Classicism is a style that became widespread in the 17th-19th centuries in European countries. But even to this day it has not lost its relevance.

His distinctive features especially attract connoisseurs of luxury, grace, and at the same time a certain restraint, combined with noble decorations.

Classicism in the interior of the 21st century has retained its traditions. Even in modern times, it fully reflects its literal meaning, indicating exemplary, norm and order.

For a better idea, let’s look into the past and briefly get acquainted with the history of the origin, formation and development of the style.

  • The birth of classicism took place at the end of the distant 16th century in Western Europe. It gradually began to supplant the pompous Rococo style, which was widespread at that time, which by the middle of the 17th century was subject to serious criticism precisely because of its incontinence.
  • In contrast, the interiors of the Classical era were distinguished by laconicism, clarity and rigor. The style was based on the architecture of antiquity, which began to especially attract contemporaries.
  • This was facilitated by the formation of a different view, first of all, on Greek culture.
  • The origin of the style in question is the result of the transformation of Renaissance architecture.
  • Classicism manifested itself most clearly in the mid-18th century. At this time he was experiencing a special upsurge.
  • Buildings, palaces, temples and even entire ensembles were built, which have survived to this day.
  • The richest segments of the population willingly decorated their real estate in this style.
  • The interior of a noble mansion in the classicist style was characterized by monumentality, restrained luxury and symmetry.
  • However, not all countries followed the same trends - English and French classicism followed slightly different paths.
  • The British relied on late Renaissance traditions, while the French partly absorbed Baroque traditions.
  • And even today classicism in modern interior may contain elements of other styles characteristic of the 18-19 centuries.

Introduction to style

Classicism in architecture and interiors has its own special, unique distinctive features, thanks to which it stands out among similar styles. This is what we will first of all pay attention to.

Character traits

The interior in the classicism style is characterized by the following features:

  1. First of all, it is symmetry and clarity of layout. Moreover, this applies not only to the arrangement of furniture, lighting, decorations, but also to the design of the building itself.

Interesting fact! At the height of the style, windows and columns in passage rooms were located strictly parallel to each other (purely symmetrical), as if emphasizing the correctness of the construction of the entire interior composition.

  1. Restraint when arranging decorations. But at the same time, pastel shades and minimalism only increase the overall impression of luxury and high cost.
  1. The interior in the style of classicism is characterized by a predominance of light shades (mainly white) in combination with more saturated ones. The most commonly used colors are green, gold, blue, pink, brown and purple.
  1. The forms are correct. The most common are arched and rectangular.
  1. The use of columns, statues, and ornaments in the interior is relevant.
  1. The structures are distinguished by their stability, monumentality, and massiveness.
  1. Lines are clear, repeating horizontally or vertically.
  1. Windows in rooms should have a rectangular or arched shape. Their design is minimal. They are usually painted white.
  1. The doors are high, reaching 2.8 - 3 meters. The predominant color is again white. They can be decorated with statues of a lion or an ancient sphinx. One of the basic rules remains the same - rigor and geometricity, lack of excessive pretentiousness.
  1. The aesthetic component is no less important; it will add completeness. Paintings and other art objects are welcome.

Walls and ceilings

Classicism is an interior style that presupposes, as already mentioned, restraint combined with exquisite decoration.

The walls should emphasize the laconicism of the entire environment, which is why their excessive brightness and catchiness are unacceptable:

  • As a rule, the surface is monochromatic. The shades used are light, pastel. Ideal option will become: white, beige, light shades olive, pink, blue.
  • Decorating individual areas with ornaments, paintings or stucco is encouraged.
  • You can use expensive textile or vinyl wallpaper for wall decoration.
  • The surface can also be plastered decorative compositions or cover it with expensive fabric.
  • The emphasis can be placed on a specific area in the room by painting the surface with more saturated colors in relation to all the walls.
  • The most relevant would be the image on the surface of a portrait or landscape characteristic of the 18th century. Frescoes in the style of antiquity are also suitable.

It is better to make the ceiling snow-white. This will visually lift it (which is good from a practical and design point of view) and create the illusion of space.

On a note! Interior design in the classicist style is best performed in rooms with high ceilings. This is extremely important aspect. The square footage of the room itself is not so important as its height. Otherwise, the effect of the applied style may not be achieved.

The finishing of the ceilings is characterized by the following:

  1. IN mandatory it is worth using stucco. Often it is provided in the center of the ceiling, focusing on the chandelier.
  2. You can also emphasize the geometric nature of the room by creating an ornament or a suitable pattern around the perimeter of the ceiling.
  3. A monumental multi-level ceiling is also a good, and, most importantly, suitable solution. It can be decorated, for example, by highlighting the texture by painting individual stucco elements in a golden color.
  4. A complex multi-level ceiling looks advantageous in spacious rooms together with columns.
  5. Combination of golden and white flowers will add royalty and discreet luxury to the interior.

The variability of execution is extremely wide. The photo gallery will demonstrate the most interesting designs.

Decorative elements and interior items

The classicism style in interior design requires the presence of decorative elements. Despite the restraint, they give the room majesty. With proper placement and use of such items, you can create the illusion of being in an 18th century building.

Worth using:

  1. Pilasters;
  1. Half columns;
  1. Frescoes.

On the walls you can place mirrors of regular geometric shapes, decorated with baguettes. Cornice, curtains with lambrequins, furniture covers are integral parts of the interior in the classicism style.

Classic assumes the presence of porcelain dishes and figurines, books, antiques and paintings.

Note! Many interior items can be decorated by applying stucco in the form of a lion's head, images of griffins, birds, cupids, sphinx, and medallions. The following types of ornaments can be used: meander, cymatium, garland.

Classicism in the interior can be emphasized by such an object as a fireplace. With appropriate finishing, you can even use it to create a recreation area, placing emphasis on it while maintaining the overall style.

On a note! Don't space it out too much a large number of small decorative elements. When choosing between a small figurine and a floor vase of impressive dimensions, choose the latter. Hang paintings also in large sizes.

Furnishing

The classicism style in the interior is characterized by the presence of expensive furniture made of valuable types of wood, such as cherry, walnut, Karelian birch and some others. The inlays on the furniture are very original, but not pretentious.

More information about furniture:

  • The option of decorating such items with stones is absolutely excluded. But having an ornament won’t hurt at all.
  • Armchairs and stools have thin, graceful legs that taper downwards. The seats and backs are upholstered in high-quality fabric with a floral pattern.
  • The combination of mahogany with bronze decoration looks most successful.
  • Furniture can have inserts made of valuable wood.
  • The general appearance of such interior items is distinguished by massiveness, good quality, high cost and peculiar simplicity.

On a note! When decorating an apartment or house in the classicism style, difficulties may arise with the location modern technology, because with its appearance inappropriate for the era of the 18th century, it can significantly disrupt the harmony of the interior. That is why it is worth approaching this issue with all responsibility and competently “hiding” the technique or trying to “fit it in”.

Lighting

Lighting is also an important interior detail:

  • Chandeliers are massive. As a rule, they have numerous crystal pendants.
  • On the walls you can place lamps decorated with gilding or imitation.

On a note! Spotlights They will also fit quite organically into the style of the room. Indeed, in the 21st century, when complementing classicism in the interior, it is permissible to use modern elements. After all, it is almost impossible to accurately replicate the situation of the 18th century.

  • Pay attention to antique items or handmade chandeliers.
  • Chandeliers with candle shades look very advantageous. The latter look exceptional in bronze color in combination with crystal. This design option will only emphasize the classic style of the interior and create a medieval atmosphere.
  • Floor lamps with fabric decoration with floral patterns can be placed on the floor.
  • Place them next to the chairs and they will create coziness.
  • Keep in mind that lighting can influence the visual shape of a room and its color.

Classicism, Empire and Baroque: how are these styles related?

Why is it worth raising the topic of using Baroque and Empire styles if we are talking about classicism? Everything is simple and understandable. Let's figure it out.

Classicism and Empire style

The interiors of classicism and empire style are inextricably linked. More precisely, the Empire style is classicism in an improved form, that is, it is a style at a high stage of development of the latter. Its homeland is France. The impetus for its inception was the successful campaigns of Napoleon, which could not but affect all spheres of social life at that time.

What is the difference between Empire style and classicism? From the point of view of interior design, the answer is very difficult to give. After all, the modification of style occurred under the influence of military-political processes, which could not but leave its mark.

  • It is worth noting that the Empire style has similar features to the Baroque, which stood on the other side of classicism. It is characterized by greater idleness and solemnity.
  • The colors in the interior became brighter, more saturated, and the inherent calm and tranquility of classicism disappeared.
  • Depictions of military achievements and other images that enhance patriotism have become commonplace.

It is quite possible to repeat the Empire style in a modern interior. Moreover, the severity of the edges is somewhat erased. More complicated and casual decor, brighter and more catchy shades are allowed. At the same time, it is necessary to preserve the inherent symmetry and conciseness of classicism.

Classicism and Baroque

Classicism and Baroque in the interior are two opposing styles. Moderate, calm, monumental classicism initially could not get along with the pompous, overly bright and idle baroque.

  • It is not for nothing that the style received such a name, because in translation it means “pearl of a bizarre shape.”
  • It is characterized by: picturesqueness, dynamism, a large amount of decor, stucco. In a word, this is a style of pronounced luxury.
  • However, despite this, styles can even be combined and combined. This applies specifically to modern designs.
  • After all, with a professional approach, you can be able to combine even incompatible things, while obtaining a brilliant result.
  • Some merging of styles has been observed since the dawn of their emergence. This applies to the version of French classicism that we mentioned above.
  1. An interior in a classic style will always be relevant. It has not lost its popularity for centuries and is only strengthening its position. This design will be relevant when decorating houses, apartments and even offices, in order to emphasize established success and stability.
  2. Classicism in the interior of an apartment, especially a small one, will be more difficult to implement. But if the ceiling height is very small, it is better to abandon this idea altogether. The fact is that the inherent monumentality of the style is difficult to convey in a very limited space. However, this problem can be partially corrected: add modern classicism.
  3. The best composition for such an interior is radial or centric. This means that all objects seem to be connected to each other in a chain connection, as if flowing.
  4. Do not forget about the above-mentioned technique: build niches, cabinets, blocks with a retractable mechanism. All this can be decorated, and thus skillfully hide objects that are unwanted to the eye.
  5. In order to emphasize the style used in the interior, you can apply grisaille painting. It will be able to convey the atmosphere of the 18th century as much as possible.
  6. Install parquet floors that imitate expensive wood species. You can also use marble mosaics with a complex pattern in the Greek style.
  7. If you want to decorate your bathroom in a classic style, give preference to light colors. It is better to choose aged or coated plumbing fixtures and appliances, such as bronze. You can choose a specific shape for your bathtub. Depending on the size of the room, it can be decorated with false columns.

In the second half of the 18th century. The Rococo style has already exhausted its possibilities and is on the decline. Under the influence of the ideas of enlightenment, general interest in antiquity increased. Rococo was replaced by classicism with his ideal of simple and strict, logically organized subject forms.

Classicism takes the opposite position in relation to Rococo in many issues of art. The aesthetics of classicism are based on the principles of rationalism, which corresponded to the philosophical ideals of the emerging era of enlightenment. These principles determined the view of a work of art as a consciously created, logically and rationally constructed, clear and harmonious artificial whole. The formation of this style was greatly influenced by excavations that began in the 18th century in the cities of Herculaneum and Pompeii, as well as the systematic study of ancient art. For example, the impetus for the change was provided by such publications as a collection of drawings of Roman baths by Palladio, published back in 1730. The excessive pretentiousness of the decorative elements of the Rococo style is replaced by strict symmetry and orderliness of classical forms. These forms, having first appeared in architecture, penetrate into decorative and applied arts and furniture production.

The volumetric-spatial structure of buildings erected in this era is subject to strict rules of its organization. Here the axis of symmetry is always compositionally emphasized, the horizontal dominates the vertical, the principles of architectonics followed by the architects of the Italian Renaissance A. Palladio, S. Serlio, G.B. yes Vignola, i.e. clear readability of the overall structure, proportionality of elements and their consistency. The central axis of the building runs through the main hall of a palace or private mansion, from which enfilades of other rooms radiate. The central axis of the building appears to be manifested on the façade by the triangular pediment of the portico. The dynamic forms of Rococo ornament became simpler and more static by the mid-60s. The lines are straightened, the joints become more and more clear, and the division of the object into its component elements begins to be felt. On the walls of the premises, a classic ornament of meanders, acanthus leaves, garlands tied with ribbons, medallions, rosettes and other elements appears in a strict rhythmic order. Architectural rods and cornices are made thinner and flatter. The planes of the walls are divided by pilasters into separate ornamental panels enclosed in frames. The walls are maintained in a strict color scheme and in some cases have a relief medallion, rosette or vignette as an accent. The stucco decoration and painting repeat scenes drawn from the paintings of Herculaneum and Pompeii. For example, borders were decorated with figures of sphinxes, lions, swans, dolphins, stylized plants, etc. The walls of the premises were also decorated with the so-called. “heroic landscapes” with images of ideal nature, very popular since the 17th century. Antique sculpture was exhibited in niches and arched openings.

In the interiors of classicism the principles of architectural design of walls and ceilings are being revived again. After the unity of Rococo, when the transition of one structural element to another was almost imperceptible, the forms of individual objects now have clear harmonious proportions, and the constructive principle of the addition of their elements is again emphasized. This purpose is also served by decor, which repeats the contours of the surface of the object and is located within the boundaries of certain structural divisions. In furniture objects, for example, the joints of structural elements are emphasized. This is especially noticeable in seating furniture. If the previous period was characterized by a plastic transition of the frame of a seat, the body of a chest of drawers or a cabinet into curved legs, when a furniture object gives the impression of a single volume cast from some plastic material, then in classicism furniture their supporting parts, which had a slight bend in the initial period of classicism, are straightened and made in the form of small, tapering columns, round or square in cross-section and having flutes. The junction of the leg and the seat frame is accentuated and made in the form of a cube decorated with rosettes. Something similar exists in classical architecture, where a capital was placed at the junction of an architrave beam and a column. The backrest is almost always now separated from the seat and given its own independent shape. The armrests are also separated from the seat and straightened. The doors of cabinets and desks, drawers of tables and chests of drawers stand out clearly, their outlines are no longer lost in the decorative decoration, as was the case in Rococo times.

Dishes in the era of classicism begins to take on strict outlines. Its form clearly shows the main structural elements. For example, decorative vases again received traditional classical forms with a clearly defined base, body, neck and handles. The loss of unity of the main formative elements in any object, however, did not destroy the unity and integrity of the external form, only this integrity was now built on other principles - not on unity, but on the comparison of elements. Compared to Rococo, classicism now has a different attitude not only to compositional formation, but also to material.

The material began to regain its natural qualities. Wooden parts of furniture have become less painted or gilded, and the natural beauty of wood texture is now offset by bronze and ceramic overlays. At this time, changes also affected clothing. She becomes incomparably more modest. There are no wigs, embroidered camisoles, hoops, an abundance of lace and rich fasteners - the simplicity of the cut of the clothes, its greater democracy, emphasize its stylistic connection with the new look of the interior and its elements.

The influence of French culture on the artistic life of Western Europe was decisive until the end of the 18th century. But from that time on, England came to the forefront of history, where an industrial revolution took place earlier than other countries, which very decisively influenced all changes in the social life of the country. It was at this time that there was a departure from the palace uniqueness, and handicraft and industrial products based on the use of new technologies, the latest inventions and scientific discoveries became even more widespread.

French classicism furniture. Louis XVI style

In France, classicism is the style of Louis XVI, which became the last in a series of so-called. royal styles that actively influenced all areas of art. This style is finally established around 1770 and reaches its maturity under Louis XVI (1754-1793) in the period 1774-1789.

Beauvais armchair. Workshop de Menou. Carved and gilded wood; wool, silk. 1780-93

Armchair N-K. Folio (Nicolas-Quinibert Foliot). Workshop de Menou. Beech, gilding; tapestry. 1750-52

Chair by Georges Jacob. Carved and gilded Walnut; stripe fabric: gold and blue. 1765

Armchair from the salon in Saint-Cloud, Georges Jacob. Carved and gilded walnut; brocade: silk with gold threads. 1765

Sofa N-K. Folio (Nicolas-Quinibert Foliot). Beauvais Tapestry; beech, gilding. 1754-56

Sofa. Upholstery with Beauvais tapestry; carved and gilded wood; wool, silk. 1780-93

Chair. Upholstery with Beauvais tapestry; mahogany, tapestry. XIX century.

The birth of a new style occurred during the reign of Louis XV, and the active promoter of the new direction in art was the all-powerful favorite of the king, Madame Pompadour. The ideas of the new style - “a la grecque” (i.e. “in the ancient, Greek spirit”) - then began to quickly spread, and the personal tastes of another king - Louis XVI - had a significant influence on the formation of the style and its development. To others important factor, which contributed to the victory of a more democratic in spirit classicizing style, there was a bad economic situation country, which emerged at the end of the reign of Louis XV. And although this new style continued to remain formally courtly aristocratic, it already had many bourgeois features. A peculiar replacement with antique forms curvaceous Baroque and Rococo became one of the signs of the impending bourgeois revolution. The enlightened society of that time considered it a model government structure the ancient Roman republic, therefore classicism, the art of which was based on the artistic traditions and principles of antiquity, became an exponent of revolutionary sentiments.

Already by the mid-60s. XVIII century (after the end of the Seven Years' War, around 1765), interior decoration, furniture shapes and decorations became more strict and simple. But there is no sharp turn to a new style yet. In Rococo times, architects and decorators sought to ensure that even a large room gave the impression of an intimate boudoir, but in the new era the same specialists strive to achieve the opposite effect. For example, in the interiors of Louis XVI's chambers at Versailles, the illusion of large space was created, regardless of the actual size of the room. Decoration comes down to the bare essentials. Instead of complex stucco stucco, which was done quite recently, strict medallions with antique profiles made of marble, half-columns, pilasters, etc. appeared here. There are few pieces of furniture here, their shapes are simple and visually stable.

At the last stage of development classicism style the furniture takes on rectangular outlines and energetic, clear divisions of its forms. The most characteristic feature of this style, which reached its development and maturity in the period 1774-1789, is its clearly defined construction. In Louis XVI style furniture, all points of fastening of elements and supporting parts are identified and emphasized, their functions are manifested in external form. Horizontal and vertical elements are clearly visible. All this is done in contrast to the Rococo style, in which the places of fastening individual parts disguised with carvings, bronze plates, veneering and other decoration techniques.

The wavy surfaces of furniture objects disappear, the legs are straightened, a well-known set of antique ornamental motifs (oak and laurel garlands, meanders, acanthus, etc.), garlands of naturalistically interpreted flowers and branches, which seem to be tied with bows at equal distances, are introduced into the decor, upholstery nails with large gilded hats, antique bucranias, bouquets of flowers on long ribbons. Now the right angle and clearly defined plane dominate.

Louis XVI style seating furniture, which includes cross-leg stools, chairs, armchairs and sofas, has simple, clear shapes. The legs of chairs, armchairs and sofas, which at the early stage of classicism still had a slight and graceful bend, are now straightened and made in the form of a thin column tapering towards the bottom, which has a round or tetrahedral cross-section. The legs are covered from top to bottom, and sometimes only in the lower part, with flutes and decorated with thin bronze garlands.

The upper part of the legs, where they are attached to the seat frame, thickens and is made in the shape of a cube, decorated on both sides with small carved rosettes, reminiscent of a column capital. At the ends of the elbows, and sometimes on the posts supporting them, volutes with acanthus leaves are made.

Several types of chairs and armchairs are widely used. One type has an oval back (the so-called “medallion”), which is decorated at the top with a garland falling on both sides, or a curl. Another type has a quadrangular back with a rising middle part and with upper corners cut along a concave arc, decorated with carved cones reminiscent of the antique motif - pine cones (Mediterranean pine). All wooden parts of a chair or armchair are covered with low-relief carvings in the form of rows of beads, acanthus leaves, ions, meanders, laurel or oak garlands and other decorative elements that are taken from the arsenal of ancient art. Seating furniture, while still having carved decor, is less and less often gilded, and if painted, it is only in bright hues: white, light blue and light grey, pistachio. The upholstery is made from piece fabrics made at the Gobelins and Beauvais manufactories. Embroidery in the form of bouquets of wild flowers, pastorals, etc. is used; Chinese silk fabrics are in fashion. But light silk fabrics with vertical stripes, intertwined with garlands and bouquets of small flowers predominate.

The types of cabinet furniture in this style are very diverse. Various cabinets, corner cabinets, bookcases, chests of drawers, cabinets, secretaries, incl. Ladies' Chests of drawers lose their wavy lines and swollen shapes, the legs become low or high depending on the volume of the body and the number of drawers. The legs at the early stage of classicism have a slightly curved shape, then the shape of carved vertical balusters. The body receives smooth, straight cornices and other horizontal rods. Sometimes chests of drawers were built with shelves - the result was a combined furniture object in the form of a bookcase (commode-etagere). At this time, a large number of different types of tables are made: desks, dining tables, incl. breakfast tables with two tops located one above the other, ladies' bureaus, bureau-cylinders, work tables, incl. tables for handicrafts, card tables, dressing tables with a swivel psiche mirror, console tables, jardiniere tables, Chinoiserie-style screens, etc.

Furniture of small sizes is distributed, the decor of which is consistent with wood paneling walls Such furniture is decorated with flat carvings, which are sometimes gilded or coated with white varnish. There is furniture covered with black varnish and bronze overlays. Basically, all bronze decorations, made in low relief, repeat the forms of ancient ornamentation: acanthus branches, bay leaves, meanders, garlands, loops, wreaths woven from small wildflowers, etc.

The central panels of cabinets or chests of drawers are decorated with gilded bronze medallions with bas-reliefs, as if suspended on wide ribbons. IN initial period Classicism in bronze jewelry contains decorative elements of the Rococo style. For example, next to twisted laces, weaves (torsadas) and other rectilinear frames of planes made in the new style, there are curved sedge leaves, female figurines, etc.

Mahogany, as well as satin, pink, lemon, tulip and other species are used for veneering furniture objects. Between the individual elements of the pattern, which is made using the marquetry technique, a darker contour frame is made. For this, dark wood species are used: black (ebony), rosewood, thuja. When decorating furniture for women's rooms, instead of bronze overlays, overlays are often made of painted Sevres porcelain or white biscuit, decorated with sculptural reliefs on mythological themes on a blue background.

At this time, beds are gradually losing columns, canopies and canopies. The backs are made rectangular. Beds with identical head and foot backs are becoming widespread.

Chest of drawers, 1780 Paris.

Louis XVI style chest of drawers. Marquetry technique. J. G. Beneman

Chest of drawers with marble top. Wood, carving, marquetry, gilding. J. Riesener, copy, 19th century.

Replica chest of drawers by Jean Francois Leleu (1729-1807) for Marie Antoinette, Chateau de Versailles

A remarkable furniture maker, one of the creators of the classicism style in furniture, was J. Riesener ( Jean-Henri Riesener, 1725-1806), who became famous back in 1769 when he created the famous bureau-cylinder for Louis XV. A bureau of this type becomes one of the favorite forms of furniture in this era. It is believed that Riesener was the first in France to introduce mahogany into fashion. The beautiful texture of mahogany, which was used to veneer any piece of furniture, was set off by the master with elegant bronze overlays in the form of garlands woven from carnations and roses. At a later time, he made secretaries that were very sophisticated in shape and decor in the form of a narrow cabinet with a folding front tabletop.

Another famous furniture maker of this era, who became a court supplier from 1784, was J. Beneman. He also uses mahogany with gilded bronze, from which bas-reliefs, pilasters, friezes with trophies and ancient scenes are made. He decorates some of his furniture pieces with porcelain or ceramic plaques with white figures on a blue background.

J. Jacob (1739-1814), who received the title of master in 1765, became famous for his carved and gilded armchairs and stools. It was he who introduced the almost obligatory motif of decorating the place where the leg is attached to the seat frame in the form of a cube with carved rosettes. The works of J. Jacob became most widespread at a later time, i.e. during the period of consulate, directory and, especially, empire. Wonderful examples of furniture art in the classicist style are created by D. Roentgen, who became famous in this era. His cabinet furniture, bureau tables, etc. are especially good.

The most famous bronze makers classicism era in France there were the sculptor Claude Michel (Clodion) (1738-1814) and J. Caffieri (1715-1792).

French influence also affected Italy, where classicism in furniture had some of its own distinctive features associated with the traditions of the Italian Renaissance. Cabinet furniture, primarily cabinets and chests of drawers, was richly decorated with marquetry, a technique used to create various ornaments in the form of garlands, rosettes, palmettes, acanthus curls, grotesques and, especially, candelabra. For chests of drawers made in Milan, for example, the image of round medallions with a profile image of the head is very characteristic. Treating the surface of some elements of the body of a furniture object with mastic is also hallmark finishing of Italian chests of drawers. The flat wooden tops of the chests of drawers are decorated with marquetry. In some chests of drawers, the countertops are made of marble, sometimes with a pattern in the form of a set of multi-colored pieces of marble. Italian tables are quite strict in shape, but have well-profiled carved legs, tapering downwards, often processed with flutes, a carved base decorated with rosettes, antique ornaments and relief masks that are gilded, as well as wooden or marble inlaid tabletops.

Russian furniture of classicism. Catherine's classicism

The era of classicism in Russia falls during the reign of Catherine II (1762-1796). Catherine's classicism was early Russian classicism(it is also called the “transitional style”), which retained some features of the “Rassrelli Baroque”, “Elizabethan Rococo”, the French style of Louis XVI and the ancient motifs of Charles Cameron. This Russian classicism is characterized by its intimacy, grace, lightness and a certain “underdevelopment” of forms, which is always characteristic of the early stages of the development of certain artistic styles. For example, during the first years of the reign of Catherine II, the interior decoration was characterized by stylistic motifs of magnificent Baroque forms (Rastrelli school). Such is the bedroom with a large alcove in the Tsarskoye Selo Palace, which has sculptural groups of cupids, vases and cartouches at the top of the walls and strongly protruding paired columns intertwined with garlands of flowers. And already at the end of the 18th century. The hall of arabesques is decorated in strict accordance with classical forms, which are used everywhere by J. Quarenghi and Charles Cameron, who was summoned by Catherine to Russia from Italy, where he studied Roman baths.

Interior of the first living room with a tiled stove in the palace in Kuskovo

Interior of the state bedroom in the Kuskovo Palace, second half of the 18th century.

Interior of the blue living room in the Catherine Palace in Tsarskoe Selo. Ch. Cameron

For Count Orlov in 1768-1785. A. Rinaldi builds a marble palace - an outstanding example of Russian classicism. Y. Felten creates another masterpiece of Catherine's classicism - the lattice of the Summer Garden and the granite embankments of the Neva. Charles Cameron builds the famous “Cameron Gallery” in Tsarskoe Selo, and E.-I. Falconet designs the Bronze Horseman monument to Peter I.

In the first quarter of the 18th century. The furnishings of Russian homes were very meager. There is a need for the purchase of furniture and an influx of foreign furniture craftsmen. Along with purchases, domestic furniture production is also developing. At first, the furniture was still strongly influenced by the previous Rococo style. During the time of Catherine II, who sought to fill the lack of furniture, there was a change in style towards classicism. French furniture objects became models for Russian furniture. However, the newly created products turned out to be very massive, with a large supply of material. In the seating furniture of the end of Catherine's time, the legs of chairs and armchairs and the side posts of the backs take on the characteristic shape of bundles of arrows or antique quivers entwined with ribbons. The top of the backrests and seat frames are decorated with wreaths and garlands, also intertwined with ribbons. The shape of the armrests is reminiscent of the Louis XVI style armchairs. The backs of chairs and armchairs have a characteristic semicircular curve. The upholstery of palace furniture is made with piece fabrics. The sofas of that time have the same type of decoration and upholstery. Seating furniture is golden or painted in light colors: white, light green, light blue, light pink. The wood texture is almost invisible here.

The Russian court did not want to yield to the royal courts of other European countries in luxury and wealth. Large Russian orders of Western European furniture were typical for that time. Expensive furniture with complex mechanisms supplied to Russia by D. Roentgen, who had a workshop in Neuwied. He made furniture to order and also brought finished products his workshop. His furniture largely determined the development of furniture of Russian classicism. The furniture he made varied in shape and decoration. For example, some of his furniture objects were large in scale and had an abundance of architectural patterns (columns, pilasters, balustrades, cornices, etc.). As a rule, such objects were supplied with very complex technical devices. His other furniture pieces are characterized by modest decor, simplicity and clarity of design.

In addition to D. Roentgen, furniture for the palaces of the Russian aristocracy was made by famous French masters J. Riesener, J. Jacob, J. Beneman and others. As an example, one can cite Risener’s beautifully made cylinder bureau, which is kept in the State Hermitage. By the end of the 18th century. In Russia, G. Gambs, A. Tour and I. Charlemagne already have their own furniture production facilities, which produce luxury products. The largest amount of furniture for the court and aristocracy is supplied by the company Otto and Gumbs, which makes a variety of chests of drawers, tables, bureaus, seating furniture, etc. Heinrich Gumbs, who was a student of the famous furniture maker D. Roentgen, came to St. Petersburg in the 90s gg. XVIII century, and in 1795, together with the Austrian merchant I. Otto, founded a furniture factory and opened a furniture salon on Nevsky Prospekt.

Bureau table and chairs in a classic style (Jacob style). Mahogany, brass inserts. End of the 18th century Russia

Cabinet office. Wood (black, plane tree, mahogany), veneer, brass trim, Eglomise glass. 1790 St. Petersburg

Furniture decorated using the “eglomise” technique (named after its inventor, a French artist) was especially popular. Gumbs furniture had special glass inserts. Such glass, most often colored, was pre-painted, and then a mirror amalgam was placed under it. In the West, only small objects were usually decorated using this technique (boxes, boxes, snuff boxes, etc.), but in Russia large bureaus, grandfather clocks, tables and other objects began to be decorated this way. G. Gambs's furniture, thanks to the originality of its shapes and design, durability and beauty, was very popular in Russia, and other domestic furniture makers even began to imitate it. Such furniture was furnished not only in palace premises, but also in city private houses and noble estates.

Original furniture was designed by many famous architects who created both palace ensembles and interiors in this era. Based on the drawings of V. Rastrelli, V. Brenna, C. Cameron, G. Quarenghi and others, Russian craftsmen made beautiful furniture sets for furnishing designed interiors. An excellent example of furniture art and the work of Russian carvers are the chairs and armchairs from the Chinese Hall of the Tsarskoye Selo Palace, made by I. Charlemagne based on a drawing by Charles Cameron. During this period, Russian masters mastered the marquetry technique very well. Furniture maker H. Meyer carries out orders for the creation of a variety of cabinets, card tables, corner sofas and other objects decorated with an exquisite mosaic set in the form of geometric or floral patterns from pieces of wood of various species finely matched in color and texture.

In the second half of the 18th century. The presence of own furniture makers in almost every estate allows you to create furniture in accordance with one or another functional process and the personal tastes of the owners, i.e. There is further differentiation of furniture according to its purpose.

Throughout the entire period, the furniture of Catherine's classicism retains the lightness and harmony of forms inherent in Rococo. First of all, this is achieved due to good proportions of the main formative elements of the furniture object, as well as thin, fluted, tapering legs of chairs, armchairs, sofas and chests of drawers.

At this time, the methods of applying carvings change - they become less magnificent and are located mainly in places where individual elements are structurally connected.

Furniture of Catherine's classicism can be divided into several main types regarding the techniques of its decoration. For example, furniture that had carvings was painted and gilded. In some cases, the protruding parts and recesses of the carved decor were painted in different colors, which had a harmonious relationship with each other and the color of the entire object, which served as a general background. Within one set, different furniture objects could have different, but harmoniously coordinated colors. Upholstery upholstered furniture from one set could have a different design on different objects, but the color scheme was preserved. Vases, garlands, bouquets of flowers, and architectural patterns were depicted on furniture using painting. Sometimes images of various mythological characters appeared, made with gold paint on a blue background. In the last third of the 18th century. In the decoration of Russian furniture, carving occupies the main place. Carved ornaments, rosettes, wreaths, etc. are always located on the furniture object in exact accordance with the tectonic structure of its shape. At the end of the century, tabletops made of marble or colored stone appeared on tables. An example is the magnificent carved furniture of the Ostankino Palace Museum, which was created by Russian masters I. Mochalin, Y. Dunaev, G. Nemtsov and F. Pryakhin.

Another type of Russian furniture decoration is a mosaic set. Marquetry was generally made in a simple manner, from light and dark types of wood “checkered”, “herringbone”, “stripes”, “diamonds”, etc. However, a more complex and sophisticated set was also carried out, as, for example, on furniture objects created by N. Vasiliev, the serf furniture maker P.B. Sheremetev.

In the 90s XVIII century furniture makers are starting to use new material, discovered by Russian masters and not known in the West - Karelian birch and burl. It is believed that this material was introduced into use by Prince P.V. Meshchersky, who had his own carpentry workshop in Kursk. But in the last decade of the 18th century. During the reign of Paul I, as a transitional stylistic stage from Catherine's classicism to Alexander's Empire style, Karelian birch was used in marquetry only as a background. Veneering of large surfaces with Karelian birch has been characteristic of Russian furniture since the 19th century.

There was another way to achieve a high decorative effect of the created furniture, which was produced in large quantities at the end of the reign of Catherine II. Such furniture was distinguished by the great severity of the classical style, the reduction of ornamentation, and the almost complete absence of carving, gilding and painting. The furniture was made of mahogany (solid wood or veneered). The decorative effect was achieved by polishing mahogany surfaces and a small amount of polished bronze or brass overlays, which emphasized structural structure furniture object. Similar furniture was also made from cheaper types of wood, for example, birch, and then they were given the look of expensive mahogany furniture using special colors and varnish.

Unique furniture made of steel and bronze was created in Russia. back in the first half of the 18th century. At the Tula Arms Factory they began to make metal openwork furniture with floral patterns in the Baroque style. At the end of the century, the masters of the Tula plant created, but in the style of Russian classicism, Various types dressing tables, chairs, armchairs, benches, tables-stands, etc. There were no analogues of such furniture in the European furniture industry. For example, the dressing table and chair kept in the Pavlovsk Palace Museum are made of metal and decorated with diamond-cut pearl strands. The back of the chair has an oval shape and is supported by gilded bronze dolphins. The table mirror has the same shape and the same supports. The legs of the table and chair, decorated with gilded bronze, are thin and tapering downwards. Furniture objects seem light, slender, but at the same time durable and stable. This impression is further enhanced by the contrasting combination of black painting (blueing) of the main parts of furniture objects, shiny polished pearl steel, gilded bronze garlands, rosettes, profiles, supporting parts of legs, gold notches, etc., well proportioned and coordinated in plastic and located in strict compliance with the structural divisions of the general form.

The history of the creation of Russian furniture in the early and mid-18th centuries. reflects, firstly, the process of the emergence of furniture designs created by foreign craftsmen or Russian furniture makers in a foreign style. Such furniture was used mainly by the royal court and aristocracy. And, secondly, the creation of the bulk of traditional furniture used by wide sections of the population, which repeated the stylistic features of past eras. During the time of Catherine's classicism, the influence of Western European furniture makers on the style of Russian furniture became very noticeable.

Russian furniture of classicism continued to be made during the reign of Paul I (1796-1801). Most of the so-called “Pavlovian furniture” was made by Russian craftsmen who studied furniture art from French furniture makers under Catherine II. This furniture, compared to the end of the previous period, is made more massive, heavy and is often cluttered with decorations with larger and rougher profiles of individual shapes. During this period, instead of walnut and mahogany, Karelian and wavy birch and other light wood species were used in the manufacture of furniture, against which the spacers and inserts made of black bog oak look very elegant. This is how mahogany furniture is made of very simple rectilinear outlines in the “Jacob style”, decorated with narrow posts made of polished copper or brass, which emphasize the main vertical or horizontal divisions of the overall shape of the furniture object. Along with French samples, Russian furniture makers continue to copy English classic furniture of the Hepplewhite and Sheraton styles, while making significant changes to its design, shape and decoration.

The reign of Paul I occurred during the period of the spread of romantic ideas in the art of many European countries. Therefore, a whole stylistic movement in Russian art of the early 19th century. It is usually called “Pavlovian romanticism” (after the name of the city of Pavlovsk - the country estate of Paul I). The Mikhailovsky Castle, under construction in St. Petersburg, designed by V. Brenna in the form of a fortress of a Maltese knight, but in a classical style, was a typical romantic work. The Pavlovsk Palace, designed by Charles Cameron in the best classical traditions of the Italian “Palladian style”, is considered one of the most harmonious architectural ensembles, including the park adjacent to the palace, specially planned and equipped. By the way, Empress Maria Feodorovna, the wife of Paul I, who considered Gatchina his estate, considered Pavlovsk to be her country estate. Swiss A.-F.-G. Viollet designed, starting in 1780, furniture in the style of Louis XVI for the Pavlovsk Palace, and a little later, after a fire in the palace in 1803, the interiors and furniture were designed by A. Voronikhin, but in the style of the early French Empire style.

English furniture of classicism. Hepplewhite and Sheraton styles

Classicism of the 18th century. for Western Europe and Russia was an international style, although the internal incentives for its development and the paths it followed were different in different countries.

The Industrial Revolution, which began in England in the 60s. XVIII century, events in the socio-political and economic life of English society had a direct impact on English culture and art of that time. Unlike the countries of continental Europe, where the classicism of the second half of the 18th century. became a new and next stage in the development of art, English classicism was not a purely new phenomenon, because Ancient art and culture have been revered here for a very long time. English classicism differs from the classic forms adopted in other countries by greater rigor and consistency in the adoption of ancient models. And along this path, English classicism finds its own national features in the architecture of the Adam brothers, in the furniture of George Hepplewhite and Thomas Sheraton, in dishes, plaques, furniture inserts, etc., in the ceramics and faience of Josiale Wedgwood, etc.

Characteristic shapes of the backs of chairs and armchairs in the Hepplewhite style

The sharp turn of English furniture towards classicism began in 1770, when the architect R. Adam (1728-1792), upon returning from Italy, began to introduce classicism into English architecture, in interior design, furniture production, etc. The Chippendale style, which has dominated here for quite a long time, is beginning to be supplanted. In Adam's projects, in contrast to the style of Chippendale, who, however, at one time created interiors and furniture in the style of classicism according to Adam's designs, a straight line begins to dominate. Adam's designs were used to create furniture from the later famous furniture makers D. Hepplewhite and T. Sheraton, who were also influenced by the style of Louis XVI. Subsequently, these masters developed their own furniture styles, and Hepplewhite's style departs from the straight, strict lines of Adam and is a kind of intermediate link between him and the Chippendale style.

This style comes close to the style of Louis XVI, while Sheraton's style gravitates towards a more refined classicism. Their best works Hepplewhite created between 1775-1786, and Sheraton - in 1790-1804.

Seating furniture made in the Hepplewhite style has a characteristic solution of slotted openwork backs in the form of ovals intersecting with each other, which sometimes form a heart-shaped shape. The frames of such ovals are slightly profiled and have grooves in the center, and their edges are processed with beads. The top of the back is decorated with carvings in the form of three palm leaves diverging in different directions. This pattern is called the triple ostrich feather. The backs of sofas are made in the form of a series of interconnected backs from several chairs or armchairs, which have a similar very characteristic decorative solution.

The legs of chairs, armchairs and sofas are made straight, tapering downwards, round or tetrahedral in cross-section. For the early period of the Hepplewhite style in armchairs, the armrests and their uprights are made similar to the French Louis XVI style armchairs, and the places where the legs are attached to the seat frame are decorated with a traditional cube with carved rosettes. In the later period of this style, the armchairs and their racks of armchairs and sofas have a strong bend and, like the legs, are decorated with grooves along their entire length. The legs of the cubes do not have attachment points. In this style, new versions of the winged chair are made, and the beds are decorated with canopies, which are supported on thin profiled posts, sometimes with weak carvings.

The cabinet furniture being developed has simple and laconic forms, its range is quite diverse. There are two- and three-tier wardrobes, a variety of bookcases with multi-tiered drawers located at the bottom. Sometimes the central part of the bottom of such cabinets has two hinged doors, and to the right and left of them there are drawers. The glazed doors on the top of bookcases are made with shaped decorative lead soldering, usually in a geometric pattern in the form of an interlocking lattice. Chests of drawers, which have practically no decor of any kind, have also become widespread. Cabinets usually have protruding profiled cornices, and sometimes pediments, decorated with carved egg-shaped flowerpots or vials. Tables of various shapes and purposes are made in large quantities in this style. For example, very original in design tables with drop-down table tops and folding side legs, dressing tables with pull-out drawers and folding (rotating) mirrors, rectangular tables in which the edges of the table tops and the frame of the base were made with a slight bend, bureau-type desks, cabinets which had convex-concave outlines and stood on six straight thin legs tapering downwards, and other objects. In the decoration of such furniture there are no strongly protruding patterns, which, in turn, are decorated with various cuts. The divisions and profiles are very small, but clear and strict.

All furniture is made mainly from mahogany and other light wood. Satin wood is also used for marquetry. The panels of cabinets are sometimes decorated with intarsia in the form of an ornament of fan-shaped stripes inscribed in an oval.

In the last quarter of the 18th century. A variety of combined furniture is very popular. For example, a chest of drawers is combined with something standing on it bookcase or the chest of drawers has a folding or pull-out tabletop and thus turns into a secretary, the dressing table is combined with desk and special containers, a pile for dishes is combined with a chest of drawers or a bureau-office, etc.

The popularity of Hepplewhite's style in England and abroad was facilitated not only by the beautiful furniture objects he personally made, but also, to an even greater extent, by his “The Cabinet-Maker's and Upholsterer's Manual” published in 1788 "s Guide").

Sheraton's style is characterized by a clearly defined structure of the furniture object and an almost complete absence of curved lines in its form. Sheraton owes his fame, first of all, to albums with sketches of almost ideal (exemplary) furniture objects that meet their purpose, for example, in the “Book of Sketches for the Carpenter and Draper” (“Te Cabinet-Maker"s and Uphols Terer's Drawing Book"). The furniture forms emerging at this time in his style would, in a few decades, form the basis of the furniture art of the 19th century. due to its expediency, simplicity, practicality and grace. Sheraton furniture is distinguished by exquisite attention to detail and well-chosen types of wood in their color and texture. For example, the planes of mahogany alternate with planes decorated with inlay or marquetry made of pink, satin or rosewood, which is why this period in the furniture art of England is also called the “satin wood period”. Using the marquetry technique, not only large surfaces of cabinet walls and doors are decorated, but also the backs and legs of chairs, armchairs and sofas. Sheraton decorates furniture for wealthy clients with picturesque medallions or ceramic plaques from Wedgwood. In its projects, Sheraton makes do with a small set of beautifully shaped brass applied handles for cabinet doors and drawers, and keyholes. Sheraton offers a large number of types of combined furniture and furniture with various technical devices that enhance its consumer qualities. For example, dressing tables with folding and rotating mirrors, cabinets with washbasins, shaving tables, dresser-dressing tables, office cabinets, work and card tables, etc. Sheraton style seating furniture has simple shapes, and the through backs of chairs and armchairs with graceful proportions and patterns are often assembled from turned parts and decorated with low relief carvings. The backs of sofas are traditionally made in the form of the backs of several chairs connected to each other. Banquettes and footrests are popular. The headboard of the couches has the appearance of a deep soft chair. Tent-shaped canopies are installed above the beds. In the late period of the Sheraton style, crooked legs reappear, indicating an imminent change style directions in furniture.

Convenience, comfort, rationalism of designs, balance of divisions and consistency of proportions of the main formative elements, elegance of finishing made English furniture popular in European countries, USA and Russia and determined its influence on the shape of furniture created in these countries.

Textbook materials used. benefits: Grashin A.A. A short course in the stylistic evolution of furniture - Moscow: Architecture-S, 2007

The definition of classicism (from the Latin classicus - exemplary) is an artistic style and movement in the art of Europe in the 17th - 19th centuries. It is based on the ideas of rationalism, the main goal of which is to educate the public on the basis of a certain ideal, model, which is similar to modernism. Culture served as such an example. ancient world. The rules and canons of classicism were of paramount importance; they had to be observed by all artists working within the framework of this direction and style.

Definition of a classic

Classicism, as a style, replaced the lush and pompous exterior. By the end of the 17th century, European society was imbued with the ideas of enlightenment, which was reflected in the culture and art. The attention of architects and sculptors was attracted by the rigor, simplicity, clarity and conciseness of ancient culture, in particular ancient Greek. , architecture became the subject of imitation and borrowing.

As a movement, classicism embraced all types of art: painting, music, literature, architecture.

The history of the emergence of the classical style: from antiquity to the Renaissance

Classicism, the main goal of which is to educate the public on the basis of a certain ideal and compliance with all generally accepted canons, is completely opposite, which denied all the rules and was a rebellion against any artistic tradition in any direction.

Provincial classicism in Russia

This is a direction characteristic only of Russian architecture. Most of the historical buildings of St. Petersburg and Moscow, Yaroslavl, Pskov are made in provincial classicism. Its origins date back to the period of the Golden Age. Classic representatives of architectural structures made in the style of classicism: Kazan Cathedral, St. Nicholas Cossack Cathedral, etc.

Periods: early, middle, late (high)

In its development, classicism went through 3 periods, which can be listed as follows:

  1. Early (1760s - early 1780s) - the flourishing of the movement, the adoption of the concept of a new style, the determination of the reasons and why the style will belong specifically to classicism;
  2. Strict or average (1780s - 1790s) - the establishment of style, description in many literary and visual works, construction of buildings;
  3. Late or high, called (first 30 years of the 19th century).

The photo shows the Arc de Triomphe in Paris - a striking example of classicism.

Characteristics and features of the world style

Characteristics of classics in all areas of creativity:

  • clear geometric shapes,
  • high quality materials,
  • noble finishing and restraint.

Majesty and harmony, grace and luxury - these are the main distinctive features of classicism. These features were later reflected in interiors in the style.

Characteristic features of classicism in a modern interior

Significant style features:

  • smooth walls with soft floral motifs;
  • elements of antiquity: palaces and columns;
  • stucco;
  • exquisite parquet;
  • fabric wallpaper on the walls;
  • elegant, graceful furniture.

The peculiarities of the Russian classic style were calm rectangular shapes, restrained and at the same time varied decorative design, precise proportions, dignified appearance, harmony and taste.

Exterior of the classic direction: buildings

The external signs of classicism in architecture are clearly expressed; they can be identified at the first glance at the building.

  1. Structures: stable, massive, rectangular and arched. The compositions are clearly planned, strict symmetry is observed.
  2. Forms: clear geometry, volume and monumentality; statues, columns, niches, rotunda, hemispheres, pediments, friezes.
  3. Lines: strict; regular planning system; bas-reliefs, medallions, smooth pattern.
  4. Materials: stone, brick, wood, stucco.
  5. Roof: complex, intricate shape.
  6. Predominant colors: rich white, green, pink, purple, sky blue, gold.
  7. Characteristic elements: restrained decor, columns, pilasters, antique ornaments, marble staircase, balconies.
  8. Windows: semicircular, rectangular, elongated upward, modestly decorated.
  9. Doors: rectangular, paneled, often decorated with statues (lion, sphinx).
  10. Decor: carving, gilding, bronze, mother-of-pearl, inlay.

Interior: signs of classicism and architectural genres

The interior of the premises of the classicism era contains nobility, restraint and harmony. However, all interior items do not look like museum exhibits, but only emphasize the subtle artistic taste and respectability of the owner.

The room has the correct shape, filled with an atmosphere of nobility, comfort, warmth, and exquisite luxury; not overloaded with details.

The central place in interior decoration is occupied by natural materials, mainly valuable wood, marble, stone, and silk.

  • Ceilings: light, high, often multi-level, with stucco and ornaments.
  • Walls: decorated with fabrics, light but not bright, possible pilasters and columns, stucco molding or painting.
  • Flooring: parquet made of valuable wood species (merbau, damask, teak, jatoba) or marble.
  • Lighting: chandeliers made of crystal, stone or expensive glass; gilded chandeliers with candle-shaped shades.
  • Mandatory interior attributes: mirrors, fireplaces, cozy low armchairs, low tea tables, light handmade carpets, paintings with antique scenes, books, massive antique-style floor vases, tripod flower stands.

Antique motifs are often used in the decor of the room: meanders, festoons, laurel garlands, strings of pearls. Expensive textiles are used for decoration, including tapestries, taffeta and velvet.

Furniture

Furniture from the Classical era is distinguished by its quality and respectability, made of expensive materials, mainly valuable wood. It is noteworthy that the texture of wood acts not only as a material, but also as a decorative element. Furniture items are made by hand, decorated with carvings, gilding, inlay, precious stones and metals. But the form is simple: strict lines, clear proportions. The dining room tables and chairs are made with elegant carved legs. The dishes are porcelain, thin, almost transparent, with a pattern and gilding. A secretary with a cubic body on high legs was considered one of the most important attributes of furniture.

Architecture: theaters, churches and other buildings

Classicism turned to the fundamentals of ancient architecture, using not only elements and motifs, but also patterns in design. The basis of the architectural language is the order with its strict symmetry, proportionality of the created composition, regularity of layout and clarity of volumetric form.

Classicism is the complete opposite with its pretentiousness and decorative excesses.

Unfortified palaces and garden and park ensembles were created, which became the basis of the French garden with its straightened alleys, trimmed lawns in the shape of cones and balls. Typical details of classicism are accented stairs, classic antique decor, a dome in public buildings.

Late classicism (Empire style) acquires military symbols (“Arc de Triomphe” in France). In Russia it is canon architectural style classicism can be called St. Petersburg, in Europe - these are Helsinki, Warsaw, Dublin, Edinburgh.

Sculpture: ideas and development

In the era of classicism, public monuments embodying military valor and the wisdom of statesmen became widespread. Moreover, the main solution for the sculptors was the model of depicting famous figures in the image of ancient gods (for example, Suvorov - in the form of Mars). It became popular among private individuals to commission tombstones from sculptors to perpetuate their names. In general, the sculptures of the era are characterized by calmness, restraint of gestures, dispassionate expressions, and purity of lines.

Fashion: clothes from Europe and Russia

Interest in antiquity in clothing began to manifest itself in the 80s of the 18th century. This was especially evident in the women's costume. A new ideal of beauty emerged in Europe, one that celebrated the natural form and beautiful feminine lines. The finest smooth fabrics in light colors, especially white, have come into fashion.

Women's dresses lost frames, padding and petticoats and took the form of long, pleated tunics, cut at the sides and tied with a belt under the bust. They were worn over flesh-colored tights. Sandals with ribbons served as footwear. Hairstyles have been copied since antiquity. Powder, which was used to cover the face, hands, and décolleté, is still in fashion.

Accessories included either muslin turbans decorated with feathers, Turkish scarves or Kashmiri shawls.

From the beginning of the 19th century, formal dresses began to be sewn with trains and a deep neckline. And in everyday dresses, the neckline was covered with a lace scarf. The hairstyle gradually changes, and the powder goes out of use. Fashion includes short-cropped hair, curled into curls, tied with a gold ribbon or decorated with a crown of flowers.

Men's fashion developed under the influence of the British. English cloth tailcoats, redingotes (outerwear resembling a frock coat), jabots and cuffs are becoming popular. It was in the era of classicism that men's ties came into fashion.

Art

Painting and fine arts

In painting, classicism is also characterized by restraint and severity. The main elements of form are line and light and shade. Local color emphasizes the plasticity of objects and figures and divides the spatial plan of the picture. The greatest master of the 17th century. – Lorraine Claude, famous for his “ideal landscapes.” Civil pathos and lyricism were combined in the “decorative landscapes” of the French painter Jacques Louis David (18th century). Among Russian artists one can single out Karl Bryullov, who combined classicism with (19th century).

Classicism in music is associated with such great names as Mozart, Beethoven and Haydn, who determined the further development of musical art.

Literature: heroes and personality in works

The literature of the classical era promoted reason conquering feelings. The conflict between duty and passions is the basis of the plot of a literary work, where a person is constantly in tension and must choose what decision to make. Language reform was carried out in many countries and the foundations of poetic art were laid. Leading representatives of the direction are Francois Malherbe, Corneille, Racine. The main compositional principle of the work is the unity of time, place and action.

In Russia, classicism develops under the auspices of the Enlightenment, the main ideas of which were equality and justice. The most brilliant author of literature of the era of Russian classicism is M. Lomonosov, who laid the foundations of versification. The main genre was comedy and satire. Fonvizin and Kantemir worked in this direction.

The “Golden Age” is considered the era of classicism for theatrical art, which developed very dynamically and was improved. The theater was quite professional, and the actor on stage did not just act, but lived, experienced, while remaining himself. The theatrical style was proclaimed the art of declamation.

  • Jacques-Ange Gabriel, Piranesi, Jacques-Germain Soufflot, Bazhenov, Carl Rossi, Andrey Voronikhin, (architecture);
  • Antonio Canova, Thorvaldsen, Fedot Shubin, Boris Orlovsky, Mikhail Kozlovsky (sculpture);
  • Nicolas Poussin, Lebrun, Ingres (painting);
  • Voltaire, Samuel Johnson, Derzhavin, Sumarokov, Khemnitser (literature).

Video: traditions and culture, distinctive features, music

Conclusion

Ideas from the era of classicism are successfully used in modern design. It retains nobility and elegance, beauty and grandeur. The main features are wall paintings, drapery, stucco, furniture made of natural wood. There are few decorations, but they are all luxurious: mirrors, paintings, massive chandeliers. In general, the style still characterizes the owner as a respectable, far from poor person.

Later, another appears, which marked the arrival of a new era - this. was a combination of several modern styles, which includes not only classical, but also baroque (in painting), ancient culture, and the Renaissance.

Since ancient times, the classicism style in the interior was considered an integral part of people whose social status was at a fairly high level.

Classic and Baroque style are similar and differ only slightly from each other.

Having sufficient rigor and restraint, he cannot have in his decoration elements and accessories that will stand out as something “flashy”.

The classicism design style has its own characteristics. The color scheme of the interior and lighting, the design of walls and floors, as well as furniture and decorative elements constitute the important parameters that must be taken into account when decorating it.

The interior colors should not have bright colors. Brown, beige, black and white tones are natural for this style. Less often, the room is decorated in the style of “golden” decoration.

The color palette of the walls is designed in the same style. When decorating, no decorations are used; on the contrary, preference is given to various fabrics.

The ceiling is decorated with various volumetric relief decorations. To make such stucco molding, gypsum is used. This gives the ceiling design an antique look from the 17th to 19th centuries.

Furniture is selected in accordance with the overall design. Its upholstery can be velvet or leather. In exceptional cases, wooden furniture with a gilded finish is used.

The lighting deserves special attention. There should not be any built-in lighting elements. Use large chandeliers, made of crystal, and wall candlesticks.

Classicism is not complete without fireplaces. This is perhaps one of its main features. Floor carpets, large mirrors and columns are also used.

These characteristics of the classicism style are an integral part of it.

Classicism has remained popular for many centuries. It conveys elegance, majesty, and grace, emphasizing the desire for luxury and wealth. It is unlikely to ever go out of fashion.

Most often, the classicism style is used to decorate palaces and cottages, less often in high-rise apartments. Its luxury is emphasized by high quality materials, sophistication in finishing, and at the same time, restraint is observed in the use of clear geometry.

When decorating the ceiling, original solution There will be the use of suspended multi-level ceilings. Recently, they have become very popular.

One more characteristic feature classicism style is stucco. With this element, a figured surface decoration is depicted, which gives a characteristic impression to the entire house.

In interior design in the classicism style, the size of the room plays a very important role. For example, in small space, arcades and columns are rarely used. In general, using such elements to impart antiquity should be done with caution and moderation.

Furniture attributes

Furniture in the classicist style should be made of natural wood, decorated with patterns or mosaics.

Its upholstery may contain various floral patterns, and accessories should not contain unnecessary elements or precious stones.

The decor of window openings should not be ignored. Massive curtains with silk or brocade trim are used as decoration. To add an accent piece, it is recommended to use velvet tiebacks that will complete the composition.

Having reviewed many photos in the classicism style, you can notice that there is no overload in it. This style is characterized by calm and restraint in the interior.

Having decided to decorate your home in classicism, it is unlikely to lead to disappointment later, since classics always remain in fashion.

Photo of classicism style

“What happens when you go out of fashion? “I really want to go out of fashion and become classic.” (Pedro Almodovar)

The classic style originates in Western Europe from the end of the 16th century. In the 17th century reaches its highest development, associated with the heyday of the absolute monarchy of Louis XIV in France and the highest rise of theatrical art in the country. Art is based on the concept of a reasonable predominance of duty over human feelings and passions - the basis of the aesthetics of classicism. The word “classical” comes from the Latin word classicus, which translates as exemplary. Therefore, the classic interior can be safely called an exemplary style in the interior.

Classic style according to the rules. Laws of style from designers:

Law 1. Classic interior It can be simple and laconic, strict in form and filled with architectural details, but also luxurious, elite with all kinds of decorative details.

Law 2. Beauty and grace are combined in style with practicality and comfort.

Law 3. The interior of the apartment in a classic style is distinguished by harmony, simplicity and symmetry.

Law 4. When choosing a color, it is important to emphasize calmness and nobility. These qualities will be expressed in light colors - beige, yellowish, cream. Natural shades of wood furniture will also create the desired color accents.

Law 5. Typical interior details in the classical style are ceiling and wall paintings, complex multi-level ceilings, rich stucco decoration, columns, atlases and caryatids. typesetting artistic parquet with intricate curls made of precious wood, carved furniture with gilding, expensive silk textiles, heavy curtains with tiebacks and tassels, a fireplace made of natural stone, exclusive bronze lamps, paintings.

The palace in Versailles (France) is unique in its architectural and artistic qualities (see photo below), it had a great influence on the development of world architecture. The interior reflects an amazing sense of ensemble, despite the severity of the decoration. A single architectural motif is used here - a uniform alternation of partitions with openings. This classicist base creates a sense of clear form.

CLASSIC STYLE IN YOUR HOME.

1. Interest in classical furniture has now increased significantly; designers are actively looking for sketches of antique furniture in museums and auctions and recreating its samples. You can create antiques in a classic style with your own hands by artificially aging wooden furniture using the “decape” technique. The process of surface treatment in "decape" consists of repeated application and removal of layers of paint and wax.

2. To recreate a classic style, you need to carefully select color scheme for the room, avoiding bright ones, concentrating only on warm shades- from pure white to black. Warm green, olive or burgundy tones will look especially elegant and noble. For wallpaper and carpets, choose the same color so as not to disrupt the integrity of the space.

3. Examples of classic style materials: vinyl for walls, textile wallpaper, decorative plaster; in the decoration there is stone, metal and silk; for the floor parquet made of yar, merbau, teak. Prestige above all!