The basic principles that served as the backbone of the supreme power in ancient Egypt were inviolability and incomprehensibility. From the very emergence of the Egyptian state, they determined the deification of its sovereign rulers - the pharaohs. Their unlimited power was based on land wealth and the exploitation of huge masses of slaves. Already in the 5th millennium BC. rudimentary forms of state power appear, an apparatus of oppression created in the interests of the emerging class of slave owners. Even then, the dwellings of tribal leaders began to stand out among others for their size, and the graves were lined with bricks as this material was mastered. In addition, the leader's grave was rectangular, while ordinary members of the community were buried in ordinary oval pits. Particular attention was paid to the design of the leader's grave because it was believed that the "eternal" existence of his spirit ensured the welfare of the entire tribe. In Hierokonpolis, such a tomb of the leader was found, the clay walls of which were already covered with paintings. In the process of the formation of a class society and the formation of a unified

slaveholding state, the role of the pharaoh gradually increased. Thus, Egyptian society went from the tradition of honoring the leader of the tribe in the predynastic period to the complete deification of its ruler in the Old Kingdom. The pharaoh in ancient Egyptian society was thought of as the vicar of God in the flesh, and therefore received the official title of “good god”. In later times, the common name of the pharaoh was such a designation as “strong calf”, in honor of one of the most revered animals in Egypt - the bull. The ministers of religion taught: "Be afraid to sin against God and do not ask about his image." For the glory of the kings, for the glory of the unshakable and incomprehensible ideas on which they based their despotic rule, Egyptian art was also created. It was conceived not as a source of aesthetic pleasure, but primarily as a statement in amazing forms and images of these very ideas and the power that the pharaoh was endowed with. Art began to serve the interests of the top of the slave-owning state and its head, it was called upon, first of all, to create monuments glorifying the kings and to know the slave-owning despotism. Such works, by their very purpose, had to be performed according to certain rules, which contributed to the formation of canons, which became a brake on the further development of Egyptian art.

slide 2

• Art, as a manifestation of the free, creative powers of a person, the flight of his imagination and spirit, was often used to strengthen power. Sculptors, artists, musicians at different times created idealized majestic images of rulers-leaders.
• August from Prima Porto. Roman statue
• Narmer palette. Ancient Egypt

slide 3

• Triumphal Arch on Kutuzovsky Prospekt in Moscow
• The valor of warriors and commanders is perpetuated by works of monumental art. Equestrian statues are erected, triumphal arches and columns are built to commemorate the victories won.

slide 4

• Arc de Triomphe on the Champs Elysees in Paris Louis David
• Napoleon on horseback in St. Bernard Pass
• By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. On the walls of the arch are engraved the names of the generals who fought with the emperor.

slide 5

In 1814, in Russia, for the solemn meeting of the Russian liberator army, returning from Europe after the victory over Napoleon, wooden Triumphal Gates were built near the Tverskaya Zastava.

slide 6

In the XV century. Moscow becomes the center of Orthodox culture

• Moscow dungeon. End of the 16th century. Vasnetsov Apollinary Mikhailovich
• Moscow Kremlin under Dmitry Donskoy (Probable view of the Kremlin by Dmitry Donskoy before the invasion of Tokhtamysh in 1382). Vasnetsov Apollinary Mikhailovich (1856-1933)

Slide 7

Slide 8

Slide 9

• D. Levitsky. Catherine II
• The courtyard of the Moscow tsars is becoming a place of residence for many culturally educated Orthodox people.
• Among them are architects and builders, icon painters and musicians.
• Catherine considered herself a "philosopher on the throne" and favored the Enlightenment.
• Under her rule, the Hermitage and the Public Library appeared in St. Petersburg.
• She patronized various areas of art - architecture, music, painting.

Slide 10

• In the “Word about the destruction of the Russian land” it is said: “O bright and beautifully decorated Russian land! And you are surprised by many beauties; You are surprised by many lakes, steep mountains, great cities, wondrous villages, temples of God, - formidable princes ... you are full of everything, the Russian land! This beauty has inspired our people for centuries. Monuments of architecture and fine arts, icon painting are an excellent asset of society.
• The Moscow tsars considered themselves heirs of Roman traditions, and this was reflected in the words:
• "Moscow is the Third Rome, and there will be no fourth."
• To match this high status, the Moscow Kremlin is being rebuilt according to the project of the Italian architect Fioravanti.

slide 11

• Moscow Kremlin: symbol of Moscow and Russia. This is the former residence of Russian tsars and patriarchs. The Kremlin contains unique collection historical architectural and cultural items.
• Moscow Kremlin under Ivan KalitaWatercolor.A.M.Vasnetsov.

slide 12

Assumption Cathedral - one of the main cathedrals in Russia, where kings were crowned and patriarchs were buried

slide 13

Cathedral of the Archangel Michael, burial place of Russian tsars and princesses

Slide 14

• Annunciation Cathedral - the royal chapel.
• Armory Chamber, founded in 1720 by order of Peter I, the oldest Russian museum and a treasury of Russian art from ancient times to the present day

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In the XVIII century. opened new chapter Russian history. According to Pushkin's apt expression, Peter I "opened a window to Europe" - St. Petersburg was founded.

slide 16

• The choir of the sovereign's choristers has now been transferred to St. Petersburg and is becoming the Court Singing Chapel (often Peter I himself sang in this choir).
• The arts proclaim praise to the Lord and toast to the young tsar of all Russia.
• Now the Glinka Choir Chapel is a majestic monument of Russian culture, famous throughout the world.
• The chapel helps to maintain the connection of times and the continuity of traditions.

Slide 17

Bibliography:

• G. P. Sergeeva, I. E. Kashekova E. D. Kritskaya Art Grades 8-9 Textbook for general educational institutions Moscow "Enlightenment" 2009
• G.P. Sergeeva, I.E. Kashekova, E.D. Kritskaya. programs of educational institutions Music grades 1-7, Art grades 8-9 3rd edition, revised Moscow, Prosveshchenie, 2010.

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Introduction

1. Antiquity

1.1 Art and power of ancient Egypt

1.2 Art and power of antiquity. Ancient Greece and Ancient Rome

1.3 Art and power of Byzantium

2. Medieval

2.1 Art and power of France (XI-XIV centuries)

3. Renaissance period

3.1 Art and power of Italy (XIV-XVI centuries)

3.2 The art and power of Spain (XV-XVII centuries)

4. New time

4.1 Art and power of France (XVIII centuries)

4.2 Art and power in Russia (XIX centuries)

5. Power and art of the Soviet period in Russia (XX centuries)

6. Power and art in our time

Conclusion

Bibliography

Introduction

There is a certain regularity in the development of human art. Art was often used to enhance power. Through art, power strengthens its authority, and states and cities maintain their prestige.

Works of art embody the ideas of religion, the perpetuation and glorification of heroes. Musicians, artists, sculptors and architects in their time made majestic images of their rulers. They gave them extraordinary qualities, such as: wisdom, heroism, fearlessness, which aroused admiration and reverence in the hearts of ordinary people. All this is a manifestation of the traditions of ancient times - the worship of deities and idols.

Generals and warriors are immortalized in monumental art. Triumphal arches and columns are erected in honor of the victories won. New ideas are reflected in all art forms and power is no exception.

In accordance with this, in my work I set the following goalsandtasks:

aim research is to change art under the influence of power over the centuries in different countries peace

Tasks:

* analyze the dependence of the influence of power on art;

* explore the dependence of changes in artistic creativity under the influence of authorities in different countries of the world;

* identify the main features of power in fine arts;

* analyze the stages of change in the creative heritage under the influence.

object research is power in art.

Thingresearch- art of countries in different periods time.

methodicalbase made up: paintings by artists, sculptures, frescoes, temples, triumphal arches, monasteries.

Informationalbase- books on the history of art (T.V. Ilyina History, A.N. Benois, F.I. Uspensky), articles from Internet resources.

1. Antiquity

1.1 ArtandpowerancientEgypt

In the III millennium BC. e. as a result of the unification of the two states of Lower and Upper Egypt, one of the ancient states, which played an important role in the formation of ancient culture.

Egyptian art is very interesting in that many works created by the Egyptian people in the history of mankind were made for the first time. Egypt for the first time gave a monumental stone architecture, a realistic sculptural portrait, high quality products of artistic crafts. They superbly processed stones of various types, made the finest jewelry, beautifully carved wood and bone, made colored glass and transparent lightweight fabrics.

Of course, one cannot but say about the Great Egyptian pyramids, which can tell a lot about themselves. They tell us about a society so clearly organized that it became possible to build these artificial giant hills, in just the lifetime of the ruler.

The main distinguishing feature of Egyptian art is that it is aimed at embodying the needs of religion, in particular the state and funeral cult of the divine pharaoh. Religion has been an integral part that has influenced Egyptian culture throughout its existence.

Egyptian art was created for the glory of the kings, for the glory of unshakable and incomprehensible ideas, which were based on despotic rule. And this, in turn, was traced in the images and forms of these ideas themselves and the power that the pharaoh was endowed with. Art began to serve the tops of power, which in turn was called upon to create monuments that glorify kings and nobility of despotism. These works had to be done according to certain rules, which subsequently formed the canons.

An example of a monument glorifying the pharaoh is the Namerna slate, on both sides of which there is a relief image that tells of a historical event: the victory of the king of Upper Egypt Namerna over Lower Egypt and the unification of the Nile Valley into a single state. Here one can clearly see the emphasis, characteristic of this early class society, on the greatness and inequality of the ruler at the expense of proportionality. This principle can be traced in ancient Egyptian art for decades. In various frescoes, relief sculptures, the pharaoh is depicted several times larger than all other characters. The Sphinx of Khafre of the III millennium BC, which stands in front of the funeral temple of the pharaoh, amazes with its grandeur. This Sphinx is the largest in Egypt. Despite its huge size, the face of the Sphinx has the features of the pharaoh Khafre. In ancient times, the Sphinx, along with the pyramids, was supposed to inspire an idea of ​​​​the superhuman power of the ruler.

To emphasize the divine origin, greatness and power of the pharaohs, the sculptors made their rulers idealized. They showed physical strength, discarding minor details, but at the same time retained a portrait resemblance. An example of such works is the statue of Khafre, the ruler of the IV dynasty. Here the image of the ruler is full of majestic calm, he proudly sits on his throne. This statue has a cult character, which, according to the Egyptians, is the receptacle of the spiritual essence of the ruler. The portrait of Khafre is very real, but here the sculptor no longer showed a portrait resemblance, but the character of the pharaoh himself.

In addition to reliefs, frescoes and sculptures, temples were also erected in honor of the divine ruler. One of the best examples is the tomb of Queen Hatshepsut, which was built at the end of the 16th century. BC. in the Dray el-Bahri valley. This temple is dedicated to the sun god Amon-Ra, Hathor and Anubis, but the main deity is the queen herself. There are other monuments erected in her honor, for example, two obelisks that are in the sanctuary of the temple in Karnak, an inscription in the chapel of Stab el Antara. Despite the fact that this queen ruled for only 12 years, she left behind numerous monuments, but, unfortunately, she was not listed in the official lists of kings.

Thus, the cult of the pharaoh, which reached its apogee in the era of the Old Kingdom, became the state religion and found its embodiment in art, influencing the range of works of art: sculptural portraits of pharaohs, picturesque and relief images of scenes from the life of their families and, of course, pyramids and temples erected in honor of the ruler were of predominant importance in ancient Egypt.

1.2 ArtandpowerAntiquity.AncientGreeceandAncientRome

The concept of "ancient art" appeared in the Renaissance, when beautiful works Ancient Rome and Ancient Greece was considered exemplary. This is Greco-Roman antiquity covering the period from the 8th century BC. - VI century. AD At this time, the aesthetic ideal prevails. in painting, sculpture and applied arts the image of an ideally beautiful and harmoniously developed human citizen, a valiant warrior and a devoted patriot dominates, in which the beauty of an athletically trained body is combined with moral purity and spiritual wealth.

Greek masters studied the plasticity of movements, proportions and structure of the human body during Olympic Games. Artists achieved realism in vase painting and sculpture, for example, the statues of Myron "Discobolus", Polikleitos "Dorifor" and a statue for the Athenian Acropolis, Phidias.

Ancient Greek architects made a huge contribution to art. The rulers highly revered their gods and the Greeks erected numerous temples in their honor. They created the majestic style of the temple by combining architecture with sculpture.

To replace the classical period from the end of the 4th century. BC. comes a deeper understanding of the world, increases interest in inner world a person, the transfer of powerful energy, dynamics and justice of the image, for example, in the sculptures of Skopas, Praxiteles, Leochar, Lysippus. In the art of this time, there is also a passion for multi-figured compositions and huge statues.

The last three centuries in Greek civilization are called the era of Hellenism. Rome became the heir to the artistic art of the Hellenic civilization.

The Romans highly appreciated the heritage of Ancient Greece and contributed to further development ancient world. They built roads, water pipes and bridges, created a special system for the construction of public buildings through the use of vaults, arches and concrete.

The sculptural Roman portrait deserves great attention, which are distinguished by their accuracy and realism.

Emperors ordered to build triumphantarches that were dedicated to their victories. The emperor passed under the arch during the triumph. The rulers sought to strengthen their power at the expense of art. In the forums, squares and streets of cities there were statues of rulers. The sculptors depicted their leaders triumphant over their enemies, and sometimes the emperor could also look like a god. For example, Emperor Trajan ordered the construction of a column in honor of his victories, the height of which was as high as a seven-story building.

The Romans perfectly planned the cities, built the imperial baths - the baths, the amphitheater - the Colosseum, erected the temple of all the gods of the Roman Empire - the Pantheon, all this is a great heritage of the world.

Ancient art had the strongest development of the art of subsequent eras. It is difficult to overestimate its importance for the development of Western civilization.

1.3 ArtandpowerByzantium

Byzantine art culture associated more with religion. The church in Byzantium served secular power. The emperor was considered a servant of God on earth and relied on the church as on the bureaucracy. In such an environment, art was under the strict control of the church and the ruling classes.

Since Byzantium was under the pressure of all sorts of wars, its artistic work was aimed at rallying the people. Religious-state patriotism created a form of Byzantine art. At the same time, vital issues were resolved as spiritual ones. Their interpretation was to create aesthetic ideals, including state, religious and personal principles.

Temples played an important ideological and educational role, therefore, the most the best masters, which resolved the most significant construction and artistic problems. In architecture, complex interiors were created that, as it were, involved a person.

There was no development of sculpture in Byzantium as such, because sculpture was considered an idol. But there was a relief, in particular on ivory.

Painting was under strict church-state guardianship. Its development went along three channels: church mosaics and frescoes, icon painting and book miniatures. Here, strict rules in the depiction of saints and events from "sacred stories" were in advantage. The artist loses the opportunity to work from nature. Only a high degree of skill made it possible to fill canonical images with a wealth of human feelings and ideas.

It should also be emphasized that secular art occupied a large place in the artistic culture of Byzantium. Fortifications, residential buildings, palaces were built. Secular sculpture played an important role. Never disappeared from Byzantine painting miniatures that were of historical and natural science content. Most of these art monuments have not been preserved, but their significance for the artistic culture of Byzantium must be taken into account.

The complexity of the stylistic development of Byzantine art was further complicated by the fact that over time the limits of the spread of Byzantine culture also changed. As a result of wars and invasions of neighboring peoples, the borders of the state changed. Separate areas fell away from Byzantium, new art schools were formed in them.

2. Middle Ages

2.1 ArtandpowerFrance(XI- XIVcenturies)

Art at this time was influenced by churches and monasteries, which in turn were allies of royal power. Many politicians who strengthened the authority and power of kings were at the same time ministers of churches. For example, Abbot Suger is the builder of many churches and adviser to Ludwig VI and Ludwig VII. Therefore, art, in particular architecture, painting and sculpture, was influenced by the monasteries. The construction of monasteries was most often led not by townspeople, but by some monastic order or bishop, who was at the same time the feudal ruler of this city.

Romanesque architecture was integral monumental sculpture and stone carvings. She decorated capitals, portals that filled the entire facade, for example, Notre-Dame-la-Grand in Poitiers. Plastic decor can be traced in the churches of Burgundy (tympanums of the cathedrals in Vezelay and Autun) and Languedoc (Saint-Sernin in Toulouse, XI-XIII centuries),

Painting and sculpture acquired a monumental character. The outer facade was decorated with capitals, sculptures or reliefs. The walls inside the temple were painted with large frescoes and, as a rule, were not decorated with sculpture. One of the earliest monuments of sculpture, which is located on the facade of the temple, is the relief of the architrave of the church of Saint Jean de Fontaine in southwestern France. Monumental paintings were widespread in the churches of France. Now we have about 95 fresco cycles that have come down to us. The main monument is the frescoes of the church of Saint Saven sur Gartan in the region of Poitou (beginning of the 12th century), the rarest example that has preserved the picturesque decoration of France.

Secular farces and religious mysteries competed in the cities. Everywhere there was a struggle between the fantastic and the real and the mystical and the rational. But almost always in artistic creativity life was perceived in its contradictory and changeable balance.

An image of the art of the second half of the 13th century is the portal of St. Stephen on the south side of Notre Dame Cathedral (circa 1260-1270). The many countless statues of the Reims Cathedral, created during the 13th century, also belong to the masterpieces of high Gothic. 30-70s By the middle of the 13th century. a miniature took shape, according to the principle of decoration.

The masters of Gothic sculpture in the second half of the 14th century, during the period, nevertheless managed to show new forces, when the difficulties of the Hundred Years War sharply reduced construction work and the number of artistic orders. In the 13th-14th centuries. book miniature and stained glass painting were widespread. The main centers of stained glass art were in the 13th century. Chartres and Paris. A relatively large number of stained-glass windows have been preserved in Chartres Cathedral. A very good example of the transition from Romanesque to gothic style is the image of the Mother of God, sitting with the baby on her knees, who is on this moment is located in the part of the cathedral that survived the fire in 1194.

Miniatures of the late 13th-14th centuries. now they not only decorate, but supplement and comment on the text, acquiring an illustrative character. Typical works of the second half of the 14th century. these are the works of the miniaturist Jean Pucel, whose works include the Bible by Robert Bilsing (1327) and the famous Belleville Breviary (until 1343).

The medieval art of France played a huge role in the history of the art of its people and the peoples of all Western Europe. Its echoes (especially in architecture) lived for a very long time, receding into the past only by the middle of the 16th century.

artistic creative art power

3. Periodrenaissance

3.1 Italy(XIV- XVI)

The Italian Renaissance is a period of great achievement and change that began in Italy in the 14th century and lasted until the 16th century, marking the transition from the Middle Ages to modern Europe.

The most famous achievements are in the fields of painting and architecture. In addition, there were also achievements in science, philosophy, music and literature. In the 15th century, Italy becomes a leader in all these areas. The Italian Renaissance was accompanied by the collapse of politics. Therefore, all of Italy was divided into separate small states. The Renaissance had a great influence on Rome. In the 16th century, the Italian Renaissance reached its peak when there were foreign invasions that involved Italy in wars. Despite this, Italy retained the ideas and ideals of the Renaissance and spread throughout Europe, eclipsing the Northern Renaissance.

In art at this time, images of saints and scenes from scripture are common. Artists depart from any canons, saints could be depicted in modern clothes for those times. It was popular to portray Saint Sebastian, as he was believed to protect against the plague. Painting becomes more realistic, such as the works of Giotto, Masaccio, Leonardo da Vinci, Michelangelo, Botticelli.

Artists invent new colors, experiment with them. At this time, the profession of an artist is in great demand, and orders cost big money. The portrait genre is developing. The man was portrayed as calm, wise and courageous.

In architecture, the architect Filippo Brunelleschi had a great influence, according to whose designs the Church of San Lorenzo, Pallazo Rusellai, Santissima Annunziata, the facades of the churches of Santo Maria Navella, San Francesco, San Sebastiano and Sant'Anrea were built.

Thus, the perception of the world becomes more complex, the dependence of human life and nature is more clearly realized, ideas of the variability of life develop, the ideals of harmony and integrity of the universe are lost.

3.2 SpainXV- XVIIcenturies

The Spanish Renaissance is closely related to the Italian, but it came much later. The "golden age" of the Spanish Renaissance is considered late XVI until the second half of the 17th century.

The development of the heyday of Spanish culture is the unification of a previously fragmented country, under the rule of Ferdinand of Aragon and Isabella of Castile. The centuries-old war with the Arabs stopped, after which new lands were in the possession of Spain, which had not previously belonged to them.

Foreign architects, artists, sculptors were attracted to the royal court. For a short time, Spain became the most powerful European state.

After Philip II founded Madrid, the artistic life of the country was concentrated there, where palaces were built. These palaces were decorated with paintings by Spanish artists and great painters - Titian, Tintorentto, Bassano, Bosch, Brueghel. The courtyard became the main center for the development of art.

In architecture, under the rule of Catholic kings, churches were created in which they propagated the power and greatness of royal power. Buildings dedicated to Spanish victories were also created: for example, the church of the monastery of San Juan de los Reyes in Toledo - as a monument to the victories over the Portuguese in the battle of Toro, Escorial - as a monument to the victory over the French at San Quenten.

The most famous sculptors of that time are Alonso Berruguete, Juan de Juni, Juan Martinez Montañez, Alonso Cano, Pedro de Mena.

Thus, Spain made a significant contribution to the world history of art, which influenced the further attitude of people.

4. Newtime

4.1 ArtandpowerFrance(XVIIIin.)

In the 18th century in France there was a struggle against absolutism, the church, the aristocracy, freethinking, this struggle was preparing the country for the bourgeois revolution.

French artistic culture is on the rise. It departs from the previously used canons, religious painting is becoming a thing of the past, and secular realistic and "gallant" genres are becoming the leading ones. Artists turn to the intimate spheres of human life and small forms. Realism is embodied in the disclosure of the image of a person.

In the XVIII century, there were periodic exhibitions of the Royal Academy - Salons, which were held in the Louvre, as well as exhibitions of the Academy of St. Luke, which were held directly on the squares. A new, characteristic feature was the birth of aesthetics and the development of art criticism, which reflected the struggle of currents in art.

People at this time traveled around the countries and borrowed knowledge from each other. There are many Encyclopedias. People analyze works of art. For example, the works of Diderot "Salons", "Experience on Painting", the works of Rousseau "Art and Morality", "Discourses on the Sciences and Arts" and "Emil, or on Education".

Thus, the 18th century became known as the Age of Enlightenment. Enlightenment ideas not only influenced the development of art, the enlighteners actively intervened in its course. Enlightenment has become a powerful movement that refracted previous worldviews.

4.2 ArtandpowerRussia(XIXin.)

In the 19th century the first decades in Russia there was a nationwide upsurge after the Patriotic War of 1812. Artists are becoming more in demand compared to the 18th century. They can express in their works the significance of their personality, freedom, where social and moral problems are raised.

Russia is now more interested in artistic creativity. Art magazines are published: “The Free Society of Lovers of Literature, Sciences and Arts” (1801), “Journal of Fine Arts” first in Moscow (1807), and then in St. Petersburg (1823 and 1825), “Society for the Encouragement of Artists” (1820), “ Russian Museum ... "P. Svinin (1810s) and the" Russian Gallery "in the Hermitage (1825).

The ideals of Russian society are reflected in architecture, monumental and decorative sculpture. After a fire in 1812, Moscow is being restored in a new way, here the builders rely on the architecture of antiquity. Sculptors erect monuments to military leaders, for example, a monument to Kutuzov at the Kazan Cathedral in St. Petersburg. The largest architect of this time, Andrei Nikiforovich Voronikhin. he designed a number of fountains for the Pulkovo road, finished the “Flashlight” office and the Egyptian vestibule in the Pavlovsk Palace, the Viskontiev Bridge and the Pink Pavilion in the Pavlovsk park. The main brainchild of Voronikhin is the Kazan Cathedral (1801-1811). The semicircular colonnade of the temple, which he erected not from the side of the main - western, but from the side - northern facade, formed a square in the center of the Nevsky prospect, turning the cathedral and the buildings around it into the most important town-planning node.

Artists depict historical events that took place in ancient times, for example, K.P. Bryullov "The Last Day of Pompeii", A.A. Ivanov, The Appearance of Christ to the People. Portraits of rulers are depicted, for example, a portrait of Elizabeth II, Peter I. Monuments are erected in honor of the rulers, a monument to Catherine II. During this period of time, a large number of artists appeared: Kramskoy, Ge, Myasoedov, Makovsky, Shishkin, Vasiliev, Levitan, Repin, Surikov, etc.

Complex life processes determined the variety of forms of artistic life of these years. All types of art - painting, theatre, music, architecture - stood for the renewal of the artistic language, for high professionalism.

5. PowerandartSovietperiodRussia(XXin.)

During the Soviet period in Russia, revolutionary cataclysms occur, these revolutionary transformations call on artists to new creative experiments. The artistic life of the country requires an acutely social and understandable art for an unprepared aesthetic mass. The October events that led to the revolution, the artists began to glorify in their work. The victory of art at the front becomes a solid element of the Bolshevik victory.

Artists at this time occupy a very active and very popular position. They are engaged in the design of cities for demonstrations, the sculptors carried out the “Leninist plan for monumental propaganda”, the graphic artists are actively working on the design of classical editions of Russian and foreign literature. A host of new, previously unrealized artistic directions are being developed. New names and new directions appear: “Russian impressionism” - A. Rylov and K. Yuon; "Blue Bears" P. Kuznetsov and M. Saryan; representatives of Jack of Diamonds» P. Konchalovsky and I. Mashkov with the carnival festivity of their paintings, decorative in color and composition, A. Lentulov, who made the image of Russian medieval architecture live in intense rhythms modern city. Pavel Filonov worked in the 1920s. Based on the method he called "analytical", he created during these years his famous "formulas" ("Formula of the Petrograd proletariat", "Formula of spring", etc.) - symbolic images embodying his ideal of the eternal and permanent. K. Malevich continued his path in non-objectivity, and Suprematism developed by his students I. Puni, L. Popova, N. Udaltsova, O. Rozanova began to spread in applied art, architecture, design, graphics.

In sculpture, works inspired by "revolutionary romance" were created in the 1920s by Ivan Dmitrievich Shadr (real name Ivanov). These are made by order of Goznak (for the image on new Soviet banknotes, stamps and bonds) "Sower", "Worker", "Peasant", "Red Army Man" (all 1921-1922). One of his most famous works is the work "Cobblestone - the weapon of the proletariat, 1905". This work is dedicated to the 10th anniversary of Soviet power. Shadr sought to use the traditions of world art and create a work inspired by the spirit of modernity, as he understood it.

Thus, painters, sculptors, writers and many others, had to look for public solutions. The means for creating monumental images have become: Soviet heraldry, figurative symbols, which have become a popular designation of the atom, outer space. Symbols of friendship, labor, peace… only great ideas could give great solutions.

6. Ratioauthoritiesandartinis ourtime

Everything has changed in recent times, but the interaction between power and art remains very important and topical issue. The relationship between these two industries is especially evident during periods of political and social change. Now there is no censorship, which means that every person who wants to express his thoughts and ideas through art can do this without fear of being punished. This is a colossal breakthrough in the field of freedom of creativity and spirit.

At the moment, in different cities there are numerous exhibitions on various topics. Periodically, exhibitions are held that highlight the problem of art and power. These exhibitions are interesting for people studying history and political science. Recently, a similar exhibition was held in the Swedish Museum, which was called "Art for the rulers." At this exhibition there were more than 100 expositions and with the participation of 400 exhibits from different eras.

Art does not stand still, it develops rapidly from different sides. Nowadays, there are many different directions. World cultural heritage replenished and replenished, and this is very good for our time.

Conclusion

In the course of the work, we found out that art has been changing under the influence of power over the centuries in different countries of the world.

After analyzing the situation, we found out that art depends on the political system and the ruler of the country. Art and power arose and developed simultaneously and are an integral part of the formation of social life.

I think that the government had more opportunities to control society and increase its power through art than it does now. Decades later, we finally freed ourselves from strict canons and all sorts of prohibitions. A person can express his individuality, as soon as he invents and wants. Artists, sculptors and musicians have unlimited freedom, but it's hard to say whether it's good or not. But after many years and our centuries, our descendants will admire and be proud.

Listusedliterature:

1. T.V. Ilyin. Art history. Domestic art. Moscow. year 2000

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In 2015, Saratov hosted an international scientific and practical conference on the theme "Art and Power", a collection of reports was published last year.
Against the backdrop of articles a la Raikin: how artists suffered from totalitarianism then, and how they suffer from "censorship" and the "necrophilic state" now, the report of one communist artist (from the Communist Party of the Russian Federation) sounded unexpectedly pleasant. Short and to the point, like a shot in the midst of whining.
I present it here in full, diluted with illustrations.

Zhivotov Gennady Vasilievich
Professor, Honored Artist of the Russian Federation
Russian State University for the Humanities

The Artist and Power: A Historical Retrospective

I argue that there is no history of art, but the history of the customer.
We all admire the great sculptors of ancient Greece, and it seems to us that it was they who gave birth to the Greek miracle. But we somehow forget that at that time the whole city was discussing the statue, and the name of Phidias is inextricably linked with the name of Pericles. As soon as the Greek policies fell into decay, Greek art also came to naught, and no new Phidias, even if they were at least a thousand times more gifted than their eminent ancestors, could create anything like this. The connection between art and power, between art and the state, is much stronger than we sometimes think.

We will not consider administrative and penitentiary manifestations of power: prisons, police, courts, and so on. For us in the state, the main thing is its ideology, its highest meanings, and I would like to dwell on the most important thing: the relationship between ideology and art.

In the Middle Ages, the church was the most important exponent of the state ideology. The Church has been the driving force behind the creation of the greatest masterpieces, there is no denying that. During the Renaissance, both ecclesiastical and secular authorities were customers for many great artists. Suffice it to recall the Medici family, to which Lorenzo the Magnificent, the ruler of Florence, and several popes belonged. And next to it are the names of Leonardo da Vinci, Michelangelo, Raphael.

Another striking example is the Napoleonic Empire. Great art, great names. Then all this collapsed, and the bourgeoisie came to power, which vulgarized everything. The exchange ground Van Gogh, Cezanne, Monet, created myths from them, hung labels and price tags on them.

There has never been a bourgeoisie in Russia in the full sense of the word. For centuries, Russian art has been inextricably linked with the Orthodox Church. But from the era of Peter I, the dominance of the West began in secular art. After all, what is the Hermitage? These are works by Dutch, French, Italian and other European artists collected by Catherine II. Even the famous gallery of portraits of commanders of 1812 is an order of the state! was created by the English artist Dow.

But in the 19th century, Tretyakov appeared in Russia. And to this person - a private customer - we owe the flourishing of Russian art. The state, in the person of the tsar and the grand dukes, realized it, and a few years after the opening Tretyakov Gallery founded the Russian Museum. In addition to Semiradsky, the state began to encourage Surikov, his state-imperial idea. "The Conquest of Siberia by Ermak", "Suvorov's Crossing the Alps" - these paintings by Surikov were bought by the emperor. The main trustee of the Russian Museum was the Grand Duke.

A new era began in the 20th century. The Western elite of liberals and generals in February 1917 overthrew the monarchy and, continuing the First world war to the delight of her patrons from the Entente, she ruined the state in six months. The old foundations were destroyed, but after October 1917, the Soviet government immediately began to design new ones. It would seem that there is no state yet, it is just beginning to emerge, but it has already clearly formulated its tasks: a plan for monumental propaganda, a cultural revolution. There are no administrative cells, but the ideology has already been created. The result was an unprecedented rise in popular energies, at the peak of which are the greatest names and the greatest masterpieces. It was an era not of schools, but of revelations. The sculptor Dmitry Filippovich Tsaplin, a Russian peasant from the Saratov province, can be considered a symbol of that era.

But gradually the revolutionary element entered the granite shores. big style"of the Stalin era. A powerful, well-oiled vertical of relations between artists and power was created. Not all artists of the revolution fit into this system, but many of them "combed their hair", became realists. Academic schools began to play a huge role. Great Patriotic War in the Soviet Union were prepared fine artists. Recently, while making a drawing for Victory Day, I was leafing through the albums and saw a painting by Pyotr Krivonogov: a salute in honor of the capture of the Reichstag. This is amazing! But today, few people remember this artist of the Grekov studio, who went through the entire war in the army.

It is good that the name of Arkady Plastov is not forgotten. Stalin took his painting "The Fascist Flew" with him to the Tehran Conference. Plastov was an academician, recognized master and at the same time he was deeply rooted in the people, sang the village in its labors and holidays.

The Gerasimovs Alexander and Sergey, Boris Ioganson, Alexander Laktionov are the great names of socialist realism. The ideology was clear, the state clearly expressed its will.


Ioganson Boris Vladimirovich,Construction of ZAGES

Laktionov Alexander Ivanovich - Cadets publish a wall newspaper

So it was in all types of art - let's name only the triad of great names of Soviet cinema: Sergei Eisenstein, Grigory Alexandrov, Ivan Pyryev. Soviet art created images-dreams: both Deineka's "Future Pilots" and Pyryev's "Kuban Cossacks" - that a fairy tale would become a reality...

But with the death of Stalin, and especially after Khrushchev's speech at the 20th Party Congress with his "exposing the cult of personality," a shock came, the collapse of shrines. The "thaw" has begun. A "severe style" appeared - Nikonov depicted unfortunate geologists dying in the mountains, Popkov began to talk a lot about the village, about its suffering, etc.

In addition, even in the Stalin era, the brigade method appeared in art. The congresses were drawn by brigades, and everyone received bonuses. And later, during the "thaw" and later, in the Brezhnev era, the era of large state orders began, which means big money. Artists created good works of art, because they were well taught. But big money gave rise to clans: not always those who were more talented got access to the order.

The above does not mean that the Soviet state did not support other artists. Let's remember how life was organized in the Union of Artists: commissions were created - maritime, sports, military, etc. Artists were sent to all points of the Soviet Union as a kind of landing force: to great construction sites, to frontier posts, to fishing artels, to the rural outback. And they painted pictures on the spot. This is how my friend Gennady Efimochkin, the same age as the Moscow Union of Artists, worked all his life. It is inconvenient to write on a large canvas somewhere on a rock above the Angara, and he painted small sketches. Based on these watercolors, he has been painting for the last twenty years, recreating the image of Soviet Atlantis ... And this is wonderful art. Efimochkin will paint his paintings until his last breath, because he is at war - an ongoing war of images. Once we lost the decisive battle of this war and lost our homeland - the Soviet Union.

But the war is not over, although many do not even think about it. And before, in Soviet time did the artists think about it? When you were looking for a customer among foreign diplomats and ran around the embassies, did you think about it? And when friends were invited to "bulldozer exhibitions", what did they think about? We looked to the West - from there magazines filtered through Poland, Hungary, there slipped the so-called "modern art" in the person of Warhol, Pollock, Beuys and others. They dreamed of Montmartre, forgetting that Montmartre is a haven for impoverished artists. In the Soviet Union, artists dreamed about it, having food, workshops, orders, and so on.

Why did this happen? The fact is that there is a struggle of meanings, but there is a struggle of images. In the struggle of meanings, we were much stronger than the West, our government thought about meanings first of all. And the images for us at that time were created by ... Hollywood. At the same time, the Soviet caesura allowed the best American, French and Italian films to be released. And a person had the feeling: “After all, they don’t show us everything, and the best, probably, they don’t show. And there, in the West, what art, what cinema!

Hollywood has created and continues to create images of American civilization, launching them around the world. And they turn out to be stronger than both the American army and American sanctions. And now, after the most patriotic broadcasts, American films are regularly shown on our television. The question arises: does our state today have an ideology?

The future of our art depends on the answer to this question, because, as I said, there is no history of art, but the history of the customer.

A simple and obvious idea. Nothing to add. And as many would not like, but without ideology, nowhere. Everything starts with her and everything ends without her.
In the meantime, its establishment at the state level, I remind you, is prohibited by the Constitution of the Russian Federation ...

Control

Cultural studies and art history

1. Art and power. In the development of human culture, a curious regularity is constantly traced in how art was often used to strengthen the power of the secular and religious. Thanks to works of art, the authorities strengthened their...

1. Art and power.

In the development of human culture, a curious regularity is constantly traced in how art was often used to strengthen power, both secular and religious.

Thanks to works of art, power strengthened its authority, and cities and states maintained prestige.

Art:

1. embodied in visible images the ideas of religion;
2. glorified and perpetuated heroes, rulers-leaders.

Sculptors, artists, musicians at different times created idealized majestic images of rulers-leaders. They were given extraordinary qualities, special heroism and wisdom, which, of course, aroused respect and admiration in the hearts of ordinary people. In these images, traditions that come from ancient times are clearly manifested - the worship of idols, deities that caused awe not only for anyone approaching them, but also for those who looked from afar.

The valor of warriors and commanders is perpetuated by works of monumental art.

Examples:

1. Equestrian statues are erected, triumphal arches and columns are built to commemorate the victories won.

By decree of Napoleon I, who wanted to immortalize the glory of his army, the Triumphal Gate was built in Paris. On the walls of the arch are engraved the names of the generals who fought alongside the emperor.

2. 1814 in Russia, for the solemn meeting of the Russian liberator army, returning from Europe after the victory over Napoleon, wooden Triumphal Gates were built at the Tverskaya Zastava. For more than 100 years, the arch stood in the center of Moscow, and in 1936 it was demolished. Only in the 60s. 20th century The triumphal arch was recreated on Victory Square, near Poklonnaya mountain, at the place where Napoleon's army entered the city.

15th century after the fall of Byzantium, which was considered the successor of the Roman Empire and was called the Second Rome,center Orthodox culture becomes Moscow . During the period of economic and military growthMoscow State needed relevantcultural image. The courtyard of the Moscow Tsar becomes the place of residence of many culturally educated Orthodox people. Among them are architects and builders, icon painters and musicians.

The Moscow tsars considered themselves the heirs of Roman traditions, and this was reflected in the words: "Moscow is the Third Rome, and there will be no fourth." To live up to this high status,designed by an Italian architectFioravanti rebuilds the Moscow Kremlin.Completion of constructionthe first stone church in Moscow - the Assumption Cathedral was the reason for the founding of the Choir of Sovereign Singing Deacons. The scale and splendor of the temple demanded greater than before the power of the sound of music. All this emphasized the power of the sovereign.

In the second half of the XVII century.according to the grandiose plan of His Holiness Patriarch Nikon - to create holy places in the image of Palestine, connected with earthly life and the feat of Jesus Christ -New Jerusalem was built near Moscow monastery. Its main cathedral is similar in plan and size to the Church of the Holy Sepulcher. in Jerusalem . This brainchild of Patriarch Nikon is the pinnacle of the development of the ancient traditions of the Russian Church, originating from the time of the baptism of Russia (X century).

18th century opened a new chapter in Russian history. Peter I in the apt expression of Pushkin, "a window to Europe was cut through" -Saint Petersburg founded.

New ideas are reflected in all kinds of art. Secular painting and sculpture appeared, music changed to a European style. The choir of the sovereign's choristers has now been transferred to St. Petersburg and is becoming the Court Singing Chapel (often Peter I himself sang in this choir). The arts proclaim praise to the Lord and toast to the young tsar of all Russia.

Now the Glinka Choir Chapel is a majestic monument of Russian culture, famous throughout the world. The chapel helps to maintain the connection of times and the continuity of traditions.

3.XX century, in the era of Stalinism in our country, pompous, magnificent architecture emphasized the strength and power of the state, reducing the human personality to an insignificantly small level, ignoring the individual originality of each person. The soulless mechanism of state coercion highlights the grotesque beginning in music (D. Shostakovich, A. Schnittke and others).

The democratic sentiments of the people find especially vivid expression in art at turning points in history. These are revolutionary songs, marches during the October Revolution in Russia (1917);

posters, paintings, musical compositions from the Great Patriotic War (1941-1945). This is also a mass song reflecting labor enthusiasm post-war years;

author's song of the second half of the XX century. (a kind of urban folklore), which expresses not only the lyrical moods of the younger generation, but also a protest against the restriction of individual freedom, which is especially pronounced in rock music.

2. Name the architectural structures

The Eiffel Tower,

St. Basil's Cathedral,

Kremlin - Kazan,

Holy Ascension Cathedral - Naberezhnye Chelny

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