History of Russian artistic culture. Russian artistic culture of the XIV-XVI centuries
Essay
The 19th century is the heyday of Russian artistic culture
1. Artistic culture of the first half of the 19th century
The development of artistic culture in this era was characterized by a rapid change in ideological and artistic directions compared to the previous century and the simultaneous coexistence of different artistic styles. In the artistic consciousness of the first decades of the 19th century, there was a gradual departure from the normativity of educational ideology, which underlay the style of classicism and determined the motives for the hero’s actions, primarily civic duty and public service. And as a result, attention to the person increased, and not duty became an important motivating motive for actions.
Romanticism had the most profound influence on Russian artistic culture at the beginning of the century. In Russia it arose at a turning point Patriotic War 1812. The essence romantic style there was a desire to contrast reality with a generalized ideal image of a hero, whose bright individuality and unique appearance did not fit into the framework generally accepted stereotypes thinking and behavior. The personality is in conflict with the reality around it - this is the starting point of romanticism.
Russian romanticism was inseparable from the pan-European one, but at the same time it had a pronounced specificity, determined by the entire course of previous historical and spiritual development. Attention to national history was characteristic of the entire artistic culture as a whole. Many writers, poets, and composers turned to historical issues. But the Russian artistic intelligentsia, in accordance with its mission as a herald of freedom and liberalism, was not committed to the abstractions of dreams and illusions, to fantasies far from reality. The world was perceived by Russian artists of the 19th century as the main subject of creativity. This stimulated the development of realistic education, which was combined with romantic means artistic expression. Historians of Russian culture rightly believe that romanticism became a link in general process development of artistic culture from classicism to realism. It was the simultaneous interweaving of styles in it that gave an excellent artistic result and contributed to the emergence outstanding works Russian art.
1.1 Dominant position in Golden Age fiction
Literature occupied a dominant position in the artistic culture of the “golden age”. It played the main stabilizing and creative role, since it was, perhaps, the only type of art that could most fully express the needs of its time. The classics of Russian literature have always gravitated towards a three-dimensional, multidimensional worldview that preserves ambiguity and imagery. Classic literature The 19th century was more than literature. It became a synthetic artistic phenomenon and turned out to be, in fact, a universal form of social consciousness, performing the functions of other types of art.
1.2 Establishment of Romanticism
The establishment of romanticism in Russian literature occurred largely as a result of the creative searches and artistic discoveries of Vasily Zhukovsky (1783-1852). Like many young nobles of the beginning of the century, Zhukovsky began to realize the difference in his views on the world of traditional norms of enlightenment. However, among the existing literary forms he did not find such figurative expressive means, with the help of which it would be possible to achieve the most complete artistic expression this new type of seeing and feeling the world. Reflecting the disharmony of the surrounding world, his poetry is imbued with an awareness of the short duration of human existence. Melancholic contemplation dominates the writings God's peace, with which you have to part with without much regret and with the hope of eternal life. Beauty, earthly and heavenly, moment and eternity - these are the categories that the poet constantly uses.
Zhukovsky worked in a variety of genres. These were friendly messages, romances, elegy, fables, fairy tales. But still he gave a clear preference to the ballad. The ballad, which developed in English and German literature, was an epic work in which fantasy motifs were strong. This genre was extremely loved by romantics, not only by poets, but also by musicians. In Zhukovsky’s work, the main features of the genre were preserved, but they were supplemented with Russian national everyday images (the ballad “Lyudmila”, “Svetlana”, “Cup”, “Glove”).
Zhukovsky is known not only as a romantic poet, but also as a wonderful translator. Many of his works are free translations of romantic European poetry. He introduced the domestic reader to best authors England, France, Germany. Thanks to his translations, Homer and Ferdowsi, Virgil and Schiller were published in Russian for the first time.
Zhukovsky's work captured the world of an extraordinary, internally unique personality of the Decembrist era, recognizing the intrinsic value of every person, regardless of his social status.
1.3 A new way of reproducing reality (critical realism)
The character and content of Russian culture of the first half of the 19th century was significantly influenced by Decembrism, which gave it special features of citizenship and political freedom. This influence of the liberation movement was the reason for the emergence of a new way of reproducing reality, which later received the name critical realism, one of the main methods in Russian literature of the 19th century. The ideas of struggle and personal freedom are reflected in the works of remarkable Russian writers: Pushkin, Gogol, Lermontov.
The founder of Russian critical realism was Alexander Pushkin (1799-1837). It is with his work that the beginning of the “golden age” in Russian literature is associated, since he was essentially the founder new literature, reflect Russian activity in unsurpassed artistic images. Thanks to Pushkin, our culture has become integral part pan-European and took its rightful place in it. Of exceptional importance in this was the creation by Pushkin of the Russian literary language, which contributed not only to the further flourishing of Russian literature, but also to its recognition throughout the world.
Pushkin created wonderful works various genres both in verse and prose: the novel in verse “Eugene Onegin”, prose work“Belkin’s Tales”, the historical drama “Boris Godunov”, the historical story “The Captain’s Daughter”, the tragedy “Mozart and Salieri”, the brilliant poem “The Bronze Horseman”, dedicated to the fate of a little man in a huge empire, lyric poems, etc. However, Pushkin’s role in Russian poetry turned out to be especially important and significant. It was here that he found new artistic methods embodiment of human feelings and experiences.
1.4 M.Yu. Lermontov and his boundless maximalism
Pushkin’s younger contemporary and successor in Russian literature was Mikhail Lermontov (1814-41), who already at the age of 16 declared his powerful talent.
His early poems expressed the romantic apotheosis of personality, formed a unified poetic language, expressive and metaphorical, and created the image of a lyrical hero. The classical type of romanticism was close to the individual make-up of Lermontov the poet. Therefore it early works imbued with a dream of freedom, longing for a rebellious hero.
However, from the second half of the 30s, realistic elements noticeably increased in Lermontov’s work. The poet's new worldview gave birth to a new type of hero in his works. Therefore, his writings were characterized by boundless maximalism, which turned into a thirst for absolute harmony and a complete transformation of the existing world order. This is expressed in his novel “A Hero of Our Time.”
1.5 N. Gogol. The transition from lyrical romanticism to realism
Pushkin’s friend and contemporary Nikolai Gogol (1809-52) gained fame and glory after the publication of a series of Little Russian stories “Evenings on a Farm near Dikanka,” where he painted a surprisingly romantic picture of folk life. Combining fantasy and mystical grotesque, satire and religious problems, stern moralism and social utopia, the author poetically conveyed the world folk beliefs in a combination of fairy tales and Christian ideas.
In the mid-30s, Gogol’s work underwent a turn from lyrical romanticism to realism. In this turn, the writer’s conviction was expressed that the artist cannot remain indifferent to good and evil, he must resign himself to the creative embodiment of his views, help transform life through art. Therefore, on the advice of Pushkin, Gogol begins to write a novel-poem “ Dead Souls", the main theme of which was the writer’s contemporary life, which represents a blatant contradiction between the spiritual power of the Russian people and their slavish social status. In this work, Gogol demonstrated fluency in a variety of plot composition techniques, using the means of expressiveness of realism and romanticism, turning now to satire, now to lyricism, now to pathos. These techniques helped him convincingly and reliably show the moral character of his contemporary society with such artistic psychological strength that many of Gogol’s characters have acquired a household name.
The realistic direction of Russian literature of the first half of the 19th century sought to resolve the irreconcilable conflict between the needs of the country's spiritual life and the reactionary nature of the social structure. Therefore, starting with Pushkin and Gogol, Russian writers constantly sought to embody a high social and humanistic moral ideal in their works.
§ 36. RUSSIAN ARTISTIC CULTURE OF THE SECOND HALF OF THE XIX century
THE ROLE OF LITERATURE IN THE DEVELOPMENT OF ARTISTIC CULTURE. About the artistic culture of Russia in the second half of the 19th century. they say she literary-centric. This means that it was literature that was at the head of all ideological, thematic, even purely genre searches of cultural figures of the country of this period. The works of I. S. Turgenev, I. A. Goncharov, N. A. Nekrasov, L. N. Tolstoy, F. M. Dostoevsky, A. P. Chekhov suggested new themes not only to their fellow writers, but also to artists sculptors and theater workers. However, it’s not just about the themes of the works. No less important were the methods of revealing these topics and the depth of their comprehension by writers.
In literature, the method of realism was brought to classical heights. The main thing in it was the depiction of reality, considered in its most vivid, typical, recognizable manifestations. Writers, naturally, did not want and could not be content with the role of observers of life and all the time felt themselves to be an inseparable part of the domestic “cosmos”. Peering into the face of Russia, into fate individual person, at turning points Russian history, they felt and passed through themselves the social utopias of their time, and the poetry of the ascetic soul, and the lyricism of their native nature, and philosophical maximalism, and religious humility.
Writers did not find inspiration in creating unusual forms, or in searching ideal heroes, but in a constant struggle between light and darkness, good and evil. At the same time, many writers managed in their work to raise such important, universal questions that will become the basis for the development of philosophy, psychology, sociology of the 20th and 21st centuries. The works of writers and poets reflected not only the most pressing problems of their time, but also the most important character traits of the Russian people. Writers actively protested against what was fashionable for the second half of the 19th century. reducing the laws of existence of the world to physical-chemical or any other formulas. Thus, L.N. Tolstoy, emphasizing in his works the unpredictability of life, defended the idea that it is based on the spirit, the deepest spheres of the human soul.
F. M. Dostoevsky brilliantly explored these areas, highlighting the desire for absolute knowledge, absolute faith, absolute feeling, so characteristic of Russian people. “The highest use,” he wrote, “that a person can make of his personality, of the full development of his Self, is, as it were, to destroy this Self, to give himself entirely to everyone, completely and completely. And this is the greatest happiness. This is the paradise of Christ.” The image of Russia and the fate of an individual - this is how we can identify the main themes around which difficult thoughts arose among writers and all figures of Russian culture.
I. S. Turgenev. Artist I. E. Repin
N. A. Nekrasov. Artist I. N. Kramskoy
L. N. Tolstoy. Artist I. N. Kramskoy
PAINTING. By analogy with the liberation movement of the second half of the 19th century. a tradition has developed to divide Russian fine art of this period into two quite independent stage. It would be strange to deny the connection between artistic culture and social processes taking place in the country. However, what about the fact that during these 20 years painting solved its own problems and thereby closely connected different generations artists with fairly visible threads. The nature of the quests of painters of the second half of the 19th century, of course, was determined by the mood of society that arose on the eve of and during the Great Reforms. According to the remarkable art historian and artist A. N. Benois, the painter sought to express in his works not his own “I”, but an idea, social truth and pain that became close to him.
As a result, in painting from the 1850s to the 1870s. the accusatory direction triumphed, the critical attitude to reality was emphasized. These are the works of V. G. Perov, whom his contemporaries called “Nekrasov or Gogol among artists.” His paintings “Sermon in the Village”, “ Procession at Easter,” “Tea Party in Mytishchi” was an outright satire on double-mindedness, licentiousness and ostentatious moralizing. It was from the time of Perov that artists began to paint not a person, but often “a thought about him”; not a face, but a conventional sign, a symbol. Perov was not alone in his quest; a whole galaxy of like-minded people worked next to him: N.V. Nevrev, V.V. Pukirev, I.M. Pryanishnikov and others.
In 1863, a group of young artists defiantly left the Academy of Arts, protesting against outdated teaching methods and themes that were far from modern. competition works, which required not inspiration and experience, but a “stuffed” hand, “strong” craftsmanship. After leaving the Academy, the artists organized the St. Petersburg Artel of Artists, the soul of which was I. N. Kramskoy. In addition to him, the artel included K. E. Makovsky, K. V. Lemekh, A. K. Grigoriev, I. I. Shishkin, I. E. Repin, N. A. Yaroshenko, and the sculptor M. M. were constantly visiting the artel workers. Antokolsky. Since the 1870s the history of Russian painting was closely connected with the Partnership traveling exhibitions. At first, attempts to organize such exhibitions failed, since St. Petersburg artists alone could not take on such a difficult task. Only after the unification creative forces Petersburg and Moscow exhibitions became a reality, a kind of “going to the people” (much more successful than attempts at populism). From 1871 to 1923, 48 exhibitions took place, receiving wide public attention from St. Petersburg to Chisinau. They were attended by 18 to 55 people from every thousand residents of the cities where the exhibitions were held.
Troika. Artist V. G. Perov
“Idea” and “truth” - these two concepts have become the main ones for artistic creativity Russia in the second half of the 19th century. The Wanderers seriously studied folk life, trying to understand the drama of an individual’s life, the strengths and weaknesses of the human soul. It is very accurately said about their work: “ Living nature, pushed behind the frame." The firmness of life's convictions, keen interest in the spiritual quest of the people, devotion to the national idea - all these traits were characteristic of the best Russian artists.
In 1880 - 1890 A new generation of painters, who were destined to define the features of artistic thinking of the 20th century, was taking leading roles. First of all, this concerns V. A. Serov and M. A. Vrubel. They continued the traditions of their predecessors and at the same time began to abandon the deliberate ideological, “social” nature of many of the Wanderers’ plots, and introduced a lot of new things into the composition of the paintings and into the style of painting.
I. N. Kramskoy. Artist N. A. Yaroshenko
Boyarina Morozova. Artist V. I. Surikov
Meeting the icon. Artist K. A. Savitsky
Rye. Artist I. I. Shishkin
ARCHITECTURE. According to the definition of the famous critic V.V. Stasov, the main directions of world architecture of the second half of the 19th century. there was a search for a national style. The post-reform era posed new colossal tasks for architects, primarily the creation of functional buildings suitable for their time for a wide variety of purposes.
In the 1860s - 1890s. eclecticism with its main principle of combining different styles dominated in the country, but main role at the same time the “Russian style” was played. In the decoration and layout of buildings, architects widely used folk art: embroidery, wood and stone carving, ancient wooden architecture.
In the 1870s The center of Moscow is being built up in the “Russian style”, creating a single ensemble in harmony with Red Square.
Historical Museum. Architects A. A. Semenov and V. O. Sherwood
Details of ancient Russian stone construction are used by V. O. Sherwood in the construction of the Historical Museum, and by D. A. Chichagov in the building of the Moscow City Duma. The same motives are “heard” in the appearance of the Polytechnic Museum, erected by I. A. Monighetti and N. A. Shokhin.
Chichagov built the city theater in Samara in the “Russian style”; elements of national architecture were widely used by A. N. Pomerantsev in the construction of the Upper Trading Rows on Red Square. At the same time, during the construction of church buildings, the “Russian style” was often combined with the “Byzantine”, which noticeably made the buildings heavier. Such is the Cathedral of Christ the Savior in Moscow, created according to the design of K. A. Ton (completed in 1883), the Church of the Resurrection of Christ (Savior on Spilled Blood), which arose on the Catherine Canal in St. Petersburg (at the site of the assassination of Alexander II). This style was supposed to indicate the stability and strength of the foundations of power and was fully consistent with its purpose. At the end of the 19th century. the architects themselves and their contemporaries increasingly felt the crisis of the “Russian style” and eclecticism (mixing styles, imitating one of them). The First Congress of Architects, held in 1892 in St. Petersburg, was devoted to discussing ways out of the crisis. Here words were spoken about the need to see what is special in general, that is, about convergence with those trends in architecture that developed in Western Europe. It was not about blind borrowing, but about the development of new forms of architecture on the basis of the “Russian style” (“modern style”). Its features can already be seen in the mansion of S. Morozov on Spiridonovka in Moscow, built by F. O. Shekhtel in 1893 - 1894. The architecture of Russia naturally and freely moved to new frontiers, a new style, which was destined to dominate in the first decades of the 20th century.
MUSIC. Important processes took place in the musical art of Russia. In the 1860s. Conservatories were opened in St. Petersburg and Moscow, led by the wonderful musicians brothers A. G. and N. G. Rubinstein.
However, the main events in this sphere of culture were associated with the activities of the association of composers, called the “Mighty Handful” (1862), as well as P. I. Tchaikovsky, who was not formally a member of it.
It was they who affirmed new principles of musical aesthetics and contributed to a departure from the previous “Italianism” (imitation of examples Italian music), turned to folk art as a source musical art. M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov and especially P. I. Tchaikovsky, whose works are still performed all over the world, managed to make the people a participant in the stage action. They revealed the whole gamut of human feelings: love, jealousy, suffering, joy, patriotism, betrayal. The spiritual world of man is a constant theme in the works of great Russian composers.
It was music that prepared Europe to meet the amazing culture of Russia. And even though this meeting took place a little later, it would have been impossible without the powerful rise in musical and performing skills of the 1860s - 1890s. Mussorgsky's motto: “To new shores” turned out to be truly prophetic.
THEATER. In the post-reform era, theater in Russia, along with journalism, literature and painting, became a kind of public platform and a school of citizenship and true patriotism. IN theatrical life The tone of the two capitals was set by the Moscow Maly Theater, in which all the plays of A. N. Ostrovsky were staged. Their acute social issues and accurate reflection of the life of different segments of the country's population provided an opportunity for both supporters of stage realism and fans of the romantic tradition to express themselves.
The great Russian actress M. N. Ermolova became famous in the romantically inspired plays of Lope de Vega and F. Schiller, often turning performances into public demonstrations. No wonder K. S. Stanislavsky called Ermolova “the heroic symphony of the Russian theater.”
The St. Petersburg Alexandrinsky Theater also had its stars. Here the audience was delighted with their performances by M. G. Savin, P. A. Strepetov, and K. A. Varlamov. If the public considered the latter “the king of Russian laughter,” then Strepetova was a tragic actress. It’s no wonder that her most striking role was Katerina in Ostrovsky’s “The Thunderstorm.”
By the end of the century, private theaters competed more and more successfully with the traditional imperial ones. They turned out to be more accessible to the mass audience and in many ways paved the way for the emergence of the famous Public Art Theater (the future Moscow Art Theater), founded by K. S. Stanislavsky and V. I. Nemirovich-Danchenko. And in the musical theaters of Russia - especially the Mariinsky in St. Petersburg and the Bolshoi in Moscow - the foundations of a national school of singers were laid. F. I. Shalyapin, A. V. Nezhdanova, A. V. Sobinov brought world fame to Russia.
A. G. Rubinstein. Artists. E. Repin
Artistic culture of the second half of the 19th century. paid constant attention to the wealth of experience Pushkin era, in her search for the highest truth, she heeds the prophetic words of Gogol and Belinsky, and deeply honors the prophetic meaning of the discoveries of Bryullov and Ivanov. At the same time, the culture of this period is persistently trying to find a collective aesthetic program, which helps to delve deeper into the national problems of the historical development of Russia. The desire to define “our own,” Russian path in art is the most characteristic feature of the era. Another process was going on in parallel - the growing need for the spiritual sovereignty of the creator’s personality, the struggle for his right to independently set and solve fundamental creative problems.
QUESTIONS AND TASKS
1) How were the features of Russian life in the second half of the 19th century reflected in Russian culture?
2) Why Russian literature XIX V. called classical?
3) Tell us about the activities of the Association of Itinerants.
4) How do you understand M. P. Mussorgsky’s motto “To new shores!”? Does it only apply to music?
5) What problems arose by the end of the 19th century. in the Russian theater?
EVENT – CONTEMPORARY
SAVVA IVANOVICH MAMONTOV
Mamontov loved singers, actors, opera, and artists. He loved heroes, the very essence of drama, and appreciated the phrase thrown by a singer with temperament.<…>Strange: he rarely visited the Bolshoi imperial theater. “It’s boring,” he said. “Something official, conditional.” The opening of the Mamontov Private Opera was greeted coldly and hostilely by Moscow and the press. Mamontov – Chairman of the Moscow-Yaroslavl railway, built by his father, a rich man, occupied a great position, and here is the Italian opera.<…>Muscovites thought it was a commercial goal. No, at a loss, but it holds up. Did not understand.
From the book of the artist K. A. Korovin “Konstantin Korovin Remembers”
1) How would you characterize the role of patrons in the development of Russian art in the second half of the 19th century? Justify your answer.
2) Why did Muscovites find S.I. Mamontov’s generosity strange?
FROM THE WILL OF P. M. TRETYAKOV
Capital one hundred fifty thousand rubles. I bequeath silver to the establishment of an art museum or public art gallery in Moscow.<…>I would suggest, firstly, to acquire... the gallery of Pryanishnikov I.M. as profitably as possible. To this collection add my paintings by Russian artists: Lagorio, Khudyakov, Lebedev, Sternberg, Shebuev, Klodt, Sokolov, Savrasov.<…>For this entire gallery, for now, rent a decent room in a good and convenient location in the city... Entrance to the public is open without distinction with a fee of 10 to 15 kopecks. silver Everyone is allowed to copy free of charge.<…>From capital, society must acquire all especially wonderful, rare works of Russian artists, no matter what time they were from.
1) Name the works of Russian painting that are stored in the Tretyakov Gallery.
2) What personality traits of S.I. Mamontov and P.M. Tretyakov attract you? Why?
Nekrasov’s literary and moral merits to Russian society are so great that his shortcomings should pale in comparison to them, even if they were precisely proven... I remember the evening of December 30, 1877, the day of Nekrasov’s funeral... Everyone was filled with the same feeling, but with it had a special effect on Kavelin - big fan a poet who loved him “for a drop of blood shared with the people.”
From “Memoirs” by A. F. Koni
Today, Nekrasov’s civic lyrics cause bewilderment, first of all, because it is not clear why they are lyrics... Both Nekrasov’s denunciations and his didactic appeals are written with the straightforwardness of the forefront. These poems are an achievement of the feuilleton era, a legacy of the turbulent newspaper life.<…>Nekrasov really wrote “in the popular way,” but he wrote not for the people, but on their behalf.
From “Native Speech” by P. Weil and A. Genis
RIDDLE FROM A PHILOSOPHER
V. Schubart wrote: “The Russian experiences the world based not on “I” and not on “you,” but on “we.”
How do you understand the scientist’s words?
LET'S BETTING?
(Topic for discussion)
Russian literature of the second half of the 19th century. called philosophy: is this its advantage or disadvantage?
Benoit A. N. History of Russian painting of the 19th century. M., 1995.
Essays on the history of Russian culture of the second half of the 19th century. M., 1976.
From the book History. Russian history. Grade 10. Advanced level. Part 2 author Lyashenko Leonid Mikhailovich§ 60. Culture and life second half of the XVIII in All spheres of spiritual life in Russia in the second half of the 18th century. permeated the ideas of the Enlightenment. What contributed to the improvement human nature– science, theater, dissemination of education, literature, art, –
From the book History of Russia. XVII–XVIII centuries. 7th grade author§ 35 – 36. CULTURE OF RUSSIA IN THE MIDDLE – SECOND HALF of the 18th century Enlightenment and science. By the end of the 18th century. There were more than 500 educational institutions in Russia. This was too little for a huge country. On average, only two out of a thousand people studied. The main adviser to Catherine II on
From the book History of Russia. XVII-XVIII centuries. 7th grade author Kiselev Alexander Fedotovich§ 35-36. CULTURE OF RUSSIA IN THE MIDDLE - SECOND HALF OF THE 18TH CENTURY Enlightenment and science. By the end of the 18th century. There were more than 500 educational institutions in Russia. This was too little for a huge country. On average, only two out of a thousand people studied. The main adviser to Catherine II on
From the book History of Russia. XIX century. 8th grade author Lyashenko Leonid MikhailovichChapter Eleven CULTURE OF RUSSIA IN THE SECOND HALF OF THE XIX
author Bokhanov Alexander NikolaevichChapter 17. Russian culture second half XIII-XVI century “Batu’s presence” caused terrible damage to the development of Russian culture, material and spiritual. Burnt cities and villages, temples and fortresses, desolate arable lands, the destruction of craft workshops and the capture of their owners are among those
From the book History of Russia from ancient times to the beginning of the 20th century author Froyanov Igor YakovlevichRussian culture of the mid-second half of the 18th century. Assessing the development of Russian science and culture, it should be said about M.V. Lomonosov and other figures of science and technology of the mid-18th century. On the basis of the Academy of Sciences created in 1725 by decree of Peter, a number of large
From the book History of Germany. Volume 2. From the creation of the German Empire to beginning of the XXI century by Bonwech BerndCulture and social life of Germany in the second half of the 1960s - 1980s. The “68th Movement” had a significant impact on the culture of Germany, determined its politicization, as well as the search for new forms and means of displaying problems in art public life. Another important factor
From the book History of Russia from ancient times to the end of the 20th century author Nikolaev Igor MikhailovichSoviet culture of the second half of the 50s-80s After the 20th Congress of the CPSU, a period of liberalization of domestic policy began, which affected the relationship between power and culture. Congresses of the artistic intelligentsia began to gather again. Many functions of culture management
From book General history in questions and answers author Tkachenko Irina Valerievna39. How does the culture of Western countries develop in the second half of the twentieth century? After the end of World War II cultural development in Western European countries and the USA was carried out on the basis of scientific discoveries and achievements made in the pre-war and war periods. Significant
From the book History of Russian Culture. 19th century author Yakovkina Natalya IvanovnaChapter Three RUSSIAN LITERATURE OF THE SECOND HALF OF THE XIX
From the book History of Ukraine from ancient times to the present day author Semenenko Valery IvanovichCulture of Ukraine in the second half of the 17th–18th centuries In the second half XVII century conditions for the development of the cultural process in the Ukrainian lands have improved somewhat. At many church parishes and monasteries there were parish schools, where itinerant clerks
From the book A Short Course in the History of Russia from Ancient Times to the Beginning of the 21st Century author Kerov Valery VsevolodovichTopic 24 Russian culture of the first half of the 18th century. PLAN1. General characteristics.1.1. Socio-historical conditions.1.2. Main development trends.1.3. Periodization.2. Social thought.2.1. Petrine transformations in the assessment of social thought.2.2. The concepts of “common good” and
From the book History author Plavinsky Nikolay Alexandrovich From the book History of Russia from ancient times to the end of the 17th century author Sakharov Andrey NikolaevichChapter 17 Russian culture of the second half of the 13th – 16th centuries “Batu’s presence” caused terrible damage to the development of Russian culture, material and spiritual. Burnt cities and villages, temples and fortresses, desolate arable lands, the destruction of craft workshops and the capture of their owners are among those
From the book History of World and Domestic Culture: Lecture Notes author Konstantinova S VLECTURE No. 9. Culture of the second half of the Golden Age 1. General characteristics of the era 2nd half of the 19th century. - the time of the final approval and consolidation of national forms and traditions in Russian art. IN mid-19th V. Russia experienced severe shocks: defeat
From the book Mentality and culture of the classes of Russian society of the second half of the 18th - 19th centuries (article) author Kunz Evgeniy VladimirovichE. Kunz Mentality and culture of the classes of Russian society of the second half of the 18th–19th centuries A person’s manners are a mirror in which his portrait is reflected. Johann Wolfgang Goethe In this article we will talk about the other two most important system-forming classes of the Russian Empire
This manual is a fundamental work covering material on the history of Russian art from Ancient Rus' to the present day. Within a fairly limited volume, the reader is offered comprehensive information: characteristics of the main artistic movements and stylistic directions, analysis of events and facts artistic life, a representation of a very wide range of writers, artists, composers, and architects. A variety of questions and tasks, an extensive bibliography, a reader for each part of the manual, a short terminological dictionary, the name index significantly enrich the methodological apparatus of the publication. The manual corresponds to the content of the course “World art culture” both in high school and in universities.
Christian foundations of ancient Russian art.
The origins of Russian artistic culture go back to ancient times, so the question involuntarily arises: is it even possible to determine the “starting point” from which its entry into world civilization began. And yet such a “point” exists, although it is quite conditional. It's about about the famous testimony of the great chronicler Kievan Rus monk Nestor, who confidently called the year 852 (6360 from the Creation of the World) the time of the birth of Rus'. As we see, the time of formation of our ancient culture historically coincides with a huge stage in the development of European peoples, later called the Middle Ages. The medieval period of development of Russian art lasted quite a long time - until the middle of the 17th century, striking with its unhurried, but at the same time surprisingly purposeful accumulation of spiritual wealth. From generation to generation, artists, musicians, writers, and architects of Ancient Rus' implemented in their work a coherent, deeply conscious artistic picture of the world, reflecting the depth of Christian doctrine. In other words, a kind of artistic miracle took place in ancient Russian artistic culture - a complete merging of art and religion. Let's try to figure out what the essence of this phenomenon is.
Let us remember that Christianity, having originated in the 1st century. AD, at first did not have its own art. There were no grandiose cathedrals, no poetry, no music, no icon painting. However, the great all-conquering power of Love inherent in the new doctrine gave a powerful incentive to the formation of spiritual ideals in art, the development of all its types in France and Germany, Italy and England. However, we do not undertake to list here all the Christian countries where new art has flourished, calling to part with pagan errors and accept the faith that frees humanity from mechanical inclusion in nature, to accept the commandments of Jesus Christ.
CONTENT
Introduction. Russian artistic culture as a universal human value
Part I
ARTISTIC CULTURE OF ANCIENT Rus'
Chapter 1. Christian foundations of ancient Russian art
Questions and tasks
Chapter 2. Artistic discoveries of Kievan Rus
Questions and tasks
Chapter 3. Masterpieces of culture of ancient Russian principalities
Questions and tasks
Chapter 4. The light of the Russian Pre-Renaissance
Questions and tasks
Chapter 5. Art of the “Rebellious Age”
Questions and tasks
Bibliography
Reader
Part II
ARTISTIC CULTURE OF THE AGE OF ENLIGHTENMENT
Chapter 1. The phenomenon of “Russian Europeanness”
Questions and tasks
Chapter 2. Images of architecture: from Baroque to classicism
Questions and tasks
Chapter 3. Images of painting: from parsuna to portrait
Questions and tasks
Chapter 4. Discoveries of Russian literature
Questions and tasks
Chapter 5. The birth of the composer school
Questions and tasks
Bibliography
Reader
Part III
ARTISTIC CULTURE OF RUSSIA IN THE 19TH CENTURY
Chapter 1. Dialogue of styles in Russian classics of the pre-reform era
Questions and tasks
Chapter 2. Peaks of art of the post-reform era
Questions and tasks
Bibliography
Reader
Part IV
ARTISTIC CULTURE OF RUSSIA AT THE END OF THE XIX-XX CENTURIES
Chapter 1. “Silver Age” of Russian muses
Questions and tasks
Chapter 2. Domestic artistic culture of the 20s - 80s of the XX century
Questions and tasks
Bibliography
Reader
Brief terminological dictionary
Name index.
Free download e-book in a convenient format, watch and read:
Download the book Russian artistic culture, Rapatskaya L.A., 1998 - fileskachat.com, fast and free download.
At the turn of the 17th - 18th centuries, Russia entered into new stage public and state life. The reforms of Peter I accelerated and consolidated this historical turn, which decisively manifested itself in all spheres of life. Russia faced new political, economic, spiritual and aesthetic challenges.
The Russian culture of the transition period - the first quarter of the 18th century, permeated with the pathos of military victories and the spirit of transformation - is distinguished by its originality. A fundamentally new understanding of the value of the human personality, its activity, purposeful activity is inseparable from the harsh, but full of great deeds of the time of Peter I. The era demanded educated, energetic, enterprising and skillful people. Merit to the state and talent were placed above birth. All this was reflected in public and cultural life countries.
The establishment of secular principles in culture, art, the use of European experience became government policy. In Peter's time, the idea of creating an Academy of Arts first arose. Retirement began to be widely practiced - sending people abroad to study and improve their profession.
The construction of the new capital of Russia - St. Petersburg and other cities led to the development of architecture; the construction of numerous palaces required the improvement of decorative sculpture and painting, circular sculpture and relief. Much success reached engraving, applied arts. Newspapers and magazines began to be published, and Russian journalism was born. The first professional theater was created.
The 18th century is famous for its great people: Peter I and Catherine II, Lomonosov and Derzhavin, Fonvizin and Novikov, Nikitin and Matveev, Argunov and Antropov, Zarudny and Rastrelli, Bazhenov and Shubin, Berezovsky and Bortnyansky, Levitsky and Borovikovsky and many others determined the face of the culture of this time.
Russian art of the first quarter of the 18th century is characterized by the development of architecture, which was caused by a change in the appearance of Russian cities. New types of structures (administrative, public buildings) required new structures, materials, and development of construction equipment.
Features of new times appear in the architecture of Moscow: residential buildings are located along the streets, rather than as a manor reception. The Arsenal is being built in the Kremlin. I. P. Zarudny (second half of the 17th century - 1727) erects the Church of the Archangel Gabriel on the territory of the estate of A. Menshikov (the so-called Menshikov Tower); it combines ecclesiastical and secular elements.
Under construction new capital- Petersburg, which was originally founded as a port and fortress. Created general plan cities, the banks of the Neva and small rivers are being strengthened, canals are being built. Industrial, administrative, and residential buildings are being erected. Many foreign architects are invited, Russian masters go to study abroad.
D. Trezzini (about 1670-1734) builds the Peter and Paul Cathedral, the gate to Peter and Paul Fortress; designs the building of the Twelve Collegiums - the main administrative building of the country. The Russian Baroque style is being formed. New buildings are distinguished by rational plans and designs, moderate plastic decoration of facades.
The largest Russian architects of this period: M. G. Zemtsov (1686-1743), who headed control over residential construction in St. Petersburg (his famous building is the Anichkov Palace on Nevsky Prospekt); I.K. Korobov (1700-1747), famous for his works in the Admiralty (gilded "Admiralty Needle"); P. M. Eropkin (1698-1740), who developed planning techniques (for example, the layout of the Admiralty Island).
TO mid-18th century century, the general direction of construction is changing. The decisive ones were palace and church buildings, which were supposed to attract with their size and richness of decoration. In suburban areas, large parks with geometric layouts and decorative structures and large palace buildings are created.
The largest architect of this time was V.V. Rastrelli (1700-1771). His creations - Catherine Palace in Tsarskoe Selo, Winter Palace, Smolny Monastery. The buildings of the palaces are distinguished by their splendor; ceremonial entrances to palaces, columns, and pilasters are built. Intense colors of buildings are used. Inside there is an enfilade arrangement of rooms and halls. The decoration uses wooden, usually gilded carvings, sculptures, mirrors, and pictorial inserts.
Famous architects - S. I. Chevakinsky (1713 - second half of the 1770s; St. Nicholas Naval Cathedral), D. V. Ukhtomsky (1719-1774; bell tower of the Trinity-Sergius Lavra and other buildings in Moscow).
The second half of the 18th century in Russian art is associated with the spread of classicism. In architecture, this determined the appeal to antiquity; Antique orders became the main means of designing the facades and interiors of buildings. The main requirement was compliance with harmonious proportions.
It was during this period that the building of the Academy of Arts was built in St. Petersburg (1764-1788), which was erected by A.F. Kokorinov and J.B. Vallin-Delamot. A ring of boulevards is being created in Moscow, and the buildings of the Orphanage are being built.
New trends are developed in the work of V.I. Bazhenov (1737-1799; project of the Kremlin Palace, construction of the ensemble in Tsaritsyn, the famous Pashkov House in Moscow); M. F. Kazakova (1738 - 1812; Senate building in the Kremlin, Golitsyn hospital and others), I. E. Starova (1745 - 1808; Tauride Palace in St. Petersburg).
In the second half of the 18th century, craftsmen who came from Europe also worked in Russia. This is G. Quarenghi (1744-1817), who erected the buildings of the Academy of Sciences, the State Bank, and shopping arcades; one of the best creatures- Smolny Institute. Charles Cameron (1740-1812) works in the suburbs of St. Petersburg. He created the famous Cameron Gallery in Tsarskoye Selo, the interiors of Catherine II’s rooms in the Catherine Palace.
Along with professional architects, talented serf architects work. Thus, the Ostankino estate was built with the participation of the serf master P. I. Argunov. Parks are being actively created in which a synthesis of arts is carried out, a combination of landscape with sculpture and architecture. These are landscape parks - Tsaritsyno, Ostankino, Gatchina, Pavlovsk and others.
Sculpture in the 18th century developed in two directions: easel and monumental. Already at the beginning of the century, monumental and decorative sculpture was used. The sculpture in the Peterhof ensemble is particularly expressive (it later underwent changes). The first projects of monumental monuments are being created.
B. K. Rastrelli (1675-1744), who came to Russia at the invitation of Peter I, found a second home in it (the father of the architect Rastrelli). He created a bronze bust of Peter I, which conveys not only the portrait resemblance, but also the character of Peter I; bust of A. Menshikov, statue of Anna Ioanovna with a little black. His most significant work is the equestrian monument to Peter I (Peter sits on a horse in the vestments of the Roman emperor); cast in
1745-1746, it lay in a barn for more than half a century and was installed only in 1800 by order of Paul I.
The majestic monument to Peter I, named Pushkin " Bronze Horseman", created by E. M. Falcone (1716-1791). Peter I is shown as a legislator and transformer of Russia. O and is depicted on a rearing horse above a wild rock-pedestal. The sculptor conveyed the uncontrollably swift movement of the rider, the enormous and imperious power of his affirming gesture right hand. A. S. Pushkin wrote:
Aren't you above the abyss?
At the height of an iron bridle
Raised Russia on its hind legs?
In the second half of the 18th century, F.I. Shubin, Gordeev, Kozlovsky, Martos, Prokofiev, Shchedrin began to work.
F.I. Shubin (174 -1805) was a Kholmogory peasant by origin, like Lomonosov, who determined his own destiny. Having graduated from the Academy of Arts with a gold medal, a pensioner goes to Paris and Rome, where he studies antique sculpture. The main genre of Shubin's works is portraiture, which amazes with its depth of content, truth of character, and professional skill. Such are the bust of Prince A. M. Golitsin, the portrait of P. A. Rumyantsev-Zadunaisky and others. Particularly expressive is the bust of M.V. Lomonosov, devoid of pomp, conveying his high intelligence and humanity; as well as a bust of Paul I, created according to the laws of a ceremonial portrait, but revealing all the complexity and contradictions of his character.
Shubin raised the genre sculptural portrait to a new qualitative level.
M.I. Kozlovsky (1753-1802) worked in the historical genre, using classicism, ancient images and traditions. His compositions: “The Vigil of Alexander the Great”, “Polycrates”, “Hercules on Horseback”; famous statue in Peterhof - "Samson tearing apart the lion's mouth" (destroyed during the Great Patriotic War, recreated in 1947). He also turned to Russian history: the statue “Yakov Dolgoruky, tearing up the royal decree”, the monument to Suvorov (St. Petersburg, Field of Mars): the commander is depicted in antique armor and a helmet in the image of the god of war Mars. In his sculptures, Kozlovsky sought to convey the beauty and perfection of man.
Painting went through its own development path during the 18th century. Already in the first half of the century, new genres appeared: historical composition, image of battles, portrait, still life, miniature. Monumental and decorative painting is becoming widespread. In easel painting, artists begin to work on canvas with oil paints. The most important artists of the first half of the 18th century were Nikitin and Matveev.
I. N. Nikitin (circa 1685 - not earlier than 1742) - one of the first Peter the Great’s pensioners. He mastered the art of European masters, but developed his own style. The artist’s portraits do not have the external showiness of a Western European ceremonial portrait. Nikitin reflected the spirit of transformation, a new understanding of a person’s personality and his place in society. The master painted Peter I several times. The last of these works, “Peter I on his deathbed,” is one of the most striking. The most significant work of Russian painting of this period is “Portrait of a Floor Hetman” (1720s).
None of Nikitin's contemporaries managed to achieve such deep insight into the essence of human psychology and such professional skill.
Another “chick of Petrov’s nest” is A. Matveev (1701-1739). I also studied abroad. In Russia, he headed the “Pictorial Team of the Office of Buildings,” which was engaged in the artistic decoration of buildings in the capital. Matveev's paintings* have not survived. Portraits that are truthful and spontaneous are of greatest value. Among them is “Self-portrait with his wife,” which is distinguished by the sharpness of its characteristics, the accuracy of the drawing, and the softness of the pictorial modeling.
In the middle of the 18th century, the wonderful master I. Ya. Vishnyakov (1699 - 1761) created; a student of Matveev, after his death he headed the “Picturesque Team of the Office of Buildings”. He developed as a monumentalist (paintings in the Peter and Paul Cathedral, in the Trinity Cathedral Church and others) and as a master of portraiture, in which he sought to convey the entire complex spiritual world of a person. The whole life of Vishnyakov’s characters is in their faces, and their faces are open to the world.
For the first time, the artist depicted unremarkable people - the Tishin family. Nikolai and Ksenia Tishina are shown in wedding dresses, in traditional poses, but freely and naturally. They have inner dignity, goodwill and seriousness. Vishnyakov's significant achievement is the portraits of the Fermor children, especially Sarah Fermor. This is a ceremonial portrait, but it contains poetry and charm, musicality of forms, light and delicate color harmonies.
In the second half of the 18th century it flourishes historical genre in painting, because it was he who could capture the heroic events of the past and present. M. V. Lomonosov achieved depth and monumentality in the mosaic “Battle of Poltava,” which outlined a new path for Russian monumental painting.
A major master of historical painting is A. P. Losenko (1737-1773). Born in Ukraine, he came to St. Petersburg early, where he studied painting from the age of 16. He graduated from the Academy of Arts, where he was subsequently a professor and later director. He was known for his drawings and paintings: “The Sacrifice of Abraham”, “Cain”, “Abel” and others. The most significant paintings are “Vladimir and Rogneda”, “Hector’s Farewell to Andromache”, imbued with heroic pathos.
G.I. Ugryumov (1754 - 1814) created a series of paintings from Russian history: “The Grand Departure of Alexander Nevsky...”, “The Capture of Kazan” and others. The most significant painting is “The Test of the Strength of Jan Usmar”, where the image of the Russian hero-hero is created.
In the second half of the 18th century, special successes were achieved portrait painting. Artists Rokotov, Levitsky, Borovikovsky and others created a brilliant portrait gallery of their contemporaries, glorifying the beauty and nobility of man.
F. S. Rokotov (1735/36-1808) painted chamber portraits. He loved to portray a person without a formal entourage, without posing. In painting he expressed the desire of the advanced nobility to follow high moral standards. In the portrait of V. I. Maykov, the image of the poet is created, his character traits. The portrait is distinguished by temperamental painting, the coloring is based on the contrast of red and green.
The idea of beauty is embodied in the portrait of V. E. Novosiltseva. Such are the portraits of N. E. Struyskaya, E. N. Orlova, V. N. Surovtseva, distinguished by their poetry and artistry of execution.
D. G. Levitsky (1735-1822) was born in Kyiv, where he met Antropov, which determined his fate. He studied in St. Petersburg with Antropov, worked in St. Petersburg and Moscow. Levitsky is a master of portraiture. For his portrait of the architect Kokorinov, he was awarded the title of academician. Kokorinov is depicted in his office, in front of him is a plan of the Academy of Arts. The plasticity of the gesture and the smoky-lilac tonality of the color are wonderfully conveyed. Levitsky created a series of portraits of “Smolny girls” - students of the Smolny Institute. Each is depicted in a specific plot situation, characteristic pose. Portraits are characterized by decorativeness, exquisite beauty of linear contours and silhouettes.
The portraits of the architect Lvov and his wife M. Lvova, née Dyakova, are remarkable. A significant creation by the artist is a portrait of Catherine II in the spirit of Derzhavin’s ode; "Felitsa."
Levitsky depicted the complex spiritual life of his models; his portraits are distinguished by wonderful drawing and subtle coloring.
V. L. Borovikovsky (1757-1825) was born in Mirgorod, and painted icons in his youth. Studying and working in St. Petersburg, bringing you closer to Levitsky; paints portraits, glorifying in his models the ability for sublime feelings and heartfelt experiences. Levitsky was close to sentimentalism, to a writer and historian; N. M. Karamzin.
In the portrait of M. Lopukhina, he conveyed the charm of youth, full of dreaminess and slight sadness. The portrait is distinguished by softness and inner harmony. Borovikovsky created portraits of Catherine II against the backdrop of Tsarskoye Selo park, A. B. Kurakin, G. R. Derzhavin, D. P. Troshchinsky and others.
In the second half of the 18th century it became an independent genre. landscape painting, which reflected the lofty ideals of classicism.
S. F. Shchedrin (1745-1804) - master of park landscape. He created a series of landscapes of Gatchina, Pavlovsk, Peterhof, and captured the beauty of gardens and parks, architectural ensembles.
F. Ya. Alekseev (1753/54-1824) depicted views of Moscow, Voronezh, Kherson. He became especially famous for his strict and harmonious paintings depicting St. Petersburg: the Neva embankments, grandiose palaces, squares (“View of the Mikhailovsky Castle” “View Palace Embankment from the Peter and Paul Fortress" others). The artist depicted a panorama of the capital in the silvery gray light of the northern sky.
Household painting developed during this period: I. Firsov ("Young Painter"), M. Shibanov ("Peasant Lunch", "Wedding Arrangement Celebration").
From the 18th century, the development of new Russian literature began, which embodied the ideas of the Enlightenment, clothed in art forms classicism. In the 18th century, outstanding wordsmiths created: A. D. Kantemir, M. V. Lomonosov, A. P. Sumarokov, G. R. Derzhavin, D. I. Fonvizin, A. N. Radishchev, N. M. Karamzin.
The development of classicism in Russian literature had its own characteristics. Russian writers, turning to ancient subjects, had big interest to national history, to folk art. Russian classicism was more democratic. The problem of serfdom was raised in many works. All this led to the accumulation of realistic elements. The most common genres were odes, epistles, heroic poems, tragedies, comedies and fables.
The link between literature XVII and the 18th century, Feofan Prokopovich (1681-1736), an associate of Peter I, appeared. He is the author of church sermons, treatises, and the tragicomedy "Vladimir". Under the influence of this master, A.D. Kantemir (1708-1744) was formed, who in his works denounces those who despise the teaching (“On those who blaspheme the teaching”), who boast of nobility (“On the envy and pride of the evil nobles”) and others. He wrote nine satires, being the founder of the satirical movement in Russian classicism.
One of the outstanding figures of Russian literature and all Russian culture of the 18th century was M. V. Lomonosov (1711-1765). Possessing an encyclopedic mind, Lomonosov achieved outstanding results in many fields of knowledge: in physics, chemistry, astronomy, philosophy, etc. Lomonosov is the author of "Russian Grammar". Lomonosov's reform in the field of versification was of great importance for the development of Russian literature. This is a syllabic-tonic system of versification, the foundations of which were formed by V.K. Trediakovsky (1703-1769) and Lomonosov *258 (“Letter on the rules of Russian poetry”).
*258: (The syllabic-tonic system (from the Greek syllabi - syllable, tonos - stress) is based on a clear alternation of stressed and unstressed syllables, Dimensions: trochee, iambic, dactyl, amphibrachium, anapest. Terminology is taken from ancient versification.)
As a poet, Lomonosov performed in various genres. He wrote odes, poems of natural science content, tragedies, poems. But his main genre is odes, to which he gave features national identity. Lomonosov sang the victories of Russian weapons ("Ode to the Capture of Khotin"), the works of Peter I (the poem "Peter the Great"). His landmark ode is “On the day of the accession to the throne of Empress Elizabeth Petrovna, 1747,” where Lomonosov glorifies the world (“beloved silence”), glorifies his homeland, the spider. In his works he also turns to satire (“Hymn to the Beard”, “To Pachomius”).
M. V. Lomonosov was also a literary theorist. He developed a theory about three “calms” - high, medium and low (“Preface on the benefits of church books in the Russian language”).
Having provided big influence on the development of Russian culture, this outstanding figure went down in history as the founder of new literature (Belinsky: “father of Russian literature”).
A. P. Sumarokov (1717-1777) was a significant phenomenon in Russian literature. In poetry, he competed with Lomonosov (he wrote eclogues, madrigals, elegies, fables and satires). But his 9 tragedies were especially popular: Horev. “Dmitry the Pretender” and others, who established Sumarokov’s fame as “northern Racine”. Ya. B. Knyazhnin (“Vadim Novgorodsky”) also wrote tragedies.
In the 60s, Russian narrative prose appeared: F. A. Emin (1735-1770), the novels “The Adventures of Themistocles” and others; M. D. Chulkov (1743-1792), author of picaresque short stories and magical knightly stories "Mockingbird, or Slavic Tales", the novel "The Handsome Cook, or the Adventures of a Depraved Woman" and others.
The second half of the 18th century is the period of the emergence of journalism. A significant role in this process was played by the activities of N. I. Novikov (1744-1818), who published the satirical magazines “Wallet”, “Drone”, “Painter”. Later, this tradition was continued by I. A. Krylov (1769-1844), who published the magazines “Mail of Spirits”, “Spectator” and others.
In the 18th century, a new era of book publishing began, the rise of the book business. Moscow University, created by Lomonosov, became the largest center for publishing books. And Novikov’s role in this matter is enormous. He founded the first publishing partnership in Russia - “The Society Trying to Print Books.”
In the last third of the 18th century, comedy received a new development. A bright playwright of this period was D.I. Fonvizin (1744-1792), author of the comedies “The Brigadier” and “The Minor,” according to Gogol, “the first truly social comedy.”
The leading poet of the second half of the 18th century is G. R. Derzhavin (1743-1816). He sang the victories of Russian weapons (“Autumn during the siege of Ochakov”, “At the capture of Izmail” and others), captured the images of Rumyantsev, Suvorov, Ushakov, Kutuzov. The poet's fame was brought to him by the ode "Felitsa", where Derzhavin draws an allegorical image of the wise queen, thereby giving a "mandate" to those in power. Derzhavin also turned to the satirical direction (“Nobleman”) and described nature (“God”, “Waterfall”). Special meaning the poetry of G. R. Derzhavin had the talent of A. S. Pushkin for its development.
Since the 70s, the role of the ideas and principles of sentimentalism and pre-romanticism has been increasing. The ways of development of sentimentalist prose were determined by N. M. Karamzin (1766-1826), author of the stories " Poor Lisa", "Natalia, the Boyar's Daughter", "Marfa Posadnitsa". An outstanding writer of this period was A. N. Radishchev (1749-1802), author of "Travel from St. Petersburg to Moscow".
Russian culture of the 18th century was the foundation on which the building of the great Russian XIX culture century.
→ Artistic culture of Russia of the “Silver Age”
"Silver Age"- this is the junction of two centuries in the history of Russia: XIX and XX. At this time, such works of art as “Sunday” and “The Living Corpse” appeared. L. Tolstoy becomes a great writer A.P.Chekhov, novellas and short stories are published .Korolenko, A.Serafimovich, Garin-Mikhailovsky, M.Gorky, L.Andreev. Announce themselves with early prose I. Bunin, are printed A. Kuprin And V. Veresaev. At this time, theatrical art also flourishes. Names K. Stanislavsky, F. Chaliapin, M. Ermolaeva bring glory to Russian art. And musical works A. Skryabina And S. Rachmaninov is distinguished by such innovation and depth that it defines it for many years to come. New trends are also emerging in Russian fine art.
A large number of trends, groups, associations, and associations are emerging in the artistic culture of Russia, which put forward their own creative programs. The perception of the world becomes freer, the artist’s personality becomes more and more liberated. Many writers and artists make an attempt to “construct life,” to present it as it “should be.” The rigid boundaries of critical realism are weakening.
All this was prepared by the revolutionary situation in Russia and the bourgeois-democratic revolution of 1905. Many Russian writers turned to drama as a genre of literary creativity capable of most fully reflecting social problems. Theater as an art is gaining great popularity.
Plays are being staged A. Tolstoy, M. Gorky, A. Andreev, A. Chekhova. “The Seagull”, “Vanyushin’s Children”, “Vassa Zheleznova”, “At the Lower Depths” - the list of the most notable dramatic works can be continued.
In the culture of the "Silver Age" great place are occupied by philosophical and ethical problems. “Which is better, truth or compassion?” - this is how he poses the question M. Gorky in the play "At the Bottom". This theme has already been heard in novels F. Dostoevsky, it is revealed with particular force in the novel L. Tolstoy"Sunday".
Criticism of the social situation in Russia during this period turns into criticism of existence as a whole. Creativity is distinguished by “cosmic pessimism” L. Andreeva. Notes of unbelief and despair sound in his works, connecting with the writers of Russian modernism.
In Russian artistic culture, in particular in literature, a new artistic direction is emerging - modernism. It was the result of a search for a new way to explore the world. Part of the Russian intelligentsia believed that it was possible to have a direct, naive view of. Refusing to analyze social relations and the complexity of the human psyche, this part sought solace in the “quiet poetry of everyday life.” Another part believed that art should strive for the intensity of feelings and passions, which artistic image in art it should become a symbol that gives rise to complex associations. Arose symbolism, as an artistic movement in Russian poetry. Its features appeared in the works of such symbolists of the early 20th century as V. Bryusov, A. Blok, Vyach. Ivanov, A. Bely. Their credo: the material world is just a mask through which another world of the spirit shines through. Images of a mask, a mysterious stranger, and a beautiful lady often appear in the poetry and prose of the Symbolists. The surrounding world in their works is depicted as something illusory, chaotic, as a lower reality in relation to the world of ideas.
In the first decade of the 20th century, along with symbolism, there appeared proletarian poetry- mass, close to the urban lower classes, workers. This poetry is filled with revolutionary sentiments; the authors are often the workers themselves, whose poems are published in the journal of legal Marxism, Life. Writers and poets of this movement are grouped around M. Gorky.
After the defeat of the 1905 revolution, Russian artistic consciousness intensified mood of pessimism. This is typical for creative path L. Andreeva. But gradually a way out of decadent creative attitudes was outlined. New forms of romanticism were formed in the works of I. Bunin and A. Kuprin. Search for new forms of reflection inner world person embodied in acmeism and futurism- new post-symbolic movements.
Acmeist poets: N. Gumilev, A. Akhmatova, G. Ivanov, M. Zenkovich in their work they contrasted the mystical aspirations of symbolism with the elements natural nature and life, the “flowering power” of life, concrete sensory perception of the world of things and nature.
Futurists: D. Burlyuk, A. Kruchenykh, V. Kamensky, early V. Mayakovsky We focused on the language of the street, advertising, popular prints, urban folklore and posters. They sought to destroy the line between art and life and considered themselves harbingers of the future.
Symbolist tendencies also manifested themselves in painting.. At this time, the work of the greatest Russian artist reached its peak - Mikhail Vrubel. The artist is in search of truth and beauty, in his paintings fantasy is combined with reality, his beauty is a dream, not so easy to find in the contradictory surrounding reality. Another important painter was Valentin Serov- a successor to the best traditions of the Itinerant movement. Creativity of artists M.V.Nesterov, K.A.Korovin, A.Ryapushkin, N.K.Roerich, I.Levitan developed at the turn of the century in the best traditions of realistic art. Sculpture This period is also distinguished by its wealth. This is creativity A.S. Golubkina, S.G. Konenkov, P. Trubetskoy.
It should be emphasized that all these processes in the artistic culture of Russia took place in line with socio-historical context. The main themes of this time: Russia and freedom, intelligentsia and revolution. “Left” trends in art found their embodiment in avant-gardeism. Avant-garde were those artistic movements of the early 20th century that sought a radical renewal of artistic practice, a break with traditions, including realism. Avant-garde artists were looking for new, unusual means of expression and forms of works, new aspects of the artist’s relationship with life. Other trends in Russian artistic culture showed increased interest in the historical past of Russian culture and artistic traditions. Artists of this movement united around the magazine “World of Art”.
A number of artists in the atmosphere of the post-revolutionary years expressed their distrust of life, focused their attention on form, and realized the new aesthetic ideal of modern modernism. World-famous schools of the Russian avant-garde emerge and develop, which are based on creativity V.E. Tatlina,V.V.Kandinsky,K.S. Malevich. In 1911, a community of artists emerged, called “ Jack of Diamonds" it included P.P.Konchalovsky, I.I.Mashkov, M.F.Larionov, M.Chagall. Their work was rebellious in nature, distinguished by formal quests directed against the established norms of artistic creativity.
All in all the artistic culture of the “Silver Age” is a contradictory and multifaceted phenomenon. The time between the two revolutions (1905 - 1917) was difficult; a spiritual crisis gripped a significant part of the creative intelligentsia, which was reflected in Russian art. Rejection of bourgeois values, denial of modern orders and anticipation of change are the characteristic content side of Russian culture of this period. Literature, painting, theater and music of the “Silver Age” became a kind of prototype of the art of the 20th century, reflecting the contradictory and complex nature of culture.
The two most terrible world wars in the history of mankind, political coups and revolutions, the establishment of a brutal authoritarian regime in Russia determined the further development of Russian culture of the 20th century.
