Classicism is a style of painting that began to develop during the Renaissance. Translated from Latin "classicus" means - "exemplary". In simple words, classicism at the very dawn of its formation was considered ideal in terms of painting. Art style developed in the 17th century and began to gradually disappear in the 19th century, giving way to such trends as romanticism, academicism and realism. Renaissance The style of painting and sculpture of classicism appeared at a time when artists and sculptors turned to the art of antiquity and began to copy many of its features. Classicism expresses the exact image, but the figures in the paintings of artists look quite sculptural, one might even say exaggerated - unnatural. People on such canvases may seem like frozen sculptures in "talking" poses. The poses of people in classicism speak for themselves what happens in this moment and what emotions this or that character experiences heroism, defeat, grief and so on. All this is presented in an exaggerated - ostentatious manner.

Classicism Classicism, which was built on the foundations of the ancient depiction of men and women of an idealized athletic or exaggeratedly feminine physique, required Renaissance artists and artists of subsequent periods to depict people and animals in their paintings in this form. Therefore, in classicism it is impossible to find a man or even an old man with flabby skin or a woman with a shapeless figure. Classicism is an idealized image of everything that is present in the picture. Since in the ancient world it was accepted to portray a person as an ideal creation of the gods, which has no flaws, the artists and sculptors who began to copy this style fully began to correspond to this idea. Also, classicism often resorted to ancient mythology. With the help of ancient Greek and Roman mythology, both the plots from myths themselves and the plots modern for artists with elements of ancient mythology could be depicted. Mythological motifs in the paintings of classical artists subsequently took the form of symbolism, that is, through ancient symbols, artists expressed this or that message, meaning, emotion, mood.

Nicolas Poussin Born in Normandy in 1594. He is considered the most significant French painter of the 17th century After an initial training in Rouen in 1612, he came to Paris, then wandered around Italy and in 1624 settled in Rome, where he lived for the rest of his life. him and the works that have come down to us already date back to the Roman period. He carried out large orders and became the recognized head of classicism. The work of this master became the pinnacle French classicism and influenced many artists of subsequent centuries

"Healing of the Blind" The painting "Healing of the Blind" is written on the gospel story. Against the backdrop of a rather harshly executed landscape with picturesque architecture among the clumps of trees, a group of people is shown, consisting, as it were, of two parts: Christ with the disciples and a group of townspeople with a kneeling blind man, whom Christ touches hand

"Liberated Jerusalem" Most of the plots of Poussin's paintings have a literary basis. Some of them are written based on the poet's work. Italian Renaissance Torquato Tasso "Liberated Jerusalem", which tells about the campaigns of the crusader knights in Palestine

"Landscape with Polyphemus" An important place in Poussin's work was occupied by the landscape. It is always inhabited by mythological heroes. This is reflected in the titles of the works: "Landscape with Polyphemus", "Landscape with Hercules" But their figures are small and almost invisible among the huge mountains, clouds and trees Characters of ancient mythologies act here as a symbol of the spirituality of the world. The same idea is expressed by the composition of the landscape, simple, logical, orderly

Claude Lorrain () Claude Lorrain was a contemporary of Poussin The real name of the artist is Claude Gellet, and he received the nickname Lorrain by the name of his place of birth in the province of Lorraine As a child, he came to Italy, where he began to study painting. The artist spent most of his life in Rome

Morning in the harbor of Lorrain devoted his work to the landscape, which in France of the 17th century. was a rarity. His canvases embody the same ideas and compositional principles as the landscapes of Poussin, but are distinguished by a greater subtlety of color and masterfully constructed perspective. Lorrain was interested in the play of tones, the image of air and light on canvas

Noon The artist gravitated toward soft chiaroscuro and even diffused lighting, which makes it possible to convey the effect of “dissolving” the outlines of objects in the distance. The figures of the characters in the foreground seem almost invisible compared to the epic majestic trees, mountain slopes, and the sea surface, on which light plays with gentle glare. It is Lorrain who follows considered the founder of the traditions of the French landscape

Charles Lebrun () The extensive legacy of Charles Lebrun perfectly traces the changes that French classicism underwent. Having received the title of the first painter of the king, Lebrun participated in all official projects, primarily in the design Grand Palace at Versailles His murals glorified the power of the French monarchy and the greatness Louis XIV Lebrun painted the Sun King and many portraits. His customers were mainly royal ministers and the court aristocracy. The painter indulged their tastes in everything, turning his paintings into a ceremonial theatrical performance. This is how French Chancellor Pierre Seguier is shown: this politician received the nickname “a dog in a big collar” during his lifetime ”, but Lebrun did not even hint at his cruelty, a nobleman with a noble posture and a face full of wise dignity, sits on a horse surrounded by retinue
Entry of Alexander the Great into Babylon Thanks to Lebrun, the French Royal Academy of Painting and Sculpture was founded in 1648, he led the Royal Manufactory of Tapestries and Furniture for many years. pedagogical activity at the academy, Lebrun proved himself to be a real dictator, insisting, above all, on careful training in drawing and neglecting color. Referring to the authority of Poussin, he imperceptibly turned his principles into a dead dogma

Translated from the Latin "classicus" means - "exemplary". In simple words, classicism at the very dawn of its formation was considered ideal in terms of painting. The artistic style developed in the 17th century and began to gradually disappear in the 19th century, giving way to such trends as romanticism, academism (a combination of classicism and romanticism) and realism.

The style of painting and sculpture of classicism appeared at a time when artists and sculptors turned to the art of antiquity and began to copy many of its features. The ancient art of Greece and Rome during the Renaissance produced a real surge of interest in works of art and creativity. The authors of the Renaissance, who today are considered one of the greatest creators in history, turned to ancient motifs, plots, and most importantly, the forms of depicting human figures, animals, environments, compositions, and so on. Classicism expresses the exact image, but the figures in the paintings of artists look quite sculptural, one might even say - exaggeratedly unnatural. People on such canvases may seem like frozen sculptures in "speaking" poses. The poses of people in classicism speak for themselves what is happening at the moment and what emotions this or that character is experiencing - heroism, defeat, grief, and so on. All this is presented in an exaggerated and ostentatious manner.

Classicism, which was built on the foundations of the ancient depiction of men and women of an idealized athletic or exaggeratedly feminine physique, required Renaissance artists and artists of subsequent periods to depict people and animals in their paintings in this form. Therefore, in classicism it is impossible to find a man or even an old man with flabby skin or a woman with a shapeless figure. Classicism is an idealized image of everything that is present in the picture. Since in the ancient world it was accepted to portray a person as an ideal creation of the gods, which has no flaws, the artists and sculptors who began to copy this style fully began to correspond to this idea.

Also, classicism often resorted to ancient mythology. With the help of ancient Greek and Roman mythology, both the plots from myths themselves and contemporary plots for artists with elements of ancient mythology (antique architecture, gods of war, love, muses, cupids, and so on) could be depicted. Mythological motifs in the paintings of classical artists subsequently took the form of symbolism, that is, through ancient symbols, the artists expressed this or that message, meaning, emotion, mood.

Paintings in the style of classicism

Gros Antoine Jean - Napoleon Bonaparte on the Arcole Bridge

Giovanni Tiepolo - Cleopatra's Feast

Jacques-Louis David - Oath of the Horatii

Greuze Jean Baptiste - Spoiled Child

The formation of classicism in Russia The emergence and formation of classicism in Russia is closely connected with the development public thought and educational ideas of the second half of the eighteenth century. The ideas of citizenship and duty were widely developed, as well as moral education human citizen. Classicism as new artistic direction decided in the 1760s. He chose to imitate the ancient classics and valued her for the clarity of form and the logic of thought, but most of all - for the ideal of a citizen she created. The basis of the aesthetics of classicism was the assertion that art in one perfect image beauty is united by what in reality exists in separate and disparate parts. Art must make up for the beauty and harmony that is missing in nature as a whole. In Russia, the style of classicism captured a fairly large time period, so there is a division into chronological stages. The first period - 1760 -1780's - early classicism, mature classicism "fits" in the last twenty years of the eighteenth century. The beginning of the 19th century gave rise to a new name for the late phase of classicism. In Napoleonic France, the so-called "empire style" was born - the Empire style, which also spread to Russia.

A. P. Losenko - the founder of Russian classicism A. P. Losenko (1737 -1773) is rightly considered the founder of the academic school of painting of Russian classicism. One of the best pictures painter - "Hektor's Farewell to Andromache" The plot of the work is taken from the VI book of the "Iliad" by Homer. Hector, son of the Trojan king Priam, says goodbye to his wife and young son. He goes to defend the city of Troy besieged by the Achaeans.

LOSENKO DOESN'T EXACTLY ILLUSTRATE THE CONTENT OF THE THIS SCENE. USING INDIVIDUAL MOTIFS OF THE ANTIQUE EPOS, THE ARTIST INVESTED INTO THE WORK A DIFFERENT CONTENT, COMPLETELY BASED ON THE PRINCIPLES OF CLASSICISM. LOSENKO'S PLAN IS BASED ON THE IDEA OF DUTY TO THE HOMELAND AND HEROIC SELF-SACRIFICE IN THE NAME OF THE HOMELAND. THIS HIGH IDEA IS SUBJECTED TO THE ALL DECISION OF THE WOOD. EVERYTHING PERSONAL, DEEPLY HUMAN, FALLS BACK. COMPARED WITH THE HOMERIC HEROES, THE IMAGES CREATED BY THE CLASSICIST ARTIST APPEAR MORE DISCHARGED, BUT HIGH. THEY LOSE THEIR VITALITY AND VARIETY, BUT BECOME EXPRESSIONS OF ONE IDEA, ONE FEELING. THE COMPOSITION OF THE PICTURE IS CLEARLY DESIGNED AND LOGICALLY BUILT. THE TWO MAIN FIGURES, HECTOR AND ANDROMACHE, ARE PUSHED FORWARD AND POSITIONED IN THE CENTER. THEY ARE INCLUDED IN A CLASSICAL TRIANGLE AND HIGH LOOKING WITH LIGHT. ON THE LEFT IS A GROUP OF GUARDS AND WARRIORS WITH A BANNER. RIGHT - SERVANTS HOLDING HECTOR'S HELMET, SPEAR AND SHIELD. THEY SURROUND THE MAIN CHARACTERS IN A SEMI-CIRCLE. SECONDARY FIGURES PERFORM THE FUNCTION OF MUTE EXTRAS, THEY DO NOT PARTICIPATE IN THE ACTION. WARRIORS AND SERVANTS COMPOSE A PASSIVE "CROWD", WHICH IS OPPOSED TO ACTIVE "HEROES". HERE THE OFFICIAL VIEW OF HISTORY IS CLEARLY SHOWN AS ABOUT THE ACTS OF KINGS AND HEROES, THE PEOPLE CANNOT AND SHOULD NOT TAKE ANY PART IN THEM.

The main idea of ​​the work is embodied only by the central characters. The influence of classicism is felt in the solution of the main images no less clearly than in the solution of the composition. Hector in a pathetic pose, with outstretched hand, raising his eyes to the sky, vows to give his life for the freedom of Troy. Tragic pathos not only the posture and gesture of the hero are noted, but also his whole appearance, courageous and noble. Hector embodies the classic ideal of male beauty.

A classic example of the style of classicism in the portrait genre is the famous "Portrait of Catherine II - the Legislator in the Temple of the Goddess of Justice" (1783) by D. G. Levitsky. The conditionally rhetorical pathos of the image is embodied with the help of the plastic expressiveness of the posture and gesture characteristic of this style. The figure of Catherine is put forward on foreground and illuminated. With an outstretched hand, she points to an altar on which poppy flowers are burned (poppy is a symbol of sleep).

IN portrait characteristic Catherine the Great, the universally significant, official and high, so valued in classicism, comes to the fore, obscuring the personal and emotional side of the soul. The “God-like” empress is presented in an antique outfit – the dress is likened to a tunic, on her head is not an imperial crown, but a laurel Nenets.

An example of mature classicism in Russian history painting the painting “The election of Mikhail Fedorovich Romanov to the kingdom on March 14, 1613” by G. I. Ugryumov (17641823), a follower of A. P. Losenko, can serve.

The artist chose one of important points national history- the election of the young boyar M.F. Romanov to the kingdom, who became the founder of a new dynasty that ruled in Russia until 1917. In the transfer of the plot, the painter proceeded from the official interpretation of this event by historians: Mikhail, realizing the difficult situation in which Russia was, only yields to the requests of the people. Embarrassed young man putting right hand to the heart, the other, as it were, moves away from the embassy that has come to him. A group of main characters - Michael, his mother, and Archbishop Theodoret - are represented in the center of the composition, on the pulpit in front of the iconostasis. The heroes are highlighted compositionally, as well as with the help of light and bright colorful combinations. On the right are well-known historical figures. Their gestures are full of gravity and solemnity. In contrast, they depict common people on the left, ardently and invitingly striving for the newly-appeared king. Ugryumov paints with great skill a rich interior, a carved iconostasis, and magnificent clothes of the depicted people.

The Colosseum, like no other monument, is closely associated with ancient mythology and history. As a true classicist artist, Matveev strove to express the idea of ​​beauty and heroic sublimity, to convey the majestic breath of the past. " Main character» The Colosseum is located strictly in the center of the composition. The painter divides the space. Following the rules of classicism, Matveev made plans parallel to the canvas. conveys exactly the outlines of the object with a contour. In the foreground, stones, bushes and lines and chiaroscuro characterize its structure, and the granite parapet color reflects the color of the object; The length of neighboring objects. Classicism elevates everything of the second plan revealed not only observed in nature into a certain absolute, thicker than the Colosseum, but also from a foreshortening, so the local color turns into the soil and buildings and gardens of Rome into an ideal race of objects. The whole depth on both sides of the vegetation is green, the ruins are the Colosseum. The third plan is brown, yellow - for architectural details, the background for the main object. gray - for the walls of houses.

Portraits of mature classicism (Empire) in the work of V. L. Borovikovsky An example of an Empire portrait can be the work of V. L. Borovikovsky (17571825) “Portrait of M. I. Dolgoruky”, which was created by the artist in 1811

Perfect figure beautiful woman a clear silhouette looms against the smooth background of the wall. Borovikovsky combined here the fullness of plastic forms with the beauty of the silhouette and the nobility of color. The lines are elastic, the volumes are expressive. The artist builds the space in such a way that the dark red velvet of the dress perfectly sets off the whiteness of the bare shoulders and arms. The artist is extremely concise and expressive. Over time, the lofty ideas of classicism began to become obsolete. Society was "tired" of the repeated repetition of ready-made samples, and the apologists of the style continued to insist that perfection had already been achieved by ancient art and there was nothing more to invent, invent, discover. Gradually, classicism turned into academism.

Europe in the 17th - 19th centuries, the most important feature of which was a deep appeal to ancient art as an ideal, standard, - classicism. In painting, as well as in sculpture, architecture and other types of creativity, the traditions of the Renaissance continued - faith in the power of the human mind, admiration for the ideals of measure and harmony

Classicism trends appeared in Italy at the end of the 16th century. The pan-European style began to take shape in the bosom of France. The aesthetic value of this era has only timeless, enduring. Great value given the educational and social function of art. Therefore, classicism in painting puts forward the latest ethical standards that forms the images of his heroes: submission to the common personal, passions - reason, duty, the supreme interests of the public, the laws of the universe, resistance to the vicissitudes of life and the cruelty of fate. Orientation to enduring images, to a reasonable beginning determined the regulation of artistic laws, the normative requirements of classical aesthetics, a strict hierarchy of existing genres - from “low” (portrait, landscape, still life) to “high” (mythological, historical, religious). Each genre put forward meaningful strict boundaries and formal clear signs.

The first to introduce classicism into painting was the Frenchman N. Poussin, and he is its founder. The artist's paintings - "Death of Germanicus", "Rinaldo and Armida", "Arcadian shepherds", "Finding of Moses", etc. All of them are marked by harmonious rhythmic color and structure, sublimity of ethical and philosophical content.

Classicism in Russian painting was expressed by the assertion of the beauty of the individual, unique, unusual. The highest achievement of this era in painting is not a historical theme, but a portrait (A. Antropov, A. Agrunov, F. Rokotov, D. Levitsky, V. Borovikovsky, O. Kiprensky). in takes pride of place, because it has its own discoveries and features. O. Kiprensky, for example, discovered not only new ones, but also latest features painting. All his portraits are different: each has its own original pictorial structure. Some are built on the picturesque contrast of shadow and light. In others, a subtle gradation of similar, close colors appears.

Russian classicism in painting is necessarily associated with Bryullov's priceless canvases. They are distinguished by a fusion of academic classicism and romanticism, novelty of plots, theatrical effect of plasticity and lighting, and complexity of composition. A. Ivanov managed to overcome many patterns inherent in academic technique and gave his works the character of sacrificial judgments to ideas.

Classicism in Russian painting was also promoted by such famous artists: I. Repin, I. Surikov, V. Serov, I. Shishkin, A. Savrasov, I. Levitan. All of them individually did a lot for the art of their country, and taken together - for the culture of the whole world.

Classicism is the leading style in the art of absolutism. Architecture and Fine Arts of Classicism.

How the artistic style of classicism (from Latin classicus - exemplary) began to take shape in European art in the 17th century

Its most important feature was an appeal to the principles of ancient art: rationalism, symmetry, direction, restraint and strict correspondence of the content of the work to its form.

This style developed in France, reflecting the assertion of absolutism in this country. In parallel with the Baroque style, classicism solved the tasks of its time from other positions and by other visual means - the glorification of the power of the absolute monarch.

There are two stages in the development of classicism: the 17th century. and XVIII - early XIX in.

The principles of classicism are based on the ideas of philosophical rationalism, which upholds ideas about the rational laws of the world and the beautiful ennobled nature. According to this concept, a work of art is the fruit of reason and logic, which triumph or conquer the chaos and fluidity of life perceived by the senses.

For the classicists, only the timeless, that is, the enduring, has aesthetic value.

Classicism put forward new ethical norms, since it attached great importance to the social and educational function of art.

The heroes of the works of classicism are resistant to the vicissitudes and cruelty of fate. For them, the common is higher than the personal, passions are subordinated to duty, reason, and public interests.

The aesthetics of classicism, proceeding from the orientation towards a reasonable beginning, determined the corresponding requirements, i.e. normative rules. A strict hierarchy of genres was established. So, in painting, historical paintings, mythical, religious were recognized as "high" genres. The "low" included landscape, portrait, still life.

For sculpture and painting, a clear demarcation of plans and smoothness of forms were established: if there was movement in the figures, then it did not violate their calm static and plastic isolation. For a clear selection of objects, a local color was used: brown - for the near, green - for the middle, blue - for the distant plan.

In architecture public and palace buildings, urban ensembles, palace and park complexes are imbued with the spirit of solemn splendor. Their spatial solution is distinguished by clear logic, facades - by the harmony of compositional construction with proportionality of parts, architectural forms - by simplicity and rigor.

Strict order is introduced even into nature: the masters of classicism created a system of so-called regular park. The architects of classicism are widely drawn to the ancient heritage, studying general principles antique architecture.

The spirit of classicism did not favor the expression of religious and mystical ideas, and therefore cult buildings do not have the great importance in the architecture of classicism, as in the baroque. Classicism left such wonderful monuments of artistic synthesis as sculpture and arts and crafts in an architectural ensemble.

In fine arts Classicism, one of the main themes was the theme of duty, the victory of the public over the personal, the theme of affirming the highest ethical principles: heroism, valor, moral purity, which find their artistic embodiment in images full of sublime beauty and grandeur. Classicism opposes the contradictions and imperfections of reality with the principle of rationality and severe discipline, with the help of which a person must overcome life's obstacles.

According to the aesthetics of classicism, reason is the main criterion of beauty. The artist in his work must proceed from perfect samples, which were considered works of ancient art and the High Renaissance.

In the means of visual language, the theory of classicism gives preference to drawing, and color is given a subordinate role. Recognizing the beauty of real life, the beauty of nature, the artists of classicism preferred the image of nature, which serves not only as an active background in plot compositions, but often forms the defining basis in the overall structure of the picture.

Artists: The leader of French classicism in painting is Jacques Louis David (1748-1825). "Oath of the Horatii"; "Coronation of Napoleon"; "Andromache mourning the death of Hector"; "Death of Marat".

Jean Auguste Ingres (1780-1867) - a brilliant master of composition, strict fine drawing. He is the author of paintings on historical and religious subjects ("The Vow of Louis XIII", "The Apotheosis of Homer"). He entered the history of French art as a first-class realistic portrait painter. "Portrait of Bertin"; series "Odalisques", "The Great Bather".

Nicolas Poussin (1594-1665) - the founder of classic painting, the main stylistic direction in France; "Tancred and Erminia", "Death of Germanicus". The majestic heroic landscapes of Poussin are beautiful: “Landscape by Polyphemus”, “Arcadian shepherds”.