The image of a person in visual arts by epochs. Introduce the image of a person in the art of different eras

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Objectives: introduce the image of a person in the art of different eras, with a history of portrait; develop an understanding that the person's character should be expressed in the portrait image; its inner world; Forming the ability to find beauty, harmony, beautiful in the internal and appearance of a person; Intensify cognitive interest in the world and interest in the learning process.

Equipment: Reproductions of paintings with images of different era portraits; Reproduction of the painting of Leonardo da Vinci "Joconda"; Rembrandt Harmens Wang Rhine; Ilya Efimovich Repin "Solemn Meeting of the State Council."

Dictionary: Portrait.

During the classes

1. Organizational moment.

Greeting.

Yourself as in the mirror I see
But this mirror flatters me ... -

posted by Alexander Sergeevich Pushkin, seeing his portrait written by Oreste Adamovich Kiprensky. The poet, no doubt, was like himself: the same elongated face, the same curly hair and live eyes, bundlebards, framingly and thin features. But where did the mischief and irony ever be treated? Before Pushkin, a majestic sage appeared, a little tired and sad. So the poet artist saw. That is, after a hundred seventy years, I present Pushkin and we.

2. Studying a new material.

The topic of our lesson "Portrait".

The genre dedicated to the image of a person or group of people is called a portrait. The word "portrait" itself happened from the Latin word. It can be translated as "Extraction of Entity", i.e. Detection of internal content. It looks like - not the only and far from the main task of the portraitist. It also requires the inner world, the mental state of a person, his position in society. And, most importantly, the portraitist should express his personal attitude towards the model (the so-called man is called). The artist has the right to his own glance, even if portrayed presents itself otherwise.

"From the history of the portrait of"

The art of the portrait was born several thousand years ago. The earliest of the preserved works of this genre are gigantic sculptural images of the ancient Egyptian rulers of the pharaohs carved from the stone. Thousands of slaves worked on their manufacture. These huge statues were to be reached by the pharaohs on an inaccessible height, like their gods.

There were sculptural images and smaller in ancient Egypt. For example, the portraits of Pharaoh Ehnaton, Tsaritsa Nefertiti and their six daughters, made in the Sculptor's workshop. Conventional human persons appear in front of us, but made so masterfully, which is hard to believe in their current "age" - three and a half thousand years!

The genre of the sculptural portrait has reached perfection in ancient Greece, where the human personality was so high. Models for sculptors served philosophers, poets, politicians who had merits to the country. Therefore, the artist, depicting a concrete person, at the same time created the image of an ideal citizen.

In the history of art, the portrait genre not only never faded, but, on the contrary, flourished at all times - first of all, because there were always customers.

In ancient Rome, they had noble citizens and members of their families. Now we can learn a lot about how they dressed in those distant times, what hairstyles and jewelry were wore - as far as Roman sculptors were worked and truthfully.

Along with the usual, an allegorical (allegorical) portrait developed. In ancient Egypt, Pharaohs were depicted in the form of God Osiris, the queen - the goddess Isis. In the ancient Greece, Tsar Alexander Macedonsky was represented in the image of a fairy-tale hero of Hercules, closed in the lion's skin and with a closet in his hands. And in ancient Rome, the Emperor was given the appearance of the Supreme Divine of Jupiter.

The genre of the picturesque portrait developed later, in the Renaissance Epoch. Then the portrait began to divide on the front and chamber.

A parade portrait depicts a man at the time of his celebration. All his appearance speaks about it eloquently: magnificent clothes with differences and decorations, prefaby proud posture. It seems that the model is frankly posing by the artist.

Full opposite of the parade - chamber portrait. The name itself suggests that it is designed not for the front halls, but for small rooms (the word "camera" means on Latin "Room"). A chamber portrait introduces us to the inner world of a person, often unknown. The possession of the model is relaxing. Creates the impression that portrayable does not even suspect that it is drawn.

Portrait painting has reached its greatest flourishing in the 17th century. From this epoch, the images of the Lords and peasants, children and old people, kings and jesters have reached us ... incredibly, but all this human diversity embodied in his work Spanish artist - Diego Velasquez.

For many years he was a painter at the court of Spanish kings. His front portraits are very solemn and lush. They represent the royal family and courtie to know in all their external magnificence: exquisite velvet costumes and brocade, covered with jewels and embroidered with gold and lace, are able to hit the richest imagination.

But the poses of the models are too reminded by the poses of mannequins, and the human soul is not visible.

These paintings artist wrote to order, but for myself painted royal jesters. The freaks, over which the surroundings constantly mocked, caused a deep compassion from Velasquez and sympathy, which is clearly visible on numerous portraits.

The artist discovered for us that the inner beauty and nobility of these people were hidden for modest clothes and physical disabilities.

The brilliant Master of the Chamber Portrait was the Dutch artist Rembrandt Harmene Basin Rhine. The images created by them are permeated with the most different feelings: joy, sadness, deep thoughtfulness, fatigue, dignity, curiosity. Rembrant models seem to speak with us. We clearly hear each story, "told by" the movements of the eyes, eloquent gestures of hands, expressive posture ... Great Rembrandt wrote Self-portraits throughout his life. They are numbed about a hundred, and on them we can trace his challenging fate today.

The portrait genre came to Russia only in the 18th century together with European artists invited Peter first. First, on portraits, called then "Parsuni" or "Persons", depicted the king himself and its approximations.

Later, in the first half of the 19th century, the head model becomes the hero, a romantic personality. The Patriotic War of 1812 put forward to the forefront of people active, decisive. This is exactly what a Kiprensky Gusar Colonel E.V. appears before us. Davydov: Brightly red parade uniform, a solid look, a confident pose.

In the second half of the 19th century, romanticism is inferior to the realism, and the parade portrait is a chamber.

Movie played a big role in this. So the members of the mobile exhibition partnership appeared so abbreviated. His inspirer was a brilliant portrait of Ivan Nikolayev Kramskaya.

"The solemn meeting of the State Council" accommodates eighty-one model, and all are written with portrait similarity.

Conversation on the picture Leonardo da Vinci "Joconda".

Teacher. Of all the huge number of portraits in the world there is one, about which almost every person knows on Earth, but storing even after many years, his mystery. Do you think this is a portrait?

Joconda!

Why does this portrait of Leonardo da Vinci still amazing people? Why is the riddle of this painting trying to solve anyone who looks at the portrait, but it remains unsolved?

(Pupil message).

3. Tasks facing the artist.

The artist should be able to portray a person in various positions, in motion. In man, most importantly, the most expressive is his appearance and face. Therefore, the artist begins to study a person from drawing a head.

It is necessary to study the anatomy, which is

Portrait is an artistic image of a person. It should be felt a specific personality with its inherent, and only her, the peculiarities of appearance, psychology, moral appearance. The main thing is to convey the essence of portrayed.

4. Practical work.

Task: Perform drawing on a free topic.

5. Summing up the lesson.

Bibliography.

1. Encyclopedic dictionary of the young artist. Compiled by N.I. Platonova, V.D. Sinyukov. - M.: Pedagogy, 1983. - 416 p., Ill.

2. Dickins R. McCaparti I. How to learn to draw faces. Translation from English N. Vedeneeva. - M.: LLC "Publisher Rosman-Press", 2002. - 64, 64 p.

3. I.G. Mosin. Painting. Types and genres. LLC - "U - Factoria", 1999

Slide 2.

target

Introduce students with portrait genre.

Slide 3.

Tasks

Fastening knowledge about genres of fine art. Acquaintance with the story of the portrait is acquaintance with the types of portraits Development of skills to analyze the works of visual art. Education of the feeling of beautiful.

Slide 4.

The task of creating a portrait makes us in a new way to see a person, open it for yourself. How amazing people are not like each other! It seems to be arranged all the same - the eyes, nose, lips, and peeking into the person, you are amazed by human individuality! The special way of life of every person leaves the mark in his appearance.

Slide 5.

Portrait-image of a certain real person. The meaning of the portrait is in the interest of his personality, endowed with individual qualities.

Slide 6.

For us, there is always the joy of recognition. But what does "look like" or "not like"? Accordingly, the details of the face are reproduced and proportions - is it enough? It is equally important to convey the features of his behavior, to keep himself, temperament. P.-P. Rubens. Portrait of Camerist Infanta Isabella. Fragment. Butter. Flanders. XVII century

Slide 7.

Art submitted to us the faces of different eras and peoples. We see them as they imagined themselves, but each image for us is something more than similarities with one person. In each image you can see the ideals of the era, understanding the surrounding world, the nature of life. And this is exactly what we especially appreciate in portraits. Understanding life by the artist enriches our understanding of themselves. F. Lippi. Fragment of temple painting. Fresco. Italy. XV century

Slide 8.

When excavations in the Fayum, near Cairo, a plate with portraits made by wax paints were found. Before the amazed researchers appeared stunning realistic images of people who lived two thousand years ago. Their gaze is addressed to us, in their images, it is clearly the predominance of spiritual principle over bodily.

Slide 9.

In ancient Rome, the attention of artists focused on the features of the person - every fold, wrinkle or scar, revealed the life path of man, his nature,. Here they did not care about the external beauty, but in every portrait the spirit of the Spirit was emphasized, harsh confidence and will to action. Portrait of emperor Philip Marble. Ancient Rome. I in.

Slide 10.

Byzantine Empress Theodore is revealed in flickering mosaic from multicolored glass cubes - smalts. It is depicted on the temple wall at the head of the procession. This woman had controversial, bright character and saturated with the events of fate, but her personal qualities can not be understood in the unreleased expression of the royal person, frozen pose.

Slide 11.

The word "portrait" itself happened from the Latin word. It can be translated as "Extraction of Entity", that is, the detection of internal content. This is the main task of creating an artistic image, only the meaning of this internal content changeable, and therefore all the time is a search for new artistic means, a new visual language.

Slide 12.

In the work of the artist Jean Clue, a detailed costume did not prevent the face of the King Francis I. The noble restraint and impassive magty are combined with grace and unkind, stubborn eyes. J. Clue. Francis I. Oil. France. XVI in.

Slide 13.

The assertion that the spiritual essence can be conveyed through the appearance, it became especially important in the Middle Ages. With the era of the Renaissance, a new interest in real person comes to the identity of his personality. Artists of the North of Europe have learned to portray specific people with special attention to the originality of their individuality.

Slide 14.

In Russian art, artists first turned to the creation of portraits in the XVII century. And at first they wrote them in exactly the same method as the icon - on the board with tempera paints. Such portraits were called Persunov, from the word "person." Since Peter I, portrait art in Russia began to develop rapidly.

Slide 15.

Slide 16.

Slide 17.

Family portraits often decorated cabinets and living rooms in the noble estates

Slide 18.

By the end of the XVIII century. Russian painters have achieved perfect skill. Portraits were made to divide on the front and chamber.

Slide 19.

A parade portrait was usually aimed at showing the social position of the hero. Such pictures are raised, solemn. O. A. Kiprensky. Portrait of E. V. Davydov. Butter. Russia. XIX century

Slide 20.

There was no less important to the chamber portrait in which much attention was paid to individual characteristics of a person. His face is usually close to the viewer, revealing the inner world of the hero. At this time, a very complex and subtle ability to transmit hardly catchy trembling shades of experiences was especially valued. Portrait of Mary Lopukhina - The most famous portraits - images of youth, thoughtful and at the same time a little playful girl in a white dress on a scenery background

Slide 21.

A. G. Venetsian. Self-portrait. Butter. Russia. XIX century

Slide 22.

Outstanding portrait works were created in sculpture. Initially, the sculpture developed more slowly, because in Russia there was no tradition to put sculptural monuments (temples were laid in honor of the significant events), but they gradually appeared their masters. F. I. Shubin became the brightest.

Slide 23.

Slide 24.

Questions

Why not any image of a person can be called a portrait? How can it be explained that the artist's author's position appears in the art portrait? How does it relate to the task of portrait similarity? How do you explain, how do the front portrait and lyrical chamber portrait differ from each other?

Slide 25.

P.-P. Rubens Portrait of Camerics Infanta Isabella Empress Elizabeth Petrovna. Portrait of K. G. Predner. 1754 GTG

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Why in culture and aesthetics of revival was present such a clear orientation per person? From a sociological point of view, the cause of human independence, its growing self-affirmation became urban culture. In the city, more than anyone else has opened the advantages of normal, ordinary life.

It happened because the townspeople were more independent people than the peasants. Initially, the city was inhabited by genuine craftsmen, masters, because they, having left the peasant farm, counted to live only by their craft skills. Replenished the number of urban residents and people enterprising. Real circumstances made them rely only on themselves, formed a new attitude to life.

Thunders-revived seemed in antiquity what they wanted. Therefore, it was not by chance that neoplatonism was subjected to particular intellectual development in this era. A.F. Losev brilliantly shows in his book "Aesthetics of Renaissance" the causes of the special prevalence of this philosophical concept in the Epoch of Italian Renaissance. Antique (actually cosmological) Neoplatonism could not help but attract the attention of the revival of the idea of \u200b\u200bemanation (separation) of the divine meaning, the idea of \u200b\u200bthe saturation of the world (space) of the divine meaning, finally, the idea of \u200b\u200bone as the most concrete design of life and being.

God becomes closer to man. He thinks pantheistic (God merges with the world, he is spiritually evident). Therefore, the world and the person entails. Comprehension by man of the world filled with divine beauty becomes one of the main worldview of the Renaissance.

Contracted of the culture of Renaissance: the joy of self-affirmation and the tragedy of minigration. The presence of these two intersecting trends (antiquity and modification of Catholicism) determined the inconsistency of culture and aesthetics of revival. On the one hand, the Renaissance man has learned the joy of self-affirmation, on the other hand, comprehended all the tragity of its existence. Both the one and the other are connected in the world's consumption of the Renaissance with God.

The origins of the tragedy of creativity of the artists of revival convincingly shown by the Russian philosopher N. Berdyaev. The collision of the ancient and Christian began to cause a deep split man, he emphasized. Great Revival artists were obsessed with a breakthrough in another, transcendental world.

The dream of him was already given to man Christ. Artists were focused on the creation of another being, felt the strength like the forces of the Creator; They set themselves essentially ontological tasks. However, these tasks were obviously impossible in earthly life, in the world of culture. Artistic creativity, distinguished not ontological, but psychological nature, such tasks does not solve and cannot solve. The support of artists to achieve the era of antiquity and their aspiration into the highest world, open by Christ, do not coincide. This leads to a tragic maidity, to a revived longing.

The culture of Italian Renaissance gave the world to the whole pleiad of brilliant figures, immeasurably enriched the treasury of world culture. Among them, it is necessary to name the names of the painter Jotto di Bondone (1266-1337), the sculptor Donatello Donato di Nikolo di Betto Bardie (1386-1466), painter Mazacho Tommaso di Giovannii di Simone Gwidi (1401-1428), painter Sandro Botticelli (1445-1510 ), painter, scientist Leonardo da Vinci (1452-1519), painter sculptor, architect Michelangelo Buonaroti (1475-1564), painter Georgeon (1477-1510), painter Tiziano Lee Dietor (1477-1566), painter Rafael Santi (1484 -1520), painter Jacopotintors (1518-1594) and many others.

Among the species of artistic activities in German revival, as in Italian revival - painting. The first in a row of great masters of this period should be called Geeronimus Bosch. His work summarizes the achievements of medieval painting and serves as a revival prologue. In the paintings of Bosch, written mostly on religious plots, amazing the union of gloomy medieval fantasies and symbols with folklore elements and accurate realistic details. And even the most terrible allegory is discharged with such a surprisingly popular flavor that they produce a life-affirming impression. None of the following painting masters around the world will not write such fantasy, bordering the madness of the image.

Albrecht Dürer was the largest master of the Northern Renaissance in the visual arts. He left a colossal heritage: paintings, graphic work, articles, correspondence.

The creativity of Dürer was influenced by Italian Masters: he loved to be in Italy, especially in Venice. However, the specifics of the world's vision of Albrecht Dürer is in search of the opportunity to most objectively reflect the world, he was alien to Italian idealizing realism, he sought to seek from painting and drawing full reliability. This pathos is penetrated by his self-portraits, especially pencils in letters to his brother, and the portrait of the mother before death can also be attributed.

The depths of Dürer graphics can be attempting to understand through the decoding of medieval symbols that he really encounter. But it is necessary to look for the raysteries of these fascinating images in the Reformation Epoch. Maybe his engraving sheets brighter reflected the resistance of the spirit of the people of this time, their willingness to reject any claims, their incessant fabrications about the sorting result of the war. This is what you think, looking at his "rider of the apocalypse", "Melancholy".

The top of the creativity of Albrecht Dürer was a grand image of the four apostles, a genuine anthem to man, one of the most vivid expressions of reviving humanism.

It is essential from this era and creativity Lucas Kranah senior. His Madonns and other biblical heroines are obvious townsms and contemporaries of the artist. One of his best works is an innovative written "Crucifix". The sharply asymmetric composition, the unusual perspectives of traditional figures, the saturation of the color produces the impression of rejection, the premonition of public shocks. Matis Nithard, also known as the name Grunevald (1470-75 - 1528), is striking the wealth and brightness of religious fantasies, ecstatic, inventive composition. The main work of Grunevalda - "Iengeim Altar". The image of Mary with a baby is inscribed in a multifigure festive composition with angels playing for them on musical instruments. In contrast with this bright scene, "Crucifixion", gloomy and naturalistic. The image of Christ-Proshurin, a lot of barefoot, emaciated, close to agony, is associated with the participants of the peasant war.

One of the best portrait of this period can be considered Gais Golbien Jr. (1497-1543). He owns portraits of Erasmus Rotterdam and Astronoma Nicholas Brotherv, Thomas Mora and Jane Seymour, treating contemporary images as people, full of dignity, wisdom, restrained spiritual power. They also created great illustrations for the Bible and the "praise of nonsense", the cycle of the "Dance of Death" engraving.

A kind of personality was also noted the work of the head of the Danube School of Painting Albrecht Altdorofer (1480-1538). It owns priority in the formation of a landscape genre. However, his most interesting picture remains "Battle of Alexander with Godia" (1529). The battle scene on Earth is invincibleing the sun, moon and clouds in the sky. The picture is filled with many decorative parts, exquisite by color, is delightful in its picturesque skill. In addition, this is one of their first butter-written battle scenes, so Altdorfer can be considered the founder of another picturesque genre.

In the XV century in the Netherlands miniature reached a high degree of perfection.

Love, diligent, poetic look at the world view was inherited from miniatures of a large painting of the XV century, started by Jan Eyk. Little pictures adorning manuscripts have grown into large paintings that decorate the flaps of the altars. At the same time, new artistic qualities arose. It appeared what the miniature could not be: the same gaze, a focused opinion on a person, on his face, in the depths of his eyes.

In the Hermitage there is a picture of a large Netherlands Master Rogyr Van der Vagen "St. Luka writes Madonna "(Luca's evangelist was considered an artist and a patron saint of the shopkeepers). In it, many typically for the compositions of the Netherlands: the panorama of the city and the canal, written so finely, gently and carefully, with two thoughtful human figures on the bridge. But the most remarkable is the face and arms of Luke, writing Madonna "from nature." He has a special expression - carefully and loosely inconsistent expression of a person who has passed in contemplation. So looked at the old Netherlands masters.

Let's go back to Jan Van Eyka. He started like a miniature, working with his elder brother Governor. Van Eyk brothers tradition attributed the invention of oil painting techniques; This is inaccurate - the method of using vegetable oils as a binder was known and before, but Van Eyki has improved him and gave the impetus to its spread. Soon the oil turned to the Teperu

The most famous work of Wang Eykov is a large Genta altar - was started by the province, and after his death continued and in 1432 she was finished with Jan. The sash of the Grand Altar is painted in two tiers and inside and outside. On the outdoor sides - the Annunciation and the Crankshadeless figures of Donators (customers): the altar looked closed, on everyday days. On holidays, the sash swallowed, in the disclosed form of the altar became a guy more, and in front of parishioners arose, in all the radiantness of Wang Eikovsky paints, the spectacle, which should have established their scenes to embody the idea of \u200b\u200bthe atonement of human sins and the coming enlightenment. Upstairs in the center of Deesus - God-Father on the throne with Maria and John the Baptist on the sides. These figures are more human growth. Then naked Adam and Eve into human growth and groups of musitizing and singing angels. In the lower tier - a crowded Scene of worshiping Lamb, solved in a much smaller scale, very spatially, among the wide blooming landscape, and on the side sash - the scenes of the pilgrims. The plot of worship Lamb is taken from the "Revelation of John", which says that after the end of the sinful world, the Grad of God will fall on the ground, in which there will be no night, and there will be eternal light, and the river life "bright as crystal", and the tree of life, every month Giving fruits, and the city is "pure gold, like transparent glass." The lamb is a mystical symbol of apotheosis, awaiting righteous. And, apparently, the artists tried to invest all their love for the delights of the earth, to human persons, to herbs, trees, waters, to embody the Golden dreams about their eternity and adhesion in the pictures of the Gent's altar.

Jan Wang Ayke was an outstanding portrait. In his brush, a pair portrait of Arnolphin's spouses, an image of ordinary people dressed in the then pretty fashionable fashion, in an ordinary room with a chandelier, a canopy, a mirror and a room dog seems to be some wonderful sacrament. He seems to be worshiped and a candle light, and a brush of apples, and a convex mirror; He is in love with each trait of the pale long face of Arnolphin, who keeps his gentle wife as a hand, as if he performs a hidden ceremonial. And people and items - everything froze in a solemn upcoming, in awe; All things have a slapted meaning, hinting on the holiness of the marital hobby and a homely focus.

For the Italians of Renaissance, such a definition does not fit: they did not feel themselves by Middle people, at least in a high sense. Arnolphin, depicted by Jan Van Eyk, was an Italian who lived in the Netherlands; If his compatriot wrote him, the portrait would probably be different in spirit.

Deep interest in person, to her appearance and character - it brings together artists of Italian and the Northern Renaissance. But they are interested in it in different ways and see it all different. The Netherlands have no feeling of titanism and the omnipotence of the human person: they see its value in the Burger Okrug, in the qualities, among which, not the last place occupies humility and piety, the consciousness of their smallness in the face of the universe, although in this humility the dignity of personality does not disappear, but even as it is emphasized.

In the middle and in the second half of the 15th century, many beautiful painters worked in the Netherlands: already mentioned Rogyr Van der Vayden, Dirk Boauts, Gogo Van der Gus, Memling, Geertgen That Sint Jans. Their artistic individuals are quite clearly distinguishable, although not with the degree of severity of individual style, like the Italian quathertists. They preferably painted altars and wrote portraits, wrote and machine paintings on orders of rich citizens. They have a special delegation of compositions imbued with meek, contemplative mood. They loved the scenes of Christmas and worship the baby, these plots are solved with them subtle and simply. In the "worship of the shepherds" Gogo Van der Gus, the baby is skinny and miserable, like any newborn child surrounding him, helpless and coarse, with deep peaceful defendant, Madonna Tiha, like a monastery, does not raise the gaze, but it felt that it is full of modest Proud motherhood. And outside the nursery there is a landscape of the Netherlands, wide, hilly, with winding roads, rare trees, towers, bridges.

There is a lot of touching, but there is no sweetness: a gothic angularity of forms is noticeable, some of their rigidity. The persons of the shepherds in Van der Gus are characteristic of both ugly, as usual in the works of Gothic. Even angels - and those ugly.

Netherlands artists rarely depict people with beautiful, right faces and figures and are also different from Italian.

A simple consideration that Italians, straight descendants of the Romans, were generally more beautiful than the pale and loose sons of the North, maybe, of course, be taken into account, but the main reason is still not in this, but in the difference in the general artistic concept. Italian humanism will penetrate Paphos of the Great in man and passion for classical forms, the Netherlands pointed the "middle man", they have little business to classical beauty and harmonious proportions.

Netherlands feed addiction to detail. They are for them carriers of secret meaning. Lily in a vase, towel, kettle, book - all the details are carried out except directly and hidden meaning. Things are depicted with love and seem spiritualized.

Respect for themselves, to their everyday life, to the world of things was refracted through religious worldview. This was the spirit of Protestanian reforms, under the sign of which the Netherlands Renaissance passes.

Less comparatively with Italians Anthropomorphism of perception, the predominance of pantheistic principle and direct continuity of gothic affects all components of the style of the Netherlands painting. In Italian quatripentists, any composition, no matter how saturated with the details, more or less strict tectonics. Groups are built like a bas-relief, that is, the main figures the artist usually tries to post on a relatively narrow front platform, in a clearly defined closed space; It is architectonically balanced by him, they are firm on their feet: we will find all these features already at Jotto. Netherlands compositions are less closed and less tectonic. Their depth and gave them, the feeling of space they have more, air than in Italian painting. In the figures there are more solarness and unscrews, their tectonics is broken by a fan-shaped diverging book, broken out the folds of the robes. The Netherlands love the game of lines, but the lines serve not to the sculptural tasks of building volume, but rather ornamental.

Finally also develops such a type of composition, where there is no center at all, and the space is filled with many equal groups and scenes. At the same time, the main actors sometimes turn out to be somewhere in the corner.

Such compositions are found at the end of the XV century in Jerome Bosch. Bosch is a remarkable original artist. Purely Netherlands Tensile and observation are combined with an unusually productive fantasy and a very gloomy humor. One of his favorite stories is "the temptation of St. Anthony", where the hermit is precipitated by the devils. Bosch inhabited her paintings by legions of small crawling, prisoner. It becomes completely terribly when these monsters are noting human parts of the body. All this kunstkamera of ammunition demons is significantly different from medieval chimeras: they were greatest and far from so sinners. Apotheosis of the Bosshov Demonology - His "Music Hell", similar to the garden torture: Nude people, mixed with the monsters with the monsters with the monsters, are swinging in painful lust, they will be crucified on the strings of some giant musical instruments, stuffing and repaid in mysterious devices , fuse in the pit, swallowed.

But it is worth saying about romantic currents, that is, those who were influenced by Italian Ginkvuene, - they began to spread in the Netherlands in the XVI century. Their carelessness is very noticeable. The image of the "classic nudity", the beautiful of the Italians, the Netherlands was not resolutely and looked even somewhat comically like "Neptune and Amphitrite" Yana Goszart, with their lush bloated televisions. There was Netherlands and their provincial "mannerism."

We note the development of genres of household and landscape stalks made by the Dutch artists in the XVI century. Their development contributed to the fact that the wider circles, hating the papacy and the Catholic clergy, were increasingly disgusted with Catholicism and demanded church reforms.

Pure genre paintings began to appear with the image of traders in the shops, changed in offices, peasants in the market, players in the card. The household genre grew out of the portrait, and the landscape - from those landscape backgrounds that were so loved by the Netherlands masters. The backgrounds grow up, and remained only a step to a pure landscape.

Fine Art and Drawing Teacher

Semyshkina Lyudmila Semenovna

MBOU SOSH number 10

3 quarters

Looking at a man. Portrait in pictorial art.

Lesson 16.

The image of a person is the main theme of art.

Objectives: introduce the image of a person in the art of different eras, with a history of portrait; develop an understanding that the character of a person should be expressed in the portrait image; its inner world; Forming the ability to find beauty, harmony, beautiful in the internal and appearance of a person; Intensify cognitive interest in the world and interest in the learning process.

Methods and techniques:

Written techniques, partially search method, information and receptive, use of ICT technology.

Forms of work:

individual, steam room, frontal.

Equipment lesson:

For Teacher: Computer, Projector, Screen.

For students: creative notebooks, paints, pencils, albums.

During the classes

Hello guys!

Open diaries and install your homework for the next lesson you will need: colored paper, pencil glue, scissors, markers, and paper (beige, gentle pink.) Guys who will listen to me carefully and answer questions, then at the end of the lesson, you can easily handle With the task that I will give you.

And I will start a lesson with the poem of Nicholas Zabolotsky.

Love painting, poets!

Only to her, the only thing, given

Souls changeable signs

To transfer to the canvas.

You remember how to have been from the darkness,

Barely wrapped in atlas

With rokotov portrait again

Watched a just on us?

Her eyes - like two fogs,

Semi-cough, semi-foam,

Her eyes - like two deceptions

Millet covered failures.

The connection of two riddles

Half-vestor, half-visual,

Crazy tenderness of the seizure

Anticipating mortal flour.

When dotteches are coming

And the thunderstorm is approaching

From the bottom of my soul flicker

Her beautiful eyes.

Teacher: what is this poem? What can I give a name?

Children: Portrait.

Teacher: Right! So you probably guessed.

Theme of today's lesson? - Portrait.

Teacher: And who knows what portrait is?

Children: …

Portrait is an image or description of any person or a group of people existing or existing in real reality.

Teacher: Guys, what can you show or pass using the portrait?

Children: …

Teacher: With the help of portrait, you can show the character, the inner world, the vital values \u200b\u200bof a person, as well as at what time this person lived.

Teacher: Guys, let's write down the definition. On the left side of the album.

Today at the lesson you will learn the story of the genre of the portrait.

Portrait appeared in our world several thousand few years ago. Already in ancient Egypt, the sculptors created a fairly accurate similarity of the appearance of a person.

Teacher: Guys, and someone knows why the sculptors created the statues of an exact copy of the person?

Children: …

Teacher: The statue was transferred to the portrait similarity so that after the death of his soul, his soul could accommodate it, it is easy to find its owner. One of the famous portraits of that time is the portrait of Nefertiti (about 1360 to our era.) -Slide 1.

Teacher: Guys, see what she had feathers, what a long beautiful neck, see how she proudly holds her head. Guys, as this sculpture, let's send, and look at it on the other.Slide 2.

Teacher: Guys, pay attention to the eyes of the queen Nefertiti, there is no one eye. What do you think why?

Children: At that moment, when the bust was created, the queen was still alive.

Teacher: That's right, well done!

Guys, these images were not created for admissions, but for clock cults. Egyptians believed about life after death.

These goals served and picturesquefayum portraits performed in the techniqueenkaustiki . (Wax painting). -Slide 3.

Fayum portraits - The funeral portraits created in the technique of Enkautics were found in Rome Egypt in the town of Faym. They are an element of modified under the Greek-Roman influence of the local funeral tradition: the portrait replaces the traditional funeral mask on the mummy.

The vitality and accurate psychological characteristic distinguished the ancient Roman portrait busts. They reflected the nature and individuality of a particular person. An image of a person's face in sculpture or painting at all times attracted artists. The genre of the portrait in the Renaissance is especially bloomed, when humanistic, effective, human personality was adopted by the main value. (Leonardo da Vinci, Rafael, Titian)Slide 4,5,6

Leonardo da Vinci "MONNA LIZA" - Madonna Lisa was very beautiful, then during the Scripture of the portrait of Leonardo da Vinci held people who played on the lyre or sang, and then there were constantly jesters who supported the fun and removed melancholy in it, which is usually reported by the portrait.

Teacher: Guys, but this is only an assumption, and there are a lot of them.

Humanism approves the value of a person as a person, his right to freedom, happiness, development, manifestation of their abilities.

Renaissance masters deepens the content of portrait images, give them to intelligence, spiritual harmony, and sometimes internal drama. In Russia, the portrait genre actively began to develop from the beginning of the 18th century. (F. Rokotov, D. Levitsky, V. Borovikovsky) created a series of magnificent portraits of noble people. -Slide 7. Especially lovely and charming, female images written by these artists were permeated with lyricism and spirituality.

D. Levitsky. Portrait of Maria Alekseevna , imbued with the author's deep sympathy to its model. Charm and attractiveness, young woman did many of her friends, poets dedicated to her poems.

In the first half of the 19th century, the main hero of portrait art is becoming a dreamy and at the same time prone to a romantic personality (in the paintings of O. Kiprensky, to Bryullov.) -Slide 8.9 . In the 20th century, the portrait combines the most controversial trends - bright realistic individual characteristics and abstract expressive demonstrations of models (P. Picasso, A.Boledo, M. Vrubel.)Slide 10, 11.

Teacher: Guys, what kind of portrait do you know?Slide 12.

Children: …

Teacher:

Parade

Chamber.

Teacher: Guys, what does the main one mean?

Children: Such a portrait is displayed at the bottom, and the chamber or (intimate) is intended for the close circle of people.

Regular (representative) portrait - As a rule, it assumes the show of a person in full growth (on a horse standing or sitting). In the parade portrait, the figure is usually given on an architectural or landscape background;

Chamber portrait - Used belt, sulfur, salted image. Figure is often given on a neutral background.

Also, the portrait is double or group.

Group - Call portraits written in different canvas if they are consistent with each other in composition, format and flavor. Most often these are portraits of spouses.

Often, portraits form whole ensembles - portrait galleries. They are usually depicting representatives of the same kind, including healthy family members and their ancestors.Slide 13.

If in the portrait, a person is represented in the form of any historical, theater or literary character, such a portrait calledCostume. The name of such portraits includes words"as" or"in the image" For example (Catherine 2 in the form of Minerva.)Slide 14.

Minerva is a lightning goddess of mountains and useful discoveries and inventions.

So, you learned that portraits convey to us not only images of people of different eras, reflect some of the story, but also talk about how the artist saw the world, as he belonged to the portrait.

Teacher: And now I will check who listened carefully.

So now we will solve the crossword on the topic of the portrait. I will read questions, and you answer.

Portrait that is intended for a close circle of people.

(Chamber)

If a person is represented in the form of a person, a historic, theater or literary character called such a portrait? (Costume)

The main task of this portrait is the glorification of the royal groups and their approximate, noble and high-ranking persons. Such a portrait is exhibiting atpon? (Main)

What was the name of the ancient Egyptian queen? (Nefertiti)

Where were the first picturesque portraits written by wax paints? (in Fayum)

What is the name of the Holy Image of a man in sculpture?

(Bust)

If you see that from the picture

Looking at any of us -

Or prince in the vintage rainco

Or in the robe overgrown

Pilot or ballerina

Or kolk, your neighbor, -

Mandatory picture

Called portrait.

Teacher: Guys, look, it turned out the word portrait.

Total lesson:

Self-assessment sheet of students in class:

Complete the sentences:

2. In the lesson I was difficult to _________________________________________

_______________________________________________________________

3. Now I know how ______________________________________________

__________________________________________________________________

4. At the lesson, I did _____________________________________

______________________________________________________________

Homework: Write a brief story about one portrait.

Teacher: You were active today, listened carefully, well done! Thank you for your attention, the lesson is over. Goodbye.