Examination essay
Subject:"Romanticism as a movement in art."
Completed student of class 11 "B" of school No. 3
Boyright Anna
World Art Teacher
culture Butsu T.N.
Brest 2002
1. Introduction
2. Reasons for the emergence of romanticism
3. Main features of romanticism
4. Romantic hero
5. Romanticism in Russia
a) Literature
b) Painting
c) Music
6. Western European romanticism
a) Painting
b) Music
7. Conclusion
8. References
1. INTRODUCTION
If you look into explanatory dictionary Russian language, then you can find several meanings of the word “romanticism”: 1. A movement in literature and art of the first quarter of the 19th century, characterized by an idealization of the past, isolation from reality, a cult of personality and man. 2. A movement in literature and art, imbued with optimism and the desire to show in vivid images the high purpose of man. 3. A state of mind imbued with an idealization of reality and dreamy contemplation.
As can be seen from the definition, romanticism is a phenomenon that manifests itself not only in art, but also in behavior, clothing, lifestyle, psychology of people and arises in turning points life, so the theme of romanticism is still relevant today. We live at the turn of the century, we are in a transitional stage. In this regard, in society there is a lack of faith in the future, a loss of faith in ideals, a desire arises to escape from the surrounding reality into the world of one’s own experiences and at the same time to comprehend it. It is these features that are characteristic of romantic art. That’s why I chose the topic “Romanticism as a movement in art” for research.
Romanticism is a very large layer various types art. The purpose of my work is to trace the conditions of origin and reasons for the emergence of romanticism in different countries, explore the development of romanticism in such forms of art as literature, painting and music, and compare them. The main task for me was to highlight the main features of romanticism, characteristic of all types of art, to determine what influence romanticism had on the development of other movements in art.
When developing the topic, I used textbooks on art, authors such as Filimonova, Vorotnikov and others, encyclopedic publications, monographs dedicated to various authors of the Romantic era, biographical materials of such authors as Aminskaya, Atsarkina, Nekrasova and others.
2. REASONS FOR THE ARISE OF ROMANTICISM
The closer we get to modern times, the shorter the periods of dominance of one style or another become. The time period of the end of the 18th-1st third of the 19th centuries. is considered to be the era of romanticism (from the French Romantique; something mysterious, strange, unreal)
What influenced the emergence of the new style?
These are three main events: the Great French Revolution, the Napoleonic Wars, the rise of the national liberation movement in Europe.
The thunder of Paris echoed throughout Europe. The slogan “Freedom, equality, brotherhood!” had enormous attractive power for all European peoples. As bourgeois societies formed, the working class began to act against the feudal order as an independent force. The opposing struggle of three classes - the nobility, the bourgeoisie and the proletariat formed the basis of the historical development of the 19th century.
The fate of Napoleon and his role in European history for 2 decades, 1796-1815, occupied the minds of his contemporaries. “The ruler of thoughts,” A.S. said about him. Pushkin.
For France, these were years of greatness and glory, albeit at the cost of the lives of thousands of Frenchmen. Italy saw Napoleon as its liberator. The Poles had great hopes for him.
Napoleon acted as a conqueror acting in the interests of the French bourgeoisie. For European monarchs, he was not only a military opponent, but also a representative of the alien world of the bourgeoisie. They hated him. At the beginning of the Napoleonic wars, his “Great Army” included many direct participants in the revolution.
The personality of Napoleon himself was phenomenal. The young man Lermontov responded to the 10th anniversary of Napoleon’s death:
He is alien to the world. Everything about him was a secret
The day of exaltation - and the hour of fall!
This mystery especially attracted the attention of romantics.
In connection with the Napoleonic wars and the maturation of national self-awareness, this period was characterized by the rise of the national liberation movement. Germany, Austria, Spain fought against the Napoleonic occupation, Italy - against the Austrian yoke, Greece - against Turkey, in Poland they fought against Russian tsarism, Ireland - against the British.
Amazing changes have taken place before the eyes of one generation.
France was seething most of all: the stormy five years of the French Revolution, the rise and fall of Robespierre, Napoleonic campaigns, Napoleon’s first abdication, his return from the island of Elba (“one hundred days”) and the final
the defeat at Waterloo, the gloomy 15th anniversary of the restoration regime, the July Revolution of 1860, the February Revolution of 1848 in Paris, which caused a revolutionary wave in other countries.
In England, as a result of the industrial revolution in the 2nd half of the 19th century. machine production and capitalist relations were established. The parliamentary reform of 1832 cleared the path for the bourgeoisie to state power.
In the lands of Germany and Austria, feudal rulers retained power. After the fall of Napoleon, they dealt harshly with the opposition. But even on German soil, the steam locomotive, brought from England in 1831, became a factor in bourgeois progress.
Industrial revolutions and political revolutions changed the face of Europe. “The bourgeoisie, in less than a hundred years of its class rule, has created more numerous and colossal productive forces than all previous generations combined,” wrote the German scientists Marx and Engels in 1848.
So, the Great French Revolution (1789-1794) marked a special boundary separating new era from the age of Enlightenment. Not only the forms of the state, the social structure of society, and the arrangement of classes changed. The entire system of ideas, illuminated for centuries, was shaken. The Enlighteners ideologically prepared the revolution. But they could not foresee all its consequences. The “kingdom of reason” did not take place. The revolution, which proclaimed individual freedom, gave rise to the bourgeois order, the spirit of acquisition and selfishness. Such was the historical basis for the development of artistic culture, which put forward a new direction - romanticism.
3. MAIN FEATURES OF ROMANTICism
Romanticism as a method and direction in artistic culture was a complex and contradictory phenomenon. In every country it had a strong national expression. In literature, music, painting and theater it is not easy to find features that unite Chateaubriand and Delacroix, Mickiewicz and Chopin, Lermontov and Kiprensky.
Romantics occupied different social and political positions in society. They all rebelled against the results of the bourgeois revolution, but they rebelled in different ways, since each had their own ideal. But for all its many faces and diversity, romanticism has stable features.
Disillusionment with modernity gave rise to a special interest in the past: to pre-bourgeois social formations, to patriarchal antiquity. Many romantics had the idea that the picturesque exoticism of the countries of the south and east - Italy, Spain, Greece, Turkey - was a poetic contrast to the boring bourgeois everyday life. In these countries, then little touched by civilization, romantics looked for bright, strong characters, original, colorful way of life. Interest in the national past has generated a lot of historical works.
Striving to rise above the prose of existence, to liberate the diverse abilities of the individual, to achieve maximum self-realization in creativity, the romantics opposed the formalization of art and the straightforward and reasonable approach to it, characteristic of classicism. They all came from denial of the Enlightenment and the rationalistic canons of classicism, which fettered the artist’s creative initiative. And if classicism divides everything in a straight line, into good and bad, into black and white, then romanticism divides nothing in a straight line. Classicism is a system, but romanticism is not. Romanticism advanced the advancement of modern times from classicism to sentimentalism, which shows the inner life of man in harmony with the wider world. And romanticism contrasts harmony with the inner world. It is with romanticism that real psychologism begins to appear.
The main goal of romanticism was image of the inner world, mental life, and this could be done using the material of stories, mysticism, etc. It was necessary to show the paradox of this inner life, its irrationality.
In their imagination, romantics transformed the unsightly reality or retreated into the world of their experiences. The gap between dream and reality, the opposition of beautiful fiction to objective reality, lay at the heart of the entire romantic movement.
Romanticism first raised the problem of the language of art. “Art is a language of a completely different kind than nature; but it also contains the same miraculous power, which equally secretly and incomprehensibly affects the human soul” (Wackenroder and Tieck). The artist is an interpreter of the language of nature, a mediator between the world of spirit and people. “Thanks to artists, humanity emerges as a complete individuality. Through modernity, artists unite the world of the past with the world of the future. They are the highest spiritual organ in which the vital forces of their outer humanity meet each other and where the inner humanity manifests itself first of all” (F. Schlegel).
Romanticism in the fine arts was largely based on the ideas of philosophers and writers. In painting, as in other forms of art, the romantics were attracted by everything unusual, unknown, be it distant countries with their exotic customs and costumes (Delacroix), the world of mystical visions (Blake, Friedrich, the Pre-Raphaelites) and magical dreams (Runge) or gloomy depths subconscious (Goya, Fusli). The source of inspiration for many artists was the artistic heritage of the past: the Ancient East, the Middle Ages and the Proto-Renaissance (Nazarenes, Pre-Raphaelites).
In contrast to classicism, which exalted the clear power of reason, the romantics sang passionate, stormy feelings that captured a person entirely. The earliest responders to new trends were portraits and landscapes, which became favorite genres of romantic painting.
Heyday portrait genre was associated with the interest of the romantics in the bright human individuality, beauty and richness of it spiritual world. The life of the human spirit prevails in a romantic portrait over interest in physical beauty, in the sensual plasticity of the image.
In a romantic portrait (Delacroix, Géricault, Runge, Goya) the uniqueness of each person is always revealed, the dynamics, the intense beat of inner life, and rebellious passion are conveyed.
Romantics are also interested in the tragedy of a broken soul: the heroes of their works are often mentally ill people (Gericault “A Madwoman Suffering from an Addiction to Gambling,” “The Thief of Children,” “The Insane Man Who Imagines Himself as a Commander”).
Scenery conceived by romantics as the embodiment of the soul of the universe; nature, like the human soul, appears in dynamics, constant variability. The ordered and ennobled landscapes characteristic of classicism were replaced by images of spontaneous, rebellious, powerful, ever-changing nature, corresponding to the confusion of the feelings of romantic heroes. The Romantics especially loved to write storms, thunderstorms, volcanic eruptions, earthquakes, shipwrecks that could have a strong emotional impact on the viewer (Gericault, Friedrich, Turner).
The poeticization of the night, characteristic of romanticism - a strange, unreal world living according to its own laws - led to the flourishing of the “night genre”, which became a favorite in romantic painting, especially among German artists.
One of the first countries in whose fine arts romanticism developed wasGermany .
Creativity had a noticeable influence on the development of the genre of romantic landscapeCaspar David Friedrich (1774-1840). In his artistic heritage Landscapes with images of mountain peaks, forests, the sea, the sea coast, as well as the ruins of old cathedrals, abandoned abbeys, and monasteries predominate (“Cross in the Mountains,” “Cathedral,” “Abbey Among the Oak Trees”). They usually contain a feeling of constant sadness from the awareness of a person’s tragic loss in the world.
The artist loved those states of nature that most correspond to its romantic perception: early morning, evening sunset, moonrise (“Two Contemplating the Moon”, “Monastery Cemetery”, “Landscape with a Rainbow”, “Moonrise over the Sea”, “Chalk Cliffs” on the island of Rügen", "On a sailboat", "Harbor at night").
The constant characters in his works are lonely dreamers, immersed in the contemplation of nature. Looking into the vast distances and endless heights, they become familiar with the eternal secrets of the universe and are carried away into the beautiful world of dreams. Friedrich conveys this wonderful world with the help of a magically shining light- radiant solar or mysterious lunar.
Friedrich's work aroused the admiration of his contemporaries, including I. W. Goethe and W. A. Zhukovsky, thanks to whom many of his paintings were acquired by Russia.
Painter, graphic artist, poet and art theoristPhilip Otto Runge (1777-1810), mainly devoted himself to the portrait genre. In his works, he poeticized images of ordinary people, often his loved ones (“The three of us” - a self-portrait with his bride and brother, has not survived; “Children of the Huelsenbeck family”, “Portrait of the artist’s parents”, “Self-portrait”). Runge’s deep religiosity was expressed in such paintings as “Christ on the Shores of Lake Tiberias” and “Rest on the Flight to Egypt” (unfinished). The artist summed up his thoughts about art in his theoretical treatise “The Color Sphere.”
The desire to revive religious and moral foundations in German art is associated with the creative activities of artists Nazarene school (F. Overbeck, von Karlsfeld,L. Vogel, I. Gottinger, J. Sutter,P. von Cornelius). Having united in a kind of religious brotherhood (“Union of St. Luke”), the “Nazarenes” lived in Rome according to the model of a monastic community and painted paintings on religious subjects. They considered Italian and German painting as a model for their creative searches.XIV - XVcenturies (Perugino, early Raphael, A. Durer, H. Holbein the Younger, L.Cranach). In the painting “The Triumph of Religion in Art,” Overbeck directly imitates Raphael’s “School of Athens,” and Cornelius in “Horsemen of the Apocalypse” imitates Durer’s engraving of the same name.
Members of the brotherhood considered spiritual purity and sincere faith to be the main virtues of the artist, believing that “only the Bible made Raphael a genius.” Leading a solitary life in the cells of an abandoned monastery, they elevated their service to art to the category of spiritual service.
The “Nazarenes” gravitated towards large monumental forms and tried to embody high ideals with the help of the newly revived fresco technique. Some of the paintings were completed by them together.
In the 1820s and 30s, members of the brotherhood dispersed throughout Germany, receiving leading positions in various art academies. Only Overbeck lived in Italy until his death, without betraying his artistic principles. The best traditions“Nazarenes” were preserved in historical painting for a long time. Their ideological and moral quest influenced the English Pre-Raphaelites, as well as the work of such masters as Schwind and Spitzweg.
Moritz Schwind (1804-1871), Austrian by birth, worked in Munich. In easel works he mainly depicts the appearance and life of ancient German provincial cities with their inhabitants. This was done with great poetry and lyricism, with love for its characters.
Carl Spitzweg (1808-1885) - Munich painter, graphic artist, brilliant draftsman, caricaturist, also not without sentimentality, but with great humor, talks about city life (“Poor Poet”, “Morning Coffee”).
Schwind and Spitzweg are usually associated with the movement in German culture known as Biedermeier.Biedermeier - this is one of the most popular styles of the era (primarily in the field of everyday life, but also in art) . He brought to the fore the burghers, the average man in the street. The central theme of Biedermeier painting was the daily life of a person, flowing in inextricable connection with his home and family. Biedermeier's interest not in the past, but in the present, not in the great, but in the small, contributed to the formation of a realistic tendency in painting.
French romantic school
The most consistent school of romanticism in painting developed in France. It arose as an opposition to classicism, which had degenerated into cold, rational academicism, and brought forward such great masters who determined the dominant influence of the French school throughout the 19th century.
French romantic artists gravitated toward subjects full of drama and pathos, internal tension, far from “dull everyday life.” By embodying them, they reformed pictorial and expressive means:
The first brilliant successes of romanticism in French painting are associated with the nameTheodora Gericault (1791-1824), who, before others, was able to express a purely romantic sense of conflict in the world. Already in his first works one can see his desire to show the dramatic events of our time. For example, the paintings “Mounted Rifle Officer Going on the Attack” and “Wounded Cuirassier” reflected the romance of the Napoleonic era.
Gericault’s painting “The Raft of the Medusa,” dedicated to a recent event, had a huge resonance modern life- the death of a passenger ship due to the fault of the shipping company . Gericault created a giant canvas 7x5 m, on which he depicted the moment when people on the verge of death saw a rescue ship on the horizon. The extreme tension is emphasized by the harsh, gloomy color scheme, diagonal composition. This painting became a symbol of modern Gericault France, which, like people fleeing a shipwreck, experienced both hope and despair.
The artist found the theme of his last large painting, “Epsom Races,” in England. It depicts horses flying like birds (a favorite image of Gericault, who became an excellent rider as a teenager). The impression of swiftness is enhanced by a certain technique: the horses and jockeys are painted very carefully, and the background is broad.
After the death of Gericault (he died tragically, in the prime of his strength and talent), his young friend became the recognized leader of the French romanticsEugene Delacroix (1798-1863). Delacroix was comprehensively gifted, possessing musical and literary talent. His diaries and articles about artists are the most interesting documents of the era. His theoretical research the laws of color had a huge influence on future impressionists and especially on V. Van Gogh.
Delacroix’s first painting, which brought him fame, was “Dante and Virgil” (“Dante’s Boat”), based on the plot “ Divine Comedy" She amazed her contemporaries with her passionate pathos and the power of her gloomy coloring.
The pinnacle of the artist’s creativity was “Freedom on the Barricades” (“Freedom Leading the People”). Credibility real fact(the picture was created at the height of the July Revolution of 1830 in France) here merges with the romantic dream of freedom and the symbolism of the images. A beautiful young woman becomes a symbol of revolutionary France.
The earlier painting “Massacre on Chios”, dedicated to the struggle of the Greek people against Turkish rule, was also a response to modern events. .
Having visited Morocco, Delacroix discovered the exotic world of the Arab East, to which he devoted many paintings and sketches. In "Women of Algeria" the world of the Muslim harem appeared before the European audience for the first time.
The artist also created a series of portraits of representatives creative intelligentsia, many of whom were his friends (portraits of N. Paganini, F. Chopin, G. Berlioz, etc.)
In the later period of his work, Delacroix gravitated towards historical themes, working as a monumentalist (paintings in the Chamber of Deputies, Senate) and as a graphic artist (illustrations for the works of Shakespeare, Goethe, Byron).
The names of English painters of the Romantic era - R. Benington, J. Constable, W. Turner - are associated with the genre of landscape. In this area, they truly opened a new page: their native nature found such a broad and loving reflection in their work that no other country knew at that time.
John Constable (1776-1837) was one of the first in the history of European landscape to write sketches entirely from life, turning to direct observation of nature. His paintings are simple in their motifs: villages, farms, churches, a strip of river or sea beach: “Hay Wagon,” Detham Valley,” “Salisbury Cathedral from the Bishop’s Garden.” Constable's works served as an impetus for the development of realistic landscape in France.
William Turner (1775-1851) - marine painter . He was attracted by the stormy sea, showers, thunderstorms, floods, tornadoes: “The last voyage of the ship “Brave”, “Thunderstorm over the Piazzetta.” Bold coloristic explorations and rare lighting effects sometimes turn his paintings into shining phantasmagoric spectacles: “Fire of the London Parliament”, “Blizzard. The steamer leaves the harbor and sends distress signals when it gets into shallow water.” .
Turner owns the first painting of a steam locomotive running on rails - a symbol of industrialization. In the film "Rain, Steam and Speed" a steam locomotive rushes along the Thames through a foggy rain haze. All material objects seem to merge into a mirage image that perfectly conveys the feeling of speed.
Turner's unique study of light and color effects largely anticipated the discoveries of French impressionist artists.
In 1848, arose in Englandpre-raphaelite brotherhood (from Latin prae - “before” and Raphael), which united artists who did not accept their contemporary society and the art of the academic school. They saw their ideal in the art of the Middle Ages and the Early Renaissance (hence the name). The main members of the brotherhood areWilliam Holman Hunt, John Everett Millais, Dante Gabriel Rossetti. In their early works these artists used the abbreviation RV instead of signatures .
The love of antiquity was similar to the romantics of the Pre-Raphaelites. They turned to biblical subjects (“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 plays by W. Shakespeare (“Ophelia” by Millais ).
In order to paint human figures and objects in their natural size, the Pre-Raphaelites increased the size of their canvases and made landscape sketches from life. The characters in their paintings had prototypes among real people. For example, D. G. Rossetti portrayed his beloved Elizabeth Siddal in almost all his works, continuing, like a medieval knight, to remain faithful to his beloved even after her untimely death (“Blue Silk Dress”, 1866).
The ideologist of the Pre-Raphaelites wasJohn Ruskin (1819-1900) - English writer, art critic and art theorist, author of the famous series of books “Modern Artists”.
The work of the Pre-Raphaelites significantly influenced many artists and became a harbinger of symbolism in literature (W. Pater, O. Wilde) and fine arts (O. Beardsley, G. Moreau, etc.).
The nickname "Nazarenes" may have come from the name of the city of Nazareth in Galilee, where Jesus Christ was born. According to another version, it arose by analogy with the name of the ancient Jewish religious community of the Nazarenes. It is also possible that the name of the group came from traditional name the “Alla Nazarena” hairstyle, common in the Middle Ages and known from A. Dürer’s self-portrait: the manner of wearing long hair parted in the middle was reintroduced by Overbeck.
Biedermeier(German: “brave Meyer”, philistine) - surname fictional character from the poetry collection of the German poet Ludwig Eichrodt. Eichrodt created a parody of a real person - Samuel Friedrich Sauter, an old teacher who wrote naive poetry. Eichrodt in his caricature emphasized the philistine primitiveness of Biedermeier's thinking, which became a kind of parody symbol of the era. sweeping strokes of black, brown and greenish colors convey the fury of the storm. The viewer's gaze seems to be in the center of a whirlpool; the ship seems to be a toy of waves and wind.
Art, as we know, is extremely multifaceted. A huge number of genres and trends allows each author to realize his creative potential to the greatest extent, and gives the reader the opportunity to choose exactly the style that he likes.
One of the most popular and, without a doubt, beautiful art movements is romanticism. This trend became widespread at the end of the 18th century, covering European and American culture, but later reaching Russia. The main ideas of romanticism are the desire for freedom, perfection and renewal, as well as the proclamation of the right of human independence. This trend, oddly enough, has spread widely in absolutely all major forms of art (painting, literature, music) and has become truly widespread. Therefore, we should consider in more detail what romanticism is, and also mention its most famous figures, both foreign and domestic.
Romanticism in literature
In this area of art, a similar style initially appeared in Western Europe, after the bourgeois revolution in France in 1789. The main idea of romantic writers was the denial of reality, dreams of a better time and a call to fight for a change in values in society. As a rule, the main character is a rebel, acting alone and seeking the truth, which, in turn, made him defenseless and confused in front of the world around him, so the works of romantic authors are often imbued with tragedy.
If we compare this direction, for example, with classicism, then the era of romanticism was distinguished by complete freedom of action - writers did not hesitate to use the most different genres, mixing them together and creating a unique style, which was based one way or another on the lyrical principle. The current events of the works were filled with extraordinary, sometimes even fantastic events, in which the inner world of the characters, their experiences and dreams were directly manifested.
Romanticism as a genre of painting
Fine art also came under the influence of romanticism, and its movement here was based on the ideas of famous writers and philosophers. Painting as such was completely transformed with the advent of this movement; new, completely unusual images began to appear in it. Themes of Romanticism addressed the unknown, including distant exotic lands, mystical visions and dreams, and even the dark depths of the human consciousness. In their work, artists largely relied on the heritage of ancient civilizations and eras (the Middle Ages, the Ancient East, etc.).
The direction of this trend in Tsarist Russia was also different. If European authors touched on anti-bourgeois themes, then Russian masters wrote on the topic of anti-feudalism.
The craving for mysticism was much less pronounced than among Western representatives. Domestic figures had a different idea of what romanticism was, which in their work can be seen in the form of partial rationalism.
These factors became fundamental in the process of the emergence of new trends in art on the territory of Russia, and thanks to them, the world cultural heritage knows Russian romanticism as such.
National consolidation, strengthened by patriotic enthusiasm Patriotic War 1812, manifested itself in an increased interest in art and in an increased interest in folk life in general. The popularity of exhibitions at the Academy of Arts is growing. Since 1824, they began to be held regularly - every three years. The Journal of Fine Arts begins publication. Collecting is making itself known more widely. In addition to the museum at the Academy of Arts, in 1825 the “Russian Gallery” was created in the Hermitage. In the 1810s The “Russian Museum” of P. Svinin was opened.
The victory in the Patriotic War of 1812 was one of the reasons for the emergence of a new ideal, which was based on the idea of an independent, proud personality, overwhelmed by strong passions. A new style was established in painting - romanticism, which gradually replaced classicism, which was considered the official style, in which religious and mythological themes predominated.
Already in the early paintings of K. L. Bryullov (1799-1852) “Italian Afternoon”, “Bathsheba”, not only the skill and brilliance of the artist’s imagination, but also the romanticism of the worldview were revealed. The main work of K. P. Bryullov “The Last Day of Pompeii” is imbued with the spirit of historicism; its main content is not the feat of an individual hero, but tragic fate masses of people. This picture indirectly reflected the tragic atmosphere of the despotism of the regime of Nicholas I; it became an event public life states.
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Romanticism manifested itself in the portraiture of O. A. Kiprensky (1782-1836). Since 1812, the artist created graphic portraits of participants in the Patriotic War who were his friends. One of the best creations of O. A. Kiprensky is considered to be the portrait of A. S. Pushkin, after seeing which the great poet wrote: “I see myself as in a mirror, but this mirror flatters me.”
The traditions of romanticism were developed by the marine painter I.K. Aivazovsky (1817-1900). His works that recreated the greatness and power of the sea elements brought him universal fame (“The Ninth Wave”, “The Black Sea”). He dedicated many paintings to the exploits of Russian sailors (“Battle of Chesma”, “Battle of Navarino”). During the Crimean War 1853-1856. in besieged Sevastopol, he organized an exhibition of his battle paintings. Subsequently, based on sketches from nature, he depicted the heroic defense of Sevastopol in a number of paintings.
V.A. Tropinin (1776-1857), brought up in the sentimentalist tradition of the late 18th century, experienced the enormous influence of the new romantic wave. Himself a former serf, the artist created a gallery of images of artisans, servants and peasants, giving them traits of spiritual nobility (“Lacemaker”, “Seamstress”). Details of everyday life and work activities bring these portraits closer to genre painting.
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› ››Description of the presentation by individual slides:
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Trace the connection between the arts in the era of romanticism. Develop associative thinking and creative abilities of students. Foster a culture of words; interest in painting. Goals and objectives:
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Romanticism replaces the Age of Enlightenment and coincides with the Industrial Revolution. If the Enlightenment is characterized by the cult of reason and civilization based on its principles, then romanticism affirms the cult of nature, feelings and the natural in man. It was in the era of romanticism that the phenomena of tourism, mountaineering and picnics took shape, designed to restore the unity of man and nature. The image of the “noble savage”, armed with “folk wisdom” and not spoiled by civilization, is in demand. Interest in folklore, history and ethnography is awakening, which is politically projected in nationalism. E. Delacroix “Algerian Women 1834 During a trip to North Africa, Delacroix was amazed by the harem he visited in the port city of Algiers. The former corsair, and now the local sultan, showed high honor to the European guest by showing him his protected possessions. The rare luck that befell Delacroix allowed him to look into the holy of holies of the Muslim world. By all accounts, it was in The Women of Algiers that Delacroix began his experiments with color. some fragments of the canvas are written in two contrasting additional colors(green and red). It became a milestone in the history of fine art; Renoir, Picasso and Matisse were delighted with “Algerian Women”.
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History of the origin of the term Poet P. A. Vyazemsky, turning to V. A. Zhukovsky, asked in bewilderment: “Romanticism, like a brownie, many believe it, there is a conviction that it exists, but where to notice it, how to designate it, how to stumble upon his finger? As a reaction to degenerating classicism, a new style emerged in most European countries - romanticism. The origin of the term "romanticism" is not precisely defined. Some researchers claim that the word “novel” is used as a basis. Other scholars believe that the term comes from the word “romance” (from the Spanish romance, a form of medieval folk song). France can rightly be called the birthplace of romanticism. Its appearance was the result of disappointment in the previous ideals of the world structure.
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The word “romanticism” goes back to the Latin Romanus - Roman, i.e. arising from or closely related to Roman culture. Later, this word began to be used to describe a wide range of different phenomena. For example, it was correlated with the concept of the novel genre, where the sublime, fantastically implausible feelings of the heroes were usually described. Thus, the words “romantic” and “romantic” were perceived as synonyms.
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There was another interpretation of this term. In the Middle Ages, it indicated that a work was written not in Latin, but in one of the new languages of the Romance group. At the same time, a special style of Romanesque architecture emerged. Vorontsov Palace. Crimea, Ukraine. An example of the Romanesque architectural style.
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Over time, the word “romanticism” completely separated from its historical roots and began to live an independent life. So at the end of the 18th century. it was picked up by the young German writers and became the name of a new literary school that replaced sentimentalism and classicism.
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The concept of romanticism was sometimes replaced by the concept of romance, which is essentially incorrect. Of course, romance and romanticism have much in common: an enthusiastic attitude towards reality, an understanding of the exclusive role of the individual, dissatisfaction with life and isolation from it, aspiration towards some unrealizable and mysterious ideal. Romance is the basis of romanticism in art, and therefore it is a more capacious and broader concept compared to romanticism.
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A romantic view of life often determines the artist’s worldview and forms the basis for the creation of his works. In this sense, romanticism can be considered as a kind of universal quality that permeates various historical eras and artistic styles. Consequently, romanticism is not only an artistic style of art, but also a way of understanding the reality of the reflection of the world. What was really important to the Romantics was not so much the idea itself as the power and means of its expression.
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The French poet Charles Baudelaire emphasized that romanticism lies “in the perception of the world, and not at all in the choice of subjects.” And according to A. A. Blok, romanticism sought to become and became “ new form feeling, a new way of experiencing life."
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Historical roots of romanticism The historical roots of romanticism should be sought in the works of German philosophers: I. Kant, F. Schelling and G. Hegel. Putting forward the idea of variability, mobility and fluidity, they considered the whole world, nature and man as an eternal flow of the creative spirit reviving dead nature. In their opinion, there is no frozen life, permanent forms, indisputable dogmas and eternal truths. There is life, ever renewed, full of movement and contrasts. Work of I. Kant I. Aivazovsky “Night. Blue wave" Oil on canvas.
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How did art respond to the challenge posed by philosophers? One of the main theorists, poet and critic August Schlegel, put forward the thesis that the old classicist art should be replaced by a new one, boldly violating previous laws and principles. This art will allow the artist to capture the free impulse of a free spirit, the uniqueness and exclusivity of one’s own Self, and an individual vision of the picture of the world. T. Girtin “White House in Chelsea” Watercolor.
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“A romantic does not live in everyday life, but creates his own, imaginary world, built according to his own laws.” August Schlegel (1767-1845) I. Aivazovsky “The Ninth Wave”
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Aesthetic principles of romanticism 1. Rejection real life, the desire to know the unknown. 2. The exclusivity of the romantic hero (internal duality, loneliness in the real world, the search for an ideal and dreams, life in the sphere of emotions and feelings). 3. Nature as an expression of the spontaneous beginning of life, a prototype of Freedom. 4. Cult of the past: idealization of Antiquity and the Middle Ages, interest in folklore. 5. Exoticism of distant countries The era of Romanticism was marked by the flourishing of literature, one of the distinctive properties of which was a passion for social and political problems. Trying to understand the role of man in what is happening historical events, romantic writers gravitated towards accuracy, specificity, and authenticity. At the same time, the action of their works often takes place in settings that are unusual for a European - for example, in the East and America, or, for Russians, in the Caucasus or Crimea.
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Romantic poets are primarily lyricists and poets of nature, and therefore in their work (as well as in that of many prose writers), landscape occupies a significant place - first of all, the sea, mountains, sky, stormy elements with which the hero has complex relationships . Nature can be akin passionate nature romantic hero, but can also resist him, turn out to be a hostile force with which he is forced to fight.
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Unusual and vivid pictures of nature, life, way of life and customs of distant countries and peoples also inspired the romantics. They were looking for the traits that constitute the fundamental basis of the national spirit. National identity is manifested primarily in oral folk art. Hence the interest in folklore, the processing of folklore works, the creation of their own works based on folk art.
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Herder Johann Gottfried (1744-1803) Romanticism is characterized by a synthesis of genders and genres, their interpenetration. The romantic art system was based on a synthesis of art, philosophy, and religion. For example, for a thinker like Herder, linguistic research, philosophical doctrines, and travel notes serve the search for ways of revolutionary renewal of culture.
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The meaning of romanticism, the value of the individual human personality and complete freedom artistic creativity from the norms and rules that constrain him. F. Schelling So, the romanticism of the early 19th century was able to reflect all the complexity of the transitional historical era from classicism to realism. He proclaimed the value of the individual human personality and the complete freedom of artistic creativity from the norms and rules that constrained it. The main connecting principle of romanticism was F. Schelling’s formula about the “uninhibitedness of the human spirit.”
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Romanticism is a heterogeneous artistic movement in the history of world artistic culture. Romanticism is a heterogeneous artistic movement in the history of world artistic culture. In different countries it had its own distinctive characteristics, determined by certain cultural traditions. For example, in Italy it developed in line with traditional classicism. In France it grew out of the sentimentalism or pre-romanticism of the Enlightenment. In Russia it appeared in a mixed form much later, organically incorporating the features of classicism.
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Subsequently, romanticism only transformed into other stylistic movements, for example, it appeared in the neo-romantic music of Richard Wagner Richard Wagner In some countries, the influence of romanticism ceased by the 20s, and by mid-19th century, it has become just a memory of the recent past. In the second half of the century, romanticism was widely replaced by other artistic movements, but this did not mean that it ceased to exist. Subsequently, romanticism only transformed into other stylistic movements, for example, it appeared in the neo-romantic music of Richard Wagner and in the painting of the Pre-Raphaelites. Romanticism has a lot in common with the Symbolists late XIX century. It also finds a unique embodiment in modern art.
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Fine art of romanticism In the history of world painting, romanticism constituted a bright and brilliant era. Paintings by T. Gericault and E. Delacroix (France), F. Goya (Spain), D. Turner, D. Constable, W. Blake (England), C. Friedrich (Germany), S. Shchedrin, O. Kiprensky, K. Bryullov and I. Aivazovsky (Russia) - the best that was created in the era of romanticism. Free from all sorts of dogmas, doctrines and schools, artists obeyed only the call of their own souls, devoted special attention expressive display of a person’s feelings and experiences. The favorite expressive means of romantic painting are color, lighting, attention to detail, emotionality of manner, brushstroke, and texture. Artists often resort to the language of allusions and symbols, inviting viewers to fill in the rest in their imagination.
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Eugene Delacroix. Self-portrait. Fragment. 1835-1837. Louvre. Paris. DELACROIX Eugene French painter and graphic artist, the most prominent representative of French romanticism in the fine arts. The spirit of love of freedom, active action, struggle was expressed in excitedly tense works, imbued with humanistic pathos, dynamic in composition, expressive, sonorous in color.
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Eugene Delacroix. Self-portrait in Hamlet costume. 1821 Jamot Collection, Paris. Look at “Self-Portrait of Eugene Delacroix in the Costume of Hamlet” and you will understand how clearly the artist’s romantic dream is expressed in it, how contrasting and contradictory the clashes of ideal and reality are. As if from a theatrical stage, he contemplates the “ruins of the world” spread out before him. His blurred gaze slides somewhere into the distance, past the viewer. The pale face is sad and thoughtful, fingers nervously grip the hilt of the dagger. Reflective light snatches out of the darkness the artist’s mourning suit, shrouded in swirling fog.
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Eugene Delacroix. Portrait of Frederic Chopin. 1838 Louvre, Paris. A captured moment of creative impulse and inspiration appears before us in the romantic portrait of the great composer Fryderyk Chopin. The exhausted, mournful face of the pianist becomes a true symbol of the romantic concept, which requires that a person devote himself entirely to creativity. Delacroix's rare gift made it possible to capture the most complex state of the composer's soul, his spirituality and suffering, sadness and inspiration.
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Eugene Delacroix. Moroccan man saddling a horse. 1855 Hermitage. Petersburg. The desire to break out of the confines of everyday life attracted romantics to exotic countries. In 1832, as part of the French embassy, Delacroix traveled to Morocco. The result was hundreds of sketches, dozens of paintings depicting the country, its inhabitants, costumes, customs, including “Moroccan Saddle a Horse”
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and the famous "Algerian women". Painted with broad, relief strokes, the painting is a veritable feast of color. Eugene Delacroix. Algerian women.
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Eugene Delacroix. Freedom on the barricades. 1830 Louvre. Paris. The pinnacle of the heroic period of romanticism in painting was “Liberty Leading the People,” written under the influence of the uprising in Paris in July 1830. Although there are few characters in the picture, it seems that the whole of Paris is defending the barricade. On the Cathedral tower Notre Dame of Paris a tricolor banner flies, the same in the hands of a beautiful woman, personifying Freedom. Delacroix feels like the flesh of free France; it is not for nothing that he placed himself among the defenders of the barricade. He is attracted by bright characters, dramatic destinies, the pathos of a person’s struggle with circumstances, elements
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The semantic center of the picture becomes the figure of Freedom of a beautiful woman with a tricolor banner in her hand. In a single impulse, she carries the rebels along with her, gives strength to the wounded soldier, inspiring children and adults to heroism.
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Eugene Delacroix. Massacre at Chios. 1824 Louvre. Paris. Eugene Delacroix. Greece dying on the ruins of Missolunga. 1827 Museum of Fine Arts in Bordeaux. The paintings “Massacre on the Island of Chios” and “Greece on the Ruins of Missolunga” are dedicated to the struggle of the Greeks for national independence.
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Francisco Goya. Self-portrait. Vicente Lopez y Portanha. Portrait of Francisco Goya. 1826 Canvas. Prado, Madrid. GOYA Francisco José de (1746-1828), Spanish painter and engraver. Goya's freedom-loving art is distinguished by bold innovation, passionate emotionality, imagination, and sharp characterization
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Francisco Goya. Self-portrait. The great Spanish artist Francisco Goya (1746-1828) created a wonderful gallery of portraits of his contemporaries. In them, he first of all wanted to convey the inner world of a person, his feelings and experiences. As the king's court artist, he was forced to paint many portraits to order, but this did not stop him from creating deep and soulful works. Often he had to “look under the mask” to see the true essence of a person
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Francisco Goya. Duchess of Alba. Even the smallest details did not escape Goya's attentive gaze. Having completely lost his hearing in 1792, he peered even more closely into the faces of his contemporaries and analyzed their characters. Kings and social beauties, philosophers and art connoisseurs, poets and scientists, actresses, bullfighters, commoners and beggars become the heroes of his canvases. He creates vivid and memorable images, sometimes beautiful and enchanting.
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Francisco Goya. Saturn devours one of his children. 1819-1823. Prado. Madrid. and sometimes sinister and repulsive.
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Francisco Goya. Portrait of Doña Isabela Covos de Porcel. 1806 National Gallery, London. The beautiful, charming Doña Isabel Covos de Porcel is captured in the portrait, which the artist, not by chance, considered one of his best works. Undoubtedly, before us is a bright and extraordinary person, confident in her beauty and full of self-esteem. Her appearance expressively emphasizes her proud posture, naturalness and liveliness. A slight turn of the head, unruly strands of golden hair, half-open lips, and a dreamy look give the image a special charm and charm. The matte peach color of the cheeks contrasts with the shine of the black silk mantilla and lace, under which the red dress suddenly flares. Undoubtedly, we have before us a real Spaniard, a bright romantic embodiment of the Spanish national character.
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Francisco Goya. Execution of the rebels on the night of May 3, 1808. 1814 Prado, Madrid The painting “Execution of the Rebels” was the artist’s indictment of evil and violence. Hearing nothing around, he clearly sensed the real scale of the people's tragedy. A dark, hopeless night fell on the wasteland of Mancloa Square in Madrid. Here, on May 3, 1808, a faceless, gray crowd of soldiers carried out a terrible order - they shot innocent people without trial or investigation. The contrasts of light and shadow enhance the drama of what is happening. In these last minutes before death, their thoughts and feelings are strained to the limit. The fists of those who did not submit are clenched until they bleed, their fingers are bitten painfully in a silent and desperate cry. The dead man froze in the last convulsion, feeling the ground, mortally wounded. A monk in a gray cassock restrainedly calls out to God. Someone backed away, covering his face with his hands...
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O.A. Kiprensky. Self-portrait. Russian portrait painters also created many picturesque portraits of their contemporaries. The romantic portrait became a real recognition of the artist Orest Adamovich Kiprensky (1782-1836). What especially attracted his contemporaries in his portraits, since there were many luminaries of portraiture in the Russian school? Why did the talented master captivate the audience so much? Most of the portraits he created bear the stamp of unusualness, sometimes mystery. The artist does not set himself the goal of giving a reliable, accurate description of the characters. The main thing for him is to convey the hero’s longing for a distant, sometimes unrealistic ideal, to embody the inner discord of the soul, dissatisfaction, tragic brokenness, hidden sadness and the spirit of doubt. That is why in the gallery of portrait images a significant place is occupied by dreamers, people of high and noble aspirations, to whom routine and everyday life are alien.
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O.A. Kiprensky. Portrait of E.V. Davydov. 1809 State Russian Museum. St. Petersburg One of the brightest and deepest romantic portraits of O. A. Kiprensky is the portrait of E. V. Davydov, the poet’s cousin and hussar. This is the image of a man of a stormy and heroic era, demanding “to dedicate the souls of wonderful impulses to the fatherland.” Before us controversial personality, whose character combines the external bravado and military prowess of dashing hussars, a sense of duty and spiritual nobility, the spirit of a merry fellow and the concentration of a deeply thinking person. This is a natural, lively person who especially highly values personal freedom and independence. The artist successfully found the mutual harmony of shades of colors: a yellowish tone of the face, a bright red uniform, white leggings, gold braiding, silver cords of a sword belt and black varnished boots; the romantic landscape gives dynamism to the image: Davydov stands near a broken tree that has experienced the power of wind and lightning . Above him, clouds of white clouds are gathering, rushing across the blue sky.
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O.A. Kiprensky. Pencil portraits of heroes of the Patriotic War of 18112, State Russian Museum. Saint Petersburg. Kiprensky owns a series of pencil portraits of heroes of the Patriotic War of 1812. The artist’s light and virtuosic pencil notes in the appearance of these people the features of high intelligence, readiness for heroism and nobility of soul. With passion, he paints the generation of winners, the heroic “children of 1812” in military uniforms, militia caps and field cloaks.
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A. S. Pushkin. Portrait by O. A. Kiprensky. 1827, Tretyakov Gallery. Moscow. Being a contemporary of Pushkin, he created a whole gallery of images included in the poet’s close circle: P. A. Vyazemsky, N. I. Gnedich, I. A. Krylov, K. N. Batyushkov, K. F. Ryleev, V. A. Zhukovsky. He owns famous portrait A. S. Pushkin (1827) - “pet of the pure muses”, full of creative impulse and inspiration
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O. A. Kiprensky. "Portrait of E. S. Avdulina." 1822-23. Russian Museum. Wonderful and female portraits artist. The young ladies depicted on them are flirtatiously sweet and sensual, the charming old ladies are majestically calm and noble. Portraits of E. Rastopchina and E. Avdulina belong to Kiprensky’s true masterpieces.
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K. P. Bryullov. Self-portrait. 1848 There are few artists who can withstand comparison with the picturesque portraits of Karl Pavlovich Bryullov (1799-1852). Among the many portraits very different in execution style (there are about eight dozen of them), Bryullov especially singled out portraits of people who were spiritually close to him. The best of them are portraits of poets V. A. Zhukovsky, A. S. Pushkin and T. G. Shevchenko, fabulist I. A. Krylov, poet, translator and publisher A. Strugovshchikov, sculptor I. Vitali, archaeologist M. Lanci. for him, the external beauty of the person being portrayed did not matter; it was much more important inner beauty, the life of the human soul. The artist remained cold and indifferent to beautiful but soulless faces.
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K.P. Bryullov. Portrait of N.V. Kukolnik. 1836 One of K. P. Bryullov’s masterpieces was the portrait of the writer N. V. Kukolnik, who was especially popular at the beginning of the 19th century. The author of five novels, 26 stories, six dramas and many poems, including the famous novel “Doubt” to the music of M. I. Glinka, he experienced deep inner disappointment, felt the approach of oblivion and emptiness. He was recognized less and less often in the crowd on Nevsky in a black romantic dress, in a top hat and with a cane in his hands. The best time of life, it seems, has already passed... - Bryullov shows a wary person, withdrawn in his thoughts and experiences. Eternally doubtful, distrustful, acutely aware of the tragic discord between dreams and reality - a true romantic hero. He is tormented by the consciousness of his own uselessness, the feeling of the futility of the struggle.
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K. P. Bryullov. "The Last Day of Pompeii". Famous painting Karl Bryullov's “The Last Day of Pompeii” was written in 1830-1833. In this epic canvas, the painter captured the death of the city of Pompeii due to the eruption of Mount Vesuvius in 79 AD. In his painting, Bryullov uses a bold color scheme for its time. The painter pays the closest attention to aerial perspective - he manages to create a feeling of deep space. Before us is a whole sea of human suffering. In the hour of real tragedy they are exposed human souls. Here is a man, protecting his loved ones, desperately raising his hand, as if trying to stop the elements. The mother, passionately hugging her children, looks at the sky with a plea for mercy. Here the sons are trying to carry their weak old father away from danger on their shoulders. A young man persuades his fallen mother to gather her strength and run. In the center of the picture are a dead woman and a baby reaching out to the lifeless body of its mother.
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Theodore Gericault. Raft "Medusa". 1819 Louvre. Paris. In a fierce struggle against the elements, a person often shows miracles of courage and heroism. the dramatic scene of the wanderings of those in distress among the waves of the raging ocean is conveyed in the film French artist Theodora Gericault (1791-1824) “The Raft of the Medusa.” The plot is based on - real event July 1816, when the famous frigate Medusa was wrecked and sank. For twelve days, the miraculously saved people frantically fought for their lives. Suddenly they saw on the horizon, in a narrow gap between the gloomy clouds, the barely visible point of a distant ship. In a desperate and passionate impulse, exhausted and exhausted people reach out to her, clutching each other. They rise, crawl on their knees, eagerly stretch their arms forward towards the rescue ship. A powerful devastation of feelings and despair grows uncontrollably, it is conveyed in the figure of a black man who climbs onto a barrel. Supported by the hands of people, he waves his red handkerchief furiously, trying to signal the ship.
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William Turner. Shipwreck. The natural elements of fire, water and snowstorm permeate the paintings of the wonderful English romantic landscape painter William Turner. Best pictures the artist's "Shipwreck", "Fire of London Parliament", "Rain, Steam, Speed" give a vivid idea of the power of nature in its most romantic and majestic Manifestations. A person who finds himself in a fantasy world created by the artist’s imagination often feels powerless and insignificant before the infinity of the universe.
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William Turner. London Parliament fire. Turner was convinced that reproducing pictures of raging natural elements was capable of most fully and vividly conveying the confusion of the human heart, the impulse of his spirit and thoughts. “Disaster landscapes” and “enchantment landscapes”, amazingly woven with the help of light and color, created phantasmagoric visual effects.
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K. D. Friedrich. Sunset. Completely different approaches to depicting the natural world can be observed in the works of German artist Caspar David Friedrich (1774-1840). He loved to paint mountain, sea and forest landscapes, making one feel the boundlessness and infinity of heights and distances. The vast expanses with the silence reigning in them fascinate the viewer, setting him up for silent communication with nature. If he introduces a person into his landscapes, then it seems that the person was thrown here by some accidents or vicissitudes of fate. We almost never see his face; more often he is shown from behind.
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K. D. Friedrich. Monk on the seashore. 1808-1809 State Museum, Berlin The painting “Monk on the Seashore” is surprisingly simple and at the same time grandiose. Almost its entire composition is made up of multi-colored horizontal stripes. Below is a narrow strip of almost white coastal sand, then a black-blue, lead-gray sea and then a dark sky brightening above. The horizon line leads the viewer's gaze into the distance, into the very depths of the picture, revealing the infinity of the universe. Against this unusual background, the artist depicts a small figure of a monk who finds himself face to face with majestic Nature. The lonely wandering monk embodies the romantic ideal of the artist and reveals the theme of the tragic loss of man in infinite space.
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"AND. K. Aivazovsky." Portrait by A. Tyranov. 1841 Russian landscape painting first half of the nineteenth century. developed in line with romanticism. The free elements of nature acted as the personification of the spirit of freedom and independence. Ivan Konstantinovich Aivazovsky entered the history of world painting as a “fiery poet of the sea.” He devoted his entire life to this topic and never betrayed it. In the created marinas, he remained faithful to the romantic ideal of beautiful and spiritual nature. If in his younger years he was more interested in the serene silence of the sea, then later he turns to the image of a powerful, raging element, foreshadowing grandiose catastrophes.
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SHCHEDRIN Sylvester Feodosievich, Russian artist, a major representative of romanticism, an outstanding master of landscape photography.
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Thus, Russian light painting originated in Italy, in the art of Shchedrin. The master achieved particular artistic perfection in the cycles “Harbor in Sorrento” - luminous colorful ranges, harmonious combinations of landscape and genre motifs (Shchedrin did not like complete desertion, a person is always present to him, at least in the form of traces of his works and days) form joyful images here “midday paradise” - however, quite real and devoid of excessive, abstract idyll. S. F. Shchedrin. "View of Sorrento" 1826 Tretyakov Gallery.
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