The more attractive looking minimalist home designs are not truly minimalist, because these use more expensive building materials and finishes, and are relatively larger. Contemporary architects working in this tradition include John Pawson, Eduardo Souto de Moura, Álvaro Siza Vieira, Tadao Ando, Alberto Campo Baeza, Yoshio Taniguchi, Peter Zumthor, Hugh Newell Jacobsen, Vincent Van Duysen, Claudio Silvestrin, Michael Gabellini, and Richard Gluckman. Classicism Classicism, in the arts, refers generally to a high regard for classical antiquity, as setting standards for taste which the classicists seek to emulate. The art of classicism typically seeks to be formal and restrained: of the Discobolus Sir Kenneth Clark observed, "if we object to his restraint and compression we are simply objecting to the classicism of classic art. A violent emphasis or a sudden acceleration of rhythmic movement would have destroyed those qualities
. Tallinn delightful ofcourse - europe. sightsseeings, , intresting. Toompea Nevsky, 1900. Tallinn Mikhail Preobrazhenski St. Petersburg. . Toompea . 16th , Tallinn Europe. , Riga Vilnius , 80 2.35km . St Mary 1223 Toompea. More commonly , noblemen. (Toomkirik) Kiriku . GLAVN Lutheran . . 1878 Classicism Romanticism. 2 , . 1510-1529 seaward storehouse gunpowder, . , Maritime viewing on top of . Toompea , Kiek de Kök (peek ). 38m , 17m 4m . St ` ' Berndt Notke. St , . back to 13th , 1230 . St . Toompea ` ' . : Hermann , Czarist
Emperors new personal painter. (Graham-Dixon, 2008, p.268) With regard to the French artists in general, in the 18th century they were dependent on the Academy and therefore very restricted by formalities. King Louis XIV had forced painters to be extremely classical in their style and keep the paintings as clear and formal as possible. (Friedlaender, 1952, p.5) By the second half of the century political changes allowed art to be freer and therefore classicism started to bear a rather political note. Political art, various pamphlets, literature and the Enlightenment laid the foundations of the soon coming French Revolution. (Friedlander, 1952, p.7) Analysis To begin with, the 18th century was all about the rebirth of classicism and antiquity. Surprisingly, it was very hard for David to find examples from Antique, because they almost did not exist. Only some paintings that were meant for decor in Pompeii were preserved. That
· In America the Declaration of Independence, July 4, 1776 · The French Revolution, 1789 · The King of England was George III, after him George IV and then Queen Victoria Outcomes: · Revolution did not bring welfare · Lives of the lower-classes worsened · Extended the distance between the lower and upper class · The rich got richer, the poor got poorer 2. Romanticism is a reaction against classicism, science and atomic (aesthetic ideal of order and unity) worldview. Romantic ideal is the organic world. Romanticism: · Returns to nature and belief in the goodness of mankind · Exaltation of the senses and emotion overcome reason and intellect is the time when novels became more important · Imagination is very important, it is a God-like creator (W. Blake: "I know that this world is a World of Imagination and Vision") 3. Romantic image of the poet
17 neighborhoods City of Good Thoughts 16 twin towns Urmas Kruuse http://www.zacekfoto.ee/images/pilt2575.jpg Town Hall Built in 1782-1789 3rd building Tartu Town Council and Town Government Planned by Johann Heinrich Bartholomäus Walter (Rostock) Jail, public scale hall, town council Der Grosse Markt the http://static1.fotoalbum.ee/fotoalbum/0/31 town's most important market 8/03180408b7d8.jpg Mix of classicism, baroque and rococo Town Hall Square Surrounded by buildings built in the classical style Christmas trees http://www.zacekfoto.ee/ima ges/pilt429.jpg http://y.delfi.ee/norm/101275/13 282207_ZzP1KV.jpeg The Kissing Students Sculpture and fountain Conceived by Mati Karmin in 1998 http://y.delfi.ee/norm/135583/6891705_oM J3kb
wanted security and they found it in old things; Middle ages became popular, "Morte d'Arthur" by Thomas Malory 2) Ruskin and the medieval revival · Who was Ruskin and what were his ideas of art and culture? He was the greatest critic in the English language; rhetorician (person in the society, who always has sth to say about anything; not part of the politics, usually from arts department...); cast nature as a reflection of divine truth; instead classicism, looking for sth essentially British; believed in artistic socialism art and morality closely linked; against mass production , emphasis on quality; preferred Gothic, medieval revival in architecture; he taught people to appreciate art and he said that things that are important to British should be from Britain (not from other countries around the world) · The more prominent artistic and cultural movements of Victoria Britain:
reach, through a preexisting impersonality — never to be confused with the castrating objectivity of the realistic novelist — that point where language alone acts, “performs,” and not “oneself”: Mallarme’s entire poetics consists in suppressing the author for the sake of the writing (which is, as we shall see, to restore the status of the reader.) Valery, encumbered with a psychology of the Self, greatly edulcorated Mallarme’s theory, but, turning in a preference for classicism to the lessons of rhetoric, he unceasingly questio- ned and mocked the Author, emphasized the linguistic and almost “chance” nature of his activity, and throughout his prose works championed the essentially verbal condition of literature, in the face of which any recourse to the writer’s inferiority seemed to him pure superstition. It is clear that Proust himself, despite the apparent psychological cha-
poem’s meaning To the Noblest & best of Ladyes, the Countesse of Denbigh Henry Vaughan: many obvious borrowings, striking opening lines. The World Andrew Marvell: many strands of 17thC thought, feeling and style, created the tradition of garden poems The Definition of Love, To His Coy Mistress, The Garden Ben Jonson: IX: Song: To Celia, II: To Penshurst; Hymn to Cynthia. 4. The arrival of classicism in England. The impact of the art collections of the Earl of Arundel and Charles I Inigo Jones, travel with Thomas Howard, Earl of Arundel. Purpose: in-depth study of ancient and modern architecture. Italy, Venice, Vicenza, Rome, Naples. New cultural scene, looked back to early Roman Empire. Arundel: influential, new ideal for gentleman’s life. Promotion of foreign culture, Renaissance Italy, world of classical antiquity. Virtue: civility, grace, elegant manners, interest in learning
The cathedral of Saint Mary the Virgin in Tallinn .http://www.eelk.ee/~eelk109/english.htm The Organ The Tallinn Dome Church organ, that was built in 1878 by an organ builder of Weissenfeld Friedrich Landegast , rebuilt in 1913/14 by a famous German organbuilding enterprise Orgelwerkstatt Wilhelm Sauer and renovated by Christian Scheffler (Frankfurt/Oder), has an outstanding position in world organ-history. The organ is a marvelous mixture of both Classicism and late Romanticism. During the intensive renovation in 1998´s seven months the complete cleaning and restoration of the pipes, the creation of the missing registers and pipes, the renewing of the leather parts, the cleaning and renovation of the keyboard, the control of the bellows and the intoning of the organ and the tuning on the original pitch 435 Hz at the temperature 15 ´C was done. As in 1914 the I World War cancelled the full accomplishment of the organ and the following decades
is clear and the colors are low-keyed. Exemplary artists. Charles Sheeler (early C-20). His background lay in the analytical methods of Cubism. He worked in photography which were concerned with abstract patterning that he later transferred to his paintings. He painted skyscrapers, factories, rural and urban life. His work is marked by illusionistic clarity, sharp objectivity, structural design, idealistic mood and temporal stillness. He incorporated abstraction, realism and classicism. Charles Demuth (early-C20). He started with watercolors, especially watercolor illustrations. His art is fragile and cold. His style is one of "hard" geometric abstraction (akin to Cubism), flattened prismatic shapes, intersecting diagonals, shafts of light. Urban architecture in his paintings is simplified. Subsidiary artists: Rawlston Crawford, George Ault, Niles Spencer, Peter Blume, Joseph Stella, Stuart Davis, Preston Dickinson. American Scene
is clear and the colors are low-keyed. Exemplary artists. Charles Sheeler (early C-20). His background lay in the analytical methods of Cubism. He worked in photography which were concerned with abstract patterning that he later transferred to his paintings. He painted skyscrapers, factories, rural and urban life. His work is marked by illusionistic clarity, sharp objectivity, structural design, idealistic mood and temporal stillness. He incorporated abstraction, realism and classicism. Charles Demuth (early-C20). He started with watercolors, especially watercolor illustrations. His art is fragile and cold. His style is one of "hard" geometric abstraction (akin to Cubism), flattened prismatic shapes, intersecting diagonals, shafts of light. Urban architecture in his paintings is simplified. Subsidiary artists: Rawlston Crawford, George Ault, Niles Spencer, Peter Blume, Joseph Stella, Stuart Davis, Preston Dickinson. American Scene
This introduction set a precedent for secular works to be composed in the vernacular, while sacred texts would remain in Church-Slavonic. However, his work was often incredibly theoretical and scholarly, focused on promoting the versification of the language with which he spoke. While Trediakovsky's approach to writing is often described as highly erudite, the young writer and scholarly rival to Trediakovsky, Alexander Petrovich Sumarokov, 17171777, was dedicated to the styles of French classicism. Sumarokov's interest in the form of French literature mirrored his devotion to the westernizing spirit of Peter the Great's age. Although he often disagreed with Trediakovsky, Sumarokov also advocated the use of simple, natural language in order to diversify the audience and make more efficient use of the Russian language. Like his colleagues and counterparts, Sumarokov extolled the legacy of Peter I,
UNO SOOMERE ESTONIAN SYMPHONIC MUSIC. THE FIRST CENTURY 1896-1996. AN OVERVIEW With a Historical and Cultural Summary IN MEMORY OF THE GREAT ESTONIAN COMPOSERS CONTENTS ESTONIA AND THE ESTONIANS FOREWORD IN THE FOLD OF TSARIST RUSSIA. EMERGENCE AND FIRST STEPS ON THE CLASSICAL-ROMANTIC PATH. HISTORICAL INTRODUCTION I. MUSICAL LIFE IN TARTU AT THE TURN OF THE CENTURY. TRAILBLAZERS: ALEKSANDER LÄTE, RUDOLF TOBIAS, ARTUR KAPP. II. THE FIRST DECADE OF THE 20TH CENTURY. ARTUR LEMBA: THE BEGINNING OF ESTONIAN SYMPHONY AND OPERA. III. NEW DEVELOPMENTS IN CULTURAL AND MUSICAL LIFE: THE END OF THE TSARIST PERIOD. THE INDEPENDENT REPUBLIC OF ESTONIA: THE INTRODUCTION OF INNOVATIONS FROM WESTERN ART AND THE EVOLUTION OF NATIONALLY ORIENTED MUSICAL TRENDS. IV. THE TWENTIES. ARTUR KAPP: ROMANTICIST AND DRAMATIST. V. THE INFLUENCE OF NEW WESTERN MUSIC...
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