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Lesson from the Moscow Art Hall: classicism in the architecture of Western Europe. How does Russian classicism in architecture differ from European classicism? In creating the architectural appearance of Versailles

LESSON DEVELOPMENT ON WORLD ARTISTIC CULTURE IN 11TH GRADE

Lesson topic: “Classicism in the architecture of Western Europe”

Lesson type : lesson introduction to new material

Lesson format: travel lesson using computer technology

Target : 1.Create conditions for students to become acquainted with the characteristic features of classicism architecture and form an idea of ​​the ceremonial official architecture of Versailles;
2. Contribute to the development of the ability to independently study the material and prepare it for presentation; continue to develop the ability to analyze a work of art;
3. Promote the cultivation of a culture of perception of works of art.

Equipment: “The Palace of Versailles” - a tour of the museum CD, audio recording of W.A. Mozart “Sonata No. 40”

During the classes

I Organizing time

Smile at each other and give your smiles to me and your friends. Thank you. Your smiles encourage pleasant communication and create a good mood.

II Setting a lesson goal

The ceremonial splendor and “empty tinsel” of the Baroque gave way to classicism - a new artistic style. Having studied ancient art and taking it as a model, the followers of classicism came to the conclusion that the true basis of human life is the mind.
... Let's leave it to the Italians
Empty tinsel with its false gloss.
The most important thing is the meaning, but in order to get to it,
We'll have to overcome obstacles and paths,
Follow the designated path strictly:
Sometimes the mind has only one path...
You need to think about the meaning and only then write!
N. Boileau
This is how one of the ideologists of classicism, poet N. Boileau, taught his contemporaries.
Today we have a lesson-trip and we will take you virtual tour through the grandiose palace and park ensemble of Versailles, we will get acquainted with the ceremonial official architecture and the characteristic features of classicism in architecture.
And today you will all help me, as you prepared a short message for the lesson.
III Learning new material

Write down the topic of the lesson.
Classicism manifested itself most clearly in works of architecture.

Classicism (Latin Classicus - exemplary) is an artistic style and aesthetic direction in European art of the 17th-19th centuries.

What patterns do you think this style followed?

Classicism focused on the best achievements ancient culture– the Greek order system, standards of harmony, simplicity, rigor, logical clarity and monumentality. Based on the ideas of Renaissance architects about the “ideal city,” the architects created new type palace and park ensemble, strictly subordinated to the geometric plan.
Characteristic of classicism composition, restraint of decorative decoration, regular planning system and clarity volumetric shape.
Classicism is based on the ideas of rationalism and strict canons.

in architecture - ceiling division element or inner surface vault.
The characteristic features of classicism can be seen most clearly in the example of an architectural structure - the Palace of Versailles.
Now we will go on a virtual journey and at the end of the journey we will have to answer the question: Why can Versailles be considered an outstanding work of classicism?
Let's first turn to the history of the creation and architectural appearance of the Palace of Versailles

Fast forward a century -
During the construction of the palace,
When the court carriages
Fans flocked here.

Versailles, there was a village,
There are swamps and fields all around,
Louis bought all his possessions,
So that there would be a king's castle here.

The history of the Palace of Versailles begins in 1623 with a very modest hunting castle of Louis XIII. The “Sun King”, Louis XIV, spent his childhood in this castle. He fell in love with this place and dreamed of building something bigger that would amaze Europe. Having ascended the throne, he begins the construction of a royal residence. On May 6, 1682, the king solemnly entered Versailles, and from this day the history of the world-famous Palace of Versailles begins.
The architects Louis Levo, Jules-Hardouin Mansart and Andre Le Nôtre participated in the creation of the architectural appearance of Versailles. Over the course of a number of years, the building was rebuilt and changed a lot in its architecture. The entire huge complex was created according to a single project. The ensemble develops along the main axis stretching from east to west
The main entrance to the palace is through gilded gates decorated with the royal coat of arms and crown. On the square in front of the palace there is a equestrian statue Louis XIV.
According to legend, when Louis was 5 years old, he was walking through the garden and, looking into a puddle in which the sun was reflected, he shouted: “I am the sun!” Since then he has been called the “Sun King”
The main building of Versailles is the palace, to which three converging access avenues lead. The palace is located on a certain hill and occupies a dominant position over the area. The length of the façade reaches 570 m and is divided into a central part and two side projection wings. The facade is represented by three floors. The first floor serves as a massive base, decorated with rustication on the model of Italian palazzo palaces of the Renaissance. The second floor is the largest. It is filled with high arched windows, between which there are Ionic columns and pilasters. The upper tier is shortened and ends with sculptural groups, giving the building a special elegance and lightness of proportions. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and destroys the monotony of the external decoration.
The palace has several entrances. The central building contains halls for balls, receptions and the personal bedrooms of the king and queen. In the southern wing of the palace there were courtiers, ministers, guests, and the chambers of the first ladies, and in the northern wing there were royal apartments, where each room was dedicated to various deities, whose names were allegorically associated with members of the royal family.
Decoration of the interior of the halls
Lebrun did a great job,
Sketches with wood, metal
Have the highest level

The interiors of the palace are decorated in Baroque style: many mirrors and exquisite furniture are used. Picturesque panels and tapestries on mythological themes glorify the king. Massive bronze chandeliers with gilding complete the impression of wealth and luxury. Just imagine: 700 rooms, 350 fireplaces, 70 staircases and more than 2000 windows, and the number of paintings, engravings and furniture is measured in tens of thousands. Most Big hall The palace is occupied by the Mirror Gallery.

Facade of the Mirror Gallery -
An abundance of gold, glass,
The hall exudes exclusivity
In the parade march of crystal.

The huge hall is 73 m long, about 11 m wide and about 13 m high (slide 5). The gallery space is illusively expanded by mirrors (there are 357 of them). Mirrors are located in niches opposite 17 windows and create a feeling of limitlessness. It seems that the walls are disappearing somewhere. The gaze jumps from the giant windows to the mirrors, which reflect the water surface of the pools, the various colors of flowers and the blue of the sky. In the evening. On the days of palace balls and audiences, the light of 3 thousand candles reflected the panels in the mirrors. The play of glare, the rays of the sun reflected in the mirrors blinded the eye and amazed the imagination. The gallery was decorated with all kinds of vases in bronze frames, silver floor lamps and candelabra. The paintings of the ceiling lamp, made by Lebrun, exalted the deeds of Louis XIV. The gallery was decorated with dozens of crystal chandeliers and flowerpots with aelsin trees. All the furniture in the hall, including plant pots and statues, were cast from silver, but in 1690 they were melted down into coins.
Through the Mirror Gallery, along the embassy staircase leading to the second floor, we find ourselves in the Salon of Hercules, where lavish receptions were held. The salon is richly decorated with marble and gilded bronze. Huge paintings on the ceiling-plafonds, made by François Lemonnier, depict the exploits of Hercules. The Hercules Hall smoothly transitions into the Large Royal Chambers, consisting of several salons: the Venus Hall, the Diana Hall, the Apollo Hall, the War Hall, and the Bull's Eye Salon.
Queen's bedroom. The first thing that attracts attention is the size of the queen bed. It is huge, filling the entire bedroom. All surfaces in the bedchamber are covered with gold, indicating the status of the owner.
The king's bedroom (Mercury Hall) is located in the central part of the palace and faces towards rising sun.The main piece of furniture was the bed. The ceremonial bed under an embroidered canopy is separated from the rest of the chambers by a low fence. From the bedroom there was a view of three highways converging at one point, which symbolized the main concentration of power. From the balcony, the king could see all the beauty of Versailles Park.

Park with a regular layout
Andre Le Nôtre realized,
With extraordinary dexterity
The lawns were broken into a line.

Baskets with a proper fit,
Bushes trimmed in a row
A world of primordial order,
Where style and harmony triumph.

Versailles is famous not only for its luxurious palace, but also for its park, which is considered one of the largest in Europe. Its main creator, Andre Le Nôtre, combined elements of architecture and landscape art. Versailles Park is a regular park, i.e. planned according to geometric calculations. The entire structure of the park is subject to strict symmetry: bright flower beds are designed in the form geometric patterns, perfectly smooth alleys of trees stretch along a straight axis, the pools have the correct shape.
The park's alleys, swimming pools, flower beds and lawns are perceived as an extension of the palace halls and have a clear geometric shape. Le Nôtre was the first to create a layout of alleys radiating from the center like the rays of the sun. He skillfully combined straight and winding lines, various proportions and optical illusions. Trees and shrubs took regular conical, spherical or pyramidal shapes. Rare plants were imported from Normandy and Flanders. Deciduous species used: oak, linden, ash, beech, maple, poplar, hornbeam, chestnut, and coniferous species - yew and spruce. There was a place for fruit trees - apple trees, pears, cherries. A special feature of the park are the numerous bosquets - artificial groves, in different parts of which there were fountains, swimming pools, grottoes, and gardens. One of the beautiful ones is the bosquet " Ballroom dancing", where feasts and dances took place open air. Behind the trees, a space opens up in the form of an amphitheater with ledges made of trimmed bushes. The steps of the amphitheater are decorated with sea shells and stone, decorated with gilded vases and candelabra. Cascades of water flow down the steps. The area and background of flower beds in bosquets were sprinkled with colored sand or lined with porcelain with an elegant design instead of fresh flowers.
The smooth carpets of lawns amaze with bright and variegated colors with intricate patterns of flowers. The vases (150 thousand) contained fresh flowers, which were changed so that Versailles was in constant bloom at any time of the year. All this splendor was complemented by the smells of almond, jasmine, pomegranate and lemon, spreading from the greenhouses. On the south side, along the “100 steps” staircase you can go down to the greenhouse, where in the summer hundreds of exotic plants in tubs are displayed outside. Built by Jules Hardouin Mansart, the greenhouse includes a covered central gallery and a summer gallery with flower beds with a round pond in the center.
The main axis of the park, the Grand Canal, is oriented to the west, so that in the evening the setting sun, reflected in the canal, turns it into a luminous axis of the park, going straight into the horizon. The Grand Canal is 1670 meters long and 62 meters wide. Its splendor epitomized French naval supremacy. Marine performances with many sea and river vessels were held here, and in winter it became an ice skating rink.
The pride of the park is its fountains, the number of which reaches 2000.
Latona Fountain – sculptors br. Marcy was created based on the ancient Greek myth about the love of Jupiter and Latona, who became the mother of his children - the god of beauty Apollo and the goddess of hunting Diana. When Latona and her children were attacked by people, Jupiter, heeding Latona’s pleas for protection, Jupiter turned the people into frogs. This episode of the myth is reflected in the sculpture of the fountain. In the center of the upper platform there are statues of Latona and her children, and at the edges of the lower platform there are figures of people turned into frogs and sea turtles, from whose mouths jets of water emerge. One of the most beautiful is the Apollo fountain - sculptor J.-B. Tube. From the surface of the water emerges a chariot drawn by four horses, ruled by Apollo, and tritons blow their shells, signaling the approach of the god. The sculptural group is cast from lead and covered with gold.
The Park of Versailles is full of sculpture. Most of the sculptures are characters from ancient Greek and Roman mythology, which were specially chosen to glorify the power of the king.
The Trianons represent a separate group of buildings with their own gardens. Trianon was the name of the village that Louis XIV acquired with the intention of building a pavilion for light meals.
The Grand Trianon is a one-story palace made of pink marble, built by Louis XIV for his beloved Madame de Montenon. The octagonal Belvedere rose above the lake. Its façade is decorated with luxurious reliefs. The floor is covered with marble chips, the walls are decorated with elegant ornaments. Here the monarch loved to spend his free time.
Small Trianon - a three-story building, the facade is decorated with elements greek architecture. The most interesting place in the garden of the Petit Trianon is the Marie Antoinette farm, which consists of 12 houses: a tower, a mill, a dovecote, a chicken coop, a kennel, a fishing workshop, a hut and courtyards for keeping ostriches, elephants, and gazelles. The main building is the Queen's house under a tiled roof on the shore of a pond into which a babbling brook flows, spanned by a charming bridge. White swans swim gracefully. Peasant girls had to rinse clothes and sing. Cows and pigs were washed daily and colored bows were tied to them. There were vegetable gardens where artichokes grew, Savoy, cauliflower. The gardens are surrounded by hedges of hornbeam and chestnut trees. The walls of the buildings are covered with creeping plants. The fences of stairs, galleries and balconies were decorated with ceramic pots with geraniums, hyacinths and other flowers.
Versailles, what an embodiment!
In the grounds of lace gardens,
Became a real necklace
Those who have received glory and love.

IV Primary consolidation

Our walk through Versailles has ended.
1) Why can Versailles be considered an outstanding work of classicism?
What are the main features of classicism?
What, in your opinion, distinguishes the buildings of classicism from the Baroque and Renaissance styles?
2) Work in pairs
Let's look at the paintings of the Russian artist A.N. Benois from the Versailles cycle. The King's Walk.
- How did Benoit convey the atmosphere of the court life of King Louis XIV in his paintings?
- Why can they be considered as symbolic paintings?

VLesson summary
Summing up the lesson, assessments
Was it interesting for you and that you learned something new for yourself, were you surprised by something?

VI.House. Exercise : 7.1, message “The story of one masterpiece (using the example architectural monuments Moscow, St. Petersburg)
In conclusion, let's take another look at the beauty of Versailles.
VII Reflection.

Suitcase. Continue the sentence. When leaving this lesson I will take with me...

The lesson is over.

Baroque is associated with the Catholic Church, even the early name of this architecture sounded like “Jesuit style”. More restrained classicism was more suitable for Protestant countries, although France, along with England, was one of the countries where the style was born.

If Gothic expressed mysticism, Baroque - expression, then classicism is the embodiment of rationalism. Andrea di Pietro, who received the pseudonym Palladio(1508-1580), wrote four books about architecture, where he outlined the principles of architectural composition that he himself formulated. Appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity and monumentality was the dictate of the time and attracted many Italian architects, just remember Brunelleschi. But Palladio turned out to be faithful to the principles of antiquity to a much greater extent.

The architecture of classicism as a whole is characterized by regularity of layout and clarity of volumetric form. The harmony of the building is based on high stylobates and large orders. A stylobate in ancient architecture is the lower part of a building, the base on which a colonnade stands. Palladio called the order, symmetrical axial compositions and restraint of decoration the main features of a classical structure.

Classicism had national characteristics. Inigo Jones in England was closer to Palladio's models. In France, the influence of Italian Baroque and local traditions Gothic turned out to be stronger in the work of Nicolas Francois Mansart.

Inigo Jones(1573-1652) built the royal palace at Greenwich, decorated with a spiral "tulip-shaped" staircase that rises directly to the oculus, covered with a glass frame. The Wilton estate gives the most complete idea of ​​Jones's style. A number of Jones's architectural finds were copied by J. Cameron at Tsarskoe Selo in Russia. Another follower of Palladio Christopher Wren(1632-1723) studied the orientation of the pillars of Stonehenge and formulated the idea of ​​strict orientation of city streets according to the cardinal directions. He is the author of the current version of St. Paul's Cathedral in Covent Garden. William Kent(1684-1748) laid the foundations of the English landscape park.

French architect Nicolas Francois Mansarou(1598-1666) was responsible for the development of a new type of urban housing for the nobility - the “hotel” - with a cozy and comfortable layout, including a vestibule, main staircase, a series of enfilading rooms, often enclosed around a courtyard. A special feature of Mansar hotels is their high roofs, under which additional living space was located. The Maisons-Laffite Palace near Paris is an exemplary creation of the architect.

Innovation went hand in hand with Mansart's unceremonious attitude towards the construction budget. Over time, even the king of France found it unaffordable. Therefore, the design competition for the construction of Versailles was won by Louis Levo. He came up with the idea of ​​a freely formed living space of enfilade rooms due to numerous interior doors that can be opened or closed at the will of the owners (first used in the Lambert Hotel project), which became a characteristic feature of urban buildings of the 18th-20th centuries. Levo is the chief architect of Versailles.

MHC, 11th grade

Lesson #7

Classicism

D.Z.: Chapter 7, ?? (p.72-73), TV. assignments (p.73-75)

© A.I. Kolmakov


LESSON OBJECTIVES

  • Introduce students with the characteristic features of classicism architecture and form an idea of ​​the ceremonial and official architecture of Versailles;
  • Develop skill independently study the material and prepare it for presentation; continue to develop the ability to analyze a work of art;
  • Bring up culture of perception of works of art.

CONCEPTS, IDEAS

  • architect;
  • classicism architecture;
  • Louis Levo;
  • Jules Hardouin-Mansart;
  • André Le Nôtre;
  • Grand Palace of Versailles;
  • Charles Lebrun;
  • Mirror Gallery;
  • tapestry;
  • landscape parks;
  • Empire;
  • neoclassicism;
  • Church of Saint Genevieve

Testing students' knowledge

1 . What is aesthetic program 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?

Universal learning activities

  • summarize and systematize knowledge describe and analyze prepare a correspondence excursion carry out comparative analysis
  • summarize and systematize knowledge about the development paths and artistic principles of classicism architecture;
  • carry out comparative analysis architectural structures of classicism and baroque;
  • describe and analyze architectural monuments of classicism in the unity of form and content;
  • develop an individual creative project architectural structure in the traditions of classicism;
  • appreciate the value of creativity an individual architect in the history of Western European art;
  • list characteristics individual author's style;
  • talk about prominent Western European figures architecture of the era of classicism;
  • express your own reasoned opinions about the artistic merits of specific works of architecture from the era of classicism;
  • identify historical background the emergence of the Empire style in Western European art;
  • prepare a correspondence excursion on Versailles (architectural ensembles of Paris);
  • carry out comparative analysis interior design of Fontainebleau and the Mirror Gallery of Versailles;
  • establish associative connections between works of classical architecture and their pictorial interpretation in the works of A. N. Benois

LEARNING NEW MATERIAL

  • "Fairytale Dream" of Versailles.

Lesson assignment. What is the significance of classicism in the architecture of Western Europe for World civilization and culture?


sub-questions

  • "Fairytale Dream" of Versailles. Characteristic features of classicism architecture. Creation of a new type of palace ensemble. Versailles as a visible embodiment of the ceremonial official architecture of classicism.
  • Architectural ensembles of Paris. Empire style The beginning of work on the redevelopment of Paris. Neoclassicism - new stage development of classicism and its spread in European countries. Characteristic features of the Empire style (based on the example of famous architectural monuments)

On the issue of classicism

in the architecture of Western Europe

. . . Let's leave it to the Italians

Empty tinsel with its false gloss.

The most important thing is the meaning, but in order to get to it,

We'll have to overcome obstacles and paths,

Follow the designated path strictly:

Sometimes the mind has only one path...

You need to think about the meaning and only then write!

N. Boileau. Poetic art(Translation by E. L. Linetskaya)

This is how one of the main ideologists taught his contemporaries

classicist poet Nicolas Boileau (1636-1711). Strict rules

classicism was embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satires of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of palaces and ensembles of Paris...


On the issue of classicism

in the architecture of Western Europe

Classicism was most clearly manifested in works of architecture focused on the main achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the overall plan .

"Strict style" of classicism architecture, it seemed, was intended to visually embody his ideal formula of “noble simplicity and calm grandeur.”

The architectural structures of classicism were dominated by simple and clear forms, calm harmony of proportions . Preference was given straight lines, unobtrusive decor, repeating the outline of the object . Affected everything simplicity and nobility of decoration, practicality and expediency .


On the issue of classicism

in the architecture of Western Europe


"Fairytale Dream"

Versailles.

Mark Twain, who visited Versailles in mid-19th V., wrote:

“I scolded Louis XIV, who spent 200 million dollars on Versailles when people did not have enough for bread, but now I have forgiven him. It's incredibly beautiful! You look, stare and try to understand that you are on earth and not in the Gardens of Eden. And you are almost ready to believe that this is a hoax, just a fairytale dream.”

Indeed, the “fairytale dream” of Versailles still amazes today

the scale of the regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors.

Palace and park of Versailles. General

view. 1666-1680

One hundred hectares of land in an extremely short time (1666-1680) were turned into paradise, intended for the French aristocracy.


"Fairytale Dream"

Versailles.

Louis Levo

Jules Hardouin-Mansart

In creating the architectural appearance of Versailles

architects participated Louis Levo (1612-1670),

Jules Hardouin-Mansart (1646-1708) and Andre Le Nôtre

(1613-1700). Over the years they have done a lot

rebuilt and changed its architecture, so

that at present it is a complex fusion of several architectural styles, preserving

character traits classicism.

Andre Le Nôtre


"Fairytale Dream"

Versailles.

Versailles

Grand Palace

First decorated with rustication on the model of Italian palaces-palazzos of the era

Renaissance. On the second , front, are high

arched windows flanked by Ionic columns and pilasters. The building's crowning tier imparts monumentality to the appearance of the palace: it is shortened and ends with sculptural

groups. The rhythm of windows, pilasters and columns on the façade emphasizes

its classical severity and splendor.

Occupies a dominant position over the area. Facade (almost 500 m) is divided into a central part and two side wings - risalit and, giving it a special solemnity. 3 floors.


"Fairytale Dream"

Versailles.

Interiors of Versailles Grand Palace

Interiors The Great Palace is decorated in Baroque style: they abound in sculptural decorations, rich decor om in the form of gilded stucco and carvings, many mirrors and exquisite furniture. The walls and ceilings are covered with colored

marble slabs with clear geometric patterns: squares, rectangles and circles. Picturesque

panels and tapestries on mythological themes glorify the king

Louis XIV.

Massive bronze chandeliers with gilding complete the

impression of wealth and luxury.


"Fairytale Dream"

Versailles.

Palace of Versailles

The halls of the palace (their about 700 ) form infinite enfilades and are intended for ceremonial processions, magnificent celebrations and masquerade balls. In the largest main hall of the palace - Mirror gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the hall corresponded with mirrors on the other. In sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

Mirror gallery


"Fairytale Dream"

Versailles.

Versailles Park

In vases (there were

near 150 thousand ) there were fresh flowers that changed like this

so that Versailles is in constant bloom at all times

of the year.

The decorative compositions amazed us with their ceremonial splendor Charles Lebrun (1619-1690) at Versailles and the Louvre. Proclaimed by him "method of depicting passions" which involved pompous praise of high-ranking persons, brought the artist dizzying success. In 1662 he became the king's first painter, and then director of the royal manufactory tapestry ov (hand-woven carpets, pictures, or trellis ) and the head of all decorative work at the Palace of Versailles.


"Fairytale Dream"

Versailles.

Pool n Latona.

Fountains of Versailles

palace 1689

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In the gardens and dances of disorder

They couldn't stand it.

The yew trees froze, as if in a trance,

The bushes leveled the line,

And they curtsied

Memorized flowers.

V. Hugo

(Translation by E.L. Lipetskaya)

N.M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in "Letters of a Russian Traveler":“Enormousness, perfect harmony of parts, the action of the whole: this is what a painter cannot depict with a brush! Let's go to the gardens, the creation of Le Nôtre, whose brave genius everywhere placed proud Art on the throne, and threw humble Nature, like a poor slave, at his feet... So, do not look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes...”


Architectural

ensembles

Paris. Empire style

Place de la Concorde.

After the completion of the main construction work in Versailles, at the turn of the 17th-18th centuries, Lenotre launched active efforts to redevelop Paris. He carried out the breakdown a park A Tuileries, clearly fixing the central axis on the continuation of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt, and Place de la Concorde .

The major axis of Paris gave a completely different interpretation of the city that met the requirements of greatness, grandeur and pomp. The composition of open urban spaces and the system of architecturally designed streets and squares became the determining factor in the planning of Paris.


Architectural

ensembles

Paris. Empire style

Second half of the 18th century. and the first third of the 19th century. in France mark a new stage in the development of classicism - neoclassicism - and its distribution in European countries.

After the French Revolution and Patriotic War In 1812, new priorities appeared in urban planning, in tune with the spirit of their time.

They found their most striking expression in empire style e. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, appeal to art

imperial Rome and Ancient Egypt, using the attributes of Roman military history as the main decorative motifs .

Place de la Bastille.


Architectural

ensembles

Paris. Empire style

Style empire style became the personification of the political power and military glory of Napoleon, and served as a unique manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new time. Large architectural ensembles of open spaces were created everywhere

areas, wide streets and avenues, bridges, monuments and public buildings, demonstrating imperial greatness and power.

Versailles, Grand Palace


Architectural

ensembles

Paris. Empire style

Church of Saint Genevieve , erected J.J. Soufflot , has become Pantheon om - the resting place of the great people of France.

One of the most spectacular monuments of that time is the column

Great Army on Place Vendôme . Likened to the ancient Roman column of Trajan, it should have been, according to the architects' plans J. Gondoin and J. B. Leper , express the spirit New Empire and a thirst for the greatness of Napoleon.

J. J. Soufflot. Church of Saint Genevieve (Pantheon). 1758-1790 Paris


Architectural

ensembles

Paris. Empire style

Vendôme

square.

Paris

The decor of palaces was often overloaded with military paraphernalia. The dominant motifs were contrasting color combinations and elements of Roman and Egyptian ornaments:

eagles, griffins, urns, wreaths, torches, grotesques. The Empire style manifested itself most clearly in the interiors of the imperial residences of the Louvre and Malmaison.

In the bright interior decoration of palaces and public buildings, solemnity and majestic pomp were especially highly valued.


Architectural

ensembles

Paris. Empire style

Interiors

Louvre

The era of Napoleon Bonaparte ended by 1815, and very soon he began to actively eradicate its ideology and tastes. From the Empire that disappeared like a dream, all that remained were works of art in the Empire style, clearly demonstrating its former greatness.

“I love power, but as an artist... I love it to extract sounds, chords, harmony from it.”


Peculiarities

classicism

in architecture

Late classicism – empire style - style in architecture, decorative and applied And fine arts first thirds of the XIX century in European countries, which completed the development of classicism


Peculiarities

classicism

in architecture

Rizalit (projection) - part of a building protruding beyond the main line of the facade

Bosquet (forest, grove) - a row of wall-forming, closely planted, evenly trimmed trees or shrubs

herms (tetrahedral pillars topped with a head or bust)


Peculiarities

classicism

in architecture

Desudeport (top)- a picturesque sculptural or carved composition of a decorative nature, located above the door and being an organic part of the interior

Pergola (canopy, extension) - a gazebo or structure consisting of arches or paired pillars placed one behind the other, connected at the top with a wooden sheathing, lined

climbing plants along the paths of parks and gardens.


Peculiarities

classicism

in architecture

Gazebo - round superstructure in the form of a pavilion or gazebo

Enfilade (string on a thread) - a series of rooms located sequentially one after another, the doorways of which are located on the same axis


Control questions

1. Why can Versailles be considered an outstanding work? Explain your answer.

2. How the urban planning ideas of classicism of the 18th century. found their practical implementation in architectural ensembles Paris, for example Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, for example Piazza del Popolo (see p. 74)?

3. What is the expression of the connection between Baroque and classicism architecture? What ideas did classicism inherit from Baroque?

4. What are the historical background for the emergence of the Empire style? What new ideas of his time did he strive to express in works of art? What artistic principles does he rely on?


Creative workshop

1 . Give your classmates a correspondence tour of Versailles. To prepare it, you can use video materials from the Internet. The parks of Versailles and Peterhof are often compared. What do you think are the grounds for such comparisons?

2. Try to compare the image of the “Ideal City” of the Renaissance with the classic ensembles of Paris (St. Petersburg or its suburbs).

3. Compare the design of the interior decoration (interiors) of the Francis 1 Gallery in Fontainebleau and the Gallery of Mirrors at Versailles.

4. Get acquainted with the paintings of the Russian artist A. N. Benois (1870-1960) from the series “Versailles. The King's Walk" (see p. 74). How do they convey the general atmosphere of the court life of the French king Louis XIV? Why can they be considered as a kind of symbolic paintings?


Topics of presentations, projects

  • "The formation of classicism in French architecture XVII-XVIII centuries";
  • “Versailles as a model of harmony and beauty of the world”;
  • “A walk through Versailles: the connection between the composition of the palace and the layout of the park”;
  • “Masterpieces of Western European Classicism Architecture”;
  • “Napoleonic Empire in the architecture of France”;
  • “Versailles and Peterhof: comparative experience”;
  • “Artistic discoveries in the architectural ensembles of Paris”;
  • “The squares of Paris and the development of the principles of regular city planning”;
  • “Clarity of composition and balance of volumes of the Cathedral of the Invalides in Paris”;
  • “Place de la Concorde is a new stage in the development of urban planning ideas of classicism”;
  • “The harsh expressiveness of the volumes and the sparse decor of the Church of Saint Genevieve (Pantheon) by J.J. Soufflot";
  • “Features of classicism in the architecture of Western European countries;
  • "Outstanding architects of Western European classicism."

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

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.
  • Moroz Irina Vasilievna, http://infourok.ru/prezentaciya_po_mhk_klassicizm_v_arhitekture_zapadnoy_evropy_11_klass-163619.htm

...Let's leave it to the Italians

Empty tinsel with its false gloss.

The most important thing is the meaning, but in order to get to it,

We'll have to overcome obstacles and paths,

Follow the designated path strictly:

Sometimes the mind has only one path...

You need to think about the meaning and only then write!

I. Boileau. "Poetic Art". Translation by V. Linetskaya

baroque classicism architecture

This is how one of the main ideologists of classicism, the poet Nicolas Boileau (1636-1711), taught his contemporaries. The strict rules of classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satires of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris...

Classicism was most clearly manifested in works of architecture focused on the best achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan. The “strict: style” of classicism architecture seemed designed to visually embody its ideal formula of “noble simplicity and calm grandeur.” The architectural structures of classicism were dominated by: simple and clear forms, calm harmony of proportions. Preference was given to straight lines, unobtrusive decor, repeating the outline of the object. Simplicity and nobility of decoration, practicality and expediency were evident in everything.

Based on the ideas of the Renaissance architects about the “ideal city,” the architects of classicism created a new type of grandiose palace and park ensemble, strictly subordinated to a single geometric plan. One of the outstanding architectural structures of this time was the residence of the French kings on the outskirts of Paris - the Palace of Versailles.

"Fairytale Dream" of Versailles

Mark Twain, who visited Versailles in the mid-19th century, wrote: “I scolded Louis XIV, who spent 200 million dollars on Versailles when people did not have enough for bread, but now I have forgiven him. It's incredibly beautiful! You look, stare and try to understand that you are on earth, and not in the Gardens of Eden, And you are almost ready to believe that this is a hoax, just a fairytale dream.”

Indeed, the “fairytale dream” of Versailles still amazes today with the scale of its regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors. Versailles became the visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world.

One hundred hectares of land in an extremely short time (1666-1680) were turned into a paradise intended for the French aristocracy. The architects Louis Levo (1612-1670), Jules Hardouin-Mansart (1646-1708) and André Le Nôtre (1013-1700) participated in the creation of the architectural appearance of Versailles. Over the course of a number of years, they rebuilt and changed a lot in its architecture, so that currently it is a complex fusion of several architectural layers, incorporating the characteristic features of classicism.

The center of Versailles is the Grand Palace, to which three converging access avenues lead. Situated on some elevation, the palace occupies a dominant position over the area. Its creators divided the almost half-kilometer length of the facade into a central part and two side wings of the risalit, giving it a special solemnity. The facade is represented by three floors. The first, serving as a massive base, is decorated with rustication following the example of Italian palazzo palaces of the Renaissance. On the second, front, there are tall ones; arched windows flanked by Ionic columns and pilasters. The tier crowning the building imparts a monumental appearance to the palace: it is shortened and ends with sculptural groups, giving the building a special elegance and lightness. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and splendor. It is no coincidence that Moliere said about the Grand Palace of Versailles: “The artistic decoration of the palace is so in harmony with the perfection that nature gives it that it can well be called a magic castle.”

The interiors of the Grand Palace are decorated in Baroque style: they are replete with sculptural decorations, rich decor in the form of gilded stucco moldings and carvings, many mirrors and exquisite furniture. The walls and ceilings are covered with colored marble slabs with clear geometric patterns: squares, rectangles and circles. Picturesque panels and tapestries on mythological themes glorify King Louis XIV. Massive bronze chandeliers with gilding complete the impression of wealth and luxury.

The halls of the palace (there are about 700 of them) form endless enfilades and are intended for passage, ceremonial processions, and magnificent ones. celebrations and masquerade balls. In the largest main hall of the palace - the Mirror Gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the hall corresponded with mirrors on the other. In sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

The decorative compositions of Charles Lebrun (1619-1690) in Versailles and the Louvre were striking in their ceremonial pomp. His proclaimed “method of depicting passions,” which involved pompous praise of high-ranking persons, brought the artist dizzying success. In 1662, he became the king's first painter, and then director of the royal manufactory of tapestries (hand-woven carpet-pictures, or tapestries) and director of all decorative work at the Palace of Versailles. In the Mirror Gallery of the palace, Lebrun painted a gilded ceiling with many allegorical compositions on mythological themes, glorifying the reign of the “Sun King” Louis XIV. Pile up pictorial allegories and attributes, bright colors And decorative effects Baroque clearly contrasted with the architecture of classicism.

The king's bedroom is located in the central part of the palace and faces the rising sun. It was from here that there was a view of three highways diverging from one point, which symbolically reminded of the main focus of state power. From the balcony, the king could see all the beauty of Versailles Park.

Its main creator, Andre Le Nôtre, managed to combine elements of architecture and landscape art. Unlike landscape (English) parks, which expressed the idea of ​​unity with nature, regular (French) parks subordinated nature to the will and plans of the artist. The Park of Versailles amazes with its clarity and rational organization of space; its drawing was precisely verified by the architect using a compass and a ruler.

The alleys of the park are perceived as a continuation of the halls of the palace, each of them ends with a pond. Many pools have a regular geometric shape. In the pre-sunset hours, the smooth water mirrors reflect the rays of the sun and the bizarre shadows cast by bushes and trees, trimmed in the shape of a cube, cone, cylinder or ball. The greenery forms either solid, impenetrable walls or wide galleries, in artificial niches of which are placed sculptural compositions, herms (tetrahedral pillars topped with a head or bust) and numerous vases with cascades of thin streams of water. Allegorical plasticity of fountains made famous masters, is intended to glorify the reign of an absolute monarch. The “Sun King” appeared in them either in the guise of the god Apollo or Neptune, riding out of the water in a chariot or resting among the nymphs in a cool grotto.

The smooth carpets of lawns amaze with their bright and variegated colors with intricate patterns of flowers. The vases (there were about 150 thousand of them) contained fresh flowers, which were changed in such a way that Versailles was in constant bloom at any time of the year. The paths of the park are sprinkled with colored sand. Some of them were lined with porcelain chips sparkling in the sun. All this splendor and lushness of nature was complemented by the smells of almond, jasmine, pomegranate and lemon, spreading from the greenhouses.

THEM. Karamzin (1 706-1826), who visited Versailles in 1790, spoke about his impressions in “Letters of a Russian Traveler”;

“Enormousness”, perfect harmony of parts, the action of the whole: this is what even a painter cannot depict in a beautiful way!

At the end of the 17th century in France, during the reign of Louis XIV, a new style arose in the field of art - classicism, which translated from Latin means “exemplary”. Soon, under the influence of the ideas of the Enlightenment, it spread throughout almost all of Western Europe and dominated in the first third of the 19th century. Classicism became most widespread in France, England, Germany and Russia, where it covered literally all spheres of art, but left its brightest mark in architecture.

This appeal to the art of the past was due to the fact that in European countries Starting from the 17th century, there was a rapid development and formation of capitalist relations. And as you know, the life of the state is always reflected in art and even influences its directions.

In art, a need arose in such a direction that would help reflect the new trends of the century. This is what classicism became. Now architecture was supposed to convey not ceremonial solemnity and pomp, but greatness and significance: to evoke in people associations with the greatness of the rulers of the ancient Greeks and Romans. During this era, the central provisions and theories of urban planning of previous centuries continued to develop, and completely new ones arose, based on the latest achievements of the exact sciences and architecture. Their implementation took place at the end of the 18th century - the first half of the 19th century, during a period of rapid urban growth in Europe. Naturally, classicism, which flourished precisely during this period, left its mark on appearance most new buildings. Entire neighborhoods with features characteristic of this style have survived to this day. How are the main elements in architectural compositions used classical forms and details, in which the relationships of the component parts were strictly defined. Outwardly, they complemented the emphasized correctness and severity of the entire house. More often, architects used an order composition, because colonnades, like nothing else, conveyed the idea of ​​grandeur and orderliness (order translated means “order”). Important elements were porticoes, small pilasters, and cornices. At the beginning of the 19th century in France, during the reign of Napoleon I, classicism entered its final stage - Empire (which means “empire”). It was characterized by monumentality, special laconicism, an emphasized contrast of the smoothness of the wall and the columns attached to it, a wealth of stucco, cast and carved decor, symbolizing the power and military strength of the state.



15. discovery of tone and value in Barbizon painting

Valer - A hue that determines the ratio of light and shadow within the same color.

Tone is the quality of color that makes a given color different from other colors. B. sh. systematically developed a method of tonal painting, restrained and often almost monochrome, rich in subtle values, light and color nuances; calm brown, brown, green tones are enlivened by individual ringing accents.

Striving to individualize landscape motifs, to depict the diverse states of nature, light and air, Valeur, according to Delacroix’s definition, is the “primary color” of an object, a true coloristic quality that is destroyed by chiaroscuro: it becomes whiter in the light and changes greatly in the shadow due to reflexes. Therefore, the “primary color” exists only in light divisions, at the border of light and shadow; it also serves as the basis for the harmonization of tones in the color of the picture, while preserving the qualities of “objectivity”, the materiality of the depicted objects. This is exactly how the Barbizonians painted their wonderful landscapes,

16. German romanticism in painting

Outstanding representatives of romanticism in German painting include Philipp Otto Runge (1777-1810) and Caspar David Friedrich (1774-1840). Throughout his life, the artist turned to portraits, which became a favorite genre of romantics. In the canvas “The Three of Us” (1805) and two self-portraits of the artist (1805, 1806, all are in the Kunsthalle, Hamburg), the concept of a European romantic portrait is clearly expressed. O. Runge depicts himself in moments of various emotional movements: excitement, melancholy, immersed in thought. In line with the romantic aspirations of the era, the artist’s appeal to national tradition, topics from national history. For German churches he created the paintings "Rest on the Flight into Egypt" (1805-1806) and "Christ Walking on the Waters" (1806-1807; both are in the Kunsthalle, Hamburg). Program work European romanticism became the canvas “Cross in the Mountains” by K. Friedrich. One of the first oil paintings was “Cross in the Mountains” (1808). The painting depicts a mountain rocky outcrop surrounded by forest, with a cross against a crimson sky. This altar composition was commissioned for the chapel of Tetchen Castle. The artist suggested accepting nature as it is. He seemed to make it clear that the Divine essence was present in her; he was looking for a new mythology, new types of symbols. (1808, Art Gallery, Dresden). The theme of the Crucifixion, characteristic of the old German masters, takes on a new meaning in the painting of the romantic artist: notes of nostalgic attitude towards the world of classical art, towards the originality of the national tradition, faith in the power of religion. The same feelings give rise to paintings depicting the ruins of old cathedrals, abandoned abbeys, monasteries ("Winter", Neue Pinakothek, Munich; "Cathedral", 1818, private collection, Schweinfurt; "Abbey among oak trees", 1810, Charlottenburg, Berlin). In the paintings "Chalk cliffs on the island of Rügen" (circa 1820, Reinhardt collection, Winterthur), "Moonrise over the sea" (1821-1822, National Gallery, Berlin), "On a sailboat. Sunset" and "Harbor at night" (both 1821, Hermitage) K. Friedrich gives a look at an infinitely distant space from a fixed point of view - figures of people placed in the foreground, contemplating the opening view in poetic silence. The juxtaposition of small and large, finite and infinite in his views of mountain and sea landscapes enhances the feeling of the cosmic nature of nature. His views always contain the greatness of a natural, almost mystical feeling and an individual specific vision of a given landscape motif.

Symbolism is also inherent in other works of Friedrich,

Friedrich was particularly influenced by Runge, which was expressed primarily in his passion for contrasting distinctions different parts compositions, starting from a darkened foreground to a light background, proceeding through a brightly colored middle ground, as, for example, in Moonrise over the Sea (1822).

Biedermeier is alive in it

Biedermeier (Biedermeier; German Biedermeier) - artistic style, direction in German and Austrian art. Representatives of Biedermeier in painting: German artists G. F. Kersting, Ludwig Richter, Karl Spitzweg The main feature of Biedermeier is idealism. Therefore, everyday scenes predominate in painting, one of the most major representatives Biedermeier paintings, Karl Spitzweg, painted eccentric philistines, as they were called in Germany, philistines, as he himself was. Of course, his heroes are limited, these are small people of the province, watering roses on the balcony, postmen, cooks, clerks. There is humor in Spitzweg's paintings; he laughs at his characters, but without malice

Realism.courbet

Courbet, Gustave (1819-1877)

French painter and graphic artist, founder of realism. IN early period, marked by the influence of romanticism, the artist painted landscapes, self-portraits, compositions on literary subjects. A turning point in his life was a trip to Holland and his acquaintance with the works of Hals and Rembrandt. Painted at the same time and presented at the Paris Salon of 1850-51, Courbet’s paintings “Funeral in Ornans”, “Stone Crusher”, “Afternoon Rest in Ornans” declared him as a bright master of the realistic school. The artist's realism caused sharp rejection from official circles, because... opposed the accepted academicism and was socially dangerous. Courbet's realism was more a revolution in the choice of subject than a revolution of style. Nevertheless, the rage of conservatives who accused him of dangerous radicalism is understandable. Courbet depicted everyday life with the monumentality and seriousness that was traditionally used in painting on historical themes. He completely rejected all traditional subjects borrowed from religion, mythology and history, thereby expressing his protest. During the Paris exhibition of 1855, at which the works of Ingres and Delacroix were successfully demonstrated, Courbet drew attention to his paintings by staging a personal exhibition in a large wooden barn , where he distributed the “Manifesto of Realism.” At the center of the exhibition was a huge canvas, the most ambitious of all Courbet's paintings, entitled: "The Artist's Studio: However, in Courbet's painting the artist is placed in the center, and those gathered around him are not royalty, who are free to visit the studio whenever they please, but invited they have guests. The artist collected them on purpose, and why becomes clear only after some reflection. The meaning of the painting can be fully understood only if you seriously think about its title and the artist’s attitude towards the people he depicts. And they are divided into two main groups. On the left are the people, and these are types rather than individual individuals: hunters, peasants, workers, a priest, a Jew, a young mother with a child - the artist made sketches of them in his hometown of Ornance. On the right, on the contrary, we see people who have a portrait resemblance to those who surrounded Courbet in Paris - these are his customers, critics, intellectuals (for example, a person reading a newspaper - Baudelaire). Everyone present is strangely passive, as if they are waiting for something. Some of them are talking calmly, some are deep in thought; almost no one looks at Courbet. All of them, in essence, are not spectators; rather, they represent that social environment, in which Courbet rotates. although even before him in realistic manner artists of the Barbizon school worked (Theodore Rousseau, Jean-François Millet, Jules Breton)