dramaturgy and theater, displacing the artificial genre of commedia dell'arte with realistic drama, with lively characters, witty criticism of the vices of society. He wrote 267 plays, including "The Servant of Two Masters", "The Sly Widow" and "The Innkeeper". Goldoni's contemporary was Carlo Gozzi (1720-1806). He wrote fairy tales (fiabas) for the theater with folklore motifs and elements of commedia dell'arte: "The Love for Three Oranges", "Turandot" and others about the life of theatrical Venice.

The greatest English playwright of the 18th century was Richard Brinsley Sheridan (1751-1816). The most famous were his comedies of manners, first of all, The School of Scandal, directed against the immorality of the "high" society, the puritanical hypocrisy of the bourgeois.

If Moliere is called the founder of classical comedy, then two other Frenchmen are considered the founders of classical tragedy. In the plays of Pierre Corneille (1606-1684) and Jean Racine (1639-1699) the golden rule of classical drama is strictly observed - the unity of place, time and action. The language of the heroes of their works is imbued with pathos and pathos. Most of the plays are based on the tragic conflict of passion and duty. In the tragedy "Horace" Corneille develops the theme of the state as the highest principle of life (the embodiment of reason and national interests). In the tragedies "Mithridates", "Phaedra" by Racine, a poetic image of tragic love and the confrontation of passions in human soul, the need to follow the requirements of moral duty is affirmed. The family, the state and the monarchy, according to Racine, are unshakable, every citizen must remain faithful to them. The French theater of the era of classicism, guided by the taste of the court public, transferred the ideals of absolutism to the stage, created a type of hero who overcomes himself, subordinates his feelings to the interests of the state, fights for honor and glory.

The literature of classicism developed under the domination of the rationalization of artistic thought, since the content of the literary process was the liberation of the feelings, thoughts and ideas of a person from the hypnosis of the irrational catholicity of the past. The new consciousness as a dynamically active force was opposed to the surrounding reality, the inert and motionless world of things. The mind of an enlightened person is affirmed as a principle that surpasses objective reality. Logic is given only to consciousness and is denied in things and phenomena. Volitional intellect dominates material reality, external world appears in a spontaneity unenlightened by consciousness. Therefore, the heroes of the literature of classicism are immersed in deep thought, argue and argue, argue with unacceptable views.

Literary creativity as a whole retains an orderly character, subject to consciousness, its subject appears clear and dissected. Poetry was built on the harmonic correlation between man and the world, on their correspondence to each other, on the boundlessness of knowledge. Classicist writers descended in their ideas about a person from a certain norm. The hero must correlate his actions with the norm, only under this condition can he navigate both in the artificial world of poetry and in the natural world of nature. Art is called upon to form ideals that stand above the transient and changeable.

The reader of the era of classicism is gradually attached to ancient poetry, history, which, along with philosophy, architecture, began to resist biblical legends and hagiographies.

Decisive shifts are associated with new principles of the written word. It loses its cult character, is saturated with business, household functions. The act of reading is no longer the privilege of the clergy. The development of printing, which greatly intensifies the mechanism of correspondence and reprinting, contributed to the breaking of the close connection between the author and the text, which is no longer directly related to the rite behind it. The secular nature of the book business allows individual authorial forms and initiatives to become more active.

Philology acquires a special role in the era of classicism, being at the center of the humanities. Poets study not only ancient texts, but also turn to the written language of legal regulations, philosophical reflections, public declarations, rhetorical treatises; a completely new type of writer, a secular intellectual, is emerging, distinguished by the freedom-loving and versatile nature of his spiritual needs and mindsets. The literature of classicism realizes the semantic potential of the image in artistic word, the era of professionalization of poets, artists, musicians is coming.

Music consolidates its independent existence in sound, painting in paint and composition. New trends are especially active in architecture and sculpture, as they are extremely consistent with the principle of spectacle. Almost all types of art are gradually losing their cult functions, acquiring a universally secular character.

In painting, the tendencies of classicism are outlined already in the second half of the 16th century in Italy. However, its heyday came only in French artistic culture, where it formed from disparate elements into an integral stylistic system. The basis of the theory of classicism was rationalism, based on the philosophical system of Descartes. The principles of rationalism predetermined the view of a work of art as the fruit of reason and logic, triumphing over the chaos and fluidity of sensory perceptions. Only the beautiful and the sublime were proclaimed the subject of classical art. Antiquity served as an aesthetic ideal. Classicism is most clearly represented by the works of French painters and sculptors N. Poussin, C. Lorrain, J.-L. David, J.O.D. Ingres and E.M. Falcone.

Sometimes experts distinguish academic classicism of the first half of XVII century and neoclassicism of the late XVIII - early XIX centuries

The representative of academic classicism in French painting was Nicolas Poussin (1594-1665). His customers belonged to the circle of bourgeois intellectuals of Paris, who were fond of the philosophy of the ancient Stoics. The themes of Poussin's canvases are varied: mythology, history, Old and New Testament. Heroes of Poussin - people strong characters and majestic deeds, a high sense of duty. Poussin was the creator of the classic ideal landscape in its heroic form. Poussin's landscape is not real nature, but "improved" nature, created by the artist's artistic imagination. His paintings, cold, harsh, speculative, were called "frozen sculptures." Antique plastic and the world of ancient heroes served as a model for them. Claude Lorrain (1600-1682), in whose solemn compositions "ideal" landscapes are filled with lyricism and dreaminess, is considered one of the founders of classicism in European art XVII century.

In 100 years, another famous Frenchman, the painter David (1748-1825), will return to the cold and lofty ideals of ancient art. The return of classicism will be called neoclassicism. The son of a major Parisian merchant, David receives a "Roman Prize" as the best student of the Academy, after which he leaves for Italy to get acquainted with the monuments of antiquity. While in Rome, he developed a strict pictorial style based on a careful study of classical sculpture. In The Oath of the Horatii (1784), commissioned to David by Louis XVI, a strictly heroic interpretation of the plot, taken from Roman history, emphasizes its ethical focus: the Horace brothers swear an oath to their father of fidelity to duty and readiness to fight enemies. The famous painting “Brutus” by David is devoted to the ancient theme of love for the motherland, in which the main character is depicted at the moment when he orders the execution of his own sons, having learned about their conspiracy against the state. David is one of the greatest historical portrait painters. He ends the old century (XVIII) and begins a new one (XIX).

Between the two classicisms - early (academic) and late (neoclassicism), the dominant position was occupied by the rococo style.

MAIN REPRESENTATIVES OF CLASSICISM

Among the main representatives of classicism, one can single out R. Descartes, P. Corneille (“Discourses on Dramatic Poetry” and other texts), F. d’Aubignac (“Practice of the Theater”), N. Boileau (“Poetic Art”), Batte and etc. Based on Aristotle's "Poetics" and Horace's "Science of Poetry" and their numerous Italian commentaries of the 16th century, as well as on samples of ancient art and literature, theorists of classicism tried to develop an ideal system of rules (a kind of ideal poetics, or aesthetics), on which should be guided by genuine high art. It was based on the ancient principles of beauty, harmony, the sublime, the tragic. Classicists paid special attention to dramatic arts as the main thing in their understanding. One of the essential principles of classicism was the Aristotelian category of “plausibility”, understood as the creation of generalized, idealized and allegorized images of life events of legendary persons or episodes of ancient mythology that are significant in the edifying and didactic plan. “This does not mean that the authentic and the possible are being expelled from the theatre; but they are accepted there insofar as they are plausible, and in order to introduce them into a theatrical play, one has to omit or change circumstances that do not have plausibility, and communicate it to everything that needs to be portrayed ”[F. d'Aubignac // 10, p. 338].

Description of work

The significance of this direction for the subsequent development of art and literature of the New Age was very important; suffice it to mention that under the sign of various modifications of classicism, the process of cultural evolution in the countries of Europe, Northern and Latin America took place over the course of two centuries, and neoclassical tendencies can be traced by individual specialists even in the culture of the many-sided 20th century.

Classicism

Classicism is one of the most important trends in the art of the past, an artistic style based on normative aesthetics that requires strict adherence to a number of rules, canons, and unities. The rules of classicism are of paramount importance as a means to ensure the main goal - to enlighten and instruct the public, referring it to sublime examples. The aesthetics of classicism reflected the desire for the idealization of reality, due to the rejection of the image of a complex and multifaceted reality. In theatrical art, this direction has established itself in the work, first of all, of French authors: Corneille, Racine, Voltaire, Molière. Classicism had a great influence on Russian national theater(A.P. Sumarokov, V.A. Ozerov, D.I. Fonvizin and others).

Historical roots classicism

The history of classicism begins in Western Europe from the end of the 16th century. In the 17th century reaches its highest development, associated with the flowering of the absolute monarchy of Louis XIV in France and the highest rise in theatrical art in the country. Classicism continues to fruitfully exist in the 18th - early 19th centuries, until it was replaced by sentimentalism and romanticism.

How art system classicism finally took shape in the 17th century, although the very concept of classicism was born later, in the 19th century, when an irreconcilable war of romance was declared on it. "Classicism" (from the Latin "classicus", i.e. "exemplary") assumed a stable orientation of the new art to the antique way, which did not at all mean a simple copying of antique samples. Classicism carries out continuity with the aesthetic concepts of the Renaissance, which were oriented towards antiquity.

Having studied the poetics of Aristotle and the practice of the Greek theater, the French classics proposed the rules of construction in their works, based on the foundations of rationalistic thinking of the 17th century. First of all, this is strict observance of the laws of the genre, the division into higher genres - ode, tragedy, epic and lower ones - comedy, satire.

The laws of classicism

The laws of classicism were most characteristically expressed in the rules for constructing a tragedy. From the author of the play, first of all, it was required that the plot of the tragedy, as well as the passions of the characters, be believable. But the classicists have their own understanding of plausibility: not just the similarity of what is depicted on the stage with reality, but the consistency of what is happening with the requirements of reason, with a certain moral and ethical norm.

The concept of a reasonable predominance of duty over human feelings and passions is the basis of the aesthetics of classicism, which differs significantly from the concept of a hero adopted in the Renaissance, when complete freedom of the individual was proclaimed, and man was declared the “crown of the universe”. However, the move historical events refuted these notions. Overwhelmed by passions, a person could not decide, find support. And only in serving society, a single state, the monarch, who embodied the strength and unity of his state, could a person express himself, establish himself, even at the cost of renouncing own feelings. The tragic conflict was born on a wave of colossal tension: ardent passion collided with an inexorable duty (unlike Greek tragedy fatal predestination, when the will of a person turned out to be powerless). In the tragedies of classicism, reason and will were decisive and suppressed spontaneous, poorly controlled feelings.

Hero in the tragedies of classicism

The classicists saw the veracity of the characters' characters in strict subordination to internal logic. The unity of the character of the hero is the most important condition for the aesthetics of classicism. Summarizing the laws of this direction, the French author N. Boileau-Despreo in his poetic treatise Poetic Art, states: Let your hero be carefully thought out, Let him always remain himself.

The one-sidedness, the inner static nature of the hero does not, however, exclude the manifestation of living human feelings on his part. But in different genres these feelings manifest themselves in different ways, strictly according to the chosen scale - tragic or comic. ABOUT tragic hero N. Boileau says:

The hero, in whom everything is small, is only suitable for a novel,

May he be brave, noble,

But still, without weaknesses, he is not nice to anyone ...

He cries from resentment - a useful detail,

So that we believe in its plausibility ...

So that we crown you with enthusiastic praise,

We should be excited and touched by your hero.

From unworthy feelings let him be free

And even in weaknesses he is mighty and noble.

To reveal the human character in the understanding of the classicists means to show the nature of the action of eternal passions, unchanged in their essence, their influence on the fate of people. Basic rules of classicism. AND high genres, and the low ones were obliged to instruct the public, elevate its morals, enlighten feelings. In tragedy, the theater taught the viewer resilience in the struggle of life, an example goodie served as a model moral conduct. The hero, as a rule, a king or a mythological character was the main actor. The conflict between duty and passion or selfish desires was necessarily resolved in favor of duty, even if the hero died in an unequal struggle. In the 17th century the idea became dominant that only in serving the state does a person acquire the possibility of self-affirmation. The flowering of classicism was due to the assertion of absolute power in France, and later in Russia.

The most important norms of classicism - the unity of action, place and time - follow from those substantive premises that were discussed above. In order to more accurately convey the idea to the viewer and inspire selfless feelings, the author did not have to complicate anything. The main intrigue should be simple enough so as not to confuse the viewer and not deprive the picture of integrity. The demand for unity of time was closely connected with the unity of action, and many diverse events did not occur in the tragedy. The unity of place has also been interpreted in different ways. It could be the space of one palace, one room, one city, and even the distance that the hero could cover within twenty-four hours. Particularly bold reformers decided to stretch the action for thirty hours. The tragedy must have five acts and be written in Alexandrian verse (iambic six-foot). Excites the visible more than the story, But what the ear can endure, sometimes the eye will not endure. (N. Boileau)

Similar information.

The idea of ​​a reasonable regularity of the world, the beauty of nature, moral ideals

Objective reflection of the surrounding world

The desire for reasonable clarity of harmony, strict simplicity

Formation of aesthetic taste

Restraint and calmness in the manifestation of feelings

Rationalism and logic in actions

Rococo is...

style in art of the 18th century, feature which were predilection for refined and complex forms, bizarre lines, reminiscent of the silhouette of a shell.

43. Rocaille is…… the main element of the Rococo style ornament, reminiscent of the shape of a curl of a shell and outlandish plants.

44. Mascaron is .... a type of sculptural decoration of a building in the shape of a human or animal head full face

45. Sentimentalism is... this is a trend in literature and art of the second half of the 18th century, characterized by an increased interest in human feelings and an emotional attitude to the world around, where love for man and nature comes first.

Which of the outstanding architectural structures classicism is called "Fairytale dream"

The residence of the French kings on the outskirts of Paris is the Palace of Versailles.

47. Principles of urban planning in the era of classicism:

Creation ideal city with buildings built according to a single plan. The urban ensemble is designed in the form of a square or rectangle in plan. Inside them, a strictly regular rectangular or radially circular system of streets with a city square in the center is planned.

48. Why is the work of N. Poussin called the pinnacle of classicism in painting?

N. Poussin - founder of the classicism style. Turning to the themes of ancient mythology, ancient history, Bibles, Poussin revealed the themes of his contemporary era. With his works, he brought up a perfect personality, showing and singing examples of high morality, civic prowess.

N. Poussin

49. What unites the largest masters "gallant genre"- A. Watteau and F. Boucher

The world of complex love affairs and life against the backdrop of pristine nature.

Name the composers of Viennese classicism.

A - Joseph Haydn, B - Wolfgang Mozart, C - Ludwig van Beethoven

A B S

51. Symphony is ...(consonance) work for symphony orchestra, consisting of 4 parts, where the first and last parts have the same keys, and the middle ones are written in keys related to the main, which is determined