The origins of the art of silhouette in Russia. Open lesson in fine arts

• to acquaint students with expressive means of graphics;
• tell about the origin of the word "silhouette";
• develop creative imagination;
• form the skills of conveying mood in the drawing.

Equipment:

• landscape sheet, rectangle made of black paper 10x14 cm,
• pencil,
• scissors,
• glue,
• eraser,
• brush,
• rags.

For students:

• linear spot portrait<Рисунок1>, <Рисунок2>,
• silhouettes by N. Ilyina "Pushkin and the nanny"<Рисунок3>,
• cover by E. Narbut for the book of fables by I.A. Krylov<Рисунок8>/ on each school desk 1 copy /.

For the teacher:

• silhouette of Krylov,
• black butterfly<Рисунок9>, white butterfly<Рисунок10>, colored butterfly <Рисунок11>, a whole flock of butterflies / silhouette /<Рисунок12>,
• silhouette illustrations from Krylov's fable / "The Crow and the Fox"<Рисунок5>, "Pig and Oak"<Рисунок6>, "Fox and Grapes"<Рисунок7>other/.

Figure 7

During the classes

1. Org. Moment

2. The main part of the lesson

Dear guys, Today we will look and talk about unusual jobs.

These works carry out graphic artists. They love black very much, because it is the main painting color and they cannot do without it. Everything is depicted in them in the form of black shadows. Such images are called silhouettes.

Silhouette - view graphic image... This is a planar monochromatic image of figures, objects.

- Why do we say what silhouette - this image is in the form of a shadow, which necessarily repeats the object itself?

So there are other shadows as well?

Indeed, silhouettes can be not only black on a white background, but also white on a black background. (See fig. 1, 2, 3)

Consider the following plot of the composition.

The great poet reads poetry to the nanny, and maybe a fairy tale. She listens to him, sitting at the table, and knits something. The cat must have come to listen too.

- Every object, every figure - these are silhouettes, but not just in the form of shadows, but shadows that repeat the shape of objects and figures.

- And can you and I see, determine at what time of the day and even of the year the action takes place in this composition?

Outside the window, white silhouettes of snow-covered trees, a moon and stars on a black background are visible.

It means winter, late evening.

And this person is unlikely to be recognized by the silhouette image.

So this is a silhouette of the figure of the great fabulist I.A. Krylov. Big and formidable, wearing a hat and a cane, he walks through the park.

- What season?

The silhouettes of the intertwined, bare branches of the trees tell us about autumn.

Guys, please tell me, looking at these drawings, can you name Krylov's fables? (See fig. 5, 6, 7)

Let's see, what a wonderful cover E. Narbut did for the book of Krylov's fables.

What is depicted on it in black silhouettes, and what - in white? (See Fig. 8)

- Yes , these are shadows falling from objects and figures.

Remember. You are walking down a street lit by lanterns. What's going on with your shadow?

Why is it so funny to us when we see a shadow from our figure, moving away from the lantern?

Right. The shadows lengthen and narrow.

It has nothing to do with our figure.

This means that for silhouette images, only those shadows are needed that convey the utmost resemblance to a person or object.

Let's note one more feature of the silhouette.

A black butterfly flew to a white field. (See fig. 9)

Arrived white butterfly and sat on the black field . (See fig. 10)

Arrived third butterfly- multicolored . (See fig. 11)

- How do her wings differ from the wings of silhouette butterflies, except for color?

-At the colored butterfly the wings are worked out inside - there are veins, and dots, and specks. The silhouette inside is not worked out.

Therefore, it is perceived as a stain.

Here is a whole flock of butterflies... (See fig. 12 )

From a distance, they look like black specks.

But these are not just blots. Each butterfly has its own wings.

And so we can tell the silhouettes apart from each other.

I wonder why the images in the form of shadows were called "Silhouette" and not otherwise?

- Where did this word come from?

History reference:

His name was Eugene de Silhouette. He was the Marquis and Minister of Finance of France, that is, he disposed of the money of the whole country: where and on what to spend it. The silhouette was noble and rich, but few loved him. And then one early morning a newspaper with his portrait came out. The artist depicted his head in profile in the form of a shadow.

The minister already had a long nose, but the artist decided to joke and painted it even longer. But people who bought newspapers still recognized him as their finance minister and laughed merrily, poking their fingers at the newspaper. Silhouette images began to come into fashion. It was very expensive to order a portrait for a painter, and many wanted to have their own portrait for a lower price. Such portraits were used to decorate the walls of rooms, offices, caskets, and jewelry.

Such images began to be called "Silhouettes". It was almost 200 years ago.

- Tell me, please, why do you think people's heads are depicted in profile, and not face-to-face?

Because with this head position, we have a better idea of ​​the facial features of a person in silhouette.

And today we will try to imagine and execute the silhouette of a loved one fairytale hero.

Please name your favorite fairy tale characters.

Completing the assignment:

1. On back side black rectangle to draw large-scale fairytale hero in profile.

2. You need to cut along the contour, starting from the side.

3. Nicely place both elements obtained from the black rectangle on the sheet.

4. Stick them on. Then you get a white silhouette on a black background and a black silhouette on a white background. Write the title of the lesson.

Bottom line: The most expressive silhouettes are noted. Exhibition of works.

Questions are asked:

1. What kind of silhouettes are there? / Black, white /.

2. Where did the word Silhouette come from? / From the name of the Minister of Finance Eugene de Siluet /

The art of silhouette has been known since antiquity ( cave drawings African hunters, Chinese shadows, black and red-figure silhouettes on vases Ancient Greece), but, probably, the brave and successful Evenk hunter and reindeer breeder S. Nadein (1929 - 1981) did not know about it. It was only when he was confined to a hospital bed that he discovered it. Creating his silhouettes, he most likely remembered the ornaments that his mother and other women of the camp deftly cut to decorate clothes and household items, it is not for nothing that he has many ornaments that include images of birds and animals ("Patterns of the North").

In the visual arts, silhouette is special kind graphic technique, planar monochromatic image of figures and objects. Silhouettes are drawn or cut out of paper. There is no depth in the silhouette, it is two-dimensional. But over the usual contour image of Sakhalin Island in the form of a fish, the silhouette of a deer soared. And for some reason, looking at him, we see his graceful form, volume, grace of movement, purposeful beauty of impetuous movement forward. How much impulse, expression is in it! The silhouette in this image is brought to the sound of a symbol, which is subject only to great master what was Semyon Nadein, an Evenk artist born in one of the camps in the north of Sakhalin and widely known on his native island and beyond in the 1960s – 1970s. "Deer on the Island" is one of the first and best silhouette compositions of a young reindeer breeder who was admitted to the hospital with serious illness(leg amputation).

Longing for the native camp, dreams-mirages about old life, which he tried to stop, poured into his verses:

I see blue smoke over green foliage
Chum, whitening in the wild forest,
I am from the thicket of a distant familiar path
I bring dry rotten to the house.
("Forest Song")

Trying to stop the visions, he took miniature scissors and cut silhouette compositions from hospital x-ray film. They contain a lot of specific life observations and accurately conveyed details. And therefore, skillfully carved, they acquire not only artistic, but also historical and cultural significance. Only in life itself could he notice the characteristic movement of a man making a boat, or a fisherman in a boat pushing off with a pole. In the silhouettes of his contemporaries ("Silhouettes of fellow countrymen"), small flat black figures, cut out of paper, take on life. The hunched figure of a man with an ax frozen in motion, the slow, smooth movements of a boatman with a boat hook - like eternity itself, captured in lines and shapes. A number of silhouettes depict hunting, and the skill with which these scenes are rendered is truly amazing. Small black figures are always dynamic, full of life. Only an observant artist and experienced hunter, such as S. Nadein, could subtly notice many small hunting details. The artist himself, who also possesses a literary gift, compared them with "living shadows":

They will revive, dance like living shadows,
My paper birds, animals and deer.

His passion for literature prompted him to create not only illustrations for Evenk legends ("The Winged Deer" and illustrations for the Evenk epic "Engespal"), but also the legends, legends, traditions and even the story "Maxim Kaniga". Close and highly successful relationship literary art and silhouette illustration is known in the history of art: the world of art loved this very difficult technique, which requires masterly mastery of drawing, the utmost sharpness of the eye and a sophisticated compositional gift. They appreciated both the sophistication of the material and the poetry of the image. It was their silhouette compositions-illustrations that allowed the researcher of one of them - E.F. Semyon Nadein could also say a lot in his silhouettes. Of particular interest is the portrait gallery of outstanding Russian poets and writers - A.S. Pushkin, A. Blok, M. Gorky, N.V. Gogol and illustrations for their works.

The history of silhouette art has had periods of rise and fall in interest in it. And it's always associated with the name great artist: Count F. Tolstoy, world of art G. Narbut, E. Boehm,
E. Kruglikova and others. The same thing happened in our time in the art of the peoples of Sakhalin.

And if the art of S. Nadein was widely known to the public, he would surely become one of this series of artists, adequately representing his people, making an original page in this special kind of art. Silhouettes of S. Nadein - a rare phenomenon in the art of indigenous small peoples Of the Far East... In this area of ​​creativity, he achieved masterly skill, achieving clarity of contours with expressive lines. And it is not surprising that he has followers. At the last exhibition of art of the peoples of Sakhalin, held as part of the "Commonwealth" festival in the Sakhalin regional art museum in October 2003, in addition to the silhouette compositions of Semyon Nadein, compositions were also presented by other Sakhalin artists - the uiltinka Albina Osipova (born in 1965) and the nivkhka Natalia Pulus (born in 1963), multiple diploma winners of regional, regional and regional exhibitions. Both live in the village of Nogliki in the north of Sakhalin.

The silhouette art of Albina Osipova has a completely different character. She has brought it into an independent genre, the author gives it complete equality with other types of art. Its range of topics is not wide: the nature of Sakhalin, the life of the peoples of the North and folklore motives... She cuts silhouettes from black or colored paper, introduces plans into the image, striving for a strict flatness of the image. Her silhouettes are characterized by firmness of drawing, respect for perspective and proportionality, which are necessary here no less than in a painting. A large number of the works created by her are purchased by museums and are eagerly snapped up by foreign representatives of oil companies operating in the north of Sakhalin. She makes silhouettes wonderfully, easily, with amazing speed, she does not like lace, smallness and fragmentation.

Regularity, rhythm and some stiffness are inherent in many of her compositions. Twisted trees, withered tree trunks broken by a storm, hills - pictorial symbols of the northern Sakhalin nature - are present in all the artist's paintings, enlivened by figures of people and animals. All compositions are framed with triangles, complemented by carved ornamental stripes of twigs with leaves or spirals.

V
silhouette composition No. 2, made in August 2003, despite the limited expressive possibilities silhouette, she managed to convey not only the shape and volume, but also the subtlest nuances of movement, psychological mood and even the brilliance of the image. The composition is cut out of pink-red paper, the color of which brings emotional sound to the image of the state of nature, man and animal. Their expressive poses play a significant role here, complementing and expanding the imagery of the composition. Bent leg set aside, long stick in outstretched arm, a relaxed, frozen posture of a person, a frozen deer, stretching its muzzle forward in a single impulse, as if listening to something, were numb in front of this strange beauty. The rhythm of the hills is calm and melodious. And only twisted trees and the restless rhythm of frozen bumps running from one leaf edge to another remind us of the harsh northern nature.

In terms of the strength of its characteristics, the sharpness of the solution, and the fidelity of interpretation, this silhouette has great artistic significance.

At one time a boy Sasha Yakovlev lived with A. Osipova, who took over from her the art of cutting out silhouettes. In his compositions, nature lives on its own.

The art of silhouette only at first glance may seem primitive and monotonous. Mastering the art of silhouette isn't as easy as it sounds. And, as mentioned earlier, both the firmness of the drawing and the special mastery of composition, the selection of the main thing, the rejection of secondary details, the ability to convey space, the movement of figures are needed. And how difficult it is, can be seen on the example of the development of the creative work of the Nivkh artist Natalia Pulus. To perform silhouette compositions (she also perfectly carves ornaments), she chose the favorite old material of the Nivkhs - fish skin, which she glues onto black suede. From composition to composition, her skill in cutting out silhouettes grows. And if a complex composition on fabulous plot"Bear and Chipmunk" is assembled from separately cut out parts, the figures of animals are not very expressive, the composition "Deer" is very compact, as if in one breath: bushes, deer legs and a twisted tree grow from the whitish shade of the grass. Deer antlers sprout into a strip of earth and hills in the background, which in turn are inseparable from the top of the tree.

Each item (tree, fell and deer) is a symbol of the unassuming nature of the north of Sakhalin. The childlike image of a large deer gives a special charm to the depicted image.

The popularity of the art of silhouette and creativity of Semyon Nadein among the peoples of Sakhalin is also evidenced by various embroideries made from drawings from his silhouettes ("Motherhood", "Deer on the Island"). In children art schools not only the decorative and applied art of the peoples of the north of Sakhalin is studied, but also the carving of ornaments and silhouettes.

Such a number of lovers of the art of silhouette compositions makes it possible to think about the penchant for this kind of art of the peoples of the north of Sakhalin. Cutting out silhouettes is consonant with the long-standing ability of these peoples to carve magnificent ornaments to decorate clothes and household items that have ancient roots. The art of Sakhalin silhouetteists is closest to the ancient origins, which is probably why another surge of interest in it was born on Sakhalin.

Alexandra MARAMZINA,
head of the arts and crafts sector
Sakhalin Regional Art Museum

Just like you, the first viewers of this picture were surprised. It was shown by the artist at the beginning of the last century. The audience was perplexed, argued, laughed, but the picture was saved for posterity. - Why do you think it is now kept in the museum? - What is special about her? Artist Kazimir Malevich made his contemporaries think about semantic load colors. Before us is not just a black square spot on a white background. It is darkness and light. And there is a constant struggle between them. Either we seem to be sucked in by the black well of space, then it seems a few more moments - and everything will be flooded with white light.

Black and white are unusual colors. With their help, you can transfer the most diverse creative ideas... The combination of these colors is noble, strict, beautiful. Let's take a look at the exhibition graphic works... What is the genre of visual arts for each work?

What is a silhouette? A silhouette is a drawing, an image in the form of a solid spot. In such a drawing, it is impossible to show facial features or other details that are inside the spot, therefore, the external outlines of each figure should be very expressive and recognizable.

Consider a series of silhouettes famous poets and writers of Russia for centuries. Boris Pasternak and Marina Tsvetaeva.

Silhouette as a form of fine art arose in ancient times in the 6th century. BC e. In Greece, a legend was born about how the daughter of a potter Dibutara saw the shadow of her lover on the wall and circled his profile with a dagger. Thanks to this drawing, her father invented the painting style that adorns Greek vases.

The art of silhouette was revived in France. This is where the very name silhouette appeared. At the court of Louis XV, the chief controller of finance was Etienne Silhouette. The fact is that Silhouette carried out a number of reforms, in one of which he proposed to reduce the personal expenses of the king and for the maintenance of the court. Naturally, the chief controller became the subject of general ridicule of high society, after which he was forced to resign. He had only one consolation - to cut his favorite pictures out of black paper. It even had a shadow profile caricature drawn on it. This is how the name silhouette was born. It has survived to this day.

In Russia late XVIII – early XIX v. silhouettes were also trendy. Cutting out silhouettes has become a favorite pastime not only of professional artists, but also of the nobility. Black and white pictures were used as decoration in the homes of Russian nobles. Profile portrait and genre scenes were widespread. The technique of the image was different: either drawing in ink or cutting out of plain paper. In the first half of the XIX century. the greatest master of silhouette was Count Fyodor Petrovich Tolstoy. The Hermitage contains 50 silhouettes of his work, in the State Russian Museum 20 silhouettes, the same number in Historical Museum Moscow.

Tingatinga painting appeared in Tanzania (Africa) in the 60s of the XX century. Now this direction is actively developing and is popular in the world. The first paintings were painted on cardboard, and before that - on the walls of houses. I must say that the art of creation is still colorful drawings on the walls thrives in Tanzania. And this has not only a decorative, but also a practical purpose - this is how outdoor advertising often looks. Initially, all works were about 60x60 cm in size, which led to the fact that in some sources the Tingatinga is called "square painting". To create the paintings, they used paints that were used to paint cars and bicycles - enamel. V further artists tried to switch to other paints, but still the favorite are enamel and acrylic, sometimes with the addition of oil.

During the existence of the Tingatinga school, several styles have formed within it: - the images of animals and birds that have become classical, - complex multi-figured compositions of Everyday life people, often depicted in the form of a kind of "comic strip story", plots of traditional mythology, -biblical motives... Can be distinguished common features painting Tingatinga: 1. Plain background with small amount shades. 2. The main motive is applied using simple and clear lines (silhouette) and, as a rule, occupies almost the entire background. 3. Lack of perspective. 4. The sweeping and repetitive pattern of lines gives the image the character of a living expressive ornament.

Lesson topic: Means of expressiveness of graphics: spot, contour, silhouette. Creation of a collective composition.

Targets and goals:

Introduce students to general concept silhouette, the history of the appearance of the "Silhouette" technique, to determine expressive means silhouette graphics; to acquaint with the work of graphic artist G. Narbut;

understanding the role of silhouette technique in the visual arts,

develop spatial thinking, imagination, figurative vision;

consolidation of skills in working with scissors, education of accuracy,

precision, teamwork, a sense of unity.

Equipment: scissors, glue, black paper

Visual row: presentation "Silhouette", works of children

Lesson type: combined

During the classes

1 . Organizing time

2. Updating basic knowledge

Conversation

What materials do graphic artists use?

What are the expressive means of graphics.

3. Announcement of the topic of the lesson

Today in the lesson we will get acquainted with silhouette graphics and create a collective silhouette composition in the style of a frame-by-frame cartoon based on the fairy tale "Under the Mushroom" by Vladimir Suteev.

4. Learning new material

One of the language features of graphics is silhouette drawing.

V broad sense"Silhouette" - a characteristic outline of objects, both in nature and in art, similar to its shadow. In the narrow sense, "silhouette" is a type of drawing, i.e. planar monochromatic image of figures and objects. A silhouette drawn (with ink or whitewash), or cut out of paper and glued to the background, forms a solid, outlined, dark or light spot on a contrasting background. In such a drawing, it is impossible to show facial features, or any details, therefore, the external outlines of each figure must be very expressive. Silhouette portraits are usually done in profile. Silhouettes can not only be drawn, but also cut out with black paper scissors.

In Europe, silhouette art has spread since the 18th century. At the court of the French king Louis XVII, a certain Etienne de Silhouette (1709-1767) was the minister of finance. There were many jokes about him, and once some artist drew a caricature of him. It was made in an unusual way - like a shadow. Since then, this method of image has been called a silhouette, after the name of the minister.

At the beginning of the 18th century, the fashion for silhouettes, which arose in France, in a short time spread to all parts of Europe, including Russia. Profile portraits became my favorite genres, everyday scenes, illustrations, still lifes.

Black figurines also attracted 20th century artists. Known wonderful work G.I. Narbuta (created the silhouette genre in illustration), E.S. Kruglikova, N.V. Ilyin (about Pushkin) and others.

We find Silhouettes by expressive means in silhouette compositions not only on the pages of books, but also in everyday life. Silhouettes are often used when depicting symbols and emblems.

5. Practical work

Art-relaxation, during which the teacher tells the plot of a fairy tale, leading the students to the creation of thought images of silhouette pictures based on the fairy tale by V. Suteev “Under the Mushroom”.

Key points for students to learn:

Means of expressive graphics: spot, contour, silhouette;

A spot on a contrasting background;

Silhouette contour;

Correct perspective for silhouette perception;

Lack of detail.

Stages of work:

1. Distribution into groups, each group has its own task: for frame-by-frame arrangement of silhouettes in the pictures, it is necessary to prepare a certain amount of characters and background details.

Frame 1. (group 1) Mushroom, Ant, tree, clouds, grass, rain, flowers;

Frame 2. (group 2) Mushroom, Ant, tree, clouds, grass, rain, flowers, dragonfly;

Frame 3. (group 3) Mushroom, Ant, tree, clouds, grass, rain, flowers, Dragonfly, Mouse;

Frame 4. (group 4) Mushroom, Ant, tree, clouds, grass, rain, flowers, Dragonfly, Mouse, Hare;

Frame 5. (group 5) Mushroom, Ant, tree, clouds, grass, rain, flowers, Dragonfly, Mouse, Hare, Fox;

Frame 6. (group 6) Mushroom, Ant, tree, clouds, grass, rain, flowers, Dragonfly, Mouse, Hare, Fox;

Frame 7. (group 7) Mushroom, Ant, tree, grass, rain, flowers, Dragonfly, Mouse, Hare, sun, Frog, Sparrow.

2. Safety precautions when working with scissors.

3. Determination of the size of the characters, comparison with the surface of the sheet.

In the course of work, individual instruction.

6. Completion of work

Collecting compositions by frames. The main idea of ​​the tale. Lesson conclusions.

The origins of silhouette art in Russia

Purpose: The origins of the art of silhouette take us back to ancient times. Ancient legends associated the birth of painting with the appearance of the first silhouette images. This article will be of interest to teachers of fine arts, educators, educators additional education and everyone who likes the art of silhouette.

Age: children from 10 years old

Silhouette- a contour-limited display of something, a one-color contour image of something against a background of a different color, vague outlines of something in the dark, a contour, an outline of a figure without details. The term is also used as a synonym for "profile", however, unlike a profile, it can depict a person from any angle.
Silhouette- a kind of graphic technique, when the image is given on a background with a flat spot with a characteristic, expressive contour.

Dry and austere, at first glance monotonous and lifeless, the art of silhouette captivates us with its mysterious reticence and subtle grace. The closer you look at it, the more you realize that mastering the art of silhouette is not at all as easy as it seems. The firmness of the drawing, the observance of perspective and proportionality are necessary here no less than in any painting.
Despite the fact that the silhouette lies in two dimensions, and not in three, - oddly enough, the laws of three dimensions are applicable to it: a talented silhouette artist is able to convey movement, relief, and even facial expression in monotonous black spots.

Let's follow with you how the art of silhouette was born.
In ancient Greece, back in the 6th century BC, profile figures were used in vase painting: first black on a red background, and then red on black.

V Ancient China the famous Chinese silhouettes arose.
However, the art of silhouette in its present form received its true birth in France in the first half of the 18th century. It spread very quickly throughout Europe.
It was in France that the very name "silhouette" was established - after the name of the royal controller of finances, Etienne Siluet (1709 - 1767), who was fond of carving small figures from black paper at his leisure.

In Russia, the silhouette appeared in mid XVIII century. These were small portraits of associates of Peter I and Catherine's nobles.
One of the first silhouette images belongs to the largest Russian sculptor F.I.Shubin (1740 - 1805). This is a portrait of an unknown young woman, painted in black ink on a gold background.

In the second half of the 18th century, two famous masters silhouette art, which won European fame - F. Sido and F. Anting. French artist FG Sido cut out about 200 silhouette portraits of the courtiers of Catherine II from paper, and the court silhouette portrait painter Johann Friedrich Anting worked with pen and ink. Silhouettes cut out of paper were glued into engraved ornamental frames.

The technique of making the silhouettes was very different: they were drawn with ink, cut out of paper, sometimes engraved on wood, and from the beginning of the 20th century on linoleum. The classic silhouette, drawn in ink, was distinguished by a strict and clear outline, a thick black fill. For the most part silhouettes were cut out of black paper with small scissors and pasted on a board, glass or colored paper.

Silhouette images came into vogue at the beginning of the 19th century. They are created not only professional artists but also numerous amateurs. At this time, the theme of silhouette art expanded: silhouettes on historical, everyday and battle themes began to appear.
Today I would like to dwell on the works of Count F.P. Tolstoy, one of the largest and most unique masters of silhouette in Russia in the first half of the 19th century.

A sculptor, medalist, draftsman and painter, he brought a fresh stream to the art of silhouette. Most of the artists who used to work in the silhouette technique were engaged in portraiture. Fyodor Petrovich mainly worked with battle episodes and scenes from folk life... These were, as a rule, complex, multi-figured compositions.

Tolstoy turns to the silhouette after the war of 1812, when the era of classicism and its final chord - the Empire style, gradually give way to a new style - romanticism. The sculptor's hand is felt in his living, masterly carved silhouettes: each composition is whole and diverse at the same time. The expressiveness of the works allows you to memorize them literally from the first second, but the viewer gets great pleasure during prolonged viewing. These are whole stories, similar to the unfolding theatrical action.
In conclusion, I would like to say that the art of silhouette, despite the limited means of expression, is infinitely diverse, and the scope of its application is extremely wide. Through creativity contemporary artists and silhouette lovers, in the 21st century new cultural discoveries await us spectators.

References: E.V. Kuznetsova "The Art of Silhouette", 1969