Eternal themes of art and life message. Styles and movements in fine arts

Music lesson “Eternal themes in art”

7th grade 01/26/2015

Topic of the 2nd half of the year: “Composer and time.” Module: “Musical dramaturgy.”

The purpose of the lesson : through music, convey deep thoughts, pain about the immeasurable suffering of people, reveal the struggle between two principles: good and evil.

Tasks:

Educational: get acquainted with the history of the Great Patriotic War, learn about the siege of Leningrad and its consequences; reproduce the image of war in the works of Shostakovich.

Educational: to instill in children feelings of patriotism and love for the Motherland; to form emotional responsiveness to musical works.

Developmental : develop the ability to navigate on a map, work with sources; development of a culture of listening, development of musical and aesthetic taste.

Lesson type : learning new material.

Lesson format: integrated music and history lesson using ICT

Lesson developed using technologyan integrated approach to training and development.

Methods:

Method of organizing educational activities

Analysis of a specific situation

Method of intonation-style comprehension

Method of control and self-control

Immersion method

Interactive interaction :

Application of computer technologies (video sequences, slides)

Students work in micro groups

Musical material :

D.D. Shostakovich. 7th symphony. “Leningradskaya” 1 part “Invasion Episode”

Equipment :

computer;

projector (TV)

presentation;

poetry;

Handout;

dictionary of emotions;

During the classes

I. Organizational moment

II. Learning a new topic

Epigraph: "Let there be light"

in your window!

(70th anniversary of the Great Victory

dedicated)

Teacher: - Life, death, immortality are the eternal themes of the spiritual culture of humanity in all its divisions. Prophets and founders of religions, philosophers and moralists, figures of art and literature, teachers and doctors thought about them. Life and death, light and darkness, the struggle of light and dark forces, war and peace are two opposing entities, two concepts that are absolutely incompatible with each other. People's destinies, actions, settings, emotions - everything in them is absolutely opposite. All this makes up the circle of eternal themes of art. In music, as in life, there are also eternal themes.

Guys, think about what oppositions you can name related to the image of these different worlds:

For example, the world of creation, the world of creativity - the world of collapse, the world of destruction, good-evil

Children's answers:

Satiety-hunger;
Victory-defeat;
Love-hate;
Bravery-fear andfeat in the name of humanity

Works that reflect “eternal themes” are destined to have a long life. They continue to excite minds, finding more and more new incarnations in drama, fine art, and music.

The theme of “War and Peace” is one of the eternal themes of art. People started fighting back in the Stone Age and still can’t stop. More than 15 thousand wars have been recorded and described in the history of mankind!

Teacher: What could be more terrible than war?! She brings only tears and suffering...

We know a lot about the war, we have heard a lot about it, because the Great Patriotic War came to every home. One of the most terrible and tragic villages in history was the defense of Leningrad.

III. Learning new material

Teacher: - Guys, what do you think determined the choice of material for today’s lesson? What date awaits us literally tomorrow?

What will be the purpose of our lesson?To reveal the struggle between two principles: good and evil, war and peace, to convey deep reflections and pain about the immeasurable suffering of people through music.

Teacher: And we will do this using the example of the Leningrad Symphony of D. D. Shostakovich.

Before we start talking about this work, let's remember what a Symphony is?

How is a symphony constructed?

What is the basis of the 1st movement of a classical symphony? (sonata form).

(on the board - draw a diagram of the structure of 1 part of the sonata form).

What is the musical image in the work?

What is musical dramaturgy?

Exercise : while listening to the symphony, characterize the music using your dictionaries of emotions. (work in micro groups). We work as the lesson progresses.

Teacher: To introduce us to the topic, I invite a Historian and Art Critic

Historian 1:

In June 1941, Nazi Germany invaded the Soviet Union and Leningrad soon found itself under a siege that lasted 18 months and resulted in countless hardships and deaths. In addition to those killed in the bombing, more than 600,000 Soviet citizens died of starvation. Many froze or died due to lack of medical care - the number of victims of the siege is estimated at almost a million.

Art critic 1 :

But, despite all the severity of this time, death, hunger, fear, people did not lose the ability to think, dream, believe, hope, create and compose. And a striking example of this is the personality of the great Russian composer D.D. Shostakovich. His Seventh Symphony, called “Leningrad”, is one of the outstanding musical works of the Great Patriotic War. A significant part of the symphony was created by the composer in the autumn of 1941 in Leningrad, during the days of the mortal struggle with the enemy. He wrote it in a house that was shaken almost every minute by explosions. Shostakovich later said: “I looked at my beloved city with pain and pride. And he stood, scorched by fires, battle-hardened, having experienced the deep suffering of a fighter, and was even more beautiful in his stern grandeur. How could I not love this city, built by Peter, and not tell the whole world about its glory, about the courage of its defenders... My weapon was music.”

Teacher : Today we have a unique opportunity to listen to D. D. Shostakovich himself. Let's listen to what he has to say about his work.

Video No. 1. Film about Shostakovich

Teacher: The seventh symphony consists of 4 movements, but the first is the most significant. D. D. Shostakovich himself wrote this: “The first part tells how a formidable force burst into our beautiful peaceful life - war.”

First part begins with a broad, sing-song epic melody. It embodies the image of the Motherland. It develops, grows, and is filled with more and more power. Side Batch also songlike. It's like a calm lullaby. Its melody seems to dissolve in silence. Everything breathes the calm of peaceful life.

But then, from somewhere far away, the beat of a drum is heard, and then a melody appears: primitive, similar to couplets - an expression of everyday life and vulgarity. It's like puppets moving. .

At first the sound seems harmless. But the theme is repeated 11 times, increasingly intensifying. Its melody does not change, it only gradually acquires the sound of more and more new instruments, turning into powerful chord complexes. So this topic, which at first seemed not threatening, but stupid and vulgar, turns into a colossal monster - a grinding machine of destruction. It seems that she will crush all living things in her path.

The writer A. Tolstoy called this music “the dance of learned rats to the tune of the pied piper.” It seems that the learned rats, obedient to the will of the rat catcher, enter the battle. This is the famous episode of the fascist invasion - “Episode of the Invasion”, a stunning picture of the invasion of destructive force.

We will now listen to a fragment of the symphony.Documentary It will help us to imagine the picture of that time, the conditions in which the symphony was created, the attitude that gripped the people of besieged Leningrad.

A fragment of part 1 sounds. Video. No. 2

Music teacher: A word from the historian

Historian#2

- The composer's symphonies are a unique monument to the history of mankind. On December 27, 1941, the symphony was completed. The premiere took place in Kuibyshev, performed by the Bolshoi Theater Orchestra under the direction of S. Samosud. After this, the symphony was performed in Moscow and Novosibirsk. But only on August 9, 1942, in besieged Leningrad, the famous performance of Dmitry Shostakovich’s Seventh (“Leningrad”) Symphony took place. The organizer and conductor was Karl Ilyich Eliasberg, the chief conductor of the Leningrad Radio Orchestra. The authorities insisted on an urgent premiere. After all, the symphony was dedicated by the author to the feat of his native city. It was given political significance. Musicians were gathered from everywhere to perform it. Many of them were exhausted. Before the start of rehearsals, we had to put them in the hospital - feed them, treat them. On the day the symphony was performed, not a single enemy shell fell on the city: by order of the commander of the Leningrad Front, Marshal Govorov, all enemy points were suppressed in advance. The guns were silent while Shostakovich's music sounded. It was heard not only by the residents of the city, but also by the German troops besieging Leningrad. They say that the Germans, having heard the sounds of the Leningrad symphony through loudspeakers, were simply taken aback - they were absolutely sure that the city was dead. Many years after the war, the Germans said: “Then, on August 9, 1942, we realized that we would lose the war. We felt your strength, capable of overcoming hunger, fear and even death..."

Starting from its performance in besieged Leningrad, the symphony had enormous propaganda and political significance for the Soviet and Russian authorities.

IV. Consolidation

On January 27, 1944, Leningrad saluted with 24 salvoes from 324 guns in honor of the complete elimination of the enemy blockade - the defeat of the Germans near Leningrad.

- You lost the war, executioner,
I barely laid my hand on the city!
What is the truth now?
what a thunderstorm happened
like a frenzied dream,
What a delusion of pride it seemed!
So let the world hear today
Russian fireworks peal.
Yes, it takes revenge, rejoices, breathes!
Victorious Leningrad!
January 27, 1944, Olga Berggolts

08.08.08. At the beginning of the lesson, we talked about war and peace, about how humanity cannot stop fighting with each other. On August 21, 2008, a fragment of the first part of the symphony was performed in the South Ossetian city of Tskhinvali, destroyed by Georgian troops, by the Mariinsky Theater orchestra conducted by Valery Gergiev.

Video No. 3 Valery Gergiev

- Why did Gergiev choose the Leningrad Symphony for the wounded city?

- “This symphony is a reminder to the world that the horror of the siege and bombing of Leningrad must not be repeated...” (V. A. Gergiev)

Homework assignment: writing an essay “You explained music in words”

The teacher reads out the most interesting lines from the essays of former students as an example.

Teacher: Those who were born after the war can no longer understand much and cannot survive what the war generation experienced. You can only listen to the stories of those who survived, and try to feel what they experienced and keep it in memory... And pay tribute to eternal respect and eternal gratitude.

Song "Let there be light in your window"

Photos of veterans. Presentation

Grading. Summarizing.

Work in microgroups using cards:

Oppositions:

Man is a barbarian

Welcome -

World -

Creation -

Revival -

Victory -

Conflict -

Collision -

Struggle -

The world of creativity of the mind - the world of destruction and cruelty

Questions:

What image does the music create?______________________________________________________________

What did you imagine while listening to her?________________________________________________

What does she sound like at the beginning of the episode?_______________________________________________

How many musical images?_________________________________________________

What is the importance of rhythm?__________________________________________________________

What means of expressiveness are used to develop the invasion?_________________________________________________________________________

_____________________________________________________________________________

Undoubtedly, the preservation of the cultural heritage of mankind is one of the most important areas of activity of people involved in one way or another in the field of culture. However, the preservation of cultural heritage, according to the author of the article, cannot be an end in itself; culture as a kind of living organism, a dynamic system - implies continuous processes of change and renewal. During the course of these processes, “nodal” moments of conflict between innovative and protective tendencies are often observed. This conflict takes completely different forms, from “peaceful” polemics to shockingly shocking slogans. Each era finds its own variants of the relationship and establishment of balance between canonicity and experimentation.

However, both the absolute dictate of the canon and its absolute rejection do not contribute to the development of culture as a whole or its individual areas. Subsequently, as the time period increases, the conflict “smoothes out” and new processes of integration begin; after the conflict, integration proceeds differently, on a new “turn of the spiral.” These theses can be illustrated, for example, by the differentiation of art forms after primitive syncretism - and their later synthesis. For more details, see... This stage activates the search in the “old” for the “eternal” zone, in tradition - the invariant zone. We are talking about the “zone”, since there is more “old” than “eternal”, and a certain selection mechanism works here .. It is this zone that goes beyond the scope of exclusively historical interest and becomes, if not the basis, then a necessary element of the emerging new systems.

It is quite fair to consider the so-called “eternal themes” in art to be one of these zones. “Eternal themes” involve layers of the psyche and thinking that have not lost relevance throughout the history of mankind; One cannot, for example, call the theme of the struggle between good and evil, the theme of the search for truth, the theme of sacrifice, the theme of love, etc. outdated. These issues have been considered more than once from different angles: it is enough to recall the legacy of K.G. Jung, K. Lévi-Strauss, Y. Lotman, L. Gumilyov, etc. In any case, we observe a search for a timeless invariant - in the content or structural aspect of an artistic text or consciousness in general. Often mythological motifs and images, which are elements of that very zone of the “eternal” in the “old,” act as invariants. Thus, a stable “golden fund” is formed of the most frequently repeated images and situations that fit into any historical context and any specific circumstances. Just as repetition and intonation arches serve as the most important anchors of poetic or musical form, “eternal themes” probably serve as the “fasteners” of human civilization.

Many innovations of modern “director’s theater” are based on this property of “eternal themes.” Disputes about the necessity and adequacy of “modernizing” masterpieces of two or three centuries ago do not stop; There are opinions that in this way a thread is “stretched” between eras, there are opinions that in this way modern art demonstrates its own powerlessness. Both opinions are controversial, but have an undeniable right to exist. But a modern artist has no right to blame his era for the “poverty of subjects.” Repeating images and situations are observed everywhere, you just need to be able to “recognize” them. For example, the theme of self-sacrifice extends far into the centuries: it could be the myth of Iphigenia, who agreed to ascend to the altar for the victory of her compatriots; maybe a story about the poetess Juana Ines de la Cruz, who treated people suffering from the plague and died from it; maybe a story about the feat of Alexander Matrosov; the story of Shavarsh Karapetyan, a world champion in scuba diving, who saved dozens of lives when a trolleybus fell from the Yerevan dam, at the cost of his own disability; maybe - just read the news feed in Yandex - a story about the feat of Novgorod nurse Yulia Onufrieva, who saved several dozen lives at her own cost. These are just a few cases out of thousands that have occurred in history, constituting the great “eternal theme” of self-sacrifice. There are opinions about the blasphemy of considering such cases as a “plot”; however, by becoming a plot, the story acquires eternal life, and this may be even more important for preserving the memory of humanity about the heroes than the erection of an obelisk.

Thus, “eternal themes” are called eternal because they have enduring relevance. At the same time, they constitute a certain conceptual and emotional layer that exists in the consciousness of humanity as an inextricable whole; therefore, along with the relevance of the topic, artistic texts do not lose their relevance. An artistic text in this case is understood as a local formation based on any language code (be it painting, music, literature, theater, etc.), embodying it. This largely explains the accessibility of artistic texts of any era to the modern viewer/listener. In this case, the cultural heritage of various eras is not only preserved, but also in demand, organically woven into the integral system of modern cultural space.

Understanding the fund of “eternal themes” in art as a mechanism for preserving cultural heritage presupposes work on their systematization, which is necessary, since it is currently absent.

What is important is perspective, and not just the retrospective significance of “eternal themes.” They are a mechanism not only for preserving cultural heritage, but also for increasing cultural values ​​and further developing culture. “Eternal themes” in art serve as a kind of “bridge” connecting the past, present and future, a guarantee of the immortality of artistic images, human creativity, and the whole culture as a whole.

Works of art invariably capture (by the will of the author or independently of it) the constants of being, its fundamental properties. These are, first of all, such universal and natural principles (universals) as chaos and space, movement and stillness, life and death, light and darkness, fire and water, etc. All this constitutes a complex of ontological themes of art.

Further, the anthropological aspect of artistic themes is invariably significant and unusually rich. It includes, firstly, the actual spiritual principles of human existence with their antinomies (alienation and involvement, pride and humility, readiness to create or destroy, sinfulness and righteousness, etc.).

Secondly, the sphere of instincts associated with the mental and physical aspirations of a person, such as libido (sexual sphere), thirst for power, attraction to material wealth, prestigious things, comfort, etc. Thirdly, in people, what is determined by their gender (masculinity, femininity) and age (childhood, youth, maturity, old age).

And finally, fourthly, these are supra-epochal situations of human life, historically stable forms of human existence (work and leisure, everyday life and holidays; conflict and harmonious principles of reality, peaceful life and wars or revolutions; life in one’s home and stay in a foreign land or travel ; civil activities and private life, etc.). Such situations constitute the sphere of actions and efforts, often searches and adventures, a person’s aspirations to achieve certain goals.

The named (and remaining unnamed) existential principles, coming into art, constitute a rich and multifaceted complex of eternal themes, many of which are “archetypal”, dating back to ritual and mythological antiquity (archaic). This facet of artistic creativity is the heritage of all countries and eras. It appears either as the explicit center of the works, or is present in them latently, or even remains unconscious by the authors (mythopoetic subtext).

In its appeal to eternal themes, art turns out to be akin and close to ontologically oriented philosophy and teachings about human nature (anthropology). The refraction of existential constants in art became the subject of close consideration by philosophers of the Romantic era, as well as by scientists of the mythological Grimm schools in Germany, F.I. Buslaev in Russia) and neo-mythological ones. (N. Fry), psychoanalytic art criticism, focusing on the works of Z. Freud and C. G. Jung.

Recently, a number of serious works have appeared that explore the involvement of the mythological archaism in the literary creativity of eras close to us (works of G.D. Gachev, E.M. Meletinsky, Smirnov, V.I. Tyupa, V.N. Toporov). The theoretical generalizations of D.E. deserve special attention. Maksimova.

Stating the enormous importance of universals dating back to the archaic for literature of all eras, the scientist at the same time spoke about the “mythopoetic tradition” in the literature of the 19th-20th centuries. as a non-comprehensive, local phenomenon. This tradition, says D.E. Maksimov, stretches from Dante's Divine Comedy and Milton's poems to Goethe's Faust and Byron's mysteries; it becomes more active after Wagner, in particular in symbolism.

The scientist does not agree with the widely accepted idea of ​​the total mythologism of art and literature: “One cannot approve of the unbridled literary fantasy in the mythological interpretations of modern works of art, which serious and erudite scientists are often carried away by.” This judgment, in our opinion, is completely fair. The actual mythological and mythopoetic beginning and (more broadly) the sphere of existential universals (for all its importance) far from exhausting what is artistically cognized and mastered. This is just one facet of the subject of art.

V.E. Khalizev Theory of literature. 1999

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Goals: To prove that love, the beauty of human feelings and relationships is one of the main themes in various types of art in all times and eras.

Tasks:

• Tell about musical masterpieces in various genres, created on the basis of one literary work by W. Shakespeare “Romeo and Juliet”.
• To consolidate theoretical knowledge about the overture and ballet using examples of the music of P.I. Tchaikovsky and S.S. Prokofiev.

During the classes.

Slide No. 1. (title)

Teacher:

The theme of love has always attracted artists. The world knows many literary and poetic stories about love, musical masterpieces, and paintings by great artists. Today in our class we will perform musical works of various genres and eras, but they are all created on the basis of one literary creation by W. Shakespeare - “Romeo and Juliet”.

Slide number 2.

Shakespeare (1564-1616) sang in poetry the story of a young man and a girl from Verona. His creation is an internationally recognized masterpiece. Thanks to Shakespeare, the names of Romeo and Juliet are so well known to everyone, having become a symbol of true, true love.

Slide number 3.

It is not easy for loving hearts at all times to defend their choice against human inertia, belligerence and all kinds of inequality. But love knows no boundaries or restrictions. The plot of "Romeo and Juliet" is one of the examples of love that died under the conditions of that time.

Slide No. 4 (the text of the statement expands automatically)

Shakespeare's tragedy brought Verona the glory of the city of Romeo and Juliet. The inhabitants of this famous city say:

“Here with us, love is in the air, and if you have hot blood, a tender heart and even a little imagination, take a walk along the darkest, narrowest alley, and you will certainly meet two charming ghosts there, who have been wandering around Verona for centuries : Romeo and Juliet!

Slide number 5.

And therefore Verona will always be full of romantics and lovers from all over the world, who are looking for and finding here places associated with the unfading legend of love.

It is not surprising that such a beautiful and sad story was continued in other genres of art: symphonic and ballet music, opera, theater, cinema, musicals.

Slide number 6.

The famous fantasy overture “Romeo and Juliet” by P.I. Tchaikovsky is the composer's first appeal to the creative heritage of the great English playwright.

Let's remember what is called an overture in music?

Children:

Orchestral introduction to opera, ballet, film. Sometimes it is an independent work and has a program title.

Slide number 7.

The idea to create a symphonic work was suggested by composer Balakirev. The plot became a plot for Tchaikovsky for the rest of his life. The best orchestras in the world include this work in their concert programs. Tchaikovsky revised the overture three times. It is in the latest edition that it is well known today.

The music of the overture is based on themes that personify the main images and collisions of Shakespeare's tragedy.

Slide No. 8 (video fragment starts automatically)

Feud Theme: a mad onslaught of anger and hatred. Short blows of swords will ring, the alarming, energetic sounds of a street fight between the indomitable Montagues and Capulets, with their discord and mutual revenge turning the peaceful streets of Verona into a bloody battlefield.

Slide No. 9 (video fragment starts automatically)

Love Theme: from the sensitive silence the theme of love is born. It contains such fullness of tenderness, such languor and bliss... a wide-spreading bright melody. A soft, almost lulling movement, sighing sounds of the horn, and the melody grows, becomes more lively and sweet.

And after the death of the heroes, after the cry of despair, the theme of the love of Romeo and Juliet rings in the high, enlightened voice of the violins.

Slide No. 10 (the text of the statement expands automatically)

The theme of love was especially admired by N.A. Rimsky-Korsakov, he wrote: “How inspired! What inexplicable beauty, what burning passion! This is one of the best themes of all Russian music!”

During the composer's lifetime, the Romeo and Juliet overture enjoyed great success with both the public and critics. As one of Tchaikovsky's most famous and beloved compositions, this overture was performed in Tchaikovsky memorial concerts after his untimely death.

Slide No. 11 (video fragment starts automatically)

In September 1935, Sergei Prokofiev (1891-1953) completed his work on the music for the ballet Romeo and Juliet. This work is recognized as brilliant and very popular all over the world.

Ballet in three acts, thirteen scenes, with a prologue and epilogue. In the role of Juliet - Galina Ulanova; Romeo - Konstantin Sergeev.

Let's remember the characteristic features of the ballet genre in music.

Children:

Ballet is a theatrical performance where the characters express everything through singing. For the ballet, sets are made and costumes are sewn. The ballet is performed by a symphony orchestra under the direction of a conductor.

Slide No. 12 (memory text expands automatically)

Juliet had a special role in the life of Galina Ulanova. She recalled: “For a long time I couldn’t start preparing the part of Juliet with any of my students. Saying goodbye to her is the same as saying goodbye to a living person. Once I was in Italy, we were taken to Verona. In Verona, I stood in front of Juliet's balcony, at the monument above the crypt. And here, at Juliet’s crypt, I felt that I would never dance again, it was very sad. It was as if I had gone through something... It was evening when I called Katya Maximova: tomorrow we start rehearsing Juliet.”

Slide No. 13 (video fragment starts automatically)

The image of Shakespeare's heroine is perhaps the brightest and most piercing color in the creative palette of the ballerina Ulanova. In St. Petersburg, on the Alley of Heroes of Victory Park, a bronze bust was installed, depicting the artist in the famous role.

Slide number 14.

Later, many famous ballet dancers performed in this production: Raisa Struchkova, Marina Kondratyeva, Maya Plisetskaya, Natalia Bessmertnova, Ekaterina Maksimova, Valentina Kozlova. There are two famous film versions of Prokofiev's ballet. The music in Prokofiev's ballet conveys the subtlest psychological movements of the human soul, the richness of Shakespearean thought, passion and drama. Prokofiev managed to recreate Shakespearean characters in the ballet in their diversity and completeness, deep poetry and vitality.

Slide No. 15 (video fragment starts automatically)

The humor and mischief of Juliet are the girls and the simplicity of the Nurse.

Slide No. 16 (video fragment starts automatically)

Wisdom of Pater Lorenzo.

Slide No. 17 (video fragment starts automatically)

The festive and exuberant color of Italian streets.

Slide No. 18 (video fragment starts automatically)

Poetry of love of Romeo and Juliet.

Slide No. 19 (video fragment starts automatically)

And also, the drama of the death scenes - all this is embodied by Prokofiev with skill and enormous expressive power. Turning to Shakespeare was a bold step for Soviet choreography, since, by all accounts, it was believed that the embodiment of such complex philosophical and dramatic themes was impossible through the means of ballet. Prokofiev, showing innovation, proved the opposite.

Slide number 20.

It would be strange if the famous Shakespearean story were not reflected in the most popular form of art - cinema. There are several film versions of Romeo and Juliet. But perhaps the most popular film “Romeo and Juliet” is the film by Italian director Franco Zeffirelli, released in 1968. The main roles were played by very young actors – Olivia Hussey and Leonard Whiting. The film by Franco Zeffirelli features beautiful music by composer Nino Rota, who is most famous in the field of cinematic music for his inimitable creativity. One of the conservatories in Italy is named in his honor. He collaborated with many directors. In 1974, Rota received an Oscar for best music for the film “The Godfather” and wrote music for all of Federico Fellini’s films.

Slide No. 21 (video fragments of the film start automatically)

The most famous motif in the film “Romeo and Juliet” was the theme of love - it varies throughout the film and accompanies all the main scenes of Romeo and Juliet. Harmoniously intertwined with the film narrative, music acts as a narrator. This music is recognized as classical and has even become a kind of musical calling card for Romeo and Juliet. In the year the film was released, the song “What is a Youth” took first place in popularity, displacing even the hits of the Beatles. Arrangements of this song have entered the repertoire of many singers and orchestras. The latest edition features music by Nino Rota performed by the Prague Philharmonic Orchestra.

I want to end my story with words from the song:

The carefree tribe of first love!
In an old play, where there is poison and a dagger
An irreparable action is being carried out.
God, save me and protect me from disasters
Faithful slaves of love.

Art movements are a system of artistic techniques, means of expression, which are designed to express a certain idea, worldview, dominant in a certain community at a given period of time. Styles have developed over the last millennium, successively replacing each other. Sometimes a new style arose as a continuation and development of the previous one, sometimes it became a consequence of a struggle with the ideas of its predecessor.

In some cases, it is so difficult to distinguish a style that it is rather classified as a direction. Thus, symbolism and cubism can be classified as an independently formed style, or they can be considered directions of comprehensive modernism.

Each era gave birth to more than one artistic style. By studying works of art, you can get to know better the time in which a particular artistic style was formed and dominated.

Main directions in art of the X - XIX centuries

Romanesque style (X - XIII centuries)

Gothic style (XIII - XVI centuries)

Baroque (XVI - XVIII centuries)

Classicism (XVII - XIX centuries)

Sentimentalism (XVIII century)

Romanticism (XVIII - XIX centuries)

Realism (XIX century)

Main trends in 20th century art

Modernism

Symbolism

Impressionism

Surrealism

It developed in the 1920s of the last century and is a style of paradoxical forms and allusions, reflecting the combination of dreams and reality. In painting, surrealism is clearly reflected in the paintings of Magritte, Ernst, Dali, Matta...