Topics of essays on World artistic culture. 1. The role of myth in culture (myth is the basis of early ideas about the world, religion, art. 2. Ancient images and symbols (World Tree, Mother Goddess, Road, etc.). 3. Ritual is the basis of the synthesis of words, music, dance , images, pantomime, costume (tattoo), architectural environment and object environment 4. Artistic complexes of Altamira and Stonehenge 5. Archaic foundations of folklore Myth and modernity (the role of myth in mass culture) 6. Features of the artistic culture of Mesopotamia: monumentality and colorful ensembles of Babylon 7. Ancient Egypt - a culture focused on the idea of ​​​​Eternal life after death 8. Ensembles of the pyramids in Giza and temples in Karnak and Luxor (mythological imagery of the pyramid, temple and their decor) 9. Model of the Universe of Ancient India - stupa in Sanchi and the Kandarya Mahadeva Temple in Khajuraho as a synthesis of Vedic, Buddhist and Hindu religious and artistic systems 10. “Sculptural” thinking of the ancient Indians 11. Reflection of the mythological ideas of the Mayans and Aztecs in architecture and relief. 12. Complex in Palenque (palace, observatory, “Temple of Inscriptions” as a single ensemble of pyramid and mausoleum). 13. Tenochtitlan (reconstruction of the capital of the Aztec empire based on descriptions and archaeological finds). 14. Ideals of beauty of Ancient Greece in the ensemble of the Athenian Acropolis: a synthesis of architecture, sculpture, color, ritual and theatrical action. 15. Panathenaic holidays are a dynamic embodiment in time and space of the mythological, ideological and aesthetic program of the complex. 16. Merger of eastern and ancient traditions in Hellenism (gigantism, expression, naturalism): Pergamon Altar. 17. The glory and greatness of Rome is the main idea of ​​the Roman Forum as the center of public life. 18. Sophia of Constantinople - the embodiment of the ideal of the divine universe in Eastern Christianity (the embodiment of dogmas in architectural, color and light composition, hierarchy of images, liturgical action). 19. Old Russian cross-domed church (architectural, cosmic, topographical and temporal symbolism). 20. Stylistic diversity of the embodiment of a single model: Kiev (Sofia of Kiev), Vladimir-Suzdal (Church of the Intercession on the Nerl), Novgorod (Church of the Savior on Ilyin) and Moscow schools (from the Spassky Cathedral of the Savior Andronnikovsky Monastery to the Church of the Ascension in Kolomenskoye). 21. Icon (specifics of symbolic language and imagery) and iconostasis. 22. Creativity F. Greek (paintings of the Church of the Transfiguration on Ilyin in Novgorod, iconostasis of the Annunciation Cathedral in the Kremlin) and A. Rublev (“Trinity”). 23. The ensemble of the Moscow Kremlin is a symbol of national unity, an example of the harmony of traditional forms and new construction techniques. 24. The monastery basilica as the center of cultural life of the Romanesque era (ideals of asceticism, antagonism of the spiritual and physical, synthesis of religious and folk culture). 25. Gothic cathedral as an image of the world. 26. The idea of ​​the divine beauty of the universe as the basis for the synthesis of frame construction, sculpture, light and color (stained glass), liturgical drama. 27. The Muslim image of paradise in the Registan complex (Ancient Samarkand) is a synthesis of monumental architectural form and changeable, polychrome pattern. 28. The embodiment of mythological (cosmism) and religious and moral (Confucianism, Taoism) ideas of China in the ensemble of the Temple of Heaven in Beijing. 29. A fusion of philosophy (Zen - Buddhism) and mythology (Shintoism) in the garden art of Japan (Ryoanji rock garden in Kyoto). 30. Monodic structure of medieval musical culture (Gregorian chant, Znamenny chant). 31. Renaissance in Italy. 32. Florence is the embodiment of the Renaissance idea of ​​​​creating the “ideal”. 33. Titans of the Renaissance (Leonardo da Vinci, Raphael, Michelangelo, Titian). 34. Northern Renaissance. 35. Pantheism is the religious and philosophical basis of the Ghent Altarpiece by J. Van Eyck. 36. Ideas of the Reformation and masterful engravings of A. Durer. 37. Court culture of the French Renaissance - the Fontainebleau complex. 38. The role of polyphony in the development of secular and religious musical genres. 39. W. Shakespeare's theater - an encyclopedia of human passions. 40. Historical significance and timeless artistic value of the ideas of the Renaissance. 41. Styles and movements in the art of the New Age - the problem of diversity and mutual influence. 42. Changing worldview in the Baroque era. 43. Architectural ensembles of Rome (St. Peter's Square L. Bernini), St. Petersburg and its environs (Winter Palace, Peterhof, F.-B. Rastrelli) - national versions of the Baroque. 44. The pathos of grandeur in the painting of P.-P. Rubens. 45. The work of Rembrandt H. van Rijn as an example of psychological realism of the 17th century. in painting. 46. ​​The flourishing of the homophonic-harmonic style in Baroque opera (“Orpheus” by C. Monteverdi). The highest flowering of free polyphony (J.-S. Bach). 47. Classicism - the harmonious world of the palaces and parks of Versailles. 48. The image of an ideal city in classicist and empire ensembles of Paris and St. Petersburg. 49. From classicism to academicism in painting using the example of the works of N. Poussin, J.-L. David, K.P. Bryullova, A.A. Ivanova. 50. Formation of classical genres and principles of symphony in the works of the masters of the Vienna Classical School: V.-A. Mozart (“Don Giovanni”), L. van Beethoven (Eroica Symphony, Moonlight Sonata). 51. The romantic ideal and its reflection in chamber music (“The Forest King” by F. Schubert) and opera (“The Flying Dutchman” by R. Wagner). 52. Romanticism in painting: religious and literary themes among the Pre-Raphaelites, the revolutionary pathos of F. Goya and E. Delacroix. 53. The image of a romantic hero in the works of O. Kiprensky. 54. The origin of the Russian classical music school (M.I. Glinka). 55. Social themes in realism painting: the specifics of the French (G. Courbet, O. Daumier) and Russian (Itinerant artists, I. E. Repin, V. I. Surikov) schools. 56. Development of Russian music in the second half of the 19th century. (P.I. Tchaikovsky). 57. Main trends in painting at the end of the 19th century. 58. Absolutization of impression in impressionism (C. Monet). 59. Post-Impressionism: symbolic thinking and expression of the works of V. van Gogh and P. Gauguin. 60. Synthesis of arts in modernity: the Cathedral of the Sagrada Familia by A. Gaudi and the mansions of V. Orta and F. O. Shekhtel. 61. Symbol and myth in painting (the “Demon” cycle by M. A. Vrubel) and music (“Prometheus” by A. N. Scriabin). 62. Artistic movements of modernism in painting of the 20th century. 63. Deformation and search for stable geometric forms in cubism (P. Picasso) 64. Refusal of representation in abstract art (W. Kandinsky). 65. Irrationalism of the subconscious in surrealism (S. Dali). 66. Architecture of the 20th century: tower of the III International V.E. Tatlina, Villa Savoy in Poissy CH.-E. Le Corbusier, Guggenheim Museum F.-L. Wright, ensemble of the city of Brasilia O. Niemeyer. 67. Theatrical culture of the 20th century: the director’s theater of K. S. Stanislavsky and V. I. Nemirovich-Danchenko and the epic theater of B. Brecht. 68. Stylistic heterogeneity in the music of the 20th century: from traditionalism to avant-garde and postmodernism (S.S. Prokofiev, D.D. Shostakovich, A.G. Schnittke). 69. Synthesis of arts is a special feature of the culture of the 20th century: cinema (“Battleship Potemkin” by S.M. Eisenstein, “Amarcord” by F. Fellini), types and genres of television, design, computer graphics and animation. 70. Rock music (The Beatles - “Yellow Submarine”, Pink Floyd - “The Wall”); electro-acoustic music (laser show by J.-M. Jarre). 71. Mass art.

It is difficult to disagree with how important a role art plays in the history of any period. Judge for yourself: in history lessons at school, after each topic devoted to the study of the political and economic situation in the world in a given time period, students are asked to prepare reports on the art of a given era.

Also, in the school curriculum since relatively recently there has been such a subject as MHC. This is absolutely no coincidence, because any work of art is one of the brightest reflections of the time in which it was created, and allows you to look at world history through the eyes of the creator who gave this work life.

Definition of culture

World artistic culture, or MHC for short, is a type of public culture, which is based on the figurative and creative reproduction of society and people, as well as living and inanimate nature through the means used by professional art and folk artistic culture. These are also phenomena and processes of spiritual practical activity that creates, distributes and masters material objects and works of art that have aesthetic value. World artistic culture includes the pictorial, sculptural, architectural heritage and monuments, as well as all the diversity of works created by the people and their individual representatives.

The role of MHC as an educational subject

In the course of studying the course of world artistic culture, both broad integration and understanding of the connection of culture are provided, first of all, with historical events of any time period, as well as with the social sciences.

As mentioned earlier, world artistic culture covers all artistic activities that a person has ever engaged in. These are literature, theater, music, fine arts. All processes associated with both the creation and storage, as well as the dissemination, creation and evaluation of cultural heritage are studied. Problems related to ensuring the further cultural life of society and the training of specialists with appropriate qualifications in universities do not remain aside.

As an academic subject, MHC is an appeal to the entire artistic culture, and not to its individual types.

The concept of a cultural era

A cultural era, or cultural paradigm, is a complex multifactorial phenomenon that contains the image of both a specific person living at a specific time and carrying out his activities, and a community of people with the same way of life, life mood and thinking, and value system.

Cultural paradigms replace each other as a result of a kind of natural-cultural selection through the interaction of traditional and innovative components that art carries. MHC as a training course aims to study these processes.

What is the Renaissance

One of the most significant periods in the development of culture is the Renaissance, or Revival, which dominated in the 13th-16th centuries. and marked the advent of the New Age. The sphere of artistic creativity was most influenced.

After an era of decline in the Middle Ages, art flourishes, and ancient artistic wisdom is revived. It was at this time and in the meaning of “rebirth” that the Italian word rinascita was used, later numerous analogues appeared in European languages, including the French Renaissance. All artistic creativity, primarily fine art, becomes a universal “language” that allows us to learn the secrets of nature and get closer to it. The master does not reproduce nature conventionally, but strives for maximum naturalness, trying to surpass the Almighty. The development of our usual sense of beauty begins, natural science and knowledge of God are constantly finding common ground. During the Renaissance, art becomes both a laboratory and a temple.

Periodization

The revival is divided into several time periods. In Italy - the birthplace of the Renaissance - several periods were identified that were used throughout the world for a long time. This is the Proto-Renaissance (1260-1320), partly included in the Ducento period (13th century). In addition, there were periods of Trecento (XIV century), Quattrocento (XV century), Cinquecento (XVI century).

A more general periodization divides the era into the Early Renaissance (XIV-XV centuries). At this time, new trends interact with the Gothic, which is creatively transformed. Next come the periods of the Middle, or High, and Late Renaissance, in which a special place is given to mannerism, characterized by a crisis in the humanistic culture of the Renaissance.

Also in countries such as France and Holland, the so-called Late Gothic style is developing. As the history of the MHC says, the Renaissance was reflected in Eastern Europe: the Czech Republic, Poland, Hungary, as well as in the Scandinavian countries. Spain, Great Britain and Portugal became countries with a distinctive Renaissance culture.

Philosophical and religious components of the Renaissance

Through the reflections of such representatives of philosophy of this period as Giordano Bruno, Nicholas of Cusa, Giovanni and Paracelsus, the themes of spiritual creativity, as well as the struggle for the right to call an individual “the second god” and associate a person with him, become relevant in the MHC.

The problem of consciousness and personality, faith in God and higher powers is relevant, as at all times. There are both compromise-moderate and heretical views on this issue.

A person faces a choice, and the reform of the church of this time implies a Renaissance not only within the framework of the MHC. This is also a person promoted through the speeches of figures of all religious denominations: from the founders of the Reformation to the Jesuits.

The main task of the era. A few words about humanism

During the Renaissance, the education of a new person was of paramount importance. The Latin word humanitas, from which the word humanism is derived, is the equivalent of the Greek word for education.

Within the framework of the Renaissance, humanism calls on a person to master the ancient wisdom that was important for that time and find a path to self-knowledge and self-improvement. Here there is a merging of all the best that other periods that left their mark on the MHC could offer. The Renaissance took the ancient heritage of antiquity, the religiosity and secular code of honor of the Middle Ages, the creative energy and human mind of the New Time, creating a completely new and seemingly perfect type of worldview.

Renaissance in various spheres of human artistic activity

During this period, illusory life-like paintings replaced icons, becoming the center of innovation. Landscapes, household paintings, and portraits are actively painted. Printed engraving on metal and wood is widespread. Working sketches of artists become an independent form of creativity. Picture illusoryness is also present in

In architecture, under the influence of architects’ passion for the idea of ​​the centric, proportional temples, palaces and architectural ensembles that emphasize earthly, centrically perspective-organized horizontals are becoming popular.

The literature of the Renaissance is characterized by a love for Latin as the language of educated people, adjacent to national and popular languages. Genres such as the picaresque novel and urban novel, heroic poems and novels of medieval adventure-knight themes, satire, pastoral and love lyrics are becoming popular. At the peak of the popularity of drama, theaters staged performances with an abundance of city holidays and magnificent court extravaganzas, which became the birth of colorful syntheses of various types of arts.

In music there is a flourishing of strict musical polyphony. The complication of compositional techniques, the appearance of the first forms of sonatas, operas, suites, oratorios and overtures. Secular music, close to folk music, is becoming equal to religious music. There is a separation of instrumental music into a separate form, and the pinnacle of the era is the creation of full-fledged solo songs, operas and oratorios. The temple is being replaced by an opera house, which has taken the place of the center of musical culture.

In general, the main breakthrough is that the once medieval anonymity is being replaced by individual, authorial creativity. In this regard, world artistic culture is moving to a fundamentally new level.

Titans of the Renaissance

It is not surprising that such a fundamental revival of art from the ashes could not have taken place without those people who created a new culture with their creations. They were later called "titans" for the contributions they made.

The Proto-Renaissance was personified by Giotto, and in the Quattrocento period the constructively strict Masaccio and the soulful and lyrical works of Botticelli and Angelico opposed each other.

The middle, or represented by Raphael, Michelangelo and, of course, Leonardo da Vinci - artists who became iconic at the turn of the Modern Age.

Famous architects of the Renaissance were Bramante, Brunelleschi and Palladio. Bruegel the Elder, Bosch and Van Eyck are painters of the Dutch Renaissance. Holbein the Younger, Durer, Cranach the Elder became the founders of the German Renaissance.

The literature of this period remembers the names of such “titan” masters as Shakespeare, Petrarch, Cervantes, Rabelais, who gave the world poetry, novels and drama, and also contributed to the formation of the literary languages ​​of their countries.

Undoubtedly, the Renaissance contributed to the development of many trends in art and gave impetus to the creation of new ones. It is unknown what the history of world artistic culture would have been like if this period had not existed. Perhaps classical art today would not evoke such admiration; most movements in literature, music and painting would not exist at all. Or maybe everything with which we are accustomed to associate classical art would have appeared, but many years or even centuries later. Whatever the course of events, only one thing is clear: even today we admire the works of this era, and this once again proves its importance in the cultural life of society.

PROGRAM

ON WORLD ARTISTIC CULTURE

Mandatory minimum knowledge

on foreign artistic culture

SECTION I

Artistic culture of antiquity

1. Artistic culture of Ancient Egypt. Religious ideas and the cult of the dead among the ancient Egyptians as the basis of their architecture and art. Periodization of ancient Egyptian artistic culture - Predynastic period, Early Kingdom, Old Kingdom, Middle Kingdom, New Kingdom, Late Time. Funerary structures - pyramids and temples. Pyramid complex at Giza. Temples in Karnak and Luxor, temple of Ramesses II in Abu Simbel.

2. Artistic culture of Mesopotamia. Sumer and Akkad. The most important achievement of the temple architecture of Mesopotamia is the ziggurat. Ziggurat of the moon god Nanna in Ur (XXI century BC). Relief, small plastic, mosaic. Sculpture of the 3rd millennium. Standard from Ur (2600 BC). Art of the Old Babylonian period (2000–1600 BC). Stele with the laws of Hammurabi. Architectural monuments of Babylon in the Neo-Babylonian period (1st millennium BC). The gates of the goddess Ishtar, the role of tiled bricks in the decoration of architectural structures. Art of Assyria. Artistic features of Assyrian relief.

3. Aegean art. Knossos Palace and its frescoes. Lion Gate in Mycenae. Kamares style vase painting.

4. Artistic culture of ancient Greece. Periodization of Greek art - archaic, classic, Hellenistic.

Architecture

The main types of Greek orders and temples.

Architecture of the classical period - the Acropolis of Athens.

Sculpture

Archaic – types of kouros and cores. Classic. Sculptors Myron, Polykleitos, Phidias, Scopas, Praxiteles.

Hellenistic sculpture – the altar of Zeus in Pergamon, “Laocoon” by Agesander, Athenodorus, Polydorus.

5. Artistic culture of ancient Rome. Periodization of Roman art - Republican period, Imperial Rome.

Main types of architectural structures– amphitheatres, stadiums, temples, triumphal arches, triumphal columns and their sculptural decoration.

The embodiment of the imperial style in the monuments of the Augustan era. Monumental and easel sculpture of Ancient Rome and its connection with religious cults. Roman sculptural portrait and its typology.

SECTION II.

Artistic culture of the Middle Ages and the Renaissance.

1. Artistic culture of Western Europe in the Middle Ages. Christianity is the spiritual basis of the culture of the European Middle Ages. The structure of the early Christian basilica and the decoration system. The concept of iconography and its role in religious art. The origin and spread of the Romanesque style. Characteristic features of the structure and decoration of the Romanesque basilica. The role of sculpture in the Romanesque temple. Sculpture of the Royal Portal of Notre Dame Cathedral in Chartres. The role of monumental painting in the Romanesque basilica. The origin and spread of the Gothic style. Notre Dame Cathedral in Paris. Notre Dame Cathedrals in Chartres, Reims and Amiens. Gothic stained glass. Sainte-Chapelle in Paris.

2. Artistic culture of Byzantium. Cathedral of St. Sophia in Constantinople. Architecture and mosaic decoration of the Church of San Vitale in Ravenna. The role of icons and iconography in the history of Byzantine art. Formation and development of the type of cross-domed church. The system of picturesque monumental decoration of a Byzantine temple - mosaics, frescoes.

3. The artistic culture of the Italian Renaissance. Periodization – Proto-Renaissance, early Renaissance, High Renaissance, late Renaissance. Humanism is the ideological basis of Renaissance culture. The value of ancient heritage.

The works of Giotto di Bondone. The art of Florence in the early Renaissance - Brunelleschi, Alberti, Masaccio, Botticelli, Donatello. The art of the High Renaissance - the work of Leonardo da Vinci, Raphael, Michelangelo. Giorgione, Titian and the Venetian school of painting. Architectural structures of Bramante and Palladio.

4. Artistic features of the Northern Renaissance. The works of the van Eyck brothers, Albrecht Durer, Hans Holbein, Hieronymus Bosch and Pieter Bruegel.

SECTION III

Artistic culture of the 17th–18th centuries.

1. European art and Baroque style. Manifestation of the Baroque style in the architecture and sculpture of Lorenzo Bernini. Creativity of P.P. Rubens - the highest rise of the Flemish Baroque.

Portraits of A. van Dyck, genre paintings of J. Jordaens, still lifes of F. Snyders.

2. Realistic quests of the masters of Dutch and Spanish painting of the 17th century. The relationship between myth and reality in the works of D. Velazquez, H. Rembrandt. Portraits of Rembrandt.

The role of the “little Dutch” and the reasons for the development of genre painting, still life, landscape in Dutch painting of the 17th century.

3. Classicism in the architecture and fine arts of France in the 17th century. Architectural and park ensemble of Versailles. The work of N. Poussin - mythological and religious subjects, the formation of classicist principles of painting.

4. Architecture and fine arts of the 18th century. Further development of classicism architecture in France (Petit Trianon in Versailles, Place de la Concorde in Paris).

5. Rococo style in the art and architecture of France in the 18th century.

6. Images of theater and theatricality of images in the works of Zh.A. Watteau.

7. Realistic features in painting by G. Courbet, J.B.S. Chardin.

8. Neoclassicism in the works of A. Canova.

SECTION IV

Artistic culture of the 19th–20th centuries.

1. Expression of the ideals of romanticism in German painting. The role of landscape in the works of Caspar David Friedrich.

2. Romanticism and creativity of F. Goya.

3. Features of romanticism in France.

The works of T. Gericault and E. Delacroix.

4. Painting of French impressionism - creativity in the open air, interest in accurately conveying the momentary state of the light-air environment, sunlight. Subordination of painting technique to new goals and objectives of painting.

5. Post-Impressionism. The search for a new artistic form in the work of P. Cezanne, humanism and color expression in the painting of V. Van Gogh, the acquisition of new spiritual values ​​outside of European culture in the art of P. Gauguin.

6. Art Nouveau style in European art.

7. The art of the Fauves. The origins of the Fauvist manner in non-classical art forms. Fauvist painting technique. Works of A. Matisse.

8. Picasso and cubism.

9. Surrealism as a movement in art. Creativity of S. Dali.

10. New directions in the architecture of the twentieth century. The work of Le Corbusier.

Mandatory minimum knowledge

on Russian artistic culture

SECTION V

Artistic culture of Ancient Rus'

1. Orthodoxy is the spiritual basis of ancient Russian art. The role of Byzantine traditions in Russian art. Art of Kievan Rus. Church of St. Sophia of Kyiv - architectural image, paintings, mosaics. The role of the icon and iconostasis in the art of medieval Rus'.

2. Artistic culture of ancient Russian principalities - Novgorod, Vladimir-Suzdal principality. Reworking of Byzantine features and the formation of local architectural and artistic traditions in the art of Veliky Novgorod. Church of St. Sophia of Novgorod, St. George's Cathedral of the Yuryev Monastery. Frescoes of the Church of the Savior on Nereditsa. The work of Theophanes the Greek - frescoes of the Church of the Transfiguration on Ilyin Street. Novgorod school of icon painting. The princely nature of the culture and art of Vladimir-Suzdal Rus' in the mid-12th – first third of the 13th century. The concept of divine choice of princely power and the architecture of Vladimir. Artistic features of the architecture of churches of the Vladimir-Suzdal principality. Assumption Cathedral in Vladimir, Church of the Intercession of the Virgin Mary on the Nerl, Dmitrievsky Cathedral, St. George's Cathedral in Yuryev-Polsky.

3. The work of Andrei Rublev is an expression of the characteristic features of religiosity and worldview of Moscow Russia: frescoes of the Assumption Cathedral in Vladimir, the Trinity icon. The image of the new statehood in the architecture of the Moscow Kremlin - the Assumption, Annunciation, and Archangel Cathedrals. The work of Dionysius is a vivid example of the “all-Russian style” in art: frescoes of the Cathedral of the Nativity of the Virgin Mary in the Ferapontov Monastery. Tent architecture - the Church of the Ascension in Kolomenskoye, St. Basil's Cathedral (Protection of the Virgin Mary on the Moat).

4. The transitional nature of Russian artistic culture of the 17th century. The coexistence of two directions - court tradition and urban settlement culture. The penetration of secular features into art. Intensive temple construction in Moscow and the provinces. The idea of ​​​​building the New Jerusalem on the Istra River is the ensemble of the New Jerusalem Monastery. Temple painting of Yaroslavl. Art by Simon Ushakov.

SECTION VI

Russian artistic culture of the 18th–20th centuries.

1. Artistic culture of the Peter the Great era. The role of European traditions in the art and architecture of the 18th century.

2. Construction of St. Petersburg, development of a new typology of public and residential buildings. The activities of the leading architects of Peter's time - D. Trezzini, J.B. Leblona.

3. The flourishing of the Baroque style in the work of F.B. Rastrelli. Palaces of St. Petersburg and its suburbs.

4. The architecture of classicism in Russia - the work of J. Quarenghi, C. Cameron, I.E. Starova. Continuation of the traditions of classicism in the works of the largest architects of the early 19th century. – A.N. Voronikhin (Kazan Cathedral in St. Petersburg), A.D. Zakharov (Admiralty building). Architectural ensembles of the capital - K.I. Rossi, V.P. Stasov.

5. Fine art of the first half of the 19th century. Reflection of romantic trends in artistic culture. Portraiture of the Romantic era - the work of O.A. Kiprensky, V.A. Tropinina. The contradiction between the academic form and romantic content in the works of K.P. Bryullov. Creativity A.A. Ivanov and his painting “The Appearance of Christ to the People.”

6. The birth of the everyday genre in the work of A.G. Venetsianova.

7. Fine art of the second half of the 19th century. Further development of the everyday genre and the growth of critical tendencies in the work of V.G. Perova. Creation of the Association of Traveling Art Exhibitions and Realistic Art. Creativity N.I. Kramskoy (“Christ in the Desert”). N.N. Ge (“What is truth”) and the significance of religious and moral preaching in art. The emergence of a realistic landscape. Images of Russian nature in the landscapes of I. Shishkin, the poetics of everyday life in the landscapes of A.K. Savrasova. Landscape of mood I.I. Levitan. The variety of genres and themes in the works of I.E. Repina. Images of Russian history in the paintings of V.I. Surikov. Epic images of Russian legends in the works of V.M. Vasnetsova.

8. Russian art of the late XIX – early XX centuries. The main features of the Art Nouveau style in the work of the architect F.O. Shekhtel. Creativity V.A. Serova. M.A. Vrubel and the painting of Russian symbolism. Fairy tale and myth in his work. Vrubel's Theme of the Demon. Association “World of Art” and appeal to the traditions of bygone eras. Creativity V.E. Borisov-Musatov and the combination in his style of features of post-impressionism and symbolism. Creativity of masters participating in the exhibition “Blue Rose”.

9. The art of the Russian avant-garde of the early 20th century. Development of avant-garde trends in the painting of the artists of the “Jack of Diamonds”. Abstract painting by V.V. Kandinsky. “Black Square” by K.S. Malevich. “Analytical Art” by P. Filonov.

10. Russian and Soviet art of the first half of the 20th century. Preservation of the culture of easel painting and new imagery in the works of K.S. Petrova-Vodkina.

11. The concept of socialist realism and its role in the work of S.V. Gerasimova, A.A. Plastova, A.A. Deineki. Sculptural creativity of V.I. Mukhina.

SECTION VII

Art theory

The required minimum knowledge in the field of art theory is that applicants must understand and be able to use the following terms when describing and analyzing works of art:

• style: Romanesque, Gothic, Baroque, classicism, romanticism, realism, modern;
• composition, color, perspective, plot;
• means of artistic expression of types of fine arts: architecture, sculpture, painting, graphics.
• genres of art: landscape, portrait, still life, battle genre, animalistic, historical, mythological.

EXAMPLES OF TESTS

a) M.O. Mikeshin

b) A.M. Opekushin

c) M.M. Antokolsky

2. “The Mighty Handful” is:

a) an association of Russian artists in the 19th century.

b) an association of Russian musicians in the 19th century.

c) association of avant-garde artists

3. Which of the following arts are characterized as temporal-spatial:

a) theater and cinema

b) architecture and monumental painting

4. In the center of the composition of D. Velazquez’s painting “Las Meninas” is:

a) portrait of the King and Queen of Spain

b) Infanta Margarita

c) the artist Diego Velazquez himself, who looks at the viewer

5. The characters in the painting “The Arcadian Shepherds” by N. Poussin consider:

a) sarcophagus with inscription

b) a sculpture depicting the goddess Aphrodite

c) an amphora depicting a scene from the Trojan War

6. What type of structure is St. Basil’s Cathedral:

a) cross-domed

b) basilical

c) centric

7. Which of the following stylistic pairs coexisted in the 17th and 18th centuries:

a) Gothic and Baroque

b) Baroque and classicism

c) Baroque and Rococo

d) classicism and neoclassicism

LIST OF WORKS OF ART

1. Pyramid of Cheops, mid-3rd millennium BC. e., Giza, Egypt.

2. Great Sphinx, mid-3rd millennium BC. e., Giza, Egypt.

3. Sculptural portrait of Nefertiti, XIV century. BC e., State Museums, Berlin.

4. Standard from the royal tomb at Ur, c. 2600 BC e., London, British Museum.

5. Stele with the code of laws of Hammurabi from Susa, 18th century. BC e., Paris, Louvre.

6. Gate of the goddess Ishtar in Babylon, VI century. BC e. Berlin, State Museums.

7. Parthenon Temple on the Acropolis, 447–438 BC. e., architects Ictinus and Kallicrates, sculptural decoration of Phidias, Athens.

8. Temple of the Pantheon, II century, Rome.

9. Temple of St. Sophia in Constantinople, 532–537, architects Isidore of Miletus and Anthemius of Tralles.

10. Church of San Vitale in Ravenna, VI century.

11. Notre Dame Cathedral in Paris.

12. Stained glass window of Chartres Cathedral: Our Lady of the “beautiful window”, 1194–1225.

13. “Trinity”, Masaccio, c. 1427, fresco, Santa Maria Novella, Florence.

14. “Spring”, S. Botticelli, ca. 1482, tempera/wood, 203×314, Uffizi Gallery, Florence.

15. “David”, Michelangelo, 1504, marble, Galleria dell’Accademia, Florence.

16. “The Last Supper”, Leonardo da Vinci, 1498, mixed. technique, refectory of the monastery of Santa Maria della Grazia, Milan.

17. “Mona Lisa”, Leonardo da Vinci, 1503–1505, m/x, Louvre, Paris.

18. “The Creation of Adam”, Michelangelo, 1508–1512, fresco of the ceiling of the Sistine Chapel, Vatican, Rome.

19. “Sistine Madonna”, Raphael, 1513–1514, oil on canvas, 270×201, Art Gallery, Dresden.

20. “The School of Athens”, Raphael, 1510–1511, fresco by Stanza della Segnatura, Vatican, Rome.

21. “Sleeping Venus”, Giorgione, 1510, oil on canvas, 108×175, Art Gallery, Dresden.

22. “Las Meninas”, D. Velazquez, 1656–1657, oil on canvas, 318×276, Prado Museum, Madrid.

23. “Return of the Prodigal Son”, Rembrandt, c. 1669, m/c, 262×206, State Hermitage Museum, St. Petersburg.

24. “Self-portrait with Saskia on her knees”, Rembrandt, 1635, oil on canvas, 161×131, Art Gallery, Dresden.

25. “The Bean King (“The King drinks!”), Jacob Jordaens, ca. 1638, m/x, 157×211, State Hermitage Museum, St. Petersburg.

26. “The Arcadian Shepherds”, N. Poussin, 1637–1639, oil on canvas, 185×121, Louvre, Paris.

27. “The Death of Germanicus”, N. Poussin, 1627, oil on canvas, 148×198, Art Institute, Minneapolis.

28. “Gilles”, J.A. Watteau, 1718–1720, oil on canvas, 184.5×149.5, Louvre, Paris.

29. “Liberty leading the people”, E. Delacroix, m/x, 1831, 260×325, Louvre, Paris.

30. “Funeral in Ornans”, G. Courbet, 1849–1850, oil on canvas, 315×668, Orsay Museum, Paris.

31. “Luncheon on the Grass”, E. Manet, 1863, m/x, 208×264.5, Orsay Museum, Paris.

32. “Starry Night”, Vincent Van Gogh, 1889, oil on canvas, 73.7×92.1, Museum of Modern Art, New York.

33. “Dance”, A. Matisse, 1909–1910, oil on canvas, 260×391, State Hermitage Museum, St. Petersburg.

34. “Boulevard des Capucines”, C. Monet, 1873, m/x, 61×80, Pushkin Museum im. A.S. Pushkina, Moscow.

35. “Portrait of Ambroise Vollard”, P. Picasso, 1909–1910, oil on canvas, 93×65, Pushkin Museum im. A.S. Pushkin, Moscow.

36. “Barge Haulers on the Volga”, I.E. Repin, 1870–1873, oil on canvas, 131×281, State Russian Museum, St. Petersburg.

37. “Boyaryna Morozova”, V.I. Surikov, 1887, oil on canvas, 304×587.5, State Tretyakov Gallery, Moscow.

38. “The Last Day of Pompeii”, K. Bryullov, 1833, m/x, 456.5×651, State Russian Museum, St. Petersburg.

39. “The Appearance of Christ to the People”, A.A. Ivanov, 1837–1857, oil on canvas, 540×750, State Tretyakov Gallery, Moscow.

40. “Seeing off the dead man”, V.G. Perov, 1865, oil on canvas, 45×57, State Tretyakov Gallery, Moscow.

41. “On the arable land. Spring", A.G. Venetsianov, first half of the 1820s, oil on canvas, 51.2×65.5, State Tretyakov Gallery, Moscow.

42. “The rooks have arrived”, A.K. Savrasov, 1871, oil on canvas, 62×48.5, State Tretyakov Gallery, Moscow.

43. “Vladimirka”, I.I. Levitan, 1892, oil on canvas, 79×123, State Tretyakov Gallery, Moscow.

44. “Girl with peaches. Portrait of V.S. Mamontova”, V.A. Serov, 1887, oil on canvas, 91×85, State Tretyakov Gallery, Moscow.

45. “Demon (seated)”, M.A. Vrubel, 1890, oil on canvas, 116.5×213.8, State Tretyakov Gallery, Moscow.

46. ​​Icon “Trinity”, Andrei Rublev, 1425–1427, tempera/wood, 142×114, State Tretyakov Gallery, Moscow.

47. Portrait of A.S. Pushkina, O.A. Kiprensky, 1827, oil on canvas, 63×54, State Tretyakov Gallery, Moscow.

48. “What is truth?” Christ and Pilate", N.N. Ge, 1890, oil on canvas, 233×171, State Tretyakov Gallery, Moscow.

49. Monument to A.S. Pushkin, A.M. Opekushin, 1880, bronze, granite, Moscow.

50. Assumption Cathedral of the Moscow Kremlin, architect. Aristotle Fioravanti, 1475–1479.

51. St. Basil's Cathedral (Cathedral of the Intercession of the Virgin Mary on the Moat) in Moscow, 1555–1560.

BIBLIOGRAPHY

Analysis and interpretation of a work of art: artistic co-creation: Proc. allowance / N.A. Yakovleva [and others]; ed. ON THE. Yakovleva. M.: Higher School, 2005. 551 p.

Afanasyeva V.K., Lukonin V.G., Pomerantseva N.A. Art of the Ancient East (Series “Small History of Art”). M., 1975.

Whipper B.R. An introduction to the historical study of art. M., 2004.

German M. Impressionism. Founders and followers. St. Petersburg: Azbuka-Classics, 2008.

German M. Modernism. Art of the first half of the 20th century. St. Petersburg: Azbuka-Classics, 2005.

Gombrich E. History of art. M., 1998.

Daniel S. European classicism. The era of Poussin. Age of David. St. Petersburg: Azbuka-Classics, 2003.

Demus O. History of the Middle Byzantine system // Mosaics of Byzantine temples. Principles of monumental art of Byzantium / Trans. from English E.S. Smirnova, ed. and comp. A.S. Preobrazhensky. M.: Indrik, 2001.

Dmitrieva N.A. A Brief History of Art. Book 1–2. M., 1996.

Ilyina T.V. History of art. Western European art: Textbook. M., 2002.

Ilyina T.V. History of art. Domestic art: Textbook. M., 2003.

History of art. T. 2 / Rep. ed. E.D. Fedotova. M.: White City, 2013.

History of Russian art: In 3 volumes / Ed. MM. Rakova, I.V. Ryazantsev. M., 1991.

History of Russian and Soviet art / Ed. D.V. Sarabyanova. M., 1989.

Kantor A.M., Kozhina E.F., Livshits N.A. and etc. Art of the 18th century (Series “Small History of Art”). M., 1977.

Kolpakova G.S. Art of Byzantium. Early and middle periods. M.: Azbuka, 2010.

Lazarev V.N. History of Byzantine painting. T. 1–2. M.: Art, 1947–1948.

Livshits L. Russian art of the X–XVII centuries. M., 2000.

Lvova E.P. World Art. Age of Enlightenment (+CD). St. Petersburg, 2008.

Lvova E.P. and etc. World Art. From its origins to the 17th century (+CD). St. Petersburg, 2008.

Lvova E.P., Sarabyanov D.V. and etc. World Art. XIX century. Fine arts, music, theater (+CD). St. Petersburg, 2008.

Mathieu M.E. Art of Ancient Egypt. M., 1961.

Mathieu M.E., Afanasyeva V.K., Dyakonov I.M., Lukonin V.G. Art of the Ancient East // Monuments of world art. M., 1968.

Nesselstrauss Ts.G. Art of Western Europe in the Middle Ages. L.; M., 1964.

Polevoy V.M. Art of the 20th century. 1901–1945 (Series “Small History of Art”). M., 1991.

Popova O.S. Paths of Byzantine art. M., 2013.

Pruss E.I. Western European art of the 17th century. (Series “Small History of Art”). M., 1974.

Razdolskaya V. European art of the 19th century. Classicism, romanticism. St. Petersburg: Azbuka-Classics, 2005.

Rivkin B.I. Ancient art (Series “Small History of Art”). M., 1972.

Sarabyanov D.V. and etc. World Art. XX century Fine arts and design (+ CD). St. Petersburg, 2008.

Smirnova I.A. Art of Italy at the end of the 13th – 15th centuries. M.: Art, 1987.

Stepanov A. Renaissance art. Italy. XIV–XV centuries. St. Petersburg: Azbuka-Classics, 2005.

Stepanov A. Renaissance art. Italy. XVI century. St. Petersburg: Azbuka-Classics, 2007.

Stepanov A. Renaissance art. The Netherlands, Germany, France, Spain, England. St. Petersburg: Azbuka-Classics, 2009.

Yakimovich A.K. New time. Art and culture of the 17th–18th centuries. St. Petersburg: Azbuka-Classics, 2004.

Lectures on the course "World Art Culture". Leskova I.A.

Volgograd: VSPU; 2009 - 147 p.

A course of lectures is presented in which, through world art, the fundamental principles of the development of artistic culture in Europe, Russia and the countries of the East are revealed. For students, undergraduates, graduate students of art specialties.

Format: pdf

Size: 24.1 MB

Watch, download: drive.google

CONTENT
Lecture 1. World artistic culture as a subject of study 3
Lecture 2. Basic concepts of world artistic culture 7
Lecture 3. The archetypal basis of Western artistic culture 18
Lecture 4. Archetypal basis of the artistic culture of the East 30
Lecture 5. Categories of space and time in artistic culture 42
Lecture 6 Categories of space and time in the artistic culture of antiquity and the Middle Ages 47
Lecture 7. Categories of space and time in the artistic culture of the Renaissance 54
Lecture 8. Categories of space and time in the artistic culture of the New Age 64
Lecture 9. Categories of space and time in the artistic culture of modern times 88
Lecture 10. Artistic culture of Russia 108

The history of world artistic culture goes back thousands of years, but it became an independent object of scientific analysis only in the 18th century. The study process was based on the idea that this area of ​​spiritual activity of society is a simple collection of art forms. Philosophy, aesthetics, historical sciences, art criticism, literary criticism studied artistic culture mainly from an internal artistic perspective: they analyzed ideological aspects of art, identified the artistic merits of works, the professional skills of their authors, and paid attention to the psychology of creativity and perception. From this perspective, world artistic culture was defined as the totality of artistic cultures of the peoples of the world that developed in various regions during the historical development of human civilization.
Many discoveries made along this path led to the formation of an idea of ​​world artistic culture as an integral process with its own dynamics and patterns. This idea began to take shape by the beginning of the 20th century. and fully manifested itself already in the first half of the last century in the studies of O. Benes, A. Hildebrand, G. Wölfflin, K. Voll, M. Dvorak and others. There was an understanding that there is a common spiritual-sensual basis expressed languages ​​of various types of art, and world artistic culture began to be viewed as a way of intellectual and sensory reflection of existence in artistic images.

Explanatory note

World artistic culture (WAC) is a relatively new subject in the Russian education system, which has no analogues in the world. The emergence of new programs, textbooks and manuals on MHC, the increased interest of teachers and secondary school students, a more than interested discussion of the problems of its teaching in the media is indisputable evidence that it is firmly and for a long time conquering space in general system of humanities education.

Documents from the Ministry of Education of the Russian Federation, which discuss the future prospects for studying MHC in secondary school, quite clearly define its place in the Basic Curriculum. They especially emphasize that introducing schoolchildren to the masterpieces of world artistic culture is a single and continuous process that allows us to establish successive connections between all subjects of the humanities and arts.

The system of studying MHC at each stage and in each class has its own specifics, determined by the psychological and pedagogical objectives of the course and age-related characteristics of the perception of a work of art. The introduction of schoolchildren to the world of art is presented as a gradual process from concrete sensory perception of works of world artistic culture to understanding and comprehension of the basic laws of the development of art, to comprehension of a holistic artistic picture of the world and their own creativity (grades 10-11) .

Educational goals and objectives of the course:

• studying masterpieces of world art created in various artistic and historical eras, comprehending the characteristic features of the worldview and style of outstanding creative artists;
• the formation and development of concepts about the artistic and historical era, style and direction, understanding the most important patterns of their change and development in the history of human civilization;
• awareness of the role and place of Man in artistic culture throughout its historical development, reflection of the eternal search for an aesthetic ideal in the best works of world art;
• comprehension of the system of knowledge about the unity, diversity and national identity of the cultures of different peoples of the world;
• mastering the main stages of the development of domestic (Russian and national) artistic culture as a unique and original phenomenon of enduring global significance;
• familiarity with the classification of arts, comprehension of the general principles of creating an artistic image in all its forms;
• interpretation of types of art, taking into account the peculiarities of their artistic language, creation of a holistic picture of their interaction.

Educational goals and objectives of the course:

— to help the student develop a strong and sustainable need to communicate with works of art

values ​​throughout life, to find in them moral support and spiritual and value guidelines;

• contribute to the education of artistic taste, develop the ability to distinguish true values ​​from fakes and surrogates of mass culture;
• prepare a competent reader, viewer and listener, ready for an interested dialogue with a work of art;
• development of abilities for artistic creativity, independent practical activity in specific types of art;
• creating optimal conditions for lively, emotional communication between schoolchildren and works of art in lessons, extracurricular activities and local history work.

REQUIREMENTS FOR THE LEVEL OF GRADUATE TRAINING

As a result of studying world artistic culture, the student must:

Know/understand:

1. main types and genres of art;
2. studied directions and styles of world artistic culture;
3. masterpieces of world artistic culture;
4. features of the language of various types of art.

1. recognize the studied works and correlate them with a certain era, style, direction.
2. establish stylistic and plot connections between works of different types of art;
3. use various sources of information about world artistic culture;
4. carry out educational and creative tasks (reports, messages).

Use acquired knowledge in practical activities and everyday life to:

1. choosing the paths of your cultural development;
2. organizing personal and collective leisure;
3. expressing your own judgment about works of classics and modern art;
4. independent artistic creativity.

List of digital educational resources:

ESUN "History of Art" grades 10-11

TsOR "Art Encyclopedia of Foreign Classical Art"

COR "Hermitage. Art of Western Europe"

TsOR Kirill and Methodius “Masterpieces of Russian painting”

COR "World artistic culture"

Electronic manuals: “Learning to understand painting”,

"Art Encyclopedia of Foreign Classical Art"

“Masterpieces of Russian painting”, “Learning to understand music”

"History of the Ancient World and the Middle Ages" electronic version

Lessons from the Moscow Art Hall "History of the development of architecture and sculpture"

"Architecture"

Textbooks:

Danilova G.I. World Art. From origins to the 17th century. Grade 10. Moscow, publishing house "Drofa", 2008;

Development of creative abilities of schoolchildren is implemented in project, search and research, individual, group and advisory types of educational activities. This work is carried out on the basis of a concrete sensory perception of a work of art, the development of abilities to select and analyze information, and the use of the latest computer technologies. The highest priority should include concert, performing, stage, exhibition, gaming and local history activities of students. Defending creative projects, writing abstracts, participating in scientific and practical conferences, debates, discussions, competitions and excursions are designed to provide an optimal solution to the problem of developing students’ creative abilities, as well as prepare them for an informed choice of a future profession.

Basic didactic principles. The program provides for the study of MHC on the basis of unified approaches that have historically developed and developed in the system of school education and upbringing.

The principle of continuity and succession involves studying MHC throughout all years of schooling. Selected historical and thematic approaches to the study of the course provide

ensuring continuity at each stage. Material that is close in historical or thematic terms is revealed and generalized at a qualitatively new level, taking into account what has been previously studied. For example, if ancient mythology in the 5th grade is studied in the moral and aesthetic aspect, then in the 10th grade antiquity is recognized as a unique cultural and historical era, the cradle of human civilization.

The principle of integration. The MHC course is integrative in its essence, as it is considered in the general system of subjects of the humanitarian and aesthetic cycle: literature, music, fine arts, history, social studies. Firstly, the program reveals the kinship of various types of art, united by the key concept of the artistic image. Secondly, it especially emphasizes the practical orientation of the subject of MHC and traces its connection with real life.

The principle of variability. The study of MHC is an exclusively selective process. It provides the possibility of implementation based on various methodological approaches, taking into account specific tasks and the profile orientation of the class. That is why the program provides for the inalienable right of the teacher to make changes to the distribution of hours for studying individual topics (reduce or increase their number), highlight large thematic blocks, and outline the sequence of their study. At the same time, any choice and methodological decision made by the teacher must be correlated with the educational effect and not destroy the logic and general educational concept of the program. The maximum volume of thematic spreads (especially in high school) is due not only to an increase in the number of hours, but also to the possibility of choice.

The principle of differentiation and individualization. The process of comprehending art is a deeply personal and individual process. It allows you to direct and develop the student’s creative abilities throughout the entire educational period in accordance with

the general and artistic level of his development, personal interests and tastes. The ability to choose in a basic and specialized school is the key to the successful development of schoolchildren’s creative abilities.

In the context of the multinational Russian education system, the teacher is given the opportunity to make wider use of the national-regional component due to the variable part of the Basic curriculum. At the same time, the specifics of the development of regional cultures are taken into account, determined by the characteristics of the national composition of the population, established cultural traditions and religious ideas about the world. So, for example, when selecting material for studying about folk crafts, heroic epics, holidays and rituals, dances and music, the teacher has the right to turn to the best artistic achievements of his people, to give students a sense of their national identity, uniqueness and originality.

This feature of the construction of the MHC course is dictated by the specifics of art, which has a universal language of communication between peoples. It allows you to see the particular and the individual in the general and global, promotes understanding of each other through eternal, enduring values, and fosters mutual respect for the cultures of other peoples.

The distribution of program hours takes into account the features of the curriculum in grades 10-11 of the school. In connection with the state final certification, the academic year in the 11th grade lasts 34 academic weeks, therefore in the 10th grade the academic year is extended to 35 academic weeks.

Thematic planning

Topics, sections	Number of hours	Of these, cont. R	Of these, microthemes of the Republic of Kazakhstan
10th grade, 1st year of study
Artistic culture of ancient civilizations
Artistic culture of Antiquity
Artistic culture of the Middle Ages
Medieval culture of the East
Artistic culture of the Renaissance
Artistic culture of the 17th - 18th centuries.
11th grade, 2nd year of study
Artistic culture of the 17th - 18th centuries.
Artistic culture of the 19th century.
Artistic culture of the 20th century.

Form of control:

Criteria for assessing student work

The result of checking the level of mastery of educational material is a mark. When assessing students' knowledge, it is expected to pay attention to the correctness, awareness, logic and evidence in the presentation of the material, the accuracy of the use of geographical terminology, and the independence of the answer. Assessment of knowledge involves taking into account the individual characteristics of students and a differentiated approach to organizing work in the classroom. Based on the goals set, it is taken into account.

Rating "5"

• the student fully achieves the goal of the lesson;
• correctly presents the studied material and is able to apply the acquired knowledge in practice;
• correctly composes the composition of the drawing, i.e. harmoniously coordinates all components of the image;
• knows how to notice and convey the most characteristic features in an image.

Rating "4"

• the student has completely mastered the program material, but when presenting it he makes minor inaccuracies;
• harmoniously coordinates all components of the image;
• knows how to notice, but does not quite accurately convey the most characteristic features in the image.

Rating "3"

• the student copes poorly with the set goal of the lesson;
• admits inaccuracies in the presentation of the studied material.

Rating "2"

• the student makes gross mistakes in the answer;
• does not cope with the stated goal of the lesson;

Rating "1"

The student shows complete ignorance of the educational material.