Slide 1
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Italian artist and the poet Agostino Crraci (1557-1602) called on painters to strictly follow the principles of antiquity and the Renaissance: Whoever strives and wants to become a good painter, Let him arm himself with the drawing of Rome, The movement and chiaroscuro of the Venetians, And the Lombard restraint of color. He will take a powerful manner from Michelangelo, from Titian - the transference of nature, the purity and grandeur of Correggi's style And the strict poise of Raphael...
Slide 3
Nicolas Poussin - an artist of classicism The work of the French artist Nicolas Poussin (1594-1665) is considered the pinnacle of classicism in painting. He saw his ideal of beauty in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. According to the artist, the main criterion of artistic truth and beauty is reason and thought. That is why he called for creating “as nature and reason teach.” When choosing topics, Poussin was guided by heroic deeds and deeds, which were based on high civic motives, and not base ones. human passions. Nicolas Poussin. Self-portrait. 1650 Louvre, Paris.
Slide 4
Poussin. Landscape with Diogenes. Poussin dedicated his work to the glorification of heroic man, capable of cognizing and transforming nature with the power of a powerful mind. His heroes are tall people moral qualities. They often find themselves in dramatic situations that require special composure, greatness of spirit and character.
Slide 5
Apollo and Daphne Poussin. Apollo and Daphne In plots, Poussin looked only for those in which there was action, movement and expression. He began work on the painting with a careful study literary source(“Metamorphoses” of Ovid or Holy Scripture). If he met the set goals, the artist pondered not the complex inner life of the characters, but the culmination of the action. Poussin's usual plot formula was: "The die is cast, the decision is made, the choice is made."
Slide 6
Poussin. David the Victorious The compositional system of Poussin's paintings was built on two principles: balance of forms (building figures around the center) and on their free relationship (shifting away from the center). The interaction of these two principles made it possible to achieve an extraordinary impression of orderliness, freedom and mobility of the composition. The “harmony” of any artist’s painting can always be “checked by algebra.” Any pattern in a picture is not an invention of its author, it always reflects the logic and pattern of development of the nature of the universe.
Slide 7
Nicolas Poussin. Arcadian shepherds. 1638-1639 Louvre, Paris. Nicolas Poussin is the author of numerous paintings on mythological, historical, religious and landscape themes. The painting “Arcadian Shepherds” is one of the pinnacles of the artist’s creativity, the fruit of his tireless search. Three young men and a young woman stopped at a stone tombstone. Judging by their clothes and staffs, these are shepherds. One of them fell to his knee, he carefully examines the inscription on the tombstone. The young man and girl on the left froze, immersed in silent thought about mortality human life.
Slide 8
Narcissus and Echo Nicolas Poussin. Narcissus and Echo. Great importance V artistic system Poussin takes color. He applied paints from dark to light. The sky and shadows of the background were done so subtly that the grainy texture of the canvas showed through. He preferred ultramarine, copper azure, yellow and red ocher, green and cinnabar to many colors.
Slide 9
Nicolò Poussin. The Rape of the Sabine Women Most of the paintings created by Poussin on mythological themes belong to the masterpieces of world art (“Collecting manna in the desert”, “Adoration of the Golden Calf”, “Moses pouring out water from the rock”, “The Judgment of Solomon”, “The Descent from the Cross”).
Slide 10
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Slide 14
Slide 15
Sculptural masterpieces classicism. One of outstanding sculptors classicism - Antonio Canova (1757-1822). The first works of the young Italian sculptor depicting heroes ancient Greek mythology, glorified his name. The statues “Orpheus”, “Eurydice”, “Perseus”, “Daedalus and Icarus”, “Theseus, conqueror of the Minotaur”, “Cupid and Psyche” amazed contemporaries, who noted that life itself pulsates in the statues.
Slide 16
The sculptural group “The Three Graces” is distinguished by the perfect harmony of proportions, the beauty of lines and the finest treatment of the marble surface. Canova's contemporaries considered her the highest embodiment of the new ideal of beauty. It is known that in Greek mythology, the Three Graces personified the beauty and feminine charm of youth. The figures of the Graces are arranged in a semicircle. The interweaving of hands compositionally unites the sculptural group. One of his contemporaries wrote: “The whole group personifies love; it is difficult to find another, more subtle expression of it in other works of Western European art. Antonio Canova. Three Graces. 1816 State Hermitage Museum, Saint Petersburg.
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Antonio Canova.. Portrait of Pauline Borghese as Venus. Marble. 1805-1807. Borghese Gallery. Rome.
Slide 22
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Sculptural group of Antonio Canova "Daedalus and Icarus". 1777-1779. Carrer Museum. Venice.
Slide 24
Slide 25
Bertel Thorvaldsen. The artistic ideal of the Danish sculptor Bertel Thorvaldsen (1768-1844) also became masterpieces of ancient sculpture. He dedicated most of his works mythological stories and images. The best among them are “Jason with the Golden Fleece”, “Ganymede and the Eagle of Zeus” and “Mercury”
Slide 26
The image of ideal harmony and beauty is captured in the statue of Princess M.F. Baryatinskaya, the wife of the famous Russian diplomat. During her life, she was famous for her sharp mind and dazzling beauty, kindness and feminine charm. Here she is presented in the guise of an ancient goddess in gracefully flowing clothes, through which her wonderfully proportioned figure can easily be seen. The oval of her face, her thoughtful, dignified pose, her head slightly tilted to the right are ideally beautiful. With her left hand she carefully holds a light shawl, her right hand is coquettishly raised to her chin. This gesture returns the “ancient goddess” to real life, making her a completely earthly woman. Bertel Thorvaldsen. Princess M.F. Baryatinskaya. 1818 Thorvaldsen Museum, Copenhagen.
Slide 27
Bertel Thorvaldsen. Jason with the Golden Fleece. 1803-1828, Thorvaldsen Museum, Copenhagen.
Slide 28
Bertel Thorvaldsen. Ganymede and the eagle. 1818-1829, Art Institute, Minneapolis.
MHC, 11th grade
Lesson #8
Fine
art of classicism
and Rococo
D.Z.: Chapter 8, ?? (p.83), TV. assignments (p.83-85)
© A.I. Kolmakov
LESSON OBJECTIVES
- Introduce students with characteristic features of the fine arts of classicism and rococo;
- 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
- N. Poussin;
- compositional system;
- "Arcadian Shepherds";
- A. Watteau;
- “Pilgrimage to the island of Cythera”;
- "Gilles";
- F. Boucher;
- "Madame de Pompadour" ;
- "gallant genre";
- rationalism
Testing students' knowledge
- Why can Versailles be considered an outstanding work? Explain your answer.
- How urban planning ideas XVIII classicism V. found their practical embodiment in the architectural ensembles of Paris, for example the 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)?
- What is the connection between Baroque and Classical architecture? What ideas did classicism inherit from Baroque?
- 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? Which artistic principles is he leaning?
Universal learning activities
- determine reveal originality find and assessments of cultural figures
- determine aesthetic, spiritual content and expression of social ideas in works of fine art of classicism;
- reveal originality creative style of classicism and rococo artists in comparison with contemporaries and figures of previous eras;
- find using various means, highlight, structure and present in the form of a message and presentation the necessary information about the painting of classicism and rococo;
- distinguish characteristics individual author's style, evaluate the artist's creative style;
- conduct comparative analysis works by masters of the “gallant genre” (A. Watteau and F. Boucher);
- highlight and characterize the most important concepts , laws and theories of the fine arts of classicism (using the example of the work of N. Poussin);
- comment on scientific points of view and assessments of cultural figures
LEARNING NEW MATERIAL
Lesson assignment. What is the significance of classicism in the fine arts for World civilization and culture?
sub-questions
- Nicolas Poussin - classicist artist . Glorification of a heroic person. Character traits paintings(For example famous paintings). Rationalism as a fundamental principle of artistic creativity.
- Masters of the “gallant genre”: Rococo painting *. The main themes of Rococo painting and their artistic embodiment(For example famous works A. Watteau and F. Boucher)
Nicolas Poussin -
classicist artist
The French Academy proclaimed the artist’s work to be the pinnacle of classicism in painting. Nicolas Poussin (1594-1665). During his lifetime he was called “the most skillful and experienced of modern masters of the brush,” and after his death he was declared “the beacon of French painting.”
Poussin worked out creative
method, which is based on
put your own
understanding of laws
beauty.
Mine ideal he saw in
proportionality of the parts of the whole,
in external order,
harmony and clarity of forms.
N. Poussin. Self-portrait.
Nicolas Poussin -
classicist artist
Called to create
so, “as they teach it
nature and reason."
When choosing topics
gave away
preference
heroic
actions and deeds,
based on
lay high
civilian
motives, not
low-lying
human
passions.
The main subject
considered art
what is associated with
idea about
sublime and
wonderful that
can serve
model for
imitation and
means
raising the best
moral qualities in
person.
N. Poussin. Tancred and Erminia. Late 1620s early 1630s State Hermitage Museum, St. Petersburg
Nicolas Poussin -
classicist artist
From historical stories
chose only those in which
there was action, movement and
expression. Working on a painting
started with attentive
studying literary
source (Holy Scripture,
Ovid's "Metamorphoses" or
"Liberated Jerusalem"
T. Tasso). If he answered
To the goals set, artist
I was thinking about not a complicated one
the inner life of the heroes,
the culmination of the action. Mental struggle, doubts and
disappointments were pushed aside
second plan. Regular story
Poussin's formula was:
"The die is cast, the decision
accepted, the choice has been made” (Yu.K.
Zolotov).
Poussin. Landscape with Diogenes
Nicolas Poussin -
classicist artist
Composition system paintings
Poussin was built on two
principles: balance
forms (building groups around
center) and on their free
ratio (shift in
side from the center), which
made it possible to achieve
extraordinary impression
orderliness, freedom and
mobility of the composition.
Great value in
artistic system
Poussin occupies coloring .
Relationship between the main
colorful sounds
was achieved thanks to system
reflexes : intense color in
the center of the composition is usually
accompanied by dim
neutral colors.
Poussin. David the winner
Nicolas Poussin -
classicist artist
N. Poussin.
Arcadian
shepherds.
The picture is based on
deep philosophical
the thought of mortality
earthly existence and
the inevitability of death. Four shepherds
residents Happy Arcadia
(regions in southern Greece,
which is a symbol
eternal well-being,
serene life without
wars, disease and suffering),
accidentally found among
bush thickets
tomb with the inscription: "And I
I was in Arcadia. But now
I'm not among the living
neither will you now
reading this inscription."
The meaning of these words makes you think about the mortal, rethink the present...
N. Poussin’s painting “The Arcadian Shepherds” is one of the pinnacles of the artist’s work, where the ideas of classicism found full and vivid embodiment. In it one can feel the author’s desire for sculptural clarity of forms, plastic completeness and accuracy of drawing, clarity and balance. geometric composition using the golden ratio principle.
Nicolas Poussin -
classicist artist
Color system of paintings
Poussin was usually built
color is the most important
means for creating volume
and depth of space. Division into plans
was emphasized by consonance
strong colors. On the first
terms most often prevailed
yellow and brown colors, on
the second - warm, green, on
third - cold, before
all blue. In this picture
everything is subject to laws
classic beauty: color
the collision of the cold sky with
warm foreground,
beauty of the naked
human body, transmitted
in even diffused lighting,
was perceived especially
impressive and sublime against the background
lush green foliage
serene landscape.
Nicolas Poussin. Narcissus and Echo. Around 1630
A. Batto.
Pilgrimage
to the island of Kythera. 1717
Louvre, Paris
Masters
"gallant genre":
rococo painting
Venus, Diana, nymphs and
cupids outshine everything
other deities. All kinds
"bathing", "morning"
toilets" and instant
pleasures are
now almost
main subject
Images.
Included in fashion
colors: "hip color"
frightened nymph"
( bodily ), "the color of a rose,
floating in milk"
( pale pink ), "color
wasted time"
( blue ). Clearly
thoughtful, slender
classicism compositions
give way to graceful
and sophisticated design.
The main themes of Rococo painting are the exquisite life of the court aristocracy, "gallant festivities" idyllic pictures of “Shepherd” life against the backdrop of pristine nature, a world of complex love affairs and ingenious allegories "royal style"
Masters
"gallant genre":
rococo painting
Antoine Watteau (1684-1721)
contemporaries called
"poet of carefree leisure"
"singer of grace and beauty." In his works he
captured picnics in
evergreen parks,
musical and theatrical
concerts in the middle of nature,
passionate confessions and quarrels
lovers, idyllic
dates, balls and masquerades.
At the same time, in his paintings
there is aching sadness,
feeling of transience
beauty and ephemerality
what's happening.
Masters
"gallant genre":
rococo painting
"Pilgrimage to the island of Cythera" thanks to which A. Batto was admitted to the Royal Academy of Painting and Sculpture and received the title of “master of gallant festivities.” Lovely ladies and gallant gentlemen gathered on the flower-strewn shore of the sea bay. They sailed to the island of Cythera - the island of the goddess of love and beauty Venus (identified with greek goddess love Aphrodite), where, according to legend, she emerged from the foam of the sea. The holiday of love begins at the statue with the image of Venus and cupids.
“Watteau paints not with paints, but with melted honey
amber."
Masters
"gallant genre":
rococo painting
To true masterpieces
belongs to the painting Watt A
"Gilles" ("Pierrot") created in
as a sign for
performances by traveling
comedians Gilles is the main and
favorite character
French comedy of masks,
analogue of Pierrot - the hero of the Italian
comedy del arte . Clumsy
seems like a naive creature
specially created for
to constantly demolish
ridicule and tricks of the clever and
cunning Harlequin. Gilles
depicted in traditional white
suit with a cape and a round
hat. He is motionless and
stands lost in front of the viewer,
while other comedians
settle down to rest.
A. Bammo. Gilles (Pierrot). Fragment. 1720 Louvre, Paris
Masters
"gallant genre":
rococo painting
Francois Boucher (1703-1770) believed
himself as a faithful student of Watt. Alone
they called him “the artist of grace”,
"The Anacreon of Painting"
"royal painter" Second
saw him as a “hypocrite artist”,
who has everything but the truth.
Still others noted skeptically: “His
hand collects roses where others
they find only thorns.”
The artist's brushes belong to a number
ceremonial portraits of the favorite
King Louis XV Marquise de
Pompadour: patronized
Boucher, I ordered him more than once
paintings on religious subjects
for country residences and
Parisian mansions. Marquise
generously thanked the artist,
having first appointed him director
Gobelin manufactory, then
President of the Academy of Arts,
giving him the title of "first
the king's painter."
F. Boucher. Madame de Pompadour.
Masters
"gallant genre":
rococo painting
François Boucher more than once turned to
depiction of frivolous scenes,
whose main characters were
cutesy, shy cowgirls or
plump naked beauties in
in the form of mythological Venus and Diana. His
the paintings are replete with ambiguous
hints.
In the history of world painting Francois
Boucher still remains
a magnificent master of coloring and
exquisite design. Witty
solved compositions, unusual
angles of the characters, rich colors
accents, bright highlights of transparent colors,
applied in small, light strokes,
smooth, flowing rhythms - all this
makes F. Boucher unsurpassed
painter. His paintings turn
in decorative panels, decorate
lush interiors of halls and living rooms,
they call to the world of happiness, love and
beautiful dreams. The artist is wonderful
knew the fashion and tastes of his era!
F. Boucher. Breakfast.
Control questions
1. Why is the work of N. Poussin called the pinnacle of classicism in painting? What was the reason for the proclamation of the cult of this master? What topic and why did he give preference? Could you prove the validity of the assessment of the French artist J. L. David, who spoke of Poussin as an “immortal” master who “immortalized on canvas the most sublime lessons of philosophy”?
2. N. Poussin said: “For me there are no little things that can be neglected... My nature leads me to seek and love things that are perfectly organized, avoiding disorder, which is as disgusting to me as darkness is to light.” How is this principle embodied in the artist’s work? How does it relate to the theory of classicism he developed?
3. What unites the greatest masters of the “gallant genre” - A. Watteau and F. Boucher? What is their difference? Can Boucher be called a true student of Watteau?
Creative workshop
1 . Compare self-portraits of artists you know with Self-Portrait
N. Poussin. What exactly makes this piece different? Can we say that it was made in a classic manner? Give reasons for your answer.
2. Get acquainted with N. Poussin’s painting “The Death of Germanicus,” which brought him fame and is considered a programmatic work of classicism. What features of the artistic system of this style are reflected in it? How legitimate is the statement that “this painting alone would be enough to preserve the name of Poussin in Eternity” (A. Fusli)?
3. Conduct a study of the evolution of landscape in the works of N. Poussin. What is it artistic role? Why do you think nature “as it is” did not satisfy the artist and he never painted landscapes from nature? How do his works convey the contrast between the eternal existence of nature and the brevity of human life? Why is the presence of a person always felt in his landscapes? Why in many paintings can you see lonely human figures peering into the surrounding space? Why are they often brought to the fore, and their gaze is directed into the depths of the landscape?
4. E. Delacroix saw in N. Poussin “a great painter who understood more about architecture than architects.” How fair is this point of view? Is it possible to say that architecture most often becomes the main and positive hero his works? Do you agree that Poussin often organizes space according to the principles of classic theatrical performance? Explain your answer.
5*. Try to prove the truth of the words of one of the researchers,
that “In material art, Watteau miraculously managed to express what seemed accessible only to music.” Is it so? Listen to the music of the French composer F. Couperin (1668-1733). How consonant is it with the artist’s works, to what extent did it express the taste and mood of the Rococo era?
Topics of presentations, projects
- “Nicolas Poussin and Antiquity: heroic plots and images”;
- “The artistic role and evolution of landscape in the work of N. Poussin;
- “Architectural motifs in the works of N. Poussin”;
- “Predecessors and followers of N. Poussin”;
- “The work of N. Poussin and the traditions of the theater of classicism”;
- “Masters of the “gallant genre” (rococo painting)”;
- "A. Watteau is a painter of joy and sorrow”;
- “The mastery of color in the works of A. Watt”;
- “Theatricality and musicality of A. Watteau’s painting”;
- “The Artist of Graces” F. Boucher”;
- "Characteristic features of Rococo decorative and applied art."
- 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.
- Shilova Galina Gennadievna, teacher MOU Secondary school No. 1 Okhansk, Perm region
CLASSICISM - (from Latin classicus - exemplary) - art style European art of the 17th-19th centuries, one of the most important features of which was the appeal to ancient art as the highest model and reliance on traditions high Renaissance. The art of classicism reflected the ideas of the harmonious structure of society, but in many ways lost them in comparison with the culture of the Renaissance. Conflicts between personality and society, ideal and reality, feelings and reason testify to the complexity of the art of classicism.
Art forms Classicism is characterized by strict organization, balance, clarity and harmony of images. The architecture of classicism is characterized by an order system inspired by ancient examples, clarity and geometric correctness of volumes and layouts, porticoes, columns, statues, and reliefs that stand out on the surface of the walls. Ionic order Doric order Corinthian order
In painting, the logical development of the plot, a clear balanced composition, a clear transfer of volume, with the help of chiaroscuro the subordinate role of color, and the use of local colors (Nicolas Poussin) acquired the main importance. The exploits of Rinaldo The exploits of Rinaldo 1628
Shepherds in Arcadia Shepherds in Arcadia
Classicism of the 18th – early 19th centuries (in foreign art history it is often called neoclassicism), which became a pan-European style, was formed mainly in the bosom of French culture, under the strong influence of the ideas of the Enlightenment. Courageous drama of historical and portrait images inherent in the works of the head of French classicism, the painter Jacques Louis David. Napoleon's crossing of the Alps
Bertel Thorvaldsen JasonBertel Thorvaldsen Jason, Thorvaldsen Museum Copenhagen Jean Antoine Houdon. Voltaire "Comédie Française", Paris
Russian classicism in the second half of the 18th century - early XIX centuries embodied a new flowering of culture, unprecedented in scope, national pathos and ideological fullness: architectural ensembles and buildings by V. Bazhenov, M. Kazakov, J. Quarenghi, A. Zakharov, K. Rossi, A. Voronikhin, sculptures by M. Kozlovsky, F. Shchedrin, I. Martos, paintings by A. Losenko, A. Ivanov and others.
Ivanov A.A. Appearance of Christ to Mary Magdalene after the resurrection
art classicism and rococo
Nicolas Poussin - classicist artist
The French Academy proclaimed the artist’s work to be the pinnacle of classicism in painting. Nicolas Poussin(1594-1665). During his lifetime he was called “the most skillful and experienced of modern masters of the brush,” and after his death he was declared “the beacon of French painting.”
Being a bright exponent of the ideas of classicism, Poussin developed a creative method, which was based on his own idea of the laws of beauty. He saw his ideal in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. His paintings distinguished by the balance of the composition, a rigid, mathematically verified system of organizing space, precise drawing, amazing sense of rhythm, based on the ancient doctrine of musical modes.
According to Poussin, the main criteria of artistic truth and beauty are reason and thought. This is what he called for to create “as nature and reason teach.” When choosing topics, Poussin gave preference to heroic deeds and deeds, which were based on high civic motives rather than base human passions.
The main subject of art, according to the artist, is that which is associated with the idea of the sublime and beautiful, which can serve as a role model and a means of cultivating the best moral qualities in a person. Poussin dedicated his work to the glorification of heroic man, capable of cognizing and transforming nature with the power of a powerful mind. His favorite heroes are strong, strong-willed people with high moral qualities. They often find themselves in dramatic situations that require special composure, greatness of spirit and strength of character. The painter conveyed their sublime feelings through poses, facial expressions and gestures.
From historical subjects, Poussin chose only those in which there was action, movement and expression. He began work on the painting with a careful study of the literary source (the Holy Scripture, Ovid’s “Metamorphoses” or T. Tasso’s “Jerusalem Liberated”). If he met the set goals, the artist pondered not the complex inner life of the characters, but the culmination of the action. Mental struggle, doubts and disappointments were relegated to the background. Poussin’s usual plot formula was: “The die is cast, the decision is made, the choice is made” (Yu. K. Zolotov).
The ideas of classicism, in his opinion, should be reflected in the composition of the painting. He contrasted improvisation with a carefully considered arrangement of individual figures and main groups.
The visual space should be easily visible, the plans should clearly follow each other. For the action itself, only a small area in the background should be allocated. In most of Poussin's paintings, the point of intersection of the diagonals of the picture turns out to be its most important semantic center.
The compositional system of Poussin's paintings was built on two principles: balance of forms (building groups around the center) and on their free relationship (shifting away from the center). The interaction of these two principles made it possible to achieve an extraordinary impression of orderliness, freedom and mobility of the composition.
Color is of great importance in Poussin's artistic system. The interconnection of the main colorful sounds was achieved thanks to a system of reflexes: intense color in the center of the composition is usually accompanied by dim neutral colors.
Nicolas Poussin is the author of numerous paintings on mythological, historical, religious themes, as well as landscapes. In them you can almost always find polished mise-en-scène, full of thought and drama. Turning to the distant past, he did not retell, but creatively recreated and reinterpreted well-known plots.
Painting by N. Poussin "Arcadian Shepherds"- one of the pinnacles of the artist’s creativity, where the ideas of classicism found full and vivid embodiment. In it one can feel the author’s desire for sculptural clarity of forms, plastic completeness and accuracy of drawing, clarity and balance of geometric composition using the principle of the golden ratio. The severity of proportions, smooth, clear linear rhythm perfectly conveyed the severity and sublimity of ideas and characters.
At the heart of the picture lies a deep philosophical thought about the frailty of earthly existence and the inevitability of death. Four shepherds, residents of happy Arcadia (a region in the south of Greece, which is a symbol of eternal prosperity, a serene life without wars, disease and suffering), accidentally find a tomb among the bushes with the inscription: “I was in Arcadia. But now I am not among the living, just as you, who are now reading this inscription, will not be.” The meaning of these words makes them think... One of the shepherds humbly bowed his head, resting his hand on the gravestone. The second, down on his knee, runs his finger over the letters, trying to read the half-erased inscription.
The third, without lifting his hand from the sad words, raises a questioning glance at his companion. The woman standing on the right also calmly looks at the inscription. She placed a hand on his shoulder, as if trying to help him come to terms with the idea of his inevitable end. Thus, the figure of a woman is perceived as the focus of spiritual peace, that philosophical balance to which the author leads the viewer.
Poussin clearly strives to create generalized images close to the canons of ancient beauty: they are truly physically perfect, young and full of strength. Figures that in many ways resemble antique statues, balanced in space. In their writing, the artist used expressive chiaroscuro.
The deep philosophical idea underlying the painting is expressed in a crystal clear and classically rigorous form. As in a Roman relief, the main action takes place in a relatively shallow foreground area. The composition of the picture is extremely simple and logical: everything is built on a carefully thought-out rhythm of balanced movements and is subordinated to the simplest geometric shapes, achieved thanks to the accuracy of mathematical calculations. The characters are grouped almost symmetrically near the tombstone, connected by the movement of their hands and the feeling of an ongoing pause. The author manages to create an image of an ideal and harmonious world, organized according to the highest laws of reason.
The color system of Poussin's paintings was usually based on the author's belief that color is the most important means for creating volume and depth of space. The division into planes was usually emphasized by the consonance of strong colors. In the foreground, yellow and brown colors usually predominated, in the second - warm, green, in the third - cold, especially blue. In this picture, everything is subject to the laws of classical beauty: the color clash of the cold sky with the warm foreground, and the beauty of the naked human body, conveyed in even diffused lighting, was perceived especially impressive and sublime against the background of the lush green foliage of the serene landscape.
Overall, the picture was imbued with a feeling of hidden sadness, peace and idyllic peace of mind. Stoic reconciliation with fate, a wise, dignified acceptance of death made Poussin's classicism similar to the ancient worldview. The thought of death did not cause despair, but was perceived as an inevitable manifestation of the laws of existence.
Masters of the “gallant genre”: Rococo painting
The main themes of Rococo painting are the exquisite life of the court aristocracy, “gallant festivities,” idyllic pictures of “shepherd” life against the backdrop of pristine nature, the world of complex love affairs and ingenious allegories. Human life is instantaneous and fleeting, and therefore we must seize the “happy moment”, hurry to live and feel. “The spirit of charming and airy little things” (M. Kuzmin) becomes the leitmotif of the work of many artists of the “royal style”.
For most Rococo painters, Venus, Diana, nymphs and cupids eclipse all other deities. All kinds of “bathing”, “morning toilets” and instant pleasures are now almost the main subject of the image. Exotic color names are in fashion: “the color of the thigh of a frightened nymph” (flesh), “the color of a rose floating in milk” (pale pink), “the color of lost time” (blue). Clearly thought out, harmonious compositions of classicism give way to elegant and sophisticated designs.
Antoine Watteau(1684-1721) was called by his contemporaries “the poet of carefree leisure”, “the singer of grace and beauty”. In his works, he captured picnics in evergreen parks, musical and theatrical concerts in the lap of nature, passionate confessions and quarrels of lovers, idyllic dates, balls and masquerades. At the same time, his paintings contain a painful sadness, a sense of the transience of beauty and the ephemerality of what is happening.
One of the artist's famous paintings - "Pilgrimage to the island of Cythera", thanks to which he was admitted to the Royal Academy of Painting and Sculpture and received the title of “master of gallant festivities.” Lovely ladies and gallant gentlemen gathered on the flower-strewn shore of the sea bay. They sailed to the island of Cythera - the island of the goddess of love and beauty Venus (identified with the Greek goddess of love Aphrodite), where, according to legend, she emerged from the foam of the sea. The festival of love begins at a statue of Venus and cupids, one of whom reaches down to place a laurel garland on the most beautiful of goddesses. At the foot of the statue are stacked weapons, armor, a lyre and books - symbols of war, arts and sciences. Well, love really can conquer all!
The action unfolds like a film, sequentially telling about the walk of each of the couples in love. In the relationships between the characters, the language of hints reigns: suddenly
glances, an inviting gesture of a fan in the girl’s hands, a speech cut off mid-sentence... The harmony of man and nature is felt in everything. But it’s already evening, the golden sunset colors the sky. The holiday of love is fading away, filling the carefree fun of couples in love with sadness. Very soon they will return to their ship, which will take them from unreal world into the world of everyday reality. A wonderful sailing ship - the ship of love - is ready to sail. Warm, soft paints, muted colors, light brush strokes that barely touch the canvas - all this creates a special atmosphere of charm and love.
And again I love the earth because
Why are the rays of the sunset so solemn,
What with a light brush Antoine Watteau
Touched my heart once.
G. Ivanov
Watteau's painting belongs to the true masterpieces "Gilles" (Pierrot), created as a sign for the performances of traveling comedians. Gilles is the main and favorite character of the French comedy of masks, in tune with Pierrot - the hero Italian comedy del arte. The clumsy, naive creature seems to be specially created for the constant ridicule and tricks of the clever and cunning Harlequin. Gilles is depicted in a traditional white suit with a cape and a round hat. He stands motionless and lost in front of the viewer, while other comedians settle down to rest. He seems to be looking for an interlocutor who can listen and understand him. There is something touching and vulnerable in the comedian’s absurd pose with his arms hanging limply and his gaze fixed. Hidden in the tired and sad appearance of the clown is the thought of the loneliness of a man forced to amuse and entertain a bored audience. The hero's emotional openness makes him one of the most profound and meaningful images in the history of world painting.
IN artistically the picture is done brilliantly. The extreme simplicity of the motif and composition is combined here with precise design and carefully thought out colors. The ghostly white robe is painted with careful and at the same time bold brush movements. Shimmering pale silver, ash-lilac, grayish-ochre tones flow and shimmer, breaking into hundreds of trembling highlights. All this creates an amazing atmosphere for the perception of deep philosophical meaning paintings. How can one disagree with the statement of one of his contemporaries: “Watteau paints not with paints, but with honey, molten amber.”
Francois Boucher(1703-1770) considered himself a faithful student of Watteau. Some called him “the artist of the graces”, “Anacreon of painting”, “royal painter”. The latter saw in him a “hypocrite artist”, “who has everything but the truth.” Still others noted skeptically: “His hand gathers roses where others find only thorns.”
The artist painted a number of ceremonial portraits of the favorite of King Louis XV, the Marquise de Pompadour. It is known that she patronized Boucher and more than once ordered him paintings of religious subjects for country residences and Parisian mansions. In the picture "Madame de Pompadour" the heroine is presented surrounded by scattered flowers and luxurious objects reminiscent of her artistic tastes and hobbies. She reclines regally against the backdrop of lush, solemn draperies. The book in her hand is a clear hint of enlightenment and commitment to intellectual pursuits. The Marquise de Pompadour generously thanked the artist, appointing him first as director of the Gobelin Manufactory, and then as president of the Academy of Arts, giving him the title of “the first painter of the king.”
Francois Boucher more than once turned to the depiction of frivolous scenes, the main characters of which were cutesy, shy shepherdesses or plump naked beauties in the form of mythological Venuses and Dianas. His paintings are replete with ambiguous hints, piquant details (the raised hem of a satin skirt of a shepherdess, the coquettishly raised leg of a bathing Diana, a finger pressed to her lips, an eloquent, inviting look, lambs huddling at the feet of lovers, kissing doves, etc.). Well, the artist knew the fashion and tastes of his era very well!
In the history of world painting, Francois Boucher still remains a magnificent master of color and exquisite design. Ingeniously designed compositions, unusual angles of the characters, rich color accents, bright highlights of transparent paints applied in small, light strokes, smooth, flowing rhythms - all this makes F. Boucher an unsurpassed painter. His paintings turn into decorative panels, decorate the lush interiors of halls and living rooms, they call to the world of happiness, love and beautiful dreams.
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Fine art of classicism and rococo MHC grades 10-11
Plan Nicolas Poussin – an artist of classicism Sculptural masterpieces of classicism Masters of the “gallant genre”: Rococo painting
Nicolas Poussin - artist of classicism (1594 - 1665) French artist who stood at the origins of classicism painting
The ideal of beauty was seen in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. His paintings are distinguished by a balanced composition, a rigid, mathematically verified system of organizing space, a chased pattern, and a sense of rhythm. The main criteria of artistic truth are reason and thought. Main themes of creativity - heroic deeds, based on high civic motives; glorification of a heroic person capable of cognizing and transforming nature with the power of reason. Favorite heroes are people of high moral qualities. The compositional system of the paintings was built on two principles: the balance of forms and their free relationship.
"The Generosity of Scipio"
"Arcadian Shepherds"
"Tancred and Erminia"
Sculptural masterpieces of classicism One of the outstanding sculptors of classicism is Antonio Canova (1757 - 1822) Sculptures: “Orpheus”, “Eurydice”, “Perseus”, “Theseus, conqueror of the Minotaur”, “Cupid and Psyche”, “The Three Graces”.
"Orpheus" "Eurydice"
"Perseus"
“The Three Graces” is the highest embodiment of the new ideal of beauty, according to Canova’s contemporaries.
Bertel Thorvaldsen (1768 - 1844) The best works The Danish artist is recognized as “Jason with the Golden Fleece”, “Ganymede and the Eagle of Zeus” (“Ganymede Feeding the Eagle of Zeus”), “Mercury”
"Jason with the Golden Fleece"
"Ganymede Feeding the Eagle of Zeus"
"Mercury"
Jean Antoine Houdon (1741 - 1828) Famous French sculptor of classicism, who created a unique portrait encyclopedia of outstanding people of the era. Main character of his works - a public man, noble and strong character, courageous and fearless, creative personality.
The statue of Voltaire is the pinnacle of Houdon’s work, perfect image thinker-sage.
Masters of the “gallant genre”: Rococo painting The main themes of Rococo painting are the exquisite life of courtiers, holidays, idyllic pictures of life against the backdrop of nature, the world of complex love affairs and ingenious allegories.
Antoine Watteau (1684 - 1721) – “poet of carefree leisure”, “singer of grace and beauty”
"Pilgrimage to the island of Cythera"
"Gilles" (Pierrot)
Francois Boucher (1703 - 1770) – “painter of graces”, “royal painter” 1. Depiction of frivolous (seductive, frivolous) scenes 2. Ambiguous hints 3. Spicy details
"Birth of Venus"
"Juno Visits the Guardian of the Winds Aeolus"
"Allegory of Painting"
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