Presentation on the theme of the art of classicism and rococo. Fine art of classicism and rococo Nicolas Poussin

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Fine art of classicism and rococo MHC grades 10-11

Plan Nicolas Poussin – an artist of classicism Sculptural masterpieces of classicism Masters of the “gallant genre”: Rococo painting

Nicolas Poussin - artist of classicism (1594 - 1665) French artist who stood at the origins of classicism painting

The ideal of beauty was seen in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. His paintings are distinguished by a balanced composition, a rigid, mathematically verified system of organizing space, a chased pattern, and a sense of rhythm. The main criteria of artistic truth are reason and thought. The main themes of creativity are heroic deeds based on high civic motives; glorification of a heroic person capable of cognizing and transforming nature with the power of reason. Favorite heroes are people of high moral qualities. The compositional system of the paintings was built on two principles: the balance of forms and their free relationship.

"The Generosity of Scipio"

"Arcadian Shepherds"

"Tancred and Erminia"

Sculptural masterpieces of classicism One of the outstanding sculptors of classicism is Antonio Canova (1757 - 1822) Sculptures: “Orpheus”, “Eurydice”, “Perseus”, “Theseus, conqueror of the Minotaur”, “Cupid and Psyche”, “The Three Graces”.

"Orpheus" "Eurydice"

"Perseus"

“The Three Graces” is the highest embodiment of the new ideal of beauty, according to Canova’s contemporaries.

Bertel Thorvaldsen (1768 - 1844) The best works of the Danish artist are recognized as “Jason with the Golden Fleece”, “Ganymede and the Eagle of Zeus” (“Ganymede Feeding the Eagle of Zeus”), “Mercury”

"Jason with the Golden Fleece"

"Ganymede Feeding the Eagle of Zeus"

"Mercury"

Jean Antoine Houdon (1741 - 1828) Famous French sculptor of classicism, who created a unique portrait encyclopedia of outstanding people of the era. The main character of his works is a public man, of noble and strong character, courageous and fearless, a creative person.

The statue of Voltaire is the pinnacle of Houdon’s work, the ideal image of a sage thinker.

Masters of the “gallant genre”: Rococo painting The main themes of Rococo painting are the exquisite life of courtiers, holidays, idyllic pictures of life against the backdrop of nature, the world of complex love affairs and ingenious allegories.

Antoine Watteau (1684 - 1721) – “poet of carefree leisure”, “singer of grace and beauty”

"Pilgrimage to the island of Cythera"

"Gilles" (Pierrot)

Francois Boucher (1703 - 1770) – “painter of graces”, “royal painter” 1. Depiction of frivolous (seductive, frivolous) scenes 2. Ambiguous hints 3. Spicy details

"Birth of Venus"

"Juno Visits the Guardian of the Winds Aeolus"

"Allegory of Painting"

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MHC, 11th grade

Lesson #6

The art of classicism and rococo

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

LESSON OBJECTIVES

give an idea of the art of classicism, sentimentalism and rococo;
broaden your horizons and skills in analyzing art genres;
to cultivate national consciousness and self-identification, respect for the musical creativity of Rococo.

CONCEPTS, IDEAS

O. Fragonard;
classicism;
G. Rigo;
rococo;
sentimentalism;
hedonism;
rocaillea;
mascarons;
V.L. Borovikovsky;
Empire;
J. J. Rousseau

Testing students' knowledge

1. What are the characteristic features of Baroque musical culture? How is it different from Renaissance music? Support your answer with specific examples.

2. Why is C. Monteverdi called the first Baroque composer? What was the reformatory character of his work? What is characteristic of the “Excited Style” of his music? How is this style reflected in the composer’s operatic works? What unites the musical creativity of C. Monteverdi with works of baroque architecture and painting?

3. What distinguishes the musical creativity of J. S. Bach? Why is it usually considered within the framework of Baroque musical culture? Have you ever listened to the organ music of J. S. Bach? Where? What are your impressions? Which 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 of a school of composition in Russia? What impression does the sacred choral music of M. S. Berezovsky and D. S. Bortnyansky make on you?

Universal learning activities

 evaluate ; identify ways and means find associative connections systematize and summarize
 identify essential features of styles classicism and rococo, correlating them with a specific historical era;
explore cause-and-effect relationships , patterns of change in artistic models of the world;
evaluate aesthetic, spiritual and artistic value of 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 associative connections and the differences between the artistic images of classicism, baroque and rococo, presented in various types of art;
characterize the main features , images and themes of the art of classicism, rococo and sentimentalism;
put forward hypotheses, enter into dialogue , argue your own point of view on the formulated problems;
systematize and summarize acquired knowledge about the main styles and movements of art of the 17th-18th centuries. (working with a table)

LEARNING NEW MATERIAL

Aesthetics of classicism.
Rococo and sentimentalism.

Lesson assignment. What significance do the aesthetics of classicism, Rococo art and sentimentalism have for World civilization and culture?

sub-questions

Aesthetics of classicism. Appeal to the ancient heritage and humanistic ideals of the Renaissance. Development of your own aesthetic program. The main content of the art of classicism and its creative method. Features of classicism in various types of art. The formation of the style system of classicism in France and its influence on the development of the artistic culture of Western European countries. The concept of the Empire style.
Rococo and sentimentalism *. Origin of the term "Rococo". The origins of the artistic style and its characteristic features. Objectives of Rococo (on the example of masterpieces of decorative and applied art). Sentimentalism as one of the artistic movements within the framework of classicism. The aesthetics of sentimentalism and its founder J. J. Rousseau. Specifics of Russian sentimentalism in literature and painting (V. L. Borovikovsky)

Aesthetics

classicism

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

Levitsky D.G.

Portrait

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

“...to study Antiquity in order to learn to see Nature”

(Denis Diderot)

Aesthetics

classicism

Aesthetic principles of classicism:

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

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

3. Proportionality, rigor, clarity in classicism are combined with completeness, completeness of 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 man was assigned a significant organizing role.

O. Fragonap. Portrait

Denis Diderot. 1765-1769 Louvre, Paris

Aesthetics

classicism

Creative method of classicism:

the desire for reasonable clarity, harmony and strict simplicity;
approaching an objective reflection of the surrounding world;
maintaining correctness and order;
subordination of the particular to the main;
high aesthetic taste;
restraint and calmness;
rationalism and logic in actions.

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

Aesthetics

classicism

Each of the art forms was

has its own special features:

1. The basis of architectural language

classicism becomes order ( type

architectural composition using

certain elements and

subject to a certain architectural

style processing ) , much more

similar in shape and proportions to

architecture of Antiquity.

2. Works of architecture are distinguished

strict organization

proportionality and balance

volumes, geometric

correctness of lines, regularity

layouts.

3. Characteristic of painting : clear

demarcation of plans, rigor

drawing, carefully executed

cut-off volume modeling.

4. Special role in the decision

educational task played

literature and especially theater ,

which has become the most widespread species

art of this time.

C. Percier, P.F.L. Foppep.

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

Aesthetics

classicism

During the reign of the “Sun King” Louis XIV (1643-1715), a certain ideal model of classicism was developed, which was imitated in Spain, Germany, England and in the 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. Rigo. 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 of civil rights of the individual, consonant with the French Revolution.
At the last stage of its development, classicism actively

expressed the ideals of the Napoleonic Empire.

He found his artistic continuation in the style empire style (from the 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

A characteristic feature of the 18th century. in Western European art there 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 perceive the spiritual world of man as tragic, and transferred the main conflict to the sphere of relations between the individual and the state. Baroque, having outlived its usefulness and came to its logical conclusion, gave 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 XVIII century in France

a new style of art has emerged -

rococo (French rocaille - sink). Already

the name itself revealed

the main characteristic feature of this

style - passion for refined

and complex forms, bizarre

lines that in many ways resembled

shell outline.

The shell then turned into

complex curl with some

strange slits, then in

decoration in the form of a shield or

half-unfolded scroll with

image 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

noticeably until the end of the 18th century

centuries.

Rinaldi Rococo:

interiors of 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 sensual

pleasure ( hedonism ). Art should have

to please, touch and entertain, turning life into a sophisticated masquerade and “gardens of love.”

Complex love affairs, fleeting hobbies, daring, risky actions of heroes that challenge society, adventures and fantasies, gallant entertainment and celebrations determined the content of works of Rococo art.

Allegory of fine arts,

1764 - Oil on canvas; 103 x 130 cm. Rococo. France. Washington, Nat. 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:

gracefulness and lightness, intricacy, decorative sophistication

and improvisation, pastoralism (shepherd 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 colors 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, miniatureness (especially in sculpture and architecture), love for little things and trinkets (“Lovely 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 facial movements, half-smile, hazy

glance or wet shine 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 flowering in the works of

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

a combination of fancy shells and strange plants), as well as maekaranov (molded or carved masks in the form

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

Rococo and

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

Sentimentalism (French sentiment - feeling). In terms of worldview, he, like classicism, was based on the ideas of the Enlightenment.

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

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

Achievements of civilization with many

temptations that corrupted the soul

“natural man”, acquired

clearly hostile in nature.

A kind of ideal

sentimentalism has become the image of rural

citizen who followed the laws

pristine nature and living in

absolute harmony with her.

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

Rococo and

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

The founder of sentimentalism is considered to be the French enlightener J.J. Rousseau, who proclaimed the cult

natural, natural feelings and

human needs, simplicity and

cordiality.

His ideal was the sensitive,

sentimental dreamer,

obsessed with the ideas of humanism,

a “natural man” with a “beautiful soul”, not corrupted by bourgeois civilization.

The main task of Rousseau's art

saw it as teaching people

virtues, call them to the best

life.

The main pathos of his works

constitutes a praise of human feelings, high passions that come 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 (66 years old), 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 emphasizes the external manifestation of feelings and emotions, then sentimentalism

emphasizes the inner

the spiritual side of human existence.

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

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

Tretyakovaya Gallery, Moscow

Control questions

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

2. What examples of Antiquity and the Renaissance did the art of classicism follow? 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 peak in the decorative and applied arts?

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 the great style of classicism?

Topics of presentations, projects

"The role of France in the development of European artistic culture."
"Man, nature, society in the aesthetic program of classicism."
"Samples of Antiquity and the Renaissance in the art of classicism."
"The crisis of baroque ideals and the art of classicism."
"Rococo and sentimentalism are accompanying styles and movements 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 fate of classicism in the history of world art."

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Literature:

Programs for general education institutions. Danilova G.I. World artistic culture. – M.: Bustard, 2011
Danilova, G.I. Art / MHC. 11th grade Basic level: textbook / G.I. Danilova. M.: Bustard, 2014.
Kobyakov Ruslan. Saint Petersburg

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

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

In historical subjects, Poussin looked for those in which there was action, movement and expression. He began work on the painting with a careful study of the literary source. The idea of classicism, in his opinion, should be reflected in the composition of the painting. He contrasted improvisation with a carefully considered arrangement of figures and basic figures and basic groups. The space should be easily visible, the plans should clearly follow each other. Only a small foreground area should be reserved for the action itself. In most of his paintings, the Artist uses the golden ratio, when the point of intersection of the diagonals of the picture turns out to be its most important semantic center. He always had a notebook with him, in which he wrote down what interested him. In his work he moved from the general to the specific.

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

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

Most of the paintings created by Poussin on mythological themes belong to the masterpieces of world art “Collecting Manna in the Desert” “Adoration of the Golden Calf” “Moses Bringing Out Water from the Rock” “The Judgment of Solomon” “The Descent from the Cross” He truly was “one of the most daring innovators, which the history of painting has known” (E. Delacroix).

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The Italian artist and poet Agostino Crraci (1557-1602) called on painters to strictly follow the principles of antiquity and the Renaissance: Whoever strives and wants to become a good painter, Let him arm himself with the drawing of Rome, The movement and chiaroscuro of the Venetians, And the Lombard restraint of color. He will take a powerful manner from Michelangelo, from Titian - the transference of nature, the purity and grandeur of Correggi's style And the strict poise of Raphael...

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Nicolas Poussin - an artist of classicism The work of the French artist Nicolas Poussin (1594-1665) is considered the pinnacle of classicism in painting. He saw his ideal of beauty in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. According to the artist, the main criterion of artistic truth and beauty is reason and thought. That is why he called for creating “as nature and reason teach.” When choosing topics, Poussin was guided by heroic deeds and deeds, which were based on high civic motives, and not base human passions. Nicolas Poussin. Self-portrait. 1650 Louvre, Paris.

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Poussin. Landscape with Diogenes. Poussin dedicated his work to the glorification of heroic man, capable of cognizing and transforming nature with the power of a powerful mind. His heroes are people of high moral qualities. They often find themselves in dramatic situations that require special composure, greatness of spirit and character.

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Apollo and Daphne Poussin. Apollo and Daphne In plots, Poussin looked only for those in which there was action, movement and expression. He began work on the painting with a careful study of the literary source (“Metamorphoses” by Ovid or the Holy Scriptures). If he met the set goals, the artist pondered not the complex inner life of the characters, but the culmination of the action. Poussin's usual plot formula was: "The die is cast, the decision is made, the choice is made."

Slide 6

Poussin. David the Victorious The compositional system of Poussin's paintings was built on two principles: balance of forms (building figures around the center) and on their free relationship (shifting away from the center). The interaction of these two principles made it possible to achieve an extraordinary impression of orderliness, freedom and mobility of the composition. The “harmony” of any artist’s painting can always be “checked by algebra.” Any pattern in a picture is not an invention of its author, it always reflects the logic and pattern of development of the nature of the universe.

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Nicolas Poussin. Arcadian shepherds. 1638-1639 Louvre, Paris. Nicolas Poussin is the author of numerous paintings on mythological, historical, religious and landscape themes. The painting “Arcadian Shepherds” is one of the pinnacles of the artist’s creativity, the fruit of his tireless search. Three young men and a young woman stopped at a stone tombstone. Judging by their clothes and staffs, these are shepherds. One of them fell to his knee, he carefully examines the inscription on the tombstone. The young man and girl on the left froze, immersed in silent thought about the frailty of human life.

Slide 8

Narcissus and Echo Nicolas Poussin. Narcissus and Echo. Color is of great importance in Poussin's artistic system. He applied paints from dark to light. The sky and background shadows were done so subtly that the grainy texture of the canvas showed through. He preferred ultramarine, copper azure, yellow and red ocher, green and cinnabar to many colors.

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Nicolò Poussin. The Rape of the Sabine Women Most of the paintings created by Poussin on mythological themes belong to the masterpieces of world art (“Collecting manna in the desert”, “Adoration of the Golden Calf”, “Moses pouring out water from the rock”, “The Judgment of Solomon”, “The Descent from the Cross”).

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Sculptural masterpieces of classicism. One of the outstanding sculptors of classicism is Antonio Canova (1757-1822). The first works of the young Italian sculptor, depicting heroes of ancient Greek mythology, glorified his name. The statues “Orpheus”, “Eurydice”, “Perseus”, “Daedalus and Icarus”, “Theseus, conqueror of the Minotaur”, “Cupid and Psyche” amazed contemporaries, who noted that life itself pulsates in the statues.

Slide 16

The sculptural group “The Three Graces” is distinguished by the perfect harmony of proportions, the beauty of lines and the finest treatment of the marble surface. Canova's contemporaries considered her the highest embodiment of the new ideal of beauty. It is known that in Greek mythology, the Three Graces personified the beauty and feminine charm of youth. The figures of the Graces are arranged in a semicircle. The interweaving of hands compositionally unites the sculptural group. One of his contemporaries wrote: “The whole group personifies love; it is difficult to find another, more subtle expression of it in other works of Western European art. Antonio Canova. Three Graces. 1816 State Hermitage Museum, St. Petersburg.

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Antonio Canova.. Portrait of Pauline Borghese as Venus. Marble. 1805-1807. Borghese Gallery. Rome.

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Sculptural group of Antonio Canova "Daedalus and Icarus". 1777-1779. Carrer Museum. Venice.

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Bertel Thorvaldsen. The artistic ideal of the Danish sculptor Bertel Thorvaldsen (1768-1844) also became masterpieces of ancient sculpture. He devoted most of his works to mythological subjects and images. The best among them are “Jason with the Golden Fleece”, “Ganymede and the Eagle of Zeus” and “Mercury”

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The image of ideal harmony and beauty is captured in the statue of Princess M.F. Baryatinskaya, the wife of the famous Russian diplomat. During her life, she was famous for her sharp mind and dazzling beauty, kindness and feminine charm. Here she is presented in the guise of an ancient goddess in gracefully flowing clothes, through which her wonderfully proportioned figure can easily be seen. The oval of her face, her thoughtful, dignified pose, her head slightly tilted to the right are ideally beautiful. With her left hand she carefully holds a light shawl, her right hand is coquettishly raised to her chin. This gesture returns the “ancient goddess” to real life, making her a completely earthly woman. Bertel Thorvaldsen. Princess M.F. Baryatinskaya. 1818 Thorvaldsen Museum, Copenhagen.

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Bertel Thorvaldsen. Jason with the Golden Fleece. 1803-1828, Thorvaldsen Museum, Copenhagen.

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Bertel Thorvaldsen. Ganymede and the eagle. 1818-1829, Art Institute, Minneapolis.