Sadie sentimentalism in Western Europe and Russia. Sentimentalism in imaginative art Artists of sentimentalism and their paintings
The important role of vindication of sentimentalism, and її widely broadened, practically prevailed in all spheres of art and culture, in architecture, was played by the French Revolution. End of the XVIII and first third of the XIX century. in France - the hour of great historical podias, the hour of the breakdown of the feudal order and the hardening of capitalist supremacy. Yaka opened a wide path for the development of capitalism, the great French bourgeois revolution led to the collapse of forces, which was destined to create a revolution in the halls of architecture.
Rozkrittya vіdnosnostі іsnuyuchih uyavlen about antique arhіtekturu (scho viniklo drugіy polovinі in the XVIII century. In rezultatі blizhchogo mamboo.com This user s antique pam'yatnikami scho vіdkrilo їh in vsomu living rіznomanіttі that іndivіdualnіy nepovtornostі) Bulo Perche zmіnami in strunkіy sistemі rules zasnovanoї on viznannі absolyutistskogo the significance of the reforms, narrowing the posture of the current historical intelligence. As a result of the expansion of links with the ancient world and the growing interest in the architecture of other lands and eras, there was also a multiplicity of architectural insights. The monuments of Italy to Rome, and those of the country to the Skhoda, Egypt, as of antiquity, and the Renaissance, began to be recognized as the main heritage. The gothic traditions are starting to revive again, especially the old ones in church architecture, which in no way existed in the country. Everything created a friendly soil for the sentimentalist approach to the development of architectural forms, which inspired classicism. Zagalna istoriya arkhitektury, Z 186
End of XVIII cent. homemade rice what, it seemed, was a new turn to antiquity, illustrating the emergence of ideas, directing them to the development of the classical ideal, changing into vantage canons, which were formed on this basis, and, in the end, in the form of the classical forms themselves. For the time being, it is not the same interpretation of the classics that is taken, but the system itself, the system of that form.
At that very hour, the appearance of real minds of the realization of the life of ideas, which reinvigorated the fundamentally ideological system of classicism, led to new approaches and forms of architecture appearing in the beginning of the 18th century. and later in the nineteenth century. in a close interweaving with the receptions of classicism, with eclectic post-positional forms of architecture of other eras and lands. The old positions of classicism are given indestructible, that її pіznya stage, chi ranks style of the empire, vіdіznyаєє pishny representative forms and melodious artistic characteristics. And yet, they begin to appear again between the architectural form and the design, between the forms and recognized life.
The aesthetic system of French architecture of the 2nd half of the 18th century is being formed on the square of the public glances. and first task now - "forgive" the recession of the national artistic culture that architecture to classicism of the XVII century. Vіd ushogo, scho in the new was far from the new bourgeois-rationalist ideal. In the innumerable straight avenues of the trimmed park, as in the innumerable palace enfilades with the best of modern writing, now they only succumbed to the spirit of absolutism, a fortune teller to the “natural” nature of the human individual. Novim was building architecture to nature; do not pidkority, but understand її, open up її in a living raznomanittі has become new aesthetic principle architects. The other half of the 18th century is the hour of the development of the free forms of the landscape "English" park, which marked the manifestation of a sentimental flow in architecture.
The natural cob of nature, embedded in the surroundings of human individuality, - "the nature of the people" - to become the criterion at the basis of that new, "reasonable" suspіlny order, which is guilty of putting an end to the hated order of the feudal-stanovoi suspіlstva. Now the ancient democracy and the ancient culture of the Greek polises have been idealized in the way of resemblance to the natural cobs of human nature, and the ancient classics (as if they were enlightened) - as an ideal virase in the gallery of art and architecture.
In the other half of the XVIII century. There are signs of a sudden change in the typology of architecture. The mіskom budіvnitstvі nabuvayut the great hromadsі budіvlі secular recognition. In Russia - the beginning of a wide life of the zamis nobles, and in the places and great merchants' living houses-sadib, especially in Moscow. Everything has taken on a wider scope of new stylistic forms of architecture;
The stylistic one-manality of architecture, which was the beginning of the same, had its own folding. Those that now became an important subject of research in the new animality to the classics, її “naturalness” and the appearance of the “nature” of architecture, also led to a new trend of stylistic currents. The renewal of architecture in the middle of the 18th century led to the emergence of new ideological currents, which led sentimental direct into the art. Zagalna istorija arkhitekturi, S. 43
The new character of Nabuli forms and the method of mastering the architecture of the classical settlement. In the 18th century the modern archeological science is being popularized, the relevance of which at the same time was without a doubt with the new aesthetic demands of the future. The excavations lifted the whistle of the right archeological fire, which led to new insights in the gallery of the Greco-Roman classics, now they have given a statement about the right architecture of antiquity, they have enriched the creative palette of architecture. Architects widely victorious elements and small fragments of compositions of compositions of historical monuments in garden and park architecture. It is clearly given signs in the nature of the evolution of architectural forms and acceptance of the sentimentalism of the end of the 18th century, if the idea of the period of the French Revolution is given a new imagery of the armchair masculinity of the Hellenic-antique forms.
From the middle of the XVIII century. the situation is changing and the typological personality of European architecture. But at the same time, in the gallery of typology, another dynamic of development is revealed, which is terrifying to turn to some peculiarities of the colossal stylistic diversity of architecture, de cordon passing between absolutist France, bourgeois Holland and England. Here stood one like two different architectural cultures: the culture of the feudal-absolut palace in the form of a grandiose garden and park complex, that culture of a comfortable city and a bourgeois living house, is more important. Ale, in the absolute France, the palace and park complex of the absolutist residence was filled with the palace and park complex of the absolutist residence. Later, tendencies towards sentimentalism were shown in other types of architecture, like in park art.
Similar to the literature for example of the 18th century. overcame sentimental directly, in architecture, classicism did not waste its colossal positions. If classical literature can be compared with the regular style of landscape gardening art, then the analogue of sentimentalism would be the titles of a landscape park, relativly planning, but also incorporating natural landscapes in its composition: irregularly shaped bows, inscribed with groups of trees, shaped like a richly shaped lake. islanders.
In the other half of the XVIII century. the landscape system of planning parks begins to develop - parks are built with winding paths, with beautifully and freely decorated pavilions and gazebos, with water bowls of soft, round outlines. As a romantic mood for an hour, piece ruins, cascades, and grottoes were created near the “landscape parks”. Reconstruction and further life of the tsar's castle palaces near St. Petersburg was carried out in 1760-1770, by the head rank, the architects Neyolov.
Architects Neilov and often replanned and expanded the Katerininsky park of Tsarskoye Selo, giving it a “landscape” character to the reconstructed and new villages, created a great stakes with pictorial shores, a number of small parks, pavilions, townhouses and gazebos near the “Gothic” and “Chinese "", "Great primha", "Chinese theater" and so on), which were placed among the trees at the turns of the roads and the white of the lakes.
Sentimental moods appeared in the planning, and in the architecture of the okremy budives, interpreted in the "Gothic" forms. Cebulo in St. Petersburg (Nejlov's robots, Felten's Chesmensky Palace) and in Moscow, de in Bazhenov's and Kazakov's robots, the "gothic" nabula of a national-romantic character. Yaskravy butt of Moscow "pseudo-Gothic" - Podmoskovna sadiba Tsaritsino, zbudova V.I. Bazhenov. Otrimavshie zamovlennya sporudzhennya summer residence near Moscow Katherine II in the "Moorish-Gothic gusto", Bazhenov turned back to the Gothic, to the Russian architectural decadence of the XVI - XVII centuries. Global History of Architecture, S. 216
Sadiba bula was conceived by the architect as a series of little figurines throwing small spores. The main group of the ensemble was formed by two palace pavilions (for Katerina and for Pavel) and the head cavalry corps, which is in front of them. National traditions appeared at the piquant plan of sadibi, at the 18th century.
In an organic combination of architecture with nature, in barvistosity and visceral façades, it is similar to architectural forms of budvelny materials, in contrast to the silhouette of sporuds.
The park of the Pavlovsk Palace is a wonderful butt of the “landscape park” with its free planning, which inherits the beauty of nature. Malovnicho dies nar. Slovyanka with master placements on її steep slopes of park life is one of the main elements of this composition. Alleys and paths are carefully laid out, closely connected with the relief of the city, joining the surrounding parts of the park and opening pavilions, gazebos, townhouses, colonnades, monuments and other spores in different perspectives. The largest of them are the Temple of Friendship, the Pavilion of the Three Graces, the aviary, the Colonnade of Apollo.
Temple of Friendship (1780-1782), which stands on the birch of the plank. Slovyankas are made in the form of a rotondi, honed with 16 fluted columns of the Doric order. The Pavilion of the Three Graces (1800-1801) is one of the palaces. Tsej vіdkritiy graceful portico-colonade to avenge the Marmur statue of three graces, Vikonan Triskornі from the original Canovi. The Colonnade of Apollo has been interpreted in antiquity.
Pavlovsk buv prompted a short term and was called an architectural ensemble for the last two decades of the 18th century. in the 80s, when the foundations of Pavlovsk were laid as an architectural whole. In Russian culture, the order with the ideals of gromadianism, which weighs on antiquity, began to appear in the sentimentalism with a cult of a sense of wisdom and wisdom. It was seen near Pavlovsk park - a prominent palace and park ensemble during the period of Russian sentimentalism. Mayzha at one hour from Pavlovsky in 1790-1794. were also called Thermae Cameron in Tsarskoye Selo. Thermi Cameron is a two-tiered spore that adjoins the Great Tsarsko-Silsky Palace and includes “Cold Lane” with “Agatovy kіmnatami” (1780-1785), “Hanging Garden”, a gentle descent “ramp” (1785-1794) and “Cameronov ( 1783-1786). The architect, having taken care of the task of taking a bath for Catherine II and a bath, turned to the goodness of the house of the ancient spores. Vilno composing Greco-Roman motifs, having created low mismatches, ale harmonic days.
Subtly and intricately ornate facades of the “Agate Rooms” - a light park pavilion with a thin oval portico and twin columns of the ionic order. Hanging garden, rotting over a massive crypt arch, from the “Cold Lazne” and “Agato’s Rooms” from the “Cameron Gallery” and the park, to which one descends from hanging garden"ramp". The whole complex is turned into a green park, the panorama of some good is taken from the side of the gallery with widely spaced columns. Up to the end of the gallery, from the side of the lake, the tracts adjoin, go down, embellished with copies of the ancient statues of Hercules and Flory. Global History of Architecture, S. 248
With a peculiar color of garden parks, piece ruins are melting, which grow in the deaf little patches, white with water, under the cover of trees. Interest to the old days, which is swayed by the engravings of the Pironese and the novel by W. Scott, joins the fashion for sensibility, melancholy with a necrophilic look. Meisterno imituyuchi "cracks" at the walls and heaping "turned by the hour" stone at the crypts, the architects reached the hour of that stage of grotesque, as they congratulated the postmodernity of the end of the XX century. For example, zhahlivyh rozmirіv dorichnoy colony was sporudzheno for the project
Y. Felten at the Katerininsky Patsi of Tsarskoye Selo.
Sentimentalism in architecture is characterized by the name budivel, which is similar to poetry and literature. The words “Temple of Friendship”, “Temple of Kokhannya”, “hut”, “ruins” just bore the very abstract and ideal character of the “type”, which invigorates the mental characters of sentimental stories and sings with their names-alegories. The pavilions in a singing style instilled idyllic declarations about love and friendship, strong simplicity, eternity and transience, as if they were inspired by literary associations. Different styles radiated to the creation of the most profound spectrum of sentimental feelings, instilled in architectural images.
Apparently, the allegory of artistic images was one of the invisible signs of the aesthetics of the era of Enlightenment. Familiarity with the basics of the allegorical movement, the stock of poetic associations, drawn from mythology, ancient literature, were necessary when reading classical poetry, assimilating painting, graphics and sculpture, and for the “living in” of landscape parks and park architecture.
How to decipher the sense of architectural images in the English gardens of the last third of the 18th century. Vimagasya, Persh for everything, the famine of the anti-ї іphologії, Sentimentary, Scho Domzavolyyi Schosom_tyi Symbol Symbol of the Uzagalnih Architecture Articles, D'Nazi with the Emotsіynyi Assocіyii, then we are creating a subsidence of romantic style. Borisova Y. A. Russian architecture in the era of romanticism S. 30
The allegory of architectural images was the same as innovations, as if they brought Russian architecture, and the bula was connected not only with the images of antiquity, but also with the sentimentalist literature of that hour, not less the world, lower the park landscape. Zrazki architecture disrupted direct literary associations, the options of their day were close to those of the moderns.
According to the date to the deaky yavisch in the Russian architecture of the XVIII century. Understanding "sentimentalism" and "romanticism" often means the same thing. The most important peculiarity of sentimentalism was scorched by those who developed as a whole in the mainstream of the era of Enlightenment, romanticism was its own reaction to it. Truthfully, in Russia there was a little something else, and, as historians of literature designate, enlightenment took its meaning from the era of romanticism, which, zokrema, was also signified by the adoption of architecture. If so, it is important to draw a precise cordon between the images of classical poetry and those sentimental notes, which were more and more vividly felt in the other half of the 18th century, especially when nature was blessed.
As if the landscape of a natural garden masterno imitating natural nature, the park architecture designed an idealized model of the world and created an idyllic middle ground for spriynyattya sentimental images of poetry and literature. It can be boldly said that sentimentalist ideas and sentimentalist poetry made no less contribution to the formation of the aesthetics of parks and sporuds, the lower special aids to parks, took away the expansion from Russia.
Your own kind of key to deciphering the folded words between sentimental literature and the poetics of a landscape park can be the words of Delilya z yogo. One thing helps our hearts to beat the misfortune of our neighbor and that sensitivity, like a lot of writers know. And yet it’s the second kind, richer more rare, but not less valuable: the same sensitivity, like expanding, like life itself, in all parts of creation, giving interest to the most wonderful people of objects, awakening in us a sympathy to the share, prosperity to the white chi navit roslini. Until the month, de mi lived and grew and were like evidence of our joyous joys, to summarily looking ruins. Borisova Y. A. Russian architecture in the era of romanticism S. 29
Idealized images of the architecture of the gardens in the boules of the Kremlin in an idealistic way of feeling, close to the sentimentalist literature with the "normative" artistic images, posed in the era of Enlightenment. Changing sensitive moods, thinking about that melancholy accompanied the change of visual damage, including architectural elements in the system of landscape parks.
Passion for more expensive, yak viznyala end of the XVIII century. and declined by the 19th centuries, encroached on the era of Enlightenment. Step by step, more and more illustrating the familiar nature of the more expensive, which could not help but be recognized by the molding of new glances at the European architecture, notes about the yak are more and more often shown on the sides of the road workers. “Leaves of the Russian Mandrill” by Karamzin were one of the earliest in Russian culture the butt of such a mandrill. The ruins of the castle, the streets of a place unknown to us become facts of culture, as if to discover documents that show our history, our place at the development of civilization.
In the early years of the 19th century, contemporary poets, writers, artists joke and know romantic motives in the landscape parks of the earlier era, more enchanted by the charm of sentimentalism; The connection with sentimentalism was manifested in the heavy to the nature, to the assimilation and simplicity, but the dullness of the nature became daedal and melancholy and individualized.
In the 1800s, the winds of the amateur landscape parks are wide-width, which can give rise to an intimate, undressed character and are associated with special moods. So professional, diligently innovative, meisterno viviren, as if inspired by the landscapes of St. Petersburg cities of S. Shchedrin, wide-width in engravings and inspire the epoch of classicism in the porcelain, as well as unimaginable with the idealized little Pavlovsk, motivated by the romanticism of V. Zhukovsky Such little chambers and pictures, which were wide-width, little tell about the love of the city, the people that came. Borisova Y. A. Russian architecture in the era of romanticism S. 63
In this way, in architecture, sentimentalism has gained the greatest breadth in the garden and park art, as it has not only spilled into the development of new directions, but also stuck into the hoarding of sentimentalist ideas, both in literature and in painting. The garden and park art itself commemorates sometimes the most important transition from the sentimentalist inspiration of the architecture of the 18th century. to a romantic party. So, for example, melancholy motifs are becoming more and more wide, as they originated in the poetry of the 1790s. and they pushed in a lot of artistic spheres of culture.
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Sentimentalism in Literature
- Thomas Gray "Silsky tsvintar" (English lit.)
- Bernardende Saint-Pier "Poland and Virginia" (French lit.)
- Mikola Mikhailovich Karamzin "Bidna Liza" (Russian literature)
- Oleksandr Mikolayovich Radishchev "Road from St. Petersburg to Moscow" (Russian lit.)
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Sentiment
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Sentimentalism in painting
- N.I. Argunov
- V.L. Borovikovsky
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Sentiment
One of the characteristic features of the Russian portrait art of that period was gromadyansky. The heroes of the portrait no longer live in their closed, water-kremlin world. Svіdomіst buti nebhіdnoy korisnoy vіtchiznі, viklikan patriotic pіdnesennia in the epoch votchiznyana war 1812, the development of a humanist thought, at the heart of which lay the reason for the goodness of a well-meaning person, chіkuvannya close social changes to re-learn the lightness of an advanced person.
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The portrait of power is dominated by realistic simplicity of expression, free to embellish that idealization. The artist is unique in writing with his hands, he maintains respect for the appearance of the model.
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Sentimentalism in architecture
The influx of this architectural style was especially noticeable in the park houses, various "grottoes of usamіtnennya", taєmnichih altankas, hookings at the temryava, stylizations for "wild" nature.
Like the style of sentimentalism in the architecture of the winery in the middle of the 18th century in Mannirn England.
The impression of sentimentalism in Moscow architecture hovered around the quiet mansions, sometimes asymmetrical in composition, but intimate in decoration and small. Syadibne art was always based on the synthesis of such artistic styles as classicism and sentimentalism. A typical look of the Russian sadibi is a cebudinok with a portico in the middle of park greenery.
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Sentiment
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Sentimentalism in music
Adherents of sentimentalism (J. J. Rousseau, A. E. M. Gretri, K. F. E. Bach, K. F. D. Schubart) introduced music especially to the middle of the world as "mova pochuttiv", zdatny "choke the heart hearing"; the main meaning of the stench was the melody. Under the influx of sentimentalism, the figurative-genre palette of music was enriched, in the opera there was a tendency to change genres, which superimpress the classic aesthetics.
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Sentiment
Having introduced the melody as the main element of Rousseau's music, as in the case of each word, one recognizes that it strengthens the natural vibrance of human movement. Itself in tsіy її domineering, on yogo thought, "the power of music over the hearts is rooted." "The melody, inheriting the modulation of the voice, whistles skargs, cries of suffering and joy, threats, stogіn ... I її mova, undivided, still alive, stick, biased, a hundred times energy, lower mova itself." None of the "effects of harmony" and cunning can not replace the powerful melody with the gift of bringing the rіznomanіtni almost to the human heart. And, navpaki, "as if almost inspiring the simplest intoxicants, the stench is becoming a cry".
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Prepared by: Darina Denisyuk
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Sentimentalism (type fr. sentiment- almost) viniklo in the era of Enlightenment in England in the middle of the XVIII century. in the period of the expansion of feudal absolutism, stanovo-krіposnitsky vіdnosin, the growth of bourgeois vіdnоsin, then, it began to increase the specialty of the kaidans in the feudal-krіposnitsky state.
Representatives of sentimentalism
England L. Stern (the novel "Sentimentally dearer to France and Italy"), O. Goldsmith (the novel "The Priest of Weckfield"), S. Richardson (the novel "Pamela", or the Wine of the Garbage", the novel "Clarissa Harlow", "The History of Sir Charles Grandison ").
France. J.-J. Rousseau (the novel on the sheets "Julia, or Nova Eloiza", "Spovid"), P. O. Beaumarchais (comedies "The Barber of Seville", "Figaro's Friends").
Nіmechchina. I. W. Goethe (sentimental novel "Young Werther's Suffering"), A. La Fontaine (family novels).
Sentimentalism vislovlyuvav svetoglyad, psikhologiya, gusto wide versions of the conservative nobility and the bourgeoisie (the so-called third camp), as if to practice freedom, natural manifestation of sensibility, as if they sang to call on human honour.
Rise to sentimentalism
The cult of a pochuttya, a natural pochuttya, not bound by civilization (Rousseau affirmed the importance of a simple, natural, "natural" life over civilization); a list of abstractness, abstractness, intelligence, dryness to classicism. In contrast to classicism, sentimentalism was directly progressive, but in a new way, it was indicative of elements of realism, connected with images of human emotions, experience, expansion of the inner world of a person. The philosophical basis of sentimentalism is sensualism (Lat. sensus- Vidchuttya, vydchuttya), one of the founders of such a letter is the English philosopher J. Locke, who knows the only way to know vodchuttya, chuttve spriynyattya.
Just as classicism has confirmed the appearance of an ideal state, cherished by a monarch, and having subjugated the state in the interests of specialness, then sentimentalism in the first place, having hung not a person in awe, but a concrete, private person in all its own specialness. For whom, the value of a person was not swayed by his lofty adventures, not by his main camp, not by his belonging, but by special achievements. Sentimentalism has firmly put food about the rights of the individual.
Heroes boules just people- nobles, craftsmen, villagers, yakі lived most importantly by their feelings, passions, heart. Sentimentalism brought out the rich spiritual world of the common man. Some works of sentimentalism sounding protest against social injustice, against the humiliation of the "little people".
Sentimentalism is rich, which is why the pressure on literature has a democratic character.
Oskilki Sentimentalіst Having walilt the right of the letter on the manifestation of my own owner at Musterstі, the Sentimentalіzmі Vinnyutnosti, Shaho Sick the Breeding of the Copyright "I", and tan, whipped the form of Opovo Vіd Pershio Ozz: Schedule, SPOVі, Aviographs, not letters, etc. anger). In sentimentalism, poetry and dramaturgy are replaced by prose, as there is little more opportunity to convey the folding world of spiritual experiences of people, in connection with which new genres have emerged: a family, pobutovy that psychological novel in the form of leafing, "petty drama", "sensitive" story, "bourgeois tragedy", "tearful comedy"; developed genres of intimate, chamber poetry (idylia, elegy, romance, madrigal, song, message), as well as stories.
It was allowed to mix the high and the low, the tragic and the comic, the mix of genres; the law of "three things" was thrown off (for example, it was signifi- cantly expanded around the manifestations of action).
Depicted zvichayne, everyday family life; the main theme of the bula is love; the plot is based on the improvement of everyday situations of private life; the composition of the works of sentimentalism was sufficient.
Vologoshuvavsya cult of nature. The landscape has become beloved by ashes; a peaceful, idyllic life of a person was shown in the bosom of a strong nature, in its own nature it was depicted in connection with the experiences of the hero and the author himself, it was consonant with a special experience. The village, as the center of natural life, moral purity, was sharply opposed to the place as a symbol of evil, piece life, vanity.
The language of creation of sentimentalism was simple, lyrical, at times sensitively poised, emphatically emotional; such poetic victories were won, like wiguks, animals, affectionately changing suffixes, povnyannya, epithets, wiguks; vikoristovuvsya white verse. In the works of sentimentalism, move away from the close literary movie with my living, rosemary mine.
Features of Russian sentimentalism
In Russia, sentimentalism solidifies in the remainder of the decade of the 18th century. that zgasaє after 1812, at the period of the development of the revolutionary movement of the possible Decembrists.
Russian sentimentalism idealized the patriarchal way of life, the life of the forte village and criticized the bourgeois zvicha.
The peculiarity of Russian sentimentalism is the didactic, enlightening attitude of the guide of the hulker. Sentimentalism in Russia is represented by two currents:
- 1. Sentimentally romantic - Η. M. Karamzin ("Leaves of the Russian Mandrill", story "Bidna Liza", M. N. Muravyov (sentimental verses), I. I. Dmitriev (tales, lyric songs, performances of fairy tales "Fashionable team", "Primha"), F .A. Emin (the novel "Leaves of Ernest and Doravri"), V. I. Lukin (comedy "Mot, love of corrections").
- 2. Sentimentally realistic - A. II. Radishchev ("Come on the road from St. Petersburg to Moscow").
For the image-creating art, sentimentalism should be taken into account in an artistic direct and more style. Directly of the zahіdny art of the other half of the 18th century, which expresses a passion for "civilization", based on the ideals of "reason" (ideology of Enlightenment). S. will vote a little, emphasizing the thought, the simplicity of the strong life of the "little people." J. J. Rousseau is the ideologist of S..
One of the characteristic features of the Russian portrait art of that period was gromadyansky. The heroes of the portrait no longer live in their closed, water-kremlin world. Svіdomіst Bethiznі, Viklikan Patrosnyanni, Viklikan Vіtchiznyannya, in the epoch of Vіtchiznyannya, 1812 ROCK, Roskvіt Humanіstiki Duma, I founded the couch to the gіdnostі Okareni people, Vodіkuvannya Blischiki Sociality Zmіn to overcome Svіtovdchuttya in advanced people. The portrait of N.A. Zubova, onuki A.V. Suvorov, copied by an unknown master from the portrait of I.B. Lampi of the Elder, which depicts a young woman in the park, is far from the minds of secular life. She thoughtfully marveled at the beholder with a sing-song smile, everything about her is simplicity and naturalness. Sentimentalism of contrasting the straightforward and transcendentally logical world about the nature of human feelings, emotionally spontaneous, which without middle and beyond lead to a clear understanding of the truth. Sentimentalism expanding the manifestations of the spiritual life of a person, approaching the understanding of її protirіch, the very process of human experience. At the turn of the two centuries, the creativity of N.I. Argunov, gifted by the kripaks of the counts of Sheremetiev. One of the essential tendencies in Argunov's creativity, which was not interrupted by the stretch of the 19th century, is the exalted concreteness of speech, the non-violent approach to people. A portrait of N.P. Sheremetiev. Vіn buv donations by the Count of Rostov Spaso-Yakovlіvskiy monastery, de for Yogo Koshti the cathedral was built. The portrait of power is dominated by realistic simplicity of expression, free to embellish that idealization. The artist is unique in writing with his hands, he maintains respect for the appearance of the model. The coloring of the portrait of urges on the contrast of the bright beaches of pure color, barvy flats. At the portrait art, a type of a modest chamber portrait is formed, which gradually changes in view of the characteristics of the outward atmosphere, the demonstrative behavior of the models (portrait of P.A. Babina, P.I. Mordvinov). The stench does not claim to be a profound psychologism. We can only do it right with a clear fixation of models, I will become calm in my soul. The Okrem group is put together to present portraits of children near the hall. The stench of podkupovuє simplicity and clarity of interpretation of the image. While in the 18th century, children were most often depicted with the attributes of mythological heroes like cupids, Apollos and Dian, then in the 19th century, artists tried to convey the unmediated image of a child, the warehouse of a childish character. Portraits are presented at the hall, for rare vinyatki to walk from noble gardens. The stench entered the garden portrait galleries, the basis of which were family portraits. The collections were of an intimate and importantly memorial character and instilled special likeness of models to that yogo setting up to ancestors and contemporary members, the memory of those tried to save the treasures. The display of portrait galleries destroys the appearance of the era, allowing you to more clearly perceive that specific situation, in which the creators of the past lived, to understand the low features of their artistic movement. Portraits provide the richest material for the study of the history of the country's culture.
A particularly strong influx of sentimentalism was recognized by V.L. Borovikovsky, who depicted a lot of his models on the aphids of an English park, with a soft, sensitively vulnerable viraz on the face. Borovikovsky buv from the English tradition through N.A. Lvova - O.M. Olenina. Knowing well the typology of the English portrait, the work of the fashionable German artist A. Kaufman in the 1780s, she was enlightened in England.
A singsong influx on Russian artists and English landscape painters, for example, such masters of an idealized classical landscape, like Ya.F. Hackert, R. Wilson, T. Jones, J. Forrester, S. Delon. In the landscapes of F.M. Matveyeva prostezhuetsya vply "Waterfalls" and "View of the Tivoli" J. Mora.
In Russia, the graphics of J. Flaxman were also popular (illustrations to Homer, Aeschylus, Dante), which stuck into the little prints and engravings of F. Tolstoy, and the sharp plasticity of Wedgwood - in 1773 the Empress built the British manufactory fantastic for the most part with a toad "of 952 subjects Great Britain, which is now being saved from the Hermitage.
The miniature of G.I. Skorodumova and A.Kh. Rita; on the porcellany, J. Atkinson's iconic genre painting "Paintings of painting manners, reminiscent of the roses of Russian ones in a hundred painted little girls" (1803-1804) were created.
There are fewer British artists in the other half of the 18th century in Russia, and fewer French and Italian ones. Among them, the most popular Nabu was Richard Brompton, the court painter of George III, who worked at St. Petersburg in 1780 - 1783. There are portraits of the Grand Dukes Oleksandr and Kostyantyn Pavlovich, and Prince George of Wales, which became the images of the young man's depression. Brompton's unfinished image of Katherine and the Natomist fleet was instilled in the portrait of the empress at the temple of Minervi D.G. Levitsky.
French traveler P.E. Falcone will teach Reynolds and represent the English school of painting. Representations in yoga creations of the traditional English aristocratic landscape, inspired by Van Dyck of the English period, without taking away the wide recognition from Russia.
Some of Van Dyck's paintings from the Hermitage collection were often copied, which took on a wider genre of costume portraiture. The fashion for the image in the English soul became more widespread after the turn from Britain by the engraver Skorodmov, recognized as the "cabinet of the imperial majesty by the engraver" and selected by the Academician. Engraving copies of paintings by J. Romin, J. Reynolds, W. Hoare expanded in St. Petersburg. The notes left by J. Walker have a lot to say about the importance of the English portrait, and also describe the reaction to G.A. Let's take a picture of Reynolds' painting by Katerina II: "the manner of thickly laying farba ... it looked marvelous ... on these (Russian) relish it was over". Proteo yak theoretician Reynolds was adopted from Russia; in 1790, my Russian bulo translated yoga "Promovi", among those, zokrema, the right of the portrait to lie down to the low "higher" slopes of painting was grounded, and the concept of "portrait in the historical style" was introduced.
In the form of a concrete-historical artistic flow, sentimentalism was formed in the Western European art of the middle and the other half of the 18th century. under the influx of philosophy of enlighteners. The protégencies of sentimentalism appear even earlier, for example, in the art of the French Regency and Rococo styles of the first half of the 18th century. Calls of French philosophers-enlighteners J.-J. Rousseau, D. Diderot zestatitsya without intermediary to the mind, let's forgive and clear the feelings of "natural people" in the art paradoxically called out turning tendencies - exaltations and feigned sensibility. The educators tried to oppose the cult of nature, rural life (pastoral) to the parisian zvichas of the Regency period and to instill "the indestructible soul of a person at once" ("Persian Leaves" by C.-L. Montesque, 1721; "Indiscreet Treasury" by D. Didro, 3) . Sentimentalism of similar literary works. Less than a mask, those ideological declarations were changed. You can also read among rows of D. Diderot's famous leaves about Parisian art exhibitions. French philosopher ospіvuє his love picture - tvіr J.-B. Mriya "Maiden who mourns a dead bird" . Other paintings of Grez - "Punishment of the Son", "Paralytic, or the Fruits of a Good Vihovannia" are exalted with piecework exaltation. Sweetness and superficial stylization and antiquity (without elaboration of the architectonics of ancient sculpture) to the powerful and fashionable creations of A. Kanov and B. Thorvaldsen. Like the sentimentalism of the taman and prominent master of the Rococo style of F. Boucher, and the heavy to classical ideals of O. Fragonard and J.-B. S. Chardin. Without succumbing to sentimentalism, the miraculous sculptor-classicist K.-F. Michel, nicknamed Clodion. A lot of chamber works by E.-M. Falcone, a kind of pratsyuvav on the borders of Rococo and Neoclassicism, is also sentimental. Sentimentalism is not unfailingly regarded as the forerunner of Romanticism by the beginning of the nineteenth century. Prote Romanticism is characterized by spirituality and truly religious feeling; sentimentalism - "lowering ideals" to everyday life. Along the line of sentimental ideology, the art of "landscape" parks developed. In Russia and England - the lands, the de chronology of artistic styles was abandoned, against France and Italy, - sentimental tendencies waned both with Classicism and Romanticism. The most vividly appeared in portrait painting: in the work of T. Gainsborough in England, in the portraits of D. G. Levitsky and V. L. Borovikovsky in Russia. Proto-ideology of classicism, especially in Russia, and sentimentalism protilezhni. On one pole - service to high, hromada ideals, self-sacrifice, on the other - self-sufficiency of special experiences. I Wick Sentimentalіsm not Vіdriznyyuznznznisnіsnіsti style styling, zerry in painting, the sculpture wounded formalnі yakostі, for the Japanese sentimentalnі-creativity: M'yakіsta, Tales, Tonalnius, Plastic, Lyn_y, characteristic "Nіzhnі" Farby: Blakitna, Rozh "pastel". Sentimentalism gave birth to a fashion for miniature painting, medallions with portraits and mottos, snuff boxes, screens from elephant brushes. Empress Josephine on the cob of the 19th cent. ruined the fashion for antique cameos. “Homemade” art, women’s handicrafts were added to the flood: watercolor painting, lace stitching, sewing with beads, painted screens.
Sentimentalism sentimentalism
(French sentiment - pochuttya), currents in European and American literature become a friend. 18 - post. 19 Art. Reflections on the rationalism of the era educate, sentimentalism, having voiced the greatest quality of "human nature" is not a mind, but a sense. The path to vihovannija іdealnoї osobennostі sentimentalіstі shukali vіlnenіnі "natural" pochuttіv. Yakscho classicism having voted the cult of the suspenseful, then sentimentalism has affirmed the right of a private individual to deeply conceal the experience. The best ideals of sentimentalism have instilled in literature and theater, in painting - in the genres of landscape and portrait.
Sentimentalism in French painting has become a familiar sight in the work of J. B. Grez. Sensitivity in yoga genre paintings (“Paralytik, or the Fruit of a Good Vihovannia”, 1763; “Punishment of the Son”, 1777, etc.) develops into licorice, characters - in walking particular vices and honesty. The poses of the same gestures of people are overwhelmed theatrically, painting is transformed into a lesson in morality. Not vipadkovo Grez loves to put literary comments to his works. Crimia of genre paintings, Mriya wrote faceless "heads" - images of girls, what they are trying to do after dead birds, broken mirrors or glitches. Do the same thing to avenge, like the famous painting “Broken Glitter” (1785), an attack on the spent innocence, paradoxically go hand in hand with erotica.
In Russia, the ideals of sentimentalism knew the expression in the work of W. L. Borovikovsky. First in Russian painting, the artist began to write people in the bosom of nature. Heroes of yoga portraits walk through the alleys of landscape parks with a beloved dog or a book in their hands, go into poetic dreams or philosophical thoughts (“Portrait of Katherine II on a walk in the Tsarskoilsky Park”, 1794; “Portrait of M.I. Derzhavinoy”, 1813), demonstrate licorice for the year of the heart (“Portrait of the sisters A. G. and V. G. Gagarin”, 1802). The paintings “Torzhkivsk peasant woman Khristina” (born 1795), “Lizinka and Dashinka” (1794) inspire sentimentalism to change in the fact that “and the peasant women are warm” (N. M. Karamzin). The creativity of V. A. Tropinin (“Boy, why grieve about a dead bird”, 1802) often sticks with sentimentalism.
Sentimentalism prepared the soil for the people romanticism.
(Dzherelo: "Art. Contemporary illustrated encyclopedia." Edited by Prof. A.P. Gorkin; M.: Rosmen; 2007.)
Synonyms:
Marvel at such "sentimentalism" in other dictionaries:
Literary straight at Zap. Europe and Russia XVIII part. XIX century I. SENTIMENTALISM IN ZAHIDI. The term "S." soothing in the form of a “sentimental” (sensitive) apprentice, to which Richardson already speaks, but especially the popularity came later ... Literary encyclopedia
Sentimentalism- SENTIMENTALISM. Under sentimentalism, one can understand that literature directly, which, having grown up on the basis of the 18th century, cob XIX tho, as if it was a cult of the human heart, a little, simplicity, naturalness, special ... Glossary of literary terms
sentimentalism- a, m. sentimentalisme m. 1. Literary direction of the other half of the 18th to the 19th centuries, which came to replace classicism, which is characterized by special respect for the spiritual light of the people, for nature and often idealizes reality. BASS 1.… … Historical Dictionary Galicism Russian language
SENTIMENTALISM SENTIMENTALISM sensitivity. The latest glossary of inshomonic words that have been adopted by Russian language. Popov M., 1907. sentimentalism (French sentimentalisme sentiment almost) 1) European Literary Directly Kіntsya 18 pm ... Dictionary of foreign words of Russian language
- (in the form of French sentiment a little), currents in European and American literature and art of the 2nd half of the 18th cob 19th century. Seeing enlightened rationalism (marvel at Enlightenment), voicing the dominant of human nature not the mind, but ... Modern Encyclopedia
- (in the form of French sentiment almost) a stretch in European and American literature and science of the 2nd floor. 18 p.m. 19 Art. Vіdshtovhuyuchis vіd prosvіtnitskogo rationalizmu (div. Prosvіtnitstvo), scoring the dominant of human nature is not the mind, but rather, and ... Great Encyclopedic dictionary
- [se], sentimentalism, pl. no, man. (French. Sentimentalisme). 1. Literary straight from the beginning of the 18th and early 19th centuries, which came to replace classicism and is characterized by special respect for the individual spiritual light of the people and exercises to ... Tlumachny dictionary of Ushakov
SENTIMENTALISM, but man. 1. Art directly (in Russia of the 18th and early 19th centuries) is characterized by respect for spiritual life, sensitivity and idealization of images of people, life situations, nature. 2.… … Tlumachny dictionary of Ozhegov
Exist., kіl near synonyms: 2 directly (80) sensitivity (62) ASIS synonym dictionary. V.M. Trishin. 2013 ... Glossary of synonyms
- (French sentiment - almost) - directly from literature and science of the 2nd half of the XVIII - honor. XIX Art. Vinik as a reaction to the promises of the coup of the eighteenth century. in England, and then in all European countries. Having voted the cult of natural pochutya. Encyclopedia of Cultural Studies
Sentimentalism- (From a French sentiment a little), currents in European and American literature and art of the 2nd half of the 18th cob 19th century. Seeing enlightened rationalism (marvel at Enlightenment), voicing the dominant of human nature not the mind, but ... Illustrative encyclopedic dictionary
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- Type a table. Literature. 5-11 class. Theory of Literature (20 tables), . Initial album from 20 arkushivs. Artistic systems in literature. Realism. Principles of rhythmic organization of performed works. Imagery-viraznі zasobi mov.
- New Russian Encyclopedia Volume 14 Part 2 Riljeev-Sentimentalism,. The New Russian Encyclopedia (NRE) is a fundamentally universal advanced and informational publication that presents readers with a picture of the world that reflects the current state of scientific knowledge.
