Classicism style. general characteristics

Classicism

Classicism (first-class, exemplary) is a movement in art and literature that received this name because it considered classical ancient (ancient Greek and Roman) art to be ideal, exemplary, perfect, harmonious. Supporters of classicism saw their goal as getting closer to ancient models by imitating them (ancient motifs, plots, images, and elements of mythology are widely used in the work of classicists).

Classicism arose at the end of the Renaissance and took shape in France in the mid-17th century under Louis XIV. The emergence of classicism is associated with the formation of a centralized state, the strengthening of the monarchy, and the ideals of “enlightened” absolutism.

The code (set of rules) of classicism was compiled by the French poet and critic N. Boileau in his poetic treatise “Poetic Art” (1674). Sumarokov was the first to translate this work into Russian in 1752, proving its applicability to Russian literature.

Classicism reached its peak in France in the tragedies of P. Corneille (“Cid”, “Horace”, “Cinna”), J. Racine (“Britannicus”, “Mithridates”, “Phaedra”), F. Voltaire (“Brutus” , “Tancred”), in the comedies of J. B. Molière (“The Miser,” “The Bourgeois in the Nobility,” “The Misanthrope,” “Tartuffe, or the Deceiver,” “The Imaginary Invalid”), in the fables of J. de La Fontaine, in prose by F. La Rochefoucauld, J. Labruyère; in Germany in the works of the Weimar period by J. W. Goethe (“Roman Elegies”, drama “Egmont”) and I. F. Schiller (“Ode to Joy”, drama “The Robbers” , “The Fiesco Conspiracy”, “Cunning and Love”).

Classicism as artistic direction have their own characteristics, their own principles.

Cult, the dominance of reason as the highest criterion of truth and beauty, the subordination of personal interests to the lofty ideas of civic duty and state laws. The philosophical basis of classicism was rationalism (from the Latin haIo - reason, rationality, expediency, rational validity of everything, the harmony of the Universe, conditioned by its spiritual principle), the founder of which was R. Descartes.

From the standpoint of statehood and enlightenment, denunciation of ignorance, selfishness, and despotism of the feudal order; glorification of the monarchy, which intelligently governs the people and cares about education; affirmation of human dignity, civic and moral duty. In other words, classicism formulated the purpose of literature as influencing the mind to correct vices and education of virtue, and this clearly expressed author's position(for example, Corneille glorifies heroes who defend the state, the absolute monarch; Lomonosov glorifies Peter the Great as an ideal monarch).

Heroes of classicism, mainly tragedies, there were “high” ones: kings, princes, generals, leaders, nobles, high clergy, noble citizens who cared about the fate of the fatherland and served it. In comedies, not only high-ranking officials were portrayed, but also commoners and serf servants.

The characters were strictly divided into positive and negative, into virtuous, ideal, devoid of individuality, acting at the behest of reason, and carriers of vice, in the grip of selfish passions. At the same time, in the outline goodies there was schematism and reasoning, that is, a tendency to moralizing reasoning from the author’s point of view.

The characters were unilinear: the hero personified any one quality (passion) - intelligence, courage, bravery, nobility, honesty or greed, deceit, stinginess, cruelty, flattery, hypocrisy, boasting (Pushkin noted: “In Moliere stingy stingy- but only..."; Mitrofan’s leading trait in “Nedorosl” is laziness).

The heroes were portrayed statically, without character evolution. In essence, these were just mask images (as Belinsky put it, “images without faces”).

“Talking” names of the characters (Tartuffe, Skotinin, Pravdin).

The conflict of good and evil, reason and stupidity, duty and feelings, in which good, reason, and duty always won. In other words, in the works of classicism, vice was always punished, and virtue triumphed (for example, in Fonvizin’s “Minor”). Hence the abstraction, the conventionality of the depiction of reality, the conventionality of the classicists' method.

The heroes spoke in a pompous, solemn, elevated language; such poetic means were used as Slavicisms, hyperbole, metaphor, personification, metonymy, comparison, antithesis, emotional epithets (“cold corpse”, “pale brow”), rhetorical questions and exclamations, appeals, mythological comparisons (Apollo, Zeus, Minerva, Neptune, Boreas). Syllabic versification dominated, and Alexandrian verse was used.

The characters delivered long monologues in order to more fully reveal their views, beliefs, and principles. Such monologues slowed down the action of the play.

Strict gradation, hierarchy of genres. “High” genres (tragedy, heroic poem, ode) reflected state life, historical events, ancient stories. “Low” genres (comedy, satire, fable) were converted into the sphere of everyday modern private life. An intermediate place was occupied by “middle” genres (drama, epistle, elegy, idyll, sonnet, song), depicting the inner world of an individual; they did not play a significant role in the literary process (the flourishing of these genres would come later). The classification of genres was based on the theory of “three styles” (high, medium, low), known since ancient times. Each genre had one of these styles; deviations were not allowed.

Mixing the sublime and the base, the tragic and the comic, the heroic and the ordinary was not allowed.

Heroes were depicted only in verse and in a sublime style. The prose was considered humiliating, “despicable” for high-ranking officials.

In dramaturgy dominated theory of "three unities"- place (all the action of the play took place in one place), time (events in the play developed over the course of a day), action (what was happening on stage had its beginning, development and end, while there were no “extra” episodes or characters that were not directly related to the development of the main plot).

Supporters of classicism usually borrowed plots for works from ancient history or mythology. The rules of classicism required the logical development of the plot, harmony of composition, clarity and conciseness of language, rational clarity and noble beauty of style.

Russian classicism. In Russia, due to historical conditions (during the establishment of the absolute monarchy), classicism appeared later, from the late 20s of the 18th century, existing until the 20s of the 19th century. At the same time, one should see one’s own periods in the development of Russian classicism and, accordingly, the representatives of these periods.

Early classicism: A. D. Kantemir (poetic satires), V. K. Trediakovsky (poem “Tilemakhida”, ode “For the surrender of Gdansk”).

The heyday of classicism (40-70s): M. V. Lomonosov (odes “On the day of the accession to the throne of Empress Elizabeth Petrovna”, “On the capture of Khotin”; tragedy “Tamira and Selim”, poem “Peter the Great”, cycle poems “Conversation with Anacreon”, satire “Hymn to the Beard”), A. P. Sumarokov (tragedies “Khorev”, “Sinav and Truvor”, “Dmitry the Pretender”, “Semira”; comedies “Guardian”, “The Covetous” , “Cuckold by Imagination”; fables, satires; the theoretical treatise “Epistole on Poetry”, which is based on Boileau’s “Poetic Art”, while introducing certain changes associated with an increase in interest in the inner life of the individual).

Late classicism: D. I. Fonvizin (comedies “Brigadier”, “Undergrown”), Ya. B. Knyazhnin (tragedies “Dido”, “Rosslav”, “Vadim Novgorodsky”; comedy “Boaster”), V. A. Ozerov (tragedies “Oedipus in Athens”, “Fingal”, “Dmitry Donskoy”), P. A. Plavilshchikov (comedies “Bobyl”, “Sidelets”), M. M. Kheraskov (poem “Rossiyada”, tragedies “Borislav”, “The Venetian Nun”), G. R. Derzhavin (odes “Felitsa”, “Nobleman”, “God”, “Waterfall”, “For the Capture of Ishmael”; anacreontic poems), A. N. Radishchev (ode “Liberty”, the story “The Life of V. F. Ushakov”).

In the works of representatives of late classicism, sprouts and tendencies of realism are already noticeable(for example, the recreation of typical features of negative characters conditioned by serfdom, realistic descriptions of everyday life, satirical denunciation, mixing of genres, “calms”), the destruction of classicism and its conventions occurs; The features of classicism are preserved rather externally.

Russian classicism expressed the worldview, psychology and tastes of the enlightened Russian nobility, which rose to prominence under Peter the Great.

The originality of Russian classicism. High civil-patriotic pathos, manifested in appealing mainly to national themes, to subjects from Russian reality, from national history. In the preaching of national ideas, in the formation of socially useful, civic qualities of a person, in the development of an anti-despotic orientation, anti-tyrant motives, in educational tendencies (in the struggle for national culture, science, education) lay the objectively progressive meaning of Russian classicism, its connection with life was closer, by the people. (It is no coincidence that Pushkin called Fonvizin “a friend of freedom.”).

A more pronounced accusatory realistic tendency, expressed in satire, comedy, fable, violated the principle of abstract depiction of reality inherent in classicism, that is, elements of realism were significant in Russian classicism.

Great connection with folk art, which gave the works of Russian classicism a democratic imprint, while Western European classicism avoided the inclusion of vernacular expressions and the use of folklore techniques (thus, Kantemir in his satires, Sumarokov in his satires and fables widely used vernacular). Tonic and syllabonic versification and free verse dominated.

Classicism - literary style, which was developed in France in the 17th century. It became widespread in Europe in the 17th-19th centuries. The movement, which turned to antiquity as an ideal model, is closely connected with the ideas of rationalism and rationality, it sought to express social content and to establish a hierarchy of literary genres. Speaking about the world representatives of classicism, one cannot fail to mention Racine, Moliere, Corneille, La Rochefoucauld, Boileau, La Bruyre, Goethe. Mondori, Lequin, Rachel, Talma, Dmitrievsky were imbued with the ideas of classicism.

The desire to display the ideal in the real, the eternal in the temporal - this is a characteristic feature of classicism. In literature it is not created certain character, A collective image hero or villain or base. In classicism, mixing genres, images and characters is unacceptable. There are boundaries here that no one is allowed to break.

Classicism in Russian literature is a certain revolution in art, which attached special importance to such genres as epic poem, ode, tragedy. Lomonosov is rightfully considered the founder, and Sumarokov is considered the founder of the tragedy. The ode combined journalism and lyrics. Comedies were directly related to ancient times, while tragedies told about figures of Russian history. Speaking of greats Russian figures period of classicism, it is worth mentioning Derzhavin, Knyazhnin, Sumarokov, Volkov, Fonvizin and others.

Classicism in Russian literature of the 18th century, as in French, was based on the position of tsarist power. As they themselves said, art should guard the interests of society, give people a certain idea of civic behavior and morality. The ideas of serving the state and society are consonant with the interests of the monarchy, so classicism became widespread throughout Europe and Russia. But you should not associate it only with the ideas of glorifying the power of monarchs, Russian writers reflected the interests of the “middle” layer in their works.

Classicism in Russian literature. Main features

The basic ones include:

• appeal to antiquity, its various forms and images;
• the principle of unity of time, action and place (one storyline predominates, the action lasts up to 1 day);
• in the comedies of classicism, good triumphs over evil, vices are punished, basically love line- triangle;
• The heroes have “speaking” names and surnames; they themselves have a clear division into positive and negative.

Delving into history, it is worth remembering that the era of classicism in Russia originates from the writer who was the first to write works in this genre(epigrams, satires, etc.). Each of the writers and poets of this era was a pioneer in his field. Lomonosov played a major role in the reform of the literary Russian language. At the same time, a reform of versification took place.

As Fedorov V.I. says, the first prerequisites for the emergence of classicism in Russia appeared during the time of Peter 1 (in 1689-1725). As a genre of literature, the style of classicism was formed by the mid-1730s. In the second half of the 60s years goes by its rapid development. There is a dawn of journalistic genres in periodicals. It had already evolved by 1770, but the crisis began in the last quarter of a century. By that time, sentimentalism had finally taken shape, and the tendencies of realism intensified. The final fall of classicism occurred after the publication of “Conversations of Lovers of the Russian Word.”

Classicism in Russian literature of the 30-50s also influenced the development of the sciences of the Enlightenment. At this time there was a transition from church to secular ideology. Russia needed knowledge and new minds. Classicism gave her all this.

from lat. classicus, lit. - belonging to the first class of Roman citizens; in a figurative sense - exemplary) - arts. direction and the corresponding aesthetic. theory, the emergence of which dates back to the 16th century, its heyday - to the 17th century, its decline - to the beginning of the 19th century. K. is the first direction in art in the history of modern times, in which aesthetic. theory preceded the arts. practice and dictated its laws to it. K.'s aesthetics are normative and boil down to the following. provisions: 1) the basis of the arts. creativity is the mind, the requirements of which must be subordinated to all components of art; 2) the goal of creativity is to know the truth and reveal it in an artistic and visual form; there can be no discrepancy between beauty and truth; 3) art must follow nature, “imitate” it; what is ugly in nature should become aesthetically acceptable in art; 4) art is moral by its very nature and by the entire structure of art. the work affirms the moral ideal of society; 5) cognitive, aesthetic. and ethical the quality of the claim dictates the definition. art system. techniques, which the best way promote practical implementation of the principles of K.; the rules of good taste determine the characteristics, norms and limits of each type of art and each genre within a given type of art; 6) arts. the ideal, according to K. theorists, is embodied in antiquity. claim. That's why the best way achieve the arts. perfection - imitate classical examples. art of antiquity. Title "K." comes from the principle of imitation of antiquity adopted by this direction. classics. K. is partly characteristic of ancient aesthetics: theorists of imperial Rome came out with demands to imitate the Greek. samples, be guided in the process by the principles of reason, etc. The cult of antiquity re-emerges during the Renaissance, when interest in antiquity intensifies. a culture partially destroyed and partially forgotten in the Middle Ages. Humanists studied the monuments of antiquity, trying to find support in the pagan worldview of antiquity in the struggle against spiritualism and scholasticism of the Middle Ages. feud. ideology. “In manuscripts saved during the fall of Byzantium, in ancient statues dug out of the ruins of Rome, he appeared before the astonished West. new world– Greek antiquity; before her bright images the ghosts of the Middle Ages disappeared" (F. Engels, see K. Marx and F. Engels, Soch., 2nd ed., vol. 20, pp. 345–46). Essential for the formation of aesthetic The theories of humanism of the Renaissance included the study of treatises on the poetics of Aristotle and Horace, which were accepted as a set of indisputable laws of art. In particular, great development began already in the 16th century. the theory of drama, primarily tragedy, and the theory of epic. poems, to which the Crimea is given primary attention in the surviving text of Aristotle's Poetics. Minturpo, Castelvetro, Scaliger and other commentators on Aristotle lay the foundations of the poetics of K. and established the arts typical for this. directions rules of composition of drama and epic, as well as other lit. genres. B will depict. In art and architecture there is a turn from the Gothic of the Middle Ages to the antique style. samples, which is reflected in the theoretical. works on art, in particular by Leon Battista Alberti. In the Renaissance, however, aesthetic. K.'s theory experienced only the initial period of its formation. It was not recognized as a universally obligatory art. practice largely deviated from it. As in literature, drama, and in depiction. art and architecture, arts. the achievements of antiquity were used to the extent that they corresponded to the ideological and aesthetic. aspirations of figures in the art of humanism. In the 17th century K. is transformed into an indisputable doctrine, and adherence to it becomes mandatory. If the initial stage of the formation of K. takes place in Italy, then the design of K. into a complete aesthetic. The doctrine was accomplished in France in the 17th century. Socio-political The basis of this process was the regulation of all spheres of life, carried out by the absolutist state. Cardinal Richelieu created an Academy in France (1634), which was charged with monitoring the purity of the French. language and literature. The first document that officially approved the doctrine of K. was “The opinion of the French Academy on the tragicomedy (P. Corneille) “The Cid”” (“Les sentiments de l´Acad?mie fran?aise sur la tragi-com?die du Cid”, 1638 ), where the rules of three unities in drama were proclaimed (unity of place, time and action). Simultaneously with K.'s establishment in literature and theater, he also conquered the spheres of architecture, painting and sculpture. In France, the Academy of Painting and Sculpture is being created, at its meetings the rules of painting and sculpture are formulated. lawsuit-wah. In France, 17th century. K. finds its classic. form not only due to the state. support, but also due to the general nature of the development of spiritual culture of that time. The defining aspect of the content of K.'s claim was the idea of ​​establishing statehood. It arose as a counterweight to the feud. separatism and in this respect represented a progressive principle. However, the progressiveness of this idea was limited, because it boiled down to an apology for the monarchy. autocracy. The bearer of the principle of statehood was the absolute monarch and his person embodied humanity. ideal. The stamp of this concept lies on the entire art of K., which was even later sometimes called “court K.”. Although the king's court was indeed the center from which ideological ideas emanated. directives of the lawsuit, K. as a whole was by no means only a noble-aristocratic. claim K.'s aesthetics are under the meaning. influenced by the philosophy of rationalism. Ch. representative of the French rationalism of the 17th century. R. Descartes had a decisive influence on the formation of aesthetics. doctrines of K. Ethical. K.'s ideals were aristocratic only in appearance. Their essence was humanistic. ethics that recognized the need for compromise with the absolutist state. However, within the limits available to them, K.’s supporters fought against the vices of the nobility and monarchy. society and cultivated a sense of morality. everyone's responsibility to society, including the king, who was also portrayed as a person who renounced personal interests in the name of the interests of the state. This was the first form of the civic ideal available at that stage of society. development, when the rising bourgeoisie was not yet strong enough to oppose the absolutist state. On the contrary, using it internally. contradictions, primarily the struggle of the monarchy against the self-will of the nobility and the Fronde, leading figures of the bourgeois-democratic. cultures supported the monarchy as a centralizing state. a beginning capable of moderating feud. oppression or, at least, bring it into some kind of framework. If in some types and genres of art and literature external pomp and elation of form prevailed, then in others freedom was allowed. According to the nature of the class state, there was also a hierarchy of genres in art, which were divided into higher and lower. Among the lowest in literature were comedy, satire, and fable. However, it was in them that the most democratic development took place. trends of the era (Moliere's comedies, Boileau's satires, La Fontaine's fables). But even in the high genres of literature (tragedy) both contradictions and advanced morals were reflected. ideals of the era (early Corneille, the work of Racine). In principle, K. claimed to have created an aesthetic. a theory imbued with a comprehensive unity, but in practice the arts. The culture of the era is characterized by striking contradictions. The most important of them was the constant discrepancy between modern. content and antique the shape into which it was squeezed. Heroes of classicist tragedies, despite the antiquity. names were 17th century French. by way of thinking, morals and psychology. If such a masquerade was occasionally beneficial for covering up attacks against the authorities, at the same time it prevented the direct reflection of modern times. reality in the “high genres” of classicism. lawsuit Therefore, the greatest realism is characteristic of the lower genres, in which the depiction of the “ugly” and “base” was not prohibited. Compared to the multilateral realism of the Renaissance, K. represented a narrowing life sphere covered arts. culture. However, aesthetic. K.'s theory is credited with revealing the importance of the typical in art. True, the principle of typification was understood in a limited way, because its implementation was achieved at the cost of the loss of the individual principle. But the essence of life phenomena is human. characters receive such an embodiment in K., which makes both cognitive and educational activities truly possible. product function. Their ideological content becomes clear and precise, the intelligibility of ideas gives the works of art a direct ideological quality. character. The lawsuit turns into a tribune of moral, philosophical, religious. and political ideas. Feudal crisis. monarchy gives birth to a new form of anti-feud. ideologies – enlightenment. A new variation of this art is emerging. directions – so-called educational K., which is characterized by the preservation of all aesthetics. principles of K. 17th century. The poetics of enlightenment poetry, as it was finally formulated by Boileau (the poetic treatise “Poetic Art” - “L´art po?tique”, 1674), remains a code of inviolable rules for the enlightenment classicists, led by Voltaire. New in K. 18th century. is primarily its socio-political. orientation. A civil perfect hero who cares not about the good of the state, but about the good of society. Not serving the king, but caring for the people becomes the center of moral and political politics. aspirations. Voltaire's tragedies, Addison's "Cato", Alfieri's tragedies, and to some extent Russian. classicists of the 18th century (A. Sumarokov) affirm life concepts and ideals that conflict with the principles of feudalism. statehood and abs. monarchy. This civic current in France is transformed in France on the eve and during the first burgh. revolution in K. republican. The reasons that led to the renewal of K. during the French period. bourgeois revolutions were deeply revealed by Marx, who wrote: “In the classically strict traditions of the Roman Republic, the gladiators of bourgeois society found ideals and art forms, illusions they need in order to hide from themselves the bourgeois-limited content of their struggle, in order to maintain their inspiration at the height of the great historical tragedy" ("The Eighteenth Brumaire of Louis Bonaparte", see K. Marx and F. Engels, Op. , 2nd ed., vol. 8, p. 120). The republican style of the first bourgeois revolution was followed by the style of the “Empire” style. All this was a historical masquerade that covered the content of the bourgeois revolution. The 18th century freed itself from certain features of dogmatism inherent in the poetics of the 17th century. It was during the Enlightenment that, in connection with the deeper study of classical art, the cult of antiquity in plastic arts acquired especially great development. Winckelmann, and then Lessing, establish that the aesthetic charm of the monuments of antiquity is connected with the political structure of the Greek city: only democracy and the psychology of a free citizen can give rise to such beautiful art. theoretical thoughts, the idea of ​​a connection between aesthetics is affirmed. ideal and political. freedom, which received its clearest expression in the Letters on aesthetic education"F. Schiller ("?ber die ?sthetische Erziehung lier Menschen, in einer Reihe von Briefen", 1795). However, for him this idea appears in an idealistically perverted form: civil freedom is achieved through aesthetic education. This formulation of the question was associated with the backwardness of Germany and the absence of prerequisites for a bourgeois revolution. However, even in this form, late German classicism, the so-called Weimar classicism of Goethe and Schiller, was a progressive, albeit limited, ideological phenomenon. was important stage in the development of artistic practice and theoretical thoughts. In antiquity the shell was put on by the advanced bourgeois-democratic. ideology of the era of the rise of the bourgeoisie. society. The constraining nature of the doctrinaire teachings of the classicists was already clear at the end of the 17th century, when Saint-Evremond rebelled against it. In the 18th century Lessing dealt crushing blows precisely to dogmatism. elements of K., protecting, however, the “soul” of K., his beautiful ideal of a free, harmoniously developed person. This was precisely the core of the Weimar classicism of Goethe and Schiller. But in the first third of the 19th century, after the victory and approval of the bourgeoisie. building in the West Europe, K. is losing its importance. The collapse of enlightenment illusions about the advent of the kingdom of reason after the victory of the bourgeoisie. revolution makes clear the illusory nature of the classic. ideal in the kingdom of the bourgeois. prose. Historical The role of overthrowing K. was performed by the aesthetics of romanticism, which opposed the dogmas of K. The struggle against K. reached its greatest severity in France at the end of 1820 - early. 1830, when the romantics won ended. victory over K. as an art. direction and aesthetic. theory. This, however, did not mean the complete disappearance of K.’s ideas in art. At the end of the 19th century, as well as in the 20th centuries. aesthetic movements of the West. Europe there are relapses of the department. ideas, the roots of which go back to K. They are anti-realistic. and aesthetic character ("neoclassical" trends in French poetry of the 2nd half of the 19th century) or serve as a mask for ideological. reactions, eg. in the theories of the decadent T. S. Eliot after the 1st World War. The most stable were the aesthetic ones. K.'s ideals in architecture. Classic the architectural style was repeatedly reproduced in architectural construction in the 1930s and 40s, e.g. in the development of architecture in the USSR. Lit.: Marx K. and Engels F., On Art, vol. 1–2, M., 1957; Plekhanov G.V., Art and Literature, [Sb. ], M., 1948, p. 165–87; Kranz [E. ], Experience in the philosophy of literature. Descartes and French Classicism, trans. [from French ], St. Petersburg, 1902; Lessing G. E., Hamburg Drama, M.–L., 1936; Pospelov G.N., Sumarokov and the Russian problem. classicism, "Uch. Zap. Moscow State University", 1948, issue. 128, book. 3; Kupreyanova E. N., On the issue of classicism, in the book: XVIII century, collection. 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 thought, Camb., (Mass.), 1955. A. Anikst. Moscow.

Classicism (from the Latin classicus – exemplary) – art style and direction in art Europe XVII– XIX centuries. It is based on the ideas of rationalism, the main goal of which is to educate the public on the basis of a certain ideal, model, which is similar to. Culture served as such an example. ancient world. The rules and canons of classicism were of paramount importance; they had to be observed by all artists working within this direction and style.

History of origin

As a movement, classicism embraced all types of art: painting, music, literature, architecture.

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

In its development, classicism went through 3 stages:

1. Early classicism(1760s – early 1780s);
2. Strict classicism(1780s – 1790s);
3. Late classicism, called (the first 30 years XIX century).

The photo shows the Arc de Triomphe in Paris - shining example classicism.

Style features

Classicism is characterized by clear geometric shapes, high-quality materials, noble finishes and restraint. Majesty and harmony, grace and luxury - these are the main distinctive features of classicism. later displayed in minimalist interiors.

General style features:

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

The peculiarities of the Russian classic style were calm rectangular shapes, restrained and at the same time varied decorative design, precise proportions, dignified appearance, harmony and taste.

Exterior

The external signs of classicist architecture are clearly expressed and can be identified at the first glance at the building.

• Designs: stable, massive, rectangular and arched. The compositions are clearly planned, strict symmetry is observed.
• Shapes: clear geometry, volume and monumentality; statues, columns, niches, rotunda, hemispheres, pediments, friezes.
• Lines: strict; regular planning system; bas-reliefs, medallions, smooth pattern.
• Materials: stone, brick, wood, stucco.
• Roof: complex, intricate shape.
• Predominant colors: rich white, green, pink, purple, sky blue, gold.
• Characteristic elements: restrained decor, columns, pilasters, antique ornaments, marble staircase, balconies.
• Window: semicircular, rectangular, elongated upward, modestly decorated.
• Doors: rectangular, paneled, often decorated with statues (lion, sphinx).
• Decor: carving, gilding, bronze, mother-of-pearl, inlay.

Interior

The interior of the premises of the classicism era contains nobility, restraint and harmony. However, all interior items do not look like museum exhibits, but only emphasize the subtle artistic taste and respectability of the owner.

The room has the correct shape, filled with an atmosphere of nobility, comfort, warmth, and exquisite luxury; not overloaded with details.

The central place in interior decoration is occupied by natural materials, mainly valuable wood, marble, stone, and silk.

• Ceilings: light, tall, often multi-level, with stucco and ornaments.
• Walls: decorated with fabrics, light but not bright, pilasters and columns, stucco or painting are possible.
• Flooring: parquet made of valuable wood species (merbau, camsha, teak, jatoba) or marble.
• Lighting: chandeliers made of crystal, stone or expensive glass; gilded chandeliers with candle-shaped shades.
• Mandatory interior attributes: mirrors, fireplaces, cozy low armchairs, low tea tables, light carpets self made, paintings with antique scenes, books, massive floor vases stylized as antiquity, tripod flower stands.

Antique motifs are often used in the decor of the room: meanders, festoons, laurel garlands, strings of pearls. Expensive textiles are used for decoration, including tapestries, taffeta and velvet.

Furniture

Furniture from the Classical era is distinguished by its quality and respectability, made of expensive materials, mainly valuable wood. It is noteworthy that the texture of wood acts not only as a 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. The dining room tables and chairs are made with elegant carved legs. The dishes are porcelain, thin, almost transparent, with a pattern and gilding. A secretary with a cubic body on high legs was considered one of the most important attributes of furniture.

Architecture

Classicism turned to the fundamentals of ancient architecture, using not only elements and motifs, but also patterns in design. The basis of the architectural language is the order with its strict symmetry, proportionality of the created composition, regularity of layout and clarity of volumetric form.

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

Unfortified palaces and garden and park ensembles were created, which became the basis of the French garden with its straightened alleys, trimmed lawns in the shape of cones and balls. Typical details of classicism are accented stairs, classic antique decor, a dome in public buildings. Late classicism (Empire style) acquires (« military symbols" in France). In Russia, St. Petersburg can be called the canon of the architectural style of classicism; in Europe, these are Helsinki, Warsaw, Dublin, Edinburgh.

Sculpture

In the era of classicism, public monuments embodying military valor and the wisdom of statesmen became widespread. Moreover, the main solution for the sculptors was the model of depicting famous figures in the image of ancient gods (for example, Suvorov - in the form of Mars).

It became popular among private individuals to commission tombstones from sculptors to perpetuate their names. In general, the sculptures of the era are characterized by calmness, restraint of gestures, dispassionate expressions, and purity of lines.

Fashion Interest in antiquity in clothing began to manifest itself in the 80s of the 18th century. This was especially evident in the women's costume. A new ideal of beauty arose in Europe, glorifying natural forms and beautiful feminine lines

. The finest smooth fabrics in light colors, especially white, have come into fashion. Women's dresses lost frames, padding and petticoats and took the form of long, pleated tunics, cut at the sides and tied with a belt under the bust.

They were worn over flesh-colored tights. Sandals with ribbons served as footwear. Hairstyles have been copied since antiquity.

Powder, which was used to cover the face, hands, and décolleté, is still in fashion. Accessories included either muslin turbans decorated with feathers, Turkish scarves or Kashmiri shawls. WITH

early XIX centuries, formal dresses began to be sewn with trains and a deep neckline. And in everyday dresses, the neckline was covered with a lace scarf. The hairstyle gradually changes, and the powder goes out of use. Fashion includes short-cropped hair, curled into curls, tied with a gold ribbon or decorated with a crown of flowers.

Men's fashion developed under the influence of the British.

English cloth tailcoats, redingotes (outerwear resembling a frock coat), jabots and cuffs are becoming popular. It was in the era of classicism that men's ties came into fashion. Art In painting, classicism is also characterized by restraint and severity. The main elements of form are line and light and shade. Local color emphasizes the plasticity of objects and figures and divides the spatial plan of the picture. The greatest master of the 17th century. – Lorraine Claude, famous for his “ideal landscapes.”

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

Literature

The literature of the classic era promoted reason conquering feelings. The conflict between duty and passions is the basis of the plot of a literary work. Language reforms were carried out in many countries and the foundations of poetic art were laid. Leading representatives of the direction are Francois Malherbe, Corneille, Racine. The main compositional principle of the work is the unity of time, place and action.

In Russia, classicism develops under the auspices of the Enlightenment, the main ideas of which were equality and justice. The most prominent representative of the literature of the era of Russian classicism is M. Lomonosov, who laid the foundations of versification. The main genre was comedy and satire. Fonvizin and Kantemir worked in this direction.

The "Golden Age" is considered the era of classicism for theatrical arts, which developed very dynamically and improved. The theater was quite professional, and the actor on stage did not just act, but lived, experienced, while remaining himself.

The theatrical style was proclaimed the art of recitation.

Personalities

• Among the brightest classicists one can also highlight such names as:
• Jacques-Ange Gabriel, Piranesi, Jacques-Germain Soufflot, Bazhenov, Carl Rossi, Andrey Voronikhin, (architecture);
• Antonio Canova, Thorvaldsen, Fedot Shubin, Boris Orlovsky, Mikhail Kozlovsky (sculpture);
• Nicolas Poussin, Lebrun, Ingres (painting);

Voltaire, Samuel Johnson, Derzhavin, Sumarokov, Khemnitser (literature).

Video review of classicism

Conclusion

Ideas from the era of classicism are successfully used in modern design. It retains nobility and elegance, beauty and grandeur. The main features are wall paintings, drapery, stucco, furniture made of natural wood. There are few decorations, but they are all luxurious: mirrors, paintings, massive chandeliers. In general, the style still characterizes the owner as a respectable, far from poor person. Later another appears, which marked the arrival new era- This . was a combination of several

Classicism modern styles , which includes not only classical, but also baroque (in painting), ancient culture, and the Renaissance. became the first full-fledged

The history of classicism

The emergence of classicism was due to the era of absolutism in Europe, when a person was considered just a servant of his state. main idea classicism - civil service, key concept classicism is the concept of duty. Accordingly, the key conflict of all classic works is the conflict of passion and reason, feelings and duty: negative heroes live obeying their emotions, and positive ones live only by reason, and therefore always turn out to be winners. This triumph of reason was due to the philosophical theory of rationalism, which was proposed by Rene Descartes: I think, therefore I exist. He wrote that not only man is reasonable, but also all living things in general: reason was given to us from God.

Features of classicism in literature

The founders of classicism carefully studied the history of world literature and decided for themselves that the literary process was most intelligently organized in Ancient Greece. It was the ancient rules that they decided to imitate. In particular, from ancient theater was borrowed rule of three unities: unity of time (more than a day cannot pass from the beginning to the end of the play), unity of place (everything happens in one place) and unity of action (there should be only one storyline).

Another technique borrowed from the ancient tradition was the use masked heroes- stable roles that move from play to play. In typical classic comedies, we are always talking about giving away a girl, so the masks there are as follows: the mistress (the bride herself), the soubrette (her maid-friend, confidante), a stupid father, at least three suitors (one of them is necessarily positive, i.e. e. hero-lover) and hero-reasoner (main positive character, usually appears at the end). At the end of the comedy, some kind of intrigue is required, as a result of which the girl will marry a positive groom.

Classical comedy composition must be very clear must contain five acts: exposition, plot, plot development, climax and resolution.

There was a reception unexpected ending(or deus ex machina) - the appearance of a god from the machine who puts everything in its place. In the Russian tradition, such heroes often turned out to be the state. Also used taking catharsis- purification through compassion, when sympathizing with those caught in difficult situation negative characters, the reader had to cleanse himself spiritually.

Classicism in Russian literature

The principles of classicism were brought to Russia by A.P. Sumarokov. In 1747, he published two treatises - Epistola on poetry and Epistola on the Russian language, where he sets out his views on poetry. In fact, these epistles were translated from French, prephrasing for Russia Nicolas Boileau's treatise on Poetic Art. Sumarokov predetermines that main theme Russian classicism will become a social theme, dedicated to the interaction of people with society.

Later, a circle of aspiring playwrights appeared, led by I. Elagin and theater theorist V. Lukin, who proposed a new literary idea - the so-called. declination theory. Its meaning is that you just need to clearly translate Western comedy into Russian, replacing all the names there. Many similar plays appeared, but in general the idea was not very implemented. The main significance of Elagin’s circle was that it was there that D.I.’s dramatic talent first manifested itself. Fonvizin, who wrote the comedy