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fisdar
Регистрация: 24 Oct 2020Offline Активность: 24 Oct 2020 17:43
Обо мне
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Gothic forms continued to be used during the Proto-Renaissance period and in Renaissance Italy north of Rome - in Florence, Milan, Pisa, Siena, Venice, Padua, Mantua, Ferrara. Elements of Gothic art have been preserved in Northern Renaissance painting and sculpture. To the art of southern Germany and the Czech Republic of the 17th-18th centuries. at first glance, the definitions, unusual at first glance, are fairly used: "Gothic Baroque", or "Baroque Gothic". In these countries, the influence of Italian Mannerism and Baroque XVI-XVII centuries. were inculcated not on classical, but on Gothic traditions, which in this case played the role of national ones. Despite the originality of certain trends and regional schools, the Gothic style of the 1390-1430s. became pan-European. In terms of brightness, expressiveness and paradox, Gothic can be compared only with Baroque. Having once emerged in architecture from the practical need to resolve a constructive (non-artistic) task - to lighten the arches, in the shortest time, when the limits of lightness of the building structure were reached, this style went beyond the boundaries of rationality - into the heights of the spirit.
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Gothic has become a mystical, irrational style of artistic symbolism. But, having lost its constructive basis, the Gothic style gradually exhausted its possibilities. The crisis of “flaming” and “international Gothic”, stylistic trends that seemed, at least for Italy in the 15th century, archaic, stimulated the search for new ideas and formative principles. In contrast, they were seen in antiquity. So Gothic prepared the Renaissance. However, the history of the Gothic style did not end there. Already in the first third of the 16th century. in the art of Italy there was a return to the Gothic forms. In the middle of the XVIII century. the Neo-Gothic style arose in England, somewhat later - in France; at the beginning of the 19th century, in line with the movement of "national romanticism" - in Germany. In the 1830-1850s. the neo-gothic style was formed in Russia. However, even earlier, in 1666, the architect of the English Classicism K. Wren in the plan for the reconstruction of London provided for the construction of four churches "in the national Gothic style." Gothic forms were revived in the English "Victorian style" of the second half of the 19th century. Neo-Gothic became one of the stylistic trends in the Art of the Modern period at the turn of the XIX-XX centuries. The traditional style of the English "Gothic house" in England and the United States was called "survival", the Neo-Gothic style - "revival" (English, "renewal"). The history of the study of Gothic art begins at the end of the 18th century. If K. Rehn adhered to the version of the Arab, "Saracen" origin of the Gothic, then I. Goethe, examining the Strasbourg Cathedral in 1770, called it "a pure invention of the German genius." In his article "On German Architecture" (1772), Goethe wrote enthusiastically about the grandeur and originality of Gothic cathedrals (although he did not see them as "beauty" according to the canons of Classicism). German romantics were attracted to Gothic architecture by irrationality, "biosimilarity ... and the infinity of internal formation."
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