The formation of industrial civilization had a huge impact on European art. As never before, it was in close connection with social life, the spiritual and material needs of people. In the context of growing interdependence of peoples artistic movements and cultural achievements quickly spread throughout the world.
Painting
Romanticism and realism manifested themselves with particular force in painting. There were many signs of romanticism in his work Spanish artist Francisco Goya (1746-1828). Thanks to talent and hard work, the son of a poor artisan became a great painter. His work constituted an entire era in the history of European art. Gorgeous artistic portraits spanish women. They are written with love and admiration. We read self-esteem, pride and love of life on the faces of the heroines, regardless of their social origin.
The courage with which Goya, a court painter, depicted a group portrait of the royal family never ceases to amaze. Before us are not rulers or arbiters of the country’s destinies, but quite ordinary, even ordinary people. Goya's turn to realism is also evidenced by his paintings dedicated to the heroic struggle of the Spanish people against Napoleon's army.
The key figure of European romanticism was the famous French artist Eugene Delacroix (1798-1863). In his work, he placed fantasy and imagination above all else. A milestone in the history of romanticism, and indeed of all French art, was his painting “Liberty Leading the People” (1830). The artist immortalized the revolution of 1830 on canvas. After this painting, Delacroix no longer turned to French reality. He became interested in the theme of the East and historical subjects, where a rebellious romantic could give free rein to his fantasy and imagination.
The largest realist artists were the French Gustave Courbet (1819-1877) and Jean Millet (1814-1875). Representatives of this trend strived for a truthful depiction of nature. The focus was everyday life and human labor. Instead of historical and legendary heroes characteristic of classicism and romanticism, their works appeared simple people: burghers, peasants and workers. The names of the paintings speak for themselves: “Stone Crusher”, “Knitters”, “Gatherers of Ears”.
An officer of the mounted rangers of the imperial guard going into the attack, 1812. Theodore Gericault (1791-1824). The first artist of the romantic movement. The painting expresses the romance of the Napoleonic era
Courbet was the first to use the concept of realism. He defined the goal of his work as follows: “To be able to convey the morals, ideas, appearance of the people of the era in my assessment, to be not only an artist, but also a citizen, to create living art.”
In the last thirds of the XIX V. France becomes a leader in the development of European art. It was in French painting impressionism was born (from the French impression - impression). The new movement became an event of European significance. Impressionist artists sought to convey on canvas momentary impressions of constant and subtle changes in the state of nature and man.
In a third class carriage, 1862. O. Daumier (1808-1879). One of the most original artists of his time. Balzac compared him to Michelangelo.
However, Daumier became famous for his political cartoons. "In a Third Class Car" presents an unidealized image of the working class
Reading woman. K. Corot (1796-1875). The famous French artist was especially interested in the play of light and was a predecessor of the Impressionists.
At the same time, his work bears the stamp of realism.
The Impressionists carried out a real revolution in painting techniques. They usually worked outdoors. Colors and light played a much larger role in their work than the drawing itself. Outstanding impressionist artists were Auguste Renoir, Claude Monet, Edgar Degas. Impressionism had a huge influence on such great masters of the brush as Vincent Van Gogh, Paul Cézanne, Paul Gauguin.
Impression. Sunrise, 1882.
Claude Monet (1840-1926) often painted the same objects at different times of day to explore the effects of light on color and shape.
Ia Orana Maria. P. Gauguin (1848-1903). Artist's dissatisfaction in a European way life forced him to leave France and live in Tahiti.
Local artistic traditions and the diversity of the surrounding world had a huge influence on the formation of his artistic style.
Spanish painter who worked in France. Already at the age of ten he was an artist, and at the age of sixteen his first exhibition took place. Paved the way for cubism - a revolutionary movement in the art of the 20th century. The Cubists abandoned the depiction of space and aerial perspective. Objects and human figures are transformed into a combination of various (straight, concave and curved) geometric lines and planes. The Cubists said that they paint not as they see, but as they know
Like poetry, the painting of this time is full of anxious and vague forebodings. In this regard, the work of the talented French symbolist artist Odilon Redon (1840-1916) is very characteristic. His sensational in the 80s. drawing "Spider" - writing on the wall the first world war. The spider is depicted with a creepy human face. Its tentacles are in motion and aggressive. The viewer is left with the feeling of an impending catastrophe.
Music
Music has not undergone as significant changes as other forms of art. But it was also influenced by industrial civilization, national liberation and revolutionary movements, which shook Europe throughout the century. In the 19th century music went beyond the palaces of nobles and church temples. It became more secular and more accessible to the wider population. The development of publishing contributed to the rapid printing of sheet music and distribution musical works. At the same time, new musical instruments were created and old ones were improved. The piano became an integral and everyday thing in the home of the European bourgeoisie.
Until the end of the 19th century. The dominant trend in music was romanticism. At its origins stands the gigantic figure of Beethoven. Ludwig von Beethoven (1770-1827) respected the classical heritage of the 18th century. If he made changes to the existing rules musical art, he did it carefully, trying not to offend his predecessors. In this he differed from many romantic poets, who often subverted everyone and everything. Beethoven was so brilliant that even though he was deaf he could create immortal works. His famous Ninth Symphony and " Moonlight Sonata"enriched the treasury of musical art.
Romantic musicians drew inspiration from folk song motifs and dance rhythms. In their work they often turned to literary works- Shakespeare, Goethe, Schiller. Some of them showed a penchant for creating gigantic orchestral works, which was not even a thing in the 18th century. But this desire was so in keeping with the powerful march of industrial civilization! French composer Hector Berlioz was especially striking in the grandeur of his plans. Thus, he wrote a composition for an orchestra consisting of 465 musical instruments, including 120 cellos, 37 basses, 30 pianos and 30 harps.
He possessed such a virtuosic technique that there were rumors that it was the devil himself who taught him to play the violin. In the middle of a musical performance, a violinist could break three strings and continue to play just as expressively on the only remaining string.
In the 19th century many European countries have given the world great composers and musicians. In Austria and Germany, national and world culture enriched by Franz Schubert and Richard Wagner, in Poland - Frederic Chopin, in Hungary - Franz Liszt, in Italy - Gioachino Rossini and Giuseppe Verdi, in the Czech Republic - Bedřich Smetana, in Norway - Edvard Grieg, in Russia - Glinka, Rimsky Korsakov, Borodin, Mussorgsky and Tchaikovsky.
Since the 20s XIX century In Europe, a craze for a new dance begins - the waltz. The waltz originated in Austria and Germany at the end of the 18th century, originating from the Austrian Ländler - a traditional peasant dance
Architecture
The development of industrial civilization had a huge impact on European architecture. Scientific and technological advances contributed to innovation. In the 19th century Large buildings of state and public importance were built much faster. Since then, new materials began to be used in construction, especially iron and steel. With the development of factory production, railway transport and large cities, new types of structures appear - train stations, steel bridges, banks, large stores, exhibition buildings, new theaters, museums, libraries.
Architecture in the 19th century. was distinguished by its variety of styles, monumentality, and practical purpose.
Facade of the Paris Opera building. Built in 1861 -1867. Expresses an eclectic direction, inspired by the Renaissance and Baroque eras
Throughout the century, the neoclassical style was the most common. Building British Museum in London, built in 1823-1847, gives a clear idea of ancient (classical) architecture. Up until the 60s. The so-called “historical style” was fashionable, expressed in a romantic imitation of the architecture of the Middle Ages. At the end of the 19th century. there is a return to Gothic in the construction of churches and public buildings (neo-Gothic, i.e., new Gothic). For example, the Houses of Parliament in London. In contrast to neo-Gothic, a new direction, Art Nouveau (new art), emerged. It was characterized by sinuous smooth outlines of buildings, premises, and interior details. At the beginning of the 20th century. Another direction arose - modernism. Art Nouveau style is distinguished by practicality, rigor and thoughtfulness, and a lack of decoration. It was this style that reflected the essence of industrial civilization and to the greatest extent connected to our time.
In its mood, European art of the late 19th - early 20th centuries. was contrasting. On the one hand, optimism and overflowing joy of life. On the other hand, there is a lack of faith in the creative capabilities of man. And one should not look for contradictions in this. Art only reflected in its own way what was happening in real world. The eyes of poets, writers and artists were sharper and more insightful. They saw what others did not and could not see.
THIS IS INTERESTING TO KNOW
“I prefer to paint people’s eyes rather than cathedrals... human soul, even the soul of an unfortunate beggar... in my opinion, is much more interesting,” said Vincent Van Gogh. The great artist lived his entire life in poverty and deprivation, often did not have money for canvas and paint, and was practically dependent on his younger brother. Contemporaries did not recognize any merits in him. When Van Gogh died, only a few people followed the coffin. Only two or three dozen people in Europe could appreciate his art, which great artist addressed to the future. But years have passed. In the 20th century The artist received well-deserved, albeit belated, fame. Colossal sums were now paid for Van Gogh's paintings. For example, the painting “Sunflowers” was sold at auction for a record amount of $39.9 million. But this achievement was also surpassed by the painting “Irises,” which sold for $53.9 million.
References:
V. S. Koshelev, I. V. Orzhekhovsky, V. I. Sinitsa / The World History Modern times XIX - early XX century, 1998.
The 19th century left indelible marks on all forms of art. It's change time social norms and demands, colossal progress in architecture, construction and industry. Reforms and revolutions are being actively carried out in Europe, banking and government organizations are being created, and all these changes directly affected artists. Foreign artists The 19th century brought painting to a new, more modern level, gradually introducing such trends as impressionism and romanticism, which had to go through many tests before becoming recognized by society. Artists of past centuries were in no hurry to endow their characters with violent emotions, but depicted them as more or less restrained. But impressionism had in its features unbridled and bold fantasy world, which was brightly combined with romantic mystery. In the 19th century, artists began to think outside the box, completely rejecting accepted patterns, and this fortitude is conveyed in the mood of their works. During this period, many artists worked, whose names we still consider great and their works inimitable.
France
Spain
The Iberian Peninsula also gave us many famous names, including:
Netherlands
Vincent Van Gogh is one of the most prominent Dutchmen. As everyone knows, Van Gogh suffered from severe mental illness, but this did not affect his inner genius. Executed in unusual technique, his paintings became popular only after the artist’s death. The most famous: “Starry Night”, “Irises”, “Sunflowers” are included in the list of the most expensive works art all over the world, although Van Gogh did not have any special art education.
Norway
Edvard Munch is a native of Norway, famous for his painting. The work of Edvard Munch is sharply distinguished by melancholicity and a certain recklessness. Death of mother and sister even in childhood, dysfunctional relationships with ladies greatly influenced the artist’s painting style. For example, everyone famous work“Scream” and the equally popular “Sick Girl” carry pain, suffering and oppression.
USA
Kent Rockwell is one of the famous American landscape painters. His works combine realism and romanticism, which very accurately conveys the mood of the person depicted. You can look at his landscapes for hours and interpret the symbols differently each time. Few artists have been able to depict winter nature in such a way that people looking at it truly feel the cold. Color saturation and contrast are Rockwell’s recognizable style.
The 19th century is rich in brilliant creators who made enormous contributions to art. Foreign artists of the 19th century centuries opened the door to several new movements, such as post-impressionism and romanticism, which, in fact, turned out to be a difficult task. Most of them tirelessly proved to society that their creativity has the right to exist, but many succeeded, unfortunately, only after death. Their unbridled nature, courage and readiness to fight are combined with exceptional talent and ease of perception, which gives them every right to occupy a significant and significant cell.
Impressionism. Symbolism. Modernism.
In the second half of the 19th century, a direction appeared in Western art that would later be called “modernism.” Its first movement can be considered impressionism, which emerged in the 60s. This movement is not yet fully modernist. It leaves realism and moves further and further away from it, without completely breaking with it. Impressionism is not yet modernism, but it is no longer realism. It can well be considered precisely as the beginning of modernism, since it already contains its main features.
The first is associated with a clear shift in emphasis from the object to the subject, from objectivity and truthfulness to subjective sensation. In impressionism, the main thing is not the depicted object, but its perception, the impression it evokes in the artist. Fidelity to the object gives way to fidelity to perception, fidelity to the fleeting impression. The principle of “infidelity to the subject” will then become one of the basic principles of the aesthetics of modernism, turning into the principle of conscious deformation, distortion and decomposition of the subject, the principle of rejection of the subject, objectivity and figurativeness. Art is increasingly becoming the art of self-expression of the artist.
The second sign is special attention to experimentation, the search for ever new means of expression, technical and artistic techniques. In this, impressionist artists follow the example of scientists. They are enthusiastically engaged in the decomposition of tones, the play of color reflections, and unusual combinations of colors. They like fluidity, variability, mobility. They do not tolerate anything frozen and static. Impressionists are of particular interest in the processes of interaction of objects with the atmosphere, air, light, fog, smog, and sunlight. Thanks to all this, they made significant strides and achievements in the field of color and form.
In impressionism, the passion for experimentation, the search for new techniques, the pursuit of novelty and originality do not yet become an end in itself. However, many subsequent movements of modernism come precisely to this, the consequence of which is the artist’s refusal of the final result, of a work of art, understood as something complete and complete.
Another feature of impressionism, partly a consequence and direct continuation of those already mentioned, is associated with a departure from social issues. Real life is present in the works of the Impressionists, but it appears in the form of a pictorial performance. The artist’s gaze seems to glide over the surface of social phenomena, capturing mainly color sensations, without stopping at them and without plunging into them. In subsequent movements of modernism, this tendency intensifies, making it asocial, and even antisocial.
The central figures of impressionism are C. Monet (1840-1926), C. Pissarro (1830 - 1903), O. Renoir (1841 - 1919).
Impressionism was most fully embodied in the work of Monet. The favorite subject of his works is the landscape - a field, a forest, a river, an overgrown pond. He defined his understanding of landscape as follows: “Landscape is an instant impression.” From his painting “Sunrise. "Impression" was the name of the entire movement (in French "impression" is "impression"). The famous “Haystacks” brought him the greatest fame. He also showed a special passion for depicting water. For this, he built a special workshop boat, which allowed him to spend hours observing the behavior of water and the reflection of objects in it. In all this, Monet achieved impressive success, which gave E. Manet the basis to call him “Raphael of water.” The painting “Rouen Cathedral” is also very remarkable.
K. Pissaro gives preference to the city landscape - depicting houses, boulevards, streets filled with carriages and strolling public, everyday scenes.
O. Renoir pays a lot of attention to the nude and portraits - especially women's. A striking example His portrait art is a portrait of the artist J. Samary. He also painted “Bathing on the Seine” and “Moulin de la Galette”.
Around the mid-80s, impressionism began to experience a crisis, and two independent movements were formed in it - neo-impressionism and post-impressionism.
The first is represented by artists J. Seurat and P. Signac. Based on the achievements of color science, they take some of the features of impressionism - the decomposition of tones into pure colors and the passion for experimentation - to their logical conclusion. In artistic and aesthetic terms, this movement did not arouse much interest.
Post-Impressionism “seemed to be a much more productive and interesting phenomenon. Its main figures were P. Cezanne (1839 - 1906), V. Van Gogh (1853 - 1890) and P. Gauguin (1848 - 1903), among whom P. Cezanne stood out.
In his work, P. Cezanne preserved the most essential in impressionism and at the same time created a new art, developing a tendency to move away from the subject, from its external appearance. At the same time, he managed to overcome the illusory and ephemeral nature of what is depicted, characteristic of impressionism.
Sacrificing the external similarity of an object, P. Cezanne conveys with extraordinary force its main qualities and properties, its materiality, density and intensity, a certain “materiality of a thing.” Unlike impressionism, to create works, he uses not only visual sensations, but all senses. In his work, he vividly and powerfully expressed his personal nature. As P. Picasso notes, P. Cezanne painted himself all his life.
Among the works of P. Cezanne, one can highlight such as “Self-Portrait”, “Fruit”, “Still Life with Drapery”, “Banks of the Marne”, “Lady in Blue”. P. Cezanne had a huge influence on all subsequent modernism. A. Matisse called him a “general teacher” wide range young artists who later became famous and famous.
In addition to painting, impressionism manifested itself in other forms of art. In music, his influence was experienced by the French composer C. Debussy (1862 - 1918), in sculpture - by the French sculptor O. Rodin (1840 - 1917).
In the 80s, a movement of symbolism arose in France, which can fully be considered modernism. It is most widespread in poetry and literature. Symbolism continued the line of romanticism and “art for art’s sake”, filled with a feeling of disappointment in the world around us, aimed at the search for pure beauty and pure aestheticism.
In their manifesto, the Symbolists declared themselves singers of decadence, decline and death of the bourgeois world. They opposed themselves to science and positivist philosophy, believing that reason and rational logic cannot penetrate the world of “hidden realities”, “ideal essences” and “eternal Beauty”. Only art is capable of this - thanks to creative imagination, poetic intuition and mystical insight. Symbolism expressed a tragic premonition of impending social upheavals, accepting them as a cleansing test and payment for true spiritual freedom.
The central figures of French symbolism are the poets S. Mallarmé (1842 - 1898), P. Verlaine (1844 - 1896), A. Rimbaud (1854 - 1891). The first is considered the founder of the movement. The second created beautiful masterpieces of lyrics. A. Rimbaud became one of the most original and brilliant poets of France. He had a great influence on French poetry of the 20th century.
Symbolism has become widespread in many European countries. In England he is represented, first of all, by the writer O. Wilde (1854 - 1900), author of the famous novel “The Picture of Dorian Gray”, as well as the poem “The Ballad of Reading Gaol”. In Austria, the poet R.M. Rilke (1875 - 1926) was close to symbolism, which was especially manifested in his works “The Book of Images” and “The Book of Hours.” Another prominent representative of symbolism is the Belgian playwright and poet M. Maeterlinck (1862 - 1949), author of the famous “Blue Bird”.
The 19th century is of fundamental importance in the history of the West. It is at this time that everything develops completely new type civilization - industrial. It was based on scientific and technological progress. Therefore, one of the main ideals of the Enlightenment - the ideal of the progress of reason - received its most complete embodiment in it.
The emergence of bourgeois democracy contributed to the expansion political freedom. As for other ideals and values of educational humanism, their implementation encountered serious difficulties and obstacles. Therefore, the general assessment of the 19th century cannot be unambiguous.
On the one hand, there are unprecedented successes and achievements of civilization. At the same time, the emerging industrial civilization begins to increasingly crowd out spiritual culture.
First of all, this affected religion, and then other areas of spiritual culture: philosophy, morality and art. In general, we can say that in the 19th century a dangerous trend of dehumanization of culture arose in the Western world, the consequence of which by the end of the century was the system of colonialism, and in the 20th century - two world wars
European art of the late 19th century - early 20th century.
The formation of industrial civilization had a huge impact on European art. As never before, it was in close connection with social life, the spiritual and material needs of people. In the context of the growing interdependence of peoples, artistic movements and cultural achievements quickly spread throughout the world.
Painting. Romanticism and realism manifested themselves with particular force in painting. There were many signs of romanticism in the work of the Spanish artist Francisco Goya (1746-1828). Thanks to talent and hard work, the son of a poor artisan became a great painter. His work constituted an entire era in the history of European art. The artistic portraits of Spanish women are magnificent. They are written with love and admiration. We read self-esteem, pride and love of life on the faces of the heroines, regardless of their social origin.
The courage with which Goya, a court painter, depicted a group portrait of the royal family never ceases to amaze. Before us are not rulers or arbiters of the country’s destinies, but quite ordinary, even ordinary people. Goya's turn to realism is also evidenced by his paintings dedicated to the heroic struggle of the Spanish people against Napoleon's army.
Charles IV and his family. F. Goya. On the left (in the shadow) the artist depicted himself
A key figure in European Romanticism was the famous French artist Eugene Delacroix (1798-1863). In his work, he placed fantasy and imagination above all else. A milestone in the history of romanticism, and indeed of all French art, was his painting “Liberty Leading the People” (1830). The artist immortalized the revolution of 1830 on canvas. After this painting, Delacroix no longer turned to French reality. He became interested in the theme of the East and historical subjects, where a rebellious romantic could give free rein to his fantasy and imagination.
The largest realist artists were the French Gustave Courbet (1819-1877) and Jean Millet (1814-1875). Representatives of this trend strived for a truthful depiction of nature. The focus was on the daily life and work of man. Instead of historical and legendary heroes characteristic of classicism and romanticism, ordinary people appeared in their work: townspeople, peasants and workers. The names of the paintings speak for themselves: “Stone Crusher”, “Knitters”, “Gatherers of Ears”.
An officer of the mounted rangers of the imperial guard going into the attack, 1812. Theodore Gericault (1791-1824). The first artist of the romantic movement. The painting expresses the romance of the Napoleonic era
Courbet was the first to use the concept of realism. He defined the goal of his work as follows: “To be able to convey the morals, ideas, appearance of the people of the era in my assessment, to be not only an artist, but also a citizen, to create living art.”
In the last third of the 19th century. France becomes a leader in the development of European art. It was in French painting that impressionism was born (from the French impression - impression). The new movement became an event of European significance. Impressionist artists sought to convey on canvas momentary impressions of constant and subtle changes in the state of nature and man.
In a third class carriage, 1862. O. Daumier (1808-1879). One of the most original artists of his time. Balzac compared him to Michelangelo. However, Daumier became famous for his political cartoons. "In a Third Class Car" presents an unidealized image of the working class
Reading woman. K. Corot (1796-1875). The famous French artist was especially interested in the play of light and was a predecessor of the Impressionists. At the same time, his work bears the stamp of realism.
The Impressionists carried out a real revolution in painting techniques. They usually worked outdoors. Colors and light played a much larger role in their work than the drawing itself. Outstanding impressionist artists were Auguste Renoir, Claude Monet, Edgar Degas. Impressionism had a huge influence on such great masters of the brush as Vincent Van Gogh, Paul Cézanne, Paul Gauguin.
Impression. Sunrise, 1882. Claude Monet (1840-1926) often painted the same objects at different times of day to explore the effect of light on color and form.
Sunflowers in a vase. V. Van Gogh (1853-1890)
Village church. V. Van Gogh
Ia Orana Maria. P. Gauguin (1848-1903). The artist's dissatisfaction with the European way of life forced him to leave France and live in Tahiti. Local artistic traditions and the diversity of the surrounding world had a huge influence on the formation of his artistic style.
Pink and green. E. Degas (1834-1917)
Girl with a mandolin, 1910. Pablo Picasso (1881-1973). Spanish painter who worked in France. Already at the age of ten he was an artist, and at the age of sixteen his first exhibition took place. Paved the way for cubism - a revolutionary movement in the art of the 20th century. The Cubists abandoned the depiction of space and aerial perspective. Objects and human figures are transformed into a combination of various (straight, concave and curved) geometric lines and planes. The Cubists said that they paint not as they see, but as they know
Umbrellas. O. Renoir
Like poetry, the painting of this time is full of anxious and vague forebodings. In this regard, the work of the talented French symbolist artist Odilon Redon (1840-1916) is very characteristic. His sensational in the 80s. The Spider drawing is an ominous omen of the First World War. The spider is depicted with a creepy human face. Its tentacles are in motion and aggressive. The viewer is left with the feeling of an impending catastrophe.
Architecture. The development of industrial civilization had a huge impact on European architecture. Scientific and technological advances contributed to innovation. In the 19th century Large buildings of state and public importance were built much faster. Since then, new materials began to be used in construction, especially iron and steel. With the development of factory production, railway transport and large cities, new types of structures appeared - train stations, steel bridges, banks, large stores, exhibition buildings, new theaters, museums, libraries.
Architecture in the 19th century. was distinguished by its variety of styles, monumentality, and practical purpose.
Facade of the Paris Opera building. Built in 1861 -1867. Expresses an eclectic direction, inspired by the Renaissance and Baroque eras
Throughout the century, the neoclassical style was the most common. The building of the British Museum in London, built in 1823-1847, gives a clear idea of ancient (classical) architecture. Up until the 60s. The so-called “historical style” was fashionable, expressed in a romantic imitation of the architecture of the Middle Ages. At the end of the 19th century. there is a return to Gothic in the construction of churches and public buildings (neo-Gothic, i.e., new Gothic). For example, the Houses of Parliament in London. In contrast to neo-Gothic, a new direction, Art Nouveau (new art), emerged. It was characterized by sinuous smooth outlines of buildings, premises, and interior details. At the beginning of the 20th century. Another direction arose - modernism. Art Nouveau style is distinguished by practicality, rigor and thoughtfulness, and a lack of decoration. It was this style that reflected the essence of industrial civilization and is most associated with our time.
In its mood, European art of the late 19th - early 20th centuries. was contrasting. On the one hand, optimism and overflowing joy of life. On the other hand, there is a lack of faith in the creative capabilities of man. And one should not look for contradictions in this. Art only reflected in its own way what was happening in the real world. The eyes of poets, writers and artists were sharper and more insightful. They saw what others did not and could not see.
The trends in painting of the 19th century closely resemble the trends of the previous century. At the beginning of the century, the leading direction in many countries was. Originating in the 18th century, this style continued to develop, moreover in different countries its development had individual characteristics.
Classicism
Artists who worked in this direction again turn to the images of antiquity. However, through classical plots they try to express revolutionary sentiments - the desire for freedom, patriotism, harmony between man and society. A prominent representative of revolutionary classicism was the artist Louis David. True, over time, classicism grew into conservative direction, which was supported by the state, which means it became faceless, sleek by censorship.
A particularly bright flourishing of painting in the 19th century was observed in Russia. At this time, many new styles and trends emerged here. The analogue of classicism in Russia was academicism. This style had the features of the classical European style - an appeal to the images of antiquity, sublime themes, and idealization of images.
Romanticism
In the early 30s of the 19th century, romanticism appeared as a counterweight to classicism. There were many turning points in society at that time. Artists sought to abstract themselves from the unsightly reality, creating their own ideal world. However, Romanticism is considered a progressive movement of its time because the desire of Romantic artists was to convey ideas of humanism and spirituality.This is a capacious direction, reflected in the art of many countries. Its meaning is the exaltation of the revolutionary struggle, the creation of new canons of beauty, painting pictures not only with a brush, but also with the heart. Emotionality is at the forefront here. Romanticism is characterized by the introduction of allegorical images into a very real plot and a skillful play of chiaroscuro. Representatives of this trend were Francisco Goya, Eugene Delacroix, and Rousseau. In Russia, the works of Karl Bryullov are classified as romanticism.
Realism
The task of this direction was to depict life as it is. Realist artists turned to images common people, the main features of their works are criticality and maximum truthfulness. They depicted in detail the rags and holes in the clothes of ordinary people, the faces of ordinary people distorted by suffering and the fat bodies of the bourgeois.An interesting phenomenon of the 19th century was the Barbizon School of Artists. This term united several French masters who developed their own, dissimilar style. If in the directions of classicism and romanticism nature different ways idealized, the Barbizonians sought to depict landscapes from life. In their paintings there are images native nature, and ordinary people against this background. The most famous artists Barbizons are Theodore Rousseau, Jules Despres, Virgil la Peña, Jean-François Millet, Charles Daubigny.
Jean-Francois Millet
The creativity of the Barbizonians influenced further development 19th century painting. Firstly, artists of this trend have followers in a number of countries, including Russia. Secondly, the Barbizons gave impetus to the emergence of impressionism. They were the first to paint in the open air. Subsequently, the tradition of depicting real landscapes was picked up by the impressionists.
It became the final stage in painting of the 19th century, and occurred in the last third of the century. Impressionist artists approached the depiction of reality in an even more revolutionary way. They sought to convey not nature itself, nor images in detail, but the impression that this or that phenomenon produces.
Impressionism was a breakthrough in the history of painting. This period gave the world many new techniques and unique works of art.
Classicism, art style V European art 17th – early 19th centuries, one of the most important features of which was the appeal to the forms of ancient art as an ideal aesthetic and ethical standard. Classicism, which developed in intensely polemical interaction with the Baroque, formed into an integral stylistic system in the French artistic culture of the 17th century.Classicism of the 18th – early 19th centuries (in foreign art history it is often called neoclassicism), which became a pan-European style, was also formed mainly in the bosom of French culture, under the strong influence of the ideas of the Enlightenment. In architecture, new types of elegant mansions, ceremonial public building, open city square (Gabriel Jacques Ange and Soufflot Jacques Germain), the search for new, orderless forms of architecture, the desire for severe simplicity in the work of Ledoux Claude Nicolas anticipated the architecture late stage classicism - empire style. Civil pathos and lyricism were combined in plastic art (Pigal Jean Baptiste and Houdon Jean Antoine), decorative landscapes (Robert Hubert). Courageous drama of historical and portrait images inherent in the works of the head of French classicism, the painter Jacques Louis David. In the 19th century, the painting of classicism, despite the activities of individual major masters, such as Jean Auguste Dominique Ingres, degenerated into official apologetic or pretentious erotic salon art. Rome became the international center of European classicism of the 18th and early 19th centuries, where the traditions of academicism with their characteristic combination of nobility of form and cold idealization dominated ( German painter Anton Raphael Mengs, sculptors: Italian Canova Antonio and Dane Thorvaldsen Bertel). For architecture German classicism The austere monumentality of the buildings of Karl Friedrich Schinkel is characteristic; the paintings and sculptures, contemplative and elegiac in mood, are characterized by the portraits of August and Wilhelm Tischbein, and the sculpture of Johann Gottfried Schadow. In English classicism, the antique structures of Robert Adam, the Palladian-style park estates of William Chambers, the exquisitely austere drawings of J. Flaxman and the ceramics of J. Wedgwood stand out. Own versions of classicism developed in the artistic culture of Italy, Spain, Belgium, Scandinavian countries, and the USA; Russian classicism of the 1760s–1840s occupies a prominent place in the history of world art.
By the end of the first third of the 19th century, the leading role of classicism almost everywhere came to naught; it was replaced by various forms of architectural eclecticism. Comes to life artistic tradition classicism in neoclassicism of the late 19th - early 20th centuries.
Jean Auguste Dominique Ingres, (1780-1867) - French artist, generally recognized leader of European academicism of the 19th century.
In Ingres's work there is a search for pure harmony.
Studied at the Toulouse Academy fine arts. After graduating from the academy, he moved to Paris, where in 1797 he became a student of Jacques-Louis David. In 1806-1820 he studied and worked in Rome, then moved to Florence, where he spent another four years. In 1824 he returned to Paris and opened a painting school. In 1835 he returned to Rome again as director of the French Academy. From 1841 until the end of his life he lived in Paris.
Academicism (French academisme) is a direction in European painting of the 17th-19th centuries. Academic painting arose during the period of development of art academies in Europe. The stylistic basis of academic painting at the beginning of the 19th century was classicism, and in the second half of the 19th century - eclecticism.
Academicism grew by following the external forms of classical art. Followers characterized this style as a reflection on the ancient art form ancient world and Renaissance.
Engr. Portraits of the Riviere family. 1804-05
Romanticism
Romanticism- a phenomenon generated by the bourgeois system. Like worldview and style artistic creativity it reflects its contradictions: the gap between what should be and what is, ideal and reality. The awareness of the unrealizability of humanistic ideals and values of the Enlightenment gave rise to two alternative ideological positions. The essence of the first is to despise base reality and withdraw into the shell of pure ideals. The essence of the second is to recognize empirical reality and discard all speculation about the ideal. The starting point of the romantic worldview is open rejection of reality, recognition of the insurmountable gap between ideals and real existence, the unreasonableness of the world of things.It is characterized by a negative attitude towards reality, pessimism, interpretation historical forces as being outside the real everyday reality, mystification and mythologization. All this prompted the search for resolution of contradictions not in the real world, but in the world of fantasy.
The romantic worldview covered all spheres of spiritual life - science, philosophy, art, religion. It was expressed in two ways:
The first - in it the world appeared as an endless, faceless, cosmic subjectivity. The creative energy of the spirit acts here as the beginning that creates world harmony. This version of the romantic worldview is characterized by a pantheistic image of the world, optimism, sublime feelings.
The second - in it, human subjectivity is considered individually and personally, understood as the inner self-absorbed world of a person who is in conflict with outside world. This attitude is characterized by pessimism, a lyrically sad attitude towards the world.
The original principle of romanticism was “two worlds”: comparison and contrast of the real and imaginary worlds. The way to express this dual world was symbolism.
Romantic symbolism represented an organic combination of the illusory and real worlds, which manifested itself in the appearance of metaphor, hyperbole, and poetic comparisons. Romanticism, despite its close connection with religion, was characterized by humor, irony, and dreaminess. Romanticism declared music to be the model and norm for all areas of art, in which, according to the romantics, the very element of life, the element of freedom and the triumph of feelings, sounded.
The emergence of romanticism was due to a number of factors. Firstly, socio-political: French revolution 1769-1793, Napoleonic Wars, War of Independence Latin America. Secondly, economic: the industrial revolution, the development of capitalism. Thirdly, it was formed under the influence of classical German philosophy. Fourthly, it developed on the basis and within the framework of existing literary styles: enlightenment, sentimentalism.
Romanticism flourished between 1795 and 1830. - the period of European revolutions and national liberation movements, and romanticism manifested itself especially clearly in the culture of Germany, England, Russia, Italy, France, and Spain.
Romantic trend had a great influence in the humanitarian field, and the positivist - in the natural sciences, technology and practice.
Jean Louis André Theodore Gericault (1791-1824).
A student for a short time of C. Vernet (1808-1810), and then P. Guerin (1810-1811), who was upset by his methods of conveying nature not in accordance with the principles of the school of Jacques-Louis David and his passion for Rubens, but subsequently recognized rationality aspirations of Gericault.
While serving in the royal musketeers, Géricault wrote mainly battle scenes, however, after traveling to Italy in 1817-19. he executed a large and complex painting “The Raft of the Medusa” (located in the Louvre, Paris), which became a complete denial of the Davidic direction and an eloquent preaching of realism. The novelty of the plot, the deep drama of the composition and the vital truth of this masterfully written work were not immediately appreciated, but soon it received recognition even from adherents of the academic style and brought the artist the fame of a talented and courageous innovator.
Tragic tension and drama. In 1818, Géricault worked on the painting “The Raft of the Medusa,” which marked the beginning of French romanticism. Delacroix, posing for his friend, witnessed the birth of a composition that breaks all the usual ideas about painting. Delacroix later recalled that when he saw the finished painting, he “in delight started running like crazy and couldn’t stop all the way home.”
The plot of the film is based on a real incident that happened on July 2, 1816 off the coast of Senegal. Then, on the Argen Shoal, 40 leagues from the African coast, the frigate Medusa crashed. 140 passengers and crew members tried to escape by boarding the raft. Only 15 of them survived and on the twelfth day of their wanderings they were picked up by the brig Argus. The details of the survivors' voyage have shocked modern history. public opinion, and the crash itself turned into a scandal in the French government due to the incompetence of the ship’s captain and insufficient attempts to rescue the victims.
Figurative solution
The gigantic canvas impresses with its expressive power. Gericault managed to create bright image, combining in one picture the dead and the living, hope and despair. The picture was preceded by a huge preparatory work. Gericault made numerous sketches of dying people in hospitals and the corpses of executed people. “The Raft of the Medusa” was the last of Gericault’s completed works.
In 1818, when Géricault was working on the painting “The Raft of the Medusa,” which marked the beginning of French romanticism, Eugene Delacroix, posing for his friend, witnessed the birth of a composition that broke all the usual ideas about painting. Delacroix later recalled that when he saw the finished painting, he “in delight started running like crazy and couldn’t stop all the way home.”
Public reaction
When Géricault exhibited “The Raft of the Medusa” at the Salon in 1819, the painting aroused public indignation, since the artist, contrary to the academic norms of the time, did not use such a large format to depict a heroic, moralizing or classical subject.
The painting was acquired in 1824 and is currently in room 77 on the 1st floor of the Denon Gallery in the Louvre.
Eugene Delacroix(1798 - 1863) - French painter and graphic artist, head of the romantic movement in European painting.
But the real universities for Delacroix were the Louvre and communication with the young painter Theodore Gericault. At the Louvre, he became fascinated by the works of the old masters. At that time, one could see there many paintings captured during Napoleonic Wars and have not yet been returned to their owners. The aspiring artist was most attracted to the great colorists - Rubens, Veronese and Titian. But Theodore Gericault had the greatest influence on Delacroix.
In July 1830, Paris rebelled against the Bourbon monarchy. Delacroix sympathized with the rebels, and this was reflected in his “Liberty Leading the People” (in our country this work is also known as “Liberty on the Barricades”). Exhibited at the Salon of 1831, the painting aroused strong approval from the public. The new government bought the painting, but immediately ordered its removal; its pathos seemed too dangerous.
