In the XVII - XVIII centuries. to replace the Russian Renaissance. A new era is coming, which specialists call the Russian Enlightenment. There is a radical reorientation not only of Russian culture, but also of Russian society from the Byzantine East to the European West. The leading role is shifting from religious to secular art. The first contours of a secular portrait and landscapes are visible through the strict schemes of the icon. From the depths of icon painting, painting long and painfully makes its way into the world. Sensuality is replaced by rationalism. From feudalism, Russia is slowly turning to capitalism, and, therefore, to a new economic order, a new way of life. Changes took place in the ruling aristocracy: the Rurik dynasty was replaced by a completely different, not related to it, the Romanov dynasty (1613 - 1917).
The Russian Enlightenment can be conditionally divided into two stages: the 17th century, which is only a transitional era, and the 18th century, that is, the Enlightenment itself, the beginning of which was marked by the grandiose reforms of Peter I, and the culmination of the activities of Catherine II.
The greatest contribution to the Russian Enlightenment belongs to Catherine the Great, who, like other enlightened monarchs, played a key role in supporting the arts, sciences and education. Although in Russia, as in other European countries, significant changes took place in this era, the difference between Russia and the Western Enlightenment lies in the fact that not only there was no shift in public opinion towards the development of liberal ideas, but on the contrary, they were met extremely wary.
In the 18th century, the foundations of a secular worldview were laid: a system of secular education was formed, art and science developed. However, the process of restructuring Russian society was completely completed only in the 19th century. Throughout the 18th century, there was a struggle between the old and the new, pre-Petrine orders and European customs, and painstaking work on educating a person was invisible to the eye.
The beginning of the 18th century was marked by a rapid transition from a national artistic tradition, dating back to Byzantine origins, to a Western European art tradition. Russia began energetically assimilating the experience of world culture, familiarizing itself with its achievements. That is why in Russian art of the 1st quarter of the 18th century. There is neither that depth of spiritual content, nor that organic unity of the ideological-figurative system with artistic forms that are characteristic of the art of Ancient Russia.
Culture of the first quarter of the 18th century was nourished by the ideas that the basis of historical progress, the strength of the state is science and education. The knowledge gained in the course of practical activity helps to understand more deeply nature, society, man, to identify patterns, logic in their development. The power of reason is able to reveal the most rational forms of social structure and creativity.
How did you get acquainted with Western art?
In the workshops of the Armory in the second half of the 17th century, foreigners worked side by side with Russian craftsmen. The contracts concluded with them specifically stipulated a clause according to which they had to teach Russian students "everything that they themselves can do": how to build a deep space, calculate the proportions of a human figure, convey it in the correct perspective, that is, in a reduction, with a difficult turn and movement. The models for our icon painters were engraving, which was then called "Fryazhsky sheets". Anyone could buy them on the bridge near the Kremlin's Spasskaya Tower, as well as in the markets of large Russian cities. True, Western European engraving, which has become firmly established in artistic use, is thoroughly reworked in the Russian way.
In the XVIII century. traditional Russian icon painting is gradually declining. An increasing influence on her is exerted by oil painting penetrating from the West, which by this time had gone a long way of development from the Renaissance to the Baroque. Among the most famous representatives of icon painting of this period, stand out G.T. Zinoviev, A. I. Kazantsev and S. S. Nekhlebaev... So the "Europeanization" of Russian icon painting in the 18th century gradually led to the emergence secular painting, which did not exist before.
Together with her, a new genre appears - the image of a certain person, "person", the so-called parsuna, which laid the foundations of portraiture of the 18th century. It was formed in the Armory Chamber of the Moscow Kremlin - the center of the country's artistic life in the middle of the 17th century. The best painters of their time worked here: B. Saltykov, I. Bezmin, V. Poznansky, I. Maksimov, K. Ulanov, T. Filatyev, I. Pavlovets, F. Kozlov... Here I. Vladimirovand S. Ushakov the first theoretical treatises on painting in the history of Russian art were written.
The first Russian artists in the modern sense of the word, such as IN Nikitin and AM Matveev, studied abroad. Others (Schlüter, Karavak) were invited from abroad and worked as court painters. They not only created a national school of painting (I. Ya. Vishnyakov, A.P. Antropov, A.I.Belsky), but also laid the foundation for the tradition, which in modern art history is called rossica, the depiction of Russian life by Western European painters (Rotary, Grotto, Roslin).
After the opening of the Academy of Arts in 1757, Russian painting of the Enlightenment flourished in the works of the outstanding masters D. G. Levitsky, V. L. Borovikovsky, F. S. Rokotov.
The 18th - early 19th centuries marked two world-class cultural achievements: the architecture of St. Petersburg and portraiture. The emergence of world achievements in the field of secular culture testified to two facts: 1) secular art has become an independent cultural event in the life of society, no less. Than religious; 2) from now on, all or most of the cultural innovations were to be expected from secular, and not from religious culture. Secular culture firmly seized leadership and never again lost it. The great era of Russian church culture is a thing of the past, the great era of Russian secular culture has begun.
Russian art is mastering new means of conveying the appearance of the surrounding world. Direct perspective is used to convey the appearance of the surrounding world. Direct perspective is used to convey the depth and volume of the image on the plane. Artists think about the relationship between light and color, about the role of color as one of the means of constructing volume and space. The ability to depict a specific material - fur, fabric, and to show the features of the surface of the face and hands, the shine of the eyes, the softness of the hair - is beginning to be appreciated.
In the Petrine era of favoritism, when the greatness and wealth of a person could quickly increase and just as instantly he could fall into insignificance, many wealthy people wanted to leave their portrait to their offspring, to be depicted in memory of their importance and panache in a luxurious wig, with orders, in uniform , in suits decorated with gold embroidery; or they wanted to have an image of their benefactor (king) in order to express their respect and devotion.
Russian portraiture reached its special development in the second half of the 18th - early 19th centuries. This is the time of the work of outstanding portrait painters, whose fame spread far beyond the borders of Russia: F.S. Rokotova, D.G. Levitsky, V.L. Borovikovsky, I.N. Nikitin.
The first major master of this genre was I.N. Nikitin (1680 - not earlier than 1742). Personal affairs master, favorite artist of Peter I, IN Nikitin was an example of the emperor's patriotic pride in front of foreigners, "so that they know that there are good masters from our people as well." And Peter was not mistaken: the painter Ivan was the first Russian portraitist of the European level. His work is the beginning of Russian painting of the modern era ("Princess Praskovya Ivanovna", 1714, "Portrait of a Cossack in a red caftan", 1715, "Portrait of Peter the Great", 1725). Nikitin is one of the first Russian artists who departed from the traditional icon-painting style of Russian painting and began to paint pictures with a perspective, as they were painting in Europe at that time. Thus, he is the founder of the tradition of Russian painting, which continues to this day.
F.S. Rokotov(1735 - 1808), a native of a family of serfs, is one of the best masters of the Age of Enlightenment. The gallery of his portraits is a poetic world in the image of contemporaries, immersed in dreamy pensiveness, in subtle hidden movements of the soul.
Along with F.S. Rokotov and V.L. Borovikovsky D.M. Levitsky is considered one of the largest Russian portrait painters of the 18th - 19th centuries. In his youth he painted icons, and in 1771 - 1787. headed the portrait class of the Academy of Arts. The pinnacle of his art is a series of portraits of the pupils of the Smolny Institute, "Smolnyanka". In the picture, they play music, dance, communicate with each other, playing a cunning picturesque theater in front of the audience. Among the best works of Levitsky are also bust portraits of D. Diderot, M.A. Dyakova, N.I. Novikov and Catherine II, which is presented in the ancient temple of the goddess of justice.
Portraits V.L. Borovikovsky (1757 - 1825) features of sentimentalism, a combination of decorative subtlety and gracefulness of rhythms with the correct transfer of character ("MI Lopukhina"). He received his primary art education from his father, an icon painter. After completing military service, he was engaged in religious painting in the traditions of the Ukrainian Baroque. Having moved to St. Petersburg, he became close to the outstanding intellectuals of that time. He painted icons and ceremonial portraits in the Baroque and Classicism styles. In 1804 - 1811. writes religious paintings for the Kazan Cathedral of St. Petersburg. In the later period, Borovikovsky was actively involved in teaching, organizing something like a private school at home (among the students was A.G. Venetsianov).
Throughout the 18th century, the landscape genre was formed, significant advances were made in graphics, which sought to capture the appearance of the young capital. M.I. Makhaev (1718 - 1770) - the author of a large number of views of St. Petersburg and its environs. Pictures were made according to his drawings, and the twelve "noble" perspectives of Petersburg, drawn by him, were engraved at the Academy of Sciences. Makhaev accurately conveys the appearance of this or that building, captures it with almost photographic accuracy. Often the artist works with architectural projects, according to which he creates the facades of already non-existent or still unfinished buildings.
In the works of Makhaev, an image of a place is created, the nature of its daily life. The figures of people are combined into genre scenes and correspond to the compositional center - the building: courtiers at the Summer Palace, carriages of dignitaries and horsemen in front of the State Collegia, a crowd of city people and cabbies near the Stock Exchange. Trees complement the image of the city, which gradually acquire greater concreteness, more boldly introduced into the composition.
The art of engraving became widespread in the Petrine period. It is represented by the design or illustrations of books, or independent sheets. They were dominated by battle scenes and urban landscape.
A prominent engraver of the early 18th century. was A.F. Teeth... He performed the Panorama of Petersburg, extraordinary in complexity and grandeur. His other engraving "Gangut Triumph" depicts the return of the Russian fleet to St. Petersburg, leading the Swedish ships captured in battle. A number of engravings are dedicated to solemn acts, amusements of that time.
The main center of engraving was at first the Armory, and since 1711 - the St. Petersburg printing house.
Sculpture did not exist in the pre-Petrine period, this was due to the fact that according to the Orthodox church canon, statues and relief images were not included in the number of sacred objects of religious art.
During the Petrine period, the most famous sculptor was K.B. Rastrelli(1675-1744). On the instructions of Peter I, he made statues for the Summer Garden. Rastrelli (father) worked a lot on the image of Peter I. As early as 1719, he took off his mask and sculpted a wax bust. In 1723 he created a bronze bust of Peter I. In his appearance, the sculptor emphasized intelligence, will, and energy.
Art of the first quarter of the 18th century It is distinguished by a pronounced complexity, synthetics. The overall impression is created by the efforts of architecture, painting, sculpture, garden art, fountain business, vocal and instrumental music.
Thus, Russian art of the 18th century was a new stage in the development of Russian culture, when European trends were assimilated and synthesized with national artistic traditions and a decisive shift took place in the spiritual culture of society, which led to the onset of the "golden age" of Russian art and literature of the early 19th century.
Canons of a baroque ceremonial portrait A.P. Antropov (1716 -1795) Portrait of Emperor Peter III 1762 Charles-Joseph Natuire (1700 -1777) Portrait of Louis, Dauphin of France 1747
Variations of the imperial ceremonial portrait A.P. Antropov (1716 -1795) Emperor Peter III against the background of the battle of 1762 A.P. Antropov (1716 -1795) Portrait of Emperor Peter III Sketch, 1762
Ecclesiastical (ecclesiastical) portrait of A.P. Antropov (1716 -1795) Portrait of Archbishop Portrait of Archbishop S.P. Kulyabka. 1760 Plato (Levshin). 1775 Anton Raphael Mengs (1728 -1779) Portrait of Pope Clement XIII 1758
Allegories of the reign of Catherine II Francesco Fontebasso (1709 -1768/9) Allegory of accession to the throne of Catherine II 1762 Stefano Torelli (1712 -1780) Allegory of Catherine II's conquest of the Turks and Tatars Around 1772
An early (student's?) Work by F.S. Rokotov (1732? 5? -1808) Portrait of Empress Catherine II 1760s Martin van Meitens (1695 -1770) Portrait of Empress Maria Theresa 1759
Portrait of Rokotov's brush - “type of Roslin” FS Rokotov (1732? 5? -1808) Portrait of Catherine II 1780 Alexander Roslin (1718 -1793) Portrait of Catherine II. OK. 1780 Drotttingholm, royal palace
Portraits of “high-ranking children” Portrait of Grand Duke Pavel Petrovich; 1761 F.S. Rokotov (1732? 5? -1808) Portrait of Princess E.B. Yusupova; early 1760s
“Hero, Drinking and Caustic Time” Jean-Honore Fragonard (1732 -1806) Inspiration approx. 1769 F.S. Rokotov (1732? 5? -1808) Portrait of the poet V. I. Maikov c. 1766 “That for the sake of glorious deeds from the time of protection Are born into the world with the heroes of the piita, In order to impose fetters on it And the force of causticity to humiliate him. So, when the singers of the heroes sang, With the heroes they hoped to live forever. Forgive me, great man, you are my weakness, I want to live forever with your glory; When these verses will be read by descendants, of course, they will remember me with you. "V. I. Maikov" Message to Count P. I. Rumyantsev ", 1775
“Mysterious Hero” of the Age of Enlightenment FS Rokotov (1732? 5? -1808) Portrait of a Young Man in a Cocked Hat Early 1770s. Benjamin West (1738 -1820) Self-portrait 1770
“An eccentric hero” of the Enlightenment FS Rokotov (1732? 5? -1808) Portrait of N. Ye. Struisky 1772 Joseph Ducrot (1725 -1805) Self-portrait as a mocker 1789 -91
“Mystery” and coquetry (?) F.S. Rokotov (1732? 5? -1808) Portrait of A.P. Struyskaya 1772 Alexander Roslin (1718 -1793) Portrait of a Lady with a Veil 1769
Young Lady of the “Rococo Style” FS Rokotov (1732? 5? -1808) Portrait of an Unknown Woman in a Pink Dress. 1770s Alexander Roslin (1718 -1793) Portrait of Madame de Lamballe 1770s
Nude figure in the “Rococo style” FS Rokotov (1732? 5? -1808) Nude girl 1770 -80s. Francois Boucher (1703-1770) Toilet of Venus 1740s
An elderly lady in Russia and France I. P. Argunov (1729 -1802) Portrait of A. A. Lazareva Late 1760s. Louis Tauquet (1696 -1772) Portrait of Madame Danger at needlework 1753
“Natural man” in the bosom of nature Adolph Ulrik Werthmüller (1751 -1811) Madame d'O, friend of Queen Marie Antoinette, dressed as a milkmaid. 1787 IP Argunov (1729 -1802) Portrait of a young woman in a peasant costume 1784 “The circle of the sun ends, the spring is coming to the meadows, Cheers the creature, and renews the light. Snow has hidden, the marshmallow sings on the flock: Springs murmur, and the lark sings. Those dear hours have approached, To see the shepherd's beauty to the shepherd ”AP Sumarokov (1717 -1777) Eclogue“ Palmyra ”, 1787
Eclogue and pastoral on the theater stage N. I. Argunov (1771 -1829?) Actor I. Ya. Yakimov as Cupid 1790 Laurent Pasch the Younger (1733 -1805) Actors dancing on the stage of the 1760s.
Status / role self-portrait of the artist D. G. Levitsky (1735 -1822) Self-portrait 1783? (1790s?) Joseph Ducros (1725 -1805) Self-portrait in a naval uniform 1795
Portrait of the “enlightened ruler” DG Levitsky (1735 -1822) Catherine II the legislator in the temple of justice. 1783 Pompeo Girolamo Batoni (1708 -1787) Emperor Franz I Stephen defender of justice. 1768
Aspects of the image of the “enlightened empress” DG Levitsky (1735 -1822) Catherine II legislator in the temple of justice. 1783 F.I.Shubin (1740-1805) Catherine II - legislator 1789 -90 D.G. Levitsky (1735-1822) Portrait of Catherine II (as Minerva). 1780s
Portrait of an enlightened nobleman (I) D. G. Levitsky (1735 -1822) Portrait of the architect A. F. Kokorinov 1769 -1770 Anton von Maron (1733 -1808) Portrait of Johann Jochim Winckelmann 1768
Portrait of an enlightened nobleman (II) D. G. Levitsky (1735 -1822) Portrait of P. A. Demidov 1773 Jean-Louis de Veli (1730 -1804) Portrait of Count I. I. Shuvalov 1755 -57
“To soften morals and create a new breed of people” D. G. Levitsky (1735 -1822) Portrait of FS Rzhevskaya and N. M. Davydova 1772 George Romney (1734 -1802) Portrait of Cumberland girls 1772 -73
Training program in Smolny: dancing D. G. Levitsky (1735 -1822) Portrait of Ekaterina Nelidova 1773 Jacques-Louis David (1748 -1825) Mademoiselle Gimard as Terpsichore 1773 -74
Study program in Smolny: secular manners D. G. Levitsky (1735 -1822) Portrait of Natalia Borshchova 1776 Thomas Gainsborough (1727 -1788) Portrait of Giovanna Baccelli 1782
Study program in Smolny: music D. G. Levitsky (1735 -1822) Portrait of Glafira Alymova 1776 Pompeo Girolamo Batoni (1708 -1787) Princess Hyacinth Orsini Buoncampagni Ludovisi. 1770s
Study program in Smolny: natural science D.G. Levitsky (1735-1822) Portrait of Ekaterina Molchanova 1776 Jacques-Louis David (1748-1825) Antoine-Laurent Lavoisier with his wife 1788
The enlightened leadership of “free arts” D. G. Levitsky (1735 -1822) Portrait of Count I. I. Shuvalov 1780s. Sir Joshua Reynolds (1723 -1792) Self-portrait as President of the Royal Academy of Arts 1773
Reason and feelings in an “enlightened life” (I) D. G. Levitsky (1735 -1822) Portrait of Ursula Mniszek 1782 Joseph Ducros (1725 -1805) Portrait of Queen Marie Antoinette 1782
Play and passion in “enlightened life” D. G. Levitsky (1735 -1822) Portrait of the actress Anna Davia Bernuzzi 1782 Thomas Gainsborough (1727 -1788) Portrait of the actress Sarah Siddons 1783 -85
Reason and feelings in “enlightened life” (II) D. G. Levitsky (1735 -1822) Portrait of A. D. Lanskoy 1782 Johann-Baptiste Lampi (1751 -1830) Portrait of His Serene Highness Prince G. A. Potemkin-Tavrichesky. 1792
Enlightened mind: philosopher D. G. Levitsky (1735 -1822) Portrait of Denis Diderot (?) 1773 -74 Jean-Honore Fragonard (1732 -1806) Portrait of Denis Diderot c. 1769
The enlightened mind: the mystic D. G. Levitsky (1735 -1822) Portrait of N. I. Novikov 1797 (?) Karl Frederick von Breda (1759 -1818) Portrait of Emmanuel Swedenborg 1817
E. -M. Falcone - chief artist of the Sevres manufactory Etienne-Maurice Falcone (1716 -1791) Allegory of winter Cupid threatening Flora 1771 1757 1750s.
“Sculptural allegory of the Russian Enlightenment” by Marie-Anne Collot (1748 -1821) Head of Peter I Bas-relief of Peter I 1767 1769 -70 Etienne-Maurice Falcone (1716 -1791) Monument to Peter I on Senate Square 1766 -1782
"Enlightenment allegory" in the urban environment "Inauguration of the monument to Peter I on August 18, 1782" Engraving by A. Melnikov (1830) after the drawing by AF Davydov; 1782 ↖ Unknown artist Transportation of the Thunder Stone (November 1769 - February 1770) Painted engraving, 1780s. ← Benjamin Patersen (1748 -1815) View of the Senate Square and the monument to Peter I. 1799
Catherine's Court - in Sculpture F.I.Shubin (1740 -1805) Portrait of a Field Marshal Portrait of a State Secretary, Chief Hofmeister Portrait of P.A.Rumyantsev-Zadunaisky A.A. Bezborodko M.V. Lomonosov 1778 1798 1792
Allegory of art: “painter - the monkey of God” II Firsov (c. 1733 -1785) Young painter After 1765 Jean-Baptiste Simeon Chardin (1699 -1779) Monkey-painter Paris, 1740
Didactic “everyday scene” ← IF Tupylev (1758 -1821) Cheating game 1790s Georges de La Tour (1593 -1672) Fraud with the ace of tambourines. 1635 -47 Michelangelo da Caravaggio (1571 -1610) Card fraudsters. 1596.
“The reverse side” of the Enlightenment (I) ← Unknown artist Portrait of D. -A. -F. de Sade Early 1760s Unknown artist Portrait of A. N. Radishchev (1749 -1802) Around 1790 Donatien-Alphonse-Francois Marquis de Sade (1740 -1814) The first edition of the novel “Justine, or the misfortunes of virtue” (Amsterdam / Paris, 1791)
“The Reverse Side” of the Enlightenment (II) Jean-Francois Turcati (1763 -?) Jean-Paul Marat on the podium From the original by S. Petit; OK. 1792 Unknown artist Portrait of E. I. Pugachev (c. 1742 -1775) c. 1775 -80 Y. -X. Sivking (1751-1799) Execution of King Louis XVI January 21, 1793 Colorized engraving, 1793
"Natural man" immersed in nature (I) VL Borovikovsky (1757 -1825) Catherine II on a walk in Tsarskoye Selo park. 1794 François Boucher (1703-1770) Jeanne-Atnoinette Poisson, Marquis de Pompadour. 1759
"Natural man" immersed in nature (II) VL Borovikovsky (1757 -1825) Catherine II on a walk in Tsarskoye Selo park. 1790s Elisabeth Vigee-Lebrun (1755 -1842) Queen Marie Antoinette with a rose in her hand. 1783
New "canon of sentimental portrait" VL Borovikovsky (1757 -1825) Portrait of E. N. Arsenyeva. OK. 1795 Portrait of Skobeeva. OK. 1795
Sentimentalism or Empire style? (I) V.L. Borovikovsky (1757 -1825) Portrait of M.I.Lopukhina 1797 Jacques-Louis David (1748 -1825) Portrait of an unknown young lady 1798 
"Natural man" immersed in nature (III) VL Borovikovsky (1757 -1825) Portrait of DA Derzhavina 1813 Antoine-Jean Gros (1771 -1835) Portrait of Christine Boyer c. 1800
“The Beginning of Russian Orientalism” VL Borovikovsky (1757 -1825) Murtaza Quli Khan, brother of the Persian Shah Agha Muhammad. 1796 Jacques-André-Joseph Aved (1702 -1766) Pasha Mehmed Said, Ambassador of the Turkish Sultan to France. 1742
The image of the war hero Antoine-Jean Gros (1771 -1835) General Bonaparte on the Arkolsky bridge. 1796 V. L. Borovikovsky (1757 -1825) Portrait of General F. A. Borovsky 1799 “Like a storm, sullen with lightning, Waving, in a hole, wings of noise, The Ross rushed to battle again. Their spear does not know their rest, Chest will rise from the frequent puff, Sweat and blood flows from them like a stream "V. P. Petrov (1736 -1799)" Ode to the capture of Ishmael "(1790)
Ladies' empire portrait (I) V. L. Borovikovsky (1757 -1825) Portrait of E. V. Rodzianko 1821 Jean-Auguste-Domenic Ingres (1780 -1867) Portrait of Madame Leblanc 1823
Ladies' empire portrait (II) V. L. Borovikovsky (1757 -1825) Portrait of Madame A. -L. -J. de Stael Around 1812 Jacques-Louis David (1748 -1825) Portrait of Madame Henriette de Verignac 1802
The stability of the canon of the ceremonial portrait VL Borovikovsky (1757 -1825) Portrait of Prince A.B. Kurakin, vice-chancellor of the court of Paul I 1801 -02 Antoine-Jean Gros (1771 -1835) J.-C. -M. Duroc, Duke of Friuli, Marshal of the Court of Napoleon I 1804
The stability of the canon of the "august" portrait (I) V. L. Borovikovsky (1757 -1825) Portrait of Emperor Paul I 1800 Robert Lefebvre (1755 -1830) Coronation portrait of Napoleon I 1804
Ascetic (quasi-romantic?) Portrait S.S.Schukin (1762-1828) Portrait of Emperor Paul I 1797 -99 Antoine-Jean Gros (1771-1835) Bonaparte - first consul 1802
The stability of the canon of the "august" portrait (II) V. L. Borovikovsky (1757 -1825) Portrait of Emperor Alexander I 1807 -08 Sir Thomas Lawrence (1769 -1830) Portrait of George IV, King of England 1820
Religious painting of the Enlightenment V.L.Borovikovsky (1757 -1825) The Mother of God with the Child and Angels ← 1823 The Dead Christ in the Tomb 1824 -25 ↓ Jacques-Louis David (1748 -1825) The Crucified Christ 1782
The general concept of "Enlightenment": the era of rationalism, belief in the omnipotence of reason, "encyclopedism", "enlightened monarchy". Empress Catherine II (1762-1769), her cultural policy, patronage of art and sciences. The new charter of the Academy of Arts, the building of the Academy (architects A.F. Kokorinov and J.-B. Wallen-Delamotte; 1764-1788). The most important portrait painters: painter F.S. Rokotov (1735? -1808), master of psychological characteristics: “Portrait of the poet V.I. Maykov "(c. 1765); “Portrait of A.P. Struyskoy "(1772); “Portrait of Countess E.V. Santi "(1785). -Painter D.G. Levitsky (1735-1822), author of program works: "Catherine II the Legislator" (with variants, 1783), a series of portraits of the pupils of the Smolny Institute - "Smolyanok" E.I. Nelidova (1773), E.N. Khrushchova and E.N. Khovanskaya (1773), G.I. Alymova (1776; entire series in the State Russian Museum). Stylistic features of "enlightenment" ceremonial portraits. - Sculptor EM. Falcone (1716-1791):monument to Peter I in St. Petersburg \u003d "The Bronze Horseman" (portrait head executed by M.-A. Callot; 1782). - Painter V.L. Borovikovsky (1757-1825), the creator of the "sentimental" direction in the portrait genre: "a natural person in the bosom of nature." “Catherine II on a Walk in Tsarskoye Selo Park” (with variants, 1794-1800s), “Portrait of M.I. Lopukhina "(1797); "Portrait of Countess A. Bezborodko with her daughters" (1803), "Portrait of Emperor Paul I in the attire of the Grand Master of the Order of Malta" (1800). Borovikovsky's religious painting. Russian art and the "later" European Enlightenment are related features and differences.
Literature
Alekseeva T.V. Vladimir Lukich Borovikovsky and Russian culture at the turn of the 18th - 19th centuries. - M .: Art, 1975;
Gershenzon-Chegodaeva N.M. Dmitry Grigorievich Levitsky. - M .: Art, 1964;
Evangulova O.S., Karev A.A. Portrait painting of Russia in the second half of the 18th century. - M .: Art, 1994;
Kuznetsov S. Unknown Levitsky. Portraiture of the painter in the context of the St. Petersburg myth. - SPb .: Logos, 1996;
Dmitry Grigorievich Levitsky 1735 - 1822. Catalog [exhibitions from the State Russian Museum collection]. - L .: Art, 1987;
Moleva N.M. Dmitry Grigorievich Levitsky. - M .: Art, 1980;
Russia - France: The Age of Enlightenment. Russian-French Cultural Relations in the 18th Century [Exhibition catalog]. - L .: publishing house State The Hermitage, 1987.
Topic 6. Russian Academy of Arts at the turn of the 18th-19th centuries: principles of teaching, normative aesthetics, system of genres
St. Petersburg Academy of Arts is an educational institution and a stronghold of “normative aesthetics”. Art as an exceptional creation of beauty: “An artist who wants to make his work graceful must try to surpass the substance itself by depicting mental beauty” (from the “Discourse” by P. P. Chekalevsky, 1792). Orientation of students to the idealization of nature: an "anatomizing" look ( ecorche), the use of motifs and poses of antique sculpture, copying of paintings by the masters of the Renaissance and classicism of the 17th century. The importance of the "moral super task"; hierarchy of genres; the significance of historical and mythological painting. - A.P. Losenko (1737-1773),the founder of the historical genre in Russian painting. Losenko training in Russia, France and Italy; the most important works: "The Sacrifice of Abraham" (1765), "Zeus and Thetis" (1769). The painting "Vladimir and Rogneda" (1770) is the first work on a plot from national history. Other works: "Hector and Andromache" (1773); portraits of Losenko.
Other academic history painters and their works: P.I. Sokolov (1753-1791) "Mercury and Argus" (1776), "Venus and Adonis" (1782); - G.I. Ugryumov (1764-1823) "Test of the strength of Jan Usmar" (1796), "The calling of Mikhail Fedorovich Romanov to the kingdom" (1797-99); - A.I. Ivanov (1776-1848)"The Feat of a Young Man of Kiev" (c. 1810), "The Duel of Prince Mstislav the Bold with Rededey" (1812); - A.E. Egorov (1776-1851)"The Torture of the Savior" (1814): the use of antique "visual codes" to idealize / heroize characters. Significance of the work of these authors; general conclusion on the "academic approach" to representation and artistic heritage.
Academic sculpture (brief description). M.I. Kozlovsky (1753-1802) “Monument to A.V. Suvorov "(1799-1801): the commander is depicted as the god of war Mars; - I.P. Martos (1754-1835) "Monument to Minin and Pozharsky" in Moscow (1804-1818): antique stylization / heroization; - IN AND. Demut-Malinovsky (1784-1833)Russian Scovola (1813): the national hero is presented as a Roman character. Ancient heroes B.I. Orlovsky (1797-1837): "Paris" (1824), "Faun playing the syringe" (1825-1838).
Literature
Daniel S. European classicism. - SPb .: ABC-classic, 2003;
Kaganovich A.L. Anton Losenko and Russian art of the mid-18th century. - M .: Art, 1963;
Karev A. Classicism in Russian Painting. - M .: White city, 2003;
Kovalenskaya N.N. Russian classicism: painting, sculpture, graphics. - M .: Art, 1964;
Moleva N., Belyutin E. Pedagogical system of the Academy of Arts of the 18th century. - M .: Art, 1956;
Moleva N., Belyutin E. Russian art school of the first half of the 19th century. - M .: Art, 1963.
In world culture, the eighteenth century was marked by the Age of Enlightenment, which left its deep imprint on history. It was at this time that such a direction as baroque ends its existence, giving way to rococo. In Europe, a kind of conflict begins between a poorly educated, but thanks to books, an active population and an educated government.
Born in England, thanks to the development of the intellectual movement, the main ideas of the philosophy of enlightenment gradually began to spread to Germany, France, Russia and other European countries.
Especially influential were the enlighteners from France - Diderot, Rousseau, D "Alambert, Helvetius, Voltaire, who called themselves" masters of thoughts. "They believed that an atheistic, rational way of thinking and knowledge could shake an outdated order, change its moral and ethical foundations , and this will accelerate the course of the historical process and the coming social transformations.
The art of the Enlightenment, propagating the greatness of Reason, Freedom and Happiness, tried to actually reflect these ideas. That is why literature brings to the first place such characters who are the embodiment of an inquiring mind, a sense of justice, and are able to resist ignorance.
Literary Rococo offers the reader colorfully described landscapes, wordplay, ironic speech, seasoned with hints, frivolity and omissions. This style is especially noticeable in Voltaire, Montesquieu, Lesange.
In Russia, it began with Peter the Great. Towards the end of his reign, thanks to the reforms, the Russians were confidently moving towards "Europeanization", being involved in the culture of the West. The development of science and education proceeded at a very fast pace.
The era of enlightenment in Russia brought with it magazines, newspapers, and portraiture.
By the 18th century, Russian society, considered to be a little bit educated, consisted only of representatives of the Moscow and St. Petersburg nobility, as well as of very small intellectuals, raznochintsy.
For Europe, the standard was therefore the era of the Enlightenment in Russia made it possible to expand cultural ties with France, especially after the second half of the eighteenth century. The nobles were given the opportunity to become familiar with art and literature during their travels abroad, and a decent command of the language of Diderot and Voltaire made it easy for them to study the works of these enlighteners. Educated Russian society was read by such works as "The Virgin of Orleans", "Nun", "Lame Devil", "Indiscreet Treasures", "Persian Letters" and many other masterpieces of the educational trend, which described "a fleeting holiday ruled by Venus and Bacchus" ...
However, the era of the Enlightenment in Russia differed in many ways from the European version, and its seeds, "sprouted" on domestic soil, gave a slightly different result than in the West.
Russia in the time of Peter the Great, and later also in the time, was very different from Voltaire's France. The brilliant empire, behind the facade of which there was an endless country with a population that did not raise their heads from hard peasant labor, did not have a third estate that, as in the West, would present its demands to the tsar.
The Age of Enlightenment in Russia was supported by the nobles and the autocracy, who used new Western cultural trends to preserve the existing serfdom.
And although after the death of Peter his reformism was continued by Catherine II, who dreamed of becoming an "enlightened queen", the true Russian enlighteners were Dashkova, Golitsyn, Sumarokov, Novikov, Fonvizin and others who tried to modernize Russian reality.
At the end of the XVII-XVIII centuries. that musical language begins to take shape, in which the whole of Europe will then speak. The first were the German composers Johani Sebastian Bach (1685-1750) and Georg Friedrich Handel (1685-1759).
The great German composer and organist Bach worked in all musical genres except opera. He is the consummate master of polyphony. His orchestral music includes concerts for keyboards and violin, orchestral suites. Bach's music for clavier and organ, his fugues and chorales are significant.
Like Bach, Handel used biblical subjects for his works. The most famous of his works are the oratorios "Saul", "Israel in Egypt", "Messiah". Handel wrote more than 40 operas, as well as huge concerts, sonatas, suites.
The Viennese classical school and its most prominent masters - Haydn, Mozart and Beethoven had a huge influence on the musical art of Europe. The Viennese classics rethought and made all musical genres and forms sound in a new way.
Joseph Haydn (1732-1709), the teacher of Mozart and Beethoven, is called the "Father of the Symphony". He has created over 100 symphonies. Many of them are based on the themes of folk songs and dances, which the composer developed with amazing art. The pinnacle of his work is "12 London Symphonies", written during the composer's triumphant trips to England in the 90s. Haydn wrote many wonderful quartets and clavier sonatas, over 20 operas, 14 masses, a large number of songs and other works, brought the symphony, quartet, and sonata to classical perfection. At the end of his career, he created two monumental oratorios - "The Creation of the World" and "The Seasons", in which thoughts about the greatness of the universe of human life are expressed.
Wolfgang Amadeus Mozart (1756-1791), as a child, impressed with his extraordinary abilities: he was a virtuoso performer, composed a lot of music. Wolfgang's extraordinary abilities developed under the guidance of his father, the violinist and composer Leopold Mozart. S1781 Mozart lives in Vienna, where his creative genius flourishes. In operas, Mozart with amazing skill creates diverse and lively human characters, shows life in its contrasts, moving from joke to deep seriousness, from fun to subtle poetic lyrics.
The same qualities are inherent in his symphonies, sonatas, concerts, quartets, in which he creates the highest classical examples of genres. The pinnacles of classical symphonism were 3 of his symphonies (in total, Mozart wrote about 50): “E flat major” - a person's life is full of joy, play, cheerful dance movement; "G minor" is a deep lyrical poetry of the movement of the human soul, the dramatic nature of its aspiration; "C major", called by contemporaries "Jupiter" - embraces the whole world with its contrasts and contradictions, affirming the rationality and harmony of its structure.
Mozart's music is the highest achievement of classicism for the perfection of melodies and forms.
“Music should strike fire from people's hearts,” said Ludwig van Beethoven (1770-1827), whose work belongs to the achievements of human genius. A man of republican views, he asserted the dignity of the personality of the artist-creator. Beethoven was inspired by heroic subjects. Such are his only opera Fidelio and Egmont overtures, etc. The conquest of freedom as a result of a stubborn struggle is the main idea of \u200b\u200bhis work.
The entire mature creative life of Beethoven is connected with Vienna, where he admired Mozart with his playing as a young man, studied with Haydn, here he became famous as a pianist. The spontaneous force of dramatic collisions, the sublimity of philosophical lyrics, and sometimes juicy rude humor - all this can be found in the infinitely rich world of his sonatas (he wrote 32 sonatas in total). The lyric and dramatic images of the Fourteenth and Seventeenth Sonatas reflected the composer's despair during the most difficult period of his life, when Beethoven was close to suicide due to hearing loss. But the crisis was overcome: the appearance of the Third Symphony marked the victory of human will. In the period from 1803 to 1813. he created most of the symphonic works. The variety of creative pursuits is truly limitless. The composer was also attracted by chamber genres. Beethoven seeks to penetrate the innermost depths of the inner world of man.
The apotheosis of his work is the Ninth Symphony and the Solemn Mass. The Ninth Symphony includes an excerpt from Schiller's Years to Joy, chosen as the European anthem.
