Romanticism is like a straight line in the art. The era of romanticism in art
Exam abstract
Topic: "Romanticism is like a straight line in the art."
Vikonala student 11 "B" class No. 3
Boyprav Ganna
Vikladach of light art
culture Butsu T.M.
m. Brest 2002
1. Entry
2. Blame Romanticism
3. Basic drawings of romanticism
4. romantic hero
5. Romanticism in Russia
a) Literature
b) Painting
c) Music
6. Western European romanticism
a) painting
b) Music
7. Visnovok
8. List of literature
1. INTRODUCTION
If you look at the cloudy vocabulary of the Russian one, you can know the meaning of the word “romanticism”: 1. Directly in the literature and mysticism of the first quarter of the 19th century, which is characterized by the idealization of the past, the destruction of the nature of the activity, people of cult. 2. Directly in literature and science, showing optimism and pragnennyam in images of the high recognition of a person. 3. Umonobuduvannya, learn the idealization of action, imaginative vision.
As you can see, romanticism is a manifestation, as it manifests itself in science, and in behavior, odyas, ways of life, psychology of purchasers, impersonal blame for the turning points of life, the theme of romanticism is still relevant in our day. We live on the stick of the century, perebuvaemo at the transitional stage. At the link with the cim at the suspіlstvі poserіgaєtsya nevira in the future, znevіra in іdeals, blaming the bazhannya vanishing into the real life of the world of power and comprehending її at once. The figures themselves are characteristic of romantic art. That is why I chose the topic “Romanticism as straight from the art as a follow-up”.
Romanticism is a great layer of other types of art. The meta of my work is to forgive the origin of the cause of vindication of romanticism in different countries, to continue the development of romanticism in such types of art, like literature, painting, music, and similarity. For me, the main task was to see the main drawings of romanticism, characteristic of all types of art, to signify, having injected romanticism into the development of other directions in art.
When researching themes, I have included the main references to the art of such authors as Filimonova, Vorotnikov and others, encyclopedic literature, monographs dedicated to various authors of the era of romanticism, biographical materials of such authors as Aminska, Atsarkina, Nekrasova.
2. REASONS TO BLAME ROMANTICISM
The closer it is to modernity, the shorter the timing of the panuvannya of that other style becomes. Timchasovy vіdrіzok of the end of the XVIII-1st third of the XIX century accepted by the era of romanticism
Scho vplinulu viniknennya new style?
All three brands: The Great French Revolution, the Napoleonic Wars, the Establishment of National and Volitional Movement in Europe.
The thunder of Paris was seen by all of Europe. Gaslo "Freedom, jealousy, brotherhood!" Mav majestic I will add strength for all European peoples. Adopt the molding of bourgeois comrades against the feudal order, initiating the emergence of a robotic class as an independent force. The fight against the three classes - the nobility, the bourgeoisie and the proletariat - formed the basis of the historical development of the 19th century.
The share of Napoleon and the role of European history during the 2 decades, 1796-1815, occupied the minds of contemporary people. "Volodar dum" - talking about the new A.S. Pushkin.
For France, these were the fates of greatness and glory, though at the cost of the lives of thousands of Frenchmen. Italy succumbed to Napoleon's succor. Great inspiration was laid on the new Poles.
Napoleon acted like a conqueror, which is in the interests of the French bourgeoisie. For the European monarchs, he was not only a Viysk opponent, but also a representative of an alien world of the bourgeoisie. They hated yoga. On the cob of the Napoleonic wars, the "Great Army" yogo had a few uninterrupted participants in the revolution.
The peculiarity of Napoleon himself was phenomenal. Yunak Lermontov looked at the 10th anniversary of Napoleon's death:
Vin the world of a stranger. Everything in the new was a mystery,
The day of the fall is the fall of the year!
Tsya taєmnitsa especially screwed up the respect of the romantics.
The connection with the Napoleonic wars and the vision of national self-confidence for this period is characterized by the introduction of a national-violent rush. Nimechchina, Austria, Spain fought against the Napoleonic occupation, Italy - against the Austrian yoke, Greece - against Turkey, Poland fought against the Russian king, Ireland - against the English.
In the eyes of one generation, there were sweeping changes.
France was the most virulent: the bubbling of the feast of the French Revolution, the rise and fall of Robess'ier, the Napoleonic marches, the first speech of Napoleon, the return of yoga from the island of Elbi ("hundred days"), and the rest
the defeat of Waterloo, the gloom of the 15th century of the restoration regime, the Lipnev revolution of 1860, the Lutnev revolution of 1848 in Paris, which called out revolutionary whims in other lands.
In Great Britain, after the industrial coup in the other half of the nineteenth century. machine-building and capitalistic visions were established. The parliamentary reform of 1832 cleared the way for the bourgeoisie to sovereignty.
On the lands of Nіmechchini and Austria, the government saved the feudal rulers. After the fall of Napoleon, the stench succumbed to the opposition. Ale and the German land a steam locomotive, brought from England in 1831, becoming an official of bourgeois progress.
Industrial revolutions, political revolutions changed the image of Europe. “The bourgeoisie, less than a hundred years of its class panuvannya, created more numerical and grandiose productive forces, lower mustaches in front of the generation at once,” wrote the Germans Marx and Engels in 1848.
Later, the Great French Revolution (1789-1794) marked a special milestone that led to a new era in the age of Enlightenment. Changed as forms of power, the social structure of society, the arrangement of classes. Bula was stolen the whole system of manifestations, illuminated by ages. Enlighteners ideologically prepared the revolution. Ale stinks could not convey її naslіdkіv. I did not see the kingdom of the mind. The revolution, which gave voice to the freedom of particularity, gave rise to the bourgeois order, the spirit of awakening that egoism. Such a bula was a historical ground for the development of artistic culture, like a new straight line hung - romanticism.
3. FOUNDATIONS OF CHORTI ROMANTICISM
Romanticism as a method and straight artistic culture We’ll put it together with a vision, and we’ll be super smart. At the skin edge of the veins of the mav, the yaskravii national viraz. It is not easy for literature, music, painting and theater to know the figures that will meet Chateaubriand and Delacroix, Mickiewicz and Chopin, Lermontov and Kiprensky.
Romantics occupied various supple and political positions in supremacy. The stench all rebelled against the pundits of the bourgeois revolution, but they rebelled in a different way, the shards of skin maw their own ideal. Ale for all the richness and diversity of romanticism and steaks of rice.
Rosemary in the present gave birth to romantic people interest until the past: to pre-bourgeois modern formations, to patriarchal antiquity, rich romantics were more powerfully manifested that painting exotics of the country and immediately - Italy, Spain, Greece, Turkey - is a poetic contrast to the tedious bourgeois everyday life. In these lands, at the same time there are few ruined civilizations, romantics joked brightly, strong characters, spontaneous, barwisty way of life. Interest until the national past, having generated a lot of historical creations.
Pragnatija as bi podnyatisya over the prose buttya, razkrіpachiti raznomanіtnі zdіbnosti osobennostі, borderline samorealіzuvatsya in creativity, romantics opposed the formalization of mystectva and straightforwardly-rozvozlivyj schodo nyogo pіdkhіd, domineering classicism. All the stench came out list of Enlightenment and rationalistic canons of classicism, yakі fettered the creative initiative of the artist. And just as classicism divides everything in a straight line, on filth and good, on black and white, then romanticism does not divide anything in a straight line. Classicism is a system, and romanticism is not. Romanticism pushed the step of a new hour from classicism to sentimentalism, which shows the inner life of a person in harmony with a majestic world. And romanticism opposes the inner harmony of the world. Spravzhnіy psikhologizm itself starts from romanticism.
The main tasks of romanticism Bulo image of the inner world, spiritual life, but it is possible to work on the materials of stories, mystics too. It was necessary to show the paradox of that inner life, that irrationality.
In their own way, the romantics transformed the unacceptable action, or they went in the world of their experiences. Having explored the world of reality, that action, opposing the beautiful in the misl of objective reality, lay at the basis of all romantic turmoil.
Romanticism stubbornly poses the problem of movie art. “Art is a language of another kind, lower nature; And yet, that very miraculous power is laid in him, as it is so secretly and imperceptibly poured into the soul of a person” (Wackenroder and Tik). An artist is a tlumach of nature, an intermediary between the world of spirit and people. “For the artists, people blame the people as a wholesome individuality. Artists, through the present, unite the world, which, having passed the world of tomorrow. The stench is the most important spiritual organ, in which one strikes each other with one life, the forces of their own people and de internal people manifest themselves in front of us” (F. Schlegel).
Proto-romanticism was a similar trend: the development of ideas came from different directions. In the middle of the romantics, there were reactionary hackneyed scribes, adherents of the old regime, as they spawned a feudal monarchy and Christianity. On the other hand, the romantics with a progressive light-gazer hung out a democratic protest against feudal and all-powerful oppression, inspired a revolutionary blow to the people at the best of the future.
Romanticism, having left the era in the world of artistic culture, its representatives were: in literature V. Scott, J. Byron, Shelley, V. Hugo, A. Mickiewicz and іn; in the figurative art of E. Delacroix, T. Zheriko, F. Runge, J. Constable, W. Turner, O. Kiprensky and others; in music F. Schubert, R. Wagner, G. Berlioz, N. Paganin, F. Arkush, F. Chopin and others. The stinkers opened up new genres, turned the sawing respect to the bottom human specialty, unraveled the dialectic of good and evil, masterfully unraveled human passions and other.
See the art in its significance more less leveled and gave miraculous performances of the art, wanting romance in the gatherings of the art, the music was given first.
4. ROMANTIC HERO
Who is such a romantic hero and what kind of wine?
Tse іndivіdualіst. Nadlyudina, as she lived through two stages: to the point of reality, she lives in an erysipelas camp, she opines a heroic feat, change the world; after zіtknennya with the reality of wines, we continue to respect this world and vulgar, and boring, but do not become a skeptic, a pessimist. With a clear understanding that nothing can be changed, the exercise of the feat is reborn in the exercise of insecurity.
Romantics could give the eternal and inevitable value of skin flakes, a skin specific fact, everything solitary. Joseph de Maistre called the "ways of Providence", Germaine de Stael - "the fruitful bosom of the immortal omniscience". Chateaubriand at the "Genius of Christianity", at the book dedicated to history, directly points to God like an ear of the historical hour. Suspіlstvo stands like an indestructible link, "the thread of life, like it binds us to our ancestors and like me, I'm guilty of stretching our boots." Only the heart of a person, and not the mind, can understand and feel the voice of the Creator, through the beauty of nature, through the depths of the senses. Nature is divine, there is harmony and creative forces out there, metaphors are often carried over by romantics in the political lexicon. A tree for romantics becomes a symbol of family, spontaneous development, spryyattya juices of the native land, a symbol of national unity. The more innocent and sensitive the nature of a person, the easier it is to hear the voice of God. A child, a woman, a gentry youth most often see the immortality of the soul and the value of eternal life. The thirst for bliss among the romantics does not intersect with idealistic exercises until the Kingdom of God after death.
Crime of mystical love before God, people will require real, earthly love. Not in the power of the mother, the subject of his addiction, the romantic hero, becoming an eternal martyr, condemning the chekaty zustrіchі z kohanim in the sweaty world, "because of immortality, the great kokhannya, if they were out to mess with people's lives."
A special place for the creativity of romantics is occupied by the problem of development and development of specialness. The childishness is spared the laws, yoga mittevi break down the morality of morality, obeying the rules of the childish gris. In older people, similar reactions lead to death, condemnation of the soul. In the quests of the heavenly kingdom, a person is guilty of breaking the law and the obligations of morality, only then can one spodіvatisya on eternal life. Oskіlki obov'yazok, dictations to romantics їх pragnennyam nabouti forever life, vikonannya obov'yazku give special happiness to the yogi the most and the strongest show. To the moral bond is added the bond of deep feelings and high interests. Not zmіshuyuchi vіznyh articles, romantics stand for the zealous spiritual development of people and women. So it is, love to God that yogo is established, dictated by a hromadyansky obov'yazok. It is especially important to know one’s completion in the sleepy right, in the exercise of the entire nation, of all people, of the world.
Skin culture has its own romantic hero, while Byron has given his work Charld Harold a typical manifestation of a romantic hero. Vіn having dressed up the mask of his hero (even about those who are the hero and the author has no distance) and zoomed in on the romantic canon.
Mustaches of romantic creations are awakened by characteristic signs:
First of all, there is no distance between the hero and the author for the skin romantic creation.
In a different way, the author of the hero is not to be judged, but it’s better to say something about something bad, the plot is such an awakening that the hero is not like a wine. The plot of a romantic work sounds romantic. So the romance itself vibudovuyut especially setting up to nature, to the soul of storms, thunderstorms, cataclysms.
5. ROMANTICISM IN RUSSIA.
Romanticism in Russia has taken on the air of Western Europe for the current historical situation and cultural traditions. The French Revolution cannot be zarahuvat to the causes of yogo viniknennia, so many people already put a lot of hope for a transformation in її move. And the results of the revolution ignited him. Nourishment of capitalism in Russia on the cob of the nineteenth century. did not stand. Otzhe, there was no reason. The right reason was the Vitchiznyana war of 1812, which showed all the power of the people's initiative. Ale after war, the people did not take away their will. The best of the nobility, dissatisfied with the action, came to the Senate Square near the chest 1825. Tsey vchinok also does not pass without a trace for the creative intelligentsia. The tumultuous wartime fates became the setting, deforming Russian romanticism.
Romanticism, and before that ours, Russian, in our self-produced forms of vibrations, was evident, romanticism was not just a literary, but a living phenomenon, a whole era of moral development, an era that was small in its own special colors, which carried out a special thought in life ... Let the romantic spirit come to Zzovnі, from the zahіdny life and zahіdnih literatures, it was known in Russian nature soil, ready to yogo sprynyattya, and that happened in the absolutely original images so appreciating the sings and the critic Apollon Grigoriyv - tse unique cultural The characteristics show the origin of Romanticism, for such a youthful Gogol viyshov and for all the vins of tying not only on the cob of a writing path, but also for stretching the mustache of his life.
Apollon Grigor'ev accurately identified the nature of the influence of the romantic school on literature and life, including that of the same prose: not a simple infusion, but rather a positive one, but a characteristic and strong life and literary inspiration, which gave the young Russian literature a real life.
a) Literature
Russian romanticism was adopted to divide into a few periods: the first (1801-1815), the mature (1815-1825) and the period of the post-Decembrist development. Protestantly of the cob period, the intelligence of this scheme falls into the vіchі. For the dawn of Russian romanticism is associated with the names of Zhukovsky and Batyushkov, poets, whose creativity and light are important to set a charge and commend at the borders of the period, laying different colors, aspirations, temperaments. At the verses of both poets, one can still feel the vladny infusion of the past - the era of sentimentalism, but if Zhukovsky is still deeply rooted in them, then Batyushkov is richly close to new viyans.
Belinskiy rightly pointed out that Zhukovsky’s work is characterized by “scargs for incomplete hopes, like a name, sums for spending happiness, like God knows what I thought.” Deisno, in the person of Zhukovsky, romanticism robs its first fearful crocodile, giving sentimental and melancholy ace to Danin, indistinguishable, easily catching heart languor, in a word, to that folding complex of feelings, which Russian critics have taken the name "romanticism"
We see a different atmosphere in Batyushkov's poetry: the joy of buttya, the openness of sensitivity, the anthem of solodi.
Zhukovsky is respected as a representative of Russian aesthetic humanism. A stranger to strong predilections, benevolent and lagidny Zhukovsky, having rebuked under the memory of the ideas of Rousseau and the German romantics. Behind them, wines gave great importance to the aesthetic side of religion, morality, and suppleness. Mystery swelled with Zhukovsky's religious sensation, having succumbed to the mysticism of the "secret" of the greater truths, it became "sacred" for me. For the German romantics, it is typical to mark poetry and religion. We know the same about Zhukovsky, who wrote: “Poesy is God among the holy dreams of the earth.” In German romanticism, it was especially close to the weight of everything foreign, to the "night side of the soul", to the "invisible" nature of that people. Nature in Zhukovsky's poetry is sharpened by a mystery, its landscapes are primary and perhaps unreal, mute at the water:
How angry with the cold weather rose fіmіam!
Like licorice in the silence at the shore of the squirt of squelching!
Yak quietly blowing marshmallows on the waters
I tremtinnya willow willow!
Sensitive, low and mrіyliva soul of Zhukovsky nibi licorice liquorice zavmaє on the porosi of the "secret world". He sings, behind the great Vistula of Belinsky, “to love and dove one’s suffering,” the protege does not hurt his heart with bitter wounds, but inspire sorrow and sadness in his inner life, quiet and unturbulent. So, if in the message to Batyushkov, “the blue of his youth is merry,” he calls the epicurian poet “close to the Museum,” then it’s important to believe in this controversy. We believe more to the good-natured Zhukovsky, who is friendly for the sake of the union of earthly nasts: “Bring in the licorice, the death of the world!”.
Batyushkov - to stand at the very opposite of Zhukovsky. This was a person of strong passions, and his creative life was cut short 35 years earlier for his physical reason: for the sake of a young person, he had lost his guilt from the virus of madness. Vіn with the same strength and passion, like joys, like sums: in life, like in її poetic understanding, yoma - on the vіdmіnu vіd Zhukovsky - the “golden mean” was far away. Wanting yoga poetry as well as power and praise of pure friendship, in the midst of a “sweet spot”, but yoga idyll is not even modest and not quiet, because Batyushkov cannot be imagined without the importance of salting the addicted people and sleeping on life. For an hour he sings with such groans of sensitive joys that he is ready to recklessly discern the gnat wisdom of science:
Already in summation truths
Pomurih stoikiv and boring sages,
Like to sit at the funeral cloths,
Mizh ulamkiv that trun,
Know my life of ours?
See them, I'm running, joy
Fly like a blizzard through thorn bushes.
For them, there is nothing to attach and to attach to nature,
They do not sleep, weaving at the round dance;
For them, like for the blind,
Spring without joy, that summer without flowers.
Spravzhnіy tragіzm seldom sound in yoga verses. Less than a hint of a creative life, if the wines become signs of mental illness, one of the remaining verses was written under dictation, for which the motives of earthly buttya sound clearly:
You remember what you said
Farewell to life, gray Melchizedek?
Man was born a slave
Lie down as a slave at the grave,
I can hardly say death to youmu
Navіscho in yshov with a valley of wondrous tears,
Suffering, ridav, patient,
Russia has romanticism literary straight counted up to the twenty rokiv of the nineteenth century. There were poets, prose writers, scribes, stench and created Russian romanticism, which invigorated the “zahidnoevropeyskogo” with its national, spontaneous character. Russian romanticism developed by the poets of the first half of the 19th century, and the skin sings introducing something new. Russian romanticism has gained a wide development, has gained characteristic rice, becoming independent directly from literature. At Ruslana and Lyudmila A.S. Pushkin's rows: "There is a Russian spirit, there is a smell of Russia." What can be said about Russian romanticism. The heroes of romantic creations are poetic souls, like praising the "high" and beautiful. Ale is a fortune-telling world, which does not give you freedom, which fills the soul with incomprehensible minds. Whose light is rough, it is poetic for the soul to live to the other, de є ideal, out of the pragne of the “eternal”. Romanticism is based on this conflict. Ale sings in a different way were staged before the situation. Zhukovsky, Pushkin, Lermontov, who come from the same place, in different ways will see their heroes and the world in a different way, that way to the ideal among their heroes was different.
Reality is stingy, rude, impudent and hisstical, in no space for the senses, the dreams of the poet, for the heroes. "Truly" and eternally - in the sweating world. The sound of the concept of dvomirstva, one of these worlds, sings in search of an ideal.
The position of Zhukovsky boulder was the position of a person who, having entered the struggle with the most powerful light, threw a cry to you. Tse buv way through the day with nature, the way of harmony with nature, at the eternal and beautiful world. Zhukovsky, on the thought of a lot of contributors (Zokrema and Yu.V. Mann), speaks to Nevimovny about his own understanding of this process. Today is the water of the soul. Beauty, which reminds you, reminds you of your soul, it’s in you, and you in it, the soul to fly, not at the hour, you don’t have space, but you are in nature, and you live, you want to sleep about this beauty, ale there are no words to make your camp stand, there is no more obvious harmony. You are not disturbed by people who will chastise you, call your souls, you will say more, you will.
Otherwise, Pushkin and Lermontov came to the problem of romanticism. Undoubtedly, having poured in Zhukovsky's allegations to Pushkin, it was not recognized on the creativity of the rest. For early creativity Pushkin characteristic "civil" romanticism. Under the burst of "Speech in the camp of Russian warriors" by Zhukovsky and the works of Griboyedov, Pushkin wrote an ode to "Liberty", "Before Chaadaev". In the rest of the wines, call:
"My friend! Vitchiznі consecrated to the soul of a beautiful soul ...". The same is the realization of the ideal, like Zhukovsky’s bulo, only Pushkin’s ideal is understood in his own way, the poet has a different way to the ideal. You don’t want to and you can’t live up to the ideal alone, he sings the cry behind him. Pushkin looking at reality and ideal anyway. You can't call it a rebellion, think about the elements that rebel. Tse vydbilosya in the ode "Sea". This is the strength and strength of the sea, the sea is free, it has reached its ideal. A person can become free, free can be a spirit.
A search for an ideal is the head of rice for romanticism. Vaughn appeared in the works of Zhukovsky, Pushkin, and Lermontov. All three poets joked about freedom, but they joked in a different way, in a different way they understood її. Zhukovsky shukav freedom, inflicted by the "creator". Having found harmony, people become free. For Pushkin, the freedom of the spirit was important, as it can manifest itself in a person. For Lermontov, he is less of a hero who is rebellious, free. Rebellion for freedom, what can be beautiful? Thus, the setting to the ideal was preserved and the love lyric of poets. In my opinion, the goal is set by the hour. Although all the stinks were created in that very period, the hour of their creativity would be different, they developed from an extraordinary swedishness. The characters of the poets also strongly poured into their stosunki. Calm Zhukovsky and rebel Lermontov are absolutely opposite. Ale Russian romanticism having taken away the development of the very oskіlki rіznі buli naturist tsikh poetіv. The stench brought new understanding, new characters, new ideals, gave a manifestation to those who have such freedom, who have such a life. The skin represents its own way to the ideal, the right to choose the skin individual.
The appearance of romanticism itself was even more disturbing. Human individuality now stood at the center of the world. The human “I” began to be interpreted as the basis of that sensational butt. Human life began to look like artistic TV, mystetstvo. In the 19th century, romanticism was already widened. Not all of them sing, they called themselves romantics, they conveyed the essence of the flow.
At once, for example, the twentieth century, we can classify the romantics of the past century with a sign of two groups. One and, perhaps, the largest group - the one that united "formal" romantics in itself. It’s important to suspect of innocence, but the stench will definitely convey their feelings. Among them you can see Dmitri Venevitinov (1805-1827) and Oleksandr Polezhaev (1804-1838). The songs of the poets were adorned with a romantic form, respecting the most suitable reach of their artistic goal. So, D. Venevitinov writes:
I watch, I burn
Holy half moon, I'm nathnennya,
Ale until dark sweep the spirit shiryaє ...
I know I'm spinning nadiynu,
Where do I put my foot on hard?
Tse typical romantic verse. New vikoristan has a traditional romantic vocabulary - tse i "half-spirited", i "soaring spirit". Otzhe, sings describe his feelings. Ale no more. He sings of fetters to romanticism, yogo with a "verbal look". Everything is simplified to the point of stamps.
Representatives of the other group of romantics in the 19th century, madly, were A.S. Pushkin and M. Lermontov. Tsі sing, navpaki, they reminded the romantic form with their zmіst. The romantic period of A. Pushkin's life is short, so there are not many romantic works. " caucasian polonenium"(1820-1821) - one of the largest early romantic songs by A.S. Pushkin. Before us is a classic version of a romantic creation. The author does not give us a portrait of his hero, we do not know how to name him. And it's not surprising - all romantic heroes are similar one to one. The stench is young, garni... and unfortunate. The plot of the creation is also traditionally romantic. Russian swearing among the Circassians, a young Circassian woman dies among the new one and helps him to tikati. Ale vіn hopelessly love іnsha ... The poem ends tragically - the Circassian woman throws herself into the water and gin, and the Russian woman, having sprung up in the "physical" full, drank in the smaller, bigger bolsny full - full of soul. What do we know about the hero's past?
A distant way leads to Russia...
.....................................
De obiyav grіzne suffering,
De raging life stocked up
Nadiya, joy is that bajannya.
Vіn priyshov at the steppes at the whims of will, namagavsya vtekti in his past life. And now, since happiness was given to those close to you, I will again have to tick. Hello where? Back at that world, de vin "having conquered the grit of suffering."
Vidstupnik light, friend of nature,
Having closed the wines between
I flew to a distant land
We rejoice with the sight of freedom.
Ale “Mayor of Freedom” was thus deprived of her mayor. You will always revisit the romantic hero. Another romantic poem is Tsigani. The author again does not give a readable portrait of the hero, we know only his first name - Aleko. Vіn priyshov at the tabir, schob to know the right to the malt, the right to freedom. For the sake of her guilt, having left everything that had previously torn away. Chi becoming vіn vіlnim i schaslivy? It would have been better to love Aleko, but for the sake of it, it would be better to come to the new one without that misfortune. Aleko, who was so hungry for freedom, could not find freedom in other people. At this poet, one more supernaturally characteristic image of the romantic hero's light-gazer appeared - hisism and the tsіlkovita absurdity from the navkolyshnіm svіtom. Aleko punishment is not death, but more terrible - self-confidence and debate. Vіn buv samotnіy іn that world, zvіdki vіn bіg, аlе in іnshoy, so bazhany, vіn again liqué alone.
Before that, how to write “Caucasian swearing”, Pushkin once said: “I am not fit for the hero of a romantic verse”; however, at that very hour, in 1820, Pushkin wrote his own verse “The light of the day went out ...”. You can know all the vocabulary of newcomer, domineering romanticism. Tse i "coast of distances", i "gloomy ocean", i "hvilyuvannya i tuga" to torment the author. The refrain goes through the whole verse:
Praise under me, gloomy ocean.
Vіn present not only in the description of nature, but also in the description of the hero's feelings.
... Ale many heart wounds,
Deep wounds kokhannya, nothing forked ...
Noise, noise, hearers vetrilo,
Praise me, gloomy ocean...
That's why nature becomes one more special, one more lyrical hero of the verse. At the end of 1824, Pushkin wrote the line “To the Sea”. A romantic hero in a new one, like in “The light of the day lighted up ...”, the author himself became anew. Here Pushkin turns to the sea as a traditional symbol of freedom. The sea is the whole element, and then - freedom is happiness. Prote Pushkin will not be able to understand this verse:
Ty chekav, ty clicking ... I'm fetters;
Father my soul was torn:
May be addicted to enchantments,
Bіlya beregіv zalishivsya I...
It can be boldly said that this is the end of the romantic period of Pushkin's life. Just write a man, as you know, that after reaching the so-called "physical" freedom, the romantic hero does not become happy.
At the fox, at the empty place
I'll carry you over,
Your rocks, your streams...
At the right time Pushkin comes to the visnovka, that right-handed freedom can only be found in the middle of the people and there can be yogo in a right-handed way.
A variant of Byronian romanticism lived and became the first in Russian culture in his work Pushkin, then Lermontov. Pushkin has a gift of respect for people, and yet the most romantic and romantic songs in the work of the great poet are that prose, without a doubt, “The Fountain of Bakhchisaray”.
The poem "The Fountain of Bakhchisarai" is still less likely to continue Pushkin's jokes in the genre of romantic poetry. I, pose vaguely, whom the death of the great Russian writer brought.
The romantic theme in Pushkin’s work took away two different options: a heroic romantic hero (“hollow-head”, “rozbіynik”, “duck”), who is inspired by a strong will, who goes through a zhorstoke and is tested by boisterous addictions, and experiences are incompatible with the zhorstokistyu zovnishny svіtu (“vygnanets”, “vyazen”). The suffering cob in the romantic character has now been added to Pushkin's feminine guise. "The Fountain of Bakhchisarai" reveals the very aspect of the romantic hero.
In the “Caucasian Branci” all respect was attached to the “complete” and even less “Circassonian”, now now - Khan Girey, the figure is not much less dramatic, but in fact the main hero is a woman, navit two - Zarema and Maria. In the earlier poems, the solution of the duality of the hero (through the image of the poor brothers) of Pushkin vikoristova is also found here: the passive cob is depicted in the individual two characters - jealous, prejudicedly dying Zaremy and summary, hopeful, what she has spent, and love Mary. Resentments are two super-sharp predilections of a romantic character: rozacharuvannya, znevira, hopelessness and at the same time spiritual stinginess, tension of feelings; the super-accuracy of the poet is tragic - the death of Mary did not bring happiness to Zarem, the shards of stench are bound by secret ties. So in the "Brothers-Robbers" the death of one of the brothers forever obscured the life of the other.
Prote, rightly pointed out B.V. "The Fountain of Bakhchisarai" can't continue like this..."
Pushkin slandered and recognized the most illuminating place of the romantic position of a person: all you want is nothing more than yourself.
Lermontov's poem "Mtsiri" also shows the characteristic signs of romanticism.
I have two romantic heroes, to that, as the poem is romantic, it is already original: first, the other hero, is transmitted by the author through the epigraph; in a different way, the author does not get lost in Mtsiri, the hero solves the problem of svaville in his own way, and Lermontov, by stretching out, sing less thinking about the solution of the problem. Don’t judge the hero of your guilt, but don’t be true, but get up at the same position - rozuminnya. See that romanticism in Russian culture is being transformed into thought. Romanticism comes out of the sight of realism.
It can be boldly said that Pushkin and Lermontov did not manage to become romantics (it’s true, Lermontov zoomed in as if following romantic laws - in the drama ‘Masquerade’). With their experiments, the poets showed that in England the position of an individual could be positive, but in Russia - not. Although Pushkin and Lermontov did not go far enough to become romantics, the stench made way for the development of realism. In 1825, the first realist television was released: "Boris Godunov", then "The Captain's Donka", "Eugene Onegin", "Hero of Our Time" and many others.
b) Painting
In the image-creating art, romanticism was more pronounced in painting and graphic art, less pronounced in sculpture and architecture. Russian romantic artists were the most representative representatives of romanticism in the image-creating art. At their canvases, the stench hung the spirit of willfulness, active action, passionately, and temperamentally called out to the manifestation of humanism. Actuality and psychologism, unprecedented expression are inspired by the canvases of Russian artists. Spiritualized, melancholy landscapes - again that very test of romanticism to penetrate the light of a person, show how people live and dream in a new world. Russian romantic painting is inspired by the foreign. This was due to the historical situation and tradition.
Features of Russian romantic painting:
Enlightenment ideology weakened, but did not recognize the collapse, like in Europe. That is why romanticism is a clear expression.
Romanticism developed in parallel with classicism, often intertwined with it.
Academic painting in Russia is still drawing to itself.
Romanticism in Russia was a stable phenomenon, romanticism was drawn to academism. In the middle of the nineteenth century the romantic tradition mayzhe died out.
Robots, which can be considered romanticism, began to appear in Russia already in the 1790s (the robots of Feodosiya Yanenko "Mandrіvniki, choked by a storm" (1796), "Self-portrait at Sholomi" (1792). They have an obvious prototype - Salvator Rosa, the borders of the 18th and 19th centuries. , the landscape and genre scenes call for a new emotional mood.
In Russia, romanticism began to appear on the cob in portrait painting. In the first third of the 19th century, the won zdebіlshoy spent a link with the high-ranking aristocracy. The portraits of poets, artists, patrons of art, images of ordinary villagers began to occupy a significant place. This trend was especially pronounced in the work of O.A. Kiprensky (1782 - 1836) and V.A. Tropinina (1776 - 1857).
Vasil Andriyovich Tropinin, having jumped on the lively unimpressed characteristics of a person, expressed through his portrait. The portrait of a son (1818), "Portrait of A.S. Pushkin" (1827), "Self-portrait" (1846) do not oppose the portrait likeness of the originals, but the supernaturally subtle penetration of the inner world of a person.
Sin portrait- Arseniya Tropinina - one of the best masters in creativity. Vishukana, vaguely golden-colored din nagaduє valernian painting of the XVIII century. Prote, matched with a typical childish portrait in the romanticism of the 18th century. then I fall into the vіchі unperedzhenіst conceived - tsya child pozuє even a small world. The look of Arseniy the foreman looked like a peeping man, there were no clothes on the wines, he vomited nibi vipadkovoly. The essence of representativeness is in the supra-divine fragmentation of the composition: the head covers the entire surface of the canvas, the image is seen along the clavicle itself, and the image of the boy is mechanically stuck to the eye.
Nadzvichayno tsikava history of creation "Portrait of Pushkin". For the sound of his own, for the first acquaintance with Pushkin, Tropinin came at Sobolevsky's booths on the dog's Maidan, for children he sings alive. The artist found Yogo in the office, who got involved with the tutors. The same and buv, pevne, writings for the first attack, as if so quoting Tropinin, a small sketch. For a long time of wines, having lost the posture of respect for the re-searchers. Only a hundred years, until 1914, it was published by P.M. Shchekotov, like a writer, who from the portraits of Oleksandr Sergiyovich wins “most conveys this figure ... the poet’s bright eyes here are accompanied by a special glint, the turn of the head is shvidky, and the figure of the face is viraznі and rukhlivi. Undoubtedly, here we catch the right drawings of Pushkin's guise, as if we were familiar with that of other portraits. You’re left wondering, - adds Shchekotov, - why this enchanting study did not receive the due respect of those who saw the poet’s praises. Explain the very features of a small sketch: there was no farb in the new glare, no brushstroke paint, no professionally written "outskirts". I Pushkin here the people's "vitiya" is not a "genius", but we will rethink the people. It is hardly possible to understand the analysis, why such a great human zmist is laid in a monotonous greyish-green, olive hue, in vapid, nibi voluptuous strokes of the brush. Sorting through the memory of all the living and coming portraits of Pushkin, this sketch, for the strength of humanity, can be commissioned from the figure of Pushkin, sculpted by the Radiansk sculptor A. Matveev. But it’s not enough to put Tropinin in front of you, not like Pushkin, you want to be a friend, you want to portray the poet in a simple, homely look.
According to the artist, Pushkin buv "the king sings". Ale vin bov also a folk poet, vin bov his own and close to the skin. "The similarity of the portrait with the original is clear," - writing after the completion of this Poloviy, wanting and denoting the lack of "sweetness of the look" and "liveness of the face" that change and zhavlyuєtsya in Pushkin with new skin lesions.
In the portrait, everything is thought out to the last detail and vivireno, and at the same time there is nothing deliberate, nothing introduced by the artist. Navit persnі, like embellishing the poet's fingers, seeing the floorings, pushing the signs of life, Pushkin himself. In the midst of the underworld Tropin's portrait of Pushkin opposes the fullness of his own.
Romanticism Tropinin himself became the founder of the genre, deschho іdealіzovannogo portrait of a man from the people ("Merezhina" (1823)). “I know and don’t know,” write Svin’in about "Merezhivo" - come at the burying place when you look at this picture, which truly reveals all the beauty of the pictorial art: the reception of a penzle, correctly, happy lighting, the color is clear, natural, in addition, in whose portrait the soul of a beautiful woman appears and that sly look at someone - those who uvіyshov have that quill. Bare at the elbow, the arms of її were bulging at once with a glance, the robot crouched, wiggled with zіtkhanya from rich breasts, covered with intestinal thorny, - and everything is depicted with such truth and simplicity that the picture can be taken even more easily for the distant TV of the glorious Dream. Other objects, like something: a woven pillow and a towel, ruffled with great magic and reworked with residual ... "
At the beginning of the 19th century, Tver Bula was a significant cultural center of Russia. mustache well-known people Muscovites used to come here at literary evenings. Immediately, the young Orest Kiprensky zustrіv A.S. Pushkin, a portrait of someone, written later, becoming a pearl of light portrait art, and A.S. Portrait of Pushkin the brushes of O. Kiprensky are alive in isolation of the poetic genius. At the bold turn of the head, in the energetically crossed hands on the chests, the whole image of the poet gives signs of almost independence and freedom. About the new Pushkin, he said: “I’m working for myself like a mirror, but I don’t flatter the mirror.” At the robot’s portrait of Pushkin, Tropinin and Kiprensky are stunned, although the strumming is not in the light of the eyes, but through a lot of rock in the history of mystics, as a rule, two portraits of the greatest Russian poet are painted, one at a time, Moscow. The smallest at Petersburg. Now there is one great master for its significance for the Russian art. Although the stunners of Kiprensky, who are artistically superior for this romantic portrait, sing performances that zanurenim the thoughts of the authorities, alone with the muse, but nationalism and democracy, the image is insanely for "Pushkin" tropininsky.
So, in two portraits there were two straight Russian arts, located in the middle of two capitals. I critics write a year, scho Tropinіn became a team for Moscow, chim buv Kіprensky for St. Petersburg.
The stench of the portraits of Kiprensky is those who stink to show the spiritual charm and inner nobility of a person. The portrait of the hero, two-dimensional and strong-minded, is guilty of supporting the pathos of the will-loving and patriotic attitudes of the progressive Russian people.
At the front "Portrait of Y.V.Davidov"(1809) shows the position of an officer, which without intermediary is a reflection of that cult of strong and good specialness, which is typical for the romanticism of quiet fates. Fragmentary indications of the landscape, de promenade of light to fight the darkness, pull on the spiritual anxieties of the hero, but on yoga guise - a sign of mrіylivoї sensibility. Kiprensky shukav "human" in people, and the ideal did not zazіhav in view of the special character of the model.
Portraits of Kiprensky, as if to cast a thought over them, show the spiritual and natural wealth of a person, his intellectual strength. So, vin mav іt іdeal аn harmony particularity, prote Kіprenskiy did not literally project the іdeal on the artistic image. In the creation of an artistic image, the wines look like nature, dumb people, but far from being close to such an ideal. In fact, many of his images rebuy the ideal ahead of the day, set to the new, but the ideal itself, staring at the manifestations of romantic aesthetics, is hardly accessible, and all romantic mysticism is no longer a path to the new.
Significantly rubbing the souls of their heroes, showing in the troubled troubles of life, if the share changes, there are too many manifestations, then youth is too thin. Zvіdsi - especially the portraitist's accountability to the interpretation of artistic images, which gives the portrait a wide vision.
In the early period of Kiprensky's creative work, there were no osibs infected with skepticism, which rose the soul with analysis. Tse come later, if it’s a romantic time to survive your autumn, doing the mischief to other moods and feelings, if you fall into the triumph of the ideal of harmonious specialness. In all the portraits of the 1800s and in the portraits cherished by Tver, by Kiprensky, one can see a merry brush, which easily and freely forms. The foldability of technical devices, the nature of the figures changed in the course of the production.
It is noteworthy that in the guise of yoga heroes you don’t show heroic spontaneity, on the other hand, more especially for summarily, the stench will think. It turns out that people are turbulent to the share of Russia, to think more about the future, less about today. In women's images, which represent the squads, the sisters of the participants in the famous podiums, Kiprensky himself did not forget the deliberate heroic dedication. Panuє almost unimpressed, natural. With all the portraits, there is a style of right gentry of the soul. Women's images add their modest goodness, integrity of nature; in the guise of a person, a thoughtful thought is contemplated, readiness for asceticism. The digital images were taken from the ethical and aesthetic manifestations of the Decembrists. These thoughts and spodіvannya pod_lyalis bagatma (the creation of taєmnih comradeships with singing social and political programs falls on the period 1816-1821 rokіv), knowing about them and the artist, and we can say that yogo portraits of participants in 1812-1818, images14 Creations in those years are a kind of artistic parallel to the concepts of Decembrism that were formed.
With a bright seal of the romantic ideal it was marked "Portrait of V.A. Zhukovsky"(1816). The artist, laying a portrait on S.S. Uvarov’s prayer, having conceived to show the contemporary poet the image of a poet, who was well known in literary schools, and to demonstrate the poetic nature of the poet-romantic poet. Before us is a type of poet, a kind of philosophic and imaginative straight forward Russian romanticism. Kiprensky, presenting Zhukovsky at the moment of being creative. The wind ruffled the hair of the poet, alarmingly squelching the tree trunks at night, the ice can be seen the ruins of old buds. So I may, it seemed, to see the creator of romantic ballads. Dark farbi softens the atmosphere of mystery. For the pleasure of Uvarov, Kiprensky did not add more fragments of the portrait, so that the “finishing of the end” did not extinguish the spirit, temperament, and emotion.
Faceless portraits were painted by Kiprensky himself near Tver. Moreover, if Ivan Petrovich Vulf, the Tver helper, was born marveling at the girl who stood in front of him, his granddaughter, the future Hanna Petrivna Kern, who was dedicated to one of the most beautiful lyrical works - A.S. I remember the miraculous .. ". Such a union of poets, artists, musicians became a manifestation of a new kind of art - romanticism.
"Young gardener" (1817) Kiprensky, "Italian noon" (1827) Bryullov, "Reaper" or "Reaper" (1820-i) Venetsianova - create one typological series. The stench is oriented to nature and was written clearly for її vikoristannyam. dermal art of the artist - to enhance the aesthetic thoroughness of simple nature - led to a kind of idealization of images, clothes, situations for the creation of an image-metaphor. Maistrіv, scho narodzhuyut image, do not know the art earlier, and polagє one of the features of the romanticism of the first half of the XIX century. . "Portrait of a father (A. K. Schwalbe)"(1804) Orest Kiprensky writes art and portraiture especially.
The greatest achievement of Russian romanticism is the work of the portrait genre. Nayaskravishi and beautiful examples of romanticism can be seen until the early period. Back to the yogo, the road to Italy, in 1816 the roci, Kiprensky, internally prepared for a romantic light, dazzling the pictures of the old masters with new eyes. Dark coloring, figures, visions of light, farby, what to burn, strained dramaturgy celebrated a new strong influx. "Portrait of the Old Man", a pose of doubt, created under the impression of Rembrandt. Ale, the great Dutch Russian artist, having taken more than zovnіshnі priyomi. "Portrait of the Old Man" is an absolutely independent tvir, which is filled with powerful inner energy and the power of artistic virility. Vіdmіnna rice of album portraits - zhvavіst їhny vikonannya. There is no picturesqueness here - the mitteva transfer of the scribbled on paper creates a unique freshness of the graphic image. Therefore, the images on the little ones are people who are close to us and understand.
Foreigners called Kiprensky the Russian Van Dyck, whose portraits are found in rich museums around the world. The promoter of Levitsky and Borovikovsky, the successor of L. Ivanov and K. Bryullov, Kiprensky gave his work to the Russian art school and European popularity. In the words of Oleksandr Ivanov, "the first wine of the Russian im'ya in Europe...".
Advancement of interest to the specialty of a person, power of romanticism, having zoomed in on the portrait genre in the first half of the 19th century, becoming the self-portrait as the dominant. Sound, the creation of a self-portrait in a vipadkovy episode. Artists repeatedly wrote and painted for themselves, and these creations became their own worker, which reflects the different souls of that stage of life, and at once became a manifesto, stunned to modern times. self-portrait not being a substitute genre, the artist wrote himself and here, as if in no way, becoming more self-expressive. At the eighteenth century, Russian artists rarely painted romanticism with their cult of individual, vinnyatkovo spriyav priyomu tsy genre. Exploring the types of self-portraits inspiring the artists to themselves as a rich and richly faceted individuality. The stench is either at the same natural role of the creator ("Self-portrait at the oxamite beret" by A. G. Varnek, 1810-i), then they get bored in the past, silently reconciling yoga on themselves ("Self-portrait at the sholomi and lats" by F. I. Yanenko , 1792), or, for the most part, stand without any professional attributes, solidifying the significance and self-worth of a skinned person, open and open to the world, joking and rushing about, like, for example, F. A. Bruny and O. A. Orlovsky in self-portraits of 1810 -x rockiv. Willingness to dialogue and recognition, power in the figurative solution of the works of the 1810-1820s, step by step change in that rose, boredom, entrance at home ("Self-portrait" by M. I. Terebenev). This trend marked the development of the portrait genre in a flash.
Kiprensky's self-portraits were shown to indicate that the critical state of life was critical, the stench was evidence of a decline in mental strength. Through his art, the artist marveled at the wine. At the same time, I didn’t show off, like the greatest artists, with a mirror; I wrote more importantly to myself for the manifestations, wanting to speak my spirit, but the image.
"Self-portrait with brushes behind the wuh" promptings on the vіdmovі, moreover, clearly demonstrative, in the old heroic image, yoga classical normativity and ideal construction. Figures of individuals are named approximately, wildly. Lateral light falls on the face, seeing only white rice. The bright glare of light falls on the figure of the artist, fading on the ice of the commemorative drapery, which represents the body of the portrait. Everything here is sub-ordered to show life, feel it, mood. Tse looked more romantic than art through the art of a self-portrait. The artist's affability to the mystery of creativity is expressed by the enigmatic romantic “sfumato of the 19th century”. A peculiar green tone creates a special atmosphere of the artistic world, which knows the artist himself.
Maizhe at once with a self-portrait is written that “Self-portrait at the rozhevіy khustzi” de-introduce another image. Without direct reference to the artist's profession. The image of a young person is created, as if one feels calm, natural, free. The surface of the canvas is subtly zbudovana. The artist's penzlik is inspired to apply farbi. Overflowing with large and small strokes. Miraculous disintegration of the coloring, farby unimaginative, harmonically unite one by one, lightening calmly: lightly falling on the appearance of a young man, describing yoga rice, without zavoi expressiveness and deformation.
Another well-known shabby bouv Venetsianov. In 1811, the title of academician recognized for "Self-portrait" and "Portrait of K.I. Create inseparable things.
To the right master of Venetsianov, declaring to himself in "Self-portrait" 1811 rock. Vіn buv spellings іnakshe, nizh wrote to themselves at that time іnshі artists - O. Orlovsky, O. Kiprensky, Є. Varnek and navit kripak V. Tropinin. Usіm їm it was powerful to show itself in a romantic halo, їх self-portraits were like a poetic contrast to a hundred and absolutely otchuyuchogo. Vinyatkovіst artistic nature was shown in poses, gestures, above-average specially conceived costume. In the "Self-portrait" of Venetian's elders, they indicate us before the suvory and stresses of the busy people... The correct activity, which excites in this ostentatious "artistic non-balance", is to wear robes or coquettishly put on the hats of other artists. Venitsianov to marvel at himself earnestly. Art for the new one is not a spur of the moment, but for us in front of the right, as it requires zealousness and respect. Small in size, may be monochrome in its color of olive tones, wine-like spellings, simple and foldable at the same time. Chi does not attach the outer side to painting, wins with its glance. Ideally, the thin rims of the thin gold frames of the eyepieces do not hang on, but as if they reinforce the sharpness of the eyes, not straightened into nature (the artist, having depicted himself with a palette and a pencil in his hands), like a depth of powerful thoughts. The great wide forehead, the right beak of disguise, illuminated by a direct light, and the shirt-front made up a bright tricot, turned the look of a gazer in front of us, as if I were coming, behind the arm of the right hand, which trims a thin brush, weaving down to the palette. The sloppy skein of hair, the arms of the glittering frames, the velna crib, which rounded the white gate, the soft line of the shoulder and, nareshti, the wide bead of the palette make up the ruhli system of smooth, flowing lines, the middle of which reveals three main points: krihblitsky znitsіdnіst shirt-fronts, with a palette and a penzle. Such a mathematic rozrahunok in the pobudovі composition of the portrait gives the image of a private internal choice and gives allowances in the author's analytical mind, slender to the point of scientific thought. In “Self-Portrait” there is no trace of any kind of romanticism, which was often the same on the flooring when the artists depicted themselves. This is a self-portrait of an artist-doslidnik, an artist-thinker and a worker.
Second TV – portrait of Golovachevsky- Conceived as own plot composition: Older pokolіnnya maystrіv Academy in osobі old іnspektora daє povchannya pіdrostayuchim talents:. Painter (s folders malyunkіv Arhіtektoru i sculptor Ale Venetsіanov not allowing i tіnі yakoї nebudu nadumanostі abo didaktichnostі in tsіy kartinі:. At knizі storіnku Zadushevnіst vislovlyuvannya znahodit pіdtrimku in Picturesque ranks pictures: її dimmed, subtly and harmoniously harmonized barvy tones create an impression of peace and seriousness.
And on the work of Orlovsky of the 1800s, portrait works appear, which are more important than looking at drawings. Until 1809, such an emotionally rich portrait sheet was seen, like "Self-portrait". Vikonaniy is juicy with a bold stroke of sanguine and vugillya (with a lightening of the creed), Orlovsky's "Self-Portrait" adds its artistic integrity, characterization of the image, artistry of vikonnannya. Vіn at once allows you to look at the deaks of your own side of Orlovsky's art. "Self-portrait" of Orlovsky, madly, cannot be on the mark of an exact implementation of the typical look of the artist of quiet rokiv. Before us is a lot of falsehoods. The image of the "artist" is exaggerated, which contrasts the "I" with the extraneous action, the fault is not turbulent "decorative" ownness: combs and shields did not stick out of the hair, on the shoulders - the edge of the charred cloak right over the home shirt with the vodkritim komir. A sharp turn of the head with a “frown” look behind the broken brows, a close image of the portrait, which is portrayed by a great plan, the contrasts of light - all this is directly related to the main effect of the sharpening that people are depicted (themselves and glyadachev).
The pathos of the affirmation of individuality - one of the progressive figures in the art at that hour - establishes the main ideological and emotional tone of the portrait, but also stands in its own aspect, may be more familiar with the Russian period of art. The firmness of special features is not the same as the path of revealing the wealth of the inner world, but rather the greater path of banishing all the necessary. The image at the same time, perfectly, looking zbіdnenim, obmezhim.
It is important to know similar solutions in the Russian portrait art of that hour, where in the middle of the 18th century, the bulky and humanistic motives sounded loudly, and the peculiarity of the people did not break the ancient sounds from the honours. Thinking about the best, democratic social devices, the best people of Russia of the tієї epoch, they didn’t even indulge in real action, they saw the individual cult of “special freedom” that flourished in the bourgeois revolution, in the bourgeois revolution Tse appeared as a voucher for the daytime officials of the Russian portrait art. Varto is less likely to match Orlovsky's "Self-Portrait" with an one-hour "Self-portrait" Kiprensky (for example, 1809), so that the serious inner self-esteem of both portrait painters immediately fell into the eye.
Kiprensky is also the "heroic" specialty of a person, but he shows his true inner values. The person of the artist has a vision of a strong mind, character, moral purity.
The whole image of Kiprensky was greeted with wondrous nobility and humanity. Vіn building razrіznyat "good" and "evil" in the navkolishny world and, vіdkidayuchi friend, love that price first, love that price people of the same mind. At the same time, in front of us, no doubt, strong individuality, proud of the value of its special qualities. This very concept of the portrait image lies at the basis of the famous heroic portrait of D. Davidov and the work of Kiprensky.
Orlovsky at the side of Kiprensky, as well as with other Russian portrait painters of that hour, more circumscribed, more straightforward and ringing allows the image " strong individuals”, clearly orienting in their own bourgeois France. If you marvel at yoga “Self-portrait”, the memory of the portraits of A. Gro, Gericault comes to mind. Internal proximity to the French portrait art is shown by Orlovsky's profile "Self-Portrait" of 1810, with the cult of individual "internal strength", truth, relief from the sharp "red" form of "Self-portrait" of 1809 or "Portrait of Duport". In the rest of Orlovsky, just like in Self-portrait, he has a stagnant, effective, heroic pose with a sharp, possibly crossed head and shoulders. Vіn pіdkreslyuє the wrong budovu guise of Duport, yogo skujovdzhen hair, looming on the edge of creating a self-sufficient portrait image in its unique, vipadkovіy characteristic.
"Landscape can be a portrait," wrote K. N. Batyushkov. The aims of the installation of their creativity were dominated by the majority of artists, as if they turned to the genre regional view. In the midst of obvious blames, which weighed on a fantastic landscape, boules A. O. Orlovsky ("Sea Watcher", 1809); A. G. Varnek ("Looking at the outskirts of Rome", 1809); P. V. Basin ("The sky at sunset on the outskirts of Rome", "Evening landscape", insult - 1820-i). Seemingly concrete, the stench took care of the unbiased perception, emotional intensity, reachable compositional techniques of monumental sound.
The young Orlrva bachiv in nature has no more titanic strength, does not follow the will of the people, builds a catastrophe, famously. The struggle of a man against the sea, which was raging, is one of the artist’s favorite themes of the “rebellious” romantic period. Vaughn became the master of yoga small prints, watercolors and paintings of 1809 - 1810 pp. a tragic scene is shown in the picture "Ship accident, the collapse of the ship, knowing the collapse"(1809 (?)). In the impenetrable darkness, which sank to the ground, among the boisterous finches, the fishermen, who were drowning, were fighting on the coastal rocks, about which their ship was wrecked. Vitrimanium in suvoro-rudih tones has a coloring that is almost alarming. Griznі nabіgi can hvil, scho storm, and in the other picture - "On the berezi sea"(1809). The stormy sky also plays a great emotional role in it, as it occupies a greater part of the composition. Khocha Orlovsky not Volodymyr Mystetstvo new perspective Ale, the progress of the transitions of the plans was accomplished here in harmony and m'yakshe. Light becoming color. Garneau gray on an ore-brown background with red-swept robes of fishermen. Stormy and troubled sea elements in watercolor "Vitrilny choven"(bl. 1812). І navit if the wind does not shake the windshield and does not cover the surface of the water with breeches, like a watercolor "Seascape with ships"(Bl. 1810), the peeping man does not overwhelm him with a thought that a storm is coming with a calm.
For all the drama and subtlety of the sea landscapes of Orlovsky, it is not so important to guard over atmospheric phenomena, as a result of direct inheritance from the classics of art. Zokrema J. Vernet.
The second character of small landscapes by S. F. Shchedrin. It is reminiscent of the harmony of the spiving of people and nature ("Terrace on the birch of the sea. Cappuccino near Sorrento", 1827). Numerical sights of Naples and around the yogo penzl were crowned with great success and popularity.
The creation of the romantic image of St. Petersburg in Russian painting is connected with the work of M. M. Vorobyov. On his canvases, the place became surrounded by taєmnicheskim Petersburg fogs, soft serpentine of white nights and seeped by the sea water atmosphere, the contours of wakefulness are erased, and the sacrament is brightly completed on a monthly basis. The same lyrical cob vіdrіznyає i vykonanіnі him see the outskirts of St. Petersburg ("Dawn of the sun on the outskirts of St. Petersburg", 1832). Ale, the pіvnіchna capital stalked the artists in a different, dramatic way, like an arena of zіtknennya and the struggle of the natural elements (V. Y. Raev "Oleksandrivska kolona pіd hour of storm", 1834).
In gleaming paintings I. K. Aivazovsky was clearly inspired by romantic ideals suffocated by the fight and the force of natural forces, the strength of the human spirit and the mind to fight to the end. For a great place near the fall, the maistra is occupied by the night sea landscapes, assigned to specific places, de storm acts as a place for the magic of the night, an hour, like, on the thought of a romantic, reminiscent of a mysterious inner life, and de picturesque jokes of an artist straight on the way Odesi in the month of the night", "Looking at Constantinople in the month of illumination", insult - 1846).
The theme of the natural element, that people, slaughtered by a friend, is loved by the theme of romantic art, differently interpreted by artists of the 1800-1850s. The robots were primed on real grounds, but the sensation image was over the objective retelling. A typical butt can be a painting by Peter Basin "Earthletrus at the Rocca di Papa near Rome"(1830). Vaughn is assigned not so much to the description of a specific podії, but rather to the image of fear and fright of the people, which stumbled upon the manifestation of the elements.
K.P. Bryullov (1799 –1852 r.b.) and A.A. Ivanov (born 1806 - 1858). Russian artist and draughtsman K.P. Bryullov, while still a student of the Academy of Mystics, denounced the unimaginative mastery of the little one. Bryullov's creativity resonates until “The Remaining Day of Pompeii” that last. What has been done before....?!
"Italian early" (1823), "Yermilia at the shepherds" (1824) after Torquatto Tasso's poem "Singing to Jerusalem", "Italian noon" ("Italian woman who knows the grapes", 1827), "Vershnitsya" (1830), "In (1832) - Svi Tsi Pictures of Pruraistі Svіtloy, Uncompanya Radіsty Lyttya. Spe_bnі Khoryi Buli Spіvzvyi Rannіm Epіkuresky Visrum Pushkіna, Batyushkova, Vyazham Pushkіna, Batyushkova, Vyazhamsky, Delviga. Stroy Master, Satisfied on the Hazelnaya of the Great Maistries, did not fall Bryullov І Vіn "іtalіysky wound", " noon", "Barsheba" writing on open air.
Pratsyyuchi over the portrait, Bryullov painting from nature, less than his head. Reshta often told you to see it. The fruit of such a strong creative improvisation is "Top". The smut in the portrait is the contrast of the flaming creature with swollen nostrils and gleaming eyes and graceful tops, which calmly stream the shalen energy of the horse (tidying creatures - the theme of classical sculptors is loved, Bryullov virishiv її in painting).
IN "Birsavia" the artist victorious biblical explanation as a result for displaying a naked body on a bright surface and transmitting a grit of light and reflections on a light shkir. Having created the image of a young woman at "Vrsavia" wines, the new joy and happiness. The naked body shines and shines in polished olive green, cherry robe, transparent waters. The soft springy forms of the body will beautifully combine with the fabric, what to beat, and the chocolate color of the Arab woman, like the servants of Virsavia. Plinnі linії tіl, vodyami, tkannіna give the composition of the picture a smooth rhythm.
Painting has become a new word for painting "The Remaining Day of Pompeii"(1827-1833). Vaughn made the name of the artist immortal and even famous for his life.
Її the plot, perhaps, was a rebuke under the infusion of brother Oleksandr, which made it possible to climb the Pompeian ruins. Ale, cause the painting is glibshi. Gogol mentioning it, and Herzen speaking directly, that in “The Rest of Pompey’s Day” they knew their place, it is possible, unfamiliar to express the thoughts and feel like an artist, shouting out the shocking insurrection of the Decembrists in Russia. It is not for nothing that among the victims of the elements that were raging, Bryullov placed his self-portrait in the guinea of Pompeii and pressed the rice of his Russian acquaintances to other characters in the picture.
Bryullov's Italian brilliance played its role, as it could tell you about the revolutionary storms that swept through the land of Italy in the front, about the total share of carbonaria in the rocks of the reaction.
The grandiose picture of the death of Pompeii is permeated with the spirit of historicism, it shows the change of one historical era in the past, the strangulation of ancient paganism and the present new Christian faith.
The end of history, the artist captures dramatically, changing the era as a shock to people. At the center of the composition, a woman fell from the chariot, who broke to her death, perhaps, contributed to the death of the ancient world. Ale beat the body of the mother, the artist pom_stiv living in mourning. Depicting children and fathers, a young man and an old mother, a blue and an old father, the artist showed the old, what to go into the history of the generation and new, what to go to change. The people of the new era on the tricks of the old, which rises to the gunpowder of the world-axis, is the right theme of Bryullov's painting. As if history did not bring a change, the foundations of humanity do not stick, as if the heat of life is deprived of innocence. Such is the basic idea of "The Rest of Pompeii's Day". The painting is a hymn to the beauty of humanity, which remains immortal in all circles of history.
The canvas was exhibited in 1833. at the Milan Art Exhibition, it called out a flurry of flooded winds. Italy, what you see, bula podkorena. Bryullov's teachings G. G. Gagarin say: “This great TV called out in Italy boundless enthusiasm. The place, where the picture was put up, the artist was blessed with priyomi urochist, they assigned tops to yoma, they wore yogo in the streets with music, quilts and tar-skips ... A glimpse of yogo was taken as shanoy as a solemn, triumphant genius, all sensible and sensible.”
The English writer Walter Scott (representative of romantic literature, who became famous for his historical novels) stayed at Bryullov's studio for a whole year, saying that this is not a picture, but the whole poem. The academies of arts in Milan, Florence, Bologna and Parmi took the Russian artist as their honorary member.
Bryullov's canvas called out the suffocation of Pushkin's and Gogol's words.
Vesuvius star vіdkriv - dim rushing with a club
Spread wide, like a battle ensign.
The earth is lamenting - from the columns that hit.
Kumiri fall!
Writing Pushkin to the enemy of the picture.
Beginning with Bryullov, turning points in history became the main subject of Russian historical painting, depicting grandiose folk scenes, de skin a person - a participant in historical dramas, de there is no head and other row.
"Pompeii" to lie, zagal, to classicism. Masterno artist showing plasticity on the canvas human body. All the souls of people were transferred to Bryullov before my plasticity. Okremі posts, tributes to boisterous Russia, taken from vrіvnovazhenі, overtook groups. Spalakhs of light reinforce the forms of body and create strong picturesque effects. However, the composition of the picture, which may have a strong break through the coal in the center, which has an overarching rise in the life of Pompeii, was inspired by romanticism.
Romanticism in Russia was like a light-heartedness in its first whiff from the end of the 18th century and until the 1850s. The line of the romantic in Russian art did not break in the 1850s. Introduced by romantics for art, the theme of becoming a buttya was developed later by the artists of "Blakitnaya Troyand". With direct downfalls of the romantics, without a trace, there were symbolism. Romantic themes, motifs, virtuosity, and have inspired the art of different styles, directly, creative associations. More romantically svetovidchutya chi svetoglyad, appeared alone from the living, tenacious, happy.
Romanticism is like a wild light, powerful is more important than young, like an exercise in ideal and I create freedom until I live in the world of light.
c) Music
Romanticism in a pure way - tse Western European art. Russian music of the XIX century. from Glinka to Tchaikovsky, the borders of classicism were merged with the peculiarities of romanticism, a leading element of the bright, self-sufficient national beginning. Romanticism in Russia, having given inconsistencies, angers those who, if they directly agreed, already passed. Two composers of the 20th century, Skryabin and Rakhmaninov, resurrected such a picture of romanticism anew, like an unstoppable flight of fantasy and sincerity of the lyric. Therefore, in the XIX century. called the century of musical classics.
The hour (1812 rіk, the revolt of the Decembrists, the reaction) laid a mark on music. Whatever genre we have taken - romance, opera, ballet, chamber music - Russian composers have said their new word.
The music of Russia for all the salon-like subtlety and suvoroy prihilnosti traditions of professional instrumental, sonata-symphonic writing, is grounded on the unique modal coloring and rhythmic mode of Russian folklore. Some of them are widely based on the butt song, others are on the original forms of music, and still others are on the old-fashioned modality of the old Russian peasant ways.
Ear of the XIX century. - the first and brightest roses of the romance genre. Dosi sound that joyful hearing modest wide lyrics Oleksandr Oleksandrovich Alyab'ev (1787-1851). Vіn writing romances on the top of rich poets, but immortal "Nightingale" on top of Delvig, "Winter road", "I love you" on the top of Pushkin.
Oleksandr Egorovich Varlamov (1801-1848) writing music before dramatic performances, ale mi yogo is known for popular romances “Chervony sarafan”, “Don’t wake me up at the dawn”, “Bile veiled self”.
Oleksandr Lvovich Gurilyev (1803-1858)- composer, pianist, violinist and teacher "Single ringing of little twinkle", "At the dawn of foggy youth" that in.
The most important place here is occupied by Glinka's romances. No one else has reached such a natural zlittya music with the poetry of Pushkin, Zhukovsky.
Mikhailo Ivanovich Glinka (1804-1857)- Pushkin's tutor (for 5 years) young for Oleksandr Sergiyovich), a classic of Russian literature, becoming the founder of musical classics. Yogo creativity is one of the pinnacles of Russian and worldly musical culture. The riches of folk music and the best achievements of composer's mastery will harmoniously decrease in the new one. Deeply folk realistic creativity of Glinka created a strong rozkvit of Russian culture of the 1st half of the 19th century, connected with the Vitchiznyanoy war of 1812 and the Decembrists. Light, lively character, stringiness of forms, beauty of eloquent melodies, diversity, barvy and subtlety of harmonies are the most important qualities of Glinka's music. At the most famous opera "Ivan Susanin"(1836) took off a brilliantly expressed idea popular patriotism; the moral greatness of the Russian people is glorified by the Kazakh opera " Ruslan and Lyudmila". Orchestral work of Glinka: "Waltz Fantasy", "Nich at Madrid" and especially "Kamarinska", to form the basis of Russian classical symphonism. Miraculous for the power of dramatic expression is the vividness of the characteristics of the music before the tragedy. "Prince Kholmsky". Vocal lyrics by Glinka (romance “I remember the miraculous”, “Sumniv”) - Never-ending inspiration in the music of Russian poetry.
6. ZAKHIDNO-EUROPEAN ROMANTISM
a) painting
As France was the ancestor of classicism, then “to know the root of ... the romantic school,” writing one of the contemporary, “followed Nimechchina. There, the won was born, and there they made their likenesses of modern Italian and French romantics.
Fragmented Nіmechchina didn’t know the revolutionary coming. Rich in German romantics, the distant pathos of advanced social ideas. They idealized the middle class. They were given to unfamiliar spiritual urges, they murmured about the abandonment of human life. The art of bagatioh was passive and contemplative. The best stinks created their own in the closet of portrait and landscape painting.
The chief portrait painter was Otto Runge (1777-1810). The portraits of this maestro, in the midst of calmness, oppose the intense and strained inner life.
The image of the poet-romance of Runge's reprimands "Self-portrait". Vіn respectfully looks at himself and stares at the dark-haired, dark-eyed, serious, new energy, thoughtful, self-destructive and strong-willed young man. You want to know yourself a romantic artist. The manner of painting a portrait of a swede and a rosemary, however, even in the texture of the creation, the spiritual energy of the creator can be transferred; the dark bariste shades show contrasts of light and dark. Contrast is a characteristic malovnichesky reception of master-romantics.
Catch the mood of the people, stare at the soul, for sure, the artist of a romantic warehouse will be enchanted. And in this plan, portraits will be a fertile material for a new child. IN portrait of children Huelsenbeck(1805) Runge conveys the vivaciousness and bezprosrednistnost of a child's character, and to know for a bright mood of special reception, a kind of plein-air vіdkrittya 2nd floor. XIX Art. The background of the picture is a landscape, which speaks not only about the artist’s coloristic gift, the suffocation of setting up to nature, but also about the emergence of new problems of the master’s creation of open spaces, light-colored objects on the open air. Meister-romantic, trying to anger his "I" with the expanses of the All-World, try to take a picture of the sensitively intelligible image of nature. Ale tsіy sensitive image vіn vvazhє for better bachiti the symbol of the great world, "the idea of the artist."
Runge, one of the first romantic artists, setting himself the task of synthesis of the arts: painting, sculpture, architecture, music. It is not enough for the ensemble sounding of mysticism to speak of the unity of the divine forces of the world, a piece of skin that symbolizes the cosmos with a glow. The artist fantasizes, supporting his philosophical concept with the ideas of the famous German thinker of the First Podlog. XVII century Jacob Boehme. Light is a mystical whole, a part of the skin expresses its wholeness. This idea is disputed with the romantics of the entire European continent. The English poet and painter William Blake, in their own form, sings like this:
In one minute bachiti eternity,
Majestic world - at the mirror pіsku,
A single woman has inconsistency
The first sky is at the cup of the flower.
Cycle Runge, chi, yak yogo naming, “fantastic-musical poem” "Pori of the Day"– early, opіvdnі, nіch – viraz tsієї kontsії. Vіn having left at the verses and prose an explanation of his conceptual model of the world. The image of the people, the landscape, the light and the colors act as symbols of the slow cycle of natural and human life.
Kaspar David Friedrich (1774-1840), the most famous Romantic painter of Nymechchiny, gave priority to all other genres of landscape and painted the protract of his sіmdesatirіchnogo life less than a picture of nature. The main motive of Friedrich's creativity is the idea of the unity of man and nature.
“Listen to the voice of nature, which speaks to us in the middle,” the artist says to his teachings. The inner world of a person makes the incompetence of the All-World, that, having felt to himself, a person can touch the spiritual depths of the world.
The position of listening aloud determines the main form of the “coupling” of a person with nature and that image. Tse greatness, the mystery of the enlightenment of nature and the svedomy camp of posterigach. True, even more often in the landscape expanse of his paintings, Frederick does not allow figures to “show off”, but in a subtle penetrating way of the figurative way of the spaces that spread out, one feels the presence of a person, the experience of a person. The subjectivity of the depicted landscape enters the art only with the creativity of romantics, showing the lyrical revelation of nature in the masters of the 2nd floor. XIX Art. The successors of Friedrich's works show "extension of the repertoire" of landscape motifs. The author of the sea, burn, foxes and rіznomanіtnі vіdtinki i will become nature at the time of fate and doby.
1811-1812 pp. as a result of the artist's journey to the mountains. ”Ranok in the mountains” imaginatively represents a new natural reality, which people in the exchanges of the sun, to go to. The rosy-purple tones grieve and ease their obligations and material burdens. The fates of the battle with Napoleon (1812-1813) turn Frederick to patriotic themes. Illustrating, inhaling the drama of Kleist, write more "Tomb of Arminiya"– a view from the graves of ancient German heroes.
Friedrich was a subtle maestro of sea landscapes: "Viki", "Departure of the moon over the sea", "Death of Nadiya near the ice".
The rest of the artist's works - "Vidpochinok on the field", "Great swamp" and "Spogad about the Great Mountains", "Veletni Gori" - low mountain ridges and a stone in the foreground darkened plan. Tse, perhaps, turning to the experienced vіdchuttya overpowered people over themselves, the joy of being brought to the "top of the world", pragnennya to the unbridgeable hangs that shine. Feel like an artist especially compose qіrskі hromada, and again one can read the ruh from the temryavi of the first rocks to the future world. The mountain peak in the background is seen as the center of the master's spiritual aspirations. The picture is more associative, as if it were the work of romantics, and conveys different readings and tlumachennya.
Friedrich is more precise with the little one, musically-harmonious with the rhythmic feeling of his paintings, with those who speak with emotions of color, light effects. “Many have been given little, not a lot of riches. The soul of nature is revealed to the skin otherwise. To that, no one can pass on to another their own knowledge and their own rules, like an obov'yazkovy unguarded law. Nothing is a peace for everyone. The skin you carry in your own world is less than yourself and more or less controversial of your own natures, ”to bring the marvelous integrity of your inner life and creativity. The originality of the artist is less noticeable in the freedom of his creativity - in whom the romantic Friedrich stands.
The most formal seems to be the separation between the artists - "classics" - representatives of classicism and the other gallery of romantic painting of Nimechchini - Nazarenes. The foundations of the Vidni and in Rome (1809-1810) "Union of St. Luke" united the mastery of the idea of reviving the monumental art of religious problems. The middle period was a favorite period for romantics. Ale, in their artistic quests, the Nazarenes turned back to the traditions of painting of the early Renaissance of Italy and Germany. Overbeck and Geforr were the initiators of a new alliance, which was later joined by Cornelius, J. Schnoff von Karolsfeld, Feit Fürich.
This movement of the Nazarenes was supported by the forms of opposition to the academic classicists of the movement in France, Italy, England. For example, in France, David's masters saw the so-called "primitive" artists, in England - pre-Raphaelites. In the soul of romantic tradition, the stench was respected by the mysticism of the “evidence of the hour”, “the spirit of the people”, those thematically and formally likened, the ear sounded like an extinguished union, the year turned into the same doctrinaire principles, like those of the Academy, recounted by them.
Mystery of romanticism from France developed in particular ways. First, which evoked similar developments in other lands, it had an active offensive ("revolutionary") character. Singers, writers, musicians, artists showed their positions as if they were creating new works, and I took part in the magazine, newspaper polemics, which are characterized by the contributors as a “romantic battle”. The famous V. Hugo, Stendhal, George Sand, Berlioz and a lot of other writers, composers, journalists of France “took their own ideas” at the romantic polemic.
Romantic painting in France is blamed as an opposition to the classicistic school of David, academic art, which is called the "school" in general. Ale, you need to think more broadly: the opposition of the official ideology of the era of reaction, the protest against the її petty-bourgeois housing. Zvіdsey and Patatichny nature of romantic creativity, їhnya nerve Zbudzhenіst, Troynnya to the Ekzotichny Motivіv, to the Іstornyh and L_teranyi plug, to the vast, illy, Zhu Zadyktyi "Tymyaniy RosyaKudnostі", Zvіdsey Tsya Gras, Mr_yvіvіvіti, Vіdstnіsti.
Representatives of the “school”, the academy stood in front of us against the romantics: their excited hot coloring, their modeling of the form, not tiєї, sonorous for the “classics”, statuary-plastic, but inspired by the strong contrasts of the colorful patches; їх expressive little one, navmisno v_movivsya in the accuracy and classicism; their bold, sometimes chaotic compositions, added grandeur and undisturbed calmness. Engr, the implacable enemy of the romantics, until the end of his life, saying that Delacroix "write with the said dirt", and Delacroix called Engr that all the artists of the "school" in coldness, prudence, without ruha, in the one who does not write stench, but "spread" his own pictures. And yet it was not just the clash of two absolutely different personalities, it was the struggle of two different artistic light-gazers.
Struggle tya trival mayzhe pіvstolіttya, romanticism in the arts won the victory not easily and not at once, and the first artist of which directly was Theodore Gericault (1791-1824) - the master of heroic monumental forms, who had conquered his own creativity and classicism, drawing, drawing, and classicism And, nareshti, a strong realistic cob, which stoked a majestic infusion into the art of realism in the middle of the 19th century. And for the life of the wines, the assessments are not rich enough by close friends.
In the name of Teodor Zhariko, the first bright successes of romanticism were brought to light. Already in early yoga paintings (portraits of Russians, images of horses), ancient ideals stepped in front of the uninterrupted spree of life.
At the Salon 1812 Gericault showing a picture "Officer of the imperial film rangers at the hour of the attack". This is the apogee of the glory of Napoleon and the military might of France.
The composition of the picture represents the horseman in an unfamiliar perspective of the "rapt" moment, if the horse is moving, and the horseman, raising the horse's vertical position, turns to look. The image of such a moment of instability, impossibility of posture is powerful for the effect of turmoil. Throw one point of support, guilt is guilty of collapsing on the ground, twisting into a battle, as I brought Yogo to such a state. What a lot of things happened in his work: the insane faith of Géricault is the ability of people to be human with their own strength, the passion for the depiction of horses and the humility of the master-cob in showing what earlier only music could convey, or my poetry - the excitement of battle, the cob of force of attack, borderline living nature. The young author, having created his own image of transferring the dynamics to the world, and it was important for him to keep an eye on the “contemplation”, at home, with the “inner eye” and feel what he wanted to depict.
The traditions of such dynamics of roaming romanticism in France are practically not small, they are in the reliefs of Gothic temples, so if Gericault had previously spent to Italy, he was priholomshheny by the strength of Michelangelo's compositions. "I'm tremtive, - write wine, - I've become doubtful in myself and for a long time I couldn't think of this experience." Ale on Michelangelo, as a forerunner of a new stylistic direct myth, earlier in his polemical articles, he pointed out Stendhal.
Géricault's painting not only declared the birth of a new artistic talent, but also showed Danin's suffocation and the author's fascination with Napoleon's ideas. With this theme, more creations are related: “ Officer of the Carabineers”, “Officer Cuirassier before the attack”, “Portrait of a Carabineer”, “Wounded Cuirassiers”.
At the treatise “Thinking about the camp of painting in France” I write about the fact that “exploitation and mysticism have become ... as necessary as and їzheyu to see, like є to other lives of a civilized person ... Not being the subject of first necessity, mysticism is blamed more than once, if consume satisfaction and if there is prosperity. Lyudina, reeling from the everyday turbot, began to spit on the malt, so that she would get bored, as if she would inevitably catch up with the middle of prosperity.
Such an insight into the educational and humanistic role of art was demonstrated by Gericault after his return from Italy in 1818. - start to take up lithography, replicating various topics, including the defeat of Napoleon ( "Return from Russia").
At the same time, the artist stares up to the image of the death of the frigate "Medusa" on the coast of Africa, which slandered the same suspense. The catastrophe was the fault of the unacknowledged captain, who was recognized as patron of the patronage. The passengers of the ship reported about the accident, that they were turning around, - the surgeon Savinya and the engineer Correar.
The ship, having died, was able to throw off the slabs, on which a bunch of people were buried. For twelve days it was carried by a seething sea, until the stench blew up the owl - the ship "Argus".
Gericault zatsіkavila situation boundary pressure human spiritual and physical forces. The picture depicted 15 passengers, who were turning around on a raft, if the stench wafted on the Argus horizon. “Cooker Meduzi” becoming the result of a trivalo training work of the artist. Vin robbed richly sketching the turbulent sea, portraits of buried people at the hospital. Géricault wants to show the struggle of people on a raft one by one, and then snarling at the heroic behavior of the maritime elements and sovereign non-balance. The husband's people endured misfortune, and hope for the order did not deprive them: the skin group on the raft has its own peculiarities. At the inspirational composition, Gericault chooses a thought for the beast, which allowed him to have a panoramic view of the expanse (you can see the sea distance) and to depict, very close to the foreground, all the meshchants of the raft. Rukh will be in the contrast of figures, which lie powerlessly in the foreground, and often in groups, which give signals to the ship to pass. The clarity of the rhythm of the growing dynamics from group to group, the beauty of naked bodies, the black coloring of the picture set the note of the mentality of the image. But there is no meaning for a spying peep, for whom the intelligence of a language helps to intellect and see the smut: the building of a person fights and remagues. Roar the ocean. A stack of windshield. Call rope. Crack the plate. The wind of the wife is sick and the ditch is black in the dark.
Why is not France itself driven by a storm of history? - Thinking Eugene Delacroix, standing painting. “Plit“ Medusa ”wondering Delacroix, weeping and, like a divine, jumping out of Gericault’s main, de often buv.
David's mysticism did not know such passions.
Ale, Zheriko's life ended tragically early (when he was not very ill after the fall of his horse), and having thought a lot of thoughts, they were left unfinished.
Géricault's innovation created new possibilities for conveying the whimsical romanticism, grafting on people's feelings, the coloristic texture of the picture.
Eugene Delacroix has become Zheriko's scumbag. Truthfully, Delacroix was allowed to use a larger life term, and to bring the truth to romanticism, and to bless the new 2nd floor directly in painting. XIX Art. - Impressionism.
First, he began to write independently, Ezhen studied at the school of Lerain: writing from nature, copying the great Rubens, Rembrandt, Veronese, Titian from the Louvre ... The young artist worked for 10-12 years on the extraction. Vіn remembering the words of the great Michelangelo: “Painting is a jealous kohanka, she will help all people…”
Delacroix after the demonstration speeches of Géricault, kindly demonstrating that the hour of strong emotional shocks had come to the art. A little bit of a new era of wines can be comprehended through some literary plots. Yogo painting "Dante and Virgil", presented at the Salon, 1822, -- a test through historical associative images of two poets: antiquity - Virgil and Renaissance - Dante - marvel at the boiling cauldron, the “hot” of the modern era. When you have your Divine Comedy” Dante took Virgil from the land of Virgil in all spheres (paradise, hell, purgatory). The work of Dante has a new world of resurrection through the path of experiencing middle-aged memories of antiquity. A symbol of the romantic as a synthesis of antiquity, Revival and middle-age vinikav at “jahu” vision of Dante and Virgil. Ale, the folding philosophical allegory turned out to be a harmonious emotional illustration of the pre-pochatkovo era of that immortal literary masterpiece.
Direct feedback from the hearts of Delacroix's co-workers will try to know through the power of the heart. Young people of that hour, when they burn with freedom and hate to the point of rottenness, sing the willful war of Greece. Here the romantic bard of England Byron is fighting. Delacroix to explore the sensation of a new era in the pictured already more specific historical background - the struggle of that suffering, willful Greece. The wine is based on the plot of the death of the population of the Greek island of Chios, slaughtered by the Turks. At Saloni 1824 Delacroix showing a picture "Rizanina on the island of Chios". against the backdrop of an inexhaustible expanse of hunchbacked masses. How else to shout in the face of fire and unceasing battles, the artist shows a group of wounded, powerful women and children. We have lost the rest of our will in front of the approaching enemies. A Turk on a stout horse right-handed nibi hangs over the usual foreground and the impersonal suffering. Beautiful bodies, the appearance of stout people. Before the speech, Delacroix writes more about those that the Greek sculpture was remade by artists in hieroglyphics, like they shoved the true Greek beauty of that position. Ale, exclaiming the "beauty of the soul" in the persons of the fallen Greeks, the artist of the flooring dramatizes the impressions that they are trying to save a single dynamic pace of stress in the direction of deformation of the angle of the figure. Tsi "pardons" were "permitted" to the work of Géricault, but Delacroix once again demonstrates a more romantic credo, that the painter - "the truth of the situation, but the truth is more".
In 1824 p. Delacroix, having lost his friend and teacher, Gericault. І vіn becoming the leader of the new painting.
Rocky passed. One by one the pictures appeared: "Greece on the ruins of Missalunga", "Death of Sardanapalus" that іn Artist becoming an outcast in the official stakes of painting. Alelipneva revolution of 1830 changed the camp. Vaughn ignited the artist with romance overcame that animal. Win paint a picture "Freedom on the Barricades".
In 1831, in the Parisian Salon, the French first shook the painting by Eugène Delacroix "Freedom on the Barricades", dedicated to the "Three Glorious Days" of the Lipne Revolution of 1830. With an effort, democratism, that smiliness of the artistic solution, the canvas cast a blatant resentment against the contemporary. Behind the orders, one good-hearted bourgeois tweeted: “You seem to be the head of the school? Tell me more briefly - I’ll stab my head!” After closing the Salon order, splattering with a gritty and gasping call from the picture, hastening to turn it back to the author. On the eve of the revolution of 1848, they were again put on the spotlight at the Luxembourg Palace. I again turned to the artist. Less than that, as the canvas was exhibited at the All-World Exhibition in Paris in 1855, it wasted away to the Louvre. Here, one of the best works of French romanticism is saved - a naturally witnessed eyewitness that eternal monument to the struggle of the people for their freedom.
How can an artist know the language, a young French romantic, to anger two people together, it would have been better, the length of the cob - wide, all-seasonal, that zhorstok in its nakedness, concrete reality?
Paris in the rainy days of 1830. Povіtrya, weeding with blue-green dim and saw. Beautiful and majestic place that you know in a powder haze. In the distance, the ice is clear, but the veins of the Parisian Cathedral of Our Lady stand proudly - a symbol of history, culture, the spirit of the French people. Look, from the smoky place, along the ruins of the barricades, along the dead bodies of the dead comrades, the insurgents step forward in a stubborn and bold manner. The skin of them can die, but the croc of the rest is not ugly - their will is breathed to victory, to freedom.
Tsya exhaling power is instilled in the image of a beautiful young woman, in a prejudiced streak, which calls after her. With uncharacteristic energy, with that free young stream, she is like a Greek goddess
win Nike. This strong figure is dressed in a cloth-tunic, dressed up with ideal rice, so that it burns, it is brutal to the rebels. In one hand there is a tricolor ensign of France, in the other - a towel. On the head is a Phrygian kovpak - an old symbol of freedom from slavery. Її krok striky and light - so step the goddess. At the same time, the real image of a woman is the daughter of the French people. Vaughn is the direct force of the ruhu groupi on the barricades. Seeing her, as if looking like a dzherel light in the center of energy, there are exchanges that charge with heat that will to the point of victory. Tі, who perebuvayut at the uninterrupted closeness to her, skin in his own way, hang up the veneration to that breathy and breathy call.
On the right is a lad, a Parisian gamen, waving his pistols. Vіn closest to Liberty and nіbi ignited by її enthusiasm and joy of a free spirit. In a strimkom, in a cottony, intolerant Russian vein, you can wind up your spirits. This is the counterpart of the legendary Gavroche, depicted twenty years later by Victor Hugo in the novel “Nedoleni”: “Gavroche, breathless, radiant, taking on the task of letting go all right. Vіn rushing here and there, going uphill, going down
down, rising again, making noise, shining with joy. It would have been better if I had come here in order to save us. Chi bula for a new yak is a spontaneous reason? So, obviously, yoga is evil. Chi buli at the new krill? So, well, yoga fun. That buv is like a whirlwind. Vіn nibi reminding himself every now and then, present at once everywhere... The majestic barricades watched him on their backbone.
Gavroche at Delacroix's painting - a specialization of youth, "beautiful blow", a joyful acceptance of the bright idea of Freedom. Two images - Gavrosh and Freedom - as if they were adding one to one: one is fire, the other is inflamed from the new tar-skip. Heinrich Heine, having spoken, what a lively voice, the figure of Gavroche called out to the Parisians. "Didka fox!" - yelling like a grocery merchant. - These lads fought like bells!
An angry student with a towel. A self-portrait of the artist was circulated at Newmu's front. Tsei rebel is less strimky, like Gavrosh. Yogo ruh more streaming, more concentration, understanding. Hands clasp the trunk of the rushnitsa in a singsong manner, demonstrating masculinity, standing firmly until the end. This is a profoundly tragic image. The student realizes the inevitability of expenses, as if they recognize the rebels, but the victims of yoga do not lakayut - the will to freedom is strong. Behind him, the worker from the sabbath speaks so self-importantly and rіshuche. Bіlya nіg Freedom of injury. It is important to bring wine, so that once again look uphill, at Freedom, sing and with all your heart you will look more beautiful, for which wine gin. Tsya to post to make a gostrodramatic cob at the sound of Delacroix's canvas. Likewise, depict Gavrosh, Svoboda, a student, a robot worker - may be a symbol, an indestructible will of freedom fighters - sigh and call out to a peephole, then shout wounds to a loud voice. People say goodbye to Freedom, say goodbye to life. Vіn is still tearing, ruh, but already fading tearing.
Yogo post is transitional. The look of a peeping eye, up to the fascination and suffocation of the revolutionary roar of the rise, descends to the bottom of the barricade, covered with the bodies of glorious dead soldiers. Death is presented by the artist in all its nakedness and obviousness to the fact. My bachimo turned blue in the guise of mertsіv, їхні bodies that were bare: the struggle is merciless, and death is the same inevitable companion of the rise, like the beautiful spirit of Freedom.
Ale do not call the same! In the sight of a terrible sight beating the lower edge of the picture, we again raise our gaze and bachimo the young beautiful figure - no! remake life! The idea of freedom, instilled in the flooring visibly and visibly, the flooring is straightened out of the future, that death for its sake is not terrible.
The artist depicts only a small group of rebels, alive and dead. Ale, the guards of the barricadee are supernumerary. The composition will be so that the group is quiet, who is at war, not surrounded, not closed in itself. There is only a part of the inexhaustible avalanche of people. The artist gives a fragment of the group: the frame of the picture forms a figure of evil, on the right, from below.
Sound the color in Delacroix's creations with a warm and emotional sound, playing a dominant role in creating a dramatic effect. Farby, now gurgling, now fading, muffled create a tense atmosphere. Delacroix's "Freedom on the Barricades" follows this principle. Even more accurately, bezmilkovo vibirayuchi farba, imposing її broad strokes, the artist conveys the atmosphere of the battle.
Ale is a coloristic gama strimana. Delacroix pays tribute to the relief model of the form. What seemed to be the image of the picture. Adzhe, depicting a specific yesterday's podium, the artist created a monument to that podium. Therefore, the post may be sculptural. Therefore, the character, being a part of a single whole picture, becomes closed in itself, it is a symbol that looks like a completed form. Therefore, the color as emotionally pours into the eyes of the eye, but it carries a symbolic ambition. In the brown-gray space, here and there, the urochist was sleeping three sounds of red, blue, white - the colors of the ensign of the French Revolution of 1789. Repeated repetition of these colors emphasizes the strained chord of the tricolor ensign over the barricades.
Delacroix's painting “Freedom on the Barricades” is a foldable, grandiose tvir behind its scope. Here the credibility of the fact that is imperceptibly tainted by the fact and the symbolism of the images are added; realism, to reach brutal naturalism, that ideal beauty; rougher, scarier that pіdnesene, purer.
The painting "Freedom on the Barricades" secured the victory of romanticism in French painting. 30 years have two more historical pictures: "Battle of Poitiers"і "The Beating of the Bishop of Liezhsky".
At 1822 p. mitets saw Pivnichnu Africa, Morocco, Algeria. The trip celebrated a new unforgettable battle. In 50 years of yoga creativity, there are pictures inspired by legends about qiu more expensive: “Polyuvannya on leviv”, “Moroccan, sho saddle a horse” that in. Yaskraviy contrasting coloring creates a romantic sound of these paintings. The stench is the technique of a wide stroke.
Delacroix, like a romantic, I will become a soul fixer, like my picturesque images, and literary shaping my thoughts. Having kindly described the creative process of the romantic artist, follow your color, think about the relationship between music and other types of art. Yogo students have become a favorite reading of artists in the coming generations.
The French romantic school made significant destruction in the sphere of sculpture (Rude and the Marseilles relief), landscape painting (Camille Corot with light-colored images of the nature of France).
Zavdyaki romanticism is especially subjective bachelor of the artist nabuvaet form the law. Impresionizm until the end of the era of the transition between the artist and nature, having voiced the mysticism of the enemy. Romantics talk about the artist’s fantasy, “the voice of their own feelings”, which allows the robot to sound like it, if the master knows the cost, and not like the academic worlds of finitude.
Just like Gericault's fantasies were in the middle of transferring the movement, Delacroix - on the enchanting power of color, and the Germans added the "spirit of painting" to it, then Spanish romantics in the person of Francisco Goy (1746-1828) showed folklore twists in style, both phantasmagoric and grotesque character. Goya himself, that yoga creativity, looks far away from any stylistic framework, moreover, the artist often had to finish the law on the material of the vikonanny (if wines, for example, vikonuvav paintings for fabrics of trellis kilims), or he could have a deputy.
Yogo phantasmagoria swayed the world in etching series "Caprichos" (1797-1799),"Bad War" (1810-1820),“Disparantes (“Follies”)(1815-1820), paintings of the "House of the Deaf" and the Church of San Antonio de la Florida in Madrid (1798). Heavy ailment in 1792. caused the complete deafness of the artist. After suffering physical and spiritual trauma, the master's art becomes more serious, thoughtful, internally dynamic. An ominous light, which has curled up in the wake of deafness, activating the inner spiritual life of Goya.
In etchings "Caprichos" Goya is at the reach of vinyatkovoy power in the transmission of mittiev reactions, strong feelings. Black-and-white vykonannya, zavdyaki to the merciful following of the great flames, in the presence of linearity characteristic of graphics, gaining all the powers of the pictorial creation.
The painting of the Church of St. Anthony in Madrid Goya creates, zdaetsya, in one breath. The temperament of the brushstroke, the laconicism of the composition, the variability of the characteristics of the fiery features, the type of such Goya's bonds right from the yurbi, are hostile. The artist depicts the marvel of Anthony of Floridsky, who is resurrected and speaks of a beaten man, who calls him a beaten man and by himself, uryatuvav innocently condemned from the strata. Dynamism clearly reacts to the attitude of Goya's transmissions and in gestures, and in mimetic images of osib. At the compositional scheme, the painting was painted near the expanse of the church, the artist follows Tiepolo, but the reaction that calls out to the star is not baroque, but completely romantic, that smells like a skin starer, calling out to yourself.
The greatest meta is available in the painting of the Conto del Sordo (“House of the Deaf”), where Goya is alive since 1819. The walls of the room are covered with fifteen compositions of fantastic and allegorical character. Spriynyattya їх will require a dead spіvperezhivannya. Figure out how to vindicate like a deaky bachelor of a city, a woman, a person, and so on. The painting is dark in a blaze, in some it is overwhelmed with bіlі, yellow, erysipelas-red patches, which are slightly turbulent in flashes. The graphic parallel of "The Budina of the Deaf" can be taken into account by the etchings of the series "Disparantes" .
For the rest of the 4 years of Goya proving near France. Hardly knew that Delacroix was not separated from yoga “Caprichos”. I didn’t hesitate for a moment, how to choke on the etchings of Hugo and Baudelaire, what a majestic infusion of yogo painting on Mani, and like in the 80s of the 19th century. V. Stasov to the clicktime of Russian artists in yoga "Disasters of war"
Alemie, vrakhovuyuchitse, we know, what a majestic infusion made the “styleless” art of the daring realist and the inflated romantic on the artistic culture of the 19th and 20th centuries.
Fantastic light is realized in his robots by the English romantic artist William Blake (1757-1827). England was a classical land of romantic literature. Byron. Shelli became the ensign of which movement was far away from the “foggy Albion”. In France, magazine critics called romantics “Shakespearians” during the “romantic battles”. The main idea of English painting is to instill interest in human specialty, which allowed the portrait genre to flourish. Romanticism in painting is closely tied to sentimentalism. The interest of romantics up to the middle class gave rise to great historical literature. We recognize the mayor as Scott. In painting, the theme of the middle class marked the appearance of the parafaelites.
William Blake is a marvelous type of romantic on the English stage. You write verses, illustrating your own and other people's books. Yogo's talent, having sprung up, and raised the light to a wholesome unity. Most famous yoga creations respect illustrations to the biblical "Book of Job", "The Divine Comedy" by Dante, "The Spent Paradise" by Milton. Vin populates his compositions with titanic positions of heroes, as a way of exposing and honing the unreal enlightened chi of a phantasmagoric world. It feels like rebellious pride, but it’s folded neatly with dissonances in harmony, reimagining this illustration.
The landscape engravings up to the "Pastorals" of the Roman poet Virgil are the smallest - they are more idyllicly romantic, lower their frontal robots.
Blake's romanticism is trying to know its artistic formula and the form of the foundation of the world.
William Blake, having lived his life in extreme vigilance and incompetence, after the death of the insurance to a host of classics of English literature.
The creativity of English landscape painters has the beginning of the 19th century. romantic zahoplennya join with an objective and hard look at nature.
Romantic Presentation of the Land of the See by William Turner (1775-1851). Vіn loving images of thunderstorms, anger, storms on the sea, yaskravі, polum'yanі come in the sun. Turner often rebіlshuvav efekti svіlnnya that polyuvav zvuchannya koloru navіt dі, if pisav pokіyny camp of nature. For a greater effect, I victoriously created the technique of watercolors and applied oil farb with a thin ball and painted directly on the ground, dominating the regional overflows. butt can buti picture "Doshch, couple and swidkіst"(1844). And yet, the critic of that hour, Thackeray, failed to correctly understand, perhaps, the most innovative and thoughtful picture. “The wood is signified by the patches of brood putty,” writing wine, “spattered on the canvas for the help of a palette knife, sleepy light dark merekhtinnyam breaks through the back of thick breasts of brudno-yellow chrome. The shades are transmitted by cold shades of bright-red mottling and cinnabar flames of muted tones. I want fire near the locomotive fire and give up a chervonim, I do not undertake to harden what is painted not with bondage, but with pea color. The second critic knew the color of Turner's color "egg with spinach". The Farbies of the pissed Turner in a flash were given to the co-workers as absolutely unacceptable and fantastic. It took more than a hundred years to plant a grain of real guards in them. Adzhe yak and in other moods, there was a lot here. The cicava rose of an eyewitness was saved, vernish, a certificate of origin “Doshchu, bet that swidkost”. As Mrs. Simon їhala in the compartment of the Western Express at once with a summer gentleman, who was sitting opposite her. Vіn having asked permission to make a vіkno, hanging his head in anger and dosit for a long time being in this position. If the wines are broken, having started a vikno. Water was flowing down in streams, ale vin blissfully flattening his eyes and looking up, obviously enjoying the splendid boisterousness. A drunken young woman tried to taste yoga on herself - she also hung her head at the window. Tezh got wet. Ale got an unforgettable anger. Well, it was її zdivuvannya, if through the river at the exhibition in London it blew "Doshch, couple and shvidkist". Someone behind її back critically pomіv: “Supra-primarily typical for Turner, maybe. No one has ever dreamed of such sumish stupidity.” І won, not troubling, said: "I bachila."
Maybe, the first picture of the train is in painting. the thought was taken from the beast, which made it possible to give a wide panoramic view. Western Express to fly over the bridge with a wine-coloured wind for that hour (which travels 150 km per year). In addition, tse, imovirno, the first sample of the image was light through the board.
English art in the middle of the XIX century. developed in a different direction, lower painting by Turner. Wanting the mastery of yogo to be a hell of a thing, no one from the youth follows him.
Turner has long been respected as a champion of impressionism. It would have been better if the French artists themselves had given some thought to the colors of the world. Ale tse zovsіm negarazd. In fact, the thought about Turner's infusion into impressionists is reminiscent of Paul Signac's book "From Delacroix to Neo-Impressionism", seen in 1899, describing de vin, like "in 1871, stretching his thriving experience in London, Claude Manet and Camille Pisro Turner. The stench marveled at the magic and magical quality of yogo farb, the stench played yogo robots, analyzed the yogo technique. "White, flatly laid with wide strokes of the brush. The stench roared that the enemy was reached not only by the whites. But by a mass of colored strokes. Having applied one white of one, as if they were curing the damage, as if marveling at them from afar."
At the circle, Signyak shuddered, confirming his theory of pointillism. But in the same time, Turner’s paintings, like French artists could have been in the National Gallery in 1871, there is no pointillism technique described by Signac, like that, there are no “broad flames.” In fact, turning Turner into the strongest French was not in the 1870s, but in the 1890s.
Turner's most important poet, Paul Signac, is not only a forerunner of impressionism, writing about wine in his book, but also a great innovative artist. About the life of Turner’s paintings “Wood, Couple and Shvidkist”, “Vignannik”, “Wound” and “Vechir to the Flood” Signyak wrote to his friend Angran: beautiful meaningful word.”
Signac's score was buried, and the presently lucid picture of Turner's picturesque chirps was beginning to grow. But for the rest of the rocks, they sometimes trap, so as not to defend the subtext and the folding directly, one-sidedly picking up the butt from the true unfinished Turnerist “pіdmalovok”, swearing at the new supporter of impressionism.
Of all the new artists, it is natural to ask for a fight with Monet, who himself recognized the new Turner with a splash. There is one story that is absolutely similar to both - the most western portal of the Rouen Cathedral. And yet, like Monet, he gives us a sketch of a sleepy lighting of life, he doesn’t give us gothic, but he’s a naked model, Turner’s mind is clear, why the artist, all adored by nature, choking on this theme - in his image, the enemies themselves are very important. raznomanitnosti details that bring the creation of Gothic art to the works of nature.
The special character of English culture and romantic art made it possible for the first plein-air painter to appear, laying the foundation for the light-double image of nature in the 19th century, John Constable (1776-1837). English Constable chooses the landscape as the main genre of his painting: “Great world; there are no two similar days and navitt two similar years; in the creation of the world of one tree, two of the same leaves, and all the creations of the right art, like the creation of nature, breathe each other out, ”saying wine.
The constable wrote in the open air great sketches of oil with the subtle guards of the different states of nature (“Looking at Highgate from Hempstead Hills”), Approx. 1834; "Vis for sleep", 1821; "Detkhem Valley", ca. 1828). having reached for the help of the technique of writing. He wrote with rough strokes, sometimes thick and short, sometimes smooth and transparent. To which come impressionism is less than a hundred years old. Constable's innovative painting was inspired by the work of Delacroix, and likewise by the development of the French landscape.
Constable's art, like a rich side of Gericault's creativity, marked a vindication of realistic directing European artХІХ century, as if on the cob developed in parallel with romanticism. Later on, the paths have broken up.
Romantics open up the world of the human soul, individually, not like anyone else, but more and more close to all the sensibility of the world. Mittevity of the image of painting, as Gelacroix said, but not the sequence of them in the literary viconn, signified the artists' focus on the most complex transfer of movement, for the sake of which a new formal coloristic solution was found. Romanticism was left behind in the recessions of the other half of the 19th century. all these problems and the analysis of the rules of the academism of the artist's individuality. A symbol, which among the romantics, the day-to-day ideas of life, among the other half of the nineteenth century, have the art. differs in the polyphony of the artistic image, which inspires the diversity of ideas and the usual world.
b) Music
The idea of the synthesis of mysticism was expressed in the ideology and practice of romanticism. Romanticism in music developed in the 20s of the 19th century under the influx of literature to romanticism and developed into a close link with it, with literature vzagali (turning to synthetic genres, moving forward to opera, songs, instrumental miniatures and musical programming). Characteristic of romanticism was the cult of the subjective, emotionally strained, which signified the supremacy of music and lyrics in romanticism.
Music of the 1st half of the 19th century. swiftly evolved. A new musical language appeared; in the instrumental and chamber-vocal music, the miniature played a special part; the orchestra sounded with a diverse range of farb; the possibilities of the pianoforte and the violin were revealed in a new way; the music of the romantics was already virtuoso.
Musical romanticism manifested itself in the impersonal and varied voices, associated with various national cultures and with various communal revolutions. So, for example, the intimate, lyrical style of German romantics and the “oratorical” gromadian pathos, characteristic of the work of French composers, are significantly distinguished. Representatives of new national schools have their own line, who vinkli on the basis of a wide national-vibrant movement (Chopin, Moniuszko, Dvorak, Smetana, Grig), just like the representatives of the Italian opera school, closely connected with the movement of the Risorgimento (Verdi, Bellini) There is a lot of reason why the modern-days of Germany, Austria and France are reminiscent of the tendency to preserve classical traditions.
And yet, no less than all the stinks are marked by some blatant artistic principles, which allow us to speak about a single romantic device of thought.
The stars of the special zdatnost of music deeply and penetratingly reveal the richness of the world of human experiences, it was placed by romantic aesthetics on the first place of the middle of other arts. A lot of romantics gave music an intuitive cob, attributed to it the power to speak “unknown”. The creativity of prominent romantic composers has little to do with a realistic basis. The interest in the life of ordinary people, the life of life and the truth is sensible, the reliance on pobutu signified the realism of the creativity of the best representatives of musical romanticism. Reactionary tendencies (mysticism, flow of action) are only a few of the romantic works. The stench appeared frequently in the opera "Eurianta" by Weber (1823), in some musical dramas by Wagner, oratorios "Christ" by Liszt (1862) and in.
At the beginning of the 19th century, fundamental contributions to folklore, history, ancient literature are being resurrected, old-fashioned legends are being resurrected, Gothic mysticism, Renaissance culture. At the same time, the composing creativity of Europe developed impersonal national schools of a special type, which were destined to significantly rise between the global European culture. The Russian, as it happened, occupied not the first, then one of the first places in the world's cultural creativity (Glinka, Dargomizhsky, "Kuchkіsti", Tchaikovsky), Polish (Chopin, Moniuszko), garlic (Sour cream, Dvorak), Ugrian (List), then Norwegian (Grіg), Spanish (Pedrel), Finnish (Sibelius), English (Elgar) - all the stench, pouring into the deep channel of the composer's creativity in Europe, did not oppose the old traditions that were formed in the same world. Viniklo new kolo images that reflect the unique national features of the venerable culture, until the composer lay down. The intonational way of creation allows mittevo to recognize about the ear belonging to that chi of another national school.
Composers lure to the transcendent European musical movement the intonation of the old-fashioned, more importantly rural folklore of their lands. The stench of khіba purged the folk Russian song from the lacquered opera, the stink of the cosmopolitan intonations of the 18th century blew the songs of folk-butt genres. The greatest manifestation of the music of romanticism, it is especially brightly accepted equally with the figurative sphere of classicism - panuvannya lyrical-psychological cob. It was mindful, the vision of the musical mysticism vzagali - the brokenness of some kind of manifestation through the sphere of sensations. The music of all epochs is ordered by its laws. Ale, the romantics have surpassed all their predecessors for the meaning of the lyrical cob in their music, for the strength of that thoroughness in the transfer of depths of the inner world of a person, the finest spirits of the mood.
The theme of love is borrowed in the middle of nowhere, for the very soul becomes the most rich-sided and completely destroys all the depths and nuances of the human psyche. But the greatest world is characterized by the fact that this theme is not intermingled with the motives of love in the direct meaning of the word, but is reflected in the widest number of manifestations. So many lyrical experiences of the heroes are revealed and the nature of a wide historical panorama. Love people to their home, to their fatherland, to their people - to pass through the work of all composers - romantics.
A great place is introduced in musical creations of small and great forms to the image of nature, which is closely and indistinctly intertwined with the theme of lyrical speech. Similar to the image of love, the image of nature makes the mental camp of the hero, so often falsifying for disharmony and action.
With the images of nature, the theme of fantasy is often touched, which, perhaps, is born from the practice of virvatizing in the fullness of real life. Typical for the romantics were the jokes of the miraculous, with the richness of the bar in the world, which can withstand the ordeal of everyday life. The very same literature was enriched with fairy tales, ballads of Russian writers. The composers of the romantic school have kazkovi, fantastic images of a national, non-repeated fascination. Balady inspired by Russian writers, and the winds of which are created to create a fantastic grotesque plan, which symbolizes the wind of the wind, as if to break the ideas of fear of the forces of evil.
A lot of romantic composers also performed like music writers and critics (Weber, Berlioz, Wagner, Liszt et al.). The theoretical robotic representatives of progressive romanticism made an even more significant contribution to the development of the most important sources of musical art. Romanticism is known to viraz and in vikonavchymiststvo (skripal Paganin, collaborator A. Nurri and in.).
Progressive sense Romanticism in this period is considered the leading rank in activity Franz Liszt. Liszt's creativity, despite the super-cleverness of a light-gazer, was basically progressive and realistic. One of the founders of this classic of Ugric music, a prominent national artist.
In the rich creations of Lista, a wide variety of Ugrian national themes have emerged. The romantic, virtuoso works of Liszt expanded the technical and virtuosity of the pianoforte play (concerts, sonatas). Significant were Liszt's connections with representatives of Russian music, actively promoting them.
Liszt once played a great role in the development of world musical art. After Liszt "everything became possible for the pianoforte". Characteristic figures of yoga music are improvisation, romantic presentation of feelings, expressive melody. Arkush is valued as a composer, vikonovets, musical performer. Composer's greatest works: opera Don Sancho abo kohanna castle”(1825), 13 symphonic sings“ Tasso ”, ” Prometheus ”, “Hamlet” ta іn., create for orchestra, 2 concertos for piano and orchestra, 75 romances, hori ta іn. Do not create less.
One of the first manifestations of romanticism in music was creativity Franz Schubert(1797-1828). Schubert is famous in the history of music as the greatest of the founders of musical romanticism and the creator of new genres: romantic symphonies, piano miniatures, lyrical-romantic songs (romance). Yogo creativity has the greatest value song, de vin revealing especially rich innovative tendencies. In Schubert's songs, the greatest revelation of the inner world of a person, the memory is more characteristic of the new connection with folk-button music, one of the greatest features of yoga giftedness was most strongly manifested - marvelous diversity, beauty, enchantment of melodies. Until the shortest songs of the early period lie Margarita behind the hair ”(1814) , “Fox king". Offensive songs are written in the words of Goethe. The first of them has abandoned the maiden of the kokhan. She's selfish and deeply suffering, її the song is sumptuous. Simple and broad melodies echo only the monotonous dzizhchannya wind. ”The King of the Fox” is a foldable tver. This is not a song, but rather a dramatic scene, where three diyovih osib: father, how he rides a horse through the forest, the sickness of a child, how he takes him with him, and the terrible fox king, how the boy is in a feverish marenny. Skin from them is endowed with his melodic mine. Do not forget that favorite songs of Schubert "Trout", "Barcarolle", "Rank Serenade". Written in piznishі rocks, tsі pisnі vіdіznyayutsya at random with a simple and vivacious melody, fresh farbs.
Schubert also wrote two cycles of song - “ beautiful miller"(1823), that" Zimovy way”(1872) - to the words of the German poet Wilhelm Müller. In the skin, their songs are united by one plot. In the songs of the cycle "The Beautiful Miller's Woman" there are stories about a young lad. Following the flow of the stream, vin virusha on the road shukati your happiness. The greater song cycle has a lighter character. The mood of the cycle "Winter Way" is called another. Bіdolashny yunak vіdkinuty richly named. At the rose of the wines, it fills the river with light. His companions are the wind, khurtovina, the evilly croaking raven.
Not a lot of examples here allow us to talk about the peculiarities of Schubert's song creativity.
Schubert also loves to write music for piano. For which instrument he wrote impersonal creations. Like before the song, yoga pianoforte was close to the same music and so simple and understandable. The favorite genres of yoga creations were dances, marches, and the rest of the rock of life - impromptu.
Waltzes and other dances rang out at Schubert's balls, at zamіsky promenades. I improvised them there, and recorded them at home.
If you compare Schubert's piano songs with yoga songs, you can show a lot of well-done rice. Nasampered - this is a great melodic vizance, vibrancy, barista setting in major and minor.
One of the biggest French composers in the other half of the 19th century Georges Bizet, the creator of immortal creation for the musical theater opera “Carmen”that miraculous music to the dramas of Alphonse Daudet“ Arlesian ”.
Creativity is the power of precision and clarity of thought, novelty and freshness in various designs, completion and subtlety of form. The most powerful severity of psychological analysis in touching human feelings and emotions is characteristic of the creativity of the composer's great spivists - writers of Balzac, Flaubert, Maupassant. The central place in Bizet's creativity, versatility behind genres, lies in opera. The operatic art of the composer has been vindicated on the national ground and inspired by the traditions of the French opera house. First in his work, the directors of Bizet, having respected the background of the genres of the French opera, which are known for their development. "Great" opera is given to you by a dead genre, lyrical - dramatizes its sleazyness and philistine obmezhenistyu, more comical for others meritorious respect. First, Bizet's operas feature rich and lively butt and mass scenes that convey life and bright scenes.
Music by Bizet to Drama by Alphonse Daudet Arlesian” leading the lead rank behind two concert suites, folded from її the greatest numbers. Bize Vikoristav Acts Spravzhnі Provençal melodies : “March of the Three Queens”і "Dance of the chewing horses."
Opera Bize Carmen”- a musical drama that roars before the beholder from the squabbling truthfulness and from the groaning artistic power of the story of the death of її heroes: the soldier José and the gypsy Carmen. The opera Carmen was created on the basis of the traditions of the French musical theater, but at the same time it brought in a lot of new things. Spiraling on the best reach of the national opera and reforming the most important elements, Bize created a new genre - a realistic musical drama.
In the history of the opera house of the 19th century, the opera "Carmen" occupies one of the first places. Starting from 1876, a triumphal march began on the stages of the opera theaters of Vidnya, Brussels, and London.
Having shown a special staging to a sudden, it appeared in poets and musicians us in front of uninterruptedness, emotional “sharpness” and predilection for speaking, in a pragmatic perekonati of the listener for additional uninterrupted tension in the tone of recognition of speech.
New Year's Eve at Mystetstvo celebrated the virishal blow-in at the turn of the day lyrical opera. Vaughn vinykla as the antithesis of the “great” and comic opera, but she could go through the ranks of their conquest and reach in the sphere of operatic dramaturgy and the contribution of musical development.
The main feature of the new opera genre was the lyrical interpretation of any literary plot - on a historical, philosophical topic. The heroes of the lyrical opera are endowed with rice by ordinary people, relieving the bitterness and deaco hyperbole, taman romantic operas. The most important artist at the gallery of the lyrical opera house Charles Gounod.
In the middle to finish the numerical operatic decline of Gounod opera Faust" occupies a special, one might say, vintage place. Її all-world popularity and popularity do not know their own equal middles of Gounod's operas. The historical significance of the opera "Faust" is especially great because it was not only the best, but in fact the first among the operas of the new directly, about the way Tchaikovsky wrote: not without significant self-promotion.” The image of Faust is smoothed over by a super eloquence and “dividedness” of this light, eternally dissatisfied, viklikan to the pragmatic recognition of the world. Gounod failed to convey all the richness and complexity of the image of Goethe's Mephistopheles, which instilled the spirit of the warlike criticism of that era.
One of the main reasons for the popularity of "Faust" was believed to be that it concentrated on the most beautiful and fundamentally new drawings of the young genre of lyrical opera: emotionally without middle and clearly individual transmission of the inner world of the heroes of the opera. The deep philosophical sense of Goethe's "Faust", which ignited the revelation of the historical and social shares of the entire population on the butt of the conflict of the main characters, took away from Gounod's inspiration from the seemingly humane lyrical drama of Marguerite and Faust.
French composer, conductor, music critic Hector Berlioz he entered the history of music as the greatest romantic composer, creator of a program symphony, an innovator in the field of musical form, harmony and especially instrumentation. Yogi creativity knew a well-intentioned figure of revolutionary pathos and heroics. Berlioz was familiar with M. Glinka, who appreciated music highly. Having gone over to friendly stosunkas from the playboys of the “Mighty Cup”, who were slumped over, they accepted yoga and creative principles.
Vіn having created 5 musical stage creations, including operas Benvenuto Chile ”(1838), “ Trojans ”,”Beatrice and Benedict”(According to Shakespeare’s comedy “A lot of noise for nothing”, 1862); 23 vocal and symphonic works, 31 romances, chori, and the book “The Great Treatise from Daily Instrumentation and Orchestration” (1844), “Evening in the Orchestra” (1853), “The Crisis of the Song” (1862), “Musical Kuri” 1859 ), "Memoirs" (1870), articles, reviews.
Nimetska composer, conductor, playwright, essayist Richard Wagner uveyshov to the history of light musical culture as one of the greatest musical creators and the greatest reformers of the operatic art. The method of this reform was the creation of a monumental programmatic vocal and symphonic work in a dramatic form, called to replace all kinds of opera and symphony music. Musical drama has become such a creation, like music flows like an uninterrupted stream, which pours all dramaturgical lankas together. Having moved in the wake of the finished speech, Wagner replaced them with his own emotionally rich recitative. A great place in Wagner's operas is occupied by independent orchestral episodes, as a valuable contribution to worldly symphonic music.
Ruci Wagner lie 13 operas: The Flying Dutchman” (1843),”Tannhäuser”(1845), “Tristan et Izolda”(1865), “Gold of the Rhine”(1869) that in.; chori, pianoforte p'esi, romance.
Another prominent German composer, conductor, pianist, teacher, musical performer Felix Mendelssohn-Barthold. From 9 years he began to perform as a pianist, at 17 years he created one of the masterpieces - the overture to comedy. C Vіn u lіtnyu nіch” Shakespeare. In 1843 p. having fallen asleep at Leipzig pershu in Nіmechchinі conservatory. In the work of Mendelssohn, “classic of the middle romantics”, romantic drawings from the classical mode of thought will be combined. Yogo music is taman's bright melodiousness, democratism of melodiousness, darkening of feelings, calm thoughts, transcendence of light emotions, lyrical moods, not without a slight touch of sentimentality, lack of form, brilliance of mastery. R. Schumann called yoga "Mozart of the 19th century", G. Heine - "a musical diva".
Author of landscape romantic symphonies ("Scottish", "Italian"), program concert overtures, a popular violin concerto, cycles for pianoforte "Song without words"; opera Vesilla Camacho. Having written music before the dramatic play "Antigone" (1841), "Edip at the Column" (1845) by Sophocles, "Atalia" by Rasina (1845), "A Dream in Summer Night" by Shakespeare (1843) and others; oratories "Pavlo" (1836), "Ilia" (1846); 2 concertos for piano and 2 for violin.
IN Italian Giuseppe Verdi, a prominent composer, conductor, and organist, is a special place for musical culture. The main sphere of creativity of Verdi is opera. Having acted as a head rank, as a evangelist of heroic-patriotic feelings and nationally-voluntary ideas of the Italian people. At the onset of the fates of wines, giving respect to dramatic conflicts, giving rise to social unrest, violence, oppression, victorious in operas evil. Characteristics of Verdi's creativity: folk music, dramatic temperament, melodic narration, lucid scene laws.
Vin, having written 26 operas: “ Nabucco”, “Macbeth”, “Troubadour”, “La Traviata”, “Othello”, “Aida"ta in . , 20 romances, vocal ensembles .
young Norwegian composer Edward Grig (1843-1907) pushing the development of national music. This was expressed in Yogo creativity, and in the propaganda of Norwegian music.
At the fate of life near Copenhagen, Grig wrote a lot of music: “ Poetic little ones”і Humoreski, sonata for pianoforte and first violin sonata, songs. With the skin of the new creation, the image of Grig as a Norwegian composer is clearer. In the thin lyrical "Poetic Pictures" (1863), national drawings still timidly break through. The rhythmic figure is often played by Norwegian folk music; won became characteristic of the rich melodies of Grieg.
Grieg's creativity is great and rich. Grieg wrote the most creative genres. Piano concerto ta Baladi, three sonatas for violin and pianoforte, sonata for cello and pianoforte, a quartet to speak about Grieg's constant craving for great form. At one time, the composer’s interest is inescapable to the instrumental miniature. So, like a pianoforte, the composer was attached to the chamber vocal miniature - a romance, a song. If it weren't for Grieg, the area of symphonic creativity is marked by such masterpieces as suїti. Per Gounod ”, “Three hours of Holberg". One of the characteristic types of Grieg's creativity is a sample of folk songs and dances: in seemingly clumsy piano pieces, a suite cycle for piano in chotiri hands.
The musical language of Grieg is clearly original. The individuality of the composer's style is best characterized by a deep connection between yoga and Norwegian folk music. Grieg is widely associated with genre features, intonation arrangements, rhythmic formulas of folk songs and dance melodies.
The miraculous mastery of variation and variant development of the melody, dominating Grieg, is rooted in the folk traditions of the bagatora repetition of the melody with the changes of the її. "I wrote down folk music my country”. Behind these words, Grieg's reverent promotion to folk art, and recognition of his original role for his creativity.
7. WISNOVOK
After all that has been said, you can make the following vysnovki:
Romanticism was blamed for three main reasons: the Great French Revolution, the Napoleonic Wars, and the introduction of a national and arbitrary movement in Europe.
Romanticism is foldable and super-articulate in artistic culture. At the skin edge of the veins of the mav, the yaskravii national viraz. Romantics occupied various supple and political positions in supremacy. The stench all rebelled against the pundits of the bourgeois revolution, but they rebelled in a different way, the shards of skin maw their own ideal. Ale, with all the richness and diversity of romanticism, there can be st_yk_ risi:
A lot of stench came out of the list of Enlightenment and rationalistic canons of classicism, like they fettered the creativity of the artist's initiative.
They vindicated the principle of historicism (enlighteners judged the past anti-historically it was "reasonable" and "unreasonable"). Human characters have succumbed to the past, molded in their own time. Interest until the national past, having generated a lot of historical creations.
Interest to the point of strong specialness, as if it were against itself to all the superfluous world and it was no longer spiraling on itself.
Respect for the inner world of the people.
Romanticism has gained a wide development like in the lands of Western Europe, and in Russia. However, romanticism in Russia has taken on the look of a Western European for the current historical situation and cultural traditions. The right reason for blaming romanticism in Russia was the Vitchiznyana war of 1812, which showed all the power of the people's initiative.
Features of Russian romanticism:
Romanticism did not resist Enlightenment. Enlightenment ideology weakened, but did not recognize the collapse, like in Europe. The ideal of the illumined monarch is not exhausted.
Romanticism developed in parallel with classicism, often intertwined with it.
Romanticism in Russia in different types of art has manifested itself in different ways. I didn’t read the wines in the architecture. In painting - vycherpavsya until the middle of the nineteenth century. At the music, it manifested itself less frequently. Maybe, romanticism appeared sequentially in literature.
In the image-creating art, romanticism was more pronounced in painting and graphic art, less pronounced in sculpture and architecture.
Romantics open up the world of the human soul, individually, not like anyone else, but more and more close to all the sensibility of the world. Mittevity of the image of painting, as Delacroix said, but not the sequence of them in the literary viconn, signified the artists' focus on the most complicated transfer of movement, for the sake of which a new formal coloristic solution was found. Romanticism was left behind in the recessions of the other half of the 19th century. all these problems and the analysis of the rules of the academism of the artist's individuality. A symbol, which among the romantics, the day-to-day ideas of life, among the other half of the nineteenth century, have the art. differs in the polyphony of the artistic image, which inspires the diversity of ideas and the usual world. Romanticism in painting is sentimentalism.
Zavdyaki romanticism is especially subjective bachelor of the artist nabuvaet form the law. Impresionizm until the end of the era of the transition between the artist and nature, having voiced the mysticism of the enemy. Romantics talk about the artist’s fantasy, “the voice of their own feelings”, which allows the robot to sound like it, if the master knows the cost, and not like the academic worlds of finitude.
Romanticism left the era in the world of artistic culture, and its representatives were: in Russian literature Zhukovsky, A. Pushkin, M. Lermontov and іn; in the figurative art of E. Delacroix, T. Zheriko, F. Runge, J. Constable, W. Turner, O. Kiprensky, A. Venetsianov, A. Orlorsky, V. Tropinin and in; the music of F. Schubert, R. Wagner, G. Berlioz, N. Paganin, F. Arkush, F. Chopin and others revealed people's passions and preferences.
See the art in its significance more less leveled and gave miraculous performances of the art, wanting romance in the gatherings of the art, the music was given first.
Romanticism in Russia was like a light-heartedness in its first whiff from the end of the 18th century and until the 1850s. The line of the romantic in Russian art did not break in the 1850s. Introduced by romantics for art, the theme of becoming a buttya was developed later by the artists of "Blakitnaya Troyand". With direct downfalls of the romantics, without a trace, there were symbolism. Romantic themes, motifs, virtuosity, and have inspired the art of different styles, directly, creative associations. More romantically svetovidchutya chi svetoglyad, appeared alone from the living, tenacious, happy.
Romanticism is like a wild light, powerful is more important than young, like an exercise in ideal and I create freedom until I live in the world of light.
8. LIST OF LITERATURE
1. Amminska A.M. Oleksiy Gavrilovich Vnetsianov. - M: Knowledge, 1980
2. Atsarkina E.M. Oleksandr Yosypovich Orlovsky. - M: Science, 1971.
3. Belinsky V.G. Create. A. Pushkin. - M: 1976.
4. Great Radianska Encyclopedia (Chief editor Prokhorov A.M.).- M: Radianska Encyclopedia, 1977.
5. Vainkop Yu., Gusin I. A short biographical dictionary of composers. - L: Music, 1983.
6. Vasyl Andriyovich Tropiyn (edited by M.M. Rakovskaya). - M: Educational Art, 1982.
7. Vorotnikov A.A., Gorshkovoz O.D., Yorkina O.A. History of the mysteries. - Minsk: Literature, 1997.
8. Zimenko V. Oleksandr Osipovch Orlovsky. - M: Sovereign Vision of Image-Making Art, 1951.
9. Ivanov S.V. M.Yu.Lermontov. Life and creativity. - M: 1989.
10. Musical literature of different countries (Edited by B. Levik).- M: Music, 1984.
11. Nekrasova O.O. Turner. - M: Visual Art, 1976.
12. Ozhegov S.I. Russian dictionary. - M: Sovereign Vydavnitstvo of foreign and Russian dictionaries, 1953.
13. Orlova M. J. Constable. - M: Science, 1946.
14. Russian artists. A.G. Venetsianov. - M: Sovereign Vision of Image-Making Art, 1963.
15. Sokolov O.M. History of Russian literature of the 19th century (1st half). - M: Vishcha school, 1976.
16. Turchin V.S. Orest Kiprensky. - M: Knowledge, 1982.
17. Turchin V.S. Theodore Géricault. - M: Educational Art, 1982.
18. Filimonova S.V. History of light art culture.-- Mozir: White wind, 1997.
It was born in the XVIII century, the prote of the greatest expansion of the reach in the 1830s. From the beginning of the 1850s, the period began to decline, the proteomics of yoga stretched throughout the nineteenth century, giving the basis for such directions, like symbolism, decadence and neo-romanticism.
Blaming Romanticism
Europe is directly respected by the Fatherland, England and France are famous, and the name of this artistic direction is “romantisme”. Let me explain that the romanticism of the 19th century was a legacy of the Great French Revolution.
The revolution destroyed the entire hierarchy, which it founded earlier, mixed up the state and social verst. Lyudina became aware of her self-esteem and began to play tricks for the sake of gambling and other loves. On tlі tsgogo i vinikla idea about those, scho all life є thunder, in yakіy є і peremozhtsi, і programm. The head hero of the skin romantic creation is a crowd of people, like a rock with fate, with a share.
What is romanticism
Romanticism is all those that are only found in books: ignorant, unimaginative and fantastic phenomena, at one time connected with affirmations of specialness through spiritually and creative life. In the head rank, they grow up on the smoldering passions, all the heroes have clearly manifested characters, often endowed with a rebellious spirit.
The writers of the era of romanticism slander that the main value of life is the individuality of a person. Skin specialty - the whole world of light, spovnenie marvelous beauty. The very star draws all the inspiration that is high, and it also manifests itself as a grace to idealization.
For the affirmations of writers-romanists, the ideal is understandable ephemeral, prote may have the right to reason. The ideal is changing the pose of everything supernatural, that head hero, that її ideї without intermediary juxtaposition of life and material things.
Vіdminnі rice
The peculiarities of romanticism seem to be found in the main ideas and conflicts.
The main idea of a practical skin creation is the posture of the hero's transfer to the physical space. This fact is like a bikind of the sum of the soul, yogo without interruption in the flow of thought and at once - change in the world of need.
Like a lot of artistic directions, romanticism is subject to conflicts. Here the whole concept will be based on the collapsible interchanges of the protagonist with the necessary light. Vіn is also his centric and at the same time rebelling against the base, vulgar, material objects in action, which is otherwise manifested in the characters' thoughts, thoughts and ideas. Apply the most vivid expression in this plan of advancing literature to romanticism: Childe Harold is the main character from Byron's "Childe Harold's Pilgrimage" and Pechorin - from Lermontov's "Hero of Our Hour".
If you understand everything that has been said above, then you can see that the basis of any similar creation is to explore the gap between reality and idealized light, which can be even more hospitable.
Romanticism in European Literature
European Romanticism of the 19th century is a miracle team, what more can you do to create a fantastic foundation. Numerical Kazakh legends, novels and stories.
The main countries, in which romanticism, as a literary one, directly manifested itself most vividly, are France, England and Germany.
This artistic manifestation may have a few steps:
- 1801–1815 rocky. The cob of molding romantic aesthetics.
- 1815–1830 rocky. The formation of that rozkvіt techії, the designation of the main postulates of this directly.
- 1830–1848 rocky. Romanticism is dressed up in more social forms.
The skin from the overhauled lands has made its own, special contribution to the developments of a designated cultural phenomenon. In France, romantically small political zabarvlennya, scribes were more likely to create a hundred and fifty new bourgeoisie. All the supremacy, in the opinion of the French devils, ruined the wholeness of specialness, її beauty and freedom of the spirit.
In English paraphrases, romanticism had already been finished a long time ago, until the end of the 18th century it was not seen directly as a mass of literature. Create English, based on the French, inspired by Gothic, religion, national folklore, the culture of peasant and worker associations (Zokrem and spiritual shtibu). In addition, English prose and lyric poetry are reminiscent of the rise in price in distant lands and the achievements of foreign lands.
In Nіmechchina, romanticism, as a literary one, was directly formed under the influx of idealistic philosophy. The foundations were individuality and oppression by feudalism, as well as the adoption of the whole world as a single living system. Mayzhe kozhen n_metsky tvir permeated with thoughts about buttya people and that life in spirit.
Europe: get creative
The most commemorated European works of art on the kshtalt of romanticism are respected by such literary creations:
The treatise "The Genius of Christianity", in the form of "Atala" and "Reni" by Chateaubriand;
Romani "Delphina", "Corina, or Italy" by Germaine de Stael;
The novel "Adolf" by Benjamin Constant;
The novel "Spovid sina vіku" by Musset;
Roman "Saint-Mar" Vіny;
Manifesto "Peredmov" to the work of "Cromwell", the novel "Cathedral Our Lady of Paris» Hugo;
Drama "Henry III and Yogo Door", a series of novels about musketeers, "The Count of Monte Cristo" and "Queen Margot" by Dumas;
Romani "Indiana", "Mandrivny Pidmaster", "Horas", "Consuelo" George Sand;
Manifesto "Racin and Shakespeare" by Stendhal;
Sing "Old Sailors" and "Christabel" by Coleridge;
- “Skhidni sing” and “Manfred” by Byron;
Selected works of Balzac;
The novel "Ivanhoe" by Walter Scott;
Fairy tale "Hyacinth and Rose", novel "Heinrich von Ofterdingen" by Novalis;
Collections of novels, tales and novels by Hoffmann.
Romanticism in Russian Literature
Russian romanticism of the 19th century was born under the influx of Western European literature. However, regardless of the price, due to its characteristic patterns, as it was seen in the previous periods.
This artistic phenomenon in Russia in the whole world drove all the fortune-telling of the foremost workers and revolutionaries to panivnoy bourgeoisie, zokrema, to the її way of life - roguish, immoral and zhorstok. Russian romanticism of the 19th century is a direct legacy of rebellious moods and a preview of the turning points in the history of the country.
In the literature at that time, two are seen directly: psychological and gromadyansky. First it was based on the description and analysis of feelings of that experience, the other - on the propaganda of the fight against modern prosperity. The main idea of all novelists was those who sing or the writer is guilty of being led to quiet ideals, describing wines in their works.
Russia: apply creativity
Nayaskravishi apply romanticism to the literature of Russia in the 19th century - tse:
Povіsti "Ondіna", "Shіljonskiy v'yazen", balads "The Fox Tsar", "Ribalka", "Lenora" by Zhukovsky;
Create "Evgeniy Onegin", "The Lady of Pikova" by Pushkin;
- “Nich before Rizdvom” by Gogol;
- "Hero of our hour" Lermontov.
Romanticism in American Literature
In America, having directly touched off the last traces of life: the beginning stage of yoga dates back to the 1820-1830s, the onset - 1840-1860 to the rocks of the 19th century. At the offensive stage, the vindictive infusion was celebrated by the hromadyansky turmoil, both in France (which served as a postal order before the United States was closed), and in America itself (the war for the independence of England and the war between Pivnichchyu and Pivdny).
Artists are directly represented in American romanticism by two types: abolitionist, who advocated the abolition of slavery, and skhidnim, who idealized plantation.
The American literature of the designated period is rooted in the reinterpretation of knowledge and genres, swamped from Europe and mixed with their own way of life and the pace of life for a still new and little known continent. American creations are richly smeared with national intonations, almost like independence and fighting for freedom.
American Romanticism
The Alhambra cycle, the eponymous of the Primar's Adverbs, Rip Van Winkle, and The Legend of Sleepy Hollow by Washington Irving;
The novel "The Rest of the Mogicans" by Fenimore Cooper;
Versh "Raven", inspired by "Ligeya", "Golden Beetle", "Falling House of Ushers" and others by E. Alan Poe;
Romani "The Scarlet Letter" and "Budinok about this pediment" by Gorton;
Romani "Type" and "Mobі Dіk" Melvіll;
The novel "Hatina Uncle Tom" by Harriet Beecher Stowe;
Poetic translations of the legends of "Evangeline", "The Song of Hiawatha", "Woodding of Miles Standish" by Longfellow;
Collection of "Leaf of Grass" by Whitman;
TV "A Woman at the Nineteenth Century" by Margaret Fuller.
Romanticism, as a literary one, directly vplunging into the musical one, theatrical art and painting - to solve the puzzles of numerical productions and paintings of quiet hours. It became the main rank through such yakost directly, like a high aesthetics and emotions, heroism and pathos, licentiousness, idealization and humanism. Irrespective of those that the century of romanticism was unhappy with, not a single antrohi was added to the popularity of books written in the 19th century, in the coming decade - the creation of the literary mysticism of that period was loved by that shanovani public and donin.
The beginning of the 19th century - an hour of cultural and spiritual enlightenment in Russia. While in the economic and socio-political development of Russia stood among the leading European powers, then in cultural achievements it was no less equal to them, and often outperformed. The development of Russian culture in the first half of the 19th century spiraled at the turn of the hour. The penetration of the elements of capitalistic resources in the economy has increased the need for literate and enlightened people. Mista became the main cultural centers.
New social versions were drawn into the suspense process. The culture was developed and the natomist dedale of the growing national self-confidence of the Russian people and the national character was not clearly expressed. Іstotny injection into literature, theater, music, image-making art Vitchiznyana war of 1812, as the nebuvalo world hastened the growth of national self-confidence of the Russian people, its consolidation. There was a closeness between the Russian people and other peoples of Russia.
The beginning of the 19th century is rightfully called the golden age of Russian painting. The very same Russian artists have reached that level of mastery, putting their creations on a par with the best images of European art.
Three names represent Russian painting of the 19th century. Kiprensky , Tropinin , Venice. At all times there is a change: an illegally popular pomishchitsky rank, a krіpak and a merchant's bait. The skin has its own aspirations - a romantic, a realist and a "strong lyricist".
Regardless of the early stagnation of historical painting, Kiprensky vіdomiy us ahead as a prominent portrait painter. We can say that on the cob of the nineteenth century. Vіn becoming the first Russian portrait painter. The old masters, who became famous in the 18th century, could no longer compete with him: Rokotov died in 1808, Levitsky, who survived yogo for 14 years, did not take up painting anymore through the ailment of his eyes, and Borovikovsky, who did not live a few months before the revolt of the Decembrists, having worked a little more.
Kiprensky had mercy on becoming an artistic chronicler in his time. "History in Persons" can be used for his portraits, on some of the rich participants in quiet historical podias, the co-participant of some wines: heroes of the war of 1812, representatives of the Decembrist movement. The technique of the olive baby, which was taught at the Academy of Mystery, was given serious respect. Kiprensky created, in fact, a new genre - a portrait.
Kiprensky created many portraits of children of Russian culture, and, obviously, the most prominent among them is Pushkinsky. Vіn buv spellings for prayer Delviga, Lyceum friend of the poet, in 1827. The attendants recognized the marvelous similarity of the portrait with the original. The artist's image of the poet was inspired by the butt's rice, the authoritative portrait of Pushkin by Tropinin, painted at that time. Oleksandr Sergiyovich taken by the artist at the moment of inspiration, if the poetic muse saw it.
The artist's death was a wake-up call for another hour of his journey to Italy. Remaining fates a lot of things that did not work out for the illustrious artist. A creative slump has set in. Not long before his death, his life was overshadowed by a tragic podium: for the weddings of the fellows, there was a litany of hybno ringing at the vbivstviya, she was afraid to leave the house. To build a friendship with its Italian vikhovanka did not brighten up the rest of the days.
Few mourned the Russian painter who died in a foreign land. In the meantime, not rich, as if in a right way they figured out what master the culture of the country had spent, the artist Oleksandr Ivanov, who at that time was in Italy. At those sumnі days vіn wrote: Kiprensky "the first wine of im'ya rosіysk to vіdoma in evropі".
In the history of Russian art, Tropinin became an important portrait painter. Vin saying: "A portrait of a person is painted for the memory of his close people, like him to love." According to contemporary estimates, Tropinin painted close to 3,000 portraits. Chi tse so, say it's important. In one of the books about the artist, a list of 212 accurately identified features, such as Tropinin's portraits, was made. Є in the new and richly works under the name "Portrait of the invisible (non-home)". Tropinin was called by state dignitaries, grandees, warriors, dilki, other officials, kripaks, intellectuals, children of Russian culture. Among them: the historian Karamzin, the writer Zagoskin, the art critic Odoevskiy, the painters Bryullov and Aivazovsky, the sculptor Vitali, the architect Zhilardi, the composer Alyab'ev, the actors Schepkin and Mo-chalov, the playwright Sukhovo-Kobilin.
One of the best works of Tropinin is a portrait of a sin. It is necessary to say that the "review" of the Russian art of the XIX century. bouv childish portrait. In the Middle Ages, they marveled at a child like a small, grown-up one, who had not yet died. Children were dressed in clothes, as if they were not disturbed by anything in the grown-ups: in the middle of the XVIII century. the girls wore tight corsets and wide backs with fijma. Tilki on the cob of the XIX century. a child was given a baby. Artists were one of the first to kill. The portrait of Tropin has a lot of simplicity and naturalness. The boy does not pose. Chimos tsіkavleniy, vіn turned around for miles: mouth squashed, eyes shine. The soundness of a child is wonderfully accommodating and poetic. Golden rozpatlane hair, vіdkrit, like a child's fluff of disguise, a lively look of intelligent eyes. It seems that with such love, the mitets painted a portrait of a son.
Self-portraits Tropinіn painting two. At the age of 1846, dated 1846, the artist is 70 years old. Vіn picturing to himself with a palette those brushes in his hands, sho spiraling on the mastbel - a special wand, with which the artists burrow. Behind him is a majestic panorama of the Kremlin. The young rocky Tropinin has a heroic strength and a strong spirit. Judging by the self-portrait, he saved the strength of the body and the ailing vice. Rounded appearance in the eyepieces shows good nature. The artist died after 10 years, but in the memory of naschadkiv his image was lost - a great, kind person who enriched Russian art with her talent.
Venetsianov introduced the Russian peasant theme to Russian painting. Vіn the first among Russian artists, showing the beauty of native nature in their canvases. In the Academy of Arts, the landscape genre was not shunned. Vіn having borrowed the front for the meaning of the place, having left behind the ganebnish - the butt. Less than deyak maistri painted nature, giving priority to Italian or manifest landscapes.
Rich robots Venetian nature and people are inseparable. The stench is tied so very tightly, like a peasant from the earth, її gifts. His most famous works - "Sinokos", "On the rolls. Spring", "On the stubble. Summer" - the artist creates for 20 years. That is the peak of yoga creativity. No one in Russian art can zoom in to show the peasant life and practice of the villagers out of such love and so poetically, like Venetsianov. At the painting "On the Rill. Spring" a woman is harrowing a field. Tsya is an important, high-spirited worker looking at the canvases of Venetsianov high: a village woman - at a shaggy sarafan and a kokoshnik. With beautiful appearances, that gnuchka camp will guess the ancient goddess. Leading under the bridle of two pokirnyh horses harnessed to the harrow, you won’t go out, but widen over the field. The life of the dovkol flowed calmly, calmly, peacefully. There are green trees, there were glooms floating across the sky, a field is endless, on the edge of which it is impossible to sit, like a check on the matir.
The painting "On the stubble. Summer" continues ahead. The harvest is ripe, the fields are eared with golden stubble - the hour of stubble has come. In the foreground, slaying a sickle, a village woman breastfeeds a child. The sky, the field, the people, like working on a new one, are inseparable for the artist. Ale, all the same, the main subject of yogo respect zavzhdi is a person.
Venice having created a whole gallery of portraits of the villagers. This is new for Russian painting. At the XVIII century. people from the people, and there are more krіpaks, little cіkavili artists. On the thought of the art historians, Venetsianov, the first in the history of Russian painting "handily scoping and creating the Russian folk type" . "Reapers", "Girl with hairs", "Girl with calves", "Sleeping shepherd" - beautiful images of the villagers, honored by Venetsianov. Portraits of village children took a special place in the artist's work. What a garni "Zakharka" - okorist, kirpaty, great-lipped lad with a juice on his shoulders! Zakharka nacheblyuє energіynu selyansk nature, from childhood I have been grafted to practice.
Oleksiy Gavrilovich depriving himself of good memory as an artist, and as a distinguished teacher. At the hour of one of my arrivals at St. Petersburg, I learned from the students of the first artist, then the third, then the third ... So the art school blamed the whole school, which went into the history of the arts under the name Venetian. For a quarter of a century, її passed close to 70 talented young people. The great artists of the Venetians tried to redeem themselves from captivity and suffered more, but they didn’t go into it. The most famous of his teachers - Gregory Soroka - did not take the liberty of his assistant. Vіn having lived up to skasuvannya krіpatstva, ale, bringing to vіdchau vіdchayu vladdy kolishnogo ruler, putting his hands on himself.
Many scholars of Venetsianov lived at the yogi's booth on full morning. The stench touched the secrets of Venetian painting: the laws of perspective were firmly established, respect for nature was strong. Among the yogis of vikhovants there were a lot of talented masters, they left a mark in the Russian art: Grigory Soroka, Oleksiy Tiranov, Oleksandr Aleksiev, Nikifor Krilov. "Venetsianivtsi" - lovingly called yoga Vikhovantsiv.
In this way, one can affirm that in the first third of the 19th century there was a strong zest for the cultural development of Russia and this hour is called the golden age of Russian painting.
Russian artists have reached that level of craftsmanship, putting their creations on a par with the best examples of European art.
Glorified by the feat of the people, the idea of yogo spiritual awakening, vikrittya virazok krіposnitskoy Russia - these are the main themes of the image-making art of the 19th century.
In portrait painting, the picture of romanticism is the independence of human specialty, individuality, freedom to show feelings - especially striking.
A lot of portraits of children of Russian culture have been created, a portrait of a child. The rural theme, the landscape, which showed the beauty of native nature, came into fashion.
SVITOVA ARTISTIC CULTURE: Concept, change and morphology of the multimedia complex for the global lighting school. - St. Petersburg: Asterion, 2004. - 279 p.
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Epoch of Romanticism | ||
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Zagalna characteristic (V.Є.Cherva) | ||
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Main monuments (V.Є.Cherva, M.N.Shemetova) | ||
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Butt characteristics of the monument (V.Є.Cherva) | ||
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Biography of the creative individual (V.Є.Cherva) | ||
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Bibliography (V.Є.Cherva) | ||
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Healthy nutrition before the control test (V.Є.Cherva, Yu.V.Lobanova) |
5.4. Epoch of Romanticism
5.4.1. Zagalna characteristic
Romanticism is an ideological and artistic movement in the European culture of the end of the 18th - 1st half of the 19th century. The whole epoch of bourgeois revolutions, political and economic upheavals in Europe, which is characterized by criticality in terms of modern activity and one hour before the social and political principles of the past XVIII century. (epoch of Enlightenment). Romanticism, as a special kind of light-gazer, has become one of the most folded and super-remarkable phenomena in the history of culture. Rozcharuvannya in the ideals of Enlightenment, in the results of the French bourgeois revolution of 1789. they appointed a pessimistic view of the suspіlny development; The mentality of "luminous sorrow" rose in Romanticism from the exercise of harmony to the order of the world. Seeing the rationalism and mechanism of enlighteners, romantics, at the same time less, they took the main concepts of the previous era: “a natural person”, a look at nature is like a great good ear, the practice of justice and equivalence.
In artistic culture, the accident of hope for freedom, the wild light and the suppleness of well-being zoomed in on the main motive of that period, which was important for the aesthetics of Romanticism - “an accident of illusions”. The second important motif of artistic activity, the birth of a discord between the ideal and reality, the impossibility of reaching ideals, is “two worlds”, that is. a glimpse of reality into the illusory world of mysticism, an idealized antiquity of distant, exotic for Europe lands. In this manner, among the romantics, the harmony of the world was broken. Light split into categories, compared one to one: life on earth and eternal life, God and the devil, hero and natovp, the present hour and far past, beautiful and poignant, ideal and everyday life.
At the link with new svetorozuminnyam in the era of Romanticism step by step changed and razuminnya speciality, spіvvіdnoshennia znachnostі osobistostі that suspіlstva for culture. On the vіdminu vіd classicism, scho accentuating natural similarity all people, tobto. the priority of the slanderous, placing romanticism at the basis of the individual dissimilarity. Sounds of romantic singularity as selfish, unreasonable, rebellious (actively and passively) against all and everything, congenial pride, which throws a cry to God, suspіlstvo, natovpu.
In artistic culture, romanticism has become a reaction to the rationalistic aesthetics of classicism. However, it is impossible to speak about those that romanticism in the world of art is more likely to be achieved by classicism: romanticism fills the stylistic foundations of classicism, reinterpreting the language of artistic forms, as well as the idea of directing the art. Ignoring the “polarity” of classicism and romanticism, having looked at the people and the world in the world, it was revealed about the peculiarity of the end of the 18th century - the beginning of the 19th century. conveying the rationalistic ideal of the people of the era of Enlightenment with ob'yazkovym links of all private, subjective to slanderous, over-special and romantic "nalyot". The greatest manifestation of this manifestation was taken away in the lyric - the most sub-active kind of literature, which became the epitome of romantic tendencies in the literature.
Romanticism, as a style of art, has been blamed on the back of literature, and also other types of art. To instil the understanding of “romanticism” came from literature and resembled the epithet “romantic” (previously, as a literary term, it was introduced by Novalis). Until the 18th century tsey epithet vkazuvav on deyakі features of literary works, written in Romance language, zokrema, on tsіkavіst, impersonal fit that podіy. Naprikintsi XVIII Art. "romantic" became more sensible: like adventurous, cicave, and like old-fashioned, self-styled folk, far, naїvne, fantastic, spiritually exalted, primarne, and navite wondrous, lakayuche. To this very fact, romantics often idealized the past, tried to inspire a new life in myth and biblical saying. Fantasy becomes the contrast of reality.
The Crimea of literature (especially lyrics) is another kind of art, in which romantic tendencies have been infused with the whole world, there was music. Individualism, which let the parostas into sentimentalism, into the romantic era of the reach of unmarried people. As a result of this, the status of a special person, an artist-creator, is sharply seen. A special share, a special drama of the nabula of the primal human sound, to that in the era of Romanticism, the popularity of the nabula of creations from spontaneous motives was especially popular. Music in its own manifestation - "Support the soul". Nevipadkovo І.І.
On vіdmіnu vіd literary romanticism, scho z'avivsya naprіnkіnci XVIII Art., Musical romanticism showing itself only in another decade of the XIX century. It is demonstrative that the term “romantic music” belongs to E.T.A. As in the era of Revival, the main view of the art of painting was painting, and the main ideas of the era of Enlightenment knew their own in the theater, then romantic aesthetics in the first place hung literature and music. Moreover, the romantics themselves did not have a single thought about why, which of these types of art borrows more and more high camp in the "ієrarchії" of the mystics, and the idea of a combination of literature and music hung on the first half of such "synthetic" genres, like opera, program . In the gallery of instrumental music, less subtle to the ideas of romanticism, the piano miniature has become the most important, creating a better painting mood, landscape, characteristic image. In painting, the main romantic genre is the portrait, in which the main thing is the manifestation of bright characters, the tension of the spiritual life, the swirling movement of human feelings, and the creation of a self-portrait, which may have been painted in the 18th century. Rich rice, pritamanni romantic painting, knew its continuation in the best stylistic directions, for example, mysticism and folding alegorism - symbolism, promoted emotion and impulsivity - expressionism.
Characterizing Western European romanticism, Ivanov-Rozumnik divided it into three varieties: German, English and French, characterizing them as logical, romanticism of thought, ethical, romanticism of will, and aesthetic, romanticism.
Nіmechchina at that hour, the country was fragmented, as it is possible to take an active part in the colonization. However, in Nіmechchyna there are a lot of philosophical schools and days - they won't be able to work on active and rіshuchі dії, but there may be an arduous ideological potential. German romanticism is characterized by melancholy, spying, mystical-pantheistic moods. German romanticism turns to myths, legends, retellings and sayings to its people, which is shown in literature, music, and painting of this period. E.T.A. Hoffman writes fairy tales, richly motivated by German folklore, and his opera “Ondina” also turns to folk retellings. The creativity of R. Wagner may still be true to his roots in German mythology, the heroic epic (“Lohengrin”, “Parsifal”, “The Ring of the Nibelung” then) and the legendary past of his country (“The Flying Dutchman”, “Tannhäuser” etc.) . K.M. Weber (opera "Vilniy Strilets") also goes as far as retelling his people.
On the cob of the XIX century. Austria Bula Veliability Іmperіyu, Scho included Utelіj, pivdennes, pivnіch іtalії, pivdennes Skіd Bavarії, the National Warehouse ї Bouv Riznomanіtnikim: Czechi Tu Ugtzі, Slovaks Ta Croati, Rumunie Ta Ukraїntzі, Polesa Taji Taitzі, breech Austrian Tha Nіmtsi became one third of the population. Traditions, zvichas, folklore and peculiarities of the artistic creativity of the skin of these peoples have been injected into the molding of the specific rice of the Austrian culture. The protesters of the people were united by the Habsburg dynasty. On vіdmіnu od Nіmechchini in yakіy peoples of rozvinenoyu natsіonalnoyu culture not mali єdinoї powers i to pragnuli stvorennya natsіonalnoї powers yak zaporuki zberezhennya svoєї cultures, peoples Avstrіyskoї іmperії lived within єdinoї powers, yak formuvalasya zadovgo to promislovoї revolyutsії for dinastichnim principle i no ototozhnyuvalasya h living among the peoples who were under their dominion. At the same time, that the German language was native to the members of the ruling dynasty, they looked at it like an official language country and the best benefit of international splintering of the Meshkants. Possibly, the very rich rice, the taman artistic culture of Nimechchini, was characteristic of Austria. For example, setting up to nature like a backdoor in the face of civilization, on the other hand, healthy people who are going to be, brightly exude in the works of F. Schubert (for example, the vocal cycle “The Beautiful Miller’s Woman”), the creativity of such a spiritual experience of specialness is closely related to images of nature.
On the vіdmіnu vіd Nіmechchini, England that hour it was an advanced country with rich political and economic traditions and a form of government, like the whole of Europe, respecting it the most in the distance (parliamentary monarchy). However, as a way of showing the history of art, England of the romantic period did not create a lot of music, and the reach of romanticism was found in two types of art: literature and painting. The main themes of English romanticism were thoughts about romantic singularity, a hero of his own hour, and also about those moral strengths that may be a mother hero (for example, in the works of J. G. Byron "Childe Harold", "Don Juan" and in "Endimion" ) J. Keats). In English romantic painting, having transcended the landscape as a reflection of spiritual purity and the great possibilities of the “natural people” (for example, the landscapes of J. Constable).
French romanticism buv yaskravim vіdobrazhennyam podіy 1789, tobto. Great French Revolution. For the same reason, among the most popular regional variants of romanticism, French is the most found and the most active, the most motivating. Vin giving anonymous names to various types of art. So, in literature, one of the largest romantics, the first to formulate the main characteristics of French romanticism (preceding the drama "Cromwell"), was V. Hugo, the second - A. de Musset, who became famous for his creation-spoviddu "Speech of the Son of the Century". In music, G. Berlioz became a great innovator, who was one of the first to create the genre program symphony(“Fantastic Symphony”) and reforming the musical variety. French artists are also reforming their artistic diversity: dynamic composition, progressively forming with a raging rush, vicorist yaskraviy, rich colors, which are based on the contrasts of light and darkness, warm and cold tones.
American romanticism after a variety of reasons is not a single picture. The presence of a deep national root, the geographical distance from the European lands, the mosaic of culture created on the new mainland, as well as the concern about the establishment of independence in Europe marked their own path of American romanticism. Nasampered, try to know the root of your culture in the cultures of the aborigines - Indians. For this very reason, there are a lot of mitzvot, zokrema of literature, they turn to the idealization of the life of Indians, their image (F. Cooper, G. Longfellow). Another tsіkavlyatsya nature tsієї fertile lands, then, one of the widest romantic genres in the flock of landscape.
Zahalnovidomo, that Russian romanticism is now invigorated by the Western European. Russia turn of the XVIII-XIX centuries. has not yet "caught up" with Europe in its economic development, has not survived its bourgeois revolution, so Russian culture was far from the tragedy and hopelessness of "light sorrow", "sight" in the idealization of middle English, which is typical for French Speaking about Western European traditions in Russian romanticism, respectfully, the moods characteristic of Europe in the late 18th century became relevant in Russia in connection with two signs of Russian history - the December of 1812, the European Revolution. Vitchiznyan war took the rise of national self-confidence, and the revolt of the Decembrists became a kind of climax of the revolutionary situation, similar to the Western Europe. The axis of which is early Russian romanticism, which rose up on another decade of the 19th century, on the view of the Western European, buv “optimistic, active, offensive” (G. Gukovsky). Russian culture was going through a period of revolutionary development in all the galleys of culture. Another source of inspiration between Western European and Russian romanticism was those who were the main destructive social force of Europe and the third camp, and in Russia there were noblemen, that Russian romanticism is often called "noble". Indeed, the most significant manifestations in the sphere of Russian culture of the first half of the 19th century. were taken to the noble middle class. Navit borbat skasuvannya krіposnogo right was carried out more importantly by the nobles.
At the same time, the cultural opposition of St. Petersburg and Moscow has become bright at the sight of Russia. Guess what in the XVIII century. Moscow opposed the reactionary classicist St. Petersburg with the most advanced sentimentalism of that hour. On the cob of the XIX century. itself in Moscow appeared the first couples of romanticism. The most patriarchal Moscow turned basically to passive directly Romanticism, the main idea of what kind of bov_dkhіd in іdealіzm, just like St. Petersburg culture bred this active revolutionary-enlightenment, collective ear. The culture of Pushkin's Petersburg was truly deprived of its brutality to the reach of Western European Enlightenment, tobto. to the singing sensible maxims how to transform suspіlstva, just like Moscow sentimentalism outperformed romanticism, setting the first place to create specialness.
Romanticism has become the rest transnational European the style of the art. However, in the order of overgrown rice, it should be noted that the skin region created its own unique, spontaneous romantic coloring. It is related to this, that within the framework of Romanticism, which is the initiation of the turbulent growth of national self-confidence, the impersonal national artistic schools are created, the skin of such a variety of ideas, plots, styles, and genres, as well as special features.
Romanticism in the image-creating art is rich in why it relied on the ideas of philosophers and writers. In painting, like in other types of art, romantics were attracted by everything unimaginable, unknown, whether it be distant lands with exotic animals and costumes (Delacroix), the world of mystical visions (Blake, Frederick, pre-Raphaelity) and enchantment (Holy house) , Fusli). The inspiration for rich artists was the past era of the past: the Ancient Skhid, the Middle Ages and the Proto-Renaissance (Nazarenes, Pre-Raphaelites).
In contrast to classicism, which is magnificant in the clear power of the mind, the romantics were addicted, snarling, feeling like they were crying out for a whole person. Nasampered looked at the new vіyannya portrait and landscape, like the favorite genres of romantic painting.
rosequit portrait genre from the interest of the romantics to the bright human individuality, the beauty of wealth її spiritual light. The life of the human spirit is surpassed in a romantic portrait over interest to physical beauty, to a sensitive plasticity of the image.
In a romantic portrait (Delacroix, Géricault, Runge, Goya) the originality of the skin of a person is always shown, the dynamics are transmitted, the intense battle of the inner life, the rebellious predilection.
Crying romantics and the tragedy of an evil soul: mentally ill people often become the heroes of creation (Gerico "God, who suffers addicted to gambling," "Evil child", "Change, who manifests himself as a commander").
Regional view think of romantics as the soul of the light; nature, like the soul of a person, stands at the dynamism, constant timidity. Landscapes characteristic of classicism, arranged and ennobled, were replaced by images of spontaneous, invincible, mighty, nature, which is always changing, which made a sum of impressions in romantic heroes. Romantics were especially fond of writing storms, thunderstorms, volcanic eruptions, earthworks, shipwrecks, buildings to give a strong emotional injection to the peephole (Gericault, Friedrich, Turner).
The power of romanticism to poetize the night - a marvelous, surreal world, which lives by its own laws - brought to the development of the "night genre", which becomes a favorite among romantic painting, especially among German artists.
One of the first lands, in the image-creating art of romanticism, has becomeNіmechchina .
Creativity celebrated the development of the romantic landscape genreCaspar David Friedrich (1774-1840). In this artistic landscape, landscapes are depicted from the images of the mountain peaks, the forest, the sea, the seashore, as well as the ruins of old cathedrals, abandoned abbeys, monasteries (“Cross at the Mountains”, “Cathedral”, “Abbey in the Middle of Oak Trees”). The stench resounds with the presence of an imminent turmoil in view of the evidence of the tragic ruin of a person in the world.
The artist is fond of nature’s scenes, which are most suitable for romantic її spriyattu: early morning, evening sundown, moon’s departure Chalk on the island of Rügen”, “On the windowpane”, “Harbour of night”).
Postiyni characters of yogic creations are self-sacrificers, bored at the gaze of nature. Marveling at the unseasonable, they gave and inexhaustible heights, the stench reaches the eternal secret places of the light, carry the beautiful light of the world. This miraculous light Frederick passes on for the help of the enchanting light- promenistous dormouse or taєmnichigo monthly.
Friedrich's creativity called out the hoarding of contemporary workers, zokrem I. W. Goethe and W. A. Zhukovsky, zavdyaki for a rich variety of paintings came to Russia.
Painter, graphic artist, that art theorist singsPhilip Otto Runge (1777-1810), more importantly, devoting himself to the portrait genre. In his robots, he poetized the images of famous people, often his loved ones (“For the third time” - a self-portrait with his betrothed and brother, I didn’t save; “Children of Sims Huelsenbeck”, “Portrait of the artist’s father”, “Self-portrait”). The deep religiousness of Runge was revealed in such paintings as "Christ on the birch of Lake Tiberias" and "Christ on the way to Egypt" (not finished). The artist inspired his theoretical treatise “The Sphere of Color” to support his thoughts about art.
Pragnennya vіdroditi religiyno-moralni ambush at nіmetskomu mystetstvі pov'yazane z creative activities of artists Nazarene school (F. Overbeck, von Karlsfeld,L. Vogel, I. Gottinger, J. Sütter,P. von Cornelius). Having united in their own religious brotherhood (“Union of St. Luke”), the “Nazarenes” lived near Rome on the monastic community and painted pictures of religious plots. Clearly for their creative stinks, the stench brought in Italian and German paintingXIV - XVcentury (Perugino, early Raphael, A.A. Durer, H. Holbein the Younger L.Cranach). In the painting "The Triumph of Religion and Mystery" Overbeck directly follows Raphael's "Athenian School", and Cornelius in "The Apex of the Apocalypse" - the same-name engraving by Durer.
The main virtues of the members of the brotherhood respected spiritual purity and broad faith, respecting that "only the Bible and made Raphael a genius." Leading the self of life in the cells of a shabby monastery, the stench called their service to mysticism into the rank of spiritual service.
"Nazarenes" gravitated to great monumental forms, tried to create high ideals for the help of a new fresco technique. Deyakі murals were painted by them at once.
In the 1820s and 1830s, the members of the brotherhood rose up in Nimechchina, having taken away the land plots in various art academies. Only Overbeck is alive to death in Italy, not hurting his artistic principles. The best traditions of the "Nazarenes" were preserved for a long time in historical painting. Their ideological and moral jokes were thrown into the English pre-Raphaelites, as well as into the creativity of such artists as Schwind and Spitzweg.
Moritz Schwind (1804-1871), an Austrian for travel, having worked near Munich. In the easel works, I depict an important look and beat the old German provincial towns with their inhabitants. It is crushed with great poetry and lyricism, with love for its heroes.
Carl Spitzweg (1808-1885) - Munich painter, graphic artist, glittering draughtsman, caricaturist, also not without sentimentality, but with great humor rozpovida about mischief ("Bidny sings", "Rank's cava").
Shvinda and Spitzweg sound like a flow in the culture of the Nimache region, under the name "bidermeier".Biedermeier - This is one of the most popular styles of the era . On the first plan, the burghers, the average inhabitant, hung. The central theme of Biedermeier's painting was the everyday life of a human being, which flows into an indistinct link with his house and that same house. The interest of the Biedermeier is not until the past, but until today, not until the great, but until the small, having adopted the molding of realistic tendencies in painting.
French school is romantic
The most recent school of romanticism in painting developed in France. Vaughn blamed it like opposition to classicism, which was reborn into a cold, rosy academism, and hung such great masters, as if they marked the French school for the entire 19th century.
The French Romantic artists gravitated towards plots empty of drama and pathos, inner tension, distant views of “dark everydayness”. Vіlyuyuchi їх, the stench reformed picturesquely and viraznі zasobi:
The first blissful successes of romanticism in French painting are connected with namesTheodora Géricault (1791-1824), which earlier, for smaller zooms, made it more romantic to see the conflict of the world. Even the first yoga robots can be seen pragnennya to show dramatic podіy suchasnostі. So, for example, the paintings “Officer of the archers who go on the attack” and “Wounded cuirassier” depicted the romance of the Napoleonic era.
Majestic resonance is small painting by Géricault "The Plate of the Medusa", dedicated to the not so long ago present-day life - the death of the ship from the blame of marine steamship. . Having created a gigantic canvas 7 × 5 m, Gericault depicted the moment when people, as if they were resting on the borders of death, bobbed a ryativny ship on the horizon. The extreme tension is reinforced by a suvor, gloomy gamut of colors, a diagonal composition. This picture has become a symbol of the present-day Gericault of France, like, like people, who are fighting in the event of a ship accident, he experienced both hope and hope.
The theme of his last great painting - "Race in Epsom" - the artist knows in England. Here are images of horses that fly like a bird (the image of Gericault is in love, which has become a wonderful naznik). The enemy's strimkost is sung by a sing-along: horses and jockeys are written more seriously, but the body is wide.
After the death of Géricault (having perished tragically, at the discovery of strength and talent), we recognize the French romantics as the head of our young friendEugene Delacroix (1798-1863). Delacroix was universally gifted, had a musical and literary talent. Yogo students, articles about artists - the most famous documents of the era. Yogo theoretical studies of the laws of color were injected into the future impressionists, and especially into V. Van Gogh.
Delacroix's first painting, which brought him popularity, is Dante and Virgil (Dante's Boat), written on the plot of the Divine Comedy. Vaughn impressed the presenters with her prejudiced pathos, the strength of her gloomy coloring.
The pinnacle of the artist's work was "Freedom on the barricades" ("Freedom, scho lead the people"). The authenticity of a real fact (the picture was created in the fall of the lime revolution of 1830 in France) is angry here together with a romantic dream about freedom and the symbolism of images. A beautiful young woman becomes a symbol of revolutionary France.
Viewed at the present day, the bula and the larger early painting "Rizanina on Chios" is dedicated to the struggle of the Greek people with the Turkish panuvans .
Winding up to Morocco, Delacroix created for himself the exotic light of the Arab Gathering, dedicating faceless paintings and painting to it. In "Women of Algiers" the light of the Muslim harem appeared before the European spectator.
The artist, having also created a series of portraits of representatives of the creative intelligentsia, many of them with some friends (portraits of N. Paganin, F. Chopin, G. Berlioz and others)
In the late period of Delacroix's creative work, he was drawn to historical themes, he worked as a monumentalist (paintings in the Chamber of Deputies, the Senate) and as a graphic artist (illustrations to the works of Shakespeare, Goethe, Byron).
The names of English painters of the era of romanticism - R. Benington, J. Constable, W. Turner - are related to the landscape genre. In this gallery, the stench, in fact, showed a new side: native nature knew in their creativity such a wide loving expression, which the other country did not know.
John Constable (1776-1837) became one of the first in the history of the European landscape, having become a writer of studies from nature, having turned to the bezprieredny nature. There are simple pictures behind the motifs: villages, farmhouses, churches, the companion of a river or a sea beach: “Viz dlya sina”, Detkham Valley”, “Salisbury Cathedral from the Bishop’s Garden”. The creations of Constable served as an impetus for the development of a realistic landscape of the movie in France.
William Turner (1775-1851) - seascape painter . Yogo added to the seething sea, anger, storms, blows, tornadoes: The rest of the flight of the ship V_dvazhniy, Thunderstorm over P'yatsetta. Smiley coloristic whispers, rare light effects for an hour transform these pictures into the most phantasmagoric sights: “Fire the London Parliament”, “Zaviryukha. The steamboat leaves the harbor and gives dashing signals, having drunk on milk water" .
Turner lie first in the painting of the image of a steam locomotive, which runs along the rails - a symbol of industrialization. At the painting “Doshch, a pair of that swedishness”, a steam locomotive rushes across the Thames across the foggy doshovu imlu. All material objects mutely become angry in an image-mirage, which miraculously conveys the appearance of fluidity.
A unique achievement of light and color effects, shattered by Turner, was richly influenced by the opinion of French artists-impressionists.
At 1848 roci in England viniclobrotherhood of pre-Raphaelites (Vid lat. Prae - "before" and Raphael), which united the artists, as they do not accept the modern art of the academic school. Their ideal stench was stalked at the mysticism of the Middle Ages and the Early Renaissance (the star of the name). Head members of the brotherhood -William Holman Hunt, John Everett Milles, Dante Gabriel Rossetti. In their early works, the artists won the replacement of signatures for the abbreviation РВ .
With the romantics of the Pre-Raphaelites, love to the old times was born. The stench turned to biblical plots (“The Light of the World” and “The Unfaithful Shepherd” by W. H. Hunt; “The Childhood of Mary” and “The Annunciation” by D. G. Rossetti), plots from the history of the Middle Ages and p'єs W. Shakespeare (“Ophelia » Milles).
In order to write human posts and objects in natural size, pre-Raphaelites increased the size of the canvases, landscape painting was done from nature. The characters of their paintings are small, like among real people. So, for example, D. G. Rossetti, having depicted his kohana in all his works, Elizabeth Siddal, continuing, like a middle-class lyricist, saves the veracity of the kohaniy and after the death beforehand (“Blue seam cloak”, 1866).
Ideologist of the Pre-RaphaelitesJohn Ryoskin (1819-1900) - English writer, art critic and theorist of art, author of the famous series of books "Modern Artists".
The creativity of the pre-Raphaelites visibly spilled onto the richness of the artists and became a guide for symbolism in literature (W. Pater, O. Wilde) and figurative art (O. Beardsley, G. Moreau, etc.).
prizvisko "Nazarenes", it is possible to resemble the name of the place Nazareth in Galilee, where Jesus Christ was born. Zgidno with a different version, it was blamed for the analogy with the name of the ancient Jewish religious community of the Nazirites. It is also possible that the name of the group resembles the traditional name of the zachіska “Alla Nazarena”, expanded in the Middle Ages and according to the self-portrait of A. Dürer: the style of wearing the dove is hairy, divided in the middle by prolonging, again in Overbeck.
Biedermeier(nim. “brave Meyer”, filister) - a nickname foreshadowed character from the poetic selection of the German poet Ludwig Eichrodt. Eichrodt created a parody of a real person - Samuel Friedrich Sauter, an old teacher, who wrote in the native verse. Eykhrodt, in his caricature, denounced the upscale primitiveness of Biedermeier's thought, which became a kind of parodic symbol of the era. dispersed strokes of black, brown and green colors convey a fierce storm. The look of the peeping nibi is in the center of the wind, the ship is playing with the wind and the wind.
