New outlook in the Baroque era presentation. Presentation on the theme "Baroque"

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Theme of the lesson: "Baroque".

Baroque. A style in art that developed in European countries in the 16th-17th centuries (in some countries - until the middle of the 18th century).

Baroque. The name comes from the Italian barocco - bizarre, strange.

Baroque. The main task of art was to reflect the inner world of a person, to reveal his feelings and experiences.

The main features of the Baroque: dramatic pathos, a tendency to sharp contrasts, dynamism, expression, a tendency to pomp and decorativeness.

Luxury in the Baroque style. The church was the first to appreciate the pomposity of the Baroque forms. In the interior, she began to actively use bright colors, unusual shapes, picturesque shades and gilding.

Cathedral of Saint Peter in Rome.

Decoration of St. Peter's Basilica in Rome.

Inside St. Peter's Basilica. Vatican.

Saint Paul's Cathedral. View from above.

In France, one of the most remarkable baroque palace ensembles was created - Versailles (1668-1689), which became a model for luxurious country residences of European monarchs, including Russian ones.

Versailles (1668-1689)

Baroque. Styles. A huge contribution to the creation of Baroque church architecture was made by three masters: Carlo Maderna, Francesco Borromini and Lorenzo Bernini.

Let's summarize: What direction in art is typical for the beginning of the 17th century? What does the name of this direction mean? How can one explain the appearance of this trend at the beginning of the 17th century?

Homework: make a table architecture, painting, literature, music of the first half of the 17th century, using textbook material pp. 218-254

On the topic: methodological developments, presentations and notes

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Baroque era

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Please be indulgent to my modest work, this is only my fourth cartoon and the first in the technique of volumetric animation. It is a reflection on the music of the composer Silvius Leop...

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Baroque (Italian barocco, literally - bizarre, strange), one of the dominant styles in the architecture and art of Europe and Latin America in the late 16th - mid-18th centuries. Baroque was associated with the nobility and church culture of the heyday of absolutism. It was called upon to glorify the power of the church and the secular aristocracy, gravitated towards ceremonial solemnity and pomp. Baroque became widespread in Flanders (famous representatives of the Baroque in Flanders - P.P. Rubens, F. Snyders, J. Jordaens, A. van Dyck), in Spain, Portugal, in southern Germany, in Austria, the Czech Republic, Slovakia, Croatia, in the west of Ukraine, in Lithuania. In France, baroque merged with classicism into a single opulent style.

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Coronation of the Virgin Mary, 1595-1598 At the origins of the Baroque tradition of art in painting are two great Italian artists - Caravaggio and Annibale Carracci, who created the most significant works in the last decade of the 16th century - the first decade of the 17th century. Italian painting of the late 16th century is characterized by unnaturalness and stylistic uncertainty. Caravaggio and Carracci, with their art, restored her integrity and expressiveness.

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One of the dominant styles in European architecture and art of the late 16th and mid-18th centuries, the baroque was established in an era of intensive formation of nations and nation-states (mainly absolute monarchies). Baroque embodied new ideas about the unity, infinity and diversity of the world, about its dramatic complexity and eternal variability, interest in the real environment, in the natural elements surrounding a person, the Baroque replaced the humanistic artistic culture

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Caravaggio Michelangelo (1573-1610), Italian painter. Studied in Milan (1584-1588); worked in Rome (until 1606), Naples (1607 and 1609-1610), on the islands of Malta and Sicily (1608-1609). Caravaggio, who did not belong to a particular art school, already in his early works contrasted the individual expressiveness of the model, simple everyday motives (“Little Sick Bacchus”, “Young Man with a Basket of Fruit” - both in the Borghese Gallery, Rome) to the idealization of images and the allegorical interpretation of the plot, characteristic of the art of mannerism and academism.

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Reni Guido (November 4, 1575, Bologna - August 18, 1642, ibid.), Italian painter, master of the Baroque. Reni was a graduate of the Bologna Academy of Arts, a guide and heir to its pictorial tradition and pedagogical system. He directly studied with Annibale Carracci, was, like him, a fan of antiquity and Raphael.

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Baroque embodied new ideas about the unity, infinity and diversity of the world, about its dramatic complexity and eternal variability; his aesthetics was built on the collision of man and the world, ideal and sensual principles, reason and irrationalism.

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Baroque art is characterized by grandiosity, pomp and dynamics, pathetic elation, intensity of feelings, addiction to spectacular entertainment, the combination of illusory and real, strong contrasts of scales and rhythms, materials and textures, light and shadow.

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Baroque art is characterized by: an abundance of external effects and elements. The figures of the drawing and their groups are depicted solemnly, facial expressions are sensual. In the 17th century, painting occupied an exceptional place in art. The Baroque era expanded the range of depicted objects, enriched this area of art with new genres. The artists loved warm tones and gentle color transitions, they were attracted by the play of light and shadow, the contrasts of light and dark, and paid great attention to the materialistic image.

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The most characteristic features of the Baroque - catchy flamboyance and dynamism - corresponded to the self-confidence and aplomb of the newly regained strength of the Roman Catholic Church. Outside of Italy, the Baroque style had its deepest roots in Catholic countries, and in Britain, for example, its influence was negligible.

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Baroque art developed and flourished in Italy, where the largest architect and sculptor L. Bernini, the painter, the head of democratic realism Caravaggio, the followers of academism, the Carracci brothers, and others worked. “Susanna and the Elders” 1647

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The visual arts of this period were dominated by plots based on a dramatic conflict - religious, mythological or allegorical in nature.

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A person in baroque art appears as a multifaceted personality, with a complex inner world, involved in the cycle and conflicts of the environment.

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"The Blinding of Samson" 1636

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"Night watch" 1642 Rijksmuseum, Amsterdam

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"Danae" 1636 Hermitage, St. Petersburg

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"The Triumph of Belshazzar" 1635

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Carlo Maderna Church of St. Susanna, Rome Baroque architecture (L. Bernini, F. Borromini in Italy, B. F. Rastrelli in Russia) is characterized by spatial scope, unity, fluidity of complex, usually curvilinear forms. Large-scale colonnades are often found, an abundance of sculptures on facades and in interiors, volutes, a large number of rake-outs, arched facades with a rake-out in the middle, rusticated columns and pilasters. The domes acquire complex forms, often they are multi-tiered, as in St. Peter's Cathedral in Rome. Characteristic details of the Baroque - telamon (atlas), caryatid, mascaron. The quintessence of the Baroque, an impressive fusion of painting, sculpture and architecture, is the Coranaro Chapel in the church of Santa Maria della Vittoria (1645-1652).

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In Russia, the development of baroque art, which reflected the growth and strengthening of the absolute monarchy of the nobility, falls on the first half of the 18th century. The Baroque style in Russia was free from exaltation and mysticism (characteristic of the art of Catholic countries) and had a number of national features. Russian baroque architecture, which has reached majestic proportions in the city and manor ensembles of St. . Rastrelli, D. V. Ukhtomsky); the fine arts turned to secular, social themes, the portrait was developed (sculptures by B. K. Rastrelli and others). The Baroque era was marked everywhere by the rise of monumental art and decorative and applied art, which were closely interconnected with architecture. In the 1st floor. 18th century baroque evolves to the graceful lightness of the rococo style, coexists and intertwines with it, and from the 1770s. everywhere superseded by classicism.

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The city ensemble, the street, the square, the park, the manor - began to be understood as an artistic whole, organized, developing in space, unfolding in a variety of ways before the viewer. The palaces and churches of the Baroque, thanks to the luxurious, bizarre plasticity of the facades, the restless play of chiaroscuro, complex curvilinear plans and outlines, acquired picturesqueness and dynamism and, as it were, poured into the surrounding space. The ceremonial interiors of Baroque buildings were decorated with multicolored sculpture, molding, and carving; mirrors and murals illusoryly expanded the space, and ceiling paintings created the illusion of yawning vaults. Architect: Vist A. F. Year of construction: 1764-1768 Style: Baroque St. Andrew the First-Called

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Architect: Quarenghi D. Built: 1761-1769, 1783 Style: Baroque Cathedral of the Vladimir Icon of the Mother of God with a bell tower

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Architects: Chevakinsky S. I. Year of construction: 1753-1755 Style: Baroque Palace of I. I. Shuvalov

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Cathedral of St. Equal-to-the-Apostles Prince Vladimir - Prince Vladimir Cathedral Architects: Zemtsov M. G. Rinaldi A. Starov I. E. Year of construction: 1789 Style: Baroque

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Architects: Trezzini G. Built: 1730-1740 Style: Baroque The building of the First Cadet Corps

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Summer Palace of Peter I in the Summer Garden Lattice of the Summer Garden. Arch. Yuri Matveyevich Felten (1770-1784).

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Baroque became widespread in Flanders (famous representatives of the Baroque in Flanders - P.P. Rubens, F. Snyders, J. Jordaens, A. van Dyck), in Spain, Portugal, in southern Germany, in Austria, the Czech Republic, Slovakia, Croatia, in the west of Ukraine, in Lithuania. In France, baroque merged with classicism into a single opulent style.

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Coronation of the Virgin Mary, 1595-1598

At the origins of the tradition of Baroque art in painting are two great Italian artists - Caravaggio and Annibale Carracci, who created the most significant works in the last decade of the 16th century - the first decade of the 17th century. Italian painting of the late 16th century is characterized by unnaturalness and stylistic uncertainty. Caravaggio and Carracci, with their art, restored her integrity and expressiveness.

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"Susanna and the Elders" 1647

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The visual arts of this period were dominated by plots based on a dramatic conflict - religious, mythological or allegorical in nature.

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A person in baroque art appears as a multifaceted personality, with a complex inner world, involved in the cycle and conflicts of the environment.

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Ceremonial portraits are created to decorate interiors.

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"The Blinding of Samson" 1636

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"Night watch" 1642 Rijksmuseum, Amsterdam

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"Danae" 1636 Hermitage, St. Petersburg

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"The Triumph of Belshazzar" 1635

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Maria Magdalena ca. 1600

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St. Jerome and the Angel 1635

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The Abduction of Europe 1630-1640

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Baroque architecture

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Carlo Maderna Church of Saint Susanna, Rome

Baroque architecture (L. Bernini, F. Borromini in Italy, B. F. Rastrelli in Russia) is characterized by spatial scope, unity, fluidity of complex, usually curvilinear forms. Large-scale colonnades are often found, an abundance of sculptures on facades and in interiors, volutes, a large number of rake-outs, arched facades with a rake-out in the middle, rusticated columns and pilasters. The domes acquire complex forms, often they are multi-tiered, as in St. Peter's Cathedral in Rome. Characteristic details of the Baroque - telamon (atlas), caryatid, mascaron.

The quintessence of the Baroque, an impressive fusion of painting, sculpture and architecture, is the Coranaro Chapel in the church of Santa Maria della Vittoria (1645-1652).

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In Russia, the development of baroque art, which reflected the growth and strengthening of the absolute monarchy of the nobility, falls on the first half of the 18th century.

The Baroque style in Russia was free from exaltation and mysticism (characteristic of the art of Catholic countries) and had a number of national features.

Russian baroque architecture, which has reached majestic proportions in the city and manor ensembles of St. . Rastrelli, D. V. Ukhtomsky); the fine arts turned to secular, social topics, the portrait was developed (sculptures by B. K. Rastrelli, etc.)

The Baroque era is marked everywhere by the rise of monumental art and arts and crafts, closely interconnected with architecture.

In the 1st floor. 18th century baroque evolves to the graceful lightness of the rococo style, coexists and intertwines with it, and from the 1770s. everywhere superseded by classicism.

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The city ensemble, the street, the square, the park, the manor - began to be understood as an artistic whole, organized, developing in space, unfolding in a variety of ways before the viewer.

The palaces and churches of the Baroque, thanks to the luxurious, bizarre plasticity of the facades, the restless play of chiaroscuro, complex curvilinear plans and outlines, acquired picturesqueness and dynamism and, as it were, poured into the surrounding space.

The ceremonial interiors of Baroque buildings were decorated with multicolored sculpture, molding, and carving; mirrors and murals illusoryly expanded the space, and ceiling paintings created the illusion of yawning vaults.

Architect: Vist A. F. Built: 1764-1768 Style: Baroque

Cathedral of St. Andrew the First-Called

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Architect: Quarenghi D. Built: 1761-1769, 1783 Style: Baroque

Cathedral of the Vladimir Icon of the Mother of God with a bell tower

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Architects: Chevakinsky S. I. Year of construction: 1753-1755 Style: Baroque

Palace of I. I. Shuvalov

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Cathedral of St. Equal-to-the-Apostles Prince Vladimir - Prince Vladimir Cathedral

Architects: Zemtsov M. G. Rinaldi A. Starov I. E.
Year built: 1789
Style: Baroque

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Architects: Trezzini G. Built: 1730-1740 Style: Baroque

The building of the First Cadet Corps

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Summer Palace of Peter I in the Summer Garden

Lattice of the Summer Garden. Arch. Yuri Matveyevich Felten (1770-1784).

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Writers and poets in the Baroque era perceived the real world as an illusion and a dream. Realistic descriptions were often combined with their allegorical depiction. Symbols, metaphors, theatrical techniques, graphic images (lines of poetry form a picture), saturation with rhetorical figures, antitheses, parallelisms, gradations, oxymorons are widely used. There is a burlesque-satirical attitude to reality.

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Such genres as the gallant-heroic novel (J. de Scudery, M. de Scudery), the real-life and satirical novel (Furetière, C. Sorel, P. Scarron) are also developing. Within the framework of the Baroque style, its varieties and trends are born: Marinism, Gongorism (Culteranism), Conceptism (Italy, Spain), Metaphysical School and Eufuism (England).

The actions of the novels are often transferred to the fictional world of antiquity, to Greece, court cavaliers and ladies are depicted as shepherdesses and shepherdesses, which is called the pastoral (Honoré d'Yurfe, Astrea). Pretentiousness and the use of complex metaphors flourish in poetry. Such forms are common , like a sonnet, rondo, concetti (a short poem expressing some witty thought), madrigals.

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In the west, in the field of the novel, an outstanding representative is G. Grimmelshausen (the novel "Simplicissimus"), in the field of drama - P. Calderon (Spain). V. Vuatur (France), D. Marino (Italy), Don Luis de Gongora y Argote (Spain) became famous in poetry. In Russia, Baroque literature includes S. Polotsky, F. Prokopovich, early M. Lomonosov. In France, "precious literature" flourished during this period. It was then cultivated mainly in the salon of Madame de Rambouillet, one of the aristocratic salons of Paris, the most fashionable and famous. In Spain, the baroque trend in literature was called "gongorism" after the name of the most prominent representative

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Baroque - art (Baroque art.), the style of European art and architecture of the XVII-XVIII centuries. At different times, different content was put into the term "baroque". At first, it had an offensive connotation, implying absurdity, absurdity (perhaps it goes back to the Portuguese word for an ugly pearl). At present, it is used in art criticism to determine the style that dominated European art between Mannerism and Rococo, that is, from about 1600 to the beginning of the 18th century. From the mannerism of the Baroque, art inherited dynamism and deep emotionality, and from the Renaissance - solidity and splendor: the features of both styles harmoniously merged into one single whole.

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The Baroque style was born as a result of the emergence of a new type of temple, which, in turn, arose as a reaction to Protestantism. Baroque spiritualizes all parts of the building and interior, replacing straight lines with curved ones, subordinating inanimate nature to the rhythm of movement and breathing, populating planes and corners with stucco images of animals and people. The Roman Church of San Carlo alle Quattro Fontane (at the four fountains), created by F. Borromini.

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Socially, the baroque can be seen as a continuation of the royal chambers - the architecture of buildings, gardens and parks is a continuation of the interior. Carpets and mosaics of flower beds, trimmed "corrected" vegetation of French parks with statues, gazebos and pavilions, ponds, buildings decorated on the outside with modeling and painting blurred the differences between the boudoir, the park and the opera scenery.

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Baroque man. Baroque man rejects naturalness, which is identified with savagery, arrogance, tyranny, brutality and ignorance - all that in the era of romanticism will become a virtue. The Baroque woman cherishes the pallor of her skin, she wears an unnatural, frilly hairstyle, a corset and an artificially extended skirt on a whalebone frame. She is in heels. Portrait of Madame de Montespan, mistress of Louis XIV.

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And the gentleman becomes the ideal of a man in the Baroque era - from the English. gentle: “soft”, “gentle”, “calm”. Initially, he preferred to shave his mustache and beard, wear perfume and wear powdered wigs. Why force, if now they kill by pulling the trigger of a musket. In the Baroque era, naturalness is synonymous with brutality, savagery, vulgarity and extravagance. Anthony van Dyck. Portrait of James Stuart, c. 1637

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Baroque is characterized by the idea of ennobling nature on the basis of reason. The need is not tolerated, but “it is good to offer in pleasant and courteous words” (Youth, an honest mirror, 1717). According to the philosopher Spinoza, instincts no longer constitute the content of sin, but "the very essence of man." Therefore, the appetite is formalized in exquisite table etiquette (it was in the Baroque era that forks and napkins appeared); interest in the opposite sex - in a courteous flirtation, quarrels - in a sophisticated duel.

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Baroque is characterized by the idea of a sleeping God - deism. God is conceived not as a Savior, but as a Great Architect who created the world just as a watchmaker creates a mechanism. Hence such a characteristic of the Baroque worldview as mechanism. The law of conservation of energy, the absoluteness of space and time are guaranteed by the word of God. However, having created the world, God rested from his labors and does not interfere in the affairs of the Universe in any way. It is useless to pray to such a God - one can only learn from Him. Therefore, the true guardians of the Enlightenment are not prophets and priests, but natural scientists. Isaac Newton discovers the law of universal gravitation and writes the fundamental work The Mathematical Principles of Natural Philosophy (1689), and Carl Linnaeus systematizes biology in The System of Nature (1735). Academies of Sciences and scientific societies are being established everywhere in European capitals.

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The diversity of perception raises the level of consciousness - something like the philosopher Leibniz says. Galileo for the first time directs a telescope to the stars and proves the rotation of the Earth around the Sun (1611), and Leeuwenhoek discovers tiny living organisms under a microscope (1675). Huge sailboats plow the expanses of the world's oceans, erasing white spots on the geographical maps of the world. The literary symbols of the era are travelers and adventurers: Captain Gulliver and Baron Munchausen.

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The Baroque era gives rise to a huge amount of time for entertainment: instead of pilgrimages - the promenade (walks in the park); instead of jousting tournaments - "carousels" (horseback rides) and card games; instead of mysteries - theater and masquerade balls. You can add the appearance of swings and "fiery fun" (fireworks). In the interiors, portraits and landscapes took the place of icons, and music turned from spiritual into a pleasant play of sound.

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Baroque in painting. The Baroque style in painting is characterized by the dynamism of compositions, the “flatness” and pomp of forms, the aristocracy and originality of subjects. The most characteristic features of the Baroque are catchy flamboyance and dynamism; a striking example is the work of Rubens and Caravaggio. Caravaggio. The call of the apostle Matthew.

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Painting should show the living, moving essence of things, first of all, with the help of light, which was traditionally seen as an outpouring of the deity. If previously sacred history was perceived as having happened long ago, then baroque art revealed to us a new plane of reality, in which the miraculous happens all the time. It can also be seen in everyday everyday scenes (if they are illuminated with this divine light).

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The most striking painter of this style was P. P. Rubens, who filled his giant canvases with arrays of muscular bodies, bathed in the golden sparkling light of sunset. Peter Paul Rubens. Self-portrait among friends Mantua

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Peter Paul Rubens. Union of Earth and Water, 1618 Peter Paul Rubens. Three Crucifixes, 1620

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Peter Paul Rubens. Heracles, 1611 Peter Paul Rubens. Nailed Prometheus, 1610-1611

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Less festive, but more profound are the paintings of Rembrandt - the peaks of the 17th century. Sparingly spending the bright rays of the sun, the painter only for a moment makes the tragic reality recede into darkness, which often occupies most of the canvas. Rembrandt Harmenszoon van Rijn. The Return of the Prodigal Son, 1669

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Baroque in architecture. Baroque architecture (L. Bernini, F. Borromini in Italy, B. F. Rastrelli in Russia, Jan Christoph Glaubitz in the Commonwealth) is characterized by spatial scope, unity, fluidity of complex, usually curvilinear forms. Large-scale colonnades are often found, an abundance of sculptures on facades and in interiors, volutes, a large number of rake-outs, arched facades with a rake-out in the middle, rusticated columns and pilasters. The domes acquire complex forms, often they are multi-tiered, as in St. Peter's Cathedral in Rome. Characteristic details of the Baroque - telamon (atlas), caryatid, mascaron.

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The most grandiose ensemble in the Baroque style are the Cathedral and St. Peter's Square in Rome.

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San Marco is a three-nave titular basilica in Rome, on Piazza San Marco, surrounded by the Palazzo Venezia. The church was built in 336. In 1740-1750, the interior of the church was restored in the Baroque style.

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Il Gesu Church was built in 1568-1584. in the spirit of Mannerism, which quite closely foreshadowed the aesthetics of the Baroque (architects Giacomo da Vignola and Giacomo della Porta, the initial project was prepared by Michelangelo).

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Baroque in Literature. Writers and poets in the Baroque era perceived the real world as an illusion and a dream. Realistic descriptions were often combined with their allegorical depiction. Symbols, metaphors, theatrical techniques, graphic images (lines of poetry form a picture), saturation with rhetorical figures, antitheses, parallelisms, gradations, oxymorons are widely used. There is a burlesque-satirical attitude to reality. Baroque literature is characterized by the desire for diversity, for the summation of knowledge about the world, inclusiveness, encyclopedism, which sometimes turns into chaos and collecting curiosities, the desire to study being in its contrasts (spirit and flesh, darkness and light, time and eternity).

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Baroque ethics is marked by a craving for the symbolism of the night, the theme of frailty and impermanence, life-dream (F. de Quevedo, P. Calderon). Calderon's play "Life is a dream" is well-known. Such genres as the gallant-heroic novel (J. de Scudery, M. de Scudery), the real-life and satirical novel (Furetière, C. Sorel, P. Scarron) are also developing. Within the framework of the Baroque style, its varieties are born, directions: marinism, gongorism (culteranism), conceptism (Italy, Spain), metaphysical school and euphuism (England) The actions of the novels are often transferred to the fictional world of antiquity, to Greece, court gentlemen and ladies are depicted as shepherds and shepherdesses, which was called the pastoral (Honoré d'Urfe, "Astrea"). Poetry flourishes pretentiousness, the use of complex metaphors. Common forms such as sonnet, rondo, concetti (a short poem expressing some witty thought), madrigals.

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Sculptural masterpieces by Lorenzo Bernini

"The Ecstasy of Saint Teresa"

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The altar composition "The Ecstasy of St. Teresa" for the Roman Cathedral of Site Maria della Vittoria became a true masterpiece of Bernini's sculptural creativity. The composition reveals one of the episodes of the notes of the Spanish nun Teresa, who lived in the 16th century. and later canonized by the church. In her notes, she told how one day an angel appeared to her in a dream and pierced her heart with a golden arrow: “In the hand of an angel, I saw a long golden arrow with a fiery point; it seemed to me that he plunged it several times into my heart ... The pain was so strong that I could not help screaming, but at the same time I experienced such endless sweetness that ... let this pain last forever.

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Bernini was faced with the difficult task of depicting a supernatural phenomenon, so the sculptural group was conceived as a vision in a dream. The author managed to masterfully convey in marble the highest tension of the feelings of the heroine. The master hides the fulcrum of the figures from the viewer, he manages to imagine them floating in the clouds.

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The unreality of what is happening is emphasized by beams of rays in the background and swirling clouds, on which St. Teresa is reclining, powerlessly throwing her head back. Her eyelids are half-closed, as if she does not see the gentle and smiling angel that appeared before her. Suffering and pleasure are intertwined in her morbidly ecstatic appearance. The emotions of the heroine are brought to the extreme limit, to the point of frenzy, but at the same time, the viewer does not get the impression that her feelings are unnatural. The sculptor reinforced the effect of mystical vision with the light falling in the daytime through the yellow glass of the cathedral window.

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Yes, Bernini defeated marble, he really made it "flexible like wax." The fountains with which he decorated Rome belong to the best creations of Bernini. The most famous of them are the Triton Fountain (1637) and the Four Rivers Fountain (1648-1651) - a brilliant combination of expressive baroque plastic with bubbling and foaming water.

Lorenzo Bernini. Fountain of the Four Rivers. Fragment. 1648-1651 Rome

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baroque painting

The visual art of the Baroque is most vividly and expressively represented by decorative monumental painting, which captivated and dazzled contemporaries with its festive brilliance, intensity of passions, indomitable energy and dynamics. Lush compositions adorned the walls and ceilings (plafonds) of palaces and temples, country residences of the nobility and park pavilions.

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Hyacinth Rigaud. Portrait of Louis 14. 1701 Louvre. Paris.

The characteristic features of the Baroque were reflected in the genre of the ceremonial portrait. Artists saw their main task in conveying conflicting feelings and experiences, the subtlest psychological shades of the human soul.

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Not a single court painter of the late 17th - early 18th centuries. could not pass by the genre of ceremonial portrait. “They all created huge portraits depicted generational or full-length, where the viewer entered the realm of lush curtains and solemn columns, iridescent silk, heavy velvet, embroidered gold brocade, heaping folds, immense mantles, giant wigs and whipped like foam, lace, the brilliance of decorative armor, order chains, stars, ribbons, the radiance of precious stones, self-confident faces and poses, pointing fingers, wands, sceptres, attributes of power, rank, title, piled up in such abundance that one begins to feel dizzy from them ... It was a luxurious theater of power, which has reached complete self-intoxication and has completely forgotten how to distinguish the visible from the real, the ostentatious from the real, or rather, believing only one desired, flattering appearance ”(V. N. Prokofiev)

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How much pomposity and narcissism in the portrait of Louis XIV, made by the French artist Hyacinthe Rigaud (1659-1743)! The theatricality and pretentiousness of the pose, the arrogant and condescending look of the “sun king”, the excessive luxury of attire, the wealth of solemn draperies and attributes of royal power are striking. The painting, originally intended as a gift for the nephew of the Spanish king, was so liked by the customer that he wished to keep the original. A copy was sent to Spain.

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Rubens - the king of painting

Rubens, or rather Rubens (Rubens) Peter Powell (1577-1640), Flemish painter. Since 1589 he lived in Antwerp, where he received a comprehensive liberal arts education. Having early devoted himself to painting, he studied (since 1591) with T. Verhacht, A. van Noort, O. Venius (van Ven). In 1600-1608, Rubens visited Italy, where he studied the works of Michelangelo, the painters of the Venetian school, the Carracci brothers, Caravaggio. Returning to Antwerp, Rubens took the place of the chief court painter of the ruler of Flanders, Infanta Isabella of Austria. Already in his first paintings after his return, the desire to rework Italian impressions in the spirit of national artistic traditions was manifested.

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Peter Powell Rubens (1577-1640) is one of the world's foremost artists. One of the biographers wrote about the significance of his work: "The history of art does not know a single example of such a universal talent, such a powerful influence, such an indisputable, absolute authority, such a creative triumph."

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Peter Powell Rubens, Self-portrait with Isabella Brapt. 1609-1610 Alte Pinakothek, Munich

Look at his portrait and you will understand how talented this aspiring artist was. The handsome face of Rubens is calm and full of self-esteem. A fashionable, dapper suit with a wide lace collar, a hat with a high crown and a metal brooch, leather shoes with elegant garters emphasize his aristocracy and fine artistic taste. He sits with his young wife in an arbor, entwined with greenery and blooming honeysuckle. With an air of affectionate patronage, he leaned slightly towards his wife, his hand resting on his sword. Expressive eyes are turned directly to the viewer, their infinitely kind look is full of quiet and serene happiness. Two figures inclined towards each other, an eloquent gesture of joined hands symbolize inner harmony and love.

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Peter Paul Rubens. Battle of the Amazons with the Greeks. 1615-1619 Old Pina Koteka, Munich

Yes, it was a period of peace, work and quiet happiness in the artist's life. In 1609, Rubens was appointed court painter, and this, in turn, raised his prestige in society and opened the way to free creativity. There was no shortage of orders, the number of admirers of his talent was constantly growing. His customers were the French Queen Maria Medici, Princess Isabella of the Netherlands, Genoese merchants...

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Rubens had a colossal capacity for work. At six o'clock after morning mass, he would go to the workshop to his work table or easel, making dozens of sketches and drawings on paper or cardboard. Then he walked around the students who specialized in some elements of the picture, prescribed ready-made compositions, barely touching individual parts of the canvas with a brush. He created about one and a half thousand independent works and the same number in collaboration with students - an incredible figure for a person who lived only 63 years! A convincing commentary on Delacroix's words: "Rubens is God!"

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Peter Powell Rubens, Union of Earth and Water. 1618 State Hermitage Museum, St. Petersburg

In the allegorical painting “The Union of Earth and Water”, he glorifies the union of two natural elements, without which human life is impossible. The earth is personified by the mother of the gods Cybella, the water is the god of the seas Neptune. On the border of their possessions, they enter into an alliance, which is consecrated by the winged goddess Victoria, who places a golden crown on the head of Cybella. A newt trumpeting a greeting emerges from under the rock towards the viewer. Charming putti have fun and play in the streams of flowing water.