History itself proves that classical art is eternal. His ideals originated in the ancient world. Time passed, empires collapsed, generations succeeded generations. After the Middle Ages, which was considered a decadent period, European art refers to the ideals of the past and begins to draw them precisely in the ancient heritage. The beginning of a new stage in culture, and in particular in architecture and decor, was laid in the 16th century by the Italian Renaissance. In the interiors of the palaces, a hitherto unseen luxury and decorativeness appeared, represented by individual elements that came from the ancient era. The 17th century was the heyday of the classics. It reached its vivid embodiment in the interiors of French palaces during the reign of Louis XVII. It was then that the magnificent Versailles was created. The same century gave a variety style directions classics - baroque, rococo, empire, etc.
Classics and classicism in the interior
By the way, in the description of interior art, the terms “classic” and “classicism” are often used. If there is a fundamental difference between them? Without going into theoretical considerations, we denote: there is a point of view that classicism differs from classics in that it is not a qualitative, but a functional concept that reflects a special type of artistic thinking based on the desire for integrity, clarity, simplicity, balance and consistency. In architecture and interior art, the concept of classicism is often used when we are talking about the interpretation of the ancient heritage. And the concept of "classic" generalizes various branches classical art- baroque, french classicism, Rococo, Empire, etc. In fairness, it should be noted that the very concept of "classicism" appeared only in the 19th century, when this era was already at an end and adherents of the romantic direction began their uncompromising struggle with it.
Baroque in the interior
Baroque style originated in the time of one of the most amazing masters Italian Renaissance- Michelangelo Buonarroti in the 16th century. Baroque fully revealed itself in France and lasted until the middle of the XVIII century. Solemnity, dynamism, picturesqueness - what is characteristic of the Baroque. His favorite shapes are curved, oval, twisted. They appear both in architectural elements and in furniture, accessories, and individual details. No wonder the word "baroque" comes from the Portuguese perola barroca - "pearl of a bizarre shape." The decoration of the interior is deliberately overloaded with decor: stucco, gilded carved baguettes, inlays, etc. Luxury rages in all its manifestations.
Rococo in the interior
Rococo appeared in France at the beginning of the 18th century and lasted almost until the end of that century. Some considered it a "thinning" of the Baroque. But in fact their aesthetics has no striking differences. Rococo, like baroque, promotes luxury and decorative saturation of the interior. Showiness is what Rococo used all the elements of Baroque familiar to him for. But the rococo ornament chooses the vector of its artistic thought. This style is characterized by complex fractional asymmetric drawings, the favorite motifs of which are floral curls, cupids, rocaille, etc. Elegant stucco molding is also used in the form of lush garlands of flowers, curved branches, birds, etc.
English classic
English classics, or Victorian style - such a double name is due to the fact that the English classics took shape during the reign of Queen Victoria (1837-1901). It all started with the fact that the emerging style began to try on all the existing trends before this - rococo, empire, neoclassicism, etc., there was even a movement of the "Gothic Renaissance". Such eclecticism, perceived by some scholars as evidence of conventionality Victorian style(there are proposals even to isolate this definition in quotation marks), nevertheless gave the English classics its own individual character. The atmosphere of the English house corresponds to the desire of the English aristocracy of that time for a prosperous and measured life. The rooms are filled with various decorative details. The furniture is massive and made of natural materials. Wood in the form of panels was also used in wall decoration. Antiques, porcelain sets, paintings depicting dogs and horses, and sculptures were popular accessories. Favorite colors English classics- yellow, beige, red, brick, green. The decor of such an interior cannot be complete without floral patterns on curtains, furniture upholstery and tablecloths, as well as without a laconic bright check on a traditional English plaid. A mandatory piece of furniture in this era was a bookcase, or library. And of course, a fireplace that warms the inhabitants of Foggy Albion. The interior in the English style may seem heavy to many, as if the past has frozen in it, only the grandfather clock, loudly striking every hour (one of the key items of English classics), reminds of the incessant passage of time.
Text - Natalia Novikova
If we talk about art XVII century, here we will see the formation of two major pan-European styles: classicism and baroque. The first was an aesthetic expression of the ideas of absolutism and received its main development in France. His artistic goal is to transform reality through the prism of the classic aesthetic ideal, built on rational foundations. (fourteen)
Classicism - art style, which dominated Europe for almost two centuries, manifested normative art, the ideal examples of which he found in antiquity. The classicists purely mechanically endured the norms ancient culture in the new time. Operating with the concepts of harmony and beauty, he did not look for them in life, but only in the legacy of the past. From a historical point of view, classicism was an unconditional step back in cultural development society, and its ideological concentrate was aimed at justifying and exalting the hierarchical structure of society, crowned by an enlightened monarch. The theoretical attitudes of the classicists were striking in their dogmatism and intransigence, in fact, they limited the artist in all respects, dividing genres into high and low, syllable into sublime and common people, dressing the heroes of the new time in an ancient toga and turning the artist’s gaze away from reality, from the true collisions of time. (four)
Each genre has strict boundaries and clear formal features; no mixing of the sublime and the base, the tragic and the comic, the heroic and the mundane is allowed. In the plastic arts, the premises of classicism were already emerging in the second half of the 16th century. in Italy in the architectural theory and practice of Palladio, the theoretical treatises of Vignola, S. Serlio; they are expressed more consistently in the writings of J.P. Bellori (XVII century), as well as in the aesthetic standards developed by the academicians of the Bologna school.
However, throughout the 17th century Classicism, which develops in interaction and polemic with the Baroque, only in French art turns into an integral stylistic system, and becomes a pan-European style in the 18th - early XIX centuries The architecture of classicism as a whole is characterized by the geometrism of emphatically static forms and the logical layout, the constant appeal to forms antique architecture this meant not only following its individual motives and elements, but the comprehension of its general tectonic laws. (one)
The main principles of classicism are as follows: a socially significant character, monumentality, imitation of the ancient ideal, moralizing, normativity (manifested in the system of three unities and the hierarchy of genres). The archetype of classicism can be called “crystal”. Figures of classicism: poet Nicolas Boileau, playwrights Pierre Corneille, Jean Racine, comedian Jean-Baptiste Moliere, artist Nicolas Poussin. Baroque acts as an antithesis to classic art. It is characterized by the movement of large masses of matter, affect, impulse, pathos. The archetype of the Baroque can be called the “sprouting grain”. Among the representatives, we single out the sculptor Lorenzo Bernini and the artist Peter Paul Rubens. (fourteen)
In contrast to classicism, baroque aesthetics asserted qualitatively different principles of world perception.
Firstly, in the baroque, the tendency based on the awareness of the conditionality of any order, harmony was most visibly manifested, the growing dynamics of thought and feeling was most fully embodied. Under influence scientific discoveries, which expanded the horizons of knowledge, posed complex, insoluble questions, pointed to the infinity of being, a person begins to feel the obvious insufficiency of rationalistic thinking.
Secondly, in the aesthetics of the Baroque, the tendency to strengthen the transformed energy, to distance society from the natural world, was transformed. It is no coincidence that Bernini said that nature is weak and insignificant, but to achieve beauty it is necessary to transform it. Art is higher than nature, just as the spirit is higher than matter, as mystical illumination is higher than the prose of life. With the help of a new aesthetic, man tried to go beyond visible world, beyond the realm of possibility. The Neapolitan poet D. Marino clearly expressed the most important principle of the Baroque: the poet's goal is the miraculous and amazing. He must surprise. That is why a new type of attitude asserted expression, impulse, dramatic brokenness of life, ambiguity. It was dominated by energy strong feelings, the world is uncertain, changeable, illogical. Baroque embodied ideas about the infinity of the Universe, acute ambivalence human being. From the point of view of the new artistic logic, the personality was considered as multifaceted, with a contradictory inner world, with intense emotional life. Aesthetics was built on the collision of man and nature, the ideal and the real, reason and the power of irrational forces. The classical clarity of forms, clarity, semantic evidence, structure, tectonicity in the image of the world is ignored.
In baroque aesthetics, interest is growing not only in the perfect manifestations of being that amaze the imagination, but also in the disharmonious, fantastic, grotesque and even ugly. The importance of the elements of entertainment and spectacular impact is growing.
Thirdly, the interests of the monarchy, the highest aristocracy, were realized in the Baroque aesthetics. With the destruction of absolute trust in God, the monarch begins to appropriate the function of the absolute. The will of the king is the supreme law for all. Therefore, the objective world that surrounds the monarch should cause quivering reverence. Hence the gold sparkling splendor, pomp, pomposity, excessive luxury, impressiveness, striking the imagination of mere mortals. This radiant grandeur, wealth becomes a synonym for beauty. The palace was no longer a fortress, as in the Middle Ages, but a paradise of earthly pleasures immersed in luxury, which had galleries, huge, spacious halls of mirrors, where tables, chairs, and eating utensils were made of gold. AT holidays thousands of candles shone dazzlingly in gilded halls, reflecting the splendor of rich clothes studded precious stones. Ceremonial interiors were decorated with multicolored sculptures, moldings, and carvings. The painting of the plafonds created the illusion of open vaults. Baroque gardens, seeking to expand the space of palaces, embodied the pathos of abundance in the form of a variety of aromatic plants, trees, huge fountains. Here, the desire for relaxation from the serious comes through clearly. If in the fountains of the Renaissance the murmur of water was supposed to set you up for reflection, then in the gardens of the Baroque, fountains, cascades, waterfalls were designed to amaze, amaze, captivate with spectacular effects. There are even musical devices in them.
Urban architecture was also formed in the Baroque style: building ensembles, streets, squares, parks began to be considered as a limited aesthetic whole functioning in space, unfolding in a variety of ways before the viewer. The desire for pomposity, splendor led to the fact that the city gates became antique triumphal arches, statues of famous mythological heroes. Even confectioners made cakes with the image mythological characters. They tried to convey all the most ornate, bizarre feelings with the help of external forms.
Fourthly, the artistic logic of the Baroque embodied the interests of the Catholic Church. The ideologists of Catholicism had to fight not only with non-Christian religions, atheism, but also with Orthodoxy, Protestantism, which demanded the democratization of religious relations, cheapening the church hierarchy, opposed the cult of external piety, defending the self-sufficiency of internal religiosity. Intensifying the struggle to retain its influence, the Catholic Church relied on such a tried and tested tool as art. Religious buildings in the baroque style, striking the imagination, glorifying the power of God and his representatives on earth, had the best effect on inner world person. As a result, such manifestations as mysticism, exaltation, irrationalism, representativeness, monumentality, diversity, the desire for dematerialization, dramatic intensity of feelings and, often, tragedy, were fixed in the baroque ethics. The Mass became more and more of an exciting theatrical spectacle. It is characteristic that in this era many Romanesque churches were converted into Baroque ones, as they seemed insufficiently expressive.
The fundamental principle of the classics - proportionality to the human body, restraint were replaced by the exact opposite - inconsistency, grandiosity, fantastic, expressiveness. (12, pp. 165-169)
They have both common features and differences, because each of the architectural directions has its own unique properties.
In the era of the Enlightenment and the New Age in the countries of Europe - the period from the 17th to the 19th centuries, bright and rich stylistic trends in art appeared. Baroque, rococo, classicism, empire - these are a few of the styles that were known at that time. Such a high development of architectural art was due to the fact that royal, imperial and aristocratic dynasties succeeded each other, and each of them wanted to glorify themselves and the period of their reign with real masterpieces of art and magnificent works of architecture.
What is the difference between the Empire style (late classicism) and ordinary classicism
Two popular trends - empire and classicism in architecture left a great mark on history. At its core, the Empire is one of the stages in the historical development of classicism, one of its offshoots, so talking about these styles as completely different directions it is forbidden.
If you ask architects how Empire differs from classicism, it will be difficult even for specialists to answer this question. Empire is the final stage in the development of classicism, it was popular in the first three decades of the 19th century. Empire, or late classicism - this is how this direction is designated in art, was called upon to serve the state during the reign of Napoleon in order to glorify his personality and the feats he accomplished.
Classicism began to gradually move into the Empire during the period of the Napoleonic Empire, these trends focused on the image of the art of the period of antiquity. The architects of this time used elements that made it possible to convey the military prowess and majestic power of the state as accurately as possible.
For this, such techniques were used in decor as lictor bundles, military armor, laurel wreaths, lions, eagles. Such elements were also used in the era of the development of classicism in architecture, however, the essential difference is that the empire borrowed architectural forms that were predominantly inherent in ancient Rome, and classicism mainly applied the heritage of ancient Greece. A striking example of a building in the style of classicism is the Villa Rotunda in Italy, the author of which was the architect A. Palladio.
What is the difference between the Empire style and classicism, if we talk about the choice of colors when arranging the premises? The interior, decorated in accordance with the laws of classicism, was strictly sustained in light and rich vanilla tones, pale blue and the color of young foliage were widely used.
It was almost impossible to see objects of bright saturated colors, while in the Empire period, on the contrary, designers skillfully combined flashy bright colors with delicate and soft shades. The predominance of saturated green and purple hues, as well as gilding, is another technique characteristic exclusively of the Empire era.
The difference between neoclassicism and classicism and empire
Another common feature for these two areas is the use of expensive woods and luxurious fabrics in interior design. Often one could see pieces of furniture, decorated with inlays from other types of wood, natural stone or ivory.
Among general characteristics directions, it is impossible not to notice that they equally often use flower ornaments as decoration. The choice of fabrics for interior decoration in the era of classicism and Empire was given special attention. It was possible to give the room luxury and pomp thanks to the use of natural silk and tapestries with various motifs. Here it should immediately be noted the difference between neoclassicism and classicism and empire style - it uses exclusively artificial silk, which looks as expensive as natural material.
The differences between Empire and classicism lie in the fact that the former was characterized by pronounced pomposity and luxury. Classicism was endowed with less monumentality, it is more characterized by restraint of forms and lines during construction. architectural structures and interior design. There is another distinctive feature of the Empire style, which is unique to this direction - the widespread use of mirrors.
Classicism, neoclassicism and Russian Empire: similarities and differences
Classicism, Russian Empire and Neoclassicism, like many other architectural styles, had much in common.
First of all, it is necessary to name such a similarity of directions:
1. Luxury. The styles were intended to decorate the interiors of representatives of the aristocracy, which is why many call them “palace” and “royal”. If you pay attention to all the styles that declared themselves in the period from the 17th to the 19th centuries, then the most modest were classicism and neoclassicism, although in fact the interiors were distinguished by unprecedented luxury.
2. Large and spacious rooms. For the premises of these eras, rooms with large space and high ceilings were characteristic. For the Rococo style, this was the least characteristic, if we compare all the architectural trends of that time with each other.
3. Ways to decorate. To decorate the premises, the purpose of which was to give the interior luxury and wealth, elements such as stucco, wall paintings and paintings were used. classic stories, wood carvings.
Neoclassicism differs from classicism and empire in that it is popular in late XVII I- the beginning of the 19th century, the direction inherited the traditions of not only the period of antiquity, but also the art of the Renaissance can be traced in it. In principle, neoclassicism is inherently a continuation of classicism, its modern completion.
Art Nouveau, Baroque, Empire, Classicism: distinctive features
Baroque, classicism and modern - trends that have a lot of distinguishing features. Art Nouveau is a "citation" of all three of these classical styles. It was formed under the strong influence of Japanese culture, ancient egypt and countries of other ancient civilizations.
The difference between Baroque, Empire and Classicism, on the one hand, and Art Nouveau, on the other, is that with the advent of the latter trend architectural art abandoned the heritage of previous eras. During this period, there is a rejection of straight lines and clear geometric shapes, conservatism and pathos in favor of more natural curved, rounded lines and asymmetry.
What is the difference between eclectic and modern from Empire
The majestic Empire style was replaced by eclecticism at the beginning of the 19th century.
Eclecticism and modernism differ from Empire and classicism in that they are a mixture and "citation" of all previous styles at the same time.
As a rule, eclecticism combines adjacent, not opposite directions. Interior elements of different style must have something in common - color, texture, overall design. On the furniture you can see patterns such as stripes, zigzags, circles. Oriental bedspreads and carpets, patterned wallpaper, niches, rounded corners - all this is typical of eclecticism.
In general, classicism has much in common, while modern and eclecticism are their complete opposite.
Baroque and Classicism
palace versailles culture artistic
In the 17th century, in the conditions of the active development of the economy and the arts, France acquired the status of an exemplary country of absolutist forms of government and practical economic policy. Thanks to the Counter-Reformation movement, Rome acquired a new meaning in the cultural space of territorially fragmented Italy. As a result, the construction of religious buildings received a strong impetus. Started under these conditions at the end of the 17th century new stage construction contributed to the fact that the German princes were guided in their needs by foreign samples. To a large extent they were influenced by French absolutism Louis XIV. Each feudal lord - no matter how small the territory that belonged to him - copied his residence from Versailles, this pearl of royal possessions.
Although for the European architecture XVII- XVIII centuries is not characterized by uniformity and integrity, it is customary to combine it general concept"baroque". Princely castles and places of worship became the primary objects of construction and embodied resistance to the Reformation. In the 1730s, the influence of the Enlightenment began to be felt, which was immediately reflected in the increased intimacy of the buildings. Small elegant castles surrounded by parks became a favorite place for the princes to stay. This is one of the most striking hallmarks of the Baroque.
The new style called for help in the conduct of urban planning activities beauty environment, or more simply - a landscape. The landscape has become one of the main components of the urban ensemble. The square, having lost its functional and democratic content, has become the front part of the city, its decoration. Baroque architecture is distinguished by grandiosity, splendor and dynamics, spectacularity and a strong contrast of scales and rhythms.
Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, baroque palaces and churches acquired some picturesqueness and dynamism. They seemed to grow into the space around them. Baroque interiors were decorated with multicolored sculpture, stucco, and carvings; mirrors and murals were necessary for the illusory expansion of space, and the painting of the plafonds created the illusion of vaults opening over the viewer.
In baroque painting and sculpture, the dominant position belonged to decorative multifaceted compositions of a religious, mythological or allegorical nature, as well as ceremonial portraits. When depicting a person, states of tension, exaltation and increased drama were preferable. In painting great importance acquired an emotional, rhythmic and coloristic unity of the whole, often an unconstrained freedom of brushstroke; in sculpture - the picturesque fluidity of form, the richness of aspects and impressions.
The characteristic features of the Baroque are the complexity of plans, rich interior design with unexpected and spectacular spatial and lighting solutions, many curves, plastically curving lines and surfaces, contrast, tension and dynamism of images, affectation, the desire for luxury and pomp, for combining reality and illusion, to the fusion of the arts. The baroque style contrasted the simplicity of classical forms with sophistication in shaping. Elements of painting and sculpture, painted wall surfaces were widely used in architecture.
The ideological foundations of the Baroque were formed under the conditions of the Reformation and the teachings of Copernicus. The idea of the world as a rational and permanent unity, characteristic of the philosophy of antiquity and the Renaissance view of man as the crown of creation, has changed. Man began to realize himself "something in between everything and nothing" in the words of Pascal, "one who catches only the appearance of phenomena, but is not able to understand either their beginning or their end."
The birth of the Baroque was to some extent facilitated by the lack of funds for the construction of the palazzo from the representatives of the nobility. In search of a way out of this situation, they turned to art to create the illusion of power and wealth. Partly due to this, Baroque arose in Italy in the 16th century.
Baroque architectural forms were based Italian Renaissance, but surpassed it in complexity, diversity and picturesqueness. Facades with profiled cornices, columns, semi-columns and pilasters colossal for several floors, luxurious sculptural details, often fluctuating from convex to concave, give the structure itself movement and rhythm. Not a single detail of such a structure was independent, in contrast to the Renaissance period. All parts of the ensemble are subject to a common architectural design, which is complemented by the design and decoration of interiors, as well as landscape gardening and urban architectural environment.
In France, the baroque style is expressed somewhat more modestly than in other countries. It used to be considered that the baroque style did not develop here at all, and baroque monuments were considered monuments of classicism. Sometimes it is appropriate to use the term "Baroque classicism" in relation to the French and English versions of the Baroque. Now the Palace of Versailles along with the regular park, the Luxembourg Palace, the building of the French Academy in Paris and other works of architecture are considered French Baroque. They really have some features of classicism. characteristic feature baroque style is a regular style in landscape art, clearest example which is the Versailles Park, the pinnacle of creativity of the talented master Andre Le Nôtre.
The German art critic and historian of ancient art Johann Joachim Winckelmann wrote in 1755: "The only way for us to become great, and if possible inimitable, is to imitate the ancients." With this slogan, he called on his contemporaries to renew art, using as a basis the beauty of antiquity, perceived as an ideal, and found in European society active support. Ancient architecture was perceived by him as a standard of harmony, simplicity, rigor, logical clarity and monumentality. The progressive public perceived classicism as a necessary opposition to the court baroque. The formation of classicism coincided in time with the period of bourgeois revolutions - English in 1688 and French - 101 years later. Thus, the appeal to ancient art as the highest example and reliance on traditions high renaissance became one of the most important features of classicism.
The fine arts of classicism sought to embody the idea of a harmonious structure of society. The complexity of the fine arts of classicism is clearly evidenced by the conflicts of the individual and society, ideal and reality, feeling and reason. The artistic forms of classicism are characterized by the features of strict organization, balance, simplicity and harmony of images.
desire to embody noble simplicity and the calm grandeur of ancient art in construction led the masters of the era to strive to completely copy the ancient building. Thus, what the German architect Gilly had at the design stage of the monument to Frederick II, by order of Ludwig I of Bavaria, was carried out on the slopes of the Danube in Regensburg and received the name Valhalla - “The Hall of the Dead”.
In Germany, construction centers in classical style the princely palaces - residences became, among them the Marktplatz (trade square) in Karlsruhe, Maximilianstadt and Ludwigstrasse in Munich, as well as construction in Darmstadt, became especially famous. The Prussian kings in Berlin and Potsdam also favored classicism during construction. However, by this time the palaces had already lost their status as the main objects of construction, villas and country houses looked no less impressive and impressive. The sphere of state construction included social buildings - hospitals, houses for the blind and deaf and dumb, as well as prisons and barracks. Public buildings such as theatres, museums, universities and libraries were soon added to them. The picture was completed by the country estates of the aristocracy and the bourgeoisie, town halls and residential buildings in cities and villages. The construction of churches was no longer a paramount task, but remarkable structures appeared in Karlsruhe, Darmstadt and Potsdam, although there was a discussion whether pagan architectural forms were suitable for Christian monastery.
In painting, the dominant role belonged to the logical unfolding of the plot, a clear balance of composition, a clear transfer of volume and light and shade modeling of the form, and the use of local colors.
A clear delineation of plans in landscape painting was also revealed with the help of color: the foreground must necessarily be written in brown, the second - in green, and the third - in blue.
The architecture of classicism is characterized by the regularity of planning and the clarity of volumetric form. The basis of the architectural language of the classical style was an order close in proportions and form to antiquity. Classicism is distinguished by symmetrical-axial compositions, restraint of decorative decoration and a regular system of city planning.
Great Venetian master Palladio and his follower Scamozzi formulated architectural language classicism at the end of the Renaissance. The Venetians absolutized the principles of ancient temple architecture so much that they were used even in the construction of such private mansions as Villa Capra. Inigo Jones transported Palladianism to England, where local Palladian architects followed Palladio's precepts with varying degrees of fidelity until the middle of the 18th century.
By this time, the satiation with the luxury of the late baroque and rococo began to accumulate among the intellectuals of continental Europe. For solving major urban problems, this aesthetics of baroque and rococo was decisively of little use. Already under Louis XV, town-planning ensembles in the "ancient Roman" style were erected in Paris, among them the Place de la Concorde (architect Jacques-Ange Gabriel) and the Church of Saint-Sulpice, and under Louis XVI, such "noble laconism" became the main architectural trend.
During the construction of the Church of Saint-Genevieve in Paris, the French architect Jacques-Germain Soufflot demonstrated the ability of classicism to organize vast urban spaces. In Russia, Bazhenov was moving in the same direction as Soufflet. The Frenchmen Claude-Nicolas Ledoux and Etienne-Louis Boulet were able to move 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 not in demand.
The architects of Napoleonic France looked for inspiration in the images of military glory preserved from the time of imperial Rome, such as the triumphal arch of Septimius Severus and Trajan's column. By order of the emperor, they were transferred to Paris in the form triumphal arch Carruzel and Vendôme Column. In relation to the monuments of military greatness of the era of the Napoleonic wars, it is customary to use the term "imperial style" - Empire. In Russia, such masters as Karl Rossi, Andrey Voronikhin and Andrey Zakharov were outstanding masters of the Empire style.
The most significant Classical interiors were completed by the Scottish architect Robert Adam after returning home from Rome in 1758. The archaeological research of Italian scientists and the architectural fantasies of Piranesi made a great impression on him. In the interpretation of Adam, classicism was a style that was hardly inferior in sophistication to Rococo interiors. This earned him fame both among the democratically minded circles of society and among the aristocracy. Like his French colleagues, Adam preferred a complete rejection of details devoid of a constructive function. The aesthetics of classicism contributed to large-scale urban planning projects and, to a certain extent, contributed to the ordering of urban development on the scale of entire cities.
In Russia, most provincial and almost all county towns were replanned in accordance with the principles of classic rationalism. Genuine museums of classicism under open sky such cities as St. Petersburg, Helsinki, Warsaw, Dublin, Edinburgh and some others have turned. Throughout the space from Minusinsk to Philadelphia, a single architectural language was established, dating back to Palladio. Ordinary building was carried out in accordance with the albums of standard projects.
In the period that followed the Napoleonic Wars, classicism existed simultaneously with romantically colored eclecticism, in particular with the revival of interest in the Middle Ages and the fashion for architectural neogothic. In connection with the discovery of the Rosetta Plate by Champollion, Egyptian themes gained popularity. Interest in ancient Roman architecture was gradually replaced by reverence for everything ancient Greek, which was especially pronounced in Germany and the United States. German architects Leo von Klenze and Karl Friedrich Schinkel are building up, respectively, Munich and Berlin with grandiose museums and other public buildings in the spirit of the Parthenon. In France, the purity of classicism was thinned out by free borrowings from the architectural repertoire of the Renaissance and Baroque.
Conclusions for chapter 1
Baroque and classicism styles developed in artistic culture Western Europe during the 17th-18th centuries. These two trends in art successfully coexisted for two centuries, developing in parallel and alternately occupying a leading position or receding into the background.
The classic style in artistic culture appealed to the use of art ancient world as a benchmark. The origin of classicism took place at the stage of the bourgeois revolutions - English and French - which affected the nature of its formation and was reflected in the characteristics of the characteristics within the framework of the national style.
AT fine arts classicism pursued the goal of embodying the idea of a harmonious arrangement of the social side of being. art forms classicism are marked by features of strict organization, balance, simplicity and harmony of images.
The characteristic features of the Baroque style were the complexity of plans, the lavish decoration of interiors with spectacular spatial and lighting solutions, the many curves, plastically curving lines and surfaces, the contrast and vivid dynamics of images, the desire for luxury, the combination of illusion and reality, and the fusion of arts. in defiance classical forms the baroque style promoted sophistication in shaping. In architecture, the use of elements of painting and sculpture, painted wall surfaces was widespread.
In the Baroque ideology, a person appeared as “something between everything and nothing” in Pascal’s words, “one who captures only the appearance of phenomena, but is not able to understand either their beginning or their end.”
The building in the style of classicism: Nationalrat (Nationalrat), the National Council - the lower house of the Austrian Parliament. Vein. 1874 -1884 The building was designed by the architect Theophil Hansen. The structure was supposed to be ancient Greece- Cradle of Democracy.
It is often customary to compare styles in architecture that are closely intertwined in architecture. European countries: Empire, Baroque, Rococo, Classicism.
Each of these styles arose on the crest of a particular era, they were preceded by certain events that are key in the development of civilization. The styles differed in their approach to the design of buildings, based on special philosophies characteristic of a certain historical period.
Empire and Baroque
Empire and baroque seem completely different styles, however, they have something in common - emphasized theatricality, decorativeness. Baroque arose in the 16th century under the influence of the reformist movement, the weakening of the influence of the Catholic Church, and the strengthening of secular power.
Baroque reflects the desire for wealth and luxury and their outward expression. The birthplace of the style was Italy, where the baroque appeared as a result of the development of the Renaissance. From Italy, the style spread throughout Europe, where it dominated until the 18th century. In some baroque countries, in force different reasons developed at a slow pace: for example, in Germany and Austria, due to the Thirty Years' War, large-scale construction was practically not carried out, and the style began to appear in architecture only in the second half of the 17th century.
