XVII- XVIII centuries. and the modern European reading of the European system of values (EC ). The process of forming a single national state and national cultures. The slogan "freedom, equality and fraternity" and the formation of new value ideals. Diversity and "diversity" in the life of Europe. National features of artistic cultures.
“Picture of the world” in the modern European interpretation. The world is a complex system. The diversity and variability of the world. The world is more “chaos” than “order”. The loss of a harmonious , orderly and clear system of the world (N. Kopernik, J. Bruno, G. Galileo). Peace, nature, the universe - "the eternal order"; the world is originally perfection. The universe consists of many parts that move differently. Poets see the chaos of the universe (B. Spinoza. R. Descartes).
The discovery of physical quantities, large and small, their proportionality (G. Galileo).
Fracture in public mood. The collapse of ideals. Dominance in the world of the tragic and ironic.
Awareness of the contradiction between visibility and knowledge, the ideal and reality, illusion and truth (Michelangelo, Blaise Pascal, Shakespeare, Cervantes, etc.) New reading of humanism : drama and tragedy. Disappears confidence in the inevitable triumph of the positive beginnings of life. Aggravation of the feelings of tragic contradictions, fluctuation and instability of life. The growth of skepticism.
New in the understanding of personality . The “discovery” of new values in the man of the New Age. Man is a measure of things, commensurate with his physical, real position in the world. "Scale-out" position of man in the world. Man is a particle of the Cosmos, thinking, capable of knowledge.
Spatial thinking and architecture.
Two creative installations: restore order - classicism; creatively master the "chaos" - Baroque.
New time is a time when knowledge dominates. Knowledge of theoretical, scientific format. The rule of epistemology. “Purification” of theoretical knowledge from artistry. The emergence and development of the philosophy of rationalism (R. Descartes: "I think - therefore I exist") - as one of the conditions of fundamentally new views on aesthetics and art. New method in science: induction. From private to general and the rationale of the individual creative method. Initiation of the new style of the new time.
Rationalism in understanding nature. Nature and architecture in the New time.
New in the character and content of the artistic life of the New Time (B. R. Wipper). Late Renaissance is Mannerism. Transition period: "still-already."
Mannerism - a deviation from the canons of the classic Renaissance. The domination of the spirit of individualistic subjectivism.
Designation of the individual style of the master (Raphael, Michelangelo).
Art system "Revival" before the choice. The choice of two artistic directions is the answer “to the challenge of time”, to a new reading of the EC. Artistic culture as a rhythmic oscillation of the artistic system in its self-development between two poles: “order” and “chaos”.
Representations of the intrinsic value of art, of its autonomy.
The birth of drama - a new kind of theatrical art. Drama - like action, intrigue, conflict. Drama as a feeling of life. The drama of architectural forms and compositions.
Wit - as " an unusual mastery of a sophisticated mind and a great ability to create something new." Wit and ingenuity, innovation. Virtuosity - as the free construction of a composition with unexpected turns and effects.
The official style is “big order”, “giant order” (O. Shuazi). The official style and “noble harmony”, slender form, precise rhythm, clarity and centricity of compositions, grandeur, lavish decoration, allegory.
The same cultural environment and different images. The coexistence of several artistic systems. Absolutism and the development of artistic culture. The domination of baroque and classicism. Classicism and Baroque - different creative installations. The choice of one system "loyalty to the classics", loyalty to tradition, absolute values. The preferences of the other are innovation, experiment, relative abandonment of norms and canons. Baroque - a kind of avant-garde XYII century.
The coexistence and "complex" interaction of artistic systems.
The artistic image in the guise of metaphor, symbol, allegory work in classicism. Different ways, goals and meanings of these images.
The artist and the ability to choose the art system.
Aesthetic culture of the New time . Cultural environment and the coexistence of different creative traditions in the XVII century. The development of new trends in aesthetics, art.
Different approaches to understanding the beauty and creativity of the artist (classicism, baroque, mannerism, realism, romanticism).
R. Descartes (“Discourse on the Method”) and N. Boileau (“Poetic Art”) in substantiating the basic principles and regulations in scientific and artistic creation. Corneille (“Discourse on 3 Unities”), Poussin (“Letters”), La Rochefoucoux (“On Taste”), Saint-Evremont (“On Ancient and New Tragedy”) on the aesthetic positions of classicism.
The pragmatic nature of aesthetic thought. Aesthetic and moral, their connection in the aesthetics of the Enlightenment. Enlightenment ideas in England (Burke, Hume, Hoggart, Hutcheson, Shefstbury et al.).
Enlightenment ideas in France (Dubot, Butte, Voltaire, Helvetius, Rousseau, Condorcet, Didrot). Denis Diderot on the nature of beauty, the cognitive and educational functions of art (“Treatise on the Beautiful”, “Salons”, “Paradox about the Actor”).
The problem of aesthetic taste . Place of taste in the activities of the artist, the architect.
Educational ideas in Germany. Lessing and the first attempts at classifying types of art (“Laocoon or about the limits of painting and poetry”).
Edmund Burke and his concept of the categories of "beautiful" and "sublime."
Herder on historicism and national features of art.
Goethe is about the connection between the artist’s personality and his work, the phenomenon of artistic truth in art.
The creative program of classicism . The artist of classicism is a person performing a high civic duty. (Nicolas Boileau about a citizen, about an artist). The concept of the creative process. “Of course to create” (Nicolas Bualo) on the basis of absolute and unchanging truths and values. Mind - the main tool of creativity. Repetition of canonical compositional schemes, stable types. Creativity is a game according to the rules and only the rules.
The beauty of classicism is an eternal, unchanging, absolute ideal.
Baroque creative program . Baroque artist is a strong creative will. The peak of his intellect is manifested in the ability to convey in artistic form the illusion of dynamics, internal conflict, pathos.
Creative installation: "surprise, touch, convince."
Baroque is wit.
Wit as a free play of thought from the grotesque to the tragedy. Mixing funny and sublime, joy and suffering.
Treatises on wit.
The beauty of Baroque is not absolute, but elusive, ever-changing. Beauty is not in nature, but in the imagination of the artist.
National architecture features . Baroque is born and develops on Italian and Spanish soil; classicism - on French soil; special traditions of dwelling architecture in England. "My home is my castle".
Creation of national academies of architecture.
The architectural system of the New time - style.
Aesthetic principles of architecture: Francois Blondel ("Course of Architecture") and Claude Perrot ("Rules of the five types of columns, according to the method of the ancients"), "The dispute between the ancients and the new."
Aesthetic views and architectural structures in Russia of the XVIII and early XIX centuries (Cameron, Cossacks, Quarenghi, Rossi, Starov, etc.).
Spatial thinking and new ideas in urban planning. Urban design object as a single interconnected whole. A sense of the depth of space in its architectural manifestations
The peculiarity of landscape architecture of classicism. Regularity and picturesque - as two creative systems of landscape architecture.
Baroque aesthetics and aesthetics of classicism in architecture. Variants of the “reading” of the universal principles of shaping in modern times.
APF : Integrity: “the connection of times has broken” (V. Shakespeare); complex, intense, sometimes chaotic; open, with sensation and transmission of depth. Integrity, where the “compositional nerve of the whole ensemble” is valued. Integrity is complex, sometimes chaotic, tense.
Harmony: “violation” of traditional harmony and completeness of form. Harmony as a tragic, dramatic, dynamic collision.
Measure: a new reading of proportionality, taking into account the relativity of physical quantities. The principle of proportionality and the real, earthly man.
Rhythm: New sense of rhythm. It is speeding up, with uneven jumps, impulses, with dramatic collisions. Anxious, intense rhythm. The alternation of contrasting spaces, like a theater environment.
The artistic image of architecture is an allegory, a metaphor. EPF and different artistic systems, different artistic images.
The artistic image of the Baroque: "provoking opposition", polymorphism, polyphony, contraception (by Michelangelo), metamorphosis, counterpoint, "the effect of polyseason". The image of sincere experiences, intrigue, "sharp impressions."
The artistic image of classicism: the image-disguise, the image of the decoration. The image of solemnity, dignity, greatness. Image - a demonstration of due.
The image is the representation of the “false ideal of nobility” (O. Choisy).
The exhaustion of the stylistic architectural system of classicism.
Overcoming the canons of classicism in architecture (KN Leroux, EL Bulle).
Historical conditions for the emergence and development of new trends in aesthetics, art. The coexistence of different creative traditions in the XVII century. Different approaches to understanding the beauty and creativity of the artist (classicism, baroque, mannerism, realism, romanticism). Baroque aesthetics and aesthetics of classicism in architecture: the socio-political processes of the formation of unified national states and national cultures. Absolutism and the development of artistic culture. Creation of the Academy of Architecture. R. Descartes (“Discourse on the Method”) and N. Boileau (“Poetic Art”) in substantiating the basic principles and regulation in scientific and artistic creation. Aesthetic principles of architecture: Francois Blondel ("The Course of Architecture") and Claude Perrot ("Rules of the five types of columns according to the method of the ancients"), "The dispute between the ancients and the new." Rationalism in understanding nature. Nature and architecture. The peculiarity of landscape architecture of classicism. Regularity and picturesqueness are like two creative systems of garden and park art. Aesthetic views and architectural structures in Russia of the 18th and early 19th centuries (Cameron, Cossacks, Quarenghi, Rossi, Starov.).
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