Style diversity of art of the 17th-18th centuries. The stylistic diversity of art of the 17th-18th centuries. The emergence of new styles and the Renaissance

Lesson on blended learning technology

Module “Changing work areas”

Subject - World artistic culture Grade 11

Teacher of MHC and music, highest qualification category - Ochirova Z.M., “Honorary Worker of General Education”

Lesson topic“Diversity of styles in the culture of the 17th-18th centuries”

So much news in 20 years

and in the realm of the stars,

and in the area of planets,

The Universe crumbles into atoms,

All connections are broken, everything is crushed into pieces.

The foundations have been shaken, and now

everything has become relative for us.

John Donne (1572-1631) poet

The purpose of the lesson

Identify the characteristic features of the diversity of cultural styles of the 17th and 18th centuries.

Tasks

Determine the pattern of changing artistic styles.

Develop students' ability to select and analyze information. The ability to verbalize your feelings and feelings

Cultivating in students a more conscious perception of works of art.

Lesson type – generalizing lesson on the integrated application of knowledge/lesson on developmental control/.

Form of study: frontal, group

Formed UUD

Communication– acquiring the skills to take into account the position of the interlocutor (partner), organize and carry out cooperation and cooperation with the teacher and peers, adequately perceive and transmit information.

Cognitive

the ability to express the main idea and isolate the main meaning.

the ability to analyze a task from different points of view and based on different parameters.

Personal

the ability to listen and hear the interlocutor.

the ability to formulate one’s position in a correct and convincing form, showing respect for the position and opinions of other people.

Regulatory (reflexive)

The ability to control your speech, taking into account the communicative situation, ethical and sociocultural norms.

The ability to predict the perception of the interlocutor.

Lesson equipment: personal computer (4 pcs.), interactive whiteboard, multimedia video projector, audio recordings, tape recorder, presentation for the lesson in Microsoft Office PowerPoint format, handouts (reproductions of works, cards with texts, test tasks).

Lesson Plan

1.Organizational moment 1-2 min.

2. Introduction to the topic 2-3 min.

3. Frontal survey 3-5 min.

4.Main stage of the lesson 25 -30 min.

5.Summing up the lesson 3-5 min.

6.Reflection 1-2 min.

7. Conclusion 1-2 min.

During the classes

Organizing time- greetings.

/On the slide is the name of the lesson topic, epigraph. The teacher begins the lesson with the sound in the backgroundIVpart of the cycle “The Seasons” by A. Vivaldi - “Winter” /

2.Introduction to the topic

The 17th-18th centuries are one of the brightest and most brilliant eras in the history of world artistic culture. This was a time when the familiar, seemingly unshakable picture of the world was rapidly changing, and the ideals of the Renaissance were collapsing in the public consciousness. This is the time when the ideology of humanism and faith in the limitless possibilities of man was replaced by a different sense of life.

Each time carries within itself its inherent laws and expediencies. It is known that works of architecture, sculpture, music, decorative and applied arts, painting, etc. are a kind of means of encoding “cultural messages”. We communicate with past eras using our ability to abstract perception. Knowing the “codes,” and in our case these are the features and characteristics of the art styles of the 17th and 18th centuries, we will be able to more consciously perceive works of art.

So, today our task is to try to identify the pattern of changing styles and learn to see the “code” of a particular style (slide concept “style”). Style is a stable unity of expressive means that characterizes the artistic originality of a work or a set of works.

3 .Frontal survey- Guys, who can name the main styles in the art of the 17th and 18th centuries? Students name the main styles of this period (mannerism, baroque, rococo, classicism, romanticism, realism).

Over the course of a series of lessons you have become familiar with each of them. We, of course, agree with the statement of the modern Russian art critic Viktor Vlasov: “Style is the artistic experience of time”

Let's briefly describe each of them. A verbal definition of each style is given.

4.Main stage of the lesson. So, today we are working on the module “Changing work areas”. The class is divided into 4 groups, each of which performs its own task. Your ability to work together, consult with each other and come to a common opinion is very important.

Group “A” (weak students) works with handouts, which must be distributed according to the 6 named styles. Here you have a definition of style, and the features of each of them, reproductions of paintings, statements and poetic lines of famous people.

Group “B” (intermediate students) works with test tasks on our topic.

You need to correlate the name of the paintings with the name of the author, the style with the name of the painting, the features of the style with its name, etc.

And group - “D” (excellent students), she works with the presentation “Styles in Art of the 17th-18th centuries...” on laptops with Internet access. This is practical work, it contains difficult tasks that require deep knowledge in the subject “MHC”.

Guys, you complete the tasks for 10-12 minutes, and then change your work areas: group “A” moves to the place of group “B” and vice versa; group “C” changes with the working area of group “D”. I am a teacher, I work closely with group “A”, and my assistants, winners of MHC Olympiads, work with the other three, let’s call them tutors. On the slide- « Tutor - from the English “tutor” - curator, mentor, educator. A tutor can help solve organizational issues, support the desire to complete tasks and independence, solve organizational problems, establish contact between students, psychologically prepare the mentee for productive work, and is a link between students and the teacher.”

During the lesson, you are asked to find out the reason for the change in styles and try to identify the patterns of this process. This will be the result of our work today.

Students work in groups. The teacher unobtrusively monitors the process of completing assignments and, if possible, corrects answers within the group. Tutors coordinate the work in each group.

Group “A” requires more painstaking and carefully controlled work. For higher motivation, it is necessary to create problematic situations and set individual tasks. For example, when determining the style of a painting, pay students special attention to the details in the reproduction, which will help them cope with the task more accurately. And when working with a poetic text, find key words or phrases that help determine the style and direction in art.

5. Summing up the lesson.

Well, let's find out how you completed the task and what conclusions you drew? Representatives of each group express their point of view…. The teacher indirectly leads students to the correct formulation of answers: creative people have always strived for something new, unknown, which made it possible to create new masterpieces; The 17th-18th centuries were a time of scientific discoveries, which led to changes in all spheres of life, including art; changing styles is a natural process of mastering the world according to the laws of beauty, a natural reflection of human life...

Final word from the teacher- Thus, we have come to the conclusion that the environment, surroundings and reflection of the world in movement become the main thing for the art of the 17th – 18th centuries. However, art is by no means limited to the aesthetic sphere. Historically, works of art performed not only aesthetic (artistic) functions in culture, although the aesthetic has always been the essence of art. Since ancient times, society has learned to use the powerful effective power of art for a variety of social and utilitarian purposes - religious, political, therapeutic, epistemological, ethical.

Art is a settled, crystallized and fixed form of exploration of the world according to the laws of beauty. It is aesthetically meaningful and carries an artistic concept of the world and personality.

6.Reflection

Now try to evaluate today’s lesson and your attitude towards it. The questionnaire is anonymous.

/ against the background of the sound of L. Beethoven’s play “Fur Elise” /

7. Conclusion

Now all we have to do is evaluate your work. Participants in each group receive the same grades. So, the ratings are…. ( Group “A” receives a well-deserved “B”, and the rest of the students, I think you will agree with this, receive a grade of “Five”).

Thanks everyone for the lesson!

Vanyushkina L.M., Modern lesson: World artistic culture, St. Petersburg, KARO, 2009.

Dmitrieva N.A., A Brief History of Art, Moscow, “Iskusstvo”, 1990.

Danilova G.I., World artistic culture: programs for educational institutions. 5-11 grades, Moscow, Bustard, 2010.

Danilova G.I., World artistic culture. 11th grade, Moscow, “Interbook” 2002.

Polevaya V.M., Popular art encyclopedia: Architecture. Painting. Sculpture. Graphic arts. Decorative art, Moscow, “Soviet Encyclopedia”, 1986.

New concepts: Style Historical era      Ancient world Antiquity Middle Ages Renaissance Enlightenment Style is a stable unity of artistic principles, techniques and means used in creating works of art.  Style is a historically determined aesthetic unity of content and form that reveals the content of a work.       Mannerism - mid-16th century. Baroque – period 16 – mid 18th century. Classicism - 17th century. Rococo - 18th century Realism - 18th-19th centuries.        Mannerism is a movement in Western European art of the 2nd half of the 16th century. The art of mannerism reflected the crisis of Renaissance culture; Mannerism was a kind of transitional style between the art of the Renaissance and Baroque - a tendency towards exotic costumes of characters, - elongated figures, - affective gestures, - bright, contrasting tones   One of the artistic styles of the late 16th century, mid-18th century, gravitating towards ceremonial solemnity, decorativeness , tension and dynamism of images. Baroque is characterized by a tendency towards ensemble and synthesis of arts. Already one of his first statues, “David” (1623, Borghese Museum and Gallery, Rome), clearly shows the difference between new art and the art of the Renaissance. Michelangelo's "David" was powerful, simple and majestic in his quiet strength. “David” by Bernini, created a little over 100 years later, is depicted in dynamics - at the moment of throwing a stone from a sling: he is all in motion, tense, angry, even biting his lip. All these features are characteristic of the Baroque style, which replaced the simple and strict style of the Renaissance (see article “The Art of the Italian Renaissance”). For the Baroque, the outward expression of passion and excitement became more important than human feelings themselves.    Classicism - An artistic style in Western European art in the 17th century Viewed antiquity as an ethical and artistic form It is characterized by heroic pathos, plastic harmony and clarity St. Peter's Basilica in Rome by Michelangelo    Rococo is a stylistic movement in European art in the first half of the 18th century , which is characterized by a graceful, whimsical ornamental rhythm. The task of Rococo art is to please, touch, entertain. Main plots: complex love affairs, fleeting hobbies, risky actions of the heroes.  Realism is an objective reflection of reality - the truth of life, embodied by specific means of various styles and types of art   His works constitute one of the pinnacles of European and world art, one of the highest achievements in the development of realism. In Rembrandt’s painting “The Holy Family” (1645), in the images of the heroes of the gospel legend - Mary, the infant Christ and Joseph - the most ordinary and beautiful human feelings in their sincerity and purity are embodied - the tenderness and caring of a mother, the feeling of home peace - that which understandable and dear to people at all times. The furnishings of the room are extremely simple, this is the home of a poor carpenter, who is immediately busy with his craft. Rembrandt always portrayed people from among the people with great sympathy, and always sympathized with old age and loneliness.

The 17th century turned out to be surprisingly favorable for the development of artistic culture. The successes of natural science have significantly expanded and complicated the idea of the world as a boundless, changeable and contradictory unity. There was a dominant feeling of man's inextricable connection with this world, his dependence on the surrounding reality, on the conditions and circumstances of his existence. That is why not only man becomes the bearer of artistic creativity, but also the entire diversity of reality, its complex connections with man. Accordingly, the themes of artistic creativity and plot repertoire became richer, new independent genres and styles were developed, and those that had developed in previous cultural eras developed and deepened. In the 17th century, almost simultaneously, styles emerged that had a national character and embraced different types of art - classicism and baroque.

Classicism is represented in literature by such names - P. Corneille, J. Racine, J. B. Moliere (France), D. Fonvizin (Russia); in painting - N. Poussin, C. Lauren (France); in sculpture - E. M. Falconet (France), Thorvaldsen (Denmark); in architecture - J. A. Gabriel, C. N. Ledoux (France); in music - K.V. Gluck, W.A. Mozart (Austria).

Prominent representatives of the Baroque style in literature were Calderon (Spain), D. Milton (England); in painting - P. P. Rubens (born in Germany), in architecture - L. Bernini (Italy); in music - J. S. Bach, G. F. Handel (Germany), A. Vivaldi (Italy).

European art of the 18th century combined two different antagonistic principles: classicism and romanticism. Classicism meant the subordination of man to the social system, while developing romanticism sought to maximize the individual, personal beginning. However, the classicism of the 18th century changed significantly compared to the classicism of the 17th century, discarding in some cases one of the most characteristic features of the style - antique classical forms. In addition, the “new” classicism of the Enlightenment, at its very core, was not alien to romanticism.

An important new beginning in the art of the 18th century was the emergence of movements that did not have their own stylistic form and did not feel the need to develop it. This largest cultural movement was primarily sentimentalism, fully reflecting the Enlightenment ideas about the original purity and kindness of human nature, which are lost along with the original “natural state” of society, its distance from nature. Sentimentalism was addressed primarily to the inner, personal, intimate world of human feelings and thoughts, and therefore did not require special stylistic design. Sentimentalism is extremely close to romanticism; the “natural” person it glorifies inevitably experiences the tragedy of a collision with natural and social elements, with life itself, which is preparing great upheavals, the premonition of which fills the entire culture of the 18th century.

One of the most important characteristics of the culture of the Enlightenment is the process of replacing the religious principles of art with secular ones. In the 18th century, secular architecture for the first time took precedence over church architecture throughout almost all of Europe. The invasion of secularism into religious painting in those countries where it previously played a major role is also obvious - Italy, Austria, Germany. Genre painting, reflecting the artist’s everyday observation of the real lives of real people, is becoming widespread in almost all European countries, sometimes striving to take the main place in art. The ceremonial portrait, so popular in the past, gives way to the intimate portrait, and in landscape painting the so-called “mood landscape” appears and spreads in different countries (Watteau, Gainsborough, Guardi).

A characteristic feature of 18th-century painting is the increased attention to the sketch not only among the artists themselves, but also among connoisseurs of works of art. Personal, individual perception and mood reflected in a sketch sometimes turn out to be more interesting and cause a greater emotional and aesthetic impact than the finished work. Drawings and engravings are valued more than paintings because they establish a more direct connection between the viewer and the artist. The tastes and requirements of the era also changed the requirements for color paintings. In the works of 18th-century artists, the decorative understanding of color is enhanced; a painting should not only express and reflect something, but also decorate the place where it is located. Therefore, along with the subtlety of halftones and delicacy of colors, artists strive for multicolor and even variegation.

The product of the purely secular culture of the Enlightenment was the style "rococo", which received the most perfect embodiment in the field of applied art. It also manifested itself in other areas where the artist has to solve decorative and design problems: in architecture - in planning and interior design, in painting - in decorative panels, paintings, screens, etc. Rococo architecture and painting are primarily focused on creating comfort and grace for the person who will contemplate and enjoy their creations. Small rooms do not seem cramped thanks to the illusion of “playing space” created by architects and artists who skillfully use various artistic means for this: ornament, mirrors, panels, special colors, etc. The new style has become primarily the style of poor houses, into which, with a few techniques, he introduced a spirit of coziness and comfort without emphasized luxury and pomp. The eighteenth century introduced many household items that give a person comfort and peace, preventing his desires, making them at the same time objects of true art.

An equally significant aspect of the culture of the Enlightenment was the appeal to capturing human sensations and pleasures (both spiritual and physical) through artistic means. Among the greatest thinkers of the Enlightenment (Voltaire, Helvetius) one can find “gallant scenes” in which protest against the sanctimonious morality of the time sometimes develops into frivolity. In France, from the very beginning of the 18th century, both the public and critics began to demand from new art, first of all, “pleasant.” Such requirements were imposed on painting, music, and theater. “Pleasant” meant both “sensitive” and purely sensual. Voltaire’s famous phrase “All genres are good, except the boring” most clearly reflects this requirement of the time.

The tendency of fine art to be entertaining, narrative and literary explains its rapprochement with the theater. The 18th century is often called the “golden age of theatre”. The names of Beaumarchais, Sheridan, Fielding, Gozzi, Goldoni constitute one of the most striking pages in the history of world drama.

The theater turned out to be close to the very spirit of the era. Life itself moved towards him, suggesting interesting plots and collisions, filling old forms with new content. It is no coincidence that it was during the Age of Enlightenment that the famous Venetian carnival became not just a holiday, but precisely a way of life, a form of everyday life.

Music occupied an important place in the hierarchy of spiritual values in the 18th century. If the fine art of Rococo strives, first of all, to decorate life, theater - to expose and entertain, then the music of the Enlightenment amazes a person with the scale and depth of analysis of the most hidden corners of the human soul. The attitude towards music is also changing, which in the 17th century was just an applied instrument of influence in both the secular and religious spheres of culture. In France and Italy, in the second half of the century, a new secular form of music, opera, flourished. In Germany and Austria, the most “serious” forms of musical works developed - oratorio and mass. The achievement of the musical culture of the Enlightenment era is undoubtedly the work of Bach and Mozart.

The Age of Enlightenment is characterized by a craving for adventure, adventure, travel, and the desire to penetrate into a different “cultural” space. It found its manifestation in magical operas with many extraordinary transformations, in tragicomedies, fairy tales, etc.

An outstanding contribution to the history of world culture was the publication of the fundamental “Encyclopedia of Sciences, Arts and Crafts”, begun D. Diderot(1713-1784) and D'Alembert. The Encyclopedia systematized the most important scientific achievements of mankind and approved a system of cultural values that reflected the most progressive views of that time.

He fully reflected the signs of the time, all its complexity and inconsistency - philosopher, naturalist, poet and prose writer - Voltaire. One of Voltaire's most profound and satirical works "Candide, or the Optimist" fully reflected the general trends in the development of educational literature.

The founder of educational romanticism in literature - J. J. Rousseau. His moral and aesthetic ideals were fully reflected in his most famous and significant novel "The New Eloise" The followers of Russianism were Karamzin (“Poor Liza”), Goethe (“The Sorrows of Young Werther”), Chaderlos de Laclos (“Dangerous Liaisons”).

The Age of Enlightenment was a major turning point in the spiritual development of Europe, influencing almost all spheres of socio-political and cultural life. Having debunked the political and legal norms, aesthetic and ethical codes of the old class society, the enlighteners did titanic work to create a positive system of values, addressed primarily to man, regardless of his social affiliation, which organically became part of the flesh and blood of Western civilization. The cultural heritage of the 18th century still amazes with its extraordinary diversity, richness of genres and styles, depth of understanding of human passions, greatest optimism and faith in man and his mind.

Stylistic diversity of art of the 17th – 18th centuries

MHC 11, part 2.
Module 1
Lesson 1
MHC teacher Smirnova Olga Georgievna
1 sq. category
Municipal educational institution "Klimovskaya Secondary School"

El Greco healing of a man born blind 1570 Dresden Gallery

So much news in twenty years Both in the sphere of stars and in the form of planets, The universe crumbles into atoms, All connections are broken, everything is crushed into pieces. The foundations have been shaken, and now Everything has become relative for us. John Donne

Prerequisites for the emergence of new styles

Renaissance

New styles

The world is one

Scientific discoveries of the early 17th century completely shattered the image of the universe.
Man is an insignificant grain of sand in the universe
Chaos, collapse of the cosmic world order
Tragedy, skepticism

Man is the measure of all things (Renaissance)
Harmony of the Universe

Humanism

New styles

Mannerism

Baroque

Rococo

Classicism

Realism

Mannerism (characteristic features)

Refined, virtuosic technique
The tension and pretentiousness of images caught in the power of supernatural forces
Refusal to depict the real world and retreat into a fantastic, otherworldly world
Broken, “serpentine” contour lines
Sharp play of light and color contrasts
Unexpected juxtaposition of large and small plans
Pile of naked bodies
Unusual lengthening of figures or, on the contrary, a clear decrease in details
Instability and difficulty in poses

Martyrdom of Saint Mauritius.

1580 – 1583

The main goal of Baroque is the desire to surprise, to cause amazement
Like mannerism, baroque conveyed the tension of conflict, the spirit of contradictions
But the desire for the revival of harmony in human life is much more pronounced
Man is obsessed with the desire to identify and understand the main laws of life development
The thirst for life and fear of death are combined with the instinct of self-preservation
Heroic deeds bordering on tragedy and horror. Man before a choice
Understanding the futility of existence, the frailty of life

What's life? Fleeting shadow, buffoon, Furiously noisy on the stage And an hour later forgotten by everyone; fairy tale In the mouth of a fool, rich in words And ringing phrases, but poor in meaning. William Shakespeare

Main themes of the Baroque

Human torment and suffering
Mystical allegories
The relationship between good and evil, life and death, love and hate, thirst for pleasure and retribution for them

Character traits

Emotional intensity of passions
Dynamism and “anxiety” of silhouettes
Picturesque entertainment
Exaggerated splendor of forms
Abundance and heap of fancy details
Using unexpected metaphors
At the same time, the Baroque revived some common features of the Renaissance: a broad affirmative character, energetic optimism, a holistic, consistent view of the world, a commitment to ensemble and synthesis of arts

Age of Enlightenment Classicism

Main topics:

The triumph of public principles over personal
Subordination of feeling to duty
Idealization of heroic images

Characteristic features of classicism

Clarity, directness and simplicity in the expression of content
Restraint, calmness in emotions and passions
Striving for an objective reflection of the world around us
Dignity and rationalism in actions
Maintaining correctness and order
The architecture is distinguished by strict organization of geometric lines, clarity of volumes, regularity of layout
In painting and sculpture and DPI: logical development of the plot, balanced composition, smooth contour line, clear modeling of volume, subordination of color to semantic accents

Rococo (characteristic features)

Exquisite, complex shapes, fancy lines
Stylization of the sink. Transforming it into complex curls, into decorations in the form of a shield, scroll, coat of arms or emblem
Acanthus motif (herbaceous plant stylization)
In Russia - rocaille – decorative ornaments imitating the combination of fancy shells and strange plants
Mascarons – molded, carved or twisted masks in the form of a human face or the head of an animal, placed above windows, doors, arches, on fountains, vases, furniture

Plant

Stylization in Rococo style

Origin: 17th – 18th century
The principle of realistic art is reflection “like in a mirror”
At the same time, naturalism and blind imitation of nature are alien to true realism.
Artists were just learning to see life as it is

Interpenetration and enrichment of artistic styles

Sketch by Bernini

Claude Perrault

In the art of the 17th and 18th centuries, various artistic styles coexisted
Heterogeneous in their manifestations, they still had deep internal unity and community
Often completely opposite artistic decisions and images were only original answers to the most important questions in the life of society and man.

Questions to the topic

What are the characteristic features and artistic ideals of 17th-18th century art? How have ideas about man and the overall picture of the world changed compared to the Renaissance?
Tell us about the stylistic diversity of the 17th and 18th centuries. What are their main distinguishing features?