French Baroque Baroque Architecture Main features -. Renaissance, Baroque and Rococo in France and Spain

The church with a high altar barrier and brightly painted vaults rises in the center of the Escorial Palace among the gloomy kingdom of gray granite. The palace of Philip II, the king who came up with the idea of creating the palace complex, is located behind the church; the monarch's bedroom had secret windows through which the interior of the church was visible.

To France, Central Europe and Spain, the Renaissance style came from Italy. During the Italian Wars, the French had the opportunity to become acquainted with Italian art. Primaticcio, Sangallo, Serlio, Leonardo da Vinci and Bernini worked in France and helped spread the Italian style. Just as in Italy, the Early Renaissance was replaced by High Renaissance. France developed its own Renaissance style. The use of the term "Baroque" in relation to France may seem controversial, since french style distinguished by greater conservatism and restraint than the style of Italy and southern Germany. In France, Baroque is intertwined with Rococo.

In Spain, which in the field of art was influenced by Italy and France, the picture is the same. Spanish architects traveled to Italy, some even worked there. Renaissance principles are combined with national traditions. The Spaniards' love for luxurious decoration contributed to the emergence and spread of the Baroque style in Spain. In the 18th century The Rococo style came from France, but it has a local flavor. Thanks to the discovery of America, the Spanish version of Baroque and Rococo came to the New World.

In France, the ideas of the Renaissance met with both resistance and approval. At the end of the 13th century. Gothic in France reached a perfection unprecedented in other parts of Europe. At the same time, the strengthening of the king’s power, the growth of cities, the development of trade and a decrease in the need for fortified settlements and castles (thick walls became unnecessary with the advent of firearms) gradually led to the abandonment of medieval traditions.

The power of the church was limited by the king, so church building became less important than civil construction. In France there were already a sufficient number of churches and monasteries, while the king had to demonstrate his power - in earlier times the castle was a symbol of power. The palace and country residence acquired very important significance.

The French kings made attempts with the help military force strengthen your dominance. In 1494-1495 Charles VIII (1483-1498) began a military campaign against the Kingdom of Naples. During the war, the king and his supporters had the opportunity to become acquainted with the art and architecture of Italy. Twenty-two Italian craftsmen were sent to France, where they were assigned to work on the royal palaces, including the royal residence at Amboise. Louis XII (1498-1515), who inherited the throne from Charles, continued the Italian campaign, capturing Milan and Naples. Another wing was added to the Château de Blois, called the Louis XII wing; This is a medieval structure, but the presence of a warrant indicates that the craftsmen who built it were familiar with Italian architecture.

The main building has a two-flight spiral staircase. It leads to the roof. The pilasters are topped with capitals of the Ionic order, the vaulted ceiling is coffered. It is believed that the staircase was built according to the design of Leonardo da Vinci.

The plan shows that the castle is square in plan with round towers located at the corners. The rooms are in the corners, in the center there is a staircase with two flights. The symmetrical layout indicates that the architects Early Renaissance were familiar with the paraviles of classical architecture.

The concept of Baroque comes from the Italian barocco - whimsical. This style is leading from the end of the 16th century to the mid-18th century. It originated, oddly enough, in Italy. Baroque was next after the Renaissance. Initially, the term "Baroque" meant absurdity and acted as an insult.
Baroque characterizes wealth, celebration, pretentiousness. There is a play of color, a combination of reality with shades of the mythical. Also Baroque is a combination various types arts on one stage: architecture, painting, decorative arts and sculpture.

Baroque style is the style of power, nobility. In addition, it combined ideas about variability and the creation of the world. Man here was seen as part of a huge, changing world that experiences complex conflicts.

In different cities, Baroque differed in some nuances. IN Spain(this is Velazquez, Zurbaran, Rivera) greater emphasis was placed on realism. The forms were more sophisticated, there was a duality between the real and the ideal. There in Spain, the artist Domenico Theotokopouli (El Greco) focused on religious themes (“Apostles Peter and Paul”, “The Descent of the Holy Spirit”, “Christ on the Mount of Maslenitsa”). His painting had elements of Gothic and something mythical.

Velazquez's paintings were complex in composition, but very realistic, whole psychological dramas.

French Baroque is mainly holiday portraits. The works of Simon Vouet and Charles Lebrun are true Baroque classics.
IN Italy The Baroque was marked by the figures of Caravaggio, Annibale Carraci, Guido Reni, Pietro da Cortona, Andrea del Pozzo, Giovanni Battista Tiepolo and many others. Caravaggio also wrote mainly in religious theme. After him, there was even a movement of Caravaggists who imitated his style of painting.

Flemish painting. This is the work of Van Dyck, Rubens, Jordaens, Snyders. Rubens became the discoverer of the style. His large series of works on the theme "The Life of Marie de' Medici", made to order, revealed him as an established artist.

In general, the peculiarity of the Baroque style is that such harmony is deliberately not observed here as in the Renaissance, the forms are more abstract and curvilinear, and there is a lot of decoration.

The main themes of painting are religious and mythological, as well as ceremonial portraits that serve as decorations on the walls of rich palaces and houses.
The church authorities loved this style. It was this style that was ideal for depicting church decorations, gold trim, and painted ceilings.
Caravaggio can be considered the founders and masters of the Baroque style (he was distinguished in his style of writing - he conveyed the personality type well, as well as folk images, as in the painting “The Martyrdom of the Apostle Peter”) and Annibale Carracci, artists from Italy. The style of the movement was reflected in the works of many artists: Rubens, Rembrandt, Jan Sieberechts, Gerard Terborch, Pieter de Hooch and many others.

The most prominent figure of the Baroque style was Gian Lorenzo Bernini. He was not only a painter, but in addition also a sculptor, architect, and draftsman. He was quite an authoritative figure of that time. Bernini often worked on orders from the church, which is what glorified Catholic art. But he did this not without adding some scandalousness and depravity. His works “The Rape of Proserpina” and “Apollo and Daphne” display the mastery of conveying movement through space. Bernini also worked in the portrait genre. His portraits of Scipione Borghese and Francesco d'Este are known. He is working on painting churches and other buildings, while Bernini uses some new painting methods.

In the first half of the 18th century, a separate Rococo style separated from Baroque. It develops mainly in France. This is precisely the period of the so-called late Baroque. Rococo criticizes main idea Baroque - the presence of pomp, even some kind of “pretentiousness”.

Interior of France,

Baroque style.

Abstract on art history

student of 3 “D” class HO DSHI

KUZNETSOVA KRISTINA.

Koryazhma 2006 - 2007.

Introduction.

In the 17th century, a new style appeared in France,

this style is called >,

which means in Italian

>. The style itself is essentially of Italian origin, but in France Baroque became more widespread. At this time, it became popular to decorate the interiors of the palace halls.

in baroque style. New decorative elements and new furniture also appear.

After 5 centuries, the Baroque style remains relevant today. The halls of palaces are still decorated in this style, and even ordinary apartments often take on a baroque look.

It is very important for me to know everything about the Baroque style,

After all, this is a small but very important piece of world art. And in order for me to try to build the future of art, I must know its past.

Plan:

Introduction……………………. 3 pages
Title of the main part....4 pages.

1. General characteristics.

2.Chairs, armchairs, sofas

3.Tables

4.Beds

5.Walls

6.Windows

7.Lighting

8.Gender

9. The appearance of new furniture

10. Other decorative elements

3 . Conclusion…………………10pp.

4. Dictionary………………….11 pages.

5. Illustrations……………...12 pages.

6. Literature………………...14pp.

Interior of France,

Baroque style.

1. The Baroque style established itself in the era of manufacturing, around the beginning of the 17th century, but despite this, the term > appeared much later. There are several versions of its appearance, all of which are of Italian origin, but are absolutely not similar in essence.

According to one version, this term comes from the word - pearl of irregular shape;

on the other - from the name of one of the forms of scholastic (religious - dramatic)

syllogism - >, but the third generally claims that it is formed from the word >, denoting something rough, clumsy, false. Appearances latest version due to the fact that in the 18th century the term > acquired the meaning of a negative aesthetic assessment: everything unnatural, arbitrary, exaggerated was called baroque.

This is exactly the style - > -

and it results from the excessive use of lush attributes of the Baroque, when, for the sake of the displayed luxury, the integrity of the composition and a sense of proportion are neglected.

The ideological prerequisites for the emergence of a new style in the 17th century were the weakening of spiritual culture and the power of religion in Europe,

the split of the church into Protestants and Catholics, the struggle of different faiths reflecting the interests of opposing classes: Catholicism sought to preserve feudal tendencies, Protestantism - to strengthen bourgeois ones. At the same time, a more significant role began to be assigned to the state, which contributed to the emergence of a confrontation between religious and secular principles.

Since the second half of the 17th century, France has stood out among other European countries in all fields of culture. A special department is in charge of all types of art. It is headed by Charles Lebrun, who instills in works of art complete uniformity of style, rich and solemn

(see Fig. 1). In the Baroque style, the nature of the original geometric shapes changes: motifs of dynamic ovals appear

(see Fig. 2), spirals, lines break, bend. Introducing a curved line into furniture shapes is not an easy task, since wood is difficult to bend. To form curved surfaces, the rather labor-intensive technique of gluing pieces of plywood remains. Roughness and irregularities that appear at the joints are sanded, polished and varnished. Thus, from the necessity of complex carpentry techniques, a technique for finishing furniture products arose: the technique of a wooden mosaic set with varnishing the surfaces of objects. The materials used were local wood, covered with gilding, or expensive imported colored wood, mainly ebony, richly inlaid with silver, copper, mother-of-pearl, tortoiseshell and wood of other colors.

The practice of furniture makers widely includes veneering and wood typing techniques. Instead of oak, soft walnut, which is more suitable for carving and polishing, is increasingly being used to make furniture. The tree is usually entirely

covered with gold. Bronze gilded overlays were used as decoration. As the new style developed, finishing materials such as ivory, tortoiseshell, porcelain, mother-of-pearl, mirror, and stone mosaic were mastered. The emergence of various veneering techniques, as well as the expansion of the range of wood species and other materials used, led to the magnificent flourishing of intarsia. The technique of decorating with gilded bronze overlays has become widespread, partially replacing carved decor. Furniture in the Baroque style is simple in form, heavy and saturated with ornamentation.

The shape of the objects takes on a wavy silhouette.

This effect is achieved thanks to profiled plinths, cornices and pediments.

The supports are carved in the form of currencies, and the ormushl invented by the painters is used as decoration (see Fig. 3).

There was little furniture in the palace, but it was distinguished by its sophistication and splendor.

Stools, armchairs, chairs, tables stood strictly next to the walls. In the 17th century in France, a sharp line was drawn between palace furniture, unusually rich, and the furniture of ordinary people.

2. Seating furniture - chairs, armchairs, sofas - have lost their straight shapes, in particular, the legs have changed (see Fig. 4). They became curved, which gave the furniture lightness. The furniture itself was upholstered in expensive fabrics and decorated with gilding and fringe. In the Baroque era, the first sets of furniture appeared and chaise lounges, armchairs with a strongly curved back and an elongated seat for outstretched legs came into use. Their upholstery was bright, made of rich decorative fabric. The upper edge of the back of the sofa was made wavy. Armchairs, chairs and sofas in this era usually have very high backs, ending in a semicircular top above the head of the sitter. They are always upholstered in fabrics and decorated with fringe along the lower edge of the seat and at the elbows. The fabric is attached with a row of nails with large semicircular heads. The legs are either pyramidal in shape, pointing downwards, decorated with profiling, or in the form of curls curved like the letter S, the ends of which are decorated with acanthus leaves (see Fig. 5). The sofas of that era are like combinations of three armchairs placed side by side. The upper part of the back of the sofa has a wavy line, repeating the tops of the connected armchairs.

3. Baroque tables were covered with a massive tabletop made of colored marble or mosaic.

They could be of any shape, but round and rectangular tables were considered the most fashionable.

The legs of the Baroque tables are especially remarkable - richly inlaid, in the form female figures or with the heads of lions and rams supporting the tabletop (see Fig. 6).

The edges of the tables were decorated with rich carvings and inlays. And also tables appeared in the interiors - bureaus, dressing tables and bedside tables, small tables for candlesticks and decorative trinkets, tables - consoles, which were placed under mirrors, against the walls (see Fig. 7). Their design included fastening to the wall on one side and supports in the form of legs on the other. The main decoration of such tables consisted of a carved base, completely covered with gilded figured carvings.

4.Beds in the Baroque era were one of the most luxuriously retractable interior items. Guests were often received lying in bed, so the bed gradually took on the shape of a tent with an abundance of curtains, draperies and decorations (see Fig. 8).

5. When decorating premises in the Baroque style

Covering walls with wooden panels was very popular, both with a natural texture and painted in various colors: light green, blue, white. The walls were decorated with tapestries or drawings imitating luxurious expensive materials such as marble, tortoiseshell, lapis lazuli.

6. The rooms of Baroque buildings, perfect in their proportions, were illuminated with the help of large windows that had shutters (blinds) or curtains, which were made of silk and brocade, and from simple cotton fabrics. English chintz fabrics with patterns in the form of exotic flowers, fruits, and outlandish plant motifs were especially popular. These motifs were borrowed from strange Indian and Chinese hand-painted wallpapers. In the mid-18th century, France began to produce linen fabric with a printed one-color design depicting various pastoral scenes on a white or cream background. In accordance with the fashion of the time, wallpaper, curtains and furniture upholstery were chosen to match each other.

7. Baroque lighting was gentle and subdued. The main source of light were large windows, large mirrors that reflected light and optically enlarged the room, candles in silver and wooden candlesticks (see Fig. 9), girandoles and crystal chandeliers(huge size).

8. Parquet floors were mainly used in France than in other countries. In the mid-18th century, carpets made of narrow strips sewn together and edged with a border came into fashion.

9. In the Baroque era, the chest became an attribute of village life. The nobles retain only its elegant modifications for storing jewelry. But the transformation of the chest was not over yet: around 1700, a new type of furniture appeared - the chest of drawers (see Fig. 10). At first it was a chest with drawers. Then Andre Boulle modified it, putting it on short legs.

10. Grandfather clocks decorated with bronze, display cases, pedestals for sculptures, and double-leaf cabinets became widespread.

Conclusion.

The Baroque style reflected the trends of the entire era.

This is the greatness of royal and aristocratic power, expressed in majestic architecture, luxurious interior decoration, gilded furniture, splendor and luxury of lifestyle. Power was contained in the endless curls, the mass of precious materials.

In France, the Baroque era is conventionally divided into four stages (so-called >), each timed to coincide with the reign of one of Louis:

Early Baroque, transitional style (Louis 13,

1610 - 1645); mature baroque (Louis 14,

1643 -1715); regency style >> - a transitional stage between the reigns of Louis 14 and 15;

Rococo, late stage of Baroque (Louis 15,

BAROQUE is an era great for its grandiose destructions and equally grandiose creations, it has remained

in history, a turning point in the development of world art!

Dictionary.

INTERIOR - This is the internal space of a building, premises, as well as its structure and decoration.

BAROQUE- this is an elaborate and lush style in the art of the 17th-18th centuries.

INTARSIA- wooden inlay.

BASE- this is the lower thickened part of a wall, structure, column, monument lying on the foundation.

GABLE- this is a triangular or circular upper part of the facade of a building, limited by a gable roof, as well as a similar decoration above windows and doors.

CURRENCY- a spiral curl with > in the center.

ORMUSHL- an ornament invented by painters.

GIRANDOLI- (translated from French >) this is a lamp.

Literature.

Dictionary

Children's encyclopedia

Baroque, as a historically established movement in art, is born on the basis of a complex, contradictory era of the late 16th and early 17th centuries. Baroque aesthetics is based on the perception of the world as chaos, which, taking root outside, invades the human soul. The Baroque image of reality is unsteady and mysterious, and a person who has lost the harmony of reason and passions is represented primarily by the sensual side of his being and is often unpredictable. Moreover, the acuteness of perception of the material world often combines two principles - a hedonistically unbridled desire to enjoy the fleeting moments of life and the pathos of self-denial, the pinnacle of which is Christian asceticism. The antinomy of pathos corresponds to the style - increased expressiveness, play of contrasts, dynamism, paradoxes, missing connections between associative images, incompleteness of the chain of flowery metaphors, as if falling into the void and with their inarticulateness confirming the irrational philosophical basis of the baroque image. Baroque art is not at all alien to didacticism: comprehension of the essence of the world is given only to the deity, and the artist must be able to illustrate the emanations emanating from a higher being. Appropriate illustrativeness was also allowed in political topics. So uniquely refracted in the irrational in its own way philosophical basis art, rationalism characteristic of the theoretical thought of the 17th century.

The carrier of the emerging national style Lyric poetry appeared in the verbal art of France in the 17th century. In other types of literature at the beginning of the century, the classicist tendency was opposed by baroque, which was difficult to combine with the late Renaissance tradition. A similar combination makes itself felt in the famous pastoral novel “Astrea” (1607-1625), written by Honore d’Urfe (1568-1625). This huge work is a conglomerate various types narrative forms, the plot frame for which is the love story of the villagers Celadon and Astraea, closely intertwined with the destinies of other shepherds and shepherdesses, nymphs and druids.

Roman "Astraea"

The action of the novel dates back to the 5th century. n. e. and contains elements of the historical flavor of that era, including a description of pagan cults. But in accordance with the pastoral canon that emerged during the Renaissance, the writer creates a deliberately conventional, idealized world, where characters far from “rough” everyday life are driven high feelings, first of all, love. The intrigue of the novel is whimsical, episodes are piled on top of each other without clarifying the essence of the characters characters, but on the contrary, increasing the feeling of unpredictability of their decisions and actions. On the other hand, the organizing principle of the multidimensional structure of “Astraea” is the analysis of the feeling of love, its inconsistency, the diversity of its manifestations, its conditionality by various parties human nature.

By affirming the baroque idea of life-chaos through the very type of narrative, where people initially personify the antinomy of “to be and to appear,” the writer simultaneously strives to express his concept of personality through the logic of images and through the accompanying philosophical and ethical commentary. Such an artistic tendency is not alien to the deductiveness inherent in the classicist method. They also remind us of classicism high performances d'Urfe about the dignity of man and the praise of the ideal potentialities of his nature. One must think, however, that the points of contact with classicism are not due to the direct influence of the latter, but rather to a general continuity with the heritage of the Renaissance, refracted through the perception of a new era.

But it is precisely the comparison with classicism that makes it possible to see how narrow the view of man in Astrea is. Indeed, with all the subtlety that so amazed readers psychological analysis d'Urfe's novel can only in some places be correlated with the true relationships and types of the noble environment, the prototypes of which, according to contemporaries, were placed by the writer in the artificial world he created. Hence the perception of “Astrea” as a kind of code of gallantry, which influenced the subsequent development of gallant-heroic genres and precise lyrics, so consistent with the sentiments of the aristocracy and transformed at different stages of its relationship with the monarchy - from the idealization of feudal freemen to the acceptance of dependence on the royal court.

There are episodes in Astraea reminiscent of chivalric novels, according to the scheme of which Gomberville (1600-1674) and Madeleine de Scudéry (1607-1701) created their baroque works. Scenes from “Astrea” were played out in the famous literary salon of the Hotel Rambouillet, which in the 20-40s became a center of precision - literature, deliberately complicated and at the same time in form gravitating towards impromptu, accessible to the understanding of the elite (hence “precious” - in the broad sense "exquisite").

The depiction of love in “Astrea” is of a different nature than, say, in the lyrics of the luminary of the Hotel Rambouillet, Vincent Voiture (1598-1648). But d'Urfe's novel, to a certain extent, prepares an intellectual trial of emotions, in different forms making itself felt in precision poetry. In the same way, one can draw a parallel between eroticism and Neoplatonism in “Astrea” and the combination of crudely sensual elements with pompously cold praises of the object of worship inherent in the work of precision poets. These comparisons clearly demonstrate not only the existence of continuity between the two forms of French baroque, but also the loss of connections with the humanism of the Renaissance. Even the one-sidedly preserved cult of sensuality is turned by Voiture, Maleville, Cotin and other precisionists into a formally sophisticated game.

French Baroque in drama

In the mid-80s of the 16th century. Baroque began to dominate in dramaturgy, pushing aside the “correctness” that had emerged in the plays of writers close to the Pleiades—the strict division of the play into five acts of the same number of verses, the stylistic definition of genres (“high” for tragedy, “low” for comedy), replacement showing terrible, bloody and brutal episodes with a story about them, and finally, more or less consistent adherence to the rules of the three unities. The dynamism, contrast of situations and characters inherent in Baroque art, extreme affectation, flowery style, bright entertainment and unexpected plot twists were not combined with the Renaissance principles of harmony and the emphasis on clarity of expression of ideas. French Baroque playwrights sometimes did not even observe the division of the play into five acts. “Cruel” or simply obscene episodes were depicted on stage in order to amaze, shock and captivate the viewer. The genre canons established by the theorists of the Pleiades collapsed, which was clearly evident in the emergence of a new genre - tragicomedy, the poetics of which - the complexity of the plot, the implausibility of intrigue, dressing up, recognition, changing masks - corresponded to the baroque perception of the laws of the surrounding world as mysterious and incomprehensible to reason.

In the theater, the predominance of the Baroque continued during the reign of Henry IV (1589-1610), which was generally favorable for the flourishing of classicism. The classicist tendency at this time is represented by the work of Antoine Montchretien (1576-1621) and the plays of some other writers. But they were not the masters of the French stage. In general, at the beginning of the 17th century there were no necessary conditions for the development of dramatic poetry. France had difficulty recovering from long periods of civil wars 16th century, new troubles awaited her ahead. King Henry IV and the rulers who succeeded him were little concerned about the fate of art. There was not even a professional French theater in Paris, and it was difficult for acting troupes coming from the provinces to compete with the Italians, who traditionally enjoyed the patronage of royalty. Repertoire traveling theaters was very heterogeneous: pastorals were staged, and along with them farces, somewhat transformed under the influence of contacts with Italian comedy del arte. In the provinces, focusing primarily on the tastes and moods of a fairly wide audience, including the plebeian, traveling troupes contacted others medieval genres- morality plays, miracles and even mysteries, which, however, were called “life”, “game”, “history” and marked by the influence of Renaissance artistic forms, especially tragedy. For its part, the tragedy in to a greater extent than before, was contaminated with a long-standing theatrical tradition.

Works of Alexander Ardi

All the mentioned features of the French theater of the first quarter of the 17th century. were reflected in the work of Alexander Hardy (1570-1632), the most significant playwright of that time. Ardi was recognized in the capital and in the provinces and won a wide audience, especially a democratic audience. Posterity has no information about the life and work of the famous playwright. From his huge inheritance, only 34 plays remained, of which 33 were published in the five-volume Alexander Hardy Theater (1624-1628).

Hardy's plays recreate a multidimensional picture of the world, where history and modernity, myth and reality, antiquity and the Middle Ages, Europe and Asia coexist. The line of characters in this panorama is varied and colorful, their destinies are varied, sometimes whimsically unexpected, sometimes set by myth or history. Not only in tragedies, but also in tragicomedies and pastorals, the playwright gravitated towards depicting the sensual side of the inner life of a person, which determines his actions, his relationships with others - a similar perspective is characteristic of the Baroque theater, of which Alexander Ardi was a prominent representative. He was a wonderful poet of the theater, his dynamic, intense and spectacular dramaturgy produced strong impression, was an example for fellow writers. Hardy was not alien to the general pattern of development of French literature - in his work there is a pre-classicist tendency, which has become more and more obvious over the years. This was expressed not only in strengthening the rationalistic foundations of the construction of his plays, but also in their content.

The playwright always defended human dignity and the further he went, the more insistently he pointed out the need to actively confront gloomy circumstances, make bold choices, defend one’s right, and follow one’s responsibilities.

A striking example of this is the tragedy " Timoclea, or Just Vengeance"(c. 1621), where Ardi sympathetically depicts the murder of the Theban Timoclea by the Macedonian captain who had dishonored her. The heroine appears on stage only in a few scenes of the third, fourth and fifth acts. Much more attention is paid by the playwright to the war of Alexander the Great against Thebes. The fate of Timoclea - a special case of the tragic fate of her homeland. Within the confines of her intimate world, the heroine of the play behaves like the mass of her compatriots who did not want to obediently bow their heads in the face of a powerful enemy. "Timoclea" can be called among the works whose ideological tendencies anticipated the theater of classicism. And together with This tragedy clearly shows the playwright's commitment to tradition and the originality of his innovation. The grandeur of the plot, the temporal and spatial breadth, and the free combination of episodes confirm the opinion of theater historians about the continuity of Ardi's tragedies with the mysteries. At the same time, the title of the play directs the audience's attention to the intimate drama Timoclea, and the text of the tragedy forces us to comprehend the cataclysms of the war from the point of view of its victims.

"Alexander Ardi Theater" and especially his latest volumes, published in 1626-1628, were a kind of intervention by the old playwright in the struggle that ensued at that time around the fate of the French theater. His experience was instructive for young playwrights of the 20s and 30s, through whose efforts french theater changed its appearance, developing towards classicism.

Baroque architecture Main features: - complexity of volumes and space, mutual intersection of various geometric shapes, - the predominance of complex curvilinear forms in determining the plans and facades of buildings, - alternation of convex and concave lines and planes - active use of sculptural and architectural decorative motifs; - uneven distribution of architectural means; - creating a rich play of chiaroscuro, color contrasts- dynamism of architectural masses.

Jacques Lemercier (French Jacques Lemercier [Lemercier], 1585, Pontoise - January 13, 1654, Paris) - the first royal architect at the court of Louis XIII. Jacques Lemercier belonged to a family of architects and masonry craftsmen already famous in Ile-de-France. His grandfather Pierre Le Mercier and father Nicholas Le Mercier supervised large construction projects in Pontoise (Saint-Maclou, Notre-Dame).

Chapel of Saint Ursula of Sorbonne or simply Chapel of the Sorbonne is religious building, located in the Latin Quarter of Paris among architectural ensemble Sorbonne. The first French domed church. Built of stone.

Monastery of Val-de-Grâce In 1645, Mazarin commissioned François Mansart to restore the church and monastery of Val-de-Grâce. Work began in the spring of 1645, but the following year Mansart handed it over to Jacques Lemercier.

Palais Royal (French Palais Royal - “royal palace”) is a square, palace and park located in Paris opposite the northern wing of the Louvre.

Jules Hardouin-Mansart (French Jules Hardouin. Mansart, born Jules Hardouin; 1646-1708) - French architect, court architect Louis XIV, grandnephew of François Mansart, one of the largest representatives of the Baroque style in French architecture.

Home for the Invalids or State House disabled people (French L "hôtel national des Invalides) or simply the Disabled People (Les Invalides) in Paris - architectural monument, the construction of which began by order of Louis XIV on February 24, 1670 as a nursing home for honored army veterans (“invalids of war”). It was one of the first (if not the first) nursing homes in Europe. Today it still accommodates the disabled, and also houses several museums and a military necropolis.

Claude Perrault (French Claude Perrault, September 25, 1613, Paris - October 9, 1688, Paris) - French architect and scientist. Born into the family of a lawyer, judge of the Paris Parliament Pierre Perrault. Brothers Charles and Pierre became writers, Nicolas became a theologian. Claude Perrault himself studied medicine and achieved success in biology, thanks to which he became one of the first members of the French Academy of Sciences. He also studied mechanics.

French Baroque painting Baroque painting is characterized by dynamism, “flatness” and splendor of forms, the most character traits Baroque - catchy floridity and dynamism

Hyacinthe Rigaud Hyacinthe Rigaud (French Hyacinthe Rigaud; July 20, 1659, Perpignan - December 27, 1743, Paris) - French artist, master of ceremonial baroque portraits from the times of Louis XIV and Louis XV.

Simon Vouet Simon Vouet (French Simon Vouet; January 9, 1590, Paris - June 30, 1649, ibid.) - French monumental painter, portrait painter and decorator. Parents are Laurent Vouet (also an artist) and Marie Bouquillon.

Charles Le Brun (French Charles Le Brun, February 24, 1619, Paris - February 22, 1690, Paris) - French artist and art theorist, head of the French art school of the era of Louis XIV.

Baroque sculpture is characterized by an emphasized theatricalization of images, dynamism of poses, expressiveness of faces and gestures, and specific extravagance. It emerged in the 17th – first half of the 18th centuries, as one of the components of the Baroque era in culture.

Antoine Coysevox (French Charles Antoine Coysevox; September 29, 1640, Lyon - October 10, 1720, Paris) - French Baroque sculptor. The surname is sometimes erroneously written as Coisevox.