Classicism in architecture. Classicism presentation for the lesson in mhc (grade 11) on the topic Classicism in the architecture of Western Europe presentation

Classicism (fr.classicisme, from lat.classicus - exemplary) - artistic style and aesthetic direction in European art of the 17th - 19th centuries.

Classicism is based on the ideas of rationalism, which were formed simultaneously with those in the philosophy of Descartes. A work of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the harmony and consistency of the universe itself.

Interest for classicism is only eternal, unchanging - in each phenomenon, he seeks to recognize only essential, typological features, discarding random individual features. The aesthetics of classicism attaches great importance to the social and educational function of art. Classicism takes many rules and canons from ancient art (Aristotle, Horace).

Classicism establishes a strict hierarchy of genres, which are divided into high (ode, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined features, the mixing of which is not allowed.

Painting.

Interest in the art of ancient Greece and Rome manifested itself back in the Renaissance, which, after centuries of the Middle Ages, turned to the forms, motives and subjects of antiquity. The greatest theorist of the Renaissance, Leon Batista Alberti, back in the 15th century. expressed ideas that foreshadowed certain principles of classicism and were fully manifested in Raphael's fresco "School of Athens" (1511).

The systematization and consolidation of the achievements of the great Renaissance artists, especially the Florentine ones, led by Raphael and his student Giulio Romano, formed the program of the Bologna school of the late 16th century, the most characteristic representatives of which were the Carracci brothers. At its influential Academy of Artsbolognese preached that the path to the heights of art lies through a scrupulous study of the heritage of Raphael and Michelangelo, imitation of their mastery of line and composition.

At the beginning of the 17th century, young foreigners flock to Rome to get acquainted with the heritage of antiquity and the Renaissance. The most prominent place among them was occupied by the Frenchman Nicolas Poussin, in his paintings, mainly on the themes of ancient antiquity and mythology, who gave unsurpassed samples of geometrically accurate composition and thoughtful correlation of color groups. Another Frenchman, ClaudeLorraine, in her antiquated landscapes of the environs of the "eternal city" he ordered pictures of nature by harmonizing them with the light of the setting sun and introducing a kind of architectural curtains.

Cold-headed Poussin's normativeism met with the approval of the Versailles court and was continued by court artists likeLebrun who saw in classicist painting the ideal artistic language for praising the absolutist state of the "sun king". Although private clients preferred various options for Baroque and Rococo, the French monarchy kept Classicism afloat by funding academic institutions such as the School of Fine Arts. The Rome Prize provided the most talented students with the opportunity to visit Rome for a direct acquaintance with the great works of antiquity.

The discovery of the "genuine" antique painting during the excavations of Pompeii, the deification of antiquity by a German art criticWinckelmann and the cult of Raphael, preached by an artist close to him in his viewsMengsom , in the second half of the 18th century, they breathed new breath into classicism (in Western literature this stage is called neoclassicism). The largest representative of the "new classicism" was Jacques-Louis David; his extremely laconic and dramatic artistic language served with equal success in promoting the ideals of the French Revolution ("Death of Marat") and the First Empire ("Dedication of Emperor Napoleon I").

In the 19th century, the painting of classicism enters a period of crisis and becomes a force holding back the development of art, and not only in France, but also in other countries. David's artistic line was successfully continuedIngres , while preserving the language of classicism in his works, he often turned to romantic plots with an oriental flavor ("Turkish Baths"); his portraits are marked by a subtle idealization of the model. Artists in other countries (like, for example, Karl Bryullov) also filled the works of classicism in form with the spirit of reckless romanticism; this combination is called academicism. Numerous academies of arts served as its breeding grounds. In the middle of the 19th century, the younger generation gravitating towards realism, represented in France by the Courbet circle, and in Russia by the Itinerants, rebelled against the conservatism of the academic establishment.

Sculpture.

The impetus for the development of classicist sculpture in the middle of the 18th century was the worksWinckelmann and archaeological excavations of ancient cities, which expanded the knowledge of contemporaries about ancient sculpture. On the verge of Baroque and Classicism, sculptors such asPigalle and Houdon ... Classicism reached its highest embodiment in the field of plastic in the heroic and idyllic works of AntonioCanova , who drew inspiration mainly from the statues of the Hellenistic era (Praxitel). In Russia, Fedot Shubin, Mikhail Kozlovsky, Boris Orlovsky, Ivan gravitated towards the aesthetics of classicismMartos.

Public monuments, which became widespread in the era of classicism, gave sculptors the opportunity to idealize the military valor and wisdom of statesmen. Fidelity to the antique model required sculptors to depict models naked, which contradicted accepted moral norms. To resolve this contradiction, the figures of our time were initially depicted by the sculptors of classicism in the form of naked ancient gods: Suvorov in the form of Mars, and PolinaBorghese - in the form of Venus. Under Napoleon, the issue was resolved by switching to the depiction of contemporary figures in antique togas (such are the figures of Kutuzov and Barclay de Tolly in front of the Kazan Cathedral).

Private customers of the era of classicism preferred to immortalize their names in tombstones. The popularity of this sculptural form was facilitated by the arrangement of public cemeteries in the main cities of Europe. In accordance with the classicist ideal, the figures on the tombstones are usually in a state of deep rest. Sharp movements, external manifestations of emotions such as anger are generally alien to the sculpture of classicism.

P old Empire Classicism, represented primarily by the prolific Danish sculptorThorvaldsen , imbued with dryish pathos. Purity of lines, restraint of gestures, dispassionateness of expressions are especially appreciated. In the choice of role models, the emphasis shifts from Hellenism to the archaic period. Religious images come into fashion, which in the interpretationThorvaldsen make a somewhat chilling impression on the viewer. The gravestone sculpture of late classicism often carries a slight touch of sentimentality.

Architecture.

The main feature of the architecture of classicism was the appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity and monumentality. The architecture of classicism as a whole is characterized by regularity of planning and clarity of volumetric form. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity. For classicism, symmetric-axial compositions, restraint of decoration, and a regular system of city planning are characteristic.

The architectural language of classicism was formulated at the close of the Renaissance by the great Venetian masterPalladio and his followerScamozzi ... The Venetians made the principles of ancient temple architecture so absolute that they applied them even in the construction of such private mansions as a villa.Capra ... Inigo Jones sufferedpalladianism north to England, where local architects-palladians followed the covenants with varying degrees of fidelityPalladio until the middle of the 18th century.

By that time, a satiety of late Baroque and Rococo "whipped cream" began to accumulate among the intellectuals of continental Europe. Born by the Roman architects Bernini andBorromini Baroque thinned out in Rococo, predominantly chamber style with an emphasis on interior decoration and decorative and applied arts. This aesthetics was of little use for solving major urban planning problems. Already under Louis XV (1715-74) urban planning ensembles in the "ancient Roman" taste were built in Paris, such as the Place de la Concorde (architect JacquesAnge Gabriel) and the Church of SaintSulpice , and under Louis XVI (1774-92) such "noble laconicism" became the main architectural trend.

The most significant interiors in the classicist style were designed by the Scotsman Robert Adam, who returned to his homeland from Rome in 1758. He was greatly impressed by both the archaeological research of Italian scientists and architectural fantasiesPiranesi ... In Adam's interpretation, classicism appeared as a style that was hardly inferior to rococo in terms of sophistication of interiors, which earned him popularity not only among democratically minded circles of society, but also among the aristocracy. Like his French counterparts, Adam preached a complete rejection of details lacking a constructive function.

French Jacques-Germain Soufflot during the construction of the Church of SaintGenevieve demonstrated the ability of classicism to organize vast urban spaces. The massive grandeur of his projects foreshadowed the megalomania of Napoleonic Empire and late Classicism. In Russia in one direction withSoufflot Bazhenov moved. French Claude-NicolasLedoux and Etienne -Louis Bull went even further towards developing a radicalvisionary style with a bias in abstract geometrization of forms. In revolutionary France the ascetic civic pathos of their projects was in little demand; fully innovativeLedoux appreciated only by modernists of the XX century.

The architects of Napoleonic France drew inspiration from the majestic images of military glory left by imperial Rome, such as the Arc de TriompheSeptimia North and Trajan's Column. By order of Napoleon, these images were transferred to Paris in the form of a triumphal archCarrousel and Vendome columns. With reference to the monuments of military greatness of the era of the Napoleonic wars, the term "imperial style" is used - Empire. In Russia, Karl Rossi, Andrei Voronikhin andAndreyan Zakharov. In Britain, the Empire style corresponds to the so-called. "Regent style" (the largest representative - JohnNash).

The aesthetics of classicism favored large-scale urban development projects and led to the ordering of urban development on the scale of entire cities. In Russia, almost all provincial and many uyezd cities were re-planned in accordance with the principles of classicist rationalism. Such cities as St. Petersburg, Helsinki, Warsaw, Dublin, Edinburgh and a number of others have turned into genuine open-air classicism museums. The entire space from Minusinsk to Philadelphia was dominated by a single architectural language, dating back toPalladio ... Ordinary development was carried out in accordance with standard project albums.

In the period following the Napoleonic wars, classicism had to coexist with romantically colored eclecticism, in particular with the return of interest in the Middle Ages and the fashion for architectural neo-Gothic. In connection with the discoveries of Champollion, Egyptian motives are gaining popularity. Interest in ancient Roman architecture gives way to reverence for everything ancient Greek (“non-Greek »), Especially clearly manifested in Germany and the United States. German architects Leo vonKlenze and Karl Friedrich Schinkel build up, respectively, Munich and Berlin with grandiose museum and other public buildings in the spirit of the Parthenon. In France, the purity of classicism is diluted with free borrowing from the architectural repertoire of the Renaissance and Baroque.

Literature.

The founder of the poetics of classicism is considered the Frenchman FrancoisMulherbe (1555-1628), who carried out the reform of the French language and verse and developed poetic canons. The leading representatives of classicism in drama were the tragedians Corneille and Racine (1639-1699), whose main subject of creativity was the conflict between public duty and personal passions. "Low" genres also reached high development - fable (J. La Fontaine), satire (Boileau ), comedy (Moliere 1622-1673).

Boileau became famous throughout Europe as the "legislator of Parnassus", the largest theorist of classicism, who expressed his views in the poetic treatise "Poetic Art". Under his influence in Great Britain were the poets JohnDryden and Alexander Pope who made the main form of English poetryalexandrines ... For English prose of the era of classicism (Addison , Swift) is also characterized by romanized syntax.

Classicism of the 18th century develops under the influence of the ideas of the Enlightenment. Voltaire's work (1694-1778) was directed against religious fanaticism, absolutist oppression, filled with the pathos of freedom. The goal of creativity is to change the world for the better, to build society itself in accordance with the laws of classicism. From the standpoint of classicism, the Englishman surveyed contemporary literatureSamuel Johnson, around whom a brilliant circle of like-minded people formed, including an essayistBoswell , Gibbon historian and actorGarrick.

In Russia, classicism originated in the 18th century, after the transformations of Peter I. Lomonosov carried out a reform of Russian verse, developed the theory of "three calmness", which was essentially an adaptation of the French classical rules to the Russian language. Images in classicism are devoid of individual features, since they are called upon, first of all, to capture stable generic signs that do not pass over time, acting as the embodiment of any social or spiritual forces.

IN Russia developed under the great influence of the Enlightenment - the ideas of equality and justice have always been in the focus of attention of Russian classicist writers. Therefore, in Russian classicism, genres that presuppose a mandatory author's assessment of historical reality: comedy (D.I.Fonvizin), satire (A.D. Kantemir), fable (A.P. Sumarokov, I.I.Chemnitser ), ode (Lomonosov, G.R.Derzhavin).

In connection with the call proclaimed by Rousseau for closeness to nature and naturalness, crisis phenomena are growing in classicism at the end of the 18th century; the absolutization of reason is replaced by the cult of tender feelings - sentimentalism. The transition from classicism to pre-romanticism was most vividly reflected in the German literature of the era of "Storm and Onslaught", represented by the names of JV Goethe (1749-1832) and F. Schiller (1759-1805), who, following Rousseau, saw in art the main force of education person.

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Slide captions:

Directions in art Directions in art

Classicism Classicism is a European cultural and aesthetic movement oriented towards ancient literature and mythology. Horse tamer Klodt. Anichkov bridge.

Classicism Classicism developed in France in the 17th century in connection with the beginning of the era of absolute monarchy. The word comes from the Latin name, which means "exemplary" Classicists imitated the ancient Greeks and Romans

Classicism in art painting

Principles of Classicism The main theme is the conflict of personal and civic interests, feelings and duty. The highest dignity of a person is the fulfillment of duty, service to the state idea. Following antiquity as a model. Imitation of the "decorated" nature.

The principles of classicism 5. The basis of everything is reason. Only that which is reasonable is beautiful. 6. The main category is beauty. 7. The main task is to strengthen the absolute monarchy, the monarch is the embodiment of reason.

Classicism in painting Painting by Jacques Louis David "The Oath of the Horace"

Classicism in Lysenko's painting "Hector's Farewell to Andromache"

Versailles Versailles - the residence of the French kings - was proud of its park, designed by André Le Nôtre.

Gardening art. Versailles. Nature took in him strictly geometric forms prescribed by the human mind.

Gardening art. Versailles. The park was distinguished by a clear symmetry of alleys and ponds, strict rows of trimmed trees and flower beds, and the solemn dignity of statues located in it.

The park was distinguished by the solemn dignity of the statues located in it. Gardening art. Versailles.

Classicism in Russian architecture

Samson tearing apart the lion's mouth Ancient hero, his beauty, patriotic themes, glorification of the monarch

A.D. Zakharov Admiralty

Stock Exchange and Strelka on the Neva (Peter and Paul Fortress - Spit of Vasilyevsky Island - Palace Embankment)

The Rostral Column of the Rostra - an architectural decoration in the form of the bow of an ancient ship

A.N. Voronikhin. Kazan Cathedral 1801-1811 - construction of the Kazan Cathedral. The Kazan Cathedral in St. Petersburg was consecrated on September 27, 1811.

K.A. Ton Cathedral of Christ the Savior

Resources http://i054.radikal.ru/1003/ba/c348e3d4be99.jp http://de.trinixy.ru/pics4/20100628/saint_petersburg_38.jpg http://turometr.s3.amazonaws.com/images/gallery /02/03/76/2010/10/30/6dc68e__61c0f80984_600.jpg

On the subject: methodological developments, presentations and notes

Educational film "Classicism in the palace interior. Enfilade of the Alexander Palace".

At the end of 2009, the Alexander Palace regained the status of a museum and restoration work began in it. And in 2010, the first three ceremonial halls: the Semicircular, the Portrait and the Marble Lounge ...

Presentation for a literature lesson in grade 9 "Classicism"

This presentation can be used when studying the topic "Classicism" at a literature lesson in grade 9 ...

Presentation Classicism as a literary movement

On this page you will find a presentation in which the features and main distinctive features of such a literary trend as classicism, the features of the Russian class are outlined in great detail ...

MHK, grade 11

Lesson number 7

Classicism

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

© A.I. Kolmakov

LESSON OBJECTIVES

• To acquaint students with the characteristic features of the architecture of classicism and form an idea of \u200b\u200bthe ceremonial-official architecture of Versailles;
• Develop skill independently study the material and prepare it for the presentation; continue to develop the ability to analyze a work of art;
• Educate culture of perception of works of art.

CONCEPTS, IDEAS

• architect;
• architecture of classicism;
• Louis Leveaux;
• Jules Hardouin-Mansart;
• André Le Nôtre;
• Grand Palace of Versailles;
• Charles Lebrun;
• Mirror gallery;
• tapestry;
• landscape parks;
• empire style;
• neoclassicism;
• church of Saint Genevieve

Testing students' knowledge

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

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 a style of aristocracy? What features of it met the tastes and moods of their time? Why was there no room in it for the expression of civic ideals? Why do you think the Rococo style reached its peak in arts and crafts?

4. Compare the basic principles of Baroque and Rococo. Is it possible

five*. On what ideas of enlightenment was sentimentalism based? What are its main accents? Is it legitimate to view sentimentalism within the grand style of classicism?

Versatile learning activities

• generalize and systematize knowledge   describe and analyze        prepare an extramural excursion  comparative analysis 
• generalize and systematize knowledge about the ways of development and artistic principles of classicism architecture;
•  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 an architectural structure in the tradition of classicism;
•  evaluate the value of creativity an individual architect in the history of Western European art;
•  list features individual author's style;
•  talk about prominent Western European figures architecture of the era of classicism;
•  make your own reasoned judgments about the artistic merits of specific works of architecture of the era of classicism;
•  identify historical background the emergence of the Empire style in Western European art;
•  prepare an extramural excursion versailles (architectural ensembles of Paris);
•  comparative analysis interior decoration of Fontainebleau and the Mirror Gallery of Versailles;
•  establish associative links between works of architecture of classicism and their pictorial interpretation in the works of A.N. Benois

STUDYING NEW MATERIAL

• "Fabulous Dream" of Versailles.

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

sub-questions

• "Fabulous Dream" of Versailles. Characteristic features of the architecture of classicism. 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 the redevelopment of Paris. Neoclassicism is a new stage in the development of classicism and its spread in European countries. Characteristic features of the Empire style (on the example of famous architectural monuments)

On the question of classicism

in the architecture of Western Europe

... ... ... Let's leave the Italians

Empty tinsel with its fake gloss.

The meaning is most important, but in order to come to it,

We'll have to overcome obstacles and paths

To adhere strictly to the planned path:

Sometimes the mind has only one road ...

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

N. Boileau. Poetic Art (Translated by E.L. Linetskaya)

This is how one of the main ideologues taught his contemporaries

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

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

On the question 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 general plan .

"Strict style" of classicism architecture , it seemed, was called upon to visually embody his ideal formula of "noble simplicity and calm greatness."

In the architectural structures of classicism dominated and simple and clear forms, calm harmony of proportions ... Preference was given to straight lines, unobtrusive decor, repeating the outlines of the subject ... They affected everything simplicity and nobility of decoration, practicality and expediency .

On the question of classicism

in the architecture of Western Europe

"Fabulous dream"

Versailles.

Mark Twain, who visited Versailles in the middle of the 19th century, wrote:

“I scolded Louis XIV, who spent $ 200 million on Versailles when people did not have enough for bread, but now I forgave him. It's incredibly beautiful! You look, stare your eyes 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 lie, just a fabulous dream. "

Indeed, Versailles's “fairytale dream” still amazes

the scale of the regular layout, the magnificent splendor of the facades and the splendor of the 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 a piece of paradise intended for the French aristocracy.

"Fabulous dream"

Versailles.

Louis Leveaux

Jules Hardouin-Mansart

In creating the architectural appearance of Versailles

architects participated Louis Leveaux (1612-1670),

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

(1613-1700). For a number of years they have

rebuilt and changed in its architecture, so

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

characteristic features of classicism.

André Le Nôtre

"Fabulous dream"

Versailles.

city \u200b\u200bof Versailles

Grand Palace

First rusticated on the model of Italian palazzo-era

Renaissance. On the second , front door, are high

arched windows, between which there are Ionic columns and pilasters. Tier crowning the building gives the appearance of the palace monumentality: it is shortened and ends with sculptural

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

its classic severity and splendor.

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

"Fabulous dream"

Versailles.

Interiors of the Grand Palace of Versailles

Interiors Of the Grand Palace are decorated in a baroque style: they are replete with sculptural decorations, rich decor om in the form of gilded moldings and carvings, many mirrors and exquisite furniture. Walls and ceilings are covered with colored

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

panels and tapestries on mythological themes glorify the king

Louis XIV.

Massive bronze chandeliers with gilding complete

the impression of wealth and luxury.

"Fabulous dream"

Versailles.

Palace of Versailles

Halls of the palace (their about 700 ) form infinite suites and are intended for ceremonial processions, lavish festivities and masquerade balls. In the largest ceremonial 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 were matched by mirrors on the other. Under sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

Mirror gallery

"Fabulous dream"

Versailles.

Versailles park

In vases (there were

near 150 thous. ) there were fresh flowers that were changed like this

so that Versailles is in constant color at all times

of the year.

Decorative compositions amazed with their ceremonial splendor Charles Lebrun (1619-1690) at Versailles and Louvre. Proclaimed by him "Method of depicting passions", suggesting pompous praise of dignitaries, brought the artist a dizzying success. In 1662 he became the king's first painter and then director of the royal manufactory tapestry s (hand-woven carpet paintings, or trellis ) and the head of all decorative work at the Palace of Versailles.

"Fabulous dream"

Versailles.

Basin n Latona.

Fountains of Versailles

palace. 1689 g.

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In gardens and dances of disorder

They could not stand it.

The yews are frozen, as if in a trance,

The bushes equalized the formation,

And squatted in curtsy

Memorized flowers.

V. Hugo

(Translated by E.L. Lipetskaya)

N.M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in "Letters of a Russian Traveler": “Hugeness, perfect harmony of parts, 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, whom the brave genius everywhere seated on the throne proud Art, and the humble Nature, like a poor slave, threw 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.

Concorde Square.

After the completion of the main construction work in Versailles, at the turn of the 17th-18th centuries, Lenotre launched an active work on the redevelopment of Paris. He made a breakdown a park and Tuileries , clearly fixing the central axis on the extension of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt, concord square .

The great axis of Paris gave a completely different interpretation of the city that met the requirements of grandeur, grandeur and splendor. The composition of open urban spaces, the system of architecturally designed streets and squares became a 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 the Patriotic War of 1812, new priorities appeared in urban planning, consonant with the spirit of their time.

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

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

Place de la Bastille.

Architectural

ensembles

Paris. Empire style.

Style empire became the personification of the political power and military glory of Napoleon, served as a kind of manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new era. Large architectural ensembles of open

squares, wide streets and avenues, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.

Versailles, Grand Palace

Architectural

ensembles

Paris. Empire style.

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

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

The great army on Place Vendome ... Similar to the ancient Roman column of Trajan, it should, according to the architects J. Honduin and J. B. Leper , express the spirit of the New Empire and the thirst for greatness of Napoleon.

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

Architectural

ensembles

Paris. Empire style.

Vendome

square.

Paris

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

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

In the interior bright decoration of palaces and public buildings, solemnity and stately 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, there remained works of art in the Empire style, clearly testifying to its former greatness.

"I love power, but as an artist ... I love it in order to extract sounds, chords, harmony from it."

Features:

classicism

in architecture

Late classicism - empire - style in architecture, decorative applied and fine arts of the first third of the 19th century in European countries, which completed the development of classicism

Features:

classicism

in architecture

Risalit (ledge) - part of the building that extends beyond the main line of the facade

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

herms (tetrahedral pillars topped with a head or bust)

Features:

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 after another, connected on top of each other with a wooden crate, cased

climbing plants along the paths of parks and gardens.

Features:

classicism

in architecture

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

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

test questions

1. Why is Versailles one of the most outstanding works? Explain your answer.

2. As urban planning ideas of classicism of the XVIII century. found their practical embodiment in the architectural ensembles of 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. How is the connection between Baroque and Classicism architecture found expression? What ideas did classicism inherit from the baroque?

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

Creative workshop

1 . Take your classmates on a distance 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 classicist ensembles of Paris (St. Petersburg or its suburbs).

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

4. Get acquainted with the paintings of the Russian artist A. Benois (1870-1960) from the cycle “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 picture-symbols?

Themes of presentations, projects

• "Formation of classicism in French architecture of the 17th-18th centuries";
• "Versailles as a model of harmony and beauty of the world";
• "A walk around Versailles: the connection between the composition of the palace and the layout of the park";
• "Masterpieces of Western European Classicism Architecture";
• "Napoleonic Empire style in French architecture";
• Versailles and Peterhof: Comparative Experience;
• "Artistic discoveries in the architectural ensembles of Paris";
• "Places of Paris and the development of the principles of regular city planning";
• "Clarity of composition and balance of volumes of the cathedral of the House of Invalids in Paris";
• "Concorde Square - a new stage in the development of urban planning ideas of classicism";
• “The severe expressiveness of volumes and the parsimony of the decor of the Church of Saint Genevieve (Pantheon) 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 to ...
• I was surprised ...
• I wanted…

Literature:

• Programs for educational institutions. Danilova G.I. World art culture. - M .: Bustard, 2011
• Danilova, G.I. Art / MHC. 11 cl. Basic level: textbook / G.I. Danilov. M .: Bustard, 2014.
• Moroz Irina Vasilievna, http://infourok.ru/prezentaciya_po_mhk_klassicizm_v_arhitekture_zapadnoy_evropy_11_klass-163619.htm

Characteristic features of the architecture of classicism. CHARACTERISTIC FEATURES OF ARCHITECTURE
CLASSICISM.
Orientation to the best achievements of ancient culture -
Greek order system, strict symmetry, clear
proportionality of parts and their subordination to the general
idea.
The dominance of simple and clear forms.
Calm harmony of proportions.
Preference for straight lines.
Unobtrusive decor that follows the outline of the subject.
Simplicity and nobility of decoration.
Practicality and expediency.

MASTERPIECES OF CLASSICISM IN
ARCHITECTURE OF RUSSIA.
Basil
Ivanovich
Bazhenov.
Pashkov house. 1784
- 1788 Moscow.

Vasily Ivanovich Bazhenov.

VASILY IVANOVICH BAZHENOV.
Palace-park
ensemble in
Tsaritsyno.
1775 – 1785
biennium Moscow.

The palace ensemble in Tsaritsyno.

PALACE ENSEMBLE IN
TSARITSYNO.

Vasily Ivanovich Bazhenov.

VASILY IVANOVICH
BAZHENOV.
1737 - 1799, graduated from the Academy
arts in St. Petersburg and
continued his education in Italy and
France. All my life I dreamed
to build structures "to glory
great empire, to its honor
century, to unparalleled memory
future times, for decoration
capital city, to the joy and
the pleasure of their people. "

Masterpieces of Classicism in Russian Architecture.

MASTERPIECES OF CLASSICISM IN
ARCHITECTURE OF RUSSIA.
Matvey
Fedorovich
Kazakov.
Senate building in
Moscow Kremlin.
1783.

Matvey Fedorovich Kazakov.

MATVEY FYODOROVICH KAZAKOV.
Petrovsky
palace. 1775
- 1782
Moscow.

Petrovsky Palace.

PETROVSKY PALACE.

Matvey Fedorovich Kazakov.

MATVEY FYODOROVICH
KAZAKOV.
(1738 - 1812) Received
education in Petersburg
Academy of Arts. In his
creativity focused on
Russian architectural
traditions. In his
classical works
motives are combined with
traditional
Old Russian.

Karl Ivanovich Rossi.

KARL IVANOVICH ROSSI.
1775 - 1849, son
Italian ballerina,
who came to Russia in
80s of the 18th century. IN
1816 - chief
architect at court
Alexandra 1. Built in
St. Petersburg
Mikhailovsky Palace,
ministry buildings and
arch of the main headquarters on
palace square.

Masterpieces of Classicism in Russian Architecture.

MASTERPIECES OF CLASSICISM IN
ARCHITECTURE OF RUSSIA.
Carl Rossi.
Alexandrinsky
theatre. 1828 -
1832 St.Petegburg.

Carl Rossi.

CARL ROSSI.
Mikhailovsky
palace. St. Petersburg

Auguste Ricard de Montferrand.

Auguste Ricard de Montferrand.
1786 - 1858, Russian
architect, by
French origin. FROM
1816 worked in Russia.
Built Alexandrovskaya
column (1830 - 1634) in
St. Petersburg.

Masterpieces of Classicism in Russian Architecture.

MASTERPIECES OF CLASSICISM IN
ARCHITECTURE OF RUSSIA.
Auguste
Montferrand
Isaakievsky
the cathedral. 1818 -
1830 St. Petersburg.

• Novotroitskaya secondary school.

• Completed: 11th grade student
• Lamonova Svetlana.
• Head: MHC teacher:
• Cherkasova R.A.

• year 2009.

• Classicism, as a direction, was first mentioned by Italian thinkers, but it received its development in France, which is considered its ancestor. French classicism, while remaining faithful to all the basic principles of this trend, was no less luxurious and magnificent than everything else that the hand of French masters only touched.
• In contrast, classicism in Germany has become a much more ascetic trend, promoting freedom of space, tightly fitted forms and clear, strict silhouettes. This is the true kingdom of reason, reason in everything, especially in architecture.

• I must say that Russian classicism has managed to combine the features of all the aforementioned trends, adding to them its own unique features. Like everything that passes through the prism of perception of Russian art and culture figures, classicism has become more "vital" and less static in Russian architecture and sculpture. In addition, it was with classicism that the rise of Russian science and education began. That is why we can assert that in no other country in Europe has classical ideology left such a clear trace as in Russia. Here, this trend is associated with the emergence of educational institutions, the development of archeology, history, translation activities.

• The flourishing of Russian classicism belongs to the last third of the 18th - 1st third of the 19th centuries, although already at the beginning of the 18th century. marked by a creative appeal (in the architecture of St. Petersburg) to the urban planning experience of French classicism of the 17th century. (the principle of symmetric-axial planning systems). Russian classicism embodied a new, unprecedented for Russia in scope, national pathos and ideological fullness of the historical stage of the flourishing of Russian secular culture.

• Early Russian classicism in architecture (1760-70s; J. B. Vallin-Delamot, A. F. Kokorinov, Yu.M. Felten, K. I. Blank, A. Rinaldi) still retains plasticity, enrichment and dynamics of forms inherent in baroque and rococo. The architects of the mature period of classicism (1770s-90s; V.I.Bazhenov, M.F. Kazakov, I.E. noble estates and in the new, ceremonial buildings of cities.

• The peculiarity of Russian classicism in architecture is the unprecedented scale of organized state urban planning: regulations were developed for more than 400 cities, ensembles of centers of Kostroma, Poltava, Tver, Yaroslavl and other cities were formed; the practice of "regulating" urban plans, as a rule, successively combined the principles of classicism with the historically established planning structure of the old Russian city.

• The works of Russian classicism constitute not only the most important chapter in the history of Russian and European architecture, but also our living artistic heritage. This legacy continues to live not as a museum value, but also as an essential element of the modern city. It is almost impossible to attach the name of architectural monuments to buildings and ensembles created in the 18th and early 19th centuries - they so firmly preserve creative freshness, free from signs of old age.

• After 1932, Russian architecture was
• only one direction allowed, one
• style, later called "Stalinist
• empire style ". Built in this style
• huge buildings with columns, stucco and
• sculptures could and should have
• glorify the triumph for centuries
• communist empire. This official style existed in the Soviet Union for almost a quarter of a century. Until 1955. Its top can be considered seven high-rise buildings in Moscow. They began to be built three years after the end of World War II, when most of the cities and villages of the European part of the USSR were still in ruins. But the Soviet government needed to demonstrate to the West its strength, its inexhaustible potential.
• Let's remember these seven "skyscrapers":
• - a complex of buildings of the Moscow University on the Sparrow (then Lenin) Hills; hotel "Ukraine" on Kutuzovsky prospect; the building of the Ministry of Foreign Affairs on Smolenskaya Square; administrative and residential building at the Red Gate; hotel "Leningradskaya" near the square of Three stations; residential building on Kotelnicheskaya embankment; residential building on Vosstaniya square.

• These are the architectural landmarks of the new state space of the capital. The new scale is intended to make Moscow, along with the transformed nature: reversed rivers and deserts that have become flowering gardens, a new natural-geographical phenomenon, on a scale with the mountains and seas of the socialist homeland. Since that time, any new building, be it a library (Library named after Lenin, now the State Russian Library), theater (Theater of the Red Army, now Theater of the Russian Army), educational institution (Moscow State University, Moscow State Technical University), publishing house (Pravda, since 1992 Years "Press") seeks to appear as the architectural embodiment of the state, any institution through architecture tries to look like an integral part of the state system, to declare its presence in the hierarchy of power.

• The name of Matvey Kazakov is firmly connected with all
• classic (pre-fire) Moscow, because
• it was its main, best buildings that gave
• then face the city. Almost all of them were
• built in the style of mature classicism.
• Kazakov is almost the only one of the large
• artists of the Enlightenment in Russia created
• what is called a school. With full
• the reason is Russian
• classicism of the Cossack school. By the way,
• even the house of the architect in Zlatoustovsky lane was not just a family home, but also a kind of home university of arts. Here, under the leadership of Kazakov, an architectural school operated for many years. Among his students are architects Rodion Kazakov, Egotov, Sokolov, Bove, Tyurin, Bakarev.
• Thanks to the efforts of many of them, Moscow, Kazakovskaya Moscow, burned down in 1812 was restored. The architect himself did not survive those disastrous events. Before the French entered Moscow, the family took the old master to Ryazan. There he met the news of the death of the city, to which the labors of his whole life were given.

• Kazakov Matvey Fedorovich.

• In Russia in the 18th century, architecture was perhaps the most prosperous art form, which was especially clearly embodied in the work of Vasily Ivanovich Bazhenov, although he managed to realize an insignificant part of his grandiose plans. Bazhenov was also one of the best practitioners and builders of his time. The buildings designed by him were distinguished by both ease of planning and elegance of form.

• Bazhenov Vasily Ivanovich.