The image of a person among the romantics. Romanticism in European painting-presentation by MHK

Art, as you know, is extremely versatile. A huge number of genres and directions allows each author to realize his creative potential to the greatest extent, and gives the reader the opportunity to choose exactly the style that he likes.

One of the most popular and, without a doubt, beautiful art movements is romanticism. This direction became widespread at the end of the 18th century, embracing European and American culture, but later reaching Russia. The main ideas of romanticism are the desire for freedom, perfection and renewal, as well as the proclamation of the right of human independence. This trend, oddly enough, has spread widely in absolutely all major forms of art (painting, literature, music) and has become truly massive. Therefore, one should consider in more detail what romanticism is, as well as mention its most famous figures, both foreign and domestic.

Romanticism in literature

In this area of art, a similar style initially appeared in Western Europe, after the bourgeois revolution in France in 1789. The main idea of romantic writers was the denial of reality, dreams of a better time and a call to fight for a change of values in society. As a rule, the main character is a rebel, acting alone and looking for the truth, which, in turn, made him defenseless and confused in front of the outside world, so the works of romantic authors are often saturated with tragedy.

If we compare this direction, for example, with classicism, then the era of romanticism was distinguished by complete freedom of action - writers did not hesitate to use a variety of genres, mixing them together and creating a unique style, which was based one way or another on the lyrical beginning. The current events of the works were filled with extraordinary, sometimes even fantastic events, in which the inner world of the characters, their experiences and dreams were directly manifested.

Romanticism as a genre of painting

Visual arts also came under the influence of romanticism, and its movement here was based on the ideas of famous writers and philosophers. Painting as such was completely transformed with the advent of this trend, new, completely unusual images began to appear in it. Romantic themes touched on the unknown, including distant exotic lands, mystical visions and dreams, and even the dark depths of human consciousness. In their work, the artists largely relied on the legacy of ancient civilizations and eras (Middle Ages, the Ancient East, etc.).

The direction of this trend in tsarist Russia was also different. If European authors touched on anti-bourgeois topics, then Russian masters wrote on the topic of anti-feudalism.

The craving for mysticism was expressed much weaker than among Western representatives. Domestic figures had a different idea of what romanticism is, which can be traced in their work in the form of partial rationalism.

These factors have become fundamental in the process of the emergence of new trends in art on the territory of Russia, and thanks to them, the world cultural heritage knows Russian romanticism as such.

Romanticism - (fr. romantisme, from medieval fr. romant - novel) - a direction in art, formed within the framework of a general literary movement at the turn of the 18th-19th centuries. in Germany. It has become widespread in all countries of Europe and America. The highest peak of romanticism falls on the first quarter of the 19th century.

The French word romantisme goes back to the Spanish romance (in the Middle Ages, the Spanish romances were called so, and then the chivalrous romance), the English romantic, which turned into the 18th century. in romantique and then meaning "strange", "fantastic", "picturesque". At the beginning of the XIX century. romanticism becomes the designation of a new direction, opposite to classicism.

Entering into the antithesis of "classicism" - "romanticism", the direction assumed the opposition of the classicist requirement of rules to romantic freedom from rules. The center of the artistic system of romanticism is the individual, and its main conflict is the individual and society. The decisive prerequisite for the development of romanticism was the events of the French Revolution. The emergence of romanticism is associated with the anti-enlightenment movement, the causes of which lie in disappointment in civilization, in social, industrial, political and scientific progress, which resulted in new contrasts and contradictions, leveling and spiritual devastation of the individual.

Enlightenment preached the new society as the most "natural" and "reasonable". The best minds of Europe substantiated and foreshadowed this society of the future, but reality turned out to be beyond the control of "reason", the future - unpredictable, irrational, and the modern social order began to threaten the nature of man and his personal freedom. The rejection of this society, the protest against lack of spirituality and selfishness is already reflected in sentimentalism and pre-romanticism. Romanticism expresses this rejection most acutely. Romanticism also opposed the Enlightenment on a verbal level: the language of romantic works, striving to be natural, "simple", accessible to all readers, was something opposite to the classics with its noble, "sublime" themes, typical, for example, for classical tragedy.

Among the later Western European romantics, pessimism in relation to society acquires cosmic proportions, becomes the "disease of the century." The heroes of many romantic works are characterized by moods of hopelessness, despair, which acquire a universal character. Perfection is lost forever, the world is ruled by evil, ancient chaos is resurrecting. The theme of the "terrible world", characteristic of all romantic literature, was most clearly embodied in the so-called "black genre" (in the pre-romantic "Gothic novel" - A. Radcliffe, C. Maturin, in the "drama of rock", or "tragedy of rock", - Z. Werner, G. Kleist, F. Grillparzer), as well as in the works of Byron, C. Brentano, E. T. A. Hoffmann, E. Poe and N. Hawthorne.

At the same time, romanticism is based on ideas that challenge the "terrible world" - primarily the ideas of freedom. The disappointment of romanticism is a disappointment in reality, but progress and civilization are only one side of it. The rejection of this side, the lack of faith in the possibilities of civilization provide another path, the path to the ideal, to the eternal, to the absolute. This path must resolve all contradictions, completely change life. This is the path to perfection, "to the goal, the explanation of which must be sought on the other side of the visible" (A. De Vigny). For some romantics, incomprehensible and mysterious forces dominate the world, which must be obeyed and not try to change fate (Chateaubriand, V.A. Zhukovsky). For others, "global evil" provoked protest, demanded revenge, struggle (early A.S. Pushkin). The common thing was that they all saw in man a single entity, the task of which is not at all reduced to solving ordinary problems. On the contrary, without denying everyday life, the romantics sought to unravel the mystery of human existence, turning to nature, trusting their religious and poetic feelings.

The romantic hero is a complex, passionate person, whose inner world is unusually deep, endless; it is a whole universe full of contradictions. Romantics were interested in all passions, both high and low, which were opposed to each other. High passion - love in all its manifestations, low - greed, ambition, envy. The lowly material practice of romance was opposed to the life of the spirit, especially religion, art, and philosophy. Interest in strong and vivid feelings, all-consuming passions, in the secret movements of the soul are characteristic features of romanticism.

You can talk about romance as a special type of personality - a person of strong passions and high aspirations, incompatible with the everyday world. Exceptional circumstances accompany this nature. Fantasy, folk music, poetry, legends become attractive to romantics - everything that for a century and a half was considered as minor genres, not worthy of attention. Romanticism is characterized by the assertion of freedom, the sovereignty of the individual, increased attention to the individual, unique in man, the cult of the individual. Confidence in the self-worth of a person turns into a protest against the fate of history. Often the hero of a romantic work becomes an artist who is able to creatively perceive reality. The classic "imitation of nature" is opposed to the creative energy of the artist who transforms reality. It creates its own, special world, more beautiful and real than empirically perceived reality. It is creativity that is the meaning of existence, it represents the highest value of the universe. Romantics passionately defended the creative freedom of the artist, his imagination, believing that the genius of the artist does not obey the rules, but creates them.

Romantics turned to different historical eras, they were attracted by their originality, attracted by exotic and mysterious countries and circumstances. Interest in history became one of the enduring conquests of the artistic system of romanticism. He expressed himself in the creation of the genre of the historical novel, the founder of which is W. Scott, and in general the novel, which acquired a leading position in the era under consideration. Romantics accurately and accurately reproduce historical details, the background, the color of a particular era, but romantic characters are given outside of history, they, as a rule, are above circumstances and do not depend on them. At the same time, romantics perceived the novel as a means of comprehending history, and from history they went to penetrate into the secrets of psychology, and, accordingly, modernity. Interest in history was also reflected in the works of historians of the French romantic school (O. Thierry, F. Guizot, F. O. Meunier).

It was in the era of Romanticism that the discovery of the culture of the Middle Ages takes place, and the admiration for antiquity, characteristic of the past era, also does not weaken at the end of the XVIII - beginning. 19th century The diversity of national, historical, individual characteristics also had a philosophical meaning: the wealth of a single world whole consists of the totality of these individual features, and the study of the history of each people separately makes it possible to trace, in the words of Burke, uninterrupted life through new generations following one after another.

The era of Romanticism was marked by the flourishing of literature, one of the distinguishing features of which was a passion for social and political problems. Trying to comprehend the role of man in ongoing historical events, romantic writers gravitated towards accuracy, concreteness, and reliability. At the same time, the action of their works often unfolds in an environment unusual for a European - for example, in the East and America, or, for Russians, in the Caucasus or in the Crimea. Thus, romantic poets are predominantly lyricists and poets of nature, and therefore in their work (however, just like in many prose writers), landscape occupies a significant place - first of all, the sea, mountains, sky, stormy elements, with which the hero is associated complex relationships. Nature can be akin to the passionate nature of a romantic hero, but it can also resist him, turn out to be a hostile force with which he is forced to fight.

Unusual and vivid pictures of nature, life, life and customs of distant countries and peoples also inspired romantics. They were looking for features that constitute the fundamental basis of the national spirit. National identity is manifested primarily in oral folk art. Hence the interest in folklore, the processing of folklore works, the creation of their own works based on folk art.

The development of the genres of the historical novel, fantasy story, lyric-epic poem, ballad is the merit of the romantics. Their innovation also manifested itself in lyrics, in particular, in the use of polysemy of the word, the development of associativity, metaphor, discoveries in the field of versification, meter, and rhythm.

Romanticism is characterized by a synthesis of genera and genres, their interpenetration. The romantic art system was based on a synthesis of art, philosophy, and religion. For example, for such a thinker as Herder, linguistic research, philosophical doctrines, and travel notes serve as the search for ways of revolutionary renewal of culture. Much of the achievement of romanticism was inherited by nineteenth-century realism. - a penchant for fantasy, grotesque, a mixture of high and low, tragic and comic, the discovery of "subjective man".

In the era of romanticism, not only literature flourishes, but also many sciences: sociology, history, political science, chemistry, biology, evolutionary doctrine, philosophy (Hegel, D. Hume, I. Kant, Fichte, natural philosophy, the essence of which boils down to the fact that nature - one of the garments of God, "the living garment of the Deity").

Romanticism is a cultural phenomenon in Europe and America. In different countries, his fate had its own characteristics.

Introduction

Chapter 1. Romanticism as a trend in art

1.1 Main features of romanticism

1.2 Romanticism in Russia

Chapter 2. Russian romanticism in literature, painting and theatrical art

2.2 Romanticism in the visual arts

2.3 Romanticism in theatrical art

Conclusion

Bibliographic list

Applications

INTRODUCTION

Relevance of the research topic. The 19th century occupies a special place in the history of Russian culture. This is the time of the rise of domestic education, the greatest scientific achievements, the brilliant flowering of all types of art. Artistic values of enduring importance were created during this period.

The study of the cultural process, the peculiarities of spiritual life and household traditions greatly enriches our understanding of a certain stage of historical development. At the same time, the comprehension of cultural heritage is just as necessary in modern life. Historical and cultural themes are becoming one of the determining factors in the ideological sphere, acquiring special significance in the period of the ideological vacuum that has formed in our country in recent years.

Romanticism established itself in life under the influence of certain socio-historical circumstances and penetrated deeply into the consciousness of the people of that time, capturing various spheres of mental activity. Writers of a romantic mood sought to free the individual from the enslavement of her social, material circumstances. They dreamed of a society where people would be bound not by material, but by spiritual ties.

Asocial tendencies in the works of romantics are the result of their critical attitude to reality. They are well aware of the "flaws" of the slave and feudal system. Hence the dreams of romantics about an extra-social existence, about the golden age of mankind, when social laws collapse and purely human, spiritual ties come into force.

Romantics were also critical of history. Its development was not accompanied, according to their observation, by the growth of spiritual freedom. Hence the cult in romanticism of the "state of nature", the retreat into the prehistoric past in the life of peoples, when the laws of nature were in effect, and not the artificial establishments of a corrupted civilization. Romantics were not socially passive. They criticized a society in which the spiritual is sacrificed to the material. It was a protest against the spiritual infringement of the individual in the conditions of feudal, and then bourgeois reality.

Russian romanticism went in its development along the path of ever greater rapprochement with life. Studying reality, in its concrete historical, national identity, the Romantics gradually revealed the secrets of the historical process. Rejecting the providential point of view, they began to look for the springs of historical development in social factors. History appears in their work as an arena of struggle between the forces of darkness and light, tyranny and freedom.

The idea of historicism, attention to the tragic fate of the people, the element of the subjective, the humanistic richness of creativity, striving for the ideal, the enrichment of the artistic palette through the introduction of conditional methods of depicting life, the affirmation of the educational impact of art on a person, and much more, which is characteristic of romanticism, had a fruitful influence on development of 19th century realism.

The Romantics by no means reduce the task to the knowledge of reality; thereby, they note the specificity of romanticism in comparison with science. In their program speeches, they focus on the humanistic, educational function of art, thus explaining its great social significance. Solving their specific artistic tasks, the thinkers of the romantic trend at the same time penetrated deeply into the epistemological essence of art, revealed its most important law. Their great merit lies in determining the place and role of the subjective principle in artistic creativity.

Romantic, without which art loses its true essence, is, first of all, an aesthetic ideal, humanistic in nature, which includes the artist's ideas about a wonderful life and a wonderful person.

Object of study: Russian romanticism as a trend in art.

Subject of study: the main components of Russian culture in the first half of the 19th century (literature, fine and theatrical art)

The purpose of the study is to analyze the features of romanticism in Russian art of the 19th century.

To study the literature on the research topic;
Consider the main features of romanticism as a phenomenon of art;
Determine the features of Russian romanticism;
To study the phenomenon of romanticism in literature, fine and theatrical art of Russia in the 19th century.

Literature review: in writing this study, the works of many authors were used. For example, the book by Yakovkina N.I. "History of Russian Culture. XIX Century" is dedicated to the most striking and fruitful period of the cultural life of Russia - the XIX century, covers the development of education, literature, fine arts, theater. The phenomenon of romanticism is considered in this work in great detail and accessible.

Research structure: course work consists of an introduction, two chapters, a bibliographic list and applications.

CHAPTER 1. ROMANTICISM AS A DIRECTION IN ART

1.1 Main features of romanticism

Romanticism is a cultural phenomenon in Europe and America. In different countries, his fate had its own characteristics.

1.2 Romanticism in Russia

By the beginning of the second decade of the 19th century, romanticism occupies a key place in Russian art, revealing more or less fully its national identity. It is extremely risky to reduce this originality to some feature or even the sum of features; what we have before us is rather the direction of the process, as well as its pace, its forcedness - if we compare Russian romanticism with the older "romanticisms" of European literatures.

We have already observed this forced development in the prehistory of Russian romanticism - in the last decade of the 18th century. - in the first years of the 19th century, when there was an unusually close interweaving of pre-romantic and sentimental tendencies with the tendencies of classicism.

The overestimation of reason, the hypertrophy of sensitivity, the cult of nature and the natural man, elegiac melancholy and epicureanism were combined with elements of systematism and rationality, which were especially evident in the field of poetics. Styles and genres were streamlined (mainly by the efforts of Karamzin and his followers), there was a struggle with excessive metaphor and ornateness of speech for the sake of its "harmonic accuracy" (Pushkin's definition of the distinctive feature of the school founded by Zhukovsky and Batyushkov).

The rapidity of development left its mark on the more mature stage of Russian romanticism. The density of artistic evolution also explains the fact that it is difficult to recognize clear chronological stages in Russian romanticism. Literary historians divide Russian romanticism into the following periods: the initial period (1801 - 1815), the period of maturity (1816 - 1825) and the period of its post-October development. This is an exemplary scheme, because. at least two of these periods (the first and third) are qualitatively heterogeneous and do not have at least the relative unity of principles that distinguished, for example, the periods of Jena and Heidelberg romanticism in Germany.

The Romantic movement in Western Europe - primarily in German literature - began under the sign of completeness and wholeness. Everything that was disunited strove for synthesis: in natural philosophy, and in sociology, and in the theory of knowledge, and in psychology - personal and social, and, of course, in artistic thought, which united all these impulses and, as it were, gave them new life. .

Man sought to merge with nature; personality, individual - with the whole, with the people; intuitive knowledge - with logical; subconscious elements of the human spirit - with the highest spheres of reflection and reason. Although the ratio of opposite moments seemed at times conflicting, the tendency towards unification gave rise to a special emotional spectrum of romanticism, multi-colored and motley, with a predominance of a bright, major tone.

Only gradually the conflict nature of the elements grew into their antinomy; the idea of the desired synthesis dissolved into the idea of alienation and confrontation, the optimistic major mood gave way to a feeling of disappointment and pessimism.

Russian romanticism is familiar with both stages of the process - both initial and final; however, in doing so, he forced the general movement. The final forms appeared before the initial forms flourished; intermediate ones crumpled or fell off. Against the background of Western European literatures, Russian romanticism looked at the same time both less and more romantic: it was inferior to them in richness, branching, breadth of the overall picture, but surpassed in the certainty of some final results.

The most important socio-political factor that influenced the formation of romanticism is Decembrism. The refraction of the Decembrist ideology into the plane of artistic creation is an extremely complex and lengthy process. Let us not, however, lose sight of the fact that it acquired precisely artistic expression; that the Decembrist impulses were clothed in quite concrete literary forms.

Often, "literary Decembrism" was identified with a certain imperative outside of artistic creativity, when all artistic means are subordinated to an extraliterary goal, which, in turn, stems from the Decembrist ideology. This goal, this "task" was allegedly leveled or even pushed aside by "signs of syllable or genre signs." In reality, everything was much more complicated.

The specific nature of Russian romanticism is clearly visible in the lyrics of this time, i.e. in the lyrical relation to the world, in the main tone and perspective of the author's position, in what is commonly called the "image of the author". Let us look at Russian poetry from this point of view, in order to form at least a cursory idea of its diversity and unity.

Russian romantic poetry has revealed a fairly wide range of "images of the author", sometimes approaching, sometimes, on the contrary, polemicizing and contrasting with each other. But the "image of the author" is always such a condensation of emotions, moods, thoughts, or everyday and biographical details (the "scraps" of the author's line of alienation, more fully represented in the poem, get into the lyrical work), which follows from the opposition to the environment. The connection between the individual and the whole has been broken. The spirit of confrontation and disharmony wafts over the author's appearance even when in itself it seems uncomplicatedly clear and whole.

Pre-romanticism knew basically two forms of expressing the conflict in lyrics, which can be called lyrical oppositions - the elegiac and the epicurean form. Romantic poetry has developed them into a series of more complex, deep and individually differentiated.

But, no matter how important the above-mentioned forms are in themselves, they, of course, do not exhaust all the wealth of Russian romanticism.

CHAPTER 2. RUSSIAN ROMANTICISM IN LITERATURE, PAINTING, THEATER

2.1 Romanticism in Russian literature

Russian romanticism, in contrast to European with its pronounced anti-bourgeois character, retained a strong connection with the ideas of the Enlightenment and adopted some of them - the condemnation of serfdom, the promotion and defense of education, and the defense of popular interests. The military events of 1812 had a huge impact on the development of Russian romanticism. The Patriotic War caused not only the growth of civil and national self-awareness of the advanced strata of Russian society, but also the recognition of the special role of the people in the life of the national state. The theme of the people has become very significant for Russian romantic writers. It seemed to them that, comprehending the spirit of the people, they were attached to the ideal principles of life. The desire for nationality marked the work of all Russian romantics, although their understanding of the "people's soul" was different.

So, for Zhukovsky, nationality is, first of all, a humane attitude towards the peasantry and, in general, towards poor people. He saw its essence in the poetry of folk rituals, lyrical songs, folk signs and superstitions.

In the works of the romantic Decembrists, the idea of the people's soul was associated with other features. For them, the national character is a heroic character, a national identity. It is rooted in the national traditions of the people. They considered such figures as Prince Oleg, Ivan Susanin, Yermak, Nalivaiko, Minin and Pozharsky to be the brightest spokesmen for the people's soul. Thus, Ryleev's poems "Voinarovsky", "Nalivaiko", his "Dumas", A. Bestuzhev's stories, Pushkin's southern poems, later - "The Song about the Merchant Kalashnikov" and the poems of the Caucasian Lermontov cycle are devoted to an understandable folk ideal. In the historical past of the Russian people, romantic poets of the 1920s were especially attracted by crisis moments - periods of struggle against the Tatar-Mongol yoke, free Novgorod and Pskov - against autocratic Moscow, struggle against the Polish-Swedish intervention, etc.

Romantic poets' interest in national history was engendered by a sense of high patriotism. Russian romanticism, which flourished during the Patriotic War of 1812, took it as one of its ideological foundations. In artistic terms, romanticism, like sentimentalism, paid great attention to depicting the inner world of a person. But unlike the sentimentalist writers, who sang "quiet sensibility" as an expression of "languid and sorrowful heart", romantics preferred the depiction of extraordinary adventures and violent passions. At the same time, the undoubted merit of romanticism, especially its progressive direction, was the identification of an effective, strong-willed principle in a person, the desire for high goals and ideals that lifted people above everyday life. Such a character was, for example, the work of the English poet J. Byron, whose influence was experienced by many Russian writers of the early 19th century.

A deep interest in the inner world of a person caused romantics to be indifferent to the external beauty of the heroes. In this, romanticism also radically differed from classicism with its obligatory harmony between the appearance and the inner content of the characters. Romantics, on the contrary, sought to discover the contrast between the external appearance and the spiritual world of the hero. As an example, we can recall Quasimodo ("Notre Dame Cathedral" by V. Hugo), a freak with a noble, exalted soul.

One of the important achievements of romanticism is the creation of a lyrical landscape. For romantics, it serves as a kind of decoration that emphasizes the emotional intensity of the action. In the descriptions of nature, its "spirituality" was noted, its relationship with the fate and fate of man. A brilliant master of the lyrical landscape was Alexander Bestuzhev, already in whose early stories the landscape expresses the emotional overtones of the work. In the story "The Revel Tournament" he depicted the picturesque view of Revel in this way, corresponding to the mood of the characters: "It was in the month of May; the bright sun rolled towards noon in transparent ether, and only in the distance the canopy of the sky touched the water with a silvery cloudy fringe. The bright spokes of the Revel bell towers burned on the bay, and the gray loopholes of Vyshgorod, leaning on a cliff, seemed to grow into the sky and, as if overturned, pierced into the depths of the mirror waters.

The originality of the themes of romantic works contributed to the use of a specific dictionary expression - an abundance of metaphors, poetic epithets and symbols. So, the sea, the wind was a romantic symbol of freedom; happiness - the sun, love - fire or roses; in general, pink color symbolized love feelings, black - sadness. The night personified evil, crime, enmity. The symbol of eternal variability is a sea wave, insensibility is a stone; images of a doll or a masquerade meant falsehood, hypocrisy, duplicity.

V. A. Zhukovsky (1783-1852) is considered to be the founder of Russian romanticism. Already in the first years of the 19th century, he became famous as a poet, glorifying bright feelings - love, friendship, dreamy spiritual impulses. A large place in his work was occupied by lyrical images of his native nature. Zhukovsky became the creator of the national lyrical landscape in Russian poetry. In one of his early poems, the elegy "Evening", the poet reproduced a modest picture of his native land in this way:

All is quiet: the groves are sleeping; peace in the neighborhood

Stretched out on the grass under the bowed willow,

I listen how it murmurs, merged with the river,

A stream overshadowed by bushes.

A reed sways over the stream,

The voice of the noose, sleeping in the distance, wakes the villages.

In the grass of the stalk I hear a wild cry...

This love for the depiction of Russian life, national traditions and rituals, legends and tales will be expressed in a number of Zhukovsky's subsequent works.

In the late period of his work, Zhukovsky did a lot of translations and created a number of poems and ballads of fabulous and fantastic content ("Ondine", "The Tale of Tsar Berendey", "The Sleeping Princess"). Zhukovsky's ballads are full of deep philosophical meaning, they reflect his personal experiences, and reflections and features inherent in romanticism in general.

Zhukovsky, like other Russian romantics, was characterized to a high degree by the desire for a moral ideal. This ideal for him was philanthropy and independence of the individual. He asserted them both with his work and with his life.

In the literary work of the late 20-30s, romanticism retained its former positions. However, developing in a different social environment, it acquired new, original features. The thoughtful elegies of Zhukovsky and the revolutionary pathos of Ryleyev's poetry are being replaced by the romanticism of Gogol and Lermontov. Their work bears the imprint of that peculiar ideological crisis after the defeat of the Decembrist uprising, which was experienced by the public consciousness of those years, when betrayal of former progressive convictions, tendencies of self-interest, philistine "moderation" and caution were revealed especially clearly.

Therefore, in the romanticism of the 30s, the motives of disappointment in modern reality, the critical principle inherent in this trend in its social nature, the desire to escape into some ideal world, prevailed. Along with this - an appeal to history, an attempt to comprehend modernity from the standpoint of historicism.

The romantic hero often acted as a person who had lost interest in earthly goods and denounced the powerful and rich of this world. The opposition of the hero to society gave rise to a tragic attitude, characteristic of the romanticism of this period. The death of moral and aesthetic ideals - beauty, love, high art predetermined the personal tragedy of a person gifted with great feelings and thoughts, in Gogol's words, "full of rage."

Most vividly and emotionally, the mindset of the era was reflected in poetry, and especially in the work of the greatest poet of the 19th century, M. Yu. Lermontov. Already in his early years, freedom-loving motifs occupy an important place in his poetry. The poet warmly sympathizes with those who actively fight against injustice, who rebel against slavery. In this regard, the poems "To Novgorod" and "The Last Son of Liberty" are significant, in which Lermontov turned to the favorite plot of the Decembrists - Novgorod history, in which they saw examples of republican freedom of distant ancestors.

The appeal to national origins, folklore, characteristic of romanticism, is also manifested in Lermontov's subsequent works, for example, in "The Song about Tsar Ivan Vasilyevich, a young guardsman and a daring merchant Kalashnikov." The theme of the struggle for the independence of the Motherland is one of the favorite themes of Lermontov's work - it is especially brightly covered in the "Caucasian cycle". The Caucasus was perceived by the poet in the spirit of Pushkin's freedom-loving poems of the 1920s - its wild majestic nature was opposed to "captive soulful cities", "the dwelling of liberty of the saint" - to the "country of slaves, the country of masters" of Nikolaev Russia. Lermontov warmly sympathized with the freedom-loving peoples of the Caucasus. So, the hero of the story "Izmail Bey" refused personal happiness in the name of the liberation of his native country.

The same feelings possess the hero of the poem "Mtsyri". His image is full of mystery. The boy, picked up by a Russian general, languishes as a prisoner in a monastery and passionately yearns for freedom and homeland: “I knew power only by thought,” he admits before his death, “One, but fiery passion: She lived like a worm in me, Gnawed my soul and burned it. My dreams called From stuffy cells and prayers To that wonderful world of worries and battles Where rocks hide in the clouds Where people are as free as eagles...". Longing for the will merges in the consciousness of a young man with longing for his homeland, for a free and "rebellious life", to which he so desperately aspired. Thus, Lermontov's favorite heroes, like the romantic heroes of the Decembrists, are distinguished by an active strong-willed beginning, an aura of chosen ones and fighters. At the same time, Lermontov's heroes, unlike the romantic characters of the 1920s, foresee the tragic outcome of their actions; the desire for civic activity does not exclude their personal, often lyrical plan. Possessing the features of the romantic heroes of the previous decade - increased emotionality, "ardor of passions", high lyrical pathos, love as "the strongest passion" - they carry the signs of the time - skepticism, disappointment.

The historical theme became especially popular among romantic writers, who saw in history not only a way of knowing the national spirit, but also the effectiveness of using the experience of past years. The most popular authors who wrote in the genre of the historical novel were M. Zagoskin and I. Lazhechnikov.

2.2 Romanticism in Russian fine art

The emergence and development of romanticism in Russian fine arts belongs to the same period when this process takes place in literature and in the theater.

Romanticism in painting and sculpture was generated by the same social factors as in literature. Both had common basic features. However, romanticism in the visual arts, in contrast to literary romanticism, received a more complex refraction, combined for the most part with elements of classicism or sentimentalism. Therefore, in the works of masters, even the most typical for this trend, such as B. Orlovsky, F. Tolstoy, S. Shchedrin, O. Kiprensky, the influence of different artistic movements is clearly felt. In addition, again, unlike literary romanticism, where the currents of active and passive romanticism were clearly separated "in the visual arts, this demarcation is less clear. And the very manifestation of democratic, Protestant sentiments in Russian painting and sculpture manifested itself completely differently than in literature. So, there are no works here like, for example, Ryleev's Thoughts or Pushkin's "Liberty". The principles of active romanticism find a different expression in Russian fine art. They are manifested primarily in interest in a person, his inner world; Moreover, unlike academicism, the artist is attracted by the human Personality in itself, regardless of noble origin or high position in society.

Deep feelings, fatal passions attract the attention of artists. A sense of the drama of the surrounding life, sympathy for the progressive ideas of the era, the struggle for the freedom of the individual and the people penetrates into the sphere of art.

However, the path from classicism to a new vision of the world and its artistic depiction was not easy and fast. The classicist tradition was preserved for many years even in the works of masters who, in their views and artistic quests, gravitated towards romanticism. This distinguishes the work of many artists in the 20-40s of the XIX century, including K. Bryullov.

Karl Bryullov was perhaps the most famous Russian artist of the first half of the 19th century. His painting "The Last Day of Pompeii" (See Appendix 1) not only aroused the extraordinary delight of his contemporaries, but also brought European fame to the theme.

Having visited the excavations in Herculaneum and Pompeii, Bryullov was shocked by the picture of their terrible death. The idea of a new canvas dedicated to the image of this disaster is gradually maturing. For two years, preparing to paint a picture, the artist immersed himself in the study of written sources and archaeological materials, made many sketches, and searched for the most expressive compositional solution. By 1833, work on the painting was completed.

The artist based the work on an idea characteristic of romanticism - the confrontation of people against the cruel forces of nature. This idea was also solved in the spirit of romanticism by depicting a mass folk scene (and not a hero surrounded by secondary characters, as required by the classic tradition), and the attitude towards a natural disaster is expressed through the feeling, psychology of individuals. However, the interpretation of the plot contains clear features of classicism. Compositionally, the picture represents a number of human groups united by a common horror of the eruption, but reacting differently to the danger: while devoted children are trying to save their elderly parents at the risk of their own lives, greed prompts others, forgetting about human duty, to use panic for their own enrichment. And in this moralizing division of virtue and vice, as well as in the perfect beauty and plasticity of people seized with horror, there is a clear influence of the classic canons. This was also noticed by the most observant contemporaries. So, N. V. Gogol in an article devoted to Bryullov's painting, highly appreciating it as a whole "as a bright resurrection of our painting, which has been in some kind of semi-lethargic state for a long time", nevertheless, among other considerations, notices that the beauty of the figures, created by the artist drowns out the horror of their situation. The influence of classicism is also noticeable in the coloristic solution of the picture, in the illumination of the foreground figures, in the conditional purity and brightness of colors.

An example of the most vivid expression of romantic features in the visual arts is the work of O. A. Kiprensky.

The artistic and civic views of the artist are strengthened in the years following the Patriotic War. Richly and variously gifted - he composed poetry, loved and knew the theater, studied sculpture and even wrote a treatise on aesthetics - Kiprensky draws close to the advanced circles of St. Petersburg society: writers, poets, artists, sculptors, philosophers.

One of the best creations of Kiprensky is the portrait of A. S. Pushkin (1827) (See Appendix 2). Friendly relations with the great poet, the influence of Pushkin's romantic poems on the work of Kiprensky, the latter's admiration for the high gift of the first poet in Russia - all this determined the significance of the task set for the painter. And Kiprensky coped with it admirably. From the portrait emanates the illumination of inspiration. The artist captured not a dear friend of cheerful youth, not a simple writer, but a great poet. With amazing subtlety and skill, Kiprensky conveyed the moment of creativity: Pushkin seems to listen to only him audible, he is in the power of poetry. At the same time, in the strict simplicity of appearance, the sad expression of the eyes, one can feel the maturity of the poet, who has experienced a lot and changed his mind, having reached the zenith of creativity.

Thus, along with the romantic elation of the image, the portrait is also distinguished by a deep penetration not only into the psychology of the poet, but also into the spirit of the era that followed the defeat of the Decembrists. This understanding of the ideas and feelings of his time is one of the defining and most important qualities of Kiprensky as a portrait painter, who managed to convey this with romantic pathos in his works.

Russian romanticism was generated by the turbulent and restless era of the beginning of the 19th century with its foreign and domestic cataclysms. Kiprensky, who participated in the creation of a new artistic direction, managed to find and express in his works the best feelings and ideas of his time, close to the first Russian revolutionaries - humanism, patriotism, love of freedom. The spiritual content of the paintings also required a new form of expression, the search for a more truthful and subtle transmission of the individual character, thoughts and feelings of a contemporary. All this not only led to a departure from the academic canons of the portrait genre, but also was a significant step forward along the path of a realistic embodiment of reality. At the same time, true to the spirit of the romantic school, the artist, neglecting everyday life, depicts people at special moments in their lives, in moments of strong spiritual tension or impulse, which makes it possible to reveal the high emotional principles of nature - heroic or dreamy, inspirational or energetic - and create a "dramatic biography of a person.

2.3 Romanticism in Russian theatrical art

Romanticism as an artistic trend in Russian theatrical art has been spreading mainly since the second decade of the 19th century.

In social and artistic terms, theatrical romanticism had some commonality with sentimentalism. Like the sentimentalist, romantic drama, in contrast to the rationalism of classical tragedy, it revealed the pathos of the experiences of the persons portrayed. However, while affirming the significance of the human personality with its individual inner world, romanticism at the same time preferred the depiction of exceptional characters in exceptional circumstances. Romantic dramas, like novels, short stories, were characterized by a fantastic plot or the introduction of a number of mysterious circumstances into it: the appearance of ghosts, ghosts, all kinds of omens, etc. At the same time, the romantic drama was composed more dynamically than the classical tragedy and sentimentalist drama, in which the plot unfolded mainly descriptively, in the monologues of the characters. In a romantic drama, it was the actions of the characters that predetermined the denouement of the plot, while they interacted with the social environment, with the people.

Romantic drama, like sentimentalism, began to develop in the 1920s and 1940s in two directions, reflecting a conservative and progressive social line. Dramatic works expressing a loyal ideology were opposed by the creations of the Decembrist dramaturgy, drama and tragedy, full of social rebellion.

The interest of the Decembrists in the theater was closely connected with their political activities. The educational program of the Union of Welfare, which encouraged its members to participate in literary societies and circles, with the help of which it would be possible to influence the worldview of wide circles of the nobility, also attracted their attention to the theater. Already in one of the first literary circles associated with the "Union of Welfare" - "Green Lamp" - theatrical issues become one of the constant subjects of discussion. Pushkin's well-known article "My remarks on the Russian theater" was formed as a result of theatrical disputes in the "Green Lamp". Later, in the Decembrist editions of Mnemosyne and Polar Star, Ryleev, Kuchelbecker and A. Bestuzhev, speaking on the issues of Russian theatrical art, outlined a new, democratic understanding of its tasks as art, primarily national and civil. This new understanding of theatrical art also dictated special requirements for dramatic works. "I involuntarily give priority to what shakes the soul, what elevates it, what touches the heart," A. Bestuzhev wrote to Pushkin in March 1825, referring to the content of the plays. In addition to the touching, sublime plot in the drama, according to A. Bestuzhev, good and evil should be clearly distinguished, which should be constantly exposed and scourged with satire. That is why the "Polar Star" so enthusiastically welcomed the appearance of AS Griboedov's comedy "Woe from Wit". A talented playwright of the Decembrist trend was P. A. Katenin, a member of secret societies, playwright, translator, connoisseur and lover of the theater, educator of a number of outstanding Russian actors. Being a versatile and talented person, he translated the plays of the French playwrights Racine and Corneille, was enthusiastically engaged in the theory of drama, defending the ideal of nationality and originality of stage art, its political free-thinking. Katenin also wrote his own dramatic works. His tragedies "Ariadne" and especially "Andromache" were filled with a freedom-loving and civic spirit. Katenin's bold performances displeased the authorities, and in 1822 the unreliable theatergoer was expelled from St. Petersburg.

The opposite pole of romantic drama was represented by the works of conservative writers. Such works included plays by Shakhovsky, N. Polevoy, Kukolnik and similar playwrights. Plots by the authors of such works were often taken from national history.

The plays of N. V. Kukolnik were close in spirit to the work of Shakhovsky. The latter's dramatic abilities were not great, his plays, thanks to some entertaining plot and loyal spirit, enjoyed success with a certain part of the public and were invariably approved by the authorities. The themes of many of the Dollmaker's plays were also taken from Russian history. However, the episodes that took place in the past were used by the author as a canvas, on which a completely fantastic plot was created, subordinated to the main morality - the affirmation of devotion to the throne and the church. The favorite way to present these moral maxims was huge monologues, which, for any reason, were uttered by the characters of the Dollmaker's plays, and in particular his most famous tragedy, The Hand of the Most High Fatherland Saved.

N. A. Polevoy was a particularly prolific and gifted playwright in this direction. As is known, this capable publicist, after the prohibition by the authorities of his magazine "Moscow Telegraph" and long ordeals, became an employee of F. Bulgarin. Turning to drama, he created a number of original and translated plays, most of which are devoted to the glorification of the autocracy and the officially understood nationality. These are plays such as "Igolkin" (1835), which depicts the feat of the merchant Igolkin, who sacrificed his life to protect the honor of his sovereign - Peter I. "Grandfather of the Russian Navy" (1837), a play of a loyal spirit from the era of Peter I, for which Polevoy the ring was granted by the king. Just like the Dollmaker's plays, they are devoid of historical authenticity, they have many fantastic effects, mysterious incidents. The characters of the heroes are extremely primitive: they are either villains with black souls or meek angels. In 1840, Polev completed his most famous drama Parasha the Siberian, which tells the story of a selfless girl who went from Siberia to St. Petersburg to work for her exiled father. Having reached the king, the girl begged forgiveness from him for her father. With a similar finale, the author once again emphasized the justice and mercy of the royal power. At the same time, the theme of the play awakened in society memories of the Decembrists, with whom Polevoy himself sympathized in the past.

Thus, the romantic drama, as can be seen even on the basis of a brief review, having replaced the classic tragedy and partly sentimentalist drama on the stage, has taken on and retained some of their features. Along with greater amusement and dynamism of the plot, increased emotionality and a different ideological basis, the romantic drama retained the moralizing and reasoning inherent in previous dramatic forms, lengthy monologues explaining the hero’s inner experiences or his attitude towards other actors, and the primitive psychological characteristics of the characters. Nevertheless, the romantic drama genre, mainly due to the depiction of its elevated feelings and beautiful impulses and amusing plot, proved to be quite durable and survived with some changes into the second half of the 19th century.

Just as the romantic drama took on some features of the classic and sentimentalist plays, so the theatrical art of the actors of the romantic school retained traces of the classic artistic method. Such continuity was all the more natural because the transition from classicism to romanticism took place during the stage activity of one generation of Russian actors, who gradually moved from classicism to the embodiment of characters in romantic dramas. So, the features inherited from classicism were theatricality of acting, expressed in the pathos of speech, artificial graceful plasticity, the ability to perfectly wear historical costumes. At the same time, along with external theatricality, the romantic school allowed realism in the transfer of the inner world and the appearance of the characters. However, this realism was peculiar and somewhat conditional. On the real life features of the depicted character, the artist of the romantic school seemed to throw a kind of poetic cover, which gave an ordinary phenomenon or action an exalted character, made “grief interesting and joy ennobled”.

One of the most typical representatives of stage romanticism on the Russian stage was Vasily Andreevich Karatygin, a talented representative of a large acting family, for many contemporaries - the first actor of the St. Petersburg stage. Tall, with noble manners, with a strong, even thunderous voice, Karatygin, as if by nature he was destined for majestic monologues. No one knew how to wear magnificent historical costumes made of silk and brocade, shining with gold and silver embroidery, fight with swords, and take picturesque poses better than him. Already at the very beginning of his stage activity, V. A. Karatygin won the attention of the public and theater critics. A. Bestuzhev, who negatively assessed the state of the Russian theater of that period, singled out "Karatygin's strong play." And this is no coincidence. The audience was attracted by the tragic pathos of his talent. Some of the stage images created by Karatygin impressed the future participants in the events of December 14, 1825 with a social orientation - this is the image of the thinker Hamlet ("Shakespeare's Hamlet"), the rebellious Don Pedro ("Inessa de Castro" de Lamotta), and others. Sympathy for advanced ideas brought the younger generation of the family together Karatygins with progressive-minded writers. V. A. Karatygin and his brother P. A. Karatygin met A. S. Pushkin, A. S. Griboyedov, A. N. Odoevsky, V. K. Kyuchelbeker, A. A. and N. A. Bestuzhevs. However, after the events of December 14, 1825, V. A. Karatygin moved away from literary circles, focusing his interests on theatrical activities. Gradually, he becomes one of the first actors of the Alexandria Theater, enjoys the favor of the court and Nicholas I himself.

Karatygin's favorite roles were the roles of historical characters, legendary heroes, people of predominantly high birth or status - kings, generals, nobles. At the same time, he most of all strove for external historical plausibility. A good draftsman, he made sketches of costumes, using old prints and engravings as samples. With the same attention, he treated the creation of portrait make-up. But this was combined with a complete disregard for the psychological characteristics of the characters portrayed. In his heroes, the actor, following the classic style, saw only the performers of a certain historical mission.

If Karatygin was considered the premiere of the capital's stage, then P. S. Mochalov reigned on the stage of the Moscow Drama Theater of these years. One of the outstanding actors of the first half of the 19th century, he began his stage career as an actor in classical tragedy. However, due to his passion for melodrama and romantic drama, his talent is being improved in this area, and he gained popularity as a romantic actor. In his work, he sought to create the image of a heroic personality. In the performance of Mochalov, even the stilted heroes of the plays by Kukolnik or Polevoy acquired the spirituality of genuine human experiences, personified high ideals of honor, justice, and kindness. During the years of political reaction that followed the defeat of the Decembrist uprising, Mochalov's work reflected progressive public sentiments.

PS Mochalov willingly turned to Western European classics, to the dramas of Shakespeare and Schiller. The roles of Don Carlos and Franz (in Schiller's dramas Don Carlos and Robbers), Ferdinand (in Schiller's Intrigue and Love), Mortimer (in Schiller's drama Mary Stuart) were played by Mochalov with extraordinary artistic power. The greatest success brought him the performance of the role of Hamlet. The image of Hamlet was innovative compared to the generally accepted tradition of interpreting Shakespeare's hero as a weak person, incapable of any volitional deeds. Mochalovsky Hamlet was an actively thinking and acting hero. "He demanded the highest exertion of strength, but on the other hand he cleansed from the insignificant, vain, empty. He condemned to a feat, but liberated the soul." In Mochalov's game there was no theme of the struggle for the throne, which Karatygin emphasized when playing this role. Hamlet-Mochalov entered the battle for a person, for goodness, for justice, therefore this image in the performance of Mochalov became dear and close to the advanced democratic strata of Russian society in the mid-1830s. Belinsky's famous article "Mochalov in the role of Hamlet" tells about the amazing impression that his play made on his contemporaries. Belinsky watched Mochalov 8 times in this role. In the article, he came to the conclusion that the viewer saw Hamlet not so much Shakespearean as Mochalovsky, that the performer gave Hamlet "more strength and energy than a person who is in a struggle with himself can have ... and gave him sadness and melancholy less than Shakespeare's Hamlet should have." But at the same time Mochalov "threw in our eyes a new light on this creation of Shakespeare."

Belinsky believed that Mochalov showed Shakespeare's hero great and strong even in weakness. In the best creation of Mochalov, the weaknesses and strengths of his performing style appeared. Belinsky considered him an actor "appointed exclusively for fiery and frenzied roles," and not deep, concentrated, melancholic ones. Therefore, it was not by chance that Mochalov brought so much energy and strength to the image of Hamlet. This is an image not of a thinker, but of a hero-fighter who opposes the world of violence and injustice, that is, a typical romantic hero.

CONCLUSION

Completing the work, we can conclude that romanticism as an artistic movement arose in a number of European countries at the turn of the 18th and 19th centuries. The most important milestones that determined its chronological framework were the Great French Revolution of 1789-1794 and the bourgeois revolutions of 1848.

Romanticism was a complex ideological and philosophical phenomenon that reflected the reaction of various social groups to bourgeois revolutions and bourgeois society.

Anti-bourgeois protest was characteristic of both conservative circles and the progressive intelligentsia. Hence the feelings of disappointment and pessimism that are characteristic of Western European romanticism. For some romantic writers (the so-called passive ones), the protest against the "money bag" was accompanied by a call for the return of the feudal-medieval order; among progressive romantics, the rejection of bourgeois reality gave rise to a dream of a different, just, democratic system.

The main stream of the Russian literary revolution in the first half of the century was the same as in the West: sentimentalism, romanticism and realism. But the appearance of each of these stages was extremely original, and this originality was determined both by the close interweaving and merging of already known elements, and by the advancement of new ones - those that Western European literature did not know or almost did not know.

And for a long time, Russian romanticism that developed later was characterized by interaction not only with the traditions of Storm and Onslaught or the Gothic novel, but also with the Enlightenment. The latter especially complicated the image of Russian romanticism, because, like Western European romanticism, it cultivated the idea of autonomous and original creativity and acted under the sign of anti-enlightenment and anti-rationalism. In practice, he often crossed out or limited his initial installations.

Thus, romanticism as a historical and literary phenomenon cannot be reduced to one subjective one. Its essence is revealed in the totality of signs. Romantics, like realists, had a complex worldview, they broadly, multifacetedly reflected their contemporary reality and historical past, their creative practice was a complex ideological and aesthetic world that could not be unambiguously defined.

The purpose of the study is achieved - the features of Russian romanticism are considered. Research tasks are solved.

REFERENCES

Alpers B.V. Theater of Mochalov and Shchepkin. - M., 1974.
Benyash R. M. Pavel Mochalov. - L., 1976.
Belinsky V. G. About drama and theater. T. 1. - M., 1983.
Belinsky V. G. Full. coll. op. In 13 volumes - M., 1953-1959. T. 4.
Benois A. Karl Bryullov // Painting, sculpture, graphics, architecture. Book for reading. - M., 1969.
Bestuzhev-Marlinsky A. Op. In 2 vols. T. 1. - M., 1952.
Gim R. Romantic school. - M., 1891.
Glinka S. N. Notes on 1812 by S. N. Glinka. - St. Petersburg, 1895.
Gogol N. V. "The Last Day of Pompeii" (Painting by Bryullov) // Gogol N. V. Sobr. op. In 6 vols. T. 6. - M., 1953.
Dzhivilegov A., Boyadzhiev G. The history of the Western European theater. - M., 1991.
European romanticism. - M., 1973.
Zhukovsky V. A. Op. - M., 1954.
Western European theater from the Renaissance to the turn of the XIX-XX centuries. Essays. - M., 2001
K.P. Bryullov in letters, documents and memoirs of his contemporaries. - M., 1952.
Kislyakova I. Orest Kiprensky. Epoch and heroes. - M., 1977.
Queen N. Decembrists and theater. - L., 1975.
Lermontov M. Yu. Sobr. op. In 4 volumes. T. 2. - L., 1979.
Reizov B.G. Between classicism and romanticism. - L., 1962.
Mann Yu. Russian literature of the XIX century. The era of romanticism. - M., 2001.
Ogarev N.P. Selected socio-political and philosophical works. T. 1. M., 1952. S. 449-450.
Patriotic war and Russian society. 1812-1912. T. 5. - M., 1912.
Essays on the history of Russian art. - M., 1954.
Rakova M. Russian art of the first half of the 19th century. - L., 1975.
The era of romanticism. From the history of international relations of Russian literature. - L., 1975.

ANNEX 1

Bryullov K.P. The last day of Pompeii

APPENDIX 2

Kiprensky O.A. Portrait of Pushkin

The beginning of the XIX century - the time of cultural and spiritual upsurge in Russia. If in economic and socio-political development Russia lagged behind the advanced European states, then in cultural achievements it not only kept pace with them, but often outstripped them. The development of Russian culture in the first half of the 19th century was based on the transformations of the previous time. The penetration of elements of capitalist relations into the economy increased the need for literate and educated people. Cities became the main cultural centers.

New social strata were drawn into social processes. Culture developed against the background of the ever-increasing national self-consciousness of the Russian people and, in this regard, had a pronounced national character. Significant influence on literature, theater, music, visual arts had Patriotic War of 1812 which to an unprecedented degree accelerated the growth of the national self-consciousness of the Russian people, its consolidation. There was a rapprochement with the Russian people of other peoples of Russia.

The beginning of the 19th century is rightly called the golden age of Russian painting. It was then that Russian artists reached the level of skill that put their works on a par with the best examples of European art.

Three names open Russian painting of the 19th century - Kiprensky , Tropinin , Venetsianov. Everyone has a different origin: an illegitimate landowner, a serf and a descendant of a merchant. Everyone has their own creative aspiration - a romantic, a realist and a "village lyricist".

Despite his early passion for historical painting, Kiprensky is known primarily as an outstanding portrait painter. We can say that at the beginning of the XIX century. he became the first Russian portrait painter. The old masters, who became famous in the 18th century, could no longer compete with him: Rokotov died in 1808, Levitsky, who outlived him by 14 years, no longer painted due to eye disease, and Borovikovsky, who did not live a few months before the uprising Decembrists, worked very little.

Kiprensky was lucky enough to become an artistic chronicler of his time. "History in faces" can be considered his portraits, which depict many participants in those historical events, of which he was a contemporary: the heroes of the war of 1812, representatives of the Decembrist movement. The technique of pencil drawing came in handy, the training of which was given serious attention at the Academy of Arts. Kiprensky created, in essence, a new genre - a pictorial portrait.

Kiprensky created many portraits of figures of Russian culture, and, of course, the most famous among them is Pushkin's. It was commissioned Delviga, a lyceum friend of the poet, in 1827. Contemporaries noted the amazing similarity of the portrait with the original. The image of the poet is freed by the artist from everyday features that are inherent in the portrait of Pushkin by Tropinin, painted in the same year. Alexander Sergeevich was captured by the artist at the moment of inspiration, when he was visited by a poetic muse.

Death overtook the artist during his second trip to Italy. In recent years, much has not gone well with the famous painter. The creative slump began. Shortly before his death, his life was overshadowed by a tragic event: according to contemporaries, the artist was falsely accused of murder and was afraid to leave the house. Even marrying his Italian pupil did not brighten up his last days.

Few mourned the Russian painter who died in a foreign land. Among the few who truly understood what kind of master the national culture had lost was the artist Alexander Ivanov, who was in Italy at that time. In those sad days, he wrote: Kiprensky "was the first to make the Russian name known in Europe."

Tropinin entered the history of Russian art as an outstanding portrait painter. He said: "A portrait of a person is painted for the memory of people close to him, who love him." According to contemporaries, Tropinin painted about 3,000 portraits. Whether this is so is difficult to say. In one of the books about the artist, there is a list of 212 precisely identified faces that Tropinin portrayed. He also has many works called "Portrait of an Unknown (Unknown)". Tropinin was posed by state dignitaries, nobles, warriors, businessmen, petty officials, serfs, intellectuals, and figures of Russian culture. Among them: historian Karamzin, writer Zagoskin, art critic Odoevsky, painters Bryullov and Aivazovsky, sculptor Vitali, architect Gilardi, composer Alyabyev, actors Shchepkin and Mo-chalov, playwright Sukhovo-Kobylin.

One of Tropinin's best works is a portrait of his son. I must say that one of the "discoveries" of Russian art of the XIX century. there was a portrait of a child. In the Middle Ages, the child was viewed as a small adult who had not yet grown up. Children were even dressed in outfits that were no different from adults: in the middle of the 18th century. girls wore tight corsets and wide skirts with fijma. Only at the beginning of the XIX century. they saw a child in a child. Artists were among the first to do this. There is a lot of simplicity and naturalness in the portrait of Tropinin. The boy is not posing. Interested in something, he turned around for a moment: his mouth was parted, his eyes were shining. The appearance of the child is surprisingly charming and poetic. Golden tousled hair, an open, childishly plump face, a lively look of intelligent eyes. One can feel with what love the artist painted the portrait of his son.

Tropinin wrote self-portraits twice. On a later one, dated 1846, the artist is 70 years old. He depicted himself with a palette and brushes in his hands, leaning on a mastabl - a special stick used by painters. Behind him is the majestic panorama of the Kremlin. In his younger years, Tropinin possessed heroic strength and good spirits. Judging by the self-portrait, he retained the strength of his body even in old age. A rounded face with glasses radiates good nature. The artist died 10 years later, but his image remained in the memory of his descendants - a great, kind man who enriched Russian art with his talent.

Venetsianov discovered the peasant theme in Russian painting. He was the first among Russian artists to show the beauty of his native nature on his canvases. The landscape genre was not favored at the Academy of Arts. He occupied the penultimate place in importance, leaving behind even more despicable - everyday. Only a few masters painted nature, preferring Italian or imaginary landscapes.

In many of Venetsianov's works, nature and man are inseparable. They are connected as closely as a peasant with the land, its gifts. His most famous works - "Haymaking", "On the arable land. Spring", "On the harvest. Summer" - the artist creates in the 20s. It was the peak of his creativity. No one in Russian art has been able to show the peasant life and work of the peasants with such love and so poetically as Venetsianov. In the painting "On the arable land. Spring" a woman is harrowing a field. This hard, exhausting work looks sublime on Venetsianov's canvas: a peasant woman in an elegant sundress and kokoshnik. With a beautiful face and flexible body, she resembles an ancient goddess. Leading by the bridle two obedient horses harnessed to a harrow, she does not walk, but seems to hover over the field. Life around flows calmly, measuredly, peacefully. Rare trees turn green, white clouds float across the sky, the field seems endless, on the edge of which sits a baby waiting for its mother.

The painting "In the Harvest. Summer" seems to continue the previous one. The harvest is ripe, the fields are ears of golden stubble - it's harvest time. In the foreground, putting aside the sickle, a peasant woman is breastfeeding a child. The sky, the field, the people working on it are inseparable for the artist. But still, the main subject of his attention is always a person.

Venetsianov created a whole gallery of portraits of peasants. This was new for Russian painting. In the XVIII century. people from the people, and even more so serfs, were of little interest to artists. According to art historians, Venetsianov was the first in the history of Russian painting to "capture and recreate the Russian folk type." "Reapers", "Girl with cornflowers", "Girl with a calf", "Sleeping shepherd" are wonderful images of peasants immortalized by Venetsianov. A special place in the artist's work was occupied by portraits of peasant children. How good is "Zakharka" - a big-eyed, snub-nosed, big-lipped boy with an ax on his shoulder! Zakharka seems to personify an energetic peasant nature, accustomed to work from childhood.

Alexey Gavrilovich left a good memory of himself not only as an artist, but also as an outstanding teacher. During one of his visits to St. Petersburg, he took a novice artist as a student, then another, a third ... Thus, an entire art school arose, which entered the history of art under the name Venetian. For a quarter of a century, about 70 talented young men have passed through it. Venetsianov tried to redeem serf artists from captivity and was very worried if this did not work out. The most talented of his students - Grigory Soroka - never got his freedom from his landowner. He lived to see the abolition of serfdom, but, driven to despair by the omnipotence of the former owner, committed suicide.

Many of Venetsianov's students lived in his house on full pay. They comprehended the secrets of Venetian painting: firm adherence to the laws of perspective, close attention to nature. Among his pupils there were many talented masters who left a noticeable mark in Russian art: Grigory Soroka, Alexei Tyranov, Alexander Alekseev, Nikifor Krylov. "Venetianians" - lovingly called his pets.

Thus, it can be argued that in the first third of the 19th century there was a rapid rise in the cultural development of Russia and this time is called the golden age of Russian painting.

Russian artists have reached a level of skill that puts their works on a par with the best examples of European art.

The glorification of the feat of the people, the idea of their spiritual awakening, the denunciation of the plagues of feudal Russia - these are the main themes of the fine arts of the 19th century.

In portraiture, the features of romanticism - the independence of the human personality, its individuality, the freedom to express feelings - are especially pronounced.

Many portraits of figures of Russian culture, a children's portrait have been created. The peasant theme, the landscape, which showed the beauty of native nature, comes into fashion.

Romanticism in painting is a philosophical and cultural trend in the art of Europe and America at the end of the 18th - the first half of the 19th centuries. The basis for the development of the style was sentimentalism in the literature of Germany - the birthplace of romanticism. The direction was developing in Russia, France, England, Spain and other European countries.

Story

Despite the early attempts of the pioneers El Greco, Elsheimer and Claude Lorrain, the style we know as Romanticism did not gain momentum until almost the end of the 18th century, when the heroic element of Neoclassicism assumed a major role in the art of the time. The paintings began to reflect the heroic-romantic ideal based on the novels of the time. This heroic element, combined with revolutionary idealism and emotionality, arose as a result of the French Revolution as a reaction against the restrained academic art.

After the French Revolution of 1789, significant social changes took place within a few years. Europe was shaken by political crises, revolutions and wars. When the leaders met at the Congress of Vienna to devise a plan for the reorganization of European affairs after the Napoleonic Wars, it became clear that the peoples' hopes for freedom and equality had not been realised. However, during these 25 years, new ideas have been formed that have taken root in the minds of people in France, Spain, Russia, Germany.

The respect for the individual, which was already a key element in neoclassical painting, developed and took root. The paintings of the artists were distinguished by emotionality, sensuality in the transfer of the image of the individual. In the early 19th century, various styles began to show traits of romanticism.

Goals

The tenets and goals of Romanticism included:

A return to nature is exemplified by the emphasis on spontaneity in painting that the paintings demonstrate;
Belief in the goodness of humanity and the best qualities of the individual;
Justice for all - the idea was widespread in Russia, France, Spain, England.

A firm belief in the power of feelings and emotions that dominate the mind and intellect.

Peculiarities

Characteristic features of the style:

The idealization of the past, the dominance of mythological themes became the leading line in the work of the 19th century.
Rejection of rationalism and dogmas of the past.
Increased expressiveness through the play of light and color.
The paintings conveyed a lyrical vision of the world.
Increasing interest in ethnic topics.

Romantic painters and sculptors tend to express an emotional response to private life, in contrast to the restraint and universal values promoted by neoclassical art. The 19th century was the beginning of the development of romanticism in architecture, as evidenced by the exquisite Victorian buildings.

Main Representatives

Among the greatest romantic painters of the 19th century were such representatives of I. Fussli, Francisco Goya, Caspar David Friedrich, John Constable, Theodore Gericault, Eugene Delacroix. Romantic art did not supplant the neoclassical style, but functioned as a counterbalance to the dogmatism and rigidity of the latter.

Romanticism in Russian painting is represented by the works of V. Tropinin, I. Aivazovsky, K. Bryullov, O. Kiprensky. The painters of Russia sought to convey nature as emotionally as possible.
Landscape was the preferred genre among the Romantics. Nature was seen as a mirror of the soul, in Germany it is also seen as a symbol of freedom and infinity. Artists place images of people against the backdrop of the countryside or urban, seascape. In romanticism in Russia, France, Spain, Germany, the image of a person does not dominate, but complements the plot of the picture.

Vanitas motifs are popular, such as dead trees and overgrown ruins, symbolizing the transience and finite nature of life. Similar motifs took place earlier in baroque art: artists borrowed work with light and perspective in similar paintings from baroque painters.

Goals of Romanticism: The artist demonstrates a subjective view of the objective world, and shows a picture filtered through his sensuality.

In different countries

German romanticism of the 19th century (1800 - 1850)

In Germany, the younger generation of artists reacted to the changing times with a process of introspection: they retreated into the world of emotions, they were inspired by sentimental aspirations for the ideals of past times, primarily the medieval era, which is now seen as a time in which people lived in harmony with themselves. and the world. In this context, Schinkel's paintings, such as the Gothic Cathedral on the Water, are representative and characteristic of the period.

Romantic artists were very close to the neoclassicists in their longing for the past, except that their historicism criticized the rationalistic dogmas of neoclassicism. Neoclassical artists set such tasks: they looked into the past in order to justify their irrationality and emotionality, they preserved the academic traditions of art in the transfer of reality.

Spanish romanticism of the 19th century (1810 - 1830)

Francisco de Goya was the undisputed leader of the Romantic art movement in Spain, his paintings show characteristic features: a penchant for irrationality, fantasy, emotionality. By 1789, he had become the official painter of the Spanish royal court.

In 1814, in honor of the Spanish uprising against the French troops in Puerta del Sol, Madrid, and the execution of unarmed Spaniards suspected of complicity, Goya created one of his greatest masterpieces - the Third of May. Notable works: "The Disasters of War", "Caprichos", "Nude Maja".

French romanticism of the 19th century (1815 - 1850)

After the Napoleonic Wars, the French Republic again became a monarchy. This led to a huge push towards Romanticism, which until now has been held back by the dominance of the neoclassicals. French artists of the Romantic era did not limit themselves to the landscape genre, they worked in the genre of portrait art. The most prominent representatives of the style are E. Delacroix and T. Gericault.

Romanticism in England (1820 - 1850)

I. Fusli was the theorist and the most prominent representative of the style.
John Constable belonged to the English tradition of romanticism. This tradition was in search of a balance between a deep sensitivity to nature and progress in the science of painting and graphics. Constable abandoned the dogmatic image of nature, the paintings are recognizable due to the use of color spots to convey reality, which brings Constable's work closer to the art of impressionism.

The paintings of William Turner, one of the greatest English painters of romanticism, reflect the desire to observe nature as one of the elements of creativity. The mood of his paintings is created not only by what he depicted, but also by the way the artist conveyed color and perspective.

Significance in art

The romantic style of painting of the 19th century and its special features stimulated the emergence of numerous schools, such as: the Barbizon school, the plein air landscapes, the Norwich school of landscape painters. Romanticism in painting influenced the development of aestheticism and symbolism. The most influential painters created the Pre-Raphaelite movement. In Russia and Western Europe, romanticism influenced the development of the avant-garde and impressionism.

Categories

Editor's Choice