Queen House (Queen "S House - Queen House, 1616-1636) in Greenwich. Architect Inigo Jones (Inigo Jones)

It is time, and high Mysteryism Gothic, passing through the tests of the Renaissance inferior to new ideas based on the traditions of ancient democracies. The desire for imperial majesty and democratic ideals was transformed into the retrospect of the imitation of the ancient - so in Europe there was classicism.

At the beginning of the XVII century, many European countries become trading empires, a middle class appears, democratic transformations occur. Religia is increasingly subordinate to secular power. The gods again became a lot and the antique hierarchy of the Divine and worldly power accounted for by the way. Undoubtedly, it could not not affect the trends in architecture.

In the XVII century in France and England, a new style is naked, classicism. As well as the modern Baroque, he became the natural result of the development of the revival architecture and its transformation in different cultural and historical and geographical conditions.

Classicism(FR. Classicisme, from lat. Classicus - Exemplary) - Artistic style and aesthetic direction in the European art of the late XVII - early XIX centuries.

Classicism is based on ideas rationalismOutgoing from philosophy Deskarta. Artistic work, from the point of view of classicism, should be built on the basis of strict canons, thereby finding the slightness and logicality of the universe itself. Interest for classicism represents only the eternal, unchanged - in each phenomenon, he seeks to recognize only significant, typological features, discarding random individual signs. Aesthetics of classicism gives the enormous importance of the public-educational function of art. Many rules and canons classicism takes from ancient art (Aristotle, Plato, Horace ...).

Baroque It was closely connected with the Catholic Church. Classicism, or restrained Baroque forms, turned out to be more acceptable in Protestant countries, such as England, the Netherlands, Northern Germany, as well as in Catholic France, where the king meant much more than Pope. In the possessions of the ideal king, there must be an ideal architecture, emphasizing the true greatness of the monarch and his real power. "France is me" - proclaimed Louis XIV.

In architecture, under classicism, the architectural style, common in Europe in the XVIII - early XIX century, is the main feature of which was to appeal to the forms of antique architecture as a standard of harmony, simplicity, rigor, logical clarity, monumentality and reasonableness of the filling of space. The architecture of classicism as a whole is inherent in the regularity of the planning and clarity of the bulk form. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity, symmetric-axial compositions, restraint of decorative decoration, regular system planning system.

Usually divided two periods in the development of classicism. Classicism has developed in the XVII century in France, reflecting the rise of absolutism. The XVIII century is considered a new stage in its development, because at this time it reflected other civil ideals based on the ideas of philosophical rationalism of enlightenment. The same periods are united by the idea of \u200b\u200bthe reasonable pattern of peace, about the beautiful, refined nature, the desire to express a large social content, sublime heroic and moral ideals.

The architecture of classicism is characteristic of the severity of the shape, the clarity of the spatial solution, the geometrism of the interiors, the softness of the colors and the laconum of the external and interior decoration of the structures. Unlike the Baroque buildings, the masters of classicism never rewarded spatial illusions, distorting the proportions of the building. And in the park architecture there is so-called regular styleWhere all lawns and flowerbeds have the right shape, and green plantings are strictly in direct and carefully trimmed. ( Garden-park ensemble Versailles)

Classicism is characteristic of the XVII century. For countries in which the active process of the addition of national states occurred, and the power of capitalist development (Holland, England, France) was increased. Classicism in these countries has been carried on new features of the ideology of ascending bourgeoisie, leading the struggle for a sustainable market and expanding the productive forces interested in centralization and the national association of states. Being an opponent of the estate inequalities that infringe upon the interests of the bourgeoisie, its ideologists put forward the theory of a rationally organized state based on the claims of interests to him. The recognition of the mind as the basis of the organization of state and public life is supported by the arguments of scientific progress, which the bourgeoisie contributes to all means. This rationalistic approach to the evaluation of reality was transferred to the field of art, where the ideal of citizenship and the celebration of the mind over the spontaneous forces becomes an important topic. Religious ideology is increasingly subject to secular power, and in a number of countries it reforms. A sample of the harmonic social device, the adherents of classicism were seen in the ancient world, and therefore, to express their social and ethical and aesthetic ideals, they referred to examples of antique classics (hence the term - classicism). Developing tradition Revival, classicism took a lot and from heritage baroque.

Architectural classicism of the XVII century developed by two main directions:

• the first was based on the development of traditional classical school traditions (England, Holland);
• the second - reviving the classical traditions, to the greatestly developed the Roman traditions of Barochko (France).

English Classicism

The creative and theoretical heritage of Palladio, who revived the ancient heritage in all its latitudes and tectonic integrity, especially impressed the classicists. It had a great impact on the architecture of those countries that had previously stood on the road architectural rationalism. Already from the first half of the XVII century. In the architecture of England and Holland, relatively weakly experiencing the influence of Baroque, new features were determined under the influence Palladian classicism. Especially a big role in the formation of a new style played English architect Inigo Jones (Inigo Jones.) (1573-1652) - the first bright creative personality and the first genuinely new phenomenon in the English architecture of the XVII century. He owns the most prominent works of English classicism of the XVII century.

In 1613, Jones went to Italy. On the way, he visited France, where he managed to see many of the most significant buildings. This trip, apparently, became a decisive impetus in the movement of the Jones architect in the direction indicated by Palladio. It is by this time that his notes are on the fields of Treaty Palladio and in the album.

It is characteristic that the only common architecture judgment among them is devoted to the argued criticism of certain trends in later-Renaissance architecture of Italy: Jones reproaches Michelangelo And his followers are that they marked the beginning of the redundant application of a complex decor, and argues that the monumental architecture, in. The difference from the scenography and short-lived light buildings should be serious, free from affecting and based on the rules.

In 1615, Jones returns to his homeland. He is appointed by the general inspector of the Ministry of Royal Works. Next year, he begins to build one of his best works. Queen House (Queen "s House - Queen House, 1616-1636) in Greenwich.

In Queens House, the architect sequentially develops Palladian principles of the clarity and the classical clarity of order memberships, visible forms, equilibrium proportional to the system. Common combinations and individual forms of the building are classically geometrical and rational. The composition prevails a calm, metric-dissected wall, built in accordance with the warrant, commensurate with the human scale. In all the equilibrium and harmony dominate. The plan has the same clarity of interior membership on simple balanced space space.

This is the first to do the construction of Jones that did not have precedents in their rigor and bare simplicity, as sharply contrasted with the preceding buildings. However, the construction should not (as often been done) to evaluate according to its modern state. According to the whims of the customers (Queen Anna, the wife of Yakov I stewart), the house was built right on the old Dudrock road (its position was now noted by long colonnades adjacent to the building on both sides) and initially represented two separated roads connected above the indoor bridge. The complexity of the composition addressed the building more picturesque, "English" character, underlined by verticals collected in traditional bunches of flue pipes. Already after the death of the master, in 1662, the lumen between the corps was built up. So it turned out the square in terms of compact and dryly in architecture volume with decorated with columns of loggias from the Greenwich Hill, with a terrace and a staircase leading to a two-pilot hall, from the side of the Thames.

All this is unlikely to justify the far-reaching comparisons of Cuinshaus with a square, centering villa in Podzho-A-kayano near Florence, built by Juliano and Sangallo Sangallo, although the similarity in the figure of the final plan is undoubtedly. Jones himself mentions only the Villa Molini, built by Skamoti near Padua, as a prototype of the facade from the river. Proportions - equality of the width of rizazalites and loggia, the high height of the second floor compared to the first, the rustache without breaking into separate stones, balustrade over the eaves and the curvilinear double staircase at the entrance - not in the character of Palladio, and lightly remind Italian mannerism, and at the same time rationally ordered compositions of classicism.

Famous Banketing House in London (Banqueting House - Banquet Hall, 1619-1622) The appearance is much closer to Palladian prototypes. At the noble solemnity and consistently spent in the entire composition of the order, he did not have its predecessors in England. At the same time, according to its public content, this is the original type of construction, passing through the English architecture since the XI century. For the bunk warrant facade (at the bottom - ionic, at the top - composite) placed a single two-pilot hall, on the perimeter of which should be a balcony that exercises the logical connection of the appearance and interior. With all the proximity to Palladian facades, there are significant differences here: both tiers are the same in height, which is never found at the Vicitinsky master, and a large area of \u200b\u200bglazing with a small winding of windows (local graded construction) deprives the wall of plasticity inherent in Italian prototypes, giving it clearly national English features. Luxury ceiling hall, with deep caissons ( later painted by Rubens), it differs significantly from flat ceilings of the English palaces of that time decorated with light reliefs of decorative panels.

With name Inigo JonesSince 1618, a member of the Royal Construction Commission since 1618, a town-planning event for the XVII century is associated - bookmark of the First London Square created by Regular Plan. Already her common name - Piazza Covent Garden - Says about the Italian sources of design. The area supplied along the axis of the western side of the Square, the Church of St. Paul (1631), with its high fronton and two-column Tuscan portico in the ants, is clear, naive in his literality, imitating the Etruscan Temple in the image Serlio. Open arcades in the first floors of three-story buildings, framing the area from the north and south, presumably - spooning the square in Livorno. But at the same time, a homogeneous, classic in nature, the union of urban space could be inspired by the Paris Square of Veges, built in just thirty years before.

St. Paul's Cathedral (ST PAULS CATHEDRAL) on the square Covent Garden (Covent Garden.), the first temple, line in London after the Reformation, reflects with its simplicity not only the desire of the customer, the Duke of Bedford, to fulfill the obligations of the obligations to members of its arrival, but also the essential requirements of the Protestant religion. Jones promised to build the "most beautiful barn in England". Nevertheless, the facade of the church, restored after the fire of 1795, is large-scale, magnifying, despite the small size, and its simplicity, undoubtedly, has special charm. It is curious that the high doorway under the portico is false, since the altar is located on this side of the church

Jones ensemble, unfortunately, is completely lost, the space of the square is built up, the buildings were destroyed, only erected later, in 1878, in the north-western corner the structure allows us to judge the scale and nature of the initial intent.

If the first works of Jones sin dryly with rigorism, then its later, manor buildings are less constrained by the bonds of classical formalism. With his freedom and plasticity, they anticipate in part English Palladianism of the 18th century. Such, for example, Wilton House. (Wilton House, Wiltshire) burned in 1647 and restored John Webbb, Perennial Assistant Jones.

I. Jones ideas found a continuation in subsequent projects, of which the project of the reconstruction of London architect should be allocated Christopher Rena (Christopher Wren.) (1632-1723) After Rome, the first ambitious project of the reconstruction of the medieval city (1666), who beat the grand reconstruction of Paris almost two centuries. The plan was not implemented, but the architect made his contribution to the overall process of the emergence and construction of individual assemblies of the city, completing, in particular, still conceived by Inigo Jones ensemble hospital in Greenwich (1698-1729). Another major structure of Rena is cathedral of St. Paul in London - London Cathedral of the Anglican Church. Cathedral of St. Paul is the main city planning focus in the area of \u200b\u200bthe reconstructed City. From the moment of initiation of the first bishop of the London Sv. Augustine (604) in this place, according to testimony of sources, several Christian temples were erected. The immediate predecessor of the current cathedral, the old Cathedral of St. Paul, consecrated in 1240, had a length of 175 m, 7 m more than the Winchester Cathedral. In 1633-1642, Inigo Jones made extensive repair work in the old cathedral and added a western facade in a classic palladian style. However, this old cathedral was completely destroyed during the Great London Fire of 1666. Now the existing building is built by Christopher Renom in 1675-1710; The first service took place in an unfinished temple in December 1697.

From an architectural point of view, Cathedral of St. Paul is one of the largest dome buildings of the Christian world, standing in one row with the Florentine Cathedral, the cathedrals of St. Sofia in Constantinople and St. Peter in Rome. The cathedral has the shape of the Latin Cross, its length is 157 m, width 31 m; length of transput 75 m; Total area of \u200b\u200b155,000 square meters. The m. In the midrd, at an altitude of 30 m, the base of the dome was laid with a diameter of 34 m, which rises to 111 m. Designing dome, Ren applied a unique solution. Directly above the medidentary, he elevated the first dome with a round 6-meter hole at the top (oculus), fully proportioned by the proportions of the interior. Above the first dome, the architect has built a brick cone, which serves as a support for a massive stone lamp, the weight of which reaches 700 tons, and above the cone - the second-covered diploma dome on the wooden frame, proportionally correlated with the outer volumes of the building. In the base of the cone, an iron chain is laid that takes over the lateral space. A slightly pointed dome, based on a massive ring colonnade, preign in the guise of the cathedral.

The interior is mainly decorated with marble cladding, and since it is little color in it, looks ascetic. Along the walls there are numerous tombs of the famous commander and fleecers. Glass mosaics of horses and walls of the choir were completed in 1897.

Huge space for construction activities opened after the London Fire 1666. The architect presented his plan of renovation of the city And received an order for the restoration of 52 parish churches. Ren offered various spatial solutions; Some buildings are truly built with a baroque pomp (for example, St. Stephen's Church in Walbruck). Their spiers together with the towers of the Cathedral of St. Paul form a spectacular panorama of the city. Among them should be mentioned by the Church of Christ on Newgate Street, Saint-Bride on Flit Street, Saint James on Garlik Hill and St. Viedast on Foster Lane. If we demanded special circumstances, as in the construction of the Saint Mary of Odermery church or Church-Church College in Oxford (Toma Tower), Ren could take advantage of the later elements, although, according to his own words, did not like to "deviate from the best style."

In addition to the construction of Churches, Ren served private orders, one of which was the creation of a new library Trinity College (1676-1684) in Cambridge. In 1669 he was appointed the main caretaker of the Royal Buildings. In this position, he received a number of important state orders, such as the construction of hospitals in Chelsea and Greenwich ( Greenwich Hospital.) and several buildings included in kensington Palace complexes and hampton Court Palace.

For his long life, Ren was in the service of five who changed each other in the English throne of the kings and left his position only in 1718. Ren died in Hampton-Court on February 26, 1723 and was buried in the Cathedral of St. Paul. His ideas were picked up and developed by the next generation architects, in particular N. Hoksmore and J. Bakebs. He had a noticeable impact on the development of church architecture in Europe and in the United States.

Among the English nobility there was a real fashion for Palladian mansions, which coincided with the philosophy of early education in England, preaching ideals of rationality and orderliness, the most fully expressed in the ancient art.

Palladian English Villa. Represented a compact volume, most often three-storey. The first - processed by Rust, the main thing - the front floor was the second floor, he combined on the facade with a large order with the third - residential floor. The simplicity and clarity of palladian buildings, the ease of reproduction of their forms made similarities very common both in the country private architecture and in the architecture of urban public and residential buildings.

British Palladians have made a great contribution to the development of park arts. To change fashionable, geometrically correct " regular"Gardens came" landscapes »Parks, named afterwards "English". Picturesque groves with foliage of different shade alternate with lawns, natural reservoirs, islands. Park tracks do not give an open perspective, and an unexpected appearance is prepared for each bend. In the shade of trees hide the statues, arbors, ruins. The main creator in the first half of the XVIII century was William Kent (William Kent)

Landscape or landscape parks were perceived as the beauty of a wisely corrected natural nature, but the corrections should not be noticeable.

French classicism

Classicism in France It was formed in more complex and contradictory conditions, the local traditions and the influence of Baroque affected the influence. The origin of French classicism in the first half of the XVII century. Against the background of a peculiar refraction in the architecture of renaissance forms, late-day traditions and techniques borrowed from the nasty Italian baroque. This process was accompanied by typological changes: the transfer of an accent from the extragranor's castle construction feudal nobility for urban and country houses for the urban nobility.

In France, the basic principles and ideals of classicism were laid. We can say that everything went from the words of two famous people, the Sun king (i.e., Louis XIV), Various " The state is me! " And the famous philosopher Rene Descartes, said: " I think, therefore - exist"(In addition and counterweight, Plato -" I essentially, I think I think"). It is in these phrases that the main ideas of classicism lie: loyalty to the king, i.e. Fatherland, and the celebration of the mind over feeling.

The new philosophy required his expression not only in the mouths of the monarch and philosophical works, but also in art, affordable society. We needed heroic images aimed at raising patriotism and rational principles in the thinking of citizens. So began the reform of all the faces of culture. Architecture created strictly symmetrical forms, subordinating not only space, but also the nature itself, trying to approach the created Claude Led. Utopic ideal city of the future. Which, by the way, remained solely in the drawings of the architect (it should be noted that the project was so significant that its motives are still used in different currents of architecture).

The brightest figure in the architecture of the early French classicism was Nikola Francois Mansar (Nicolas François Mansart) (1598-1666) is one of the founders of French classicism. His merit, in addition to the immediate construction of buildings, is the development of a new type of urban dwelling, "Hotel" - with a cozy and comfortable layout, which includes the lobby, a parade staircase, a number of confulated rooms, often closed around the courtyard. In the gothic vertical sections of the facades have large rectangular windows, clear membership on floors and rich warrior plastic. The feature of Mansar hotels is the high roofs, under which an additional residential premises were arranged - the attic, named so named her creator. Excellent example of such a roof - Palace Meson-Luffit (Maisons-Laffitte, 1642-1651). Among other works of Mansar - Hotel de Toulouse, Hotel Mazarini and Paris Cathedral Val de Gras (VAL-DE-GRACE), completed by his project LEMERIA and Le Muete.

The flourishing of the first period of classicism refers to the second half of the XVII century. The bourgeois ideology of the concept of philosophical rationalism and classicism absolutism in the person Louis Xiv. Takes as the official state doctrine. These concepts completely obey the will of the king, serve as a means of glorifying it as the highest personification of the nation, united on the beginning of a reasonable autocracy. In architecture, it has a double expression: on the one hand, the desire for rational order compositions, tectonically clear and monumental, exempt from the fractional "multipleness" of the preceding period; On the other hand, the ever-growing tendency towards a single volitional beginning in the composition, to the domination of the axis, subordinating the building and surrounding spaces, to the subordination of the will of a person not only by the principles of the organization of urban spaces, but also the very nature of nature, transformed under the laws of the mind, geometry, "ideal" beauty . Both trends are illustrated by the two largest events of the architectural life of France in the second half of the XVII century: the first - design and construction of the eastern facade of the Royal Palace in Paris - Lover (Louvre.); The second is the creation of a new residence of Louis of the XIV-grand architectural and garden-park ensemble in Versailles.

The eastern facade of the Louvre was created as a result of a comparison of two projects - who came to Paris from Italy Lorenzo Bernini (Gian Lorenzo Bernini) (1598-1680) and Frenchman Claude Perret (Claude Perrault) (1613-1688). Preference was given to the PRRR project (carried out in 1667), where, unlike the baroque concern and the tectonic duality of the Bernini project, the extended facade (length 170.5 m) has a clear order with a huge two-story gallery, interrupted in the center and sides of symmetric risals . Paired columns of the Corinthian order (12.32 meters height) are large, a classically developed antablement, completed by attic and balustrade. The basis is interpreted in the form of a smooth basement, in the development of which, as in the elements of the order, are underlined the structural functions of the main support of the building support. A clear, rhythmic and proportional system is based on simple relationships and modularity, and for the initial value (module) adopted, as in classical canons, the lower diameter of the columns. The size of the building in height (27.7 meters) and the general large scale of the composition designed for the creation of the front area in front of the facade, give the building the majestity and necessary for the Royal Palace Representativeness. At the same time, the entire composition of the composition is characterized by architectural logic, geometric, artistic rationalism.

Ensemble Versaly (Château de Versailles, 1661-1708) - the top of the architectural activity of the time of Louis XIV. The desire to combine the attractive sides of urban life and life on the Nature Lona led to the creation of a grandeur complex, including the Royal Palace with Corps for the Royal Family and Government, a huge park and the city adjacent to the Palace. Palace - focus, in which the axis of the park is converging - on the one hand, and on the other hand, the three rays of the city highways, of which the central serves as an expensive versille with the louvr. Palace, whose length from the park more than half a kilometer (580 m.), Middle part is sharply nominated forward, and height has a clear membership on the basement, the main floor and the attic. Against the background of Orders, the pilaster of ionic porticists play the role of rhythmic accents that combine facades into a holistic axial composition.

The axis of the palace serves as the main disciplining factor in the transformation of the landscape. Symbolizing the unlimited will of the reign owner of the country, it subordinates elements of geometrized nature, alternating in a strict order with architectural elements of parking purposes: stairs, pools, fountains, and a variety of small architectural forms.

The principle of axial space inherent in baroque and an ancient Rome is implemented here in the grand axial perspective of the terraces of green parters and Alley, leading the view of the observer inland to the country located in the direction of the channel and further in infinity. Band-stopped bushes and trees emphasized the linear depth and artificiality of the created landscape, passing into natural only abroad, the main perspective.

Idea " transformed nature"Complied with a new lifestyle of the monarch and nobility. She led to new town-planning designs - the care from a chaotic medieval city, and ultimately - to the decisive transformation of the city based on the principles of regularity and introducing elements of the landscape. The consequence was the distribution of principles and techniques developed in the planning of Versailles to work on the reconstruction of cities, above all Paris.

Andre Lenotru (André Le Nôtre) (1613-1700) - Creator of the Garden Ensemble Versailles - Belongs the idea of \u200b\u200bresolving the planning of the Central District of Paris, adjacent from the West and the East to the Palaces of Louvru and Tuileries. Axle Louvre - Tuilerieswhich coincides with the direction of the road to Versailles determined the meaning of the famous " parisian diameter", Which subsequently became the most important highway of the capital. The Tuilery Garden and part of the Avenue of the Elysee fields were broken on this axis. In the second half of the XVIII century, an agreement was created, which united Tuileries with the Avenue of the Champs Elysees, and in the first half of the XIX century. The monumental arch of the star, put at the end of the Elysees in the center of Round Square, completed the formation of an ensemble, the length of which is about 3 km. Author Versailles Palace Jules Arduen-Mansar (Jules Hardouin-Mansart) (1646-1708) At the end of the XVII-early XVIII century, also created a number of outstanding ensembles in Paris. These include round victory Square (Place des Victoires), rectangular Vandom Square (Place Vendome), the complex of the hospital of disabled with the Dome Cathedral. French classicism of the second half of the XVII century. He perceived the town-planning achievements of the Renaissance and especially Baroque, developing and applying them in a more ambitious scale.

In the XVIII century, during the reign of Louis XV (1715-1774) in French architecture, as in other art types, the style of Rococo was developed, which was a formal continuation of the picturesque trends of Baroque. The originality of this close to the baroque and sophisticated in its forms of style was manifested mainly in the inner decoration, which answered the luxurious and wasteful life of the royal yard. Paradinary halls have acquired more cozy, but also more confused. In the architectural finishing of the premises, there were widespread use of mirrors and stucco decorations from fancy bent lines, flower garlands, shells, etc. Large reflection This style was also found in the furniture. However, in the middle of the XVIII century, there is a waste from the fed forms of Rococo towards greater rigor, simplicity and clarity. This period in France coincides with a wide public movement directed against the monarchical socio-political system and received its permission in the French bourgeois revolution of 1789. The second half of the XVIII and the first third of the XIX century in France marks a new stage in the development of classicism and its widespread in Europe.

Classicism of the second half of XVIII The century largely developed the principles of the architecture of the previous century. However, new bourgeois-rationalistic ideals - simplicity and classical clarity of forms - are now understood as a symbol of a well-known democratization of art propagated in the framework of the bourgeois enlightenment. The relationship between architecture with nature is changing. Symmetry and axis remaining the fundamental principles of the composition, no longer have the same value in the organization of the natural landscape. Increasingly, the French regular park is inferior to the so-called English park with a picturesque self-imitating natural landscape with a landscaped composition.

The architecture of buildings is becoming somewhat more humane and rational, although a wide urban-planning scale still define a wide ensemble approach to architectural tasks. The city with all its medieval buildings is considered as an object of architectural impact in general. The ideas of the architectural plan are put forward for the entire city; A significant place to occupy the interests of transportation, issues of sanitary improvement, placement of trade and production facilities and other economic issues. In the work on new types of urban buildings, much attention is paid to the multi-storey residential house. Despite the fact that the practical implementation of these urban-planning ideas was very limited, increased interest in the problems of the city affected the formation of ensembles. In the conditions of a major city, new ensembles are trying to include large spaces in the "sphere of their influence", often acquired disclosed.

The largest and characteristic architectural ensemble of French classicism of the XVIII century - consent Square in Paris (Place de La Concorde)project Anzh Jacques Gabriel (Ange-Jacque Gabriel (1698 - 1782) In the 1950s and 1960s of the XVIII century, and received its final completion during the second half of the XVIII - the first half of the XIX century. The huge square serves as if the distribution space on the shores of the hay between the Tuilery garden adjacent to the Louvra and the wide boulevards of the Elysee fields. Previously, the dry Rips that served as the boundary of the rectangular area (sizes 245 x 140 m). "Graphic" breakdown of the area with the help of dry pvs, balustrade, sculptural groups bears the seal of the plane breakdown of the Versailles Park. In contrast to the closed areas of Paris XVII century. (Vandom Square, etc.), the consent area is a sample of an open area, limited only on one side by two constructed symmetric cases that formed a transverse axis, passing through the area, and the Royal Street formed by them. The axis is fixed on the square by two fountains, and at the intersection of the main axes a monument was set by King Louis XV, and later high obelisk). Champs Elysees, Tuileries Garden, Space Space and Her embankments are a continuation of this huge in their coverage of an architectural ensemble in the direction perpendicular to the transverse axis.

Partial reconstruction of centers with a regular "Royal Square" device also covers other cities of France (Rennes, Reims, Rouen, etc.). The Royal Square in Nancy (PLACE ROYALLE DE NANCY, 1722-1755) is especially allocated. A town-planning theory develops. In particular, it should be noted theoretical work on the city's faces of the architect of PTA, who has processed and published the results of the competition for the Square of Louis XV in Paris, held in the middle of the XVIII century.

The volume and planning development of the buildings of the French classicism of the XVIII century does not think in the separation from the city ensemble. The leading motive remains a large order, well-related with adjacent urban spaces. The warrant is returned to the constructive function; It is more often used in the form of portico and galleries, the scale is enlarged, covering the height of the entire main volume of the building. Theorist of French classicism M. A. Lyudze (Laugier M.A.) It basically rejects the classic column where it really does not bear the load, and criticizes the formulation of one order to another, if you really can do with one support. Practical rationalism receives a wide theoretical substantiation.

The development of the theory has become a typical phenomenon in France's art from the XVII century, since the establishment of the French Academy (1634), the formation of the Royal Academy of Painting and Sculpture (1648) and the Academy of Architecture (1671). Special attention in theory is paid to orders and proportions. Developing the doctrine of proportions Jacques Francois Blondee (1705-1774) - French theorist of the second half of the XVII century, a lie creates a whole system of logically substantiated proportions, based on the rationally meaningful principle of their absolute perfection. At the same time, in proportions, as in the architecture as a whole, an element of rationality based on the speculatively derived mathematical rules of the composition is enhanced. Increasing interest in the heritage of antiquity and renaissance, and in specific samples of these eras, they seek to see the logical confirmation of the principles put forward. As an ideal example of unity of utilitarian and artistic features, Roman Pantheon is often given, and the most popular examples of the Renaissance classics are considered to build Palladio and Bramte, in particular Tempetto. These samples are not only carefully studied, but also often serve direct prototypes of the buildings.

In the project built in 1750-1780s Jacques German Souflo (Jacques-Germain Soufflot) (1713 - 1780) Churches of St. Genevieve in Paris, who later became the national French pantheon, can see the inherent time return to the artistic ideal of antiquity and the most mature samples of revival. The congestion in terms of the composition is characterized by the logicality of the general scheme, the equilibrium of architectural parts, clarity and clarity of construction. Porticist dates back to Roman Pantheon, drum with a dome (spin 21.5 meters) resembles a composition Templetto. The main facade completes the perspective of a short straight street and serves as one of the most notable architectural landmarks of Paris.

An interesting material illustrating the development of the architectural thought of the second half of the XVIII - early XIX century, serve publications in Paris competitive academic projects awarded the highest award (Grand Prix). Red thread through all these projects is a worship before antiquity. Infinite colonnades, huge domes, repeatedly repeated portico, etc. They say, on the one hand, about the rupture with the aristocratic rococo sparkle, on the other - about the flourish of peculiar architectural romance, for the realization of which there was no soil in social reality.

The eve of the Great French Revolution (1789-94) gave rise to the architecture a desire for harsh simplicity, bold searches for monumental geometry, new, lackless architecture (K. N. Leda, E. L. Bull, J. Zh. Leku). These searches (marked also by the influence of architectural etchings J. B. Pirassi) served as the starting point for the late phase of classicism - Ampire.

In the years of revolution, construction has almost been carried out, but a large number of projects have appeared. The general trend towards overcoming canonical forms and traditional classic schemes is determined.

The cultural thought, having passed the next round, ended in the same place. The painting of the revolutionary direction of French classicism is represented by courageous drama of historical and portrait images of J. L. David. In the years of the Napoleon Empire I in architecture, magnificent representativeness (S. Perce, L. Fonten, J. F. Schalgren) increases

The international center of classicism of the XVIII century - the beginning of the 19th century became Rome, where an academic tradition was dominated in art, with a combination of nobility and cold, abstract idealization (German painter A. R. Mengs, Austrian landscape officer J. A. Koh, sculptors - Italian A. Kanov, Dane B. Torvaldsen).

In the XVII, the first XVIII century, classicism was formed in the architecture of the Netherlands. - Architect Jacob Van Campen (Jacob Van Campen, 1595-165), who had given a particularly discreet version, cross-links with French and Dutch classicism, and also with early baroque affected the short brilliant bloom classicism in the architecture of Sweden End of the XVII - In the 18th century - architect Nikodemus Tessen Jr. (Nicodemus Tessin Younger 1654-1728).

In the middle of the XVIII century, the principles of classicism were transformed in the spirit of aesthetics of enlightenment. In the architecture, the appeal to the "naturalness" put forward the requirement of the constructive justification of the arrangements of the composition, in the interior - the development of flexible planning of a comfortable residential building. The ideal environment of the house was the landscape Wednesday of the English Park. The rapid development of archaeological knowledge about the Greek and Roman antiquity (excavation of Herculaneum, Pompeii, etc.) was enormous on the classicism of the 18th century. Proceedings in the theory of classicism, I. I. Winelman, I. V. Götte, F. Milia were made to the theory of classicism. In the French classicism of the XVIII century, new architectural types were identified: exquisitely intimate mansion, a parade public building, an open city square.

In Russia Classicism has passed several stages in its development and reached an unprecedented scope at the Board of Catherine II, which considered himself "enlightened by Monarchini," consisted in correspondence with Voltaire and supported the ideas of French enlightenment.

The classic architecture of St. Petersburg was close to the ideas of significance, greatness, powerful pathos.

The definition of classicism (from lat. Classicus - exemplary) is an artistic style and a direction in the art of Europe XVII - XIX centuries. It is based on the ideas of rationalism, the main goal of which to enlighten the public on the basis of a certain ideal, sample, than similar to modernism. As such an example, the culture of the ancient world served. Rules, the canons of classicism were of paramount importance; They were supposed to comply with all artists creating as part of this direction and style.

Definition of classics

Classicism, like a style, came to replace the lush and pompous and exterior. The European Society by the end of the XVII century was penetrated by the ideas of enlightenment, which found its mapping in the culture of art. The attention of architects, sculptors attracted the rigor, simplicity, clarity and conciseness of ancient culture, in particular ancient Greek. The architecture has become the subject of imitation and borrowing.

As a direction, classicism covered all kinds of art: painting, music, literature, architecture.

The history of the occurrence of classic style: from antiquity to the era of the Renaissance

Classicism, the main purpose of which to enlighten the public on the basis of a certain ideal and compliance with all generally accepted canons is completely the opposite, which denied all the rules and was a bounce against any artistic tradition in any direction.

Provincial classicism in Russia

This direction is characteristic only for Russian architecture. Most of the historical buildings of St. Petersburg and Moscow, Yaroslavl, Pskov was performed in provincial classicism. His origin refers to the period of the Golden Age. Classic representatives of architecture facilities made in classicism style: Kazan Cathedral, Nikolsky Cossack Cathedral, etc.

Periods: Early, Middle, Late (High)

In its development, classicism passed 3 periods that can be listed like this:

1. Early(1760s - the beginning of the 1780s) - the flowering direction, the adoption of the concept of a new style, determining the reasons, and for what features the style will belong to the classicism;
2. Strict or medium(1780s - 1790th) - rooting style, description in many literary and visual works, construction of buildings;
3. Late or high, called the name (the first 30 years of the XIX century).

The photo presents a triumphal arch in Paris - a vivid example of classicism.

Characteristics and world-style features

Characteristics of classics in all directions of creativity:

• clear geometric shapes
• high quality materials
• noble decoration and restraint.

Majesty and harmony, grace and luxury are the main distinguishing features of classicism. These features later appeared in the interiors in the style.

Characteristic features of classicism in the modern interior

Essential style features:

• smooth walls with soft floral motifs;
• elements of antiquity: Palaces and columns;
• stucco;
• gourmet parquet;
• fabric wallpapers on the walls;
• elegant, graceful furniture.

A feature of the Russian classic style has become calm rectangular forms, restrained and at the same time diverse decorative design, verified proportions, a worthy view, harmony and taste.

Exterior of the direction of the classics: structures

External signs of classicism in architecture are pronounced, they can be revealed at the first eye on the building.

1. Constructions: Sustainable, massive, rectangular and arched shape. Compositions are clearly planned, strict symmetry is observed.
2. Forms: Clear geometry, volume and monumentality; Statues, columns, niches, rotunda, hemispheres, frontones, friezes.
3. Lines:strict; regular planning system; Bas reliefs, medallions, smooth drawing.
4. Materials: Stone, brick, wood, stucco.
5. Roof:complex, intricate form.
6. Prevailing colors: Saturated white, green, pink, purple, heavenly blue, golden.
7. Characteristic elements: discreet decor, columns, pilasters, antique ornament, marble staircase, balconies.
8. Window: Semicircular, rectangular, elongated up, modestly decorated.
9. Doors: Rectangular, viper, often decorated with statues (lion, sphinx).
10. Decor: Carving, gilding, bronze, pearl, inlay.

Interior: Signs of Classicism and Architectural Genres

In the interior of the premises of the era of classicism there is nobleness, restraint and harmony. Nevertheless, all interior items do not look like museum exhibits, but only emphasize the subtle artistic taste and respectable owner.

The room has the right shape, filled with atmosphere of nobility, coziness, heat, exquisite luxury; Not overloaded with details.

Central place in the decoration of the interior is occupied by natural materials, mainly valuable wood, marble, stone, Silk.

• Ceilings: Light high, often multi-level, with stucco, ornament.
• Walls: Decorated with tissues, bright, but not bright, pilasters and columns, stucco or painting are possible.
• Flooring: Parquet from valuable wood species (Merbau, Kamshi, Tik, Yatoba) or marble.
• Lighting:chandeliers from crystal, stone or expensive glass; Gold plated chandeliers with plafoons in the form of a candle.
• Mandatory interior attributes: mirrors, fireplaces, cozy low chairs, low tea tables, light handmade carpets, paintings with antique plots, books, massive, stylized antiquity floor vases, tremendous flower stands.

Antique motifs are often used in the decoration of the room: Meanders, Festos, Lavrova Garlands, Pearl Threads. For decoration, expensive textiles are used, including tapestries, taffeta and velvet.

Furniture

Furniture of the classicism is characterized by good quality and respectability, made of expensive materials, mainly of valuable wood. It is noteworthy that the texture of the tree appears not only as the material, but also as a decorative element. Furniture items are made by hand, decorated with carvings, gilding, inlay, precious stones and metals. But the form is simple: strict lines, clear proportions. Tables and chairs of the dining room are made with elegant carved legs. The dishes are porcelain, thin, almost transparent, with a pattern, gilding.One of the most important attributes of the furniture was considered a secret meter with a cubic body at high legs.

Architecture: Theaters, Churches and other buildings

Classicism applied to the basics of ancient architecture using not only elements and motifs, but also patterns in the design. The basis of the architectural language is an order with its strict symmetry, proportionality of the composition being created, the regularity of the planning and the clarity of the volume form.

Classicism is the complete opposite with its cordon and decorative excesses.

Unopened palaces, garden-park ensembles, which became the basis of a French garden with his straightened alleys trimmed with lawns in the form of cones and balls. Typical details of classicism - accented stairs, classic antique decor, dome in public buildings.

Late classicism (AMPIR) acquires military symbols ("Triumphal Arch" in France). In Russia, the Canon of the Architectural Style of Classicism can be called St. Petersburg, in Europe - this is Helsinki, Warsaw, Dublin, Edinburgh.

Sculpture: Ideas and Development

In the era of classicism, public monuments were widespread, personifying the military valor and wisdom of state husbands. And the main solution for sculptors was the image of the image of famous figures in the image of ancient gods (for example, Suvorov - in the form of Mars). Among the individuals became popular to order sculptors gravestone monuments for perpetuating their names. In general, the sculptures of the era are inherent calm, restraint of gestures, inconsistency of expressions, purity of lines.

Fashion: Europe and Russia

Interest in antiquity in clothes began to manifest itself in the 80s of the XVIII century. This was especially manifested in a female costume. In Europe, there was a new ideal of beauty, glorifying natural forms and beautiful women's lines. The finest smooth fabrics of light tones are switched to fashion, especially white.

Women's dresses lost frames, pads and lower skirts and got the shape of long, draped tunic, cut on the sides and the intercepted belt under the breast. They put on the tricon of corporal color. Sandals with ribbons served as shoes. The hairstyle copied with antiquity. The fashion still remains in fashion, which covered face, hands, neckline.

Among the accessories, they were used by the Türbans from Kisie, decorated with feathers, then Turkish scarves or Kashmir shawls.

From the beginning of the XIX century, the front dresses began to sew with loops and deep neckline. And in the daily dresses, the neckline was covered with a lace golk. Gradually changes hairstyle, and the powder goes out of use. The fashionable hair shrewd into curls tied by a gold ribbon or decorated with a crown of flowers.

Men's fashion was under the influence of the British. English Sukonny Frak, Readingote (Outerwear, Reministering Sirtuk), Jabn and Cuffs. It is in the era of classicism that men's ties are included.

Art

Painting and Fine Arts

In painting, classicism is also characterized by restraint and rigor. The main elements of the form - line and lightness. Local color emphasizes plastic objects and figures, separates the spatial picture plan. The largest master XVII century. - Lorren Claude, famous for its "perfect landscapes." Civilian pathos and lyricity united in "decorative landscapes" of the French painter Jacques Louis David (XVIII century). Among Russian artists, Carla Bryullov, who combined classicism with (XIX century) can be distinguished.

Classicism in music is associated with such great names as Mozart, Beethoven and Haydn, who determined the further development of musical art.

Literature: Heroes and Personality in Work

The literature of the era of clasicism promoted the mind, winning feelings. The conflict between the debt and passions is the basis of the plot of the literary work, where the person is constantly in voltage and must choose which decision to decide. Language reform in many countries has been carried out and the foundations of poetic art are laid. Leading representatives of the direction - Francois Maller, Cornel, Rasin. The main compositional principle of the work is the unity of time, place and action.

In Russia, classicism develops under the auspices of the Epoch of Enlightenment, the main ideas of which were equality and justice. The brightest author of the Epoch of Russian Classicism - M. Lomonosov, who laid the foundations of the poems. The main genre was comedy and satire. Fonvizin, Kantemir worked in this line.

The "golden age" consider the era of classicism for theatrical art, which developed very dynamically and improved. The theater was quite professional, and the actor on stage was not just played, but he lived, worried, remaining at the same time himself. Theatrical style was proclaimed by the art of the declamation.

An example of a picture in a classic style:

Key classicist representatives: artists, architects

Among the brightest world cultural students-classicist arts, architecture, such names can also be distinguished as:

• Jacques-Anj Gabriel, Pirase, Jacques-Germain Suffro, Bazhenov, Karl Rossi, Andrei Voronikhin, (architecture);
• Antonio Kanov, Torvaldsen, Fedot Shubin, Boris Orlovsky, Mikhail Kozlovsky (sculpture);
• Nikola Poussin, Lebrene, Engr (painting);
• Voltaire, Samuel Johnson, Derzhanin, Sumarokov, Chemnitzer (literature).

Video: Traditions and culture, distinctive features, music

Conclusion

The ideas of the classicism era are successfully used in modern design. It retains nobility and elegance, beauty and greatness. The main features are a wall painting, drape, stucco, natural wood furniture. Decorations are a bit, but all of them are luxurious: mirrors, paintings, massive chandeliers.

from lat. Classicus, letters. - belonging to the first class of Roman citizens; In the figurative sense - exemplary) - art. Direction and appropriate aesthetic. Theory, the emergence of to-rye belongs to the 16th century, flourishing - to the 17th century, decline - by the beginning of 19 V. K. - the first in the history of the new time the direction in the artist, in K-Rom Aesthetic. The theory preceded art. Practice and dictated her laws. Aesthetics K. Regulatory and reduced trail. Regulations: 1) the basis of art. Creativity constitutes the mind, all components of the claim must be subordinate to the requirements; 2) the purpose of creativity is the knowledge of the truth and the disclosure of it in the artistic and visual form; Between beauty and truth can not be discrepancies; 3) the lawsuit must follow nature, "imitate" her; What is ugly in nature, in the statement should become aesthetically acceptable; 4) the statement of morally at its very nature and the whole building of art. Works claims the moral ideal of society; 5) Cognitive, aesthetic. and ethics. The qualities of the claim via dictate. System of art. Receptions, which are best facilitated by practical. implementation of the principles to.; The rules of good taste define features, norms and limits of each of the species of claim and each genre within this type of claim; 6) art. The ideal, according to theorists K., is embodied in Antich. Software Therefore, the best way to achieve art. Perfections - to imitate the samples of classic. Artistic antiquity. Name "K." Comes from the principle of imitation of anti accepted by this direction. Classic. K. Partly peculiar and ancient aesthetics: Theorists of the Imperial Rome advocated the requirements to imitate Greek. Samples, guided in the artistic principles, etc. The cult of antiquity re-arises in the Renaissance, when interest in antich is sharpened. Culture, partially destroyed, partially forgotten in the Middle Ages. Humanists studied antiquity monuments, seeking to find in the pagan worldview of antiquity to support in the struggle against Spiritualism and Scholastics of the CP. Feed. ideology. "In rescued under the fall of the Byzantium, manuscripts, in the spillings of the Rome of ancient statues, a new world appeared in front of the amazed West - Greek antiquity; the ghosts of the Middle Ages disappeared in front of her light images" (Engels F., see Marx K. and Engels F., Op. , 2 ed., Vol. 20, p. 345-46). The most important for the formation of aesthetic. The theory of Humanism of the Renaissance was the study of treatises on the Poets of Aristotle and Horace, which were adopted as an arch of continued laws of claim. In particular, great development gets already in 16 century. The theory of drama, primarily tragedy, and the theory of epic. The poems, which were predominant in the preserved text of the "poetics" Aristotle. Minturpo, Custalvetro, Scaliger, etc. Commentators of Aristotle laid the foundations of poetics K. and establish typical arts for this. Directions Rules of the composition of the drama and epic, as well as other liters. genres. In depicting. The artist and architecture takes a turn from the Gothic Middle Ages to the style of antich. Samples, which is reflected in the theoretical. Works on the artist, in particular Leon Battist Alberti. In the era of revival, however, aesthetic. Theory K. experienced only the initial period of its formation. She was not recognized as communal, and art. The practice has largely deviated from it. Both in Lit-re, drama and in the city. Isk-Vakh and architecture, art. Antiquity achievements were used to the extent that they corresponded to ideological and aesthetic. The aspirations of the artists of humanism. In the 17th century The conversion of K. to the continued doctrine, the following becomes mandatory. If the initial stage of the formation of K. occurs in Italy, then the design of K. in completed aesthetic. The doctrine was made in France at the 17th century. Social politics. The basis of this process was the regulation of all spheres of vital activity carried out by the absolutist state-in. Cardinal Richelieu created an academy in France (1634), the observation of the purity of Franz was commissioned. Language and lit-ry. The first document, officially approved by the doctrine K., was the "Opinion of the French Academy about Tragicomedia (P. Cornel)" LED "" ("Les Sentiments de L'acad? Mie Fran? Aise Sur La TRAGI-COM? Die du Cid", 1638 ) where the rules of three unities in the drama (unity of place, time and action) were processed. Simultaneously with the statement of K., the sphere of architecture, painting and sculptures also occurred in Lit-P and theater. In France, the Academy of Painting and Sculpture is created, the Rules of K. and in plastic are formulated at meetings. Isk-Wah. In France, 17 V. K. acquires his classic. The form is not only due to the state. Support, but also due to the general nature of the development of the spiritual culture of the time. The determining point of the content of the claim was the idea of \u200b\u200bapproving statehood. She arose as counterweight feud. separatism and in this respect was a progressive principle. However, the progressiveness of this idea was limited, because She boiled down to the apology of the monarchy. self-adjusting. The carrier of the principle of statehood was the absolute monarch and in his person embodied human. ideal. The seal of this concept lies on all the statement of K., K-ry was even named afterwards sometimes "Courtnic K.". Although the yard of the king was indeed the center, where the ideological came from. The lawsuits of the statement, K. In general, there was no only noble aristocrat. claim. Aesthetics K. is under meaning. The influence of the philosophy of rationalism. GL Representative of Franz. Rationalism 17 V. R. Descartes had a decisive effect on the formation of aesthetic. Doctrine K. Etich. Ideals K. were aristocratic only in appearance. The essence of them was humanist. Ethics recognizing the need for a compromise with the absolutist state-in. However, within the limits of the supporters of K. Fought against the vices of the noble monarchy. societies and brought up the consciousness of the art. The responsibility of each to society, including the king, was also depicted as a person who refused to personal interests in the name of the interests of the state. Such was the first form of a civil ideal, affordable at that stage of societies. Development when the raising bourgeoisie was still not strong enough to speak against the absolutist state. On the contrary, using it internal. Contradictions, first of all, the struggle of the monarchy against the noble and fronds, the advanced figures of Bourges.-Democratic. Cultures supported the monarchy as a centralizing state. The beginning that can temper the feud. Gnet or at least enter it into some framework. If in some kinds and genres of claims and lit-ry, the external pomp, elevation of the form dominated, then freedom was allowed in others. Accordingly, the nature of the estate state in the claim also existed a hierarchy of genres, which were divided into higher and lower. The lowest comedy, satire, bass. However, it was in them that the most democracy was obtained. Trends of the era (Comedy Moliere, Satire Baual, Basni Lafontena). But in the high genres of lit-ry (tragedy), both contradictions and advanced morals were affected. The ideals of the era (Early Cornell, Creativity Racina). In principle, K. claimed that he created aesthetic. Theory, imbued with comprehensive unity, in the practice of art. The culture of the epoch is characterized by counterproofs. The most important of them was the constant inconsistency between the SCU. Content and antich. The form, in K-Rui, it was silent. Heroes of classic tragedies, despite the antih. The names were the French 17th century. in the warehouse of thinking, the bushes and psychology. If occasionally, such a masquerade was beneficial to cover the attacks against the authorities, at the same time it prevented the direct reflection of the SCU. Reality in the "high genres" classicist. Iska Therefore, the greatest realism is characterized by the lower genres, the image "ugly" and "low-lying" was not reborn. Compared with the multilateral realism of the Renaissance, K. was a narrowing of the life sphere covered by art. Culture. However, aesthetic. Theory K. belongs to the merit of identifying the importance of typical in the art. True, the principle of typification was understood as limited, for its implementation was achieved by the price of the loss of an individual principle. But the essence of life phenomena and human. Characters gets in K. Such an embodiment, which makes it really possible as cognitive, and will upb. Function works. Their ideological content becomes clear and clear, the visibility of ideas gives the works of the direct ideological job. character. The lawsuit turns into the podium of moral, philos., Relig. and poly-tich. ideas. The crisis feud. Monarchy gives rise to a new form of anti-refore. Ideology - enlightenment. There is a new variation of this art. Directions - so-called. Enlightenment K., K-ry is characterized by the preservation of all aesthetic. Principles K. 17 V. The poetics of the Education K., as it was finally formulated by Baual (poems "Poetic Art" - "L'art Po? Tique", 1674), remains the code of unrealistic rules and for enlighteners - classicists, at the head of the rhyme stood Voltaire. New in K. 18 V. It is primarily its socio-politics. orientation. There is a civilian perfect hero who care about the good of the state, but about the good of society. Not serving a king, and the concern for the people becomes the center of moral political. aspirations. Tragedy of Voltaire, "Caton" Addison, Tragedy of Alfiery, to some extent Rus. Classicists 18 V. (A. Sumarokov) argue the life concepts and ideals that conflict with the principles of the feud. Statehood and ABS. Monarchy. This civil jet in K. is transformed in France on the eve and during the first Bourges. Revolutions in K. Republican. The reasons leading to the update K. in the Franz period. Bourges. Revolutions, were deeply opened by Marx, to-ry wrote: "In the classically strict traditions of the Roman Republic, gladiators of the bourgeois society found ideals and artistic forms, the illusions necessary to them in order to hide from themselves the bourgeois-limited content of their struggle to keep their Inspiring at the height of the Great Historical Tragedy "(" The Eighteenth Louis Louis Bonaparte ", see Marx K. and Engels F., Op., 2 ed., Vol. 8, p. 120). For the Republican K. period of the first Bourges. The revolution was followed by K. Napoleonic Empire, which created the style of "Ampir". All this was a historic masquerade, covered by Bourges. The content of the social coup happened then. K. 18 V. Frequently from some features of dogmatism inherent in the 17th century poetics. It is in the Epoch of Enlightenment in connection with a deeper study of the claim, classic. Ancient times the cult of antiquity in plastic. Isk-Vakh acquires a particularly large development. In Germany, Winkelman, and then lescing establish that aesthetic. The charm of antiquity monuments is associated with politics. Build Greek. Polis: only democracy and psychology of a free citizen can give rise to such a great lawsuit. From that time in it. Theoretical. Thoughts approve the idea of \u200b\u200bcommunication between aesthetic. Ideal and politics. Freedom, which received the most clear expression in "Letters about aesthetic education" F. Schiller ("? Ber Die? Sthetische Erziehung Lier Menschen, in Einer Reihe Von Briefen", 1795). However, he has this idea in an idealistic perverted form: civil liberty is achieved by aesthetic. Education. Such a question was related to the retardation of Germany and the absence of prerequisites in it for the Bourges. coup. However, in this form of the late it. Classicism, so-called Weimar classicism Goethe and Schiller was a progressive, albeit limited ideological and art. phenomenon. In general, K. was an important stage in the development of artistic practice and theoretical. Thoughts. In antich. The shell has been checked by advanced Bourges.-Democratic. The ideology of the Epoch of Lift Bourges. societies. The syllable nature of the doctrine teachings of classicists was clear at the end of the 17th century, when Saint-Evreon rebelled against it. In 18 V. Lessing inflicted crushing blows on dogmat. Elements K., defending, however, "soul" K., his wonderful ideal of a free, harmoniously developed person. This was exactly the core of Weimar classicism Goethe and Schiller. But in the first third of the 19th century, after the victory and statements of Bourges. Building in zap. Europe, K. Loses its meaning. The collapse of the educational illusions about the occurrence of the kingdom of mind after the victory of Bourges. Revolution makes clear illusory classic. Ideal in the kingdom of Bourges. prose. Historic. The role of noticeing K. fulfilled the aesthetics of romanticism, K-Parades opposed the dogm of K. The greatest acute struggle against K. reached in France at the end of 1820. 1830, when romance finished off. victory over K. Like art. Direction and aesthetic. Theory. This, however, did not mean the complete disappearance of the ideas of K. in the artist. At the end of the 19th century, as well as in 20 centuries. aesthetic. Movement Zap. Europe is recurrent. Ideas, roots of the reinstall to K. They wear antirealist. and aesthetic character ("neoclassical" trends in Franz. Poetry 2nd half. 19th century) or serve as a mask for ideological. reactions, eg. In the theories of decadent T. S. Eliot after the 1st World War. The most stable turned out to be aesthetic. Ideals K. in architecture. Classic. The style of architecture was repeatedly reproduced in architectural construction in 1930-40s., For example. in the development of architecture in the USSR. LIT: Marx K. and Engels F., about art, t. 1-2, M., 1957; Plekhanov G.V., Art and Literature, [Sat. ], M., 1948, p. 165-87; Cranc [E. ], The experience of philosophy of literature. Descartes and French classicism, per. [With Franz. ], SPb, 1902; Lessing G. E., Hamburg Dramaturgy, M.-L., 1936; Pospelov G. N., Sumarokov and the problem of Rus. Classicism, "Uch. Zap. MSU", 1948, vol. 128, kN. 3; Kreyanov E. H., to the question of classicism, in the book: XVIII century, Sat. 4, M.-L., 1959; Ernst F., Der Klassizismus in Italien, Frankreich und Deutschland, Z., 1924; Peyre H., QU'EST-CE QUE LE CLASSICISME?, P., 1942; Kristeller P. O., The Classics and Renaissance Thougoht, Camb., (Mass.), 1955. A. Anikst. Moscow.

Classicism (FR. Classicisme, from lat. Classicus - exemplary) - artistic and architectural style, direction in the European art of the XVII-XIX centuries.

Classicism has passed three stages in its development:

* Early classicism (1760s - beginning of the 1780s)
* Strict classicism (mid 1780s - 1790th)
* Ampier (from Fr. Empire - "Empire")
Ampire - late (high) classicism style in architecture and applied art. Originated in France during the reign of the emperor Napoleon I; developed for the first three decades of the XIX century; Replaced with eclectic currents.

Although such a phenomenon in European culture as classicism, touched on all manifestations of art (painting, literature, poetry, sculpture, theater), this article we will look at classicism in architecture and interior.

The history of the emergence of classicism

Classicism in the architecture came to replace the pompous rococo, style which from the middle of the XVIII century has already been widely criticized for excessive complications, spraying, manners, for the complication of the composition with decorative elements. During this period, in European society, the ideas of enlightenment began to involve increasing attention, which found their display in architecture. Thus, the attention of architects of that time attracted simplicity, conciseness, clarity, calm and strictness of antique and primarily Greek architecture. Increasing interest in antiquity, the discovery of Pompei in 1755 with richest artistic monuments, excavations in Herculaneum, studying the ancient architecture in the south of Italy, on the basis of which new views on Roman and Greek architecture were formed. New style - classicism has become a natural result of the development of the revival architecture and its transformation.

Famous architectural structures of classicism:

• David Mayernik.
  Exterior of the Fleming Library in the American School in Lugano, Switzerland (1996) "Target \u003d" _ blank "\u003e Library Fleming Library Fleming
• Robert Adam
  Example of British Palladianism - London Mansion Osterley Park "Target \u003d" _ blank "\u003e Osterley Park Osterley Park
• Claude Nicola
  Customs Job in Stalingrad Square in Paris "target \u003d" _ blank "\u003e Customs court Customs court
• Andrea Palladio
  Andrea Palladio. Rotunda Villa near Vicenza "target \u003d" _ blank "\u003e Villa Rotonda Villa Rotonda

The main signs of classicism

The architecture of classicism as a whole is inherent in the regularity of the planning and clarity of the bulk form. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity. For classicism, symmetrical axial compositions, restraint of decorative decoration, regular planning system are characteristic.

Prevailing and trendy colors	White, saturated colors; Green, Pink, Purple with Golden Accent, Heavenly Blue
Line style classicism	Strict repeating vertical and horizontal lines; Bas-relief in a round medallion, smooth generalized pattern, symmetry
The form	Clarity and geometrism of forms, statues on the roof, rotunda, for ampir style - expressive pompous monumental forms
Characteristic elements of the interior of classicism	Discarded decor, round and ribbed columns, pilasters, statues, antique ornament, caissional arch, for ampir style Military decor (emblems), power symbols
Designs	Massive, stable, monumental, rectangular, arched
Window classicism	Rectangular, elongated up, with modest design
Doors style classicism	Rectangular, viper; with a massive bounce portal on round and ribbed columns; perhaps decorated with lions, sphinxes and statues

Architects of classicism

Andrea Palladio (Italian. Andrea Palladio; 1508-1580, the real name of Andrea di Pietro) - the great Italian architect of the late Renaissance. The founder of Palladianism and Classicism. Probably one of the most influential architects in history.

Inigo Jones (Inigo Jones; 1573-1652) - English architect, designer and artist who stood at the origins of the British architectural tradition.

Claude Nicolas Ledoux (Claude Nicolas Ledoux; 1736-1806) - a master of architecture of French classicism, anticipating many of the principles of modernism. Pupil Blonde.

The most significant interiors in the style of classicism were developed by Scottish Robert Adam, who returned to his homeland from Rome in 1758. The huge impression on it was made both archaeological research of Italian scientists and the architectural fantasies of Pirase. In the interpretation of Adam, classicism appeared with a style, according to the sophistication of the interiors, it is hardly inferior to Rococo, which has gained popularity in him not only from democratically tuned circles of society, but among the aristocracy. Like its French colleagues, Adam preached a complete rejection of parts devoid of a structural function.

In Russia, Carl Rossi, Andrei Voronikhin and Andreij Zakharov, showed uncomplicable masters. Many foreign architects who worked in Russia only here could most fully show their talent. Among them should be called the Italians of Giacomo Rinaldi, Antonio Rinaldi, French Wallen-Demotus, Scottle Charles Cameron. All of them mostly worked at the courtyard in St. Petersburg and its surroundings.

In Britain, an emergency corresponds to the so-called "Regenty Style" (the largest representative - John Nash).

German architects Leo Background Klenzze and Karl Friedrich Shinkle Build Munich and Berlin Grand Museum and other public buildings in the Spirit of Parfenon.

Types of Style Style Classicism

The nature of the architecture in most cases remained dependent on the tectonics of the carrier wall and the arch, which has become more flat. A portico becomes an important plastic element, while the walls outside and from the inside are members with small pilasters and cornices. Symmetry predominates in the composition of the whole and parts, volumes and plans.

The color solution is characterized by light pastel colors. White color, as a rule, is used to identify architectural elements that are a symbol of active tectonics. The interior becomes lighter, reserved, furniture is simple and easy, while the designers used Egyptian, Greek or Roman motifs.

The most significant town planning concepts and their implementation in nature in nature the end of the XVIII and the first half of the XIX century are connected with classicism. During this period, new cities, parks, resorts are laid.

Classicism in the interior

Furniture of the classicism is a good and respectable, manufactured from valuable wood. The texture of a tree acquires great importance, acting as a decorative element in the interior. Furniture items were often separated by carved inserts from valuable wood. Decor elements are more restrained, but expensive. Forms of items are simplified, lines are straightened. There is a straightening of the legs, the surfaces are becoming easier. Popular Coloring: Red Tree Plus Easy Bronze Finish. Chairs and armchairs are hung with fabrics with floral ornament.

Chandeliers and lamps are supplied with crystal suspensions and are sufficiently massive performed.

In the interior there is also porcelain, mirrors in expensive frames, books, paintings.

The colors of this style are often clear, almost primary yellow, blue, as well as purple and green tones, and the latter are used with black and gray flowers, as well as with bronze and silver ornaments. Popular white color. Often used colored varnishes (white, green) in combination with a slight gilding of individual details.

• David Mayernik.
  Interior of the Fleming Library in the American School in Lugano, Switzerland (1996) "target \u003d" _ blank "\u003e Library Fleming Library Fleming
• ELIZABETH M. DOWLING.
  Modern interior design in the classic style "target \u003d" _ blank "\u003e Modern classic Modern classic
• Classicism
  Modern interior design in the classic style "target \u003d" _ blank "\u003e Hall Hall
• Classicism
  Modern design interior dining room in the classic style "target \u003d" _ blank "\u003e Dining room Dining room

Architectural classicism is a return to the ancient architecture that was considered a benchmark for rigor, harmony, monumentality and along with that laconicity. Buildings in the style of classicism inherent clarity of forms and regular planning. As a basis, the architects took the order, according to their proportions, reminded antique, and in addition, used symmetrical-axial compositions and were sufficiently detained in decorating.

Where did the classicism come from?

This well-known style came from Venice, where it was formulated by two famous masters - Palladio and scaming - at the very end of the Renaissance era. The principles of ancient temple architecture were based on Venetian architecture. It was on them that the projects of the most famous private mansions were based.

A little later, thanks to the efforts of Inigo Jones, classicism was transferred to England, where it existed about the middle of the 18th century. Such success of the new style was predetermined, since Baroque and Rococo already literally had the tastes of European intellectuals. At the change of pompousness and luxury when solving urban targets, a completely different style was to come. And he was found in the imitation of ancient Roman and ancient Greek canons. So the most famous architectural ensembles were born - the area of \u200b\u200bconsent and Church of Saint-Sulpis in Paris.

Society, having heard a call to update the art of modernity by the charm of antiquity, very actively returned to him and fully supported the new architectural style. Progressive classicism, opposed by the court baroque, fully corresponded to the spirit of the time - the era of bourgeois revolutions, when new trends came to the deseminious political regime.

Basics of classicism

Most of all, classicism was manifested in the construction of the princely palace-residences, although the latter already with a large stretch could be referred to as the main object of architecture and construction. In those days, country houses and villas were erected in a huge amount, and from the point of view of state-wide scales, public structures were actively built: universities, libraries, museums and theaters. Classicism also showed himself when erecting hospitals, houses for people with injury and even a barracks and prison.

In those years, the temple construction has already lost its importance, although fairness should be noted that still in Darmstadt, Karlsruhe and Potsdam were erected by the most famous structures of a religious sense. But today there are active disputes about how architectural forms in the pagan style correspond to such Christian abode.