Classicism in architecture. Classicism in art (XVII-XIX centuries) Elements characterizing classicism in art

Classicism gave the world the architecture of such cities as London, Paris, Venice and St. Petersburg. Classicism in architecture dominated for more than three hundred years, from the 16th to the 19th centuries, and it was loved for its harmony, simplicity, rigor and at the same time elegance. Turning to the forms of ancient architecture, classicism in architecture is characterized by clear three-dimensional forms, symmetrical-axial compositions, monumentality, direct and spacious city planning system.

The origin of classicism in architecture, Italy

Classicism in architecture originated at the end of the Renaissance, in the 16th century, and the great Italian, Venetian architect Andrea Palladio is considered to be the father of this architectural style. As the writer Peter Vail said about Palladio in his book The Genius of Place:

“In order not to go into architectural details, the easiest way is to conjure up the Bolshoi Theater or the regional House of Culture - they are such thanks to Palladio. And if you were to make a list of people whose efforts the world - at least the world of the Hellenic-Christian tradition from California to Sakhalin - looks like it looks, and not otherwise, Palladio would take first place.

The city where Andrea Palladio lived and worked is the Italian Vicenza, located in the north-east of Italy near Venice. Now Vicenza is widely known in the world as the city of Palladio, who created many beautiful villas. In the second half of his life, the architect moved to Venice, where he designed and built wonderful churches, palazzos and other public buildings. Andrea Palladio was awarded the title of "the most prominent citizen of Venice".

Cathedral of San Giorgio Mangiore, Andrea Palladio

Villa Rotunda by Andrea Palladio

Loggia del Capagno, Andrea Palladio

Teatro Olimpico, Andrea Palladio and Vincenzo Scamozzi

A follower of Andrea Palladio was his talented student Vincenzo Scamozzi, who, after the death of his teacher, completed work on the Teatro Olimpico.

The works and ideas of Palladio in the field of architecture fell in love with his contemporaries and were continued in the works of other architects of the 16-17th century. The architecture of classicism received the most powerful impetus in its development from England, Italy, France and Russia.

Further development of classicism

Classicism in England

Classicism literally swept into England, becoming the royal architectural style. A whole galaxy of the most talented architects of England of those times studied and continued the ideas of Palladio: Inigo Jones, Christopher Wren, Earl of Burlington, William Kent.

The English architect Inigo Jones, an admirer of the work of Andrea Palladio, brought the architectural legacy of Palladio to England in the 17th century. It is believed that Jones was one of the architects who laid the foundation for the English school of architecture.

Queens House in Greenwich, Inigo Jones

House of Banquets, Inigo Jones

England was rich in classicist architects - along with Jones, such masters as Christopher Wren, Lord Burlington and William Kent brought a huge contribution to the architecture of England.

Sir Christopher Wren, architect and professor of mathematics at Oxford, rebuilt the center of London after the great fire in 1666, created the national English classicism "Wren Classicism".

Royal Chelsea Hospital Christopher Wren

Richard Boyle, Earl Architect of Burlington, philanthropist and patron of architects, poets and composers. The Count Architect studied and collected the manuscripts of Andrea Palladio.

Burlington House, Earl Architect of Burlington

The English architect and gardener William Kent collaborated with the Earl of Burlington, for whom he designed gardens and furniture. In horticulture, he created the principle of harmony of form, landscape and nature.

palace complex in golkham

Classicism in French architecture

In France, classicism has been the dominant style since the French Revolution, when the desire for conciseness arose in architecture.

It is believed that the beginning of classicism in France was laid by the construction of the church of Saint Genevieve in Paris. , designed by French self-taught architect Jacques Germain Soufflot in 1756, later called the Pantheon.

Temple of Saint Genevieve in Paris (Pantheon), Jacques Germain Soufflot

Classicism brought serious changes to the planning system of the city; winding medieval streets were replaced by majestic, spacious avenues and squares, at the intersection of which architectural monuments were placed. At the end of the 18th century, a unified urban planning concept appeared in Paris. An example of a new urban planning concept of classicism was Rivoli Street in Paris.

Rivoli street in Paris

The architects of the imperial palace, prominent representatives of architectural classicism in France, are Charles Percier and Pierre Fontaine. Together they created a number of majestic architectural monuments - the Arc de Triomphe on Carruzel Square in honor of Napoleon's victory in the battle of Austerlitz. They own the construction of one of the wings of the Louvre, the Marchand Pavilion. Charles Percier participated in the restoration of the Compiègne Palace, created the interiors of Malmaison, Saint-Cloud Castle and Fontainebleau Palace.

Arc de Triomphe in honor of Napoleon's victory at the Battle of Autherlitz, Charles Percier and Pierre Fontaine

Wing of the Louvre, Marchand Pavilion, Charles Percier and Pierre Fontaine

Classicism in Russia

In 1780, at the invitation of Catherine II, Giacomo Quaregi arrived in St. Petersburg as "Her Majesty's architect". Giacomo himself was from Bergamo, Italy, studied architecture and painting, his teacher was the largest German painter of the Classical era, Anton Raphael Mengs.

The authorship of Quarenghi belongs to several dozen of the most beautiful buildings in St. Petersburg and its environs, including the English Palace in Peterhof, the pavilion in Tsarskoye Selo, the building of the Hermitage Theater, the Academy of Sciences, the Assignation Bank, the summer palace of Count Bezborodko, the Horse Guards Manege, the Catherine Institute of Noble Maidens and a lot others.

Alexander Palace, Giacomo Quarenghi

The most famous projects of Giacomo Quarenghi are the buildings of the Smolny Institute in St. Petersburg and the Alexander Palace in Tsarskoye Selo.

Smolny Institute, Giacomo Quarenghi

An admirer of the traditions of the Palladian and the new Italian school of architecture, Quarenghi designed amazingly elegant, noble and harmonious buildings. The beauty of the city of St. Petersburg is largely due to the talent of Giacomo Quaregi.

Russia in the 18th and 19th centuries was rich in talented architects who worked in the style of classicism along with Giacomo Quarenghi. In Moscow, the most famous masters of architecture were Vasily Bazhenov and Matvey Kazakov, and Ivan Starov in St. Petersburg.

The artist and architect, teacher, Vasily Bazhenov, a graduate of the Academy of Arts and a student of the French professor of architecture Charles Devayi, created projects for the Tsaritsyna Palace and Park Ensemble and the Grand Kremlin Palace, which remained unrealized, since the architect fell into disfavor with Catherine II. The objects were completed by M.Kazakov.

Plan of the architectural ensemble of Tsaritsino, Vasily Bazhenov

Russian architect Matvey Kazakov during the reign of Catherine the Great worked in the center of Moscow in the Palladian style. His work belongs to such architectural ensembles as the Senate Palace in the Kremlin, the Petrovsky Travel Palace, the Grand Tsaritsy Palace.

Petrovsky Travel Palace, Matvey Kazakov

Tsarina's Palace, Vasily Bazhenov and Matvey Kazakov

Academician of the St. Petersburg Academy of Sciences Ivan Starov is the author of such architectural structures as the Trinity Cathedral in the Alexander Nevsky Lavra, St. Sophia Cathedral near Tsarskoye Selo, the Pellinsky Palace, the Tauride Palace and other beautiful buildings.

The art of classicism followed antique, that is, classical, patterns, which were considered the ideal aesthetic standard. Unlike the masters of the Baroque, the creators of classicism tried to follow the firmly established canons of beauty. The new era developed strict rules that determined how poetry and plays should be written, how to create paintings, how to dance, etc. The main principles of classicism are strict adherence to established norms and majesty.

Through the efforts of the French Academy, founded in 1634, in France, instead of numerous local dialects, a single literary language was gradually established, which became the most important means of not only developing culture, but also strengthening national unity. The Academy dictated linguistic norms and artistic tastes, contributing to the formation of the general canons of French culture. The formation of classicism was also facilitated by the activities of the Academy of Painting and Sculpture, the Academy of Architecture, the Academy of Music, which determined the norms of artistic creativity in the respective fields of art. The artistic canons of that era were formed under the influence of philosophical rationalism, the founder of which was the outstanding French thinker of the first half of the 17th century. R. Descartes.

Cartesianism, as the philosophy of Descartes is called, asserted faith in the omnipotence of the human mind and its ability to organize all human life on rational foundations.

The leading poet of classicism and its theorist in the field of poetry was N. Boileau, author of the poetic treatise "Poetic Art" (1674).

Dramaturgy

In dramaturgy, where classicism reached its greatest completeness, the principle of "three unities" was established, which meant that the whole plot unfolded in one place, at one time and in one action. Tragedy was recognized as the highest genre of theatrical art. In classical drama, the characters were clearly distinguished and opposed to each other: positive characters embodied only virtues, negative ones became the personification of vice. At the same time, good always had to win over evil.

The basis of the classical French tragedy was P. Kornel, who not only wrote plays that are still recognized as masterpieces of world drama, but also became a leading theorist of theatrical art.

Ballet

High perfection in the era of classicism was achieved by the ballet, to which the "king-sun" had a weakness, often going on stage himself. Ballet, which came from Renaissance Italy, under the auspices of the King of France, turned into a special kind of stage art. By the end of the XVII century. its canons were developed, turning ballet into the most classical of all types of classical arts.

Opera

Opera also came from Italy to France. The national operatic tradition, which originated at the court of Louis XIV, was also formed in line with classicism.

Classical canons in painting formed N. Poussin. French painting of the 17th century laid the foundations of a great national tradition, the further development of which brought France undeniable primacy in the field of fine arts.

Portrait

Louis XIV gave the royal palace of the Louvre at the disposal of the ministers of the Muses, who acquired its majestic eastern facade with him. Paris and its suburbs during the reign of the "sun king" were decorated with wonderful architectural monuments. "His Majesty's Buildings" turned into an entire industry, and everything built then is, in the words of the biographer Louis XIV, "a permanent world exhibition of masterpieces of French classical taste."

Since the time of Louis XIV, the primacy of France in many areas of culture has become universally recognized. French influence for a long time determined the main directions in the development of world art. Paris has become the center of the artistic life of Europe, a trendsetter and tastes that have become role models in other countries. material from the site

Palace and Park Ensemble Versailles

An outstanding achievement of that era is the grandiose palace and park ensemble Versailles. The best architects, sculptors and artists of that time participated in its construction. The parks of Versailles are a classic example of French park art. Unlike the English park, which is more natural, landscape in nature, embodying the desire for harmony with nature, the French park is characterized by a regular layout and a desire for symmetry. Alleys, flower beds, ponds - everything is arranged in accordance with the strict laws of geometry. Even trees and bushes are trimmed in the form of regular geometric shapes. The attractions of Versailles were also various fountains, rich sculpture, luxurious interiors of palaces. According to the French historian, no treaty "has given so much to the glory of our country as the ensemble of Versailles." “One of a kind in proportion, connecting the play of all the arts, reflecting the culture of a unique era,” Versailles still amazes the imagination of visitors.

Classicism (French classicisme, from Latin classicus - exemplary) is an artistic style and aesthetic trend in European art of the 17th-19th centuries.
Classicism is based on the ideas of rationalism, which were formed simultaneously with those in the philosophy of Descartes. A work of art, from the point of view of classicism, should be built on the basis of strict canons, thereby revealing the harmony and logic of the universe itself. Interest for classicism is only eternal, unchanging - in each phenomenon, he seeks to recognize only essential, typological features, discarding random individual signs. The aesthetics of classicism attaches great importance to the social and educational function of art. Classicism takes many architectural rules and canons from ancient art.

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

The architectural language of classicism was formulated at the end of the Renaissance by the great Venetian master and his follower Scamozzi. The Venetians absolutized the principles of ancient temple architecture so much that they used them even in the construction of private mansions. Palladianism took root in England, and local architects followed the precepts of Palladio with varying degrees of fidelity until the middle of the 18th century.

By that time, the surfeit of the "whipped cream" of the late Baroque and Rococo began to accumulate among the intellectuals of continental Europe. Born by the Roman architects Bernini and Borromini, the baroque thinned into rococo, a predominantly chamber style with an emphasis on interior decoration and arts and crafts. For solving major urban problems, this aesthetics was of little use. Already under Louis XV (1715-74) urban planning ensembles in the “ancient Roman” style were being built in Paris, such as Place de la Concorde (architect Jacques-Ange Gabriel) and the Church of Saint-Sulpice, and under Louis XVI (1774-92) a similar “noble laconicism" is already becoming the main architectural trend.

The most significant interiors in the style of classicism were designed by the Scot Robert Adam, who returned to his homeland from Rome in 1758. On his return to his homeland, he was made royal architect in 1762, but in 1768 he left this position because he was elected to Parliament and took up architecture and building with his brother James. He was greatly impressed by the archaeological research of Italian scientists. In the interpretation of Adam, classicism was a style that was hardly inferior to rococo in terms of sophistication of interiors, which gained him popularity not only among democratic-minded circles of society, but also among the aristocracy. Like his French colleagues, Adam preached a complete rejection of details devoid of a constructive function. This returned to the architectural stucco decoration (and architectural elements in general) the rigor of lines and the alignment of proportions.
The Frenchman Jacques-Germain Soufflot, during the construction of the Saint-Genevieve church in Paris, demonstrated the ability of classicism to organize vast urban spaces. The massive grandeur of his designs foreshadowed the megalomania of Napoleonic Empire and late Classicism. In Russia, Vasily Ivanovich Bazhenov was moving in the same direction as Soufflet. The Frenchmen Claude-Nicolas Ledoux and Etienne-Louis Boulet went even further towards the development of a radical visionary style with an emphasis on the abstract geometrization of forms. In revolutionary France, the ascetic civic pathos of their projects was of little use; Ledoux's innovation was fully appreciated only by modernists of the 20th century.

The architects of Napoleonic France drew inspiration from the majestic images of military glory left by imperial Rome, such as the triumphal arch of Septimius Severus and Trajan's Column. By order of Napoleon, these images were transferred to Paris in the form of the triumphal arch of Carruzel and the Vendôme column. In relation to the monuments of military greatness of the era of the Napoleonic wars, the term "imperial style" is used - empire style. In Russia, Karl Rossi, Andrey Voronikhin and Andrey Zakharov showed themselves to be outstanding masters of the Empire style. In Britain, the Empire corresponds to the so-called. "Regency style" (the largest representative is John Nash).

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

In the period following the Napoleonic Wars, classicism had to get along with romantically colored eclecticism, in particular, with the return of interest in the Middle Ages and the fashion for architectural neo-Gothic.

Brief description of the architectural style classicism

Character traits: A style that turned to the ancient heritage as a norm and an ideal model. Restrained decor and expensive high-quality materials (natural wood, stone, silk, etc.) are characteristic. Most often there are decorations with sculptures and stucco moldings.

Dominant colors: saturated colors; green, pink, magenta with a gold accent, sky blue.

lines: strict repeating vertical and horizontal lines; bas-relief in a round medallion; smooth generalized drawing; symmetry.

"Class!" - we talk about what arouses our admiration or corresponds to our positive assessment of an object or phenomenon.
Translated from Latin, the word classicus and means "exemplary".

Classicismcalled the artistic style and aesthetic direction in European culture of the XVII-XIX centuries.

What about as a sample? Classicism developed the canons according to which any work of art should be built. Canon- this is a certain norm, a set of artistic techniques or rules that are mandatory in a certain era.
Classicism is a strict trend in art, it was only interested in the essential, eternal, typical, random signs or manifestations were not interesting to classicism.
In this sense, classicism performed the educational functions of art.

Buildings of the Senate and Synod in St. Petersburg. Architect C. Rossi
Is it good or bad when there are canons in art? When you can only like this and nothing else? Do not rush to a negative conclusion! The canons made it possible to streamline the work of a certain type of art, to give direction, to show samples and to sweep aside everything insignificant and not deep.
But the canons cannot be an eternal, unchanging guide to creativity - at some point they become obsolete. This is what happened at the beginning of the 20th century. in the visual arts and in music: the norms that had taken root over the course of several centuries had outlived their usefulness and were torn apart.
However, we have already jumped ahead. Let's return to classicism and take a closer look at the hierarchy of genres of classicism. We will only say that as a certain trend, classicism was formed in France in the 17th century. A feature of French classicism was that it affirmed the personality of a person as the highest value of being. In many ways, classicism relied on ancient art, seeing in it an ideal aesthetic model.

Hierarchy of genres of classicism

In classicism, a strict hierarchy of genres is established, which are divided into high and low. Each genre has certain characteristics, which should not be mixed.
Consider the hierarchy of genres on the examples of various types of art.

Literature

Nicolas Boileau is considered the greatest theorist of classicism, but the founder is Francois Malherba, who reformed the French language and verse and developed poetic canons. N. Boileau expressed his views on the theory of classicism in the poetic treatise "Poetic Art".

Bust of Nicolas Boileau by F. Girardon. Paris, Louvre
In dramaturgy had to be respected three unities: the unity of time (the action must take place within one day), the unity of place (in one place) and the unity of action (there must be one storyline in the work). The French tragedians Corneille and Racine became the leading representatives of classicism in dramaturgy. The main idea of ​​their work was the conflict between public duty and personal passions.
The goal of classicism is to change the world for the better.

In Russia

In Russia, the emergence and development of classicism is associated primarily with the name of M.V. Lomonosov.

M. V. Lomonosov at the monument "1000th Anniversary of Russia" in Veliky Novgorod. Sculptors M.O. Mikeshin, I.N. Schroeder, architect V.A. Hartmann
He carried out a reform of Russian verse and developed the theory of "three calms".

"The theory of three calms" M.V. Lomonosov

The doctrine of the three styles, i.e. The classification of styles in rhetoric and poetics, which distinguishes between high, medium and low (simple) styles, has been known for a long time. It was used in ancient Roman, medieval and modern European literature.
But Lomonosov used the doctrine of three styles to build a stylistic system Russian language and Russian literature. Three "styles" according to Lomonosov:
1. High - solemn, majestic. Genres: ode, heroic poems, tragedies.
2. Medium - elegies, dramas, satires, eclogues, friendly compositions.
3. Low - comedies, letters, songs, fables.
Classicism in Russia developed under the influence of the Enlightenment: the ideas of equality and justice. Therefore, in Russian classicism, an obligatory author's assessment of historical reality was usually assumed. This we find in the comedies of D.I. Fonvizin, satires A.D. Cantemir, fables by A.P. Sumarokova, I.I. Khemnitser, odes to M.V. Lomonosov, G.R. Derzhavin.
At the end of the XVIII century. the tendency to see in art the main force of human education intensified. In this regard, a literary trend arises sentimentalism, in which feeling (and not reason) was declared the main thing in human nature. The French writer Jean-Jacques Rousseau called for being closer to nature and naturalness. This call was followed by the Russian writer N.M. Karamzin - let's remember his famous "Poor Lisa"!
But in the direction of classicism, works were created in the 19th century. For example, "Woe from Wit" by A.S. Griboyedov. Although in this comedy there are already elements of romanticism and realism.

Painting

Since the definition of "classicism" is translated as "exemplary", then some kind of model is natural for it. And supporters of classicism saw it in ancient art. It was the highest example. There was also a reliance on the traditions of the high Renaissance, which also saw a model in antiquity. The art of classicism reflected the ideas of a harmonious structure of society, but reflected the conflicts of the individual and society, the ideal and reality, feelings and reason, which testify to the complexity of the art of classicism.
The artistic forms of classicism are characterized by strict organization, balance, clarity and harmony of images. The plot should develop logically, the composition of the plot should be clear and balanced, the volume should be clear, the role of color should be subordinated with the help of chiaroscuro, the use of local colors. So wrote, for example, N. Poussin.

Nicolas Poussin (1594-1665)

N. Poussin "Self-portrait" (1649)
French artist who stood at the origins of classicism painting. Almost all of his paintings are based on historical and mythological subjects. His compositions are always clear and rhythmic.

N. Poussin "Dance to the Music of Time" (circa 1638)
The painting depicts an allegorical round dance of Life. It circles (from left to right): Pleasure, Diligence, Wealth, Poverty. Next to the two-headed stone statue of the Roman god Janus sits a baby blowing soap bubbles - a symbol of the fleeting human life. The young face of the two-faced Janus looks to the future, while the old face is turned to the past. The winged, gray-bearded old man, to the music of which the round dance is spinning, is Father Time. At his feet sits a baby who holds an hourglass, reminiscent of the rapid movement of time.
The chariot of the sun god Apollo rushes across the sky, accompanied by the goddesses of the seasons. Aurora, the goddess of dawn, flies ahead of the chariot, scattering flowers in her path.

V. Borovikovsky “Portrait of G.R. Derzhavin" (1795)

V. Borovikovsky “Portrait of G.R. Derzhavin, State Tretyakov Gallery
The artist depicted in the portrait a man whom he knew well and whose opinion he valued. This is a formal portrait, traditional for classicism. Derzhavin is a senator, a member of the Russian Academy, a statesman, this is evidenced by his uniform and awards.
But at the same time, this is a famous poet, passionate about creativity, educational ideals and social life. This is indicated by a desk littered with manuscripts; luxury ink set; shelves with books in the background.
The image of G. R. Derzhavin is recognizable. But his inner world is not shown. Rousseau's ideas, which have already been actively discussed in society, have not yet appeared in the work of V. Borovikovsky, this will happen later.
In the 19th century Classicism painting enters a period of crisis and becomes a force holding back the development of art. Artists, preserving the language of classicism, begin to turn to romantic subjects. Among Russian artists, first of all, it is Karl Bryullov. His work came at a time when classical works of form were filled with the spirit of romanticism, this combination was called academism. In the middle of the XIX century. the young generation gravitating towards realism began to rebel, represented in France by the Courbet circle, and in Russia by the Wanderers.

Sculpture

The sculpture of the era of classicism also considered antiquity as a model. This was facilitated, among other things, by archaeological excavations of ancient cities, as a result of which many sculptures of Hellenism became known.
Classicism reached its highest incarnation in the works of Antonio Canova.

Antonio Canova (1757-1822)

A. Canova "Self-portrait" (1792)
Italian sculptor, representative of classicism in European sculpture. The largest collections of his works are in the Louvre in Paris and in the St. Petersburg Hermitage.

A. Canova "Three Graces". Saint Petersburg, Hermitage
The sculptural group "Three Graces" refers to the late period of creativity of Antonio Canova. The sculptor embodied his ideas of beauty in the images of the graces - ancient goddesses personifying female charm and charm. The composition of this sculpture is unusual: the graces stand side by side, the two extreme faces face each other (and not the viewer) and the girlfriend standing in the center. All three slender female figures merged into an embrace, they are united by the interweaving of hands and a scarf falling from the hand of one of the graces. Canova's composition is compact and balanced.
In Russia, the aesthetics of classicism include Fedot Shubin, Mikhail Kozlovsky, Boris Orlovsky, Ivan Martos.
Fedot Ivanovich Shubin(1740-1805) worked mainly with marble, sometimes turning to bronze. Most of his sculptural portraits are in the form of busts: busts of Vice-Chancellor A. M. Golitsyn, Count P. A. Rumyantsev-Zadunaisky, Potemkin-Tavrichesky, M. V. Lomonosov, Paul I, P. V. Zavadovsky, a statue of Catherine II legislators and others.

F. Shubin. Bust of Paul I
Shubin is also known as a decorator, he created 58 marble historical portraits for the Chesme Palace, 42 sculptures for the Marble Palace, etc. He was also a bone carver of the Kholmogory carved bone.
In the era of classicism, public monuments became widespread, in which the military prowess and wisdom of statesmen were idealized. But in the ancient tradition, it was customary to depict models naked, while the norms of morality modern to classicism did not allow this. That is why figures began to be depicted as naked ancient gods: for example, Suvorov - in the form of Mars. Later they began to be depicted in antique togas.

Monument to Kutuzov in St. Petersburg in front of the Kazan Cathedral. Sculptor B.I. Orlovsky, architect K.A. Tone
Late, Empire classicism is represented by the Danish sculptor Bertel Thorvaldsen.

B. Thorvaldsen. Monument to Nicolaus Copernicus in Warsaw

Architecture

The architecture of classicism was also focused on the forms of ancient architecture as standards of harmony, simplicity, rigor, logical clarity and monumentality. The basis of the architectural language of classicism was the order, in proportions and forms close to antiquity. Order- a type of architectural composition that uses certain elements. It includes a system of proportions, prescribes the composition and shape of the elements, as well as their relative position. Classicism is characterized by symmetrical axial compositions, restraint of decorative decoration, and a regular system of city planning.

London's Osterley Park mansion. Architect Robert Adam
In Russia, representatives of classicism in architecture were V.I. Bazhenov, Karl Rossi, Andrey Voronikhin and Andrey Zakharov.

Carl Barthalomeo-Rossi(1775-1849) - Russian architect of Italian origin, author of many buildings and architectural ensembles in St. Petersburg and its environs.
Rossi's outstanding architectural and urban planning skills are embodied in the ensembles of the Mikhailovsky Palace with its adjacent garden and square (1819-1825), Palace Square with the grandiose arched building of the General Staff building and the triumphal arch (1819-1829), Senate Square with the Senate and Synod buildings (1829). -1834), Alexandrinsky Square with the buildings of the Alexandrinsky Theater (1827-1832), the new building of the Imperial Public Library and two uniform long buildings of Theater Street (now the street of the architect Rossi).

The building of the General Staff on Palace Square

Music

The concept of classicism in music is associated with the work of Haydn, Mozart and Beethoven, who are called the Viennese classics. It was they who determined the direction of the further development of European music.

Thomas Hardy "Portrait of Joseph Haydn" (1792)

Barbara Kraft "Posthumous portrait of Wolfgang Amadeus Mozart" (1819)

Karl Stieler "Portrait of Ludwig van Beethoven" (1820)
The aesthetics of classicism, based on confidence in the rationality and harmony of the world order, embodied these same principles in music. It was required from her: the balance of parts of the work, the careful finishing of details, the development of the main canons of the musical form. During this period, the sonata form was finally formed, the classical composition of parts of the sonata and symphony was determined.
Of course, the path of music to classicism was not simple and unambiguous. There was the first stage of classicism - the Renaissance of the XVII century. Some musicologists even consider the Baroque period as a particular manifestation of classicism. Thus, the works of I.S. Bach, G. Handel, K. Gluck with his reformist operas. But the highest achievements of classicism in music are nevertheless associated with the work of representatives of the Viennese classical school: J. Haydn, W. A. ​​Mozart and L. van Beethoven.

Note

It is necessary to distinguish between concepts "music of classicism" And "classical music". The concept of "classical music" is much broader. It includes not only the music of the period of the era of classicism, but also the music of the past in general, which has withstood the test of time and is recognized as exemplary.

Classicism is a trend in European art that replaced the pompous Baroque in the middle of the 17th century. At the heart of his aesthetics lay the ideas of rationalism. Classicism in architecture is an appeal to examples of ancient architecture. It originated in Italy and quickly found followers in other European countries.

Andrea Palladio and Vincenzo Scamozzi

Andrea Palladio (1508-1580) was the son of a stonemason. He himself had to continue the heavy craft of his father. But fate was kind to him. The meeting with the poet and humanist J. J. Trissino, who saw a great talent in the young Andrea and helped him get an education, was the first step towards his fame.

Palladio had a wonderful flair. He realized that the customers were fed up with the pomp of the Baroque, they no longer wanted to put luxury on display, and offered them what they aspired to, but could not describe. The architect turned to the heritage of antiquity, but did not focus on physicality and sensuality, as did the masters of the Renaissance. His attention was drawn to the rationalism, symmetry and restrained elegance of the buildings of ancient Greece and Rome. The new direction was named in honor of its author - Palladianism, it became a transitional style to classicism in architecture.

Vicenzo Scamozzi (1552-1616) is considered the most talented student of Palladio. He is called the "father of classicism". He completed many of the objects designed by his teacher. The most famous of them are the Teatro Olimpico, which for many years became a model for the construction of theaters around the world, and Villa Capra, the first private house in the history of architecture, created according to the rules of an ancient temple.

Canons of classicism

Palladio and Scamozzi, who worked at the end of the 16th and beginning of the 17th centuries, anticipated the emergence of a new style. Finally, classicism in architecture took shape in France. Its characteristic features are easier to understand by comparing them with the features of the Baroque style.

Classicism in Western European architecture

The Latin word classicus ("exemplary") gave the name to the new style - classicism. In the architecture of Europe, this direction has taken a leading position for more than 100 years. It supplanted the Baroque style and set the stage for the emergence of the Art Nouveau style.

English classicism

Italy was the birthplace of classicism. From there it spread to England, where Palladio's ideas found wide support. Indigo Jones, William Kent, Christopher Wren became adherents and successors of a new trend in art.

Christopher Wren (1632-1723) taught mathematics at Oxford, but turned to architecture quite late, at 32. His first buildings were Sheldon University in Oxford and the Pembroke Chapel in Cambridge. When designing these buildings, the architect deviated from some of the canons of classicism, preferring baroque freedom.

A visit to Paris and communication with the French followers of the new art gave his work a new impetus. After the great fire in 1666, it was he who was commissioned to rebuild the center of London. After that, he earned the fame of the founder of national English classicism.

French classicism

A significant place is occupied by masterpieces of classicism in the architecture of France. One of the earliest examples of this style is the Luxembourg Palace, designed by de Brosse specifically for Marie de Medici. The tendencies of classicism were fully manifested during the construction of the palace and park ensembles of Versailles.

Classicism made significant adjustments to the planning structure of French cities. Architects designed not individual buildings, but entire architectural ensembles. The Rivoli street in Paris is a vivid example of building principles that were new for that time.

A galaxy of talented masters made a significant contribution to the theory and practice of the classicism style in French architecture. Here are just a few names: Nicolas François Mansart (Hotel Mazarin, Val-de-Grâce Cathedral, Maisons-Laffitte Palace), François Blondel (Saint-Denis Gate), Jules Hardouin-Mansart (ensembles of the Place des Victories and Louis the Great).

Features of the classicism style in the architecture of Russia

It should be noted that in Russia, classicism became widespread almost 100 years later than in the countries of Western Europe, during the reign of Catherine II. This is related to its specific national features in our country:

1. At first, he had a pronounced imitative character. Some masterpieces of classicism in Russian architecture are a kind of "hidden quotation" of Western architectural ensembles.

2. Russian classicism consisted of several very different currents. Its origins were foreign masters, representatives of different schools. So, Giacomo Quarenghi was a Palladian, Vallin-Delamot was a supporter of French academic classicism. Russian architects also had a special idea about this direction.

3. In different cities, the ideas of classicism were perceived differently. In St. Petersburg, he established himself easily. Entire architectural ensembles were built in this style; it also influenced the planning structure of the city. In Moscow, which consisted entirely of city estates, it was not so widespread and had relatively little effect on the general appearance of the city. In the provincial cities, only a few buildings were made in the classicist style, mainly cathedrals and administrative buildings.

4. In general, classicism in the architecture of Russia took root painlessly. There were objective reasons for that. The recent abolition of serfdom, the development of industry and the rapid growth of the urban population posed new challenges for architects. Classicism offered cheaper and more practical, compared to baroque, building projects.

Classicism style in the architecture of St. Petersburg

The first St. Petersburg buildings in the style of classicism were designed by foreign craftsmen invited by Catherine II. Special contributions were made by Giacomo Quarenghi and Jean-Baptiste Vallin-Delamote.

Giacomo Quarenghi (1744-1817) was an Italian classicist. He is the author of more than a dozen beautiful buildings, which today are inextricably linked with the image of St. Petersburg and its environs. The Academy of Sciences, the Hermitage Theatre, the English Palace in Peterhof, the Catherine Institute for Noble Maidens, the pavilion in Tsarskoye Selo - this is not a complete list of his creations.

Jean-Baptiste Vallin-Delamote (1729-1800), a Frenchman by birth, lived and worked in Russia for 16 years. According to his designs, Gostiny Dvor, the Small Hermitage, the Catholic Church of Catherine, the building of the Academy of Arts and many others were built.

The originality of Moscow classicism

Petersburg in the 18th century was a young, rapidly growing city. Here was where to roam the inspiration of architects. General projects were drawn up for its development, with clear, even streets, decorated in a single style, which later became harmonious architectural ensembles.

With Moscow, things were different. Before the fire of 1812, she was scolded for the disorder of the streets, characteristic of medieval cities, for the multi-style, for the predominance of wooden buildings, for "barbaric", according to the enlightened public, vegetable gardens and other liberties. “It was a city not of houses, but of fences,” historians say. Residential buildings were located in the depths of households and were hidden from the eyes of people walking along the street.

Of course, neither Catherine II nor her descendants dared to demolish all this to the ground and start building the city according to the new urban planning rules. A soft redevelopment option was chosen. Architects were instructed to build separate buildings that organize large urban spaces. They were to become the architectural dominants of the city.

The founders of Russian classicism

A great contribution to the architectural appearance of the city was made by Matvey Fedorovich Kazakov (1738-1812). He never studied abroad, we can say that he created the actual Russian classicism in architecture. With their buildings with colonnades, pediments, porticos, domes, restrained decor, Kazakov and his students sought to streamline the chaos of Moscow streets to the best of their ability, to even them out a little. His most significant buildings include: the Senate building in the Kremlin, the House of the Nobility Assembly on Bolshaya Dmitrovka, the first building of Moscow University.

An equally significant contribution was made by a friend and associate of Kazakov - Vasily Ivanovich Bazhenov (1735-1799). His most famous building is the Pashkov House. The architect brilliantly played with its location (on Vagankovsky Hill) in the layout of the building, resulting in an impressive example of classicism architecture.

The classicism style held its leading position for more than a century, and enriched the architectural appearance of the capitals of all European states.