Lesson from the Moscow Art Hall: classicism in the architecture of Western Europe. How does Russian classicism in architecture differ from European classicism? Andrea Palladio and Vincenzo Scamozzi

To use presentation previews, create a Google account and log in to it: https://accounts.google.com

Slide captions:

for the MHC lesson in the 11th grade. The presentation was prepared by the teacher of Russian language and literature MBU "Mstera secondary school of the Vyaznikovsky district Yusova Irina Viktorovna

The main features of the architecture of classicism "Fairytale Dream" of Versailles Empire

Greek order system Strict symmetry Clear proportionality of the parts of the composition and their subordination to the overall design Simple and clear forms Calm harmony of proportions Straight lines Unobtrusive decor that follows the outline of the object Simplicity and nobility of decoration Practicality and expediency

Versailles is a fairy-tale dream, striking with its splendor of facades and the brilliance of the decorative decoration of the interiors. It became a visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world. "Fairytale Dream"

Historical information The oldest village of Ile-de-France, Versailles, has been mentioned in historical documents since the 11th century. This is not even a village, but a very modest hamlet nestled against a hill. There were many of these scattered around the capital. Versailles was crossed by the road leading from Normandy to Paris, which was 18 km from here. The village went down in history at the end of the 16th century, when Henry IV, the future king of France, stopped at the local castle in 1570 on his way to meet Catherine de Medici. Having already become king, it was here that he came to hunt.

Louis XIII In 1606, Henry IV's son, the future King Louis XIII, was on his first hunt at Versailles, and enjoyed retiring there with a few close friends. In these places he wanted to build a modest hunting lodge, where he could furnish his short hours of entertainment with great comfort.

The fate of the Small Castle In 1624, the king bought marshy land surrounded by fields. At that time, only a windmill stood on the site of the future palace. Soon, hasty construction began, but the castle being built was so small and modest that it did not even have rooms for the Queen Mother and Queen Wife. After the death of Louis XIII, the castle was empty for a long time: Louis XIV, the heir and future king, was only 5 years old. But in 1661, as soon as the new king proclaimed “I am the State,” the “age of Louis the Great” began.

Louis XIV Realizing himself as a king, Louis XIV immediately began to dream of his own palace. After much thought and doubt, the king’s choice fell on the castle of Vincennes, but suddenly, unexpectedly, the king chose Versailles with its small hunting lodge. The castle of Louis XIII was not destroyed; Louis the son decided that the builders should keep the Small Castle intact. Louis XIV often visited Versailles, where he forgot about his royal rank and frolicked like a child.

Architects of Versailles A competition was announced among the kingdom's architects for the best renovation project for a small hunting castle. Soon L. Levo was appointed architect of Versailles, and in general Louis XIV (at his own expense) hired Levo - “the first architect of the king”, C. Le Brun - “the first painter of the king” and A. Le Nôtre - “the first royal gardener”. Soon this creative team got to work. The following architects participated in the creation of the architectural appearance of Versailles: - Louis Levo (1612-1670) - Jules Hardouin Mansart (1646-1708) - Andre Le Nôtre (1613-1700)

The focal point is a palace, to which 3 converging access avenues lead. The façade is represented by 3 floors.

An abundance of sculptural decorations Rich decor in the form of gilded moldings and carvings Many mirrors Exquisite furniture Marble tiles with clear geometric patterns Bronze chandeliers Mirror gallery Park

Mirror gallery

Mirror Gallery The most ceremonial room of the Grand Palace of Versailles is the Mirror Gallery. The king's birthdays were celebrated in this hall, marriages took place, balls were held, and foreign ambassadors were received here. The Mirror Gallery is called the miracle of Versailles. The view of this salon is simply breathtaking: the gallery stuns with its size, color, lavish luxury of decoration, and on fine sunny days with an excess of light and air. When decorating the Mirror Gallery, the calculation was deliberately made to stun with luxury and splendor. The mirror gallery is not just a hall. This is a huge avenue, 73 meters long and 10.5 meters wide.

Bedroom interior

Regular (French) parks subordinated nature to the will and intention of the artist. Versailles Park amazes with its clarity and rational organization of space, its drawing was precisely verified by the architect (A. Le Nôtre) using a compass and ruler

Versailles is the wealth of France, which is increasing over time. France is proud of this treasure; it is its glory. In 1830, the Versailles ensemble was turned into the National Museum of France, and our century has ranked it among the phenomena of world artistic culture.

Empire Empire, or “Empire Style” (French Empire - empire from Latin imperium - command, power) is a historical artistic style that first developed in France at the beginning of the 19th century.

Empire style refers to the so-called “royal styles”, which can be characterized by theatricality in the design of architectural buildings and interior interiors. The peculiarity of the architectural Empire style lies in the obligatory presence of columns, pilasters, stucco cornices and other classical elements, as well as motifs that reproduce almost unchanged ancient examples of sculpture, such as griffins, sphinxes, lion paws and similar sculptural structures. These elements are arranged in an orderly manner in the Empire style, maintaining balance and symmetry. The artistic concept of the style with its massive lapidary and monumental forms, as well as rich decoration, the content of elements of military symbolism, the direct influence of artistic forms primarily of the Roman Empire, as well as Ancient Greece and even Ancient Egypt, was designed to emphasize and embody the ideas of the power of government and the state, the presence of a strong army [Vendome Column. Paris

Thank you for your attention!

Resources used: http://ru.wikipedia.org/wiki/%C0%EC%EF%E8%F0 http://arkhi.net/?p=31 http://genaistoriya.ucoz.ru/load/mirovaja_khudozhestvennaja_kultura_11_klass /klassicizm_v_arkhitekture_zapadnoj_evropy/5-1-0-207 http://moruss.ucoz.ru/load/mkhk/prezentacii/klassicizm_v_arkhitekture_zapadnoj_evropy/20-1-0-102 http://www.myshared.ru/slide/86247/

• Novotroitsk secondary school.

• Completed by: 11th grade student
• Lamonova Svetlana.
• Head: MHC teacher:
• Cherkasova R.A.

• year 2009.

• Classicism, as a movement, was first mentioned by Italian thinkers, but it received its development in France, which is considered its ancestor. French classicism, while remaining faithful to all the basic principles of this movement, was no less luxurious and magnificent than everything else that the hand of French masters touched.
• In contrast, classicism in Germany became a much more ascetic movement, promoting freedom of space, tightly fitted forms and clear, strict silhouettes. This is the true kingdom of reason, reason in everything, especially in architecture.

• It must be said that Russian classicism managed to combine the features of all the above-mentioned trends, adding to them its own unique features. Like everything that passes through the prism of perception of Russian figures of art and culture, classicism has become more “vital” and less static in Russian architecture and sculpture. In addition, it was with classicism that the rise of Russian science and enlightenment began. That is why we can say that in no other European country has classical ideology left such a clear trace as in Russia. Here, the emergence of educational institutions, the development of archeology, history, and translation activities are associated with this direction.

• The heyday of Russian classicism dates back to the last third of the 18th-1st third of the 19th centuries, although already at the beginning of the 18th century. marked by a creative appeal (in the architecture of St. Petersburg) to the urban planning experience of French classicism of the 17th century. (the principle of symmetrical-axial planning systems). Russian classicism embodied a new historical stage in the flowering of Russian secular culture, unprecedented for Russia in scope, national pathos and ideological content.

• Early Russian classicism in architecture (1760-70s; J. B. Vallin-Delamot, A. F. Kokorinov, Yu. M. Felten, K. I. Blank, A. Rinaldi) still retains plasticity, richness and the dynamics of forms inherent in Baroque and Rococo. Architects of the mature era of classicism (1770-90s; V.I. Bazhenov, M.F. Kazakov, I.E. Starov) created classical types of capital palace-estate and large comfortable residential building, which became models in the widespread construction of suburban noble estates and in the new, ceremonial buildings of cities.

• A feature of Russian classicism in architecture is the unprecedented scale of organized state urban planning: regulatory plans for more than 400 cities were developed, ensembles of the centers of Kostroma, Poltava, Tver, Yaroslavl and other cities were formed; the practice of “regulating” urban plans, as a rule, consistently combined the principles of classicism with the historically established planning structure of the old Russian city.

• The works of Russian classicism constitute not only the most important chapter in the history of Russian and European architecture, but also our living artistic heritage. This legacy lives on not as a museum treasure, but as an essential element of a modern city. It is almost impossible to attach the name of architectural monuments to buildings and ensembles created in the 18th and early 19th centuries - they so firmly retain creative freshness, free from signs of old age.

• After 1932 in Russian architecture there was
• only one direction is allowed, one
• style, later nicknamed “Stalinist”
• Empire style." Built in this style
• huge buildings with columns, stucco and
• sculptures could and should have
• glorify the triumph for centuries
• communist empire. This official style lasted in the Soviet Union for almost a quarter of a century. Until 1955. The top of it can be considered the seven high-rise buildings of Moscow. They began to be built three years after the end of World War II, when most of the cities and villages of the European part of the USSR were still in ruins. But the Soviet government needed to demonstrate to the West its strength, its inexhaustible capabilities.
• Let's remember these seven “high-rise buildings”:
• – a complex of buildings of Moscow University on the Sparrow (then Lenin) Hills; Hotel "Ukraine" on Kutuzovsky Prospekt; the building of the Ministry of Foreign Affairs on Smolenskaya Square; administrative and residential building at the Red Gate; Hotel "Leningradskaya" near Three Stations Square; residential building on Kotelnicheskaya embankment; residential building on Vosstaniya Square.

• These are architectural milestones of the new, state space of the capital. The new scale is intended to make Moscow, along with the transformed nature: rivers turned back and deserts that have become blooming gardens, a new natural-geographical phenomenon, comparable in scale with the mountains and seas of the socialist homeland. Since that time, any new building, be it a library (Lenin Library, now the State Russian Library), a theater (Red Army Theater, now the Russian Army Theater), an educational institution (MSU, MSTU), publishing house (Pravda, since 1992 year "Press") strives to appear as the architectural embodiment of the state; any institution, through architecture, tries to look like an integral part of the state system, to declare its presence in the hierarchy of power.

• The name of Matvey Kazakov is firmly connected with all
• classical (pre-fire) Moscow, because
• it was his main, best buildings that gave
• then the face of the city. Almost all of them were
• built in the style of mature classicism.
• Kazakov is perhaps the only major
• artists of the Enlightenment in Russia created
• what is called school. With full
• basis we can talk about Russian
• classicism of the Cossack school. By the way,
• even the architect’s house in Zlatoustovsky Lane was not just a family home, but also a kind of home university of the arts. Here, under the leadership of Kazakov, an architectural school operated for many years. Among his students are the architects Rodion Kazakov, Egotov, Sokolov, Bove, Tyurin, Bakarev.
• Through the labors of many of them, Moscow, the Cossack Moscow, which was burned in 1812, was restored. The architect himself did not survive those disastrous events. Before the French entered Moscow, the family took the old master to Ryazan. There he met the news of the death of the city, to which the work of his whole life had been devoted.

• Kazakov Matvey Fedorovich.

• In Russia in the 18th century, architecture was perhaps the most prosperous form of art, which was especially vividly embodied in the work of Vasily Ivanovich Bazhenov, although he managed to realize a negligible part of his grandiose plans. Bazhenov was also one of the best practical builders of his time. The buildings he designed were distinguished by their convenient layout and elegance of form.

• Bazhenov Vasily Ivanovich.

...Let's leave it to the Italians

Empty tinsel with its false gloss.

The most important thing is the meaning, but in order to get to it,

We'll have to overcome obstacles and paths,

Follow the designated path strictly:

Sometimes the mind has only one path...

You need to think about the meaning and only then write!

I. Boileau. "Poetic Art". Translation by V. Linetskaya

baroque classicism architecture

This is how one of the main ideologists of classicism, poet Nicolas Boileau (1636-1711), taught his contemporaries. The strict rules of classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satires of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris...

Classicism was most clearly manifested in works of architecture focused on the best achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan. The “strict: style” of classicism architecture seemed designed to visually embody its ideal formula of “noble simplicity and calm grandeur.” The architectural structures of classicism were dominated by: simple and clear forms, calm harmony of proportions. Preference was given to straight lines, unobtrusive decor, repeating the outline of the object. Simplicity and nobility of decoration, practicality and expediency were evident in everything.

Based on the ideas of the Renaissance architects about the “ideal city,” the architects of classicism created a new type of grandiose palace and park ensemble, strictly subordinated to a single geometric plan. One of the outstanding architectural structures of this time was the residence of the French kings on the outskirts of Paris - the Palace of Versailles.

"Fairytale Dream" of Versailles

Mark Twain, who visited Versailles in the mid-19th century, wrote: “I scolded Louis XIV, who spent 200 million dollars on Versailles when people did not have enough for bread, but now I have forgiven him. It's incredibly beautiful! You look, stare and try to understand that you are on earth, and not in the Gardens of Eden, And you are almost ready to believe that this is a hoax, just a fairytale dream.”

Indeed, the “fairytale dream” of Versailles still amazes today with the scale of its regular layout, the magnificent splendor of the facades and the brilliance of the decorative decoration of the interiors. Versailles became the visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world.

One hundred hectares of land in an extremely short time (1666-1680) were turned into a paradise intended for the French aristocracy. The architects Louis Levo (1612-1670), Jules Hardouin-Mansart (1646-1708) and André Le Nôtre (1013-1700) participated in the creation of the architectural appearance of Versailles. Over the course of a number of years, they rebuilt and changed a lot in its architecture, so that currently it is a complex fusion of several architectural layers, absorbing the characteristic features of classicism.

The center of Versailles is the Grand Palace, to which three converging access avenues lead. Situated on some elevation, the palace occupies a dominant position over the area. Its creators divided the almost half-kilometer length of the façade into a central part and two side wings of the risalit, giving it a special solemnity. The facade is represented by three floors. The first, serving as a massive base, is decorated with rustication following the example of Italian palazzo palaces of the Renaissance. On the second, front, there are tall ones; arched windows flanked by Ionic columns and pilasters. The tier crowning the building imparts a monumental appearance to the palace: it is shortened and ends with sculptural groups, giving the building a special elegance and lightness. The rhythm of windows, pilasters and columns on the facade emphasizes its classical severity and splendor. It is no coincidence that Moliere said about the Grand Palace of Versailles: “The artistic decoration of the palace is so in harmony with the perfection that nature gives it that it can well be called a magic castle.”

The interiors of the Grand Palace are decorated in Baroque style: they are replete with sculptural decorations, rich decor in the form of gilded stucco moldings and carvings, many mirrors and exquisite furniture. The walls and ceilings are covered with colored marble slabs with clear geometric patterns: squares, rectangles and circles. Picturesque panels and tapestries on mythological themes glorify King Louis XIV. Massive bronze chandeliers with gilding complete the impression of wealth and luxury.

The halls of the palace (there are about 700 of them) form endless enfilades and are intended for passage, ceremonial processions, and magnificent ones. celebrations and masquerade balls. In the largest main hall of the palace - the Mirror Gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the hall corresponded with mirrors on the other. In sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

The decorative compositions of Charles Lebrun (1619-1690) in Versailles and the Louvre were striking in their ceremonial pomp. His proclaimed “method of depicting passions,” which involved pompous praise of high-ranking persons, brought the artist dizzying success. In 1662, he became the king's first painter, and then director of the royal manufactory of tapestries (hand-woven carpet-pictures, or tapestries) and director of all decorative work at the Palace of Versailles. In the Mirror Gallery of the palace, Lebrun painted a gilded ceiling with many allegorical compositions on mythological themes, glorifying the reign of the “Sun King” Louis XIV. The piled-up pictorial allegories and attributes, bright colors and decorative effects of Baroque clearly contrasted with the architecture of classicism.

The king's bedroom is located in the central part of the palace and faces the rising sun. It was from here that there was a view of three highways diverging from one point, which symbolically reminded of the main focus of state power. From the balcony, the king could see all the beauty of Versailles Park.

Its main creator, Andre Le Nôtre, managed to combine elements of architecture and landscape art. Unlike landscape (English) parks, which expressed the idea of ​​unity with nature, regular (French) parks subordinated nature to the will and plans of the artist. The Park of Versailles amazes with its clarity and rational organization of space; its drawing was precisely verified by the architect using a compass and ruler.

The alleys of the park are perceived as a continuation of the halls of the palace, each of them ends with a pond. Many pools have a regular geometric shape. In the pre-sunset hours, the smooth water mirrors reflect the rays of the sun and the bizarre shadows cast by bushes and trees, trimmed in the shape of a cube, cone, cylinder or ball. The greenery forms either solid, impenetrable walls or wide galleries, in artificial niches of which sculptural compositions, herms (tetrahedral pillars topped with a head or bust) and numerous vases with cascades of thin streams of water are placed. The allegorical sculpture of the fountains, made by famous masters, is intended to glorify the reign of the absolute monarch. The “Sun King” appeared in them either in the guise of the god Apollo or Neptune, riding out of the water in a chariot or resting among the nymphs in a cool grotto.

The smooth carpets of lawns amaze with their bright and variegated colors with intricate patterns of flowers. The vases (there were about 150 thousand of them) contained fresh flowers, which were changed in such a way that Versailles was in constant bloom at any time of the year. The paths of the park are sprinkled with colored sand. Some of them were lined with porcelain chips sparkling in the sun. All this splendor and lushness of nature was complemented by the smells of almond, jasmine, pomegranate and lemon, spreading from the greenhouses.

THEM. Karamzin (1 706-1826), who visited Versailles in 1790, spoke about his impressions in “Letters of a Russian Traveler”;

“Enormousness”, perfect harmony of parts, the action of the whole: this is what even a painter cannot depict in a beautiful way!

Classical architecture appears to have emerged from distinct but interrelated developments that radically changed the relationship between man and nature. The first was an unexpected increase in man's ability to control nature: by the middle of the 17th century. this ability went far beyond the technical capabilities of the Renaissance.

The second was a fundamental revolution in the nature of human consciousness, which occurred as a result of changes in the structure of society, which led to the emergence of a new cultural formation, equally satisfying the lifestyles of both the fading aristocracy and the growing bourgeoisie. While technological advances created new infrastructure and increased productivity, changes in human consciousness brought new categories of knowledge and a historical way of thinking that was so reflective that it questioned its own authenticity.

Classicism was an expression of philosophical rationalism, the ideology and art of a new class - the bourgeoisie. The concept of classicism was the use of ancient form-formation systems in architecture, which, however, were filled with new content. The aesthetics of simple ancient forms and a strict order were put in contrast to the randomness and lack of rigor of the architectural and artistic manifestations of the worldview of the moribund aristocracy.

Classicism stimulated archaeological research, which led to amazing discoveries and new knowledge about advanced ancient civilizations. The results of the archaeological expeditions, summarized in extensive scientific research, laid the theoretical foundations of the movement, whose participants considered ancient culture to be the pinnacle of perfection in the art of construction, an example of absolute and eternal beauty. The popularization of ancient forms was facilitated by numerous albums containing images of architectural monuments.

Art history understands the term "classic" in the narrowest sense, Greek art in the period between the archaic style and Hellenism, i.e. approximately V-IV centuries. BC e. In a somewhat less narrow sense, this concept includes the art of Greek and Roman antiquity, which worked according to strict rules. The personification of classicist architecture is the front side of a Greek or Roman temple with a triangular pediment or portico with columns; the block-shaped body of the structure is divided only by pilasters and cornices. Orders of columns not only decorate the wall, but also support a system of beams. Along with garlands, urns and rosettes, classic palmettes and meanders, beads and ionics are also used as simple decoration. The character of architecture in most cases remained dependent on the tectonics of the load-bearing wall and the vault, which became flatter. The portico becomes an important plastic element, while the walls outside and inside are divided by small pilasters and cornices. In the composition of the whole and details, volumes and plans, symmetry prevails. The color scheme is characterized by light pastel tones. White color, as a rule, serves to identify architectural elements that are a symbol of active tectonics. The interior becomes lighter, more restrained, the furniture is simple and light, while the designers used Egyptian, Greek or Roman motifs.

At the forefront of the development of classicist architecture was primarily France during the Napoleonic period. Then Protestant Germany and England, as well as Russia, influenced by European movements. Rome became one of the main theoretical centers of classicism.

The emergence of classicism

The emergence of classicism is associated with Italy, which was the center of ideological and theoretical research in the field of the formation of new principles in architecture and art. It was in Italy and mainly in Rome that the main monuments of antiquity were concentrated, which over the centuries have not ceased to influence architects. At the same time, it would be wrong to consider in isolation from other European countries the ideological processes that emerged in Italy. At this time, in the middle of the 18th century, in all European countries, and especially strongly in France and England, there was a strengthening of the elements of capitalism in the economy and, accordingly, a strengthening of the bourgeoisie in the political life of states. The growing bourgeoisie is fighting in the ideological sphere. The ideological basis of the bourgeois class was the philosophy of enlightenment, and in the field of art there was a search for a new style that was supposed to reflect its goals and ideals.

Naturally, the bourgeoisie, when creating its own culture, sought to rely on the past and use the culture of past eras. The forms of ancient art most closely corresponded to bourgeois ideas about the new style being created; The latter was based on antiquity. Ancient art and ancient architecture became the subject of study, borrowing, and imitation. The growing interest in antiquity strengthened the negative attitude towards the Baroque.

A second “circle” of studying and mastering the ancient heritage was taking place: the first was associated with the Renaissance - the time of the first awakening of bourgeois self-awareness, the period of struggle against medieval ideas about the world, when the humanistic intelligentsia turned to ancient culture.

To create a new - classicist style, many philosophical works of this time, publications of research results in the field of ancient culture, as well as the excavations of Pompeii that began in 1748, which expanded the understanding of Roman art, were of great importance. Among the general theoretical works, it should be noted “Speeches on Art” (1750) by J.-J. Rousseau, who preached naturalism and naturalness in art.

The ideological leader of classicism was Winkelmann- founder of art history as a science, author of the works “Thoughts on Imitating Greek Art” and “History of the Arts of Antiquity,” published in the 1750-1760s and gaining all-European fame. He is considered the founder of scientific archaeology. His interpretation of the essence of Greek art as " noble simplicity and calm majesty" defines the ideal of beauty of “archaeological classicism”.

The largest representative of European enlightenment, Lessing, with his treatise “Laocoon” (1766), also contributed to strengthening the position of classicism. All their activities were largely connected with Rome. For the dissemination of ideas and forms of classicism, perspective painting (paintings by Pannini, later compositions by Hubert Robert), as well as famous etchings on ancient themes by the famous Italian architect and engraver D.-B. Piranesi, which began to be published in series starting in the 1740s, and became widely known in Europe.

The expansion of technical knowledge based on the achievements of science in the 17th and 18th centuries immediately gave impetus to numerous projects for the construction of roads and canals, as well as to the establishment of new technical educational institutions, such as the School of Bridges and Roads, founded in 1747. Change way of thinking contributed to the flourishing of the humanities during the Enlightenment. The first works on modern sociology, aesthetics, history and archeology appeared: “On the Spirit of Laws” by Montesquieu (1748), “Aesthetics” by Baumgarten (1750), “The Age of Louis XIV” by Voltaire (1751), “History of Ancient Art” by I. I. Winkelman (1764).

Urban planning and classicism architecture

The most significant urban planning concepts and their implementation in nature at the end of the 18th and first half of the 19th centuries are associated with classicism. During this period, new cities, parks, and resorts were founded. A new organization of settlement, aimed at overcoming social inequality and creating a new social harmony, was proposed at the end of the 19th century by utopian socialists. Projects of residential communes and phalansteries (implemented, however, in very small numbers) retained the image and spatial features characteristic of classicism.

The result of the architectural theories of the Enlightenment, outlined and repeated in many treatises of the late 18th century, can be succinctly defined as follows: the scope of urban planning in the complete absence of architectural masterpieces. Our judgment may seem superficial. Indeed, there were architects who did not want to create masterpieces. Architecture for them was not an expression and statement of a certain concept of the world, religious or political ideals. Her mission is to serve the community. Construction, decorum, and typology are necessarily subordinated to this task. Since the life of society is changing very quickly, it is necessary to meet new requirements and new types of buildings, that is, to build not only a church or a palace, but a middle-income residential building, a hospital, a school, a museum, a port, a market, and so on.

From a monument building they come to a building that expresses a certain social function; the unity of such functions creates an urban organism, and its structure is the coordination of these functions. Since social coordination is based on the principles of rationality, urban plans become more rational, that is, they follow clear rectangular or radial geometric patterns that consist of wide and straight streets, large square or circular areas. The idea of ​​the relationship between human society and nature is expressed in the city by the introduction of wide areas of greenery, most often parks near palaces or gardens of former monasteries that became state-owned after the revolution.

Reducing architecture only to the fulfillment of urban planning tasks entails simplification and typification of its forms.

LESSON DEVELOPMENT ON WORLD ARTISTIC CULTURE IN 11TH GRADE

Lesson topic: “Classicism in the architecture of Western Europe”

Lesson type : lesson introduction to new material

Lesson format: travel lesson using computer technology

Target : 1.Create conditions for students to become acquainted with the characteristic features of classicism architecture and form an idea of ​​the ceremonial official architecture of Versailles;
2. Contribute to the development of the ability to independently study the material and prepare it for presentation; continue to develop the ability to analyze a work of art;
3. Promote the cultivation of a culture of perception of works of art.

Equipment: “The Palace of Versailles” - a tour of the museum CD, audio recording of W.A. Mozart “Sonata No. 40”

During the classes

I Organizing time

Smile at each other and give your smiles to me and your friends. Thank you. Your smiles encourage pleasant communication and create a good mood.

II Setting a lesson goal

The ceremonial splendor and “empty tinsel” of the Baroque gave way to classicism - a new artistic style. Having studied ancient art and taking it as a model, the followers of classicism came to the conclusion that the true basis of human life is the mind.
... Let's leave it to the Italians
Empty tinsel with its false gloss.
The most important thing is the meaning, but in order to get to it,
We'll have to overcome obstacles and paths,
Follow the designated path strictly:
Sometimes the mind has only one path...
You need to think about the meaning and only then write!
N. Boileau
This is how one of the ideologists of classicism, poet N. Boileau, taught his contemporaries.
Today we have a travel lesson and we will take a virtual tour of the grandiose palace and park ensemble of Versailles, get acquainted with the ceremonial official architecture and the characteristic features of classicism in architecture.
And today you will all help me, as you prepared a short message for the lesson.
III Learning new material

Write down the topic of the lesson.
Classicism manifested itself most clearly in works of architecture.

Classicism (Latin Classicus - exemplary) is an artistic style and aesthetic direction in European art of the 17th-19th centuries.

What patterns do you think this style followed?

Classicism was guided by the best achievements of ancient culture - the Greek order system, standards of harmony, simplicity, rigor, logical clarity and monumentality. Based on the ideas of Renaissance architects about the “ideal city,” the architects created a new type of palace and park ensemble, strictly subordinated to a geometric plan.
Characteristic of classicism compositions, restraint of decorative decoration, regular planning system and clarity of volumetric form.
Classicism is based on the ideas of rationalism and strict canons.

Our walk through Versailles has ended.
1) Why can Versailles be considered an outstanding work of classicism?
What are the main features of classicism?
What, in your opinion, distinguishes the buildings of classicism from the Baroque and Renaissance styles?
2) Work in pairs
Let's look at the paintings of the Russian artist A.N. Benois from the Versailles cycle. The King's Walk.
- How did Benoit convey the atmosphere of the court life of King Louis XIV in his paintings?
- Why can they be considered as symbolic paintings?

VLesson summary
Summing up the lesson, assessments
Was it interesting for you and that you learned something new for yourself, were you surprised by something?

VI.House. Exercise : 7.1, message “The history of one masterpiece (using the example of architectural monuments of Moscow and St. Petersburg)
In conclusion, let's take another look at the beauty of Versailles.
VII Reflection.

Suitcase. Continue the sentence. When leaving this lesson I will take with me...

The lesson is over.