European artists of the late 19th and early 20th centuries. Artistic culture of Europe in the 19th century. It's interesting to know

Art of Western Europe first half of the 19th century.

History of the 19th century opens not the calendar year 1801, but the year 1789. The Great French Revolution (1789-99), which destroyed the monarchy and established a republic, determined the development of European culture for a long time. Liberty, Equality and Fraternity. However, less than five years had passed before freedom turned into despotism, the idea of ​​equality led to mass executions, and wars of conquest were launched in the name of the brotherhood of all people. And yet, the main discovery of the century was the awareness of the unique value of the human person.

In the art of the first half of the 19th century. two directions competed - neoclassicism and romanticism. The rise of neoclassicism fell during the years of the Great French Revolution and the period of the reign of Napoleon I. This style dominated in architecture, fine and decorative arts during the first three decades of the 19th century. For the people of that time, the life of the ancient Greeks and Romans was not only an ideal of beauty, but also a model of the world they were trying to build. A new direction in European culture - romanticism(French romanticisme) - expressed the views of the younger generation turn of the XVIII-XIX centuries, experienced disappointment in the truisms of the Enlightenment. The world of romantics is mysterious, contradictory and limitless; the artist had to embody its diversity in his work. The main thing in a romantic work is the feelings and imagination of the author. For the romantic artist there were and could not be laws in art: after all, everything that he created was born in the depths of his soul. The only rule that he respected was loyalty to himself, the sincerity of artistic language. Often the creations of the romantics shocked society with their complete rejection of prevailing tastes, negligence, and incompleteness.

Architecture

In the first half of the 19th century, urban development on an unprecedented scale unfolded in Europe. Most European capitals - Paris, St. Petersburg, Berlin - have acquired their characteristic appearance; the role of public buildings in their architectural ensembles increased. Neoclassicism in the first half of the 19th century. experienced a late bloom. By the middle of the century, the main problem of European architecture was the search for style. As a result of the romantic fascination with antiquity, many masters tried to revive the traditions of the architecture of the past - this is how neo-gothic, neo-renaissance, neo-baroque . The efforts of architects often led to eclecticism - mechanical connection of elements of different styles, old with new.

Architecture of France

During the Great French Revolution, not a single durable structure was built in France. This was the era of temporary buildings. In the art of Napoleonic France, the dominant role remained with neoclassicism. At the same time, architectural forms acquired special pomp and solemnity, and the scale of construction became grandiose. Neoclassicism from the time of Napoleon I was called Empire (French empire - “empire”). It was supposed to symbolize the greatness and power of the power created by General Bonaparte. Napoleon's main architectural undertaking was the reconstruction of Paris.

Gabriel Jacques Ange (1698-1782) - the largest architect of France in the 18th century. One of the founders of neoclassicism.

Place Louis XV (Place de la Concorde) in Paris. 1753-75

Petit Trianon in Versailles. 1762-64

Compiegne Castle. 1751-88

Military school in Paris. 1751-75

Soufflo Jacques Germain (1713-1780) French architect.

Representative of neoclassicism.

Jean Leper, Jacques Gondoin – French architects.

The triumphal column on Place Vendôme was erected by order of Napoleon in honor of the victory of the French troops at Austerlitz. At first it was called “Austerlitz”, then it was renamed the “Column of Victories”, and even later - the “Column of the Grand Army”.

Triumphal Column on Place Vendôme in Paris.

1806-10 Height 44 m; base width 3.67 m

Church of St. Genevieve (Pantheon) in Paris. 1757-90

Architecture of England

In the architecture of England back in the first half of the 18th century. The neo-Gothic style established itself. One of his most impressive examples was the ensemble of Parliament in London (from 1840-1868), architect Sir Charles Barry (1795-1860)

Parliament.1840-68.

Architect Jean Francois Chalgrin .

Arc de Triomphe at Place Carousel in Paris.

1806-07 (17.6 x 10 x 14.6 m (length, depth, height)).

Architects C. Percier, P.F.L. Fontaine.

Arc de Triomphe on Place Charles de Gaulle in Paris.

1806-37 Height 50 m, width 45 m

The Arc de Triomphe at Place de la Carousel, also known as the entrance gate of the Tuileries Palace, was erected by order of Napoleon to commemorate the great victories of French arms. The reliefs decorating the arch depict scenes of the victories of the Napoleonic army at Ulm and Austerlitz. Until 1815, the arch was crowned by the bronze chariot of Victory, which previously adorned the façade of the Cathedral of San Marco in Venice, then it was replaced by a quadriga by the sculptor F.J. Bosio.

The triumphal arch of the Grand Army was laid in the center of the future Place des Stars (now Place Charles de Gaulle) by order of Napoleon in honor of the victory of the French emperor in the Battle of Austerlitz (1805) over the combined forces of Austria and Russia. Its pylons in the 30s. XIX century were decorated with sculptural reliefs; including the famous composition Francois Ruda (1784- 1855) “Performance of the Volunteers in 1792 (Marseillaise)” (1833-36). Under the arch, since 1921, there has been the grave of the Unknown Soldier, a participant in the First World War.

Architecture of Germany The largest center of architecture in Germany in the first half of the 19th century. was Berlin. The development of the German architectural school of this period largely determined the work of two masters - Karl Friedrich Schinkel (1781-1841) and Leo von Klenze (1784-1864).

Old Museum. 1824-28 Arch. K.F. Schinkel.

Berlin Drama Theatre, 1819. Arch. K.F. Schinkel.

New guardhouse.1816-18. Arch. K.F. Schinkel.

Wender Church. 1824 In Berlin. Arch. K.F. Schinkel.

European sculpture at the beginning of the 19th century.

European sculpture experienced a brief heyday at the beginning of the 19th century. But already in the 20s. it gave way to decline and stagnation. The dominant and most fruitful Neoclassicism remained the style. Interest in the art of Ancient Greece and Rome was widespread, and the possession of renowned ancient masterpieces became an important issue in the international politics of the time.

Romanticism introduced an interest in personality into sculpture; His influence is evidenced by numerous monuments to great people of the past, erected in various European cities in the 20-30s. XIX century In general, sculpture with its generalized artistic language could not accommodate the whole variety of impressions from life, which was changing literally before our eyes. Painting became the main art of the 19th century, and sculpture had a long way to go along the path of petty and dull naturalism, until in the 80s. the French master Auguste Rodin did not return its high purpose.

Canova Antonio (1757-1822) -Italian sculptor and painter.

Thorvaldsen Bertel (1768/1770-1844)- Danish sculptor.

Schadow Johann Gottfried (1754-1850) German sculptor, representative of neoclassicism.

Daedalus and Icarus. 1777-79

Quadriga with the figure of Victory on the Brandenburg Gate in Berlin. 1793

Monument to Nicolaus Copernicus in Warsaw. 1829-30

Theseus and the Minotaur. 1781-83

Ganymede feeding Zeus's eagle. 1817

Princess Frederica. 1795

Painting of Spain After its heyday in the 17th century, Spanish painting experienced decline. Its artists worked under the influence of Italian and French traditions, and their canvases were weak and imitative. In the second half of the 18th century. Changes have taken place in Spain. King Charles III (1759-88) of the French Bourbon dynasty adhered to progressive views for his time. His advisers, trying to transform the country in the spirit of the ideas of the Enlightenment, carried out reforms that limited the power of the church. At this time, talent was formed Francisco Goya (1746-1828) -Spanish painter

Portrait of the Duchess of Alba. 1797

Seller of dishes. 1778

Family of King Charles IV. 1800

Painting of France

In the first half of the 19th century. The French school of painting strengthened its primacy in the art of Western Europe. Theodore Gericault and Eugene Delacroix creatively adopted their free manner and color, preparing the birth of impressionism and thereby all modern painting. By the beginning of the 19th century. the generally recognized leader among French artists was Jacques Louis David (1748-1825) - the most consistent representative of neoclassicism in painting and a sensitive chronicler of his turbulent times. David's work has a pronounced journalistic orientation; the artist strives to express heroic ideals through images of antiquity

Gericault Theodore (1791-1824) - French painter and graphic artist.

The founder of the romantic movement in fine arts.

Officer of the mounted rangers of the imperial guard,

going on the attack. 1812

Raft "Medusa". 1818-19

Delacroix Eugene (1798-1863) - French painter and graphic artist. Head of the romantic movement in fine arts.

Tangier fanatics. 1837-38

Freedom leading the people (Freedom on the barricades). 1830

David Jacques Louis (1746-1825) - French painter. In the pre-revolutionary era in France, the largest representative of the so-called “revolutionary” classicism.

Oath of the Horatii. 1784

Napoleon crossing Saint Bernard. 1800

Ingres Dominique (1780-1867) - French painter, draftsman and musician. Representative of French neoclassicism. Ingres is a brilliant master of the portrait genre. In addition to portraits, he created paintings on biblical, mythological, allegorical, and literary subjects.

Gros Jean Antoine (1771-1835) - French painter and graphic artist. The official painter of Napoleon I, the chronicler of the Napoleonic epic, who captured its most important milestones. He created portraits and battle paintings, inspired by the spirit of heroism.

Napoleon on the battlefield of Eylau. 1808

Countess d'Haussonville. 1845.

Princess de Broglie. 1851-53

Painting of Germany

Germany at the beginning of the 19th century. experienced a socio-political upsurge. Resistance to Napoleon's conquests and the war of liberation of 1813 made German patriotism universal, and the subjects of three hundred German dwarf states realized themselves as a single people. In those years in Germany there was a strong fascination with the Middle Ages, and interest in national history and culture increased. Germany played an exceptional role in the history of romanticism - a movement in European culture at the end of the 18th - first half of the 19th centuries.

Runge Philipp Otto (1777-1810) - German painter, graphic artist and art theorist. One of the founders and greatest master of romanticism in German painting.

Rest on the way to Egypt. 1805-06

Portrait of the artist's wife. 1807

Portrait of the artist's parents with their grandchildren. 1806

Friedrich Caspar David (1774-1840) - German painter, draftsman and engraver. Representative of romanticism. Landscape painter.

Gigantic mountains. 1835

The death of "Nadezhda" in the ice. 1824

Floating clouds. Around 1820

Biedermeier painting Biedermeier (German: Biedermeier) is a style in the art of Germany and Austria, which developed in the 10-40s. XIX century Its name was given to the parody humorous poems of L. Eichrodt and A. Kussmaul, published in 1855-57. in one of the Munich magazines. Their fictional author, teacher Gottlieb Biedermeier, is a modest man in the street: complacent, sentimental, unlucky, a lover of a quiet life and comfort. Biedermeier painting is characterized by a small format of canvases, a careful and subtle manner of painting, as a rule, a lack of action in the depicted scenes, and a predilection for small details. Biedermeier mastered the artistic experience of romanticism with its poetic view of the world, sometimes tinged with irony, but at the same time smoothed out the extremes of this style, “domesticated” it in accordance with the conflict-free nature of the average person. Biedermeier masters tried their hand at portraits, landscapes and other genres, but the clearest expression of the style was household painting.

Waldmüller Ferdinand Georg (1793-1865) Austrian painter. One of the greatest masters of European painting of the mid-19th century. A typical representative of Biedermeier.

Bouquet in an antique crater. Around 1840

Mountain landscape near Mödling. 1859

Nazarenes ( German Nazarener), official "The Union of St. Luke" (German) Lukasbund)

- grouping German and Austrian romantic artists of the 19th century, who tried to revive the style of the masters of the Middle Ages and the Early Renaissance, focusing on the art of the 15th century. Most of their canvases are paintings on Christian, historical or allegorical subjects; their style is a legacy of classicism and a reaction to it under the influence of the ideology of romanticism. The leading figures of the movement were Friedrich Overbeck and Peter Cornelius.

Johann Friedrich Overbeck ( 1789 - 1869 ) - German artist, graphic artist and illustrator.

Cycle of frescoes for the Bartholdi House in Rome

Peter Joseph von Cornelius ( 1783 - 1867 ) - German artist.

Wise and foolish virgins. OK. 1813

Tavern, around 1820

Painting of England

In English painting, the academic school, the foundations of which were laid in the 18th century by the first president of the Royal Academy of Arts, Joshua Reynolds, maintained a dominant position throughout the first half of the 19th century. However, the most noticeable phenomenon in those years was landscape, which in the academic environment was perceived as a secondary, insignificant genre. On the one hand, the desire for a real reflection of the world, the affirmation of the intrinsic value of simple rural landscapes, and on the other, nature as a world of passions and violent experiences - all this found vivid expression in the work of English artists. The art of England entered the era of romanticism.

William Blake (1757-1827) -English poet, artist, illustrator. A complex and ambiguous personality, Blake was an iconic figure for his time, the embodiment of the spirit of romanticism.

Creator of the universe.

Frontispiece to the poem "Europe". 1794

A pity. Around 1795

Constable John (1776-1837) - English painter. Constable depicted the everyday countryside in all its freshness and spontaneity, recreating the reverence of a light-air environment.

Hay cart. 1821

White horse. 1819

William Turner (1775-1851) - the English painter turned to biblical, mythological and historical subjects, revealing a penchant for romantic fantasy, for the embodiment of the dramatic struggle of natural forces, and for conveying unusual lighting effects.

Mol in Calais. The French are preparing to go to sea: an English passenger ship arrives. 1803

Slave ship. 1840

The last voyage of the ship "Brave". 1838

On the art of the first half of the 19th century. influenced by the Great French Revolution (1789–1799), the war with Napoleon, and the war with Spain. During this period there was great progress in science. Main styles: Empire style, romanticism, French realism.

In the architecture of the first half of the 19th century, neoclassicism experienced its last heyday. By the middle of the century, the main problem of European architecture was the search for style. As a result of the romantic fascination with antiquity, many masters tried to revive the traditions of the architecture of the past - this is how neo-Gothic, neo-Renaissance, and neo-Baroque arose. The efforts of architects often led to eclecticism - a mechanical combination of elements of different styles, old and new. The architecture is dominated by the construction of factories, offices, residential buildings, department stores, exhibition halls, libraries, train stations, covered markets, banks, etc. Banks are decorated with ancient Greek porticoes, department stores - with Gothic lancet windows and towers. Factories are given the appearance of castles.

19.1.1 Art of France

Architecture. During the Great French Revolution, not a single durable structure was built in France. This was the era of temporary buildings, usually wooden. At the beginning of the revolution, the Bastille was destroyed and monuments to kings were demolished. In 1793, the royal academies, including the Academy of Architecture, were closed. Instead, the National Jury of Arts and the Republican Club of Arts appeared, whose main tasks were the organization of mass celebrations and the design of Parisian streets and squares.

A pavilion was erected on the Place de la Bastille with the inscription: “They dance here.” Place Louis XV was named the Place de la Revolution and was complemented by triumphal arches, statues of Liberty, and fountains with emblems. The Champs de Mars became a place of public gatherings with the Altar of the Fatherland in the center. The Invalides and its Cathedral have become a temple of humanity. The streets of Paris were decorated with new monuments.

Also during the years of the French Revolution, the Commission of Artists was formed, which was engaged in the improvement of the city and planned changes in its appearance. It played a significant role in the history of architecture.

The Empire style dominated the art of Napoleonic France. Napoleon's main architectural undertaking was the reconstruction of Paris: it was intended to connect the medieval quarters with a system of avenues crossing the city along an east-west axis. The following were built: Avenue des Champs Eysées, Rue de Rivoli, triumphal column on Place Vendôme (1806–1810, architects Jean Baptiste Leper, Jacques Gondoin), entrance gates of the Tuileries Palace (1806–1807, architects C. Percier, P. F. L. Fontaine), triumphal arch of the Grand Army (1806–1837, architects Jean François Challen and others).

Painting. In the first half of the 19th century. The French school of painting strengthened its primacy in the art of Western Europe. France was ahead of other European countries in the democratization of artistic life. Since 1791, any authors received the right to participate in exhibitions at the Louvre Salon, regardless of their membership in academies. Since 1793, the halls of the Louvre were opened to the general public. State academic education was replaced by training in private workshops. The authorities resorted to more flexible methods of artistic policy: the distribution of large orders for the decoration of public buildings acquired a special scope.

Representatives of French romanticism painting are David, Ingres, Gericault, Delacroix, Gros.

Jacques Louis David (1748–1825) - the most consistent representative of neoclassicism in painting. Studied at the Royal Academy of Painting and Sculpture, 1775–1779. visited Italy. In 1781, David was accepted as a member of the Royal Academy and received the right to participate in its exhibitions - the Louvre Salons. In 1792, David was elected to the Convention, the highest legislative and executive body of the First Republic.

As early as 1776, a government program was developed that encouraged the creation of large paintings. David received an order for a painting about the feat of three brothers from the noble Horatii family - "The Oath of the Horatii" (1784). The action of the picture takes place in the courtyard of an ancient Roman house: a stream of light pours from above onto the heroes of the picture, with olive-gray twilight around them. The whole composition is based on the number three: three arches (one or more figures are inscribed in each of the arches), three groups of characters, three sons, a sword range, three women. The smooth outlines of the female group are contrasted with the chased lines of the warrior figures.

In 1795–1799 David worked on the painting with his students "Sabine women stopping the battle between the Romans and the Sabines". The artist again chose a plot consonant with modern times: the legend of women who stopped the war between the Romans (their husbands) and the Sabines (their fathers and brothers) sounded in France at that time as a call for civil peace. However, the huge picture, overloaded with figures, caused only ridicule from the audience.

In 1812 he left for Brussels, where he lived until his death. He painted portraits and works on ancient subjects - “The Death of Marat” (1793), “Portrait of Madame Recamier” (1800). The painting “The Death of Marat” was completed by the artist in less than three months and hung in the meeting room of the Convention. Marat was stabbed to death in his apartment by a noblewoman named Charlotte Corday. At the time of his death, Marat was sitting in the bath: due to a skin disease, he was forced to work and receive visitors. The patched sheets and the simple wooden box that replaced the table are not the artist’s invention. However, Marat himself, whose body was disfigured by illness, under the brush of David turned into a noble athlete, similar to an ancient hero. The simplicity of the setting gives the spectacle a special tragic solemnity.

In a grand picture "Coronation of Napoleon I and Empress Josephine at Notre Dame Cathedral, December 2, 1804." (1807) David created another myth - the shine of the altar and the splendor of the clothes of the courtiers affect the viewer no worse than the wretched furniture and old sheets of Marat.

Jean Auguste Dominique Ingres(1780–1867) was a supporter of classical ideals, an original artist, alien to any falsehood, boredom and routine. In 1802 he was awarded the Rome Prize and received the right to travel to Italy. In 1834 he became director of the French Academy in Rome. Achieved the highest mastery in the genre of portraiture - "Portrait of Riviera".

Ingres tried to convey in painting the decorative possibilities of various types of old art, for example, the expressiveness of the silhouettes of ancient Greek vase painting - "Oedipus and the Sphinx" (1808) And "Jupiter and Thetis" (1811).

In a monumental canvas "Vow of Louis XIII, asking the protection of Our Lady for the Kingdom of France" (1824), he imitated the painting style of Raphael. The picture brought Ingres his first major success. In the picture "Odalisque and the Slave" (1839) chose a composition close to Delacroix’s “Algerian Women in Their Chambers” and solved it in his own way. The motley, multicolored coloring of the canvas arose as a result of the artist’s passion for oriental miniatures. In 1856 Ingres completed the painting "Source", conceived by him back in the 20s. in Italy. The graceful blooming girl's body embodies the purity and generosity of the natural world.

Theodore Gericault(1791–1824) - founder of revolutionary romanticism in French painting. The first work exhibited at the Salon is “Officer of the mounted rangers of the imperial guard going on the attack” (“Portrait of Lieutenant R. Dieudonne”, 1812). The dashing horseman on the canvas does not pose, but fights: the rapid diagonal of the composition takes him deep into the picture, into the bluish-purple heat of battle. At this time, it became known about the defeat of Napoleon Bonaparte’s army in Russia. The feelings of the French, who knew the bitterness of defeat, were reflected in a new painting by the young artist - "Wounded Cuirassier Leaving the Battlefield" (1814).

In 1816–1817 Gericault lived in Italy. The artist was especially fascinated by the bareback horse racing in Rome. In the pictorial series "Running of Free Horses" (1817) both expressive precision of reporting and restrained heroism in the neoclassical spirit are available. In these works his individual style was finally formed: powerful, rough forms are conveyed by large moving spots of light.

Returning to Paris, the artist created a painting "The Raft of the Medusa" (1818–1819). In July 1816, near the Cape Verde Islands, the ship Medusa, under the command of an inexperienced captain who received a position under patronage, ran aground. Then the captain and his entourage sailed away in boats, leaving the raft with one hundred and fifty sailors and passengers to the mercy of fate, of which only fifteen people survived. In the film, Gericault sought maximum verisimilitude. For two years he searched for people who survived the tragedy in the ocean, made sketches in hospitals and morgues, and painted sketches of the sea in Le Havre. The raft in his painting is raised by a wave, the viewer immediately sees all the people huddled on it. In the foreground are figures of the dead and distraught; they are painted in life size. The views of those who have not yet despaired are turned to the far edge of the raft, where an African, standing on a shaky barrel, waves a red handkerchief to the Argus crew. Either despair or hope fill the souls of the passengers on the Medusa raft.

In 1820–1821 Gericault visited England. Influenced by Constable's works, he wrote "The Races at Epsom" (1821). The picture is permeated with movement: the horses rush, barely touching the ground, their figures merged into one swift line; the low clouds are moving, their shadows moving across the wet field. All contours in the landscape are blurred, the colors are blurred. Gericault showed the world as a jockey sees it on a galloping horse.

Eugene Deacroix(1798–1863) - French painter. The basis of Delacroix's painting is colorful spots that form a harmonious unity; Each spot, in addition to its own color, includes shades of its neighbors.

Delacroix painted his first painting based on the plot of Dante’s “Divine Comedy” - "Dante and Virgil" (Dante's Boat) (1822). Delacroix created a painting "Massacre of Chios" (1824) influenced by the events of the liberation revolution in Greece 1821–1829. In September 1821, Turkish punitive forces destroyed the civilian population of Chios. In the foreground of the picture are the figures of the doomed Chians in colorful rags; the background is the dark silhouettes of armed Turks. Most of the captives are indifferent to their fate, only children vainly beg their parents to protect them. A Turkish horseman dragging a Greek girl behind him looks like a kind of symbol of enslavement. Other figures are no less symbolic: a naked wounded Greek - his blood goes into the dry ground, and a broken dagger and a bag emptied by robbers lie nearby.

After the events of July 1830 in Paris, Delacroix created a painting "Liberty Leading the People (July 28, 1830)". The artist gave a simple episode of street fighting a timeless, epic sound. The rebels rise to the barricade recaptured from the royal troops, and they are led by Liberty herself. Critics saw her as “a cross between a merchant and an ancient Greek goddess.” There is a romantic style here: Liberty is depicted as the goddess of victory, she raises the tricolor banner of the French Republic; An armed crowd follows. Now they are all soldiers of Freedom.

In 1832, Delacroix accompanied a diplomatic mission to Algeria and Morocco. Upon returning to Paris, the artist created a painting "Algerian women in their chambers" (1833). Women's figures are surprisingly flexible. Golden-dark faces are softly outlined, arms are smoothly curved, colorful outfits stand out brightly against the background of velvety shadows.

Antoine Gros (1771–1835) - French painter, portraitist. Gro abandoned classical plots - he was attracted to modern history. Created a series of paintings dedicated to the Egyptian-Syrian expedition of the Napoleonic army (1798–1799) - "Bonaparte visiting the plague-stricken in Jaffa" (1804). Other paintings dedicated to Napoleon - "Napoleon on the Arcole Bridge" (1797), "Napoleon on the Battlefield of Eyau" (1808). Gros completed the painting of the dome of the Pantheon in Paris in 1825, replacing the image of Napoleon with the figure of Louis XVIII.

Classicism, an artistic style in European art of the 17th–early 19th centuries, one of the most important features of which was the appeal to the forms of ancient art as an ideal aesthetic and ethical standard. Classicism, which developed in intensely polemical interaction with the Baroque, formed into an integral stylistic system in the French artistic culture of the 17th century.

Classicism of the 18th – early 19th centuries (in foreign art history it is often called neoclassicism), which became a pan-European style, was also formed mainly in the bosom of French culture, under the strong influence of the ideas of the Enlightenment. In architecture, new types of an elegant mansion, a ceremonial public building, an open city square were defined (Gabriel Jacques Ange and Soufflot Jacques Germain), the search for new, orderless forms of architecture, the desire for severe simplicity in the work of Ledoux Claude Nicolas anticipated the architecture of the late stage of classicism - Empire. Civil pathos and lyricism were combined in plastic art (Pigal Jean Baptiste and Houdon Jean Antoine), decorative landscapes (Robert Hubert). The courageous dramatism of historical and portrait images is inherent in the works of the head of French classicism, the painter Jacques Louis David. In the 19th century, the painting of classicism, despite the activities of individual major masters, such as Jean Auguste Dominique Ingres, degenerated into official apologetic or pretentious erotic salon art. The international center of European classicism of the 18th and early 19th centuries was Rome, where the traditions of academicism with their characteristic combination of nobility of forms and cold idealization (German painter Anton Raphael Mengs, sculptors: Italian Antonio Canova and Dane Thorvaldsen Bertel) largely dominated. The architecture of German classicism is characterized by the stern monumentality of the buildings of Karl Friedrich Schinkel, while the contemplative and elegiac painting and sculpture are characterized by the portraits of August and Wilhelm Tischbein, and the sculpture of Johann Gottfried Schadow. In English classicism, the antique structures of Robert Adam, the Palladian-style park estates of William Chambers, the exquisitely austere drawings of J. Flaxman and the ceramics of J. Wedgwood stand out. Own versions of classicism developed in the artistic culture of Italy, Spain, Belgium, Scandinavian countries, and the USA; Russian classicism of the 1760s–1840s occupies a prominent place in the history of world art.

By the end of the first third of the 19th century, the leading role of classicism almost everywhere came to naught; it was replaced by various forms of architectural eclecticism. The artistic tradition of classicism comes to life in neoclassicism of the late 19th and early 20th centuries.

Jean Auguste Dominique Ingres, (1780-1867) - French artist, generally recognized leader of European academicism of the 19th century.
In Ingres's work there is a search for pure harmony.
He studied at the Toulouse Academy of Fine Arts. After graduating from the academy, he moved to Paris, where in 1797 he became a student of Jacques-Louis David. In 1806-1820 he studied and worked in Rome, then moved to Florence, where he spent another four years. In 1824 he returned to Paris and opened a painting school. In 1835 he returned to Rome again as director of the French Academy. From 1841 until the end of his life he lived in Paris.

Academicism (French academisme) is a direction in European painting of the 17th-19th centuries. Academic painting arose during the period of development of art academies in Europe. The stylistic basis of academic painting at the beginning of the 19th century was classicism, and in the second half of the 19th century - eclecticism.
Academicism grew by following the external forms of classical art. Followers characterized this style as a reflection on the art form of the ancient ancient world and the Renaissance.

Engr. Portraits of the Riviere family. 1804-05

Romanticism

Romanticism- a phenomenon generated by the bourgeois system. As a worldview and style of artistic creativity, it reflects its contradictions: the gap between what should be and what is, ideal and reality. The awareness of the unrealizability of humanistic ideals and values ​​of the Enlightenment gave rise to two alternative ideological positions. The essence of the first is to despise base reality and withdraw into the shell of pure ideals. The essence of the second is to recognize empirical reality and discard all speculation about the ideal. The starting point of the romantic worldview is open rejection of reality, recognition of the insurmountable gap between ideals and real existence, the unreasonableness of the world of things.

It is characterized by a negative attitude towards reality, pessimism, interpretation of historical forces as being outside the real everyday reality, mystification and mythologization. All this prompted the search for resolution of contradictions not in the real world, but in the world of fantasy.

The romantic worldview covered all spheres of spiritual life - science, philosophy, art, religion. It was expressed in two ways:

The first - in it the world appeared as an endless, faceless, cosmic subjectivity. The creative energy of the spirit acts here as the beginning that creates world harmony. This version of the romantic worldview is characterized by a pantheistic image of the world, optimism, and sublime feelings.

The second is that human subjectivity is considered individually and personally, understood as the inner, self-absorbed world of a person in conflict with the outside world. This attitude is characterized by pessimism, a lyrically sad attitude towards the world.

The original principle of romanticism was “two worlds”: comparison and contrast of the real and imaginary worlds. The way to express this dual world was symbolism.

Romantic symbolism represented an organic combination of the illusory and real worlds, which manifested itself in the appearance of metaphor, hyperbole, and poetic comparisons. Romanticism, despite its close connection with religion, was characterized by humor, irony, and dreaminess. Romanticism declared music to be the model and norm for all areas of art, in which, according to the romantics, the very element of life, the element of freedom and the triumph of feelings, sounded.

The emergence of romanticism was due to a number of factors. Firstly, socio-political: the French Revolution of 1769-1793, the Napoleonic Wars, the War of Independence of Latin America. Secondly, economic: the industrial revolution, the development of capitalism. Thirdly, it was formed under the influence of classical German philosophy. Fourthly, it developed on the basis and within the framework of existing literary styles: enlightenment, sentimentalism.

Romanticism flourished between 1795 and 1830. - the period of European revolutions and national liberation movements, and romanticism manifested itself especially clearly in the culture of Germany, England, Russia, Italy, France, and Spain.

The romantic tendency had a great influence in the humanities, and the positivist tendency in the natural sciences, technology and practice.

Jean Louis André Theodore Gericault (1791-1824).
A student for a short time of C. Vernet (1808-1810), and then P. Guerin (1810-1811), who was upset by his methods of conveying nature not in accordance with the principles of the school of Jacques-Louis David and his passion for Rubens, but subsequently recognized rationality aspirations of Gericault.
While serving in the royal musketeers, Gericault painted mainly battle scenes, but after traveling to Italy in 1817-19. he executed a large and complex painting “The Raft of the Medusa” (located in the Louvre, Paris), which became a complete denial of the Davidic direction and an eloquent preaching of realism. The novelty of the plot, the deep drama of the composition and the vital truth of this masterfully written work were not immediately appreciated, but soon it received recognition even from adherents of the academic style and brought the artist the fame of a talented and courageous innovator.

Tragic tension and drama. In 1818, Géricault worked on the painting “The Raft of the Medusa,” which marked the beginning of French romanticism. Delacroix, posing for his friend, witnessed the birth of a composition that breaks all the usual ideas about painting. Delacroix later recalled that when he saw the finished painting, he “in delight started running like crazy and couldn’t stop all the way home.”
The plot of the film is based on a real incident that happened on July 2, 1816 off the coast of Senegal. Then, on the Argen Shoal, 40 leagues from the African coast, the frigate Medusa crashed. 140 passengers and crew members tried to escape by boarding the raft. Only 15 of them survived and on the twelfth day of their wanderings they were picked up by the brig Argus. The details of the survivors' voyage shocked modern public opinion, and the sinking itself turned into a scandal in the French government due to the incompetence of the ship's captain and insufficient attempts to rescue the victims.

Figurative solution
The gigantic canvas impresses with its expressive power. Gericault managed to create a vivid image, combining in one picture the dead and the living, hope and despair. The film was preceded by a huge amount of preparatory work. Gericault made numerous sketches of dying people in hospitals and the corpses of executed people. “The Raft of the Medusa” was the last of Gericault’s completed works.
In 1818, when Géricault was working on the painting “The Raft of the Medusa,” which marked the beginning of French romanticism, Eugene Delacroix, posing for his friend, witnessed the birth of a composition that broke all the usual ideas about painting. Delacroix later recalled that when he saw the finished painting, he “in delight started running like crazy and couldn’t stop all the way home.”

Public reaction
When Géricault exhibited “The Raft of the Medusa” at the Salon in 1819, the painting aroused public indignation, since the artist, contrary to the academic norms of the time, did not use such a large format to depict a heroic, moralizing or classical subject.
The painting was acquired in 1824 and is currently in room 77 on the 1st floor of the Denon Gallery in the Louvre.

Eugene Delacroix(1798 - 1863) - French painter and graphic artist, head of the romantic movement in European painting.
But the real universities for Delacroix were the Louvre and communication with the young painter Theodore Gericault. At the Louvre, he became fascinated by the works of the old masters. At that time, one could see many paintings there that were captured during the Napoleonic Wars and had not yet been returned to their owners. The aspiring artist was most attracted to the great colorists - Rubens, Veronese and Titian. But Theodore Gericault had the greatest influence on Delacroix.

In July 1830, Paris rebelled against the Bourbon monarchy. Delacroix sympathized with the rebels, and this was reflected in his “Liberty Leading the People” (in our country this work is also known as “Liberty on the Barricades”). Exhibited at the Salon of 1831, the painting aroused strong approval from the public. The new government bought the painting, but immediately ordered its removal; its pathos seemed too dangerous.

Antique still life, "Bouquet with poppy seeds", Western Europe. Second third of the 19th century

Antique still life "Bouquet with grapes and peach". Western Europe, 1839.

Mountain landscape with castle ruins. Western Europe, 1846.

Holiday in the park. Western Europe 1903

Portrait of a girl. Western Europe, first half of the 19th century.

Grapes and flowers. Western Europe, late 19th century.

Apples and grapes. Western Europe. First third of the 20th century

Vintage still life with grapes and fruit. Western Europe, 1869

Antique still life with flowers. Western Europe, 1821

Antique still life with carnations. Western Europe, early 20th century.

Vintage still life with melon, apples and grapes. Western Europe, early 20th century.

Antique still life vase with chrysanthemums. Western Europe, early 20th century.

Vintage still life with grapes and peaches. Western Europe, 1876.

Vintage still life vase with pumpkins. Western Europe, late 19th century.

The battle of the English cavalry with the French infantry. Western Europe, second half of the 19th century.

Antique still life with cherries and grapes. Western Europe, mid-19th century.

Dutch winter landscape. Western Europe, second half of the 10th century.

Antique still life: phlox. Western Europe, early 20th century

Embankment. Western Europe, late 19th century

Seascape. Western Europe, late 19th century

Antique still life: asters in a carved wooden vase. Western Europe, early 20th century

Ancient still life: flowers against the background of a fountain. Western Europe, Holland, mid-19th century

Ancient painting: "Dutch Still Life". Western Europe, early 18th century

Antique still life: bouquet of flowers. Western Europe, late 19th century

Ancient landscape: "On the shore of the lake." Western Europe, 1894.

Ancient painting: "Forest Waterfall". Western Europe, late 19th century.

Ancient painting: "Cancan". Western Europe, early 20th century.

Ancient painting: "Boy at the Stove". Western Europe, late 19th century.

Ancient painting: "Landscape with a Horseman". Western Europe, late 17th century.

Antique still life: tulips in a Chinese vase. Western Europe, early 20th century

Ancient painting: "Autumn Landscape". Western Europe, early 20th century.

Antique still life: "Flowers". Western Europe, 1885.

Antique still life: "Vase with asters and hydrangeas." Western Europe, early 20th century.

Ancient painting: "City landscape". Western Europe, second half of the 19th century.

Ancient painting: "Bouquet of Chrysanthemums". Western Europe, first half of the 20th century.

Ancient painting: "Panorama of Paris with a view of the Ile de la Cité." Western Europe, 1840.

Antique watercolor: "Portrait of the Artist's Children" from a painting by Rubens. Western Europe, 1830s.

Ancient painting: "On the veranda of the hotel." Western Europe, 1878.

Ancient painting: "At the well". Western Europe, 1877.

Antique still life: "Fruits and flowers". Western Europe, 1886.

Antique painting: "Waterfall in the mountains." Western Europe, 1852.

Ancient painting: "Wine sample". Western Europe, late 19th century.

Ancient painting: "Boat in the Gulf of Naples." Western Europe, late 19th century

Ancient painting: "Musketeer with a decanter of wine." Western Europe, early 20th century.

Antique painting: "Cornish Coast". Western Europe, early 20th century. Artist: G. Berlau,

Ancient painting: "The courtyard of the Palazzo Vecchio in Florence." Western Europe, last quarter of the 19th century

Antique still life: "Autumn flowers in pots." Western Europe, second half of the 19th century.

Ancient painting: "Dutch Port". Western Europe, Artist: Jan KUYPERS

Ancient painting: "The organ grinder and the musketeers." Western Europe, 1882.

Ancient painting: "Dutch genre scene". Western Europe, first half of the 19th century.

Ancient painting: "Still life with roses". Western Europe, 1877

Coastal landscape with boats and sailboats. Western Europe, 1877 Artist: Moris H

Ancient painting: "Mountain river in the forest." Western Europe, 1900

Ancient painting: "Dogs". Western Europe, 1899

Ancient painting: "Deer Hunting". Western Europe, 1840-1850

Ancient painting: "Italian landscape with a river." Western Europe, 1835.

Ancient painting: "In the stable". Western Europe, mid-19th century. Artist: Wouterus I VERSCHUUR

Ancient painting: "Italian genre scene". Western Europe, Italy, 1844. Artist: Rauch I. N.

It’s interesting to me: the Slavs spluttered so much about “Unwashed Europe”. Why couldn’t the Slavs leave behind the same pictures as in Europe of the same period: the times of the Tsariruski-Konde War, the Royal Family, with the Slavs in 1853-1921?

What did the Slavs: Nikolaev Jewish Soviet soldiers of the old Red (Prussian) Guard of Elston-Sumarokov do in the Russia they captured, in 1861-1921? ?

Just as they abolished their serfdom for the Jew Pushkin, a descendant of ugly blacks, and gave the Jews all rights, they did nothing worthwhile in the Russia they captured. Only rights for Jews since 1861 - that’s all the gains of the Slavic revolution of Jewish Soviet soldiers Elston-Sumarokov. Why did the entire Red (Soviet) army of the Slavs, the Canaanite people, fight against the Russian Tsars in 1853-1921?

But what about it? The evil Tsariruski-Konde, the White Generals, left for Paris with all of St. Petersburg and Moscow, and sent the Slavs to hell, our serfs, back in 1854, long before the serfdom of the Jewish soldiers Elston-Sumarokov. And they refused to finance the material and moral well-being of the Slavic Jewish Soviet peasants, the old Red (Prussian) Guard.

And who will work?! Well, it’s not us, the Slavic Soviet peasants, the old Red (Prussian) Guard, the dictatorship of the proletariat!

It’s good that at least they were not allowed into Europe by the entire Red (Jewish) army of the Slavs of Elston-Sumarokov in 1853-1871. The Tsariruski-Konde, the White Kings of Angels, fled from Europe. Otherwise, Europe would now stand in the same form as Russia, captured by the Slavs, after 150 years of Soviet occupation of the Slavs: Jewish Soviet soldiers, the old Red (Prussian) Guard.

Impressionism. Symbolism. Modernism.

In the second half of the 19th century, a direction appeared in Western art that would later be called “modernism.” Its first movement can be considered impressionism, which emerged in the 60s. This movement is not yet fully modernist. It leaves realism and moves further and further away from it, without completely breaking with it. Impressionism is not yet modernism, but it is no longer realism. It can well be considered precisely as the beginning of modernism, since it already contains its main features.

The first is associated with a clear shift in emphasis from the object to the subject, from objectivity and truthfulness to subjective sensation. In impressionism, the main thing is not the depicted object, but its perception, the impression it evokes in the artist. Fidelity to the object gives way to fidelity to perception, fidelity to the fleeting impression. The principle of “infidelity to the subject” will then become one of the basic principles of the aesthetics of modernism, turning into the principle of conscious deformation, distortion and decomposition of the subject, the principle of rejection of the subject, objectivity and figurativeness. Art is increasingly becoming the art of self-expression of the artist.

The second sign is special attention to experimentation, the search for ever new means of expression, technical and artistic techniques. In this, impressionist artists follow the example of scientists. They are enthusiastically engaged in the decomposition of tones, the play of color reflections, and unusual combinations of colors. They like fluidity, variability, mobility. They do not tolerate anything frozen and static. Impressionists are of particular interest in the processes of interaction of objects with the atmosphere, air, light, fog, smog, and sunlight. Thanks to all this, they made significant strides and achievements in the field of color and form.

In impressionism, the passion for experimentation, the search for new techniques, the pursuit of novelty and originality do not yet become an end in itself. However, many subsequent movements of modernism come precisely to this, the consequence of which is the artist’s refusal of the final result, of a work of art, understood as something complete and complete.

Another feature of impressionism, partly a consequence and direct continuation of those already mentioned, is associated with a departure from social issues. Real life is present in the works of the Impressionists, but it appears in the form of a pictorial performance. The artist’s gaze seems to glide over the surface of social phenomena, capturing mainly color sensations, without stopping at them and without plunging into them. In subsequent movements of modernism, this tendency intensifies, making it asocial, and even antisocial.

The central figures of impressionism are C. Monet (1840-1926), C. Pissarro (1830 - 1903), O. Renoir (1841 - 1919).

Impressionism was most fully embodied in the work of Monet. The favorite subject of his works is the landscape - a field, a forest, a river, an overgrown pond. He defined his understanding of landscape as follows: “Landscape is an instant impression.” From his painting “Sunrise. "Impression" was the name of the entire movement (in French "impression" is "impression"). The famous “Haystacks” brought him the greatest fame. He also showed a special passion for depicting water. For this, he built a special workshop boat, which allowed him to spend hours observing the behavior of water and the reflection of objects in it. In all this, Monet achieved impressive success, which gave E. Manet the basis to call him “Raphael of water.” The painting “Rouen Cathedral” is also very remarkable.

K. Pissaro gives preference to the city landscape - depicting houses, boulevards, streets filled with carriages and strolling public, everyday scenes.

O. Renoir pays a lot of attention to the nude and portraits - especially women's. A striking example of his portrait art is the portrait of the artist J. Samari. He also painted “Bathing on the Seine” and “Moulin de la Galette”.

Around the mid-80s, impressionism began to experience a crisis, and two independent movements were formed in it - neo-impressionism and post-impressionism.

The first is represented by artists J. Seurat and P. Signac. Based on the achievements of color science, they take some of the features of impressionism - the decomposition of tones into pure colors and the passion for experimentation - to their logical conclusion. In artistic and aesthetic terms, this movement did not arouse much interest.

Post-Impressionism “seemed to be a much more productive and interesting phenomenon. Its main figures were P. Cezanne (1839 - 1906), V. Van Gogh (1853 - 1890) and P. Gauguin (1848 - 1903), among whom P. Cezanne stood out.

In his work, P. Cezanne preserved the most essential in impressionism and at the same time created a new art, developing a tendency to move away from the subject, from its external appearance. At the same time, he managed to overcome the illusory and ephemeral nature of what is depicted, characteristic of impressionism.

Sacrificing the external similarity of an object, P. Cezanne conveys with extraordinary force its main qualities and properties, its materiality, density and intensity, a certain “materiality of a thing.” Unlike impressionism, to create works, he uses not only visual sensations, but all senses. In his work, he vividly and powerfully expressed his personal nature. As P. Picasso notes, P. Cezanne painted himself all his life.

Among the works of P. Cezanne, one can highlight such as “Self-Portrait”, “Fruit”, “Still Life with Drapery”, “Banks of the Marne”, “Lady in Blue”. P. Cezanne had a huge influence on all subsequent modernism. A. Matisse called him the “common teacher” of a wide range of young artists who later became famous and famous.

In addition to painting, impressionism manifested itself in other forms of art. In music, his influence was felt by the French composer C. Debussy (1862 - 1918), in sculpture - by the French sculptor O. Rodin (1840 - 1917).

In the 80s, a movement of symbolism arose in France, which can fully be considered modernism. It is most widespread in poetry and literature. Symbolism continued the line of romanticism and “art for art’s sake,” filled with a feeling of disappointment in the world around us, aimed at the search for pure beauty and pure aestheticism.

In their manifesto, the Symbolists declared themselves singers of decadence, decline and death of the bourgeois world. They opposed themselves to science and positivist philosophy, believing that reason and rational logic cannot penetrate the world of “hidden realities”, “ideal essences” and “eternal Beauty”. Only art is capable of this - thanks to creative imagination, poetic intuition and mystical insight. Symbolism expressed a tragic premonition of impending social upheavals, accepting them as a cleansing test and payment for true spiritual freedom.

The central figures of French symbolism are the poets S. Mallarmé (1842 - 1898), P. Verlaine (1844 - 1896), A. Rimbaud (1854 - 1891). The first is considered the founder of the movement. The second created beautiful masterpieces of lyrics. A. Rimbaud became one of the most original and brilliant poets of France. He had a great influence on French poetry of the 20th century.

Symbolism has become widespread in many European countries. In England he is represented, first of all, by the writer O. Wilde (1854 - 1900), author of the famous novel “The Picture of Dorian Gray”, as well as the poem “The Ballad of Reading Gaol”. In Austria, the poet R.M. Rilke (1875 - 1926) was close to symbolism, which was especially manifested in his works “The Book of Images” and “The Book of Hours.” Another prominent representative of symbolism is the Belgian playwright and poet M. Maeterlinck (1862 - 1949), author of the famous “Blue Bird”.

The 19th century is of fundamental importance in the history of the West. It was at this time that a completely new type of civilization was emerging - industrial. It was based on scientific and technological progress. Therefore, one of the main ideals of the Enlightenment - the ideal of the progress of reason - received its most complete embodiment in it.

The emergence of bourgeois democracy contributed to the expansion of political freedom. As for other ideals and values ​​of educational humanism, their implementation encountered serious difficulties and obstacles. Therefore, the general assessment of the 19th century cannot be unambiguous.

On the one hand, there are unprecedented successes and achievements of civilization. At the same time, the emerging industrial civilization begins to increasingly crowd out spiritual culture.

First of all, this affected religion, and then other areas of spiritual culture: philosophy, morality and art. In general, we can say that in the 19th century in the Western world a dangerous trend of dehumanization of culture emerged, the consequence of which by the end of the century was the system of colonialism, and in the 20th century - two world wars

European art of the late 19th century - early 20th century.

The formation of industrial civilization had a huge impact on European art. As never before, it was in close connection with social life, the spiritual and material needs of people. In the context of the growing interdependence of peoples, artistic movements and cultural achievements quickly spread throughout the world.

Painting. Romanticism and realism manifested themselves with particular force in painting. There were many signs of romanticism in the work of the Spanish artist Francisco Goya (1746-1828). Thanks to talent and hard work, the son of a poor artisan became a great painter. His work constituted an entire era in the history of European art. The artistic portraits of Spanish women are magnificent. They are written with love and admiration. We read self-esteem, pride and love of life on the faces of the heroines, regardless of their social origin.

The courage with which Goya, the court painter, depicted a group portrait of the royal family never ceases to amaze. Before us are not rulers or arbiters of the country’s destinies, but quite ordinary, even ordinary people. Goya's turn to realism is also evidenced by his paintings dedicated to the heroic struggle of the Spanish people against Napoleon's army.

Charles IV and his family. F. Goya. On the left (in the shadow) the artist depicted himself

A key figure in European Romanticism was the famous French artist Eugene Delacroix (1798-1863). In his work, he placed fantasy and imagination above all else. A milestone in the history of romanticism, and indeed of all French art, was his painting “Liberty Leading the People” (1830). The artist immortalized the revolution of 1830 on canvas. After this painting, Delacroix no longer turned to French reality. He became interested in the theme of the East and historical subjects, where a rebellious romantic could give free rein to his fantasy and imagination.

The largest realist artists were the French Gustave Courbet (1819-1877) and Jean Millet (1814-1875). Representatives of this trend strived for a truthful depiction of nature. The focus was on the daily life and work of man. Instead of historical and legendary heroes characteristic of classicism and romanticism, ordinary people appeared in their work: townspeople, peasants and workers. The names of the paintings speak for themselves: “Stone Crusher”, “Knitters”, “Gatherers of Ears”.

An officer of the mounted rangers of the imperial guard going into the attack, 1812. Theodore Gericault (1791-1824). The first artist of the romantic movement. The painting expresses the romance of the Napoleonic era

Courbet was the first to use the concept of realism. He defined the goal of his work as follows: “To be able to convey the morals, ideas, appearance of the people of the era in my assessment, to be not only an artist, but also a citizen, to create living art.”

In the last third of the 19th century. France becomes a leader in the development of European art. It was in French painting that impressionism was born (from the French impression - impression). The new movement became an event of European significance. Impressionist artists sought to convey on canvas momentary impressions of constant and subtle changes in the state of nature and man.

In a third class carriage, 1862. O. Daumier (1808-1879). One of the most original artists of his time. Balzac compared him to Michelangelo. However, Daumier became famous for his political cartoons. "In a Third Class Car" presents an unidealized image of the working class

Reading woman. K. Corot (1796-1875). The famous French artist was especially interested in the play of light and was a predecessor of the Impressionists. At the same time, his work bears the stamp of realism.

The Impressionists carried out a real revolution in painting techniques. They usually worked outdoors. Colors and light played a much larger role in their work than the drawing itself. Outstanding impressionist artists were Auguste Renoir, Claude Monet, Edgar Degas. Impressionism had a huge influence on such great masters of the brush as Vincent Van Gogh, Paul Cézanne, Paul Gauguin.

Impression. Sunrise, 1882. Claude Monet (1840-1926) often painted the same objects at different times of day to explore the effect of light on color and form.

Sunflowers in a vase. V. Van Gogh (1853-1890)

Village church. V. Van Gogh

Ia Orana Maria. P. Gauguin (1848-1903). The artist's dissatisfaction with the European way of life forced him to leave France and live in Tahiti. Local artistic traditions and the diversity of the surrounding world had a huge influence on the formation of his artistic style.

Pink and green. E. Degas (1834-1917)

Girl with a mandolin, 1910. Pablo Picasso (1881-1973). Spanish painter who worked in France. Already at the age of ten he was an artist, and at the age of sixteen his first exhibition took place. Paved the way for cubism - a revolutionary movement in the art of the 20th century. The Cubists abandoned the depiction of space and aerial perspective. Objects and human figures are transformed into a combination of various (straight, concave and curved) geometric lines and planes. The Cubists said that they paint not as they see, but as they know

Umbrellas. O. Renoir

Like poetry, the painting of this time is full of anxious and vague forebodings. In this regard, the work of the talented French symbolist artist Odilon Redon (1840-1916) is very characteristic. His sensational in the 80s. The Spider drawing is an ominous omen of the First World War. The spider is depicted with a creepy human face. Its tentacles are in motion and aggressive. The viewer is left with the feeling of an impending catastrophe.

Architecture. The development of industrial civilization had a huge impact on European architecture. Scientific and technological advances contributed to innovation. In the 19th century Large buildings of state and public importance were built much faster. Since then, new materials began to be used in construction, especially iron and steel. With the development of factory production, railway transport and large cities, new types of structures appeared - train stations, steel bridges, banks, large stores, exhibition buildings, new theaters, museums, libraries.

Architecture in the 19th century. was distinguished by its variety of styles, monumentality, and practical purpose.

Facade of the Paris Opera building. Built in 1861 -1867. Expresses an eclectic direction, inspired by the Renaissance and Baroque eras

Throughout the century, the neoclassical style was the most common. The building of the British Museum in London, built in 1823-1847, gives a clear idea of ​​ancient (classical) architecture. Up until the 60s. The so-called “historical style” was fashionable, expressed in a romantic imitation of the architecture of the Middle Ages. At the end of the 19th century. there is a return to Gothic in the construction of churches and public buildings (neo-Gothic, i.e., new Gothic). For example, the Houses of Parliament in London. In contrast to neo-Gothic, a new direction, Art Nouveau (new art), emerged. It was characterized by sinuous smooth outlines of buildings, premises, and interior details. At the beginning of the 20th century. Another direction arose - modernism. Art Nouveau style is distinguished by practicality, rigor and thoughtfulness, and a lack of decoration. It was this style that reflected the essence of industrial civilization and is most associated with our time.

In its mood, European art of the late 19th - early 20th centuries. was contrasting. On the one hand, optimism and overflowing joy of life. On the other hand, there is a lack of faith in the creative capabilities of man. And one should not look for contradictions in this. Art only reflected in its own way what was happening in the real world. The eyes of poets, writers and artists were sharper and more insightful. They saw what others did not and could not see.