Fine art of classicism and rococo Nicolas Poussin. Classical and Rococo Fine Art Lesson Plan Classical and Rococo Fine Art

Nicolas Poussin - classicist painter

The pinnacle of classicism in painting, the French Academy proclaimed the work of the artist Nicolas Poussin(1594-1665). During his lifetime, he was called "the most skillful and experienced of modern masters of the brush," and after his death he was declared "the beacon of French painting."

Being a vivid exponent of the ideas of classicism, Poussin developed a creative method based on his own idea of the laws of beauty. He saw his ideal in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. His paintings are distinguished by the balance of the composition, a rigid, mathematically verified system of organizing space, an accurate drawing, an amazing sense of rhythm based on the ancient theory of musical modes.

According to Poussin, the main criteria for artistic truth and beauty are reason and thought. This is what he called for to create in the way "as nature and reason teach it." When choosing topics, Poussin preferred heroic deeds and deeds, which were based on high civic motives, rather than base human passions.

The main subject of art, according to the artist, is that which is associated with the idea of the sublime and beautiful, which can serve as a role model and a means of educating the best moral qualities in a person. Poussin devoted his work to the glorification of the heroic man, capable of knowing and transforming nature by the power of a powerful mind. His favorite heroes are strong, strong-willed people with high moral qualities. They often fall into dramatic situations that require special composure, greatness of spirit and strength of character. The painter conveyed their elevated feelings through postures, facial expressions and gestures.

Of the historical subjects, Poussin chose only those in which there was action, movement and expression. He began work on the painting with a careful study of the literary source ( Holy Scripture, "Metamorphoses" by Ovid or "The Liberated Jerusalem" by T. Tasso). If he met the set goals, the artist did not think about the complex inner life of the characters, but the climax of the action. Mental struggle, doubts and disappointments were relegated to the background. Poussin's usual plot formula was as follows: "The die is cast, the decision is made, the choice is made" (Yu. K. Zolotov).

The ideas of classicism, in his opinion, should reflect the composition of the picture. He contrasted improvisation with a carefully considered arrangement of individual figures and main groups.

Visual space should be easily visible, plans should clearly follow each other. For the action itself, only an insignificant zone in the background should be allocated. In most of Poussin's canvases, the point of intersection of the diagonals of the picture turns out to be its most important semantic center.

The compositional system of Poussin's paintings was built on two principles: the balance of forms (the construction of groups around the center) and their free ratio (shift away from the center). The interaction of these two principles made it possible to achieve an extraordinary impression of orderliness, freedom and mobility of the composition.

Great importance in the artistic system of Poussin, color occupies. The interrelation of the main colorful sounds was achieved thanks to a system of reflexes: an intense color in the center of the composition is usually accompanied by soft neutral colors.

Nicolas Poussin is the author of numerous paintings on mythological, historical, religious themes, as well as landscapes. In them one can almost always find polished mise-en-scenes, full of thought and drama. Turning to the distant past, he did not retell, but creatively recreated, rethought well-known stories.

Painting by N. Poussin "Arcade Shepherds"- one of the pinnacles of the artist's work, where the ideas of classicism have found a full and vivid embodiment. It shows the author's desire for sculptural clarity of forms, plastic completeness and accuracy of the drawing, clarity and balance of the geometric composition, using the principle of the golden section. The strictness of proportions, the smooth, clear linear rhythm perfectly conveyed the severity and loftiness of ideas and characters.

The picture is based on a deep philosophical thought about the frailty of earthly existence and the inevitability of death. Four shepherds, residents of happy Arcadia (a region in southern Greece, which is a symbol of eternal prosperity, a serene life without wars, illness and suffering), accidentally find a tomb among the bushes with the inscription: “Iya was in Arcadia. But now I am not among the living, just as you, who are now reading this inscription, will not be.” The meaning of these words makes them think... One of the shepherds humbly bowed his head, resting his hand on the gravestone. The second, kneeling down, runs his finger through the letters, trying to read the half-erased inscription.

The third, not taking his hands off the sad words, raises an inquiring look at his companion. The woman on the right is also calmly looking at the inscription. She put her hand on his shoulder, as if trying to help him come to terms with the thought of an inevitable end. Thus, the figure of a woman is perceived as the focus of spiritual peace, that philosophical balance to which the author brings the viewer.

Poussin is clearly striving to create generalized images that are close to the canons of ancient beauty: they are really physically perfect, young and full of strength. The figures, in many ways reminiscent of antique statues, are balanced in space. In their writing, the artist used expressive chiaroscuro.

deep philosophical idea, underlying the picture, is expressed in a crystal clear and classically rigorous form. As in Roman relief, the main action takes place on a relatively shallow foreground area. The composition of the picture is extremely simple and logical: everything is built on a carefully thought-out rhythm of balanced movements and is subject to the simplest geometric forms achieved thanks to the accuracy of mathematical calculation. The characters are almost symmetrically grouped near the tombstone, connected by the movement of their hands and the feeling of a continuing pause. The author manages to create an image of an ideal and harmonious world arranged according to the higher laws of the mind.

The coloristic system of Poussin's paintings was usually based on the author's belief that color is the most important means for creating volume and depth of space. The division into planes was usually emphasized by the consonance of strong colors. In the foreground, yellow and brown colors usually prevailed, in the second - warm, green, in the third - cold, primarily blue. In this picture, everything is subject to the laws of classical beauty: the color clash of the cold sky with the warm foreground, and the beauty of the naked human body, transmitted in even diffused lighting, was perceived especially effectively and sublimely against the background of a juicy green leaf-you of a serene landscape.

In general, the picture was imbued with a feeling of hidden sadness, peace and idyllic peace of mind. A stoic reconciliation with fate, a wise, dignified acceptance of death gave birth to Poussin's classicism with an ancient worldview. The thought of death did not cause despair, but was perceived as an inevitable manifestation of the laws of being.

Masters " gallant genre»: rococo painting

The main themes of Rococo painting are the exquisite life of the court aristocracy, "gallant festivities", idyllic pictures of "shepherd" life against the backdrop of pristine nature, the world of complex love affairs and ingenious allegories. Human life is instantaneous and fleeting, and therefore it is necessary to catch the “happy moment”, hurry to live and feel. “The spirit of charming and airy little things” (M. Kuzmin) becomes the leitmotif of the work of many artists of the “royal style”.

For most Rococo painters, Venus, Diana, nymphs and cupids outshine all other deities. All sorts of "bathing", "morning toilets" and instant pleasures are now almost the main subject of the image. Exotic color names come into fashion: “the color of the thigh of a frightened nymph” (flesh), “the color of a rose floating in milk” (pale pink), “the color of lost time” (blue). Well-thought-out, slender compositions of classicism give way to an elegant and sophisticated pattern.

Antoine Watteau(1684-1721) contemporaries called "the poet of careless leisure", "the singer of grace and beauty." In his works, he captured picnics in evergreen parks, musical and theatrical concerts in the bosom of nature, passionate confessions and quarrels of lovers, idyllic dates, balls and masquerades. At the same time, there is a poignant sadness in his paintings, a sense of the transience of beauty and the ephemeral nature of what is happening.

One of the famous paintings of the artist - "Pilgrimage to the island of Cythera", thanks to which he was admitted to the Royal Academy of Painting and Sculpture and received the title of "master of gallant festivities." Charming ladies and gallant gentlemen gathered on the flower-strewn shore of the sea bay. They sailed to the island of Cythera - the island of the goddess of love and beauty Venus (identified with Greek goddess love Af-born), where she, according to legend, came out of the foam of the sea. The celebration of love begins at a statue depicting Venus and cupids, one of which reaches down to lay a garland of laurel on the most beautiful of the goddesses. At the foot of the statue are weapons, armor, a lyre and books - symbols of war, arts and sciences. Well, love really can conquer everything!

The action unfolds like a film, sequentially telling about the walk of each of the couples in love. In the relationship of the characters, the language of allusions reigns: suddenly

thrown glances, an inviting gesture of a fan in the hands of a girl, a speech cut off in mid-sentence ... In everything, one can feel the harmony of man and nature. But it is already evening, the golden sunset colors the sky. The holiday of love fades away, filling the carefree fun of couples in love with sadness. Very soon they will return to their ship, which will take them from the unreal world to the world of everyday reality. A wonderful sailing ship - the ship of love - is ready to sail. Warm, soft colors, muted colors, light brush strokes that barely touched the canvas - all this creates special atmosphere charm and love.

And again I love the earth for

What are the rays of the sunset so solemn,

With a light brush Antoine Watteau

Touched my heart once.

G. Ivanov

The painting by Watteau belongs to the true masterpieces. Gilles (Pierrot), created as a sign for performances by itinerant comedians. Gilles is the main and favorite character of the French comedy of masks, consonant with Pierrot, the hero of the Italian comedy dell'arte. The clumsy, naive creature seems to have been specially created for the constant ridicule and tricks of the clever and cunning Harlequin. Gilles is depicted in a traditional white suit with a cape and a round hat. He stands motionless and lost in front of the viewer, while other comedians settle down to rest. He seems to be looking for an interlocutor who is able to listen and understand him. There is something touching and unprotected in the ridiculous pose of a comedian with limply lowered hands, a fixed gaze. In the tired and sad appearance of a buffoon, the thought of the loneliness of a person forced to amuse and entertain a bored audience was hidden. The emotional openness of the hero makes him one of the most profound and meaningful images in the history of world painting.

Artistically, the picture is brilliantly executed. The ultimate simplicity of motif and composition is combined here with a precise pattern and a carefully thought-out color scheme. The ghostly white hoodie is painted with careful and at the same time bold brush strokes. Shimmering pale silver, ash-lilac, grayish-ocher tones flow and shimmer, break into hundreds of trembling highlights. All this creates an amazing atmosphere for the perception of deep philosophical meaning paintings. How can one disagree with the statement of one of his contemporaries: "Watto writes not with paints, but with honey, melted amber."

Francois Boucher(1703-1770) considered himself a faithful student of Watteau. Some called him "the artist of graces", "Anacreon of painting", "royal painter". The latter saw in him a "hypocritical artist", "who has everything but the truth." Still others skeptically remarked: "His hand picks roses where others find only thorns."

The artist's brush belongs to a number of ceremonial portraits of the favorite of King Louis XV, the Marquise de Pompadour. It is known that she patronized Bush, more than once ordered him paintings on religious subjects for country residences and Parisian mansions. in the picture "Madam de Pompadour" the heroine is presented surrounded by scattered flowers and luxurious objects, reminiscent of her artistic tastes and hobbies. She reclines regally against the backdrop of lush, solemn draperies. The book in her hand is a clear hint of enlightenment and commitment to intellectual pursuits. The Marquise de Pompadour generously thanked the artist, appointing him first as director of the Gobelin Manufactory, and then as president of the Academy of Arts, giving him the title of "the king's first painter."

Francois Boucher more than once turned to the depiction of frivolous scenes, the main characters of which were cutesy, shy shepherds or plump naked charms in the form of mythological Venus and Diana. His paintings are replete with ambiguous hints, piquant details (the raised hem of the shepherd’s satin skirt, the coquettishly raised leg of the bathing Diana, the finger pressed to the mouth, the eloquent, inviting look, the lambs clinging to the legs of lovers, kissing doves and etc.). Well, the artist knew the fashion and tastes of his era very well!

In the history of world painting, Francois Boucher still remains a magnificent master of color and exquisite drawing. Witty compositions, unusual angles of characters, rich color accents, bright reflections of transparent colors applied with small, light strokes, smooth, flowing rhythms - all this makes F. Boucher an unsurpassed painter. His paintings turn into decorative panels, decorate the lush interiors of halls and living rooms, they call to the world of happiness, love and beautiful dreams.

Questions and tasks

1. Why is the work of N. Poussin called the pinnacle of classicism in painting? What was the reason for the proclamation of the cult of this master? What topics and why did he prefer? Could you prove the validity of the assessment of the French artist J. L. David, who spoke of Poussin as an "immortal" master, "immortalizing on canvas the most sublime lessons of philosophy"?

2. Poussin noted: “For me, there are no trifles that can be neglected ... My nature leads me to seek and love things perfectly organized, avoiding disorder, which is as disgusting to me as darkness is to light.” What embodiment does this principle find in the artist's work? How does it compare with the theory of classicism he developed?

3. What unites the greatest masters of the "gallant genre" - A. Watteau and F. Boucher? What is their difference? Can Boucher be called a true student of Watteau?

creative workshop

1. Compare self-portraits of artists you know with Poussin's "Self-Portrait". What exactly makes this piece stand out? Can it be argued that it is made in a classic manner?

2. Get acquainted with the picture of Poussin "The Death of Germanicus", which brought him fame and is considered the program work of classicism. What features art system this style reflected in it? How legitimate is the statement that “this one picture would be enough to keep the name of Poussin in Eternity” (A. Fusli)?

3. Conduct a study of the evolution of the landscape in the work of Poussin. What is it artistic role? Why do you think nature "as it is" did not satisfy the artist and he never painted landscapes from nature? How in his works the contrast of the eternal existence of nature and short duration is conveyed human life? Why is the presence of man always felt in his landscapes? Why in many paintings can you see lonely human figurines peering into the surrounding space? Why are they often brought to the fore, and their gaze is fixed in the depths of the landscape?

4. E. Delacroix saw in N. Poussin "a great painter who understood architecture more than architects." How fair is this point of view? Can it be argued that architecture most often becomes the main and goodie his works? Do you agree that Poussin often organizes space according to the principles of a classic theatrical performance?

5. Is it possible to prove the validity of the words of one of the researchers that “in material art, Watteau miraculously managed to express what seemed accessible only to music”? Is it so? Listen to the music of the French composer F. Couperin (1668-1733). How much is it consonant with the works of the artist, to what extent did it express the taste and mood of the Rococo era?

6. The French educator Denis Diderot ironically criticized Boucher's work: “What colors! What variety! What a wealth of objects and ideas! This man has everything, except for the truth... What a dump of heterogeneous objects! You feel all its senselessness; and you can't take your eyes off the picture. She attracts you, and involuntarily you return to her. This is such a pleasant po-rock, this is such an inimitable and rare folly. It has so much imagination, effect, magic and lightness!” What assessments of Diderot do you share, and what do you disagree with? Why?

Topics of projects, abstracts or messages

"Nicolas Poussin and Antiquity: heroism of plots and images"; "The artistic role and evolution of the landscape in the work of Poussin"; "Architectural motifs in the work of Poussin"; "Predecessors and followers of Poussin"; "Creativity of Poussin and the traditions of the theater of classicism"; “Masters of the “gallant genre” (rococo painting)”; "A. Watteau is a painter of joy and sadness”; "The mastery of color in the works of A. Watteau"; "Theatricality and musicality of A. Watteau's painting"; “The “Artist of the Graces” by F. Boucher”; "Characteristic features of decorative and applied art of Rococo".

Books for additional reading

German M. Yu. Watteau. M., 2001.

Glikman A. S. Nicolas Poussin. L.; M., 1964.

Daniel S. M. Rococo. From Watteau to Fragonard. SPb., 2007.

Zolotov Yu. K. Poussin. M., 1988.

Kantor A. M. and others. Art XVIII century. M., 1977. (Small history of arts).

Kaptereva T., Bykov V. Art France XVII century. M., 1969.

Kozhina E.F. Art of France of the 18th century. L., 1971.

Nemilova I. S. Riddles of old paintings. M., 1996.

Rotenberg E. I. Western European art XVII century. M., 1971. (Monuments of world art).

Sokolov M.N. Everyday images in Western European painting of the XV-XVII centuries. M., 1994.

Chegodaev A. D. Antoine Watteau. M., 1963.

Yakimovich A.K. New time: Art and culture of the XVII-XVIII centuries. SPb., 2004.

In preparing the material, the text of the textbook "World art culture. From the 18th century to the present” (Author Danilova G. I.).

In the 18th century, Western European art became perhaps the main object of heated discussions, a point of collision of various worldviews, reflecting big picture confusion and diversity of forms of its existence. Contemporaries argued about the relationship between art and nature, about the role and purpose of the artist and the viewer, the relationship between truth and fiction. A characteristic feature of this time was the indisputable fact of not a gradual change, but the simultaneous existence of baroque, classicism, rococo and sentimentalism.

How, then, in this difficult situation, did classicism and the baroque ideals that have prevailed for more than half a century, so dissimilar and in many ways even opposite in their essence, "coexist"?

Classicism was the first clearly defined trend in European art, which created its own aesthetic program, developed strict rules artistic creativity and its ideological orientation (If at the beginning the art of classicism was inseparable from the idea of absolute monarchy and was the embodiment of integrity, grandeur and order, then later, in the form of the so-called revolutionary classicism, whose birthplace was France, it served the contradictory ideals of the struggle against tyranny and the establishment of civil But at the last stage of its development, classicism began to actively express the ideals of the Napoleonic empire - it was not for nothing that it found its artistic continuation in the Empire style).

Baroque art, which was described in sufficient detail in previous posts (if you are interested, you can find them by the corresponding tag), in more relied on intuition than on a rational principle, so it did not create any theory. Classicism abandoned the fundamental inconsistency of the Baroque and rejected its main motto: "He who does not break the rules is not a poet." Recognizing only harmony and order, classicism "straightened out" the bizarre forms of baroque art, ceased to perceive tragically spiritual world person, and transferred the main conflict to the sphere of relations between the individual and the state.

Baroque, almost completely obsolete and coming to its logical conclusion, gave way to classicism. But the true heir of the Baroque was not classicism, but another style - rococo.

Rococo in the visual arts:
Jean Honoré Fragonard "Happy Possibilities of the Swing" (1766)

In the 20s of the XVIII century in France there was a new style art - rococo (from French rocaille - shell). The name itself revealed the main, characteristic feature of this style - a predilection for exquisite and complex forms, bizarre lines, in many ways reminiscent of the silhouette of a shell.

The shell either turned into a complex curl with some strange slits, or into an ornament in the form of a shield or a half-folded scroll depicting a coat of arms or emblem.

In France, interest in the Rococo style waned by the end of the 1760s, but in the countries of Central Europe its influence was felt until the end of the 18th century.

Rococo art was formed in the era of the spiritual crisis of the absolutist power in France. Reflecting the ideals and moods of the upper strata of French society, it could not help but be influenced by aristocratic customers.

The main goal of Rococo art absolutely hedonistic - deliver sensual pleasure. Art was supposed to please, touch and entertain, turning life into a sophisticated masquerade and "gardens of love." Complicated love intrigues, transience of hobbies, daring, risky, socially challenging actions of heroes, adventures and fantasies, gallant entertainments and holidays determined the content of works of art.

characteristic features of rococo , which can be identified in the works of art of this style, we can recognize the following:

1. Gracefulness and lightness, intricacy, decorative refinement and improvisation, pastorality (shepherd's idyll), craving for the exotic.

2. Ornament in the form of stylized shells and curls, arabesques, flower garlands, cupid figurines, etc.
3. A combination of pastel light and delicate tones with a lot of white details and gold.
4. The cult of beautiful nudity, dating back to the ancient tradition, sophisticated sensuality, eroticism.
5. The cult of small forms, intimacy, miniature (especially in sculpture and architecture), love for trifles and trinkets ("charming trifles") that fill the life of a gallant person of the "gallant age".
6. Aesthetics of nuances and hints, an intriguing duality of images, conveyed with the help of light gestures, half-turns, barely noticeable mimic movements, half-smiles, a blurred look or a wet gleam in the eyes.

The Rococo style reached its greatest flourishing in the works of decorative and applied art of France (interiors of palaces and costumes of the aristocracy).

In Russia, it manifested itself primarily in architectural decoration - in the form of scrolls, shields and intricate shells - rocaille(decorative ornaments imitating the combination of bizarre shells and outlandish plants), as well as mascarons(stucco or carved masks in the form of a human face or the head of an animal, placed over windows, doors, arches, fountains, vases and furniture).

The rococo style quickly went out of fashion.

But its influence, for example, on Impressinists does not raise any doubts. And the most obvious influence of Rococo looks in the work of artists and architects of the style

Thank you for attention.
Sergei Vorobyov.

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Italian artist and the poet Agostino Crraci (1557-1602) urged painters to strictly follow the principles of antiquity and the Renaissance: Whoever aspires and wants to become a good painter, Let him arm himself with the drawing of Rome, The movement and chiaroscuro of the Venetians And the Lombard restraint of color. He will take a powerful manner from Michelangelo, From Titian - the transfer of nature, The purity and grandeur of the Corregian style And the strict poise of Raphael ...

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Nicolas Poussin - classicist artist The work of the French artist Nicolas Poussin (1594-1665) is considered the pinnacle of classicism in painting. He saw his ideal of beauty in the proportionality of the parts of the whole, in external orderliness, harmony and clarity of forms. According to the artist, the main criterion of artistic truth and beauty is reason and thought. That is why he called for creating in such a way "as nature and reason teach it." When choosing topics, Poussin was guided by heroic deeds and deeds, which were based on high civic motives, and not base human passions. Nicholas Poussin. Self-portrait. 1650 Louvre, Paris.

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Poussin. Landscape with Diogenes. Poussin devoted his work to the glorification of the heroic man, capable of knowing and transforming nature by the power of a powerful mind. His heroes are people of high moral qualities. They often find themselves in dramatic situations that require special composure, greatness of spirit and character.

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Apollo and Daphne Poussin. Apollo and Daphne In subjects, Poussin looked for only those in which there was action, movement and expression. He began work on the painting with a careful study of the literary source (Metamorphoses by Ovid or Holy Scripture). If he met the goals set, the artist did not think about the complex inner life of the characters, but the climax of the action. Poussin's usual plot formula was: "The die is cast, the decision is made, the choice is made."

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Poussin. David the Winner The compositional system of Poussin's paintings was built on two principles: the balance of forms (the construction of figures around the center) and on their free ratio (shift away from the center). The interaction of these two principles made it possible to achieve an extraordinary impression of orderliness, freedom and mobility of the composition. The “harmony” of any painting by an artist can always be “checked with algebra”. Any pattern in the picture is not an invention of its author, it always reflects the logic and pattern of development of the nature of the universe.

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Nicholas Poussin. Arcadian shepherds. 1638-1639 Louvre, Paris. Nicolas Poussin is the author of numerous paintings on mythological, historical, religious and landscape themes. The painting "Arcadian Shepherds" is one of the pinnacles of the artist's work, the fruit of his tireless search. Three young men and a young woman stopped at the stone gravestone. Judging by their clothes and staves, they are shepherds. One of them knelt down, he carefully parses the inscription on the tombstone. The young man and girl on the left froze, immersed in silent reflection on the frailty of human life.

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Narcissus and Echo by Nicolas Poussin. Narcissus and Echo. Of great importance in the artistic system of Poussin is color. He applied colors from dark to light. The sky and the shadows of the background were executed so thinly that the grainy texture of the canvas shone through them. He preferred ultramarine, copper blue, yellow and red ocher, green and cinnabar to many colors.

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Nicolo Poussin. The Abduction of the Sabine Women Most of the paintings created by Poussin on mythological themes belong to the masterpieces of world art (“Gathering Manna in the Desert”, “Adoration of the Golden Calf”, “Moses Spouting Water from the Rock”, “Judgment of Solomon”, “Descent from the Cross”).

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Sculptural masterpieces of classicism. One of the outstanding sculptors of classicism is Antonio Canova (1757-1822). The first works of the young Italian sculptor depicting the heroes of ancient Greek mythology glorified his name. The statues "Orpheus", "Eurydice", "Perseus", "Dedalus and Icarus", "Theseus, the winner of the Minotaur", "Cupid and Psyche" struck contemporaries, who noted that life itself pulsates in the statues.

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The sculptural group “Three Graces” is distinguished by the perfect harmony of proportions, the beauty of lines and the finest processing of the marble surface. Canova's contemporaries regarded her as the highest embodiment of the new ideal of beauty. It is known that in Greek mythology, the three Graces personified the beauty and feminine charm of youth. The figures of the Graces are arranged in a semicircle. Interlacing from hands, compositionally unite the sculptural group. One of his contemporaries wrote: “The whole group personifies love, it is difficult to find another, more subtle expression of it in other works of Western European art. Antonio Canova. Three Graces. 1816 State Hermitage Museum, St. Petersburg.

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Antonio Canova.. Portrait of Pauline Borghese as Venus. Marble. 1805-1807 years. Gallery Borghese. Rome.

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sculptural group Antonio Canova Daedalus and Icarus. 1777-1779 years. Carrer Museum. Venice.

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Bertel Thorvaldsen. The artistic ideal of the Danish sculptor Bertel Thorvaldsen (1768-1844) was also the masterpieces of ancient plastic arts. He devoted most of his works mythological subjects and images. The best among them are "Jason with the Golden Fleece", "Ganymede and the Eagle of Zeus" and "Mercury"

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The image of perfect harmony and beauty is captured in the statue of Princess M.F. Baryatinsky, the wife of a famous Russian diplomat. During her lifetime, she was famous for her sharp mind and dazzling beauty, kindness and feminine charm. Here she is represented in the guise of an ancient goddess in elegantly flowing clothes, through which her wonderfully built figure is easily guessed. The oval of her face, her thoughtful, dignified pose, her head, slightly inclined to the right, are ideally beautiful. With her left hand, she carefully holds a light shawl, her right is coquettishly raised to her chin. This gesture returns the "ancient goddess" to real life, making her quite an earthly woman. Bertel Thorvaldsen. Princess M.F. Baryatinskaya. 1818 Thorvaldsen Museum, Copenhagen.

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Bertel Thorvaldsen. Jason with the Golden Fleece. 1803-1828, Thorvaldsen Museum, Copenhagen.

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Bertel Thorvaldsen. Ganymede and the eagle. 1818-1829, Art Institute, Minneapolis. MHK, 11th grade
Lesson #6
Art
classicism and
rococo
DZ: Chapter 6, ?? (p. 63), tv.
tasks (p.63-65), tab. (With.
63) fill in the notebook
© A.I. Kolmakov

LESSON OBJECTIVES
give an idea of art
classicism, sentimentalism and
rococo;
broaden horizons, analysis skills
art genres;
bring up national
self-awareness and self-identification,
respect for music
rococo.

CONCEPTS, IDEAS

O. Fragonard;
classicism;
G. Rigaud;
rococo;
sentimentalism;
hedonism;
rocaille;
mascarons;
V.L. Borovikovsky;
empire;
J. J. Rousseau

Checking students' knowledge

1. What are character traits musical culture baroque? How
is it different from renaissance music? Argument
your answer with specific examples.
2. Why is C. Monteverdi called the first baroque composer? IN
What was the reformative nature of his work? What
characteristic of the "Excited Style" of his music? Which
this style is reflected in operatic works
composer? What unites musical creativity TO.
Monteverdi with works of baroque architecture and painting?
3. What distinguishes the musical work of J. S. Bach? Why him
considered as part of the musical culture of the Baroque?
Have you ever listened to J.S. Bach's organ music? Where?
What are your impressions? What are the works of the great
composers are especially close to you? Why?
4. What are the characteristic features of Russian baroque music? What
were partes concerts of the 17th - early 18th centuries?
Why is the development of Russian baroque music associated with
the formation of a composer school in Russia? Which
the sacred choral music of M.S. makes an impression on you.
Berezovsky and D.S. Bortnyansky?

Universal learning activities

determine
identify significant
essential features
style signs
classicism styles
classicism
And
and rococo,
rococo, correlate
correlate them with a certain historical
epoch;
epoch;
research
explore cause and effect relationships
communications,
patterns
shift patterns
artistic
art models
models of the world;
peace;
evaluate
assess the aesthetic
aesthetic, spiritual
spiritual and
and artistic
artistic
value
value of cultural and historical
cultural and historical era;
eras;
reveal
identify ways
ways and
and funds
means of expression
expressions of public
ideas
ideas and
and aesthetic
aesthetic ideals
ideals of the era
era in
in progress
analysis process
analysis
works
works of art of classicism,
classicism, rococo and
sentimentalism;
sentimentalism;
find
find associative
associative links
communications and
and differences
difference between
artistic
artistic images of classicism, baroque and
rococo,
Rococo, presented in various
various types
types of art;
arts;
characterize
characterize the main
main features,
features, images
images and themes
Topics
art
classical art,
classicism, rococo
rococo and
and sentimentalism;
sentimentalism;
nominate
put forward hypotheses
hypotheses, join
enter into a dialogue
dialogue, argument
argue
own
own point
point of view
vision by
according to the formulated
formulated
problems;
problems;
systematize
systematize and
and generalize
generalize the
received knowledge
knowledge about
about
major
main styles and currents of art
art of the XVII-XVIII centuries.
(Job
(working with a table)
table)

STUDY NEW MATERIAL
1. Aesthetics
classicism.
2. Rococo and
sentimentalism.
Lesson assignment. What is the significance for the World
civilizations and cultures have aesthetics
classicism, rococo art and
sentimentalism?

sub-questions

1.
1.
2.
2.
Aesthetics
Aesthetics of classicism.
classicism. Appeal
Appeal to the antique
antique
heritage
heritage and
and humanistic
humanistic ideals of the Renaissance.
Working out
Development of own
own aesthetic
aesthetic program.
programs.
Main
The main content of art
Classical art
classicism and
and his
his
creative
creative method.
method. Features
Features of classicism
classicism in
in different
various
types
types of art.
art. Formation of a style system
systems
classicism
classicism in France
France and its impact on development
artistic
artistic culture
Western European cultures
Western European countries.
countries.
concept
The concept of
about style
empire style.
empire
Rococo
Rococo and
and sentimentalism*.
sentimentalism*. Origin
Origin of the term
term
"rococo".
"rococo". origins
The origins of the artistic
artistic style
style and
and his
his
characteristic
characteristics. Tasks
Rococo tasks
rococo (on
(For example
example
masterpieces
masterpieces of arts and crafts
decorative and applied arts).
Sentimentalism
Sentimentalism as
as one
one of
from artistic
artistic movements
currents
V
within
within the framework of classicism.
classicism. Aesthetics
Aesthetics of sentimentalism
sentimentalism and
And
his
its founder
founder J.
J. J.
J. Rousseau.
Rousseau. Specificity
Russian specifics
Russian
sentimentalism
sentimentalism in literature
literature and painting (V. L.
Borovikovsky)
Borovikovsky)

Aesthetics
classicism
Levitsky D.G.
Portrait
Denis Diderot.
1773-1774
gg. Museum
art and
stories
cities
Geneva in
Switzerland.
New artistic
style - classicism (lat.
classicus exemplary) followed the classical
achievements of antiquity and
humanistic ideals
Renaissance.
Art Ancient Greece And
Ancient Rome became
classicism
source of themes and stories:
appeal to ancient
mythology and history,
links to authoritative
scientists, philosophers and
writers.
According to the ancient
“... to study Antiquity in order to
tradition was
learn to see nature
the principle
(Denis Diderot)
superiority of nature.

Aesthetics
classicism
O. Fragonap. Portrait
Denis Diderot. 1765-1769
Louvre, Paris
Aesthetic principles of classicism:
1. Idealization of ancient Greek
culture and arts, orientation to
moral principles and ideas
citizenship
2. The priority of educational
art values, recognition
the leading role of the mind in cognition
beautiful.
3. Proportionality, severity,
clarity in classicism combined with
completeness, completeness
artistic images,
universalism and normativity.
The main content of art
classicism became an understanding of the world
as a rationally arranged mechanism,
where a person was given
significant organizing role.

10.

Aesthetics
classicism
Claude Lorrain. Departure of the Queen
Savskoy (1648). London
National Art Gallery
creative method
classicism:
striving for reasonable
clarity, harmony and
strict simplicity;
approach to
objective reflection
the surrounding world;
compliance
correctness and order;
subordination of private
main;
high aesthetic
taste;
restraint and
calm;
rationalism and
logic in actions.

11.

Aesthetics
classicism
Each art form was
have their own special features:
1. The basis of the architectural language
classicism becomes an order (type
architectural composition, using
certain items and
subject to a certain architectural style processing), much more
C. Persier, P.F.L. Foppep.
triumphal arch on
Place Carousel in Paris.
1806 (style - Empire)
close in shape and proportion to
architecture of antiquity.
2. Works of architecture distinguish
strict organization
proportion and balance
volumes, geometric
correctness of lines, regularity
layouts.
3. Painting is characterized by: clear
delimitation of plans, rigor
drawing, meticulously crafted
light and shade modeling of volume.
4. Special role in the solution
educational task played
Literature and theater in particular
became the most widespread
art of this time.

12.

Aesthetics
classicism
during the reign
G. Rigaud. Portrait of Louis XIV.
1701 Louvre, Paris
Sun King Louis
XIV (1643-1715) was
developed an ideal
model of classicism, which
imitated in Spain,
Germany, England and countries
Eastern Europe, North
and South America.
art first
classicism was
inseparable from the idea
absolute monarchy and
was the embodiment
integrity, grandeur and
order.

13.

Aesthetics
classicism
Kazan Cathedral in St. Petersburg (1801-1811) arch. A.N. Voronikhin.
Art in the form of so-called revolutionary classicism,
served the ideals of the struggle against tyranny, for the establishment
civil rights of the individual, consonant with the French Revolution.
At the last stage of its development, classicism actively
expressed the ideals of the Napoleonic Empire.
He found his artistic continuation in the Empire style (from fr.
style Empire - "imperial style") - the style of the late (high)
classicism in architecture and applied arts. Originated in
France during the reign of Emperor Napoleon I.

14.

Rococo and
sentimentalism
characteristic feature of the 18th century.
in Western European art
became an indisputable fact
coexistence with
classicism baroque, rococo and
sentimentalism.
Recognizing only harmony and
order, classicism "rectified"
whimsical baroque forms
art, ceased tragically
perceive the spiritual world
person, but the main conflict
transferred to the sphere of relations between
individual and
state. Baroque, obsolete
himself and come to the logical
completion, gave way
classicism and rococo.
O. Fragonard. Happy
swing possibilities. 1766
Wallace Collection, London

15.

Rococo and
sentimentalism
Rinaldi rococo:
interiors of the Gatchina castle.
Gatchina
In the 20s. 18th century in France
a new style of art emerged
rococo (fr.rocaille - shell). Already
the name itself reveals
main feature of this
style - passion for exquisite
and complex forms, bizarre
lines, much like
shell outline.
The shell then turned into
complex curl with some
strange cuts, then in
shield decoration or
half-folded scroll with
depiction of a coat of arms or emblem.
In France, interest in style
Rococo weakened by the end of the 1760s
years, but in the countries of Central
Europe, his influence was
perceptible until the end of the XVIII
centuries.

16.

Rococo and
sentimentalism
The main goal of Rococo art
- deliver sensuality
pleasure (hedonism).
Art should have
like, touch and
entertain by turning
life in sophisticated
masquerade and "gardens of love".
Complicated love affairs
fleeting hobbies,
bold, risky,
challenging society
actions of heroes, adventures
and fantasies gallant
Allegory of fine arts,
entertainment and holidays
1764 Oil on canvas; 103 x 130 cm.
determined the content
Rococo. France.
works of art
Washington, National gallery.
rococo.

17.

Rococo and
sentimentalism
Characteristic features of the Rococo style in works of art:
grace and lightness, intricacy, decorative refinement
and improvisation, pastorality (shepherd's idyll), craving for
exotic;
ornament in the form of stylized shells and curls, arabesques,
flower garlands, figurines of cupids, torn cartouches,
masks;
a combination of pastel light and delicate tones with a large
the number of white details and gold;
the cult of beautiful nudity, dating back to the ancient tradition,
sophisticated sensuality, eroticism;
cult of small forms, intimacy, diminutiveness (especially in
sculpture and architecture), love for little things and knick-knacks
("Lovely trifles"), which filled the life of a gallant
person;
aesthetics of nuances and hints, intriguing duality
images, conveyed with the help of light gestures, half-turns,
barely noticeable mimic movements, a half-smile, a blurred
look or a wet gleam in the eyes.

18.

Rococo and
sentimentalism
Style furniture
rococo
The greatest flourishing style
Rococo reached in works
arts and crafts
art of France (interiors
palaces
and costumes of the aristocracy). IN
Russia, he appeared before
only in architectural decoration in the form of scrolls, shields and
intricate rocaille shells (decorative
ornaments imitating
mix of fancy shells
and outlandish plants), and
also maekarans (stucco or
carved masks in the form
human face or head
beast placed above
windows, doors, arches,
fountains, vases and furniture).

19.

Rococo and
sentimentalism
Court Joseph-Desire
Kur). painting. France
Sentimentalism (fr. sentiment - feeling).
In ideological terms, he, like
classicism, based on the ideas
enlightenment.
An important place in the aesthetics of sentimentalism
occupied the image of the world of feelings and
human experiences (hence
Name).
Feelings were perceived as a manifestation
natural principle in man, his
natural state possible
only in close contact with
nature.
Achievements of a civilization with many
temptations that corrupt the soul
"natural man", acquired
clearly hostile.
a kind of ideal
sentimentalism has become the image of rural
citizen who followed the law
primeval nature and living in
absolute harmony with her.

20.

Rococo and
sentimentalism
French philosopher, writer,
Enlightenment thinker.
Also musicologist, composer and
botanist. Born: June 28, 1712
city, Geneva. Died: July 2, 1778 (66
years), Ermenonville, near Paris.
The founder of sentimentalism
consider the French Enlightener
J.J. Rousseau proclaiming a cult
natural, natural feelings and
human needs, simplicity and
cordiality.
His ideal was sensitive,
sentimental dreamer,
obsessed with the ideas of humanism,
"natural person" with "beautiful
soul", not corrupted
bourgeois civilization.
The main task of Rousseau's art
saw in teaching people
virtues, call them to the best
life.
The main pathos of his works
constitutes the praise of human
feelings, high passions that came
in conflict with the public
class prejudices.

21.

Rococo and
sentimentalism
It is best to consider
sentimentalism as one of
artistic movements,
operating under
classicism.
If Rococo focuses on
outward expression of feelings and
emotions, then sentimentalism
highlights the inner
the spiritual side of human existence.
In Russia, the brightest
epitome of sentimentalism
found in the literature and
painting, for example
the work of V. L. Borovikovsky.
V.L. Borovikovsky. Lizynka and
Dashinka. 1794 State
Tretyakov Gallery, Moscow

22. Security questions

1 . What is aesthetic program classical art? IN
what are the connections and differences between art
Classicism and Baroque?
2. What examples of Antiquity and Renaissance should
classic art? From what ideals of the past and
why did he have to refuse?
3. Why is Rococo considered the style of the aristocracy? What are his
features corresponded to the tastes and moods of their
time? Why was there no place for expression in it
civic ideals? Why do you think the rococo style
reached its peak in the arts and crafts
art?
4. Compare the basic principles of baroque and rococo. Is it possible
consider Rococo a continuation of the Baroque? What's new style
Rococo "added" to the Baroque? What are the differences
emotional impact on a person of these styles?
5*. On what ideas of enlightenment was based
sentimentalism? What are its main focuses? rightfully
whether to consider sentimentalism within the grand style
classicism?

23. Creative workshop

24. Topics for presentations, projects

1.
2.
3.
4.
5.
6.
7.
8.
9.
"The Role of France in the Development of the European Artistic
culture".
"Man, nature, society in the aesthetic program
classicism".
"Patterns of Antiquity and Renaissance in Art
classicism".
"The Crisis of Baroque Ideals and the Art of Classicism".
"Rococo and sentimentalism are accompanying styles and
currents of classicism.
"Features of the development of classicism in the art of France
(Russia, etc.)”.
"AND. J. Rousseau as the founder of sentimentalism.
"The cult of natural feeling in art
sentimentalism."
"The further fate of classicism in the history of the world
arts."

25. reflection

Evaluate your work in class
complete the sentences:
Today I found out...
It was interesting…
It was difficult…
I learned…
I was able...
I was surprised...
I wanted…

26. Literature:

Programs for educational institutions.
Danilova G.I. World art culture. – M.:
Bustard, 2011
Danilova, G.I. Art / MHK. 11 cells A basic level of:
textbook / G.I. Danilova. M.: Bustard, 2014.
Kobyakov Ruslan. Saint Petersburg

MHK, 11th grade

Lesson #8

Fine

art of classicism

and rococo

D.Z.: Chapter 8, ?? (p. 83), tv. assignments (p.83-85)

LESSON OBJECTIVES

introduce students with characteristic features of the fine arts of classicism and rococo;
Develop skill independently study the material and prepare it for the presentation; continue to develop the ability to analyze a work of art;
Bring up culture of perception of works of art.

CONCEPTS, IDEAS

N. Poussin;
composition system;
"Arcadian shepherds";
A. Watteau;
"Pilgrimage to the island of Cythera";
"Gil";
F. Bush;
"Madam de Pompadour" ;
"gallant genre";
rationalism

Checking students' knowledge

Why Versailles can be attributed to outstanding works? Explain your answer.
As urban planning ideas of classicism of the XVIII century. found their practical embodiment in the architectural ensembles of Paris, such as Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, such as Piazza del Popolo (see p. 74)?
What is the relationship between Baroque and Classical architecture? What ideas did classicism inherit from baroque?
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? Which artistic principles does he rely on?

Universal learning activities

 determine reveal originality find and assessments of cultural figures
 determine aesthetic, spiritual content and expression of social ideas in the works of fine art of classicism;
reveal originality the creative manner of the artists of classicism and rococo in comparison with contemporaries and figures of previous eras;
find using various means, highlight, structure and present in the form of a message and presentation the necessary information about the painting of classicism and rococo;
distinguish features individual author's style, evaluate the artist's creative style;
conduct comparative analysis works by masters of the “gallant genre” (A. Watteau and F. Boucher);
identify and characterize the most important concepts , laws and theories of the fine arts of classicism (on the example of the work of N. Poussin);
comment scientific points vision and assessments of cultural figures

STUDY NEW MATERIAL

Lesson assignment. What is the significance of classicism in fine arts for world civilization and culture?

sub-questions

Nicolas Poussin - classicist painter . Glorification of the heroic man. Character traits paintings(For example famous paintings). Rationalism as a fundamental principle of artistic creativity.
Masters of the "gallant genre": Rococo painting *. The main themes of Rococo painting and their artistic embodiment (on the example of famous works A. Watteau and F. Boucher)

Nicolas Poussin -

Classicist painter

The pinnacle of classicism in painting, the French Academy proclaimed the work of the artist Nicolas Poussin (1594-1665). During his lifetime, he was called "the most skillful and experienced of modern masters of the brush," and after his death he was declared "a beacon of French painting."

Poussin worked out creative

method, based on

put your own

concept of laws

beauty.

Mine ideal he saw in

proportionality of the parts of the whole,

in external order,

harmony and clarity of form.

N. Poussin. Self-portrait.

Nicolas Poussin -

Classicist painter

Called to create

so, "how it is taught

nature and reason.

When choosing topics

gave away

preference

heroic

deeds and deeds

based on

lay high

civil

incentives, not

base

human

passions.

main subject

art considered

what is connected with

idea of

sublime and

beautiful that

can serve

model for

imitation and

means

bringing up the best

moral character in

man.

N. Poussin. Tancred and Erminia. Late 1620s early 1630s State Hermitage Museum, St. Petersburg

Nicolas Poussin -

Classicist painter

From historical stories

choose only those in which

there was action, movement and

expression. Work on a painting

started with careful

studying literary

source (Holy Scripture,

"Metamorphoses" by Ovid or

"Jerusalem Liberated"

T. Tasso). If he answered

Set goals, artist

thought not difficult

the inner lives of heroes

the climax of the action. Mental strife, doubts and

disappointments pushed back

second plan. Regular storyline

Poussin's formula was:

"The die is cast, the decision

accepted, the choice is made” (Yu.K.

Zolotov).

Poussin. Landscape with Diogenes

Nicolas Poussin -

Classicist painter

composition system paintings

Poussin was built on two

beginnings: balance

shapes (building groups around

center) and on their free

ratio (shift in

away from the center), which

made it possible to achieve

extraordinary experience

orderliness, freedom and

composition mobility.

Great importance in

art system

Poussin takes coloring .

The relationship of the main

colorful sounds

achieved through system

reflexes : intense color in

the center of the composition is usually

accompanied by dim

neutral colors.

Poussin. David the Conqueror

Nicolas Poussin -

Classicist painter

N. Poussin.

Arcadian

shepherds.

The painting is based

deep philosophical

thought of frailty

earthly existence and

the inevitability of death. four shepherds,

inhabitants of happy Arcadia

(regions in southern Greece,

which is a symbol

eternal prosperity,

serene life without

wars, sickness and suffering)

randomly found among

bushes

tomb with the inscription: "And I

was in Arcadia. But now

I am not among the living

there will be no you, now

reading this inscription.

The meaning of these words makes you think about the mortal, rethink the present ...

The painting by N. Poussin "The Arcadian Shepherds" is one of the pinnacles of the artist's work, where the ideas of classicism have found a full and vivid embodiment. It shows the author's desire for sculptural clarity of forms, plastic completeness and accuracy of the drawing, clarity and balance of the geometric composition, using the principle of the golden section.

Nicolas Poussin -

Classicist painter

Color system of paintings

Poussin was usually built

color is the most important

means to create volume

and depth of space. Division into plans

emphasized consonance

strong colors. On the first

plan most often dominated

yellow and brown colors

the second - warm, green, on

third - cold, before

all blue. In this picture

everything is under the law

classic beauty: color

cold skies colliding

warm foreground,

beauty of the naked

human body, transferred

in even diffused lighting,

was perceived especially

effective and sublime against the background

juicy green foliage

serene landscape.

Nicholas Poussin. Narcissus and Echo. About 1630

A. Batto.

Pilgrimage

to the island of Cythera. 1717

Louvre, Paris

Masters

"gallant genre":

rococo painting

Venus, Diana, nymphs and

cupids outshine everything

other deities. all sorts of

bathing, morning

toilets" and instant

pleasures are

almost now

main subject

Images.

The fashion includes

exotic names

Colors: "Thigh color

frightened nymph"

( bodily ), "rose color,

floating in milk"

( pale pink ), "color

lost time"

( blue ). Clearly

thoughtful, slender

compositions of classicism

give way to grace

and sophisticated design.

The main themes of Rococo painting are the exquisite life of the court aristocracy, "gallant festivities" idyllic pictures of "Shepherd's" life against the backdrop of pristine nature, a world of complex love affairs and ingenious allegories "royal style"

Masters

"gallant genre":

rococo painting

Antoine Watteau (1684-1721)

contemporaries called

"poet of carefree leisure",

"a singer of grace and beauty." In his works he

photographed picnics in

evergreen parks,

musical and theatrical

concerts in the bosom of nature,

ardent confessions and quarrels

lovers, idyllic

dates, balls and masquerades.

At the same time, in his paintings

there is a poignant sadness,

sense of transience

beauty and ephemeral

what is happening.

Masters

"gallant genre":

rococo painting

"Pilgrimage to the Island of Cythera" thanks to which A. Batto was admitted to the Royal Academy of Painting and Sculpture, received the title of "master of gallant festivities." Charming ladies and gallant gentlemen gathered on the flower-strewn and shore of the sea bay. They sailed to the island of Cythera - the island of the goddess of love and beauty Venus (identified with the Greek goddess of love Aphrodite), where, according to legend, she emerged from the sea foam. The holiday of love begins at the statue With the image of Venus and cupids.

Watteau writes not with paints, but with honey, melted

amber."

Masters

"gallant genre":

rococo painting

To true masterpieces

belongs to the picture Watt A

"Gilles" ("Pierrot") created in

as a sign for

vagrant performances

comedians. Gilles is the chief and

favorite character

french comedy masks,

analogue of Pierrot - the hero of the Italian

comedy del arte . clumsy

naive creature

specially created for

to constantly demolish

ridicule and tricks of the dexterous and

cunning Harlequin. Gilles

depicted in traditional white

a suit with a cape and a round

hat. He is motionless and

lost in front of the viewer,

while other comedians

are on vacation.

A. Bammo. Gilles (Pierrot). Fragment. 1720 Louvre, Paris

Masters

"gallant genre":

rococo painting

Francois Boucher (1703-1770) believed

himself a faithful disciple of Watt. Alone

called him "the artist of grace",

"Anacreon of painting",

"royal painter". Second

saw him as an "artist hypocrite",

who has everything but the truth.

Still others skeptically remarked: “His

hand picks roses where others

find only thorns.

The artist's brush belongs to a number

ceremonial portraits of the favorite

King Louis XV Marquise de

Pompadour: patronized

Bush, ordered him more than once

paintings on religious subjects

for country residences and

Parisian mansions. marquise

generously thanked the artist,

appointing him first director

Gobelin manufactory, then

President of the Academy of Arts,

giving him the title of "first

painter of the king.

F. Bush. Madame de Pompadour.

Masters

"gallant genre":

rococo painting

François Boucher repeatedly addressed

depicting frivolous scenes,

whose main characters were

cutesy, shy cowgirls or

plump naked ladies in

form of mythological Venus and Diana. His

pictures abound with ambiguities

hints.

In the history of world painting Francois

Bush is still

great master of color and

exquisite drawing. witty

solved compositions, unusual

angles of heroes, juicy color

accents, bright reflections of transparent colors,

applied in small, light strokes,

smooth, flowing rhythms - all this

makes F. Bush unsurpassed

painter. His paintings become

in decorative panels, decorate

luxurious interiors of halls and living rooms,

they call to the world of happiness, love and

beautiful dreams. The artist is fine

knew the fashion and tastes of his era!

F. Bush. Breakfast.

Control questions

2. N. Poussin said: “For me, there are no trifles that can be neglected ... My nature leads me to look for and love things that are perfectly organized, avoiding disorder, which is as disgusting to me as darkness is to light.” What embodiment does this principle find in the artist's work? How does it compare with the theory of classicism he developed?

3. What unites the greatest masters of the "gallant genre" - A. Watteau and F. Boucher? What is their difference? Can Boucher be called a true student of Watteau?

creative workshop

1 . Compare self-portraits of famous artists with "Self-portrait"

N. Poussin. What exactly makes this piece stand out? Can it be argued that it is made in a classic manner? Justify your answer.

2. Get acquainted with the painting by N. Poussin "The Death of Germanicus", which brought him fame and is considered the programmatic work of classicism. What features of the artistic system of this style are reflected in it? How legitimate is the statement that “this one picture would be enough to keep the name of Poussin in Eternity” (A. Fusli)?

3. Conduct a study of the evolution of the landscape in the work of N. Poussin. What is its artistic role? Why do you think nature "as it is" did not satisfy the artist and he never painted landscapes from nature? How is the contrast of the eternal existence of nature and the short duration of human life conveyed in his works? Why is the presence of man always felt in his landscapes? Why in many paintings you can see lonely human figures peering into the surrounding space? Why are they often brought to the fore, and their gaze is directed into the depths of the landscape?

4. E. Delacroix saw in N. Poussin "a great painter who understood architecture more than architects." How fair is this point of view? Can it be argued that architecture most often becomes the main and positive hero of his works? Do you agree that Poussin often organizes space according to the principles of a classic theatrical performance? Explain your answer.

5*. Try to prove the validity of the words of one of the researchers,

that "In material art, Watteau miraculously managed to express what seemed accessible only to music." Is it so? Listen to the music of the French composer F. Couperin (1668-1733). How much is it consonant with the works of the artist, to what extent did it express the taste and mood of the Rococo era?

Topics for presentations, projects

"Nicolas Poussin and Antiquity: heroism of plots and images";
“The artistic role and evolution of the landscape in the work of N. Poussin;
"Architectural motifs in the work of N. Poussin";
"The predecessors and followers of N. Poussin";
"The work of N. Poussin and the traditions of the theater of classicism";
"Masters of the "gallant genre" (rococo painting)";
"A. Watteau is a painter of joy and sadness”;
"The mastery of color in the works of A. Watt";
"Theatricality and musicality of A. Watteau's painting";
"The Artist of the Graces" by F. Boucher";
"Characteristic Features of the Decorative and Applied Art of the Rococo".

Today I found out...
It was interesting…
It was difficult…
I learned…
I was able...
I was surprised...
I wanted…

Literature:

Programs for educational institutions. Danilova G.I. World art culture. – M.: Bustard, 2011
Danilova, G.I. Art / MHK. 11 cells Basic level: textbook / G.I. Danilova. M.: Bustard, 2014.
Shilova Galina Gennadievna, teacher, secondary school No. 1, Okhansk, Perm region