Picture analysis plan for art. Composite painting analysis

Analysis of the pictorial work in the classroom lessons. From work experience

Gaponenko Natalia Vladimirovna, Head of PMM Teachers from and MHC Novoylinsky district, Fine Art Teacher MBNU "Gymnasium No. 59", g. Novokuznetsk

"Art covers and at the same time consecrates human life. But to understand artwork is far from easy. It is necessary to learn this - learn long, all my life ... Always, to understand the works of art, you need to know the conditions of creativity, the goals of creativity, the personality of the artist and the era. Spectator, listener, reader must be armed with knowledge, information ... and especially want to emphasize the meaning of the details. Sometimes a trifle allows us to be penetrated into the main thing. How important it is to know what one or another thing was written for or painted! "

D.S. Likhachev

Art is one of the important factors for the formation of a person's personality, the basis for the formation of a person's attitude to the phenomena of the surrounding world, so the development of art perception skills becomes one of the essential tasks of artistic education.

One of the objectives of studying the subject "Fine Art" is the development of an artistic image, that is, the ability to understand the main thing in the work of art, distinguishing the means of expressiveness that the artist uses to characterize this image. There is an important task of the development of the moral and aesthetic qualities of the person through the perception of the works of visual art.
Let's try to consider the methodology of learning perception and analysis of paintings

Methods of learning perception and analysis of paintings

Methods that are used in familiarizing schoolchildren with painting are divided into verbal, visual and practical.

Verbal methods.

1. Questions:

a) to understand the content of the picture;

b) to identify the mood;

c) to identify expressive means.

In general, questions encourage the child to peer into the picture, see her details, but not lose the holistic feeling of the artistic work.

2. Conversation:

a) as an entry into the lesson;

b) conversation in the picture;

c) final conversation.

In general, the conversation method is aimed at developing the skill of students to express their thought, to ensure that the child can get speech samples for this in a conversation.

3. Teacher's story.

Visual:

Excursions (virtual excursion);

Viewing reproductions, albums with pictures of famous artists;

Comparison (picture of mood, expressive means).

Practical:

Execution of written works in the picture;

Preparation of reports, abstracts;

In the lessons of the visual art, it is advisable to combine different methods of working with works of art, making emphasis on this or that method considering the preparedness of students

Working with picture

A. A. Lublinskaya believes that the perception of the picture of the child should be taught, gradually leading it to understand what is depicted on it. This requires recognition of individual items (people, animals); highlighting postures and positions of the position of each figure in the overall picture plan; establishing links between the main characters; Selection of details: lighting, background, expressions of people.

S. L. Rubinstein, T. Ovsepyan, who studied the perception of the picture, believe that the nature of the responses of children in its content depends on a number of factors. First of all, from the content of the painting, proximity and availability of its plot, from the experience of children, from their ability to consider the drawing.

Working with the picture involves several directions:

1) Exploring the foundations of the visual letter.

In lessons, students get acquainted with the species of fine art, genres, with means of expressiveness of art. Students are given skills to use the terminology of art: shadow, half, contrast, reflex, etc. Through vocabulary, the terms of art historian studies are introduced, the laws of the composition are being studied.

2) recognition about life, artist's work.

Preparation of students to actively perceive the picture is most often carried out in the process of conversation. Conversation content is usually information about the artist, the history of the painting. Tracking the life of the artist, it is advisable to dwell on such episodes that influenced the formation of his beliefs, gave direction to his work.

Forms of information about the life and work of the artist diverse : Teacher's story, Scientific film, Sometimes performances with reports are entrusted with students.

3) Using additional information.

The perception of the picture contributes to the appeal to literary works, the subject of which is close to the content of the picture. The use of literary works prepares the ground for a deeper perception and understanding by children of the pictorial canvas of acquaintance with the plot of myth.

Great importance for understanding the plot painting plays historical situation In the country studied, in a specific time section, stylistic features of art.

4) viewing the picture.

The ability to consider the picture is one of the necessary conditions for the development of perception, observation. In the process of viewing the picture, a person sees first of all that consonant with him, his thoughts and feelings. The student considering the picture, draws attention to what he worries him, occupies that is for him new, unexpected. At this point, the attitude of students to the picture is determined, its individual understanding of the artistic image is formed.

5) Analysis of the picturesque canvas.

The purpose of the analysis of the picture is to deepen the original perception, help students understand the figurative language of art.

In the first stages, the analysis of the work is carried out in the course of the conversation or the story of the teacher, gradually students conduct an analysis independently. The conversation helps the children thinner, deeper to see, feel and comprehend the work of art.

Methods of analysis of the pictorial work

Methods A. Melik-Pashayeva. (Source: Journal "Art at School" No. 6 1993 G.A. Melik-Perezaev "Festive Day" or "Terrible Holiday" (to the problem of understanding the author's plan)

Questions for the picture:

1. How would you call this picture?

2. Do you like a picture or not?

3. Tell me about this picture so that the person who does not know her could make an idea about it.

4. What feelings, mood causes you this picture?

7. Do you want to add or change something in your answer to the first question?

8. Move to the answer to the second question. Is your estimate left for the previous or changed? Why are you so evaluating the picture?

2 . Sample questions for analyzing artwork

Emotional level:

What impression makes a work?

What mood is trying to convey the author?

What sensations can the viewer?

What is the character of the work?

How to help an emotional impression of the work of its scale, format, horizontal, vertical or diagonal location of parts, the use of certain colors in the picture?

Subject:

What (or who) is depicted in the picture?

Highlight the main thing from what you saw.

Try to explain why it seems to you the main thing?

What means the artist highlights the main thing?

How are items (subject composition) are contemplated in the work?

How did the main lines (linear composition) have been carried out?

Scene level:

Try retell the plot of the paintings ..

What can do (or say) the hero, the heroine of the pictorial work, if she will come to know?

Symbolic level:

Is there any objects in the work that something symbolize?

Whether the symbolic character is the composition of the work and its main elements: horizontal, vertical, diagonal, circle, oval, color, cube, dome, arch, arch, wall, tower, spire, gesture, pose, clothes, rhythm, timbre, etc. .?

What is the name of the work? How does it relate to his plot and symbolism?

What do you think wanted to give people the author of the work?

Plan for the analysis of the pictorial work. Essay - feeling.

1.Vutor, Title Picture
2. Art style / direction (realism, impressionism, etc.)
3. Painting Stankovaya (painting) or monumental (fresco, mosaic), material (for machine painting): Oil paints, gouache, etc.
4. Genre of artwork (portrait, still life, historical, household, marina, mythological, landscape, etc.)
5. Library plot (which is depicted). History.
6. Expressive measures (color, contrast, composition, visual center)

7. The impression (feelings, emotions) - the reception of the "dive" in the plot of the paintings.

8. The main idea of \u200b\u200bthe plot of the picture. That the author "wanted to say", why wrote a picture.
9. The name of the picture.

Examples of children's work on perception and analysis of picturesque works.

The writing is the feeling of the painting I. E. Repin "To the Motherland. The hero of the past war "

I. E. Repin wrote a picture "To his homeland. The hero of the past war "Most likely in the post-war time, more precisely after the First World War.
The artistic direction in which the picture is written, realism. Stank painting, for work the artist used oil paints. Genre-portrait.
The film of Repin shows a young man who had a lot. He returns home to his loved ones and relatives, on his face can be seen serious, slightly sad expression. The eyes are full of sad sadness. He wander around the field, which seems endless, who remembers the shots of the weapons and everyone who fell on him. He goes in awareness that many of whom he loved, no more. And only crows, like ghosts, remind you of dead friends.

Repin as the means of expressive chose the cold colors of the muted tones, a plurality of shadows in the picture transmit volumes of objects and space. The composition is static, the person himself is a visual center of the composition, his glance directed to us attracts the viewer's view.

When I look at the picture, there is sadness and awareness of the fact that the current life is different from the one that was before. I feel a feeling of frost on the body, a feeling of windless drooping weather.

I believe that the author wanted to show what the people who have passed war are. No, of course, they have not changed to unrecognizable outland: the body, the proportions remained the same, those who were lucky, do not have external injections. But on the faces there will be no former emotions, a serene smile. The horrors of the war that this pretty young man survived, forever imprinted in his soul.

I would call the picture "Lonely Soldier" or "Road Home" ... But where does he go? Who is waiting for him?

Output: Thus, the perception of the artistic work is a complex mental process that involves the ability find out to understand the depicted, express competently my thought using professional artistic terms. But this is only a cognitive act. A prerequisite for artistic perception is emotional painting perceived, expression of attitude towards him. Essay - the feeling allows you to see the judgments of children who testify to the ability not only to feel beautiful, but also to evaluate.

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Principles for analyzing works of fine art

Basic principles for analyzing and describing works of fine art

Approximate volume of what you need to know is

• – Introduction to the study of the discipline "Description and analysis of artwork".

Key concepts of discipline: art, artistic image; Morphology of art; species, genre of art; plastic temporary, synthetic arts; tectonic and visual; style, "language" of art; Semiotics, hermeneutics, artistic text; formal method, stylistic analysis, iconography, iconology; attribution, impressive; Aesthetic estimate, review, quantitative methods in art historian.

• - Aesthetic theory of art: artistic image - a universal form of art and artistic thinking; the structure of the artwork; space and time in art; historical dynamics of art types; Synthesis of arts in the historical and cultural process.
• - Morphology of art: classification of art types; Genre as a category of art morphology.
• - Specific features of plastic arts as species: architecture, sculpture, graphics, painting.
• - Semiotics and hermenevics of art in the context of the description and analysis of artwork: Languages \u200b\u200bof art, a sign approach to the study of art, work of art as a text, hermeneutic understanding of the text.
• - Methodological foundations of artistic text analysis: formal-stylistic, iconographic, iconology.

Like any science, art's theory has its own methods. We will call the main: iconographic method, method of fluid, or a method of formal-stylistic analysis, the iconological method, the method of hermeneutics.

The founders of the iconographic method were Russian scientist N.P. Kondakov and Frenchman E. Mal. Both scientists were engaged in the art of Middle Ages (Kondakov - Byzantist, Mal studied the Western Middle Ages). At the heart of this method lies "The history of the image", the study of the plot. The meaning and content of works can be understood by examining what is depicted. You can understand the ancient Russian icon only deeply researched by the history of the appearance and development of images.

The problem is not shown, but as the famous German scientist G. Velflin was shown. In the history of art, Velflin entered as a "formalist", for whom the understanding of art is reduced to the study of its formal structure. He proposed to conduct a formal-stylistic analysis, approaching the study of a artistic work as a "objective fact", which should be understood primarily from him.

The iconological method of analyzing the work of art has developed an American historian and the theoretical art of E. Panofsky (1892-1968). The basis of this method is the "cultural" approach to disclosing the meaning of the work. To comprehend the image, according to the scientist, it is necessary not only to use the iconographic and formal-stylistic methods, creating synthesis of them, but also to be familiar with the essential trends of the spiritual life of a person, i.e. The worldview of the era and personality, philosophy, religion, social situation - all what is called "time symbols". Here, art historians require tremendous knowledge in the field of culture. This is not so much the ability to analyze how much the requirement of synthesizing intuition, for in one work of art, as it were, a whole era is synthesized. Thus, the Panofsky brilliantly revealed the meaning of some French Engravings, the works of Titian, etc. All of these three methods with all the advantages and minuses can be used to understand classical art.

It is difficult to understand the art of the XX century. And especially the second half of the XX century, the art of postmodernism, which a priori is not designed for our understanding: in it the lack of meaning and makes sense of the work. The basis of the art of postmodernism is the total playing principle, where the viewer acts as a certain co-author of the process of creating a work. Hermeneutics is an understanding through interpretation. But also I. Kant said that any interpretation is an explanation of what is not obvious, and that the violent act is based on it. Yes it is. In order to understand contemporary art, we are forced to join this "game without rules", and modern art theorists create parallel images, interpreting seen.

Thus, considering these four methods of understanding the art, it should be noted that each scientist dealing with this or that period of the history of art always tries to find its approach to the disclosure of the meaning and content of the work. And this is the main feature of the theory of art.

• - Factographic study of art. Attribution of artwork: attribution and impressive, attribution theory and history of its formation, principles and methods of attribution work.

The story of the protocus is bright and described in detail by domestic art historical scientists. V.N. Lazarev (1897-1976) ("History of the comer commitment"), B.R. Vipper (1888-1967) ("To the problem of attribution"). In the middle of the XIX century. A new type of "construct" of art appears, the purpose of which is the attribution, i.e. Establishing the authentication of the work, time, place of creation and copyright. The connoisseur has phenomenal memory and knowledge, impeccable taste. He saw many museum collections and, as a rule, has its own method of attribution of the work. The leading role in the development of the protocutal as the method belonged to the Italian Giovanni Morellley (1816-1891), for the first time, attempted to bring out some patterns of building a piece of painting, create "grammar of the artistic language", which was supposed to become (and became) the basis of the attribution method. Morelli made a number of the most valuable discoveries in the history of Italian art. The follower of Morelli was Bernard Bernson (1865-1959), which argued that the only genuine source of judgments is the work itself. Bernson lived a long and bright life. V.N. Lazarev in publication about the history of the comer committee enthusiastically described the entire creative path of the scientist. No less interesting in the history of the commerciality German scientist Max Friedlander (1867-1958). The basis of the Fritlegner's attribute method considered the first impression received from the art of the art. Only after that you can proceed to scientific analysis in which the slightest part can be important. He allowed that any research can confirm and add the first impression or, on the contrary, reject it. But it will never replace it. The connoisseur, on Friedland, should have artistic alarm and intuition, which "as an arrow of a compass, despite the fluctuations, indicate us the way." In domestic artistic, many scientists and museum workers were engaged in attribution work, they were considered connoisses. B.R. Vipper distinguished three main cases of attribution: an intuitive, random and third - the main path in the attribution - when the researcher is approaching from different techniques to establish the author of the work. The determining criterion of the VIPPER method is the texture and emotional rhythm of the picture. Under the invoice means paint, the character of the smear, etc. Emotional rhythm is the dynamics of sensual and spiritual expression in the picture or any other form of visual art. The ability to understand the rhythm and texture the essence of the right understanding and assessment of artistic quality. Thus, numerous attributes and discoveries made by connoisseurs, museum workers, made an indisputable contribution to the history of art: without their discoveries, we would not recognize the true authors of the work, taking fakes for the original. There were always few of these experts, they knew about them in the world of art and their activities were highly appreciated. The role of an expert expert in the XX century was particularly increased, when the art market due to the tremendous demand for the works of fine art was filled with fakes. No museum, collector will not buy a work without careful examination. If the first experts made their conclusion on the basis of knowledge and subjective perception, the modern expert relies on the objective data of technical and technological analysis, namely: transmission of the picture of X-rays, determining the chemical composition of paint, determining the age of canvas, wood, soil. Thereby manages to avoid mistakes. Thus, the discovery of museums and the activities of the experts were of great importance for the formation of the history of art as an independent humanitarian science.

• - Emotional and aesthetic assessment of artwork. Genre forms, methods of art historical research.

Primitive analysis algorithm:

Algorithm for analyzing painting

1. The meaning of the title of the picture.
2. Genre affiliation.
3. Features of the plot of paintings. Causes of writing picture. Search for a response to the question: Did the author of his idea to the viewer?
4. Features of the composition of the picture.
5. Fixed assets of artistic image: color, drawing, texture, light, manner of writing.
6. What impression was this work of art on your feelings and mood?
7. Where is this work of art?

Algorithm for analyzing works of architecture

1. What is known about the history of the creation of architectural structures and its author?
2. Specify the belonging of this product to the cultural and historical era, artistic style, direction.
3. What embodiment found in this work the formula Vitruvia: strength, benefit, beauty?
4. Specify on artistic means and techniques for creating an architectural image (symmetry, rhythm, proportion, black and color modeling, scale), on tectonic systems (ceiling-beam, silicon-arched, arous-dome).
5. Specify to belong to the type of architecture: bulk structures (public: residential, industrial); landscape (garden-park or small forms); town planning.
6. Specify the link between the external and internal appearance of the architectural structure, the connection between the building and the relief, the character of the landscape.
7. How to use other arts in the design of his architectural appearance?
8. What impression did the work on you?
9. What associations is an artistic image and why?
10. Where is the architectural structure?

Algorithm for analyzing works of sculpture

1. The history of creating a work.
2. About the author. What place does this work occupy in his work?
3. Affiliate to the art era.
4. The meaning of the name of the work.
5. Belonging to the types of sculpture (monumental, memorial, steel).
6. Use of material and processing machinery.
7. Sizes of sculpture (if it is important to know).
8. Form and size pedestal.
9. Where is this sculpture?
10. What impression was this work on you?
11. What associations is an artistic image and why?

Read more:

Sample questions for analyzing artwork

Emotional level:

• What impression makes a work?
• What mood is trying to convey the author?
• What sensations can the viewer?
• What is the character of the work?
• How to help an emotional impression of the work of its scale, format, horizontal, vertical or diagonal location of parts, the use of certain architectural forms, the use of certain colors in the picture and the distribution of light in the architectural monument?

Subject:

• What (or who) is depicted in the picture?
• What sees the viewer, standing in front of the facade? In the interiors?
• Who do you see in sculpture?
• Highlight the main thing from what you saw.
• Try to explain why it seems to you the main thing?
• What means the artist (architect, composer) highlights the main thing?
• How are items (subject composition) are contemplated in the work?
• How did the main lines (linear composition) have been carried out?
• How is the architectural structure compare volumes and spaces (architectural composition)?
• Scene level:
• Try retelling the plot of the paintings.
• Try to submit which events can more often occur in this architectural structure.
• What can this sculpture do (or say) if she is expensive?

Symbolic level:

• Is there any objects in the work that something symbolize?
• Whether the symbolic character is the composition of the work and its main elements: horizontal, vertical, diagonal, circle, oval, color, cube, dome, arch, arch, wall, tower, spire, gesture, pose, clothes, rhythm, timbre, etc. .?
• What is the name of the work? How does it relate to his plot and symbolism?
• What do you think wanted to give people the author of the work?

Analysis plan for the pictorial work

1. 1. The author, the name of the work, time and place of creation, the history of the plan and its embodiment. Select model.
2. 2. Style, direction.
3. 3. Vidid painting: steel, monumental (fresco, tempera, mosaic).
4. 4. Selection of material (for machine painting): Oil paints, watercolor, gouache, pastel. The nature of the use of this material for the artist.
5. 5. Painting (portrait, landscape, still life, historical painting, panorama, diorama, iconography, marina, mythological genre, household genre). The characterity of the genre for the works of the artist.
6. 6. Live plot. Symbolic content (if any).
7. 7. Live characteristics of the work:

• color;
• shine;
• volume;
• flatness;
• flavor;
• artistic space (space transformed by the artist);
• line.

9. The impression obtained when viewing the work.

Specifications:

• Composite diagram and its function
  • the size
  • format (vertically and horizontally elongated, square, oval, round, image and format ratio)
  • geometric schemes
  • main composite lines
  • equilibrium, the ratio of the parts of the image with each other and with the whole,
  • sequence viewing
• Space and its functions.
  • Perspective, gathering points
  • flatness and depth
  • spatial plans
  • distance between the spectator and the work, the viewer's place in the picture space or outside it
  • point of view and presence of angles, horizon line
• Light, volume and their role.
  • volume and plane
  • line, silhouette
  • sources of light, time of day, lighting effects
  • emotional effects of light and shadow
• Color, color and its functions
  • the predominance of a tonal or local flavor
  • warm or Cold Color
  • linearity or painting
  • the main color spots, their relationship and their role in the composition
  • tone, Valera
  • reflexes
  • emotional effects of color
• Surface texture (smear).
  • character of smear (open texture, smooth texture)
  • the focus of Mazkov
  • size smear
  • lessentia

Description and analysis of architectural monuments

Topic 1. Art language architecture.

Architecture as a type of art. The concept of "art architecture". Artistic image in architecture. Artistic language of architecture: the concept of such agents of artistic expressiveness as a line, plane, space, mass, rhythm (arrhythmia), symmetry (asymmetry). Canonical and symbolic elements in architecture. Concept of building plan, exterior, interior. Style in architecture.

Topic 2. The main types of architectural structures

Monuments of urban planning art: historical cities, their parts, plots of ancient planning; Architectural complexes, ensembles. Monuments of residential architecture (favors merchant, noble, peasant, profitable houses, etc.) Monuments of civil society architecture: theaters, libraries, hospitals, educational buildings, administrative buildings, stations, etc. Clothe monuments: temples, chapels, monasteries. Defense architecture: Ostrot, Towers, serfs, etc. Monuments of industrial architecture: factory complexes, hulls, forge, etc.

Garden and parking memoons, gardening and landscaped art: gardens and parks.

Topic 3. Description and analysis of the architectural monument

Building plan, building material, external volume composition. Description of street and courtyard facade, door and window openings, balconies, decorative decoration of exterior and interior. The conclusion about the style and artistic advantages of the architectural monument, its place in the historical and architectural heritage of the city, village, region.

Methods of monographic analysis of architectural monument

1. Analysis of constructive and tectonic systems involves:

a) graphic detection on promising or orthogonal projections of the monument of its constructive basis (for example, the application of the outlines of the arches and domes, "manifestation" on the facade of the internal structure, a kind, "combination" of the facade with a cut, hatching of surfaces on cuts to clarify the structure of the interior etc.)

b) clarifying the degree of proximity and interconnectedness of the structural elements and the corresponding tectonic architectural forms (for example, the selection on the cuts of the rented arches, arches and the definition, their influence on the forms of bump, kokoshnikov, three-blade arches, etc.)

c) the preparation of certain tectonic schemes of the monument (for example, the diagram of the vaulted coating of the Gothic Cathedral or the scheme, the "cast" of the internal space of a crucible temple - in axonometry, etc.);

2. The analysis of proportions and proportions is carried out, as a rule, in orthogonal projections and consists of two points:

a) the search for multiple relations (for example, 2: 3, 4: 5, etc.) between the main dimensional parameters of the monument, taking into account the fact that these proportionateness at one time could be used during the construction for postponing in nature the necessary values. At the same time, the dimensional values \u200b\u200b(modules) are repeatedly found in the monument to compare with historical lengths of length (feet, seedlings, etc.);

b) Searches for a more or less permanent geometric connection of the size of the basic forms and members of the monument on the basis of natural relations of elements of the simplest geometric figures (square, double square, equilateral triangle, etc.) and their derivatives. The identified proportional ratios should not contradict the logic of building tectonic forms of the monument and the obvious sequence of the construction of its individual parts. An analysis can end with the linking of the sizes of the original geometric shape (for example, a square) with a module and historical lengths of length.

In the educational exercise should not strive to identify too much ratios, it is much more important to pay attention to the quality of the allocated proportions and proportions, i.e., their compositional significance, on their connection with the dimensional relations of the main tectonic volumes of volumes and the possibility of their use in the process Construction of the monument.

3. Analysis of Metro-rhythmic patterns may be carried out as orthogonal drawings, and the perspective image of the monument (pictures, photographs, slides, etc. D.). The essence of the method is reduced to a graphic emphasizing (line a tone color or shading) on \u200b\u200bany image of the monument and metric series of rhythmic forms both vertically and horizontally. Metric rows isolated in this way (for example, colonnades, window openings, eaves, etc.) and rhythmic rods (for example, decreasing tiers, changing arches, etc.) allow you to identify "static" or "dynamic" architectural composition of this monument. At the same time, the defiating the patterns of changes in the members of the rhythmic form of forms is closely in contact with the analysis of proportions. As a result of the study, conventional schemes are drawn up, reflecting the features of the construction of metro-rhythmic rows of forms of this architectural monument.

4. Graphic reconstruction allows you to recreate the lost appearance of the monument at any stage of its historical existence. The reconstruction is carried out either in the form of orthogonal drawings (plans, elevations), when there is a corresponding underlying cause, or in the form of a perspective image made on drawing from nature or still images (slide). As a source for reconstruction, use published vintage images of the monument, various kinds of historical descriptions, as well as materials on similar monuments of the same era.

A student for training purposes is proposed to make only a sketching reconstruction, only in general terms, the character of the initial or changed appearance of the monument.

In some cases, a student may confirate the options for the reconstruction of the same monument made by various researchers. But then it is necessary to give these options a reasonable assessment and allocate the most likely of them. The student should graphically justify the image of similar monuments or their fragments.

The special type of reconstruction is to recreate the initial and subsequently lost color of the monument - is performed on the basis of orthogonal facades or promising images with the possible inclusion of a historic town planning environment.

When executing a task on graphic reconstruction, a method of drawing and photomontage can be widely used.

5. Building architectural paintings - Acceptance of monuments of monuments with a developed volumetric composition designed for gradual perception in time, such as Erehechteion in Athens or the Pokrovsky Cathedral in Moscow. When bypassing such a monument, the viewer, due to the closing of some volumes, perceives many flowing one into the other promising images, which are called architectural paintings.

The task of the student is to allocate high-quality groups of architectural paintings, designate the perception zone of these groups of paintings and illustrate each group of one characteristic, in the form of a promising picture or a photograph (slide).

The number of high-quality different paintings usually does not exceed five-six.

6. Analysis of the scale and scale is consisted of identifying the large-scale role of the members of the architectural volume and the graphical allocation on orthogonal or promising images of the monument of characteristic details - "scale indicators", such as steps, balustrades, etc. Particular attention should be paid to the role of the order as a universal tool. architectural scale.

Methods of comparative analysis of architectural monuments

1. A comparison of the volume composition of two monuments is carried out by comparing plans, facades or cuts given to a general scale. The applications or alignment of plans, facades and cuts are very effective; Sometimes, when combining the projections of two monuments, it is useful to bring them to any general size, for example, to the same height or width (in this case, the proportions of monuments are also compared).

It is also possible to compare in order to compare the promising images of monuments in the form of drawings from nature or photographs. In this case, drawings or snapshots must be made in similar angles and from such points where the characteristic features of the volume and spatial composition of monuments are revealed. It should be traced that according to its relative sizes, the images of monuments approximately corresponded by the ratios of their size in nature.

For all cases of comparative comparisons, the difference in monuments usually acts clearer than the moments of their similarity. Therefore it is necessary graphically emphasize what unites the compared objects, such as the identity of compositional techniques, analogy, combined volumes, segmentations similar in nature, the location of the openings, and so on. D.

Description and analysis of monuments of sculpture

Art language sculpture

When analyzing the works of sculpture, it is necessary to take into account their own parameters of the sculpture as a type of art. Sculpture is a type of art in which the real three-dimensional volume interacts with its surrounding three-dimensional space. The main thing in the analysis of sculpture is the volume, space, and how they interact. Materials sculpture. Types of sculpture. Sculpture genres.

Description and analysis of the work of sculpture.

Sample plan:

1. What is the size of this sculpture? Sculpture is monumental, glass, miniature. The size affects how it interacts with space.

2. In what space was the analyzed product (in the temple, in the square, in the house, etc.)? What point of view it was calculated (from afar, from below, near)? Is it part of an architectural or sculptural ensemble or is it an independent work?

3. How much the work under consideration covers the three-dimensional space (round sculpture and sculpture associated with architecture; architectural and sculptural shape, burner; relief; bas-relief; picturesque relief; counter-relief)

4. What material is it made in? What are the features of this material? Even if you analyze the cast, it is important to remember, from which material the original was made. Go to the halls of the original, see how the sculpture performed in the material you are interested in. What features of the sculpture are dictated by its material (why was this material been chosen for this work)?

5. Is the sculpture calculated on a fixed point of view, or is completely disclosed with a circular circumference? How many completed expressive silhouettes from this sculpture? What are these silhouettes (closed, compact, geometrically correct or picturesque, open)? How are silhouettes related to each other?

6. What are the proportions (ratios of parts and a whole) in this sculpture or sculptural group? What are the proportions of the human figure?

7. What is the drawing of the sculpture (development and complication of relations between large composite blocks, the rhythm of domestic members and the nature of surface development)? If we are talking about the relief - how is the integer when changing the angle of view? How is the relief depth varies and spatial plans are built, how many of them?

8. What is the texture of the sculptural surface? Uniform or different in different parts? Smooth or "sketch" are visible traces of touching tools, spatter-like, conditional. How does this texture are related to the properties of the material? How does the texture affect the perception of the silhouette and the volume of sculptural form?

9. What is the role of color in sculpture? How does the volume and color interact, how do they affect each other?

10. What genre is this sculpture? What is she intended for?

11. What is the interpretation of the motive (naturalistic, conditional, dictated by the canon, dictated by the place occupied by sculpture in its architectural environment or some more).

12. Do you feel in the work of any other types of art: architecture, painting?

Description and analysis of painting

Art language painting

The concept of painting. Tools of artistic expressiveness: artistic space, composition, flavor, rhythm, colorful smear character. Materials and techniques of painting: oil, tempera, gouache, watercolor, mixed appliances, etc. Painting Stankovaya and monumental. Varieties of monumental painting: fresco, mosaic, stained glass and others. Painting genres: portrait, landscape, household genre, still life, animalism, historical, etc.

Description of painting works

Determination of the basic parameters of the product: author, date created, size of the picture, the picture format: an elongated horizontal or vertical rectangle (possibly with rounded termination), Square, Circle (Tondo) oval. Technique (temperature, oil, watercolor, etc.) and on what basis (wood, canvas, etc.) a picture and dr.

Analysis of the works of painting

Sample analysis plan:

1. Is there a plot in the picture? What is depicted? In which environment is the depicted characters, items?
2. Based on the image analysis, you can conclude about the genre. Which genre: portrait, landscape, still life, nude, household, mythological, religious, historical, animalist, - belongs to the picture?
3. How do you think, what kind of task is the artist - visual? expressive? What is the degree of convention or naturalism of the image? Is the conditionality to idealization or expressive distortion? As a rule, the composition of the painting composition is associated with the genre.
4. What components make up the composition? What is the ratio of an object of the image and background / space on the pattern of the picture?
5. How close to the picture plane are the objects of the image are placed?
6. What an angle of vision chose an artist - from above, bottom, flush with shown objects?
7. How is the position of the viewer determined - is it involved in interaction with the picture shown in the picture, or does he be given the role of a suspended contemplator?
8. Is it possible to call the composition balanced, static, or dynamic? If there is a move, how is it directed?
9. How is the picture space built (flat, vaguely, a spatial layer is silent, a deep space is created)? Due to what is achieved by the illusion of spatial depth (the difference in the size of the figures depicted, the show of the volume of objects or architecture, using color gradations)? The composition is developed by means of drawing.
10. How pronounced in the painting linear start?
11. Stressed or scratzen contours, excluding individual items? What means is this effect achieved?
12. What extent is the volume of objects expressed? What techniques are created by the illusion of volume?
13. What role does the light play in the picture? What is it (smooth, neutral; contrast, pushing volume; mystical). Is the source / direction of light read?
14. Are the silhouettes of depicted figures read? How expressive them are valuable in themselves?
15. How detailed (or is the opposite generalized) image?
16. Is the variety of textures of depicted surfaces (leather, fabric, metal, etc.) transmitted? Coloring.
17. What role plays the color of the flavor (subordinate the drawing and volume or vice versa subordinates the drawing and builds the composition himself).
18. Is the color just a painting volume or something big? Is it optically reliable or expressive?
19. Local colors or tonal flavor are dominated in the picture?
20. Are the boundaries of color spots are distinguishable? Do they match the borders of the volumes and objects?
21. The artist operates with large masses of color or small stains-smears?
22. How are warm and cold colors written, does the artist use the combination of additional colors? Why does he do it? How are the most illuminated and concealed places are transmitted?
23. Are there glare, reflexes? How are the shadows (deaf or transparent, are they colored)?
24. Is it possible to highlight the rhythmic repetitions in the use of any color or combination of shades, is it possible to trace the development of any color? Is there a dominant color / combination of colors?
25. What is the texture of a picturesque surface - smooth or pasto-old? Are individual strokes are distinguishable? If so, what are they small or long, liquid, thick or almost dry paint applied?

Description and analysis of graphic works

Art language graphics

Graphics as a type of visual art. Fixed means of artistic expressive graphics: line, bar, stain, etc. Figure linear and black and white. Engraving, types of prints: woodcut, lithography, linocut, etching, monotype, aquatint and other easel graphics.. Book graphics. Art poster, posters. Applied graphics.

Description of works of graphics

Determination of basic parameters of the work: author, date of creation, sheet size, format, technique.

Analysis of the works of graphics

Sample analysis plan:

1. The general definition of the spatial situation, the characteristics of the depicted space. The space is deep or not, closed or open, in what plan focused accents. The prevailing (most essential works for this) means of building depth and their use. For example: the nature of the linear or air perspective (if used). Characteristics of the depicted space. The integrity / dismemberment of space. Decision on plans, allocation of attention (allotment of certain plans or uniformity of perception). Point of view. The interaction of the viewer and the depicted space (this item is necessary, even if there is no image of the depth space).
2. Location, ratio, interconnection of elements on the plane and in space.

Determining the type of composition - if possible. In further refinement: exactly this type of composition is embodied in this graphic work, what are the nuances of its use. Format characteristics (proportion size). The ratio of the format and composition: the image and its borders. Mass distribution within the sheet. Comprehensive accent and its location; its ratio with other elements; Dominant directions: dynamics and static. The interaction of the main elements of the composition with a spatial structure, alignment of accents.

1. Analysis of graphic technology.
2. The result of the analysis is to identify the principles of formation of form, its expressive qualities and impacts. Based on the formal and expressive qualities of the work, you can raise the question of its sense (content, idea) i.e. Go to its interpretation. At the same time, it is necessary to take into account the plot (as the story is interpreted in this work?), The specificity of the characteristics of the characters (in the plot picture and portrait - poses, gestures, facial expressions), symbolism (if any), etc., but at the same Time - means of image and therefore, the impact of the picture. It is also possible to correlate the identified individual features of the work with the requirements of the species and the genre, to which it belongs, with a wider artistic context (the art's work as a whole: the art of era, school, etc.). From this may follow the conclusion about the value and the value of the work, its place in the history of art.

Description and analysis of works of decorative and applied and folk art

Types of decorative and applied and folk art

Painting on wood, metal, etc. Embroidery. Carpets. Jewelry Art. Wood carving, bone. Ceramics. Art lamps and others.

Description of monuments of decorative and applied and folk art

Type of decorative and applied art. Material. Features of its processing. Dimensions. Purpose. Color characteristic, texture. The ratio of the utilitarian and artistic - aesthetic functions of the subject.

Analysis of monuments of decorative and applied and folk art

Example analysis plan

1. What is this subject designed for?
2. What kind of sizes?
3. How is the scenery of the subject? Where are the zones of figurative and ornamental decorations? How is the placement of images with the form of the subject?
4. What types of ornaments are used? On which parts of the subject they are located?
5. Where are the figurative images? Do they take more space than ornamental or are just one of the ornamental registers?
6. How is the register with figurative images? Is it possible to say that there are intakes of free composition or use the principle of addresses (shapes in the same poses, minimum movement, repeat each other)?
7. How are the figures depict? Are they movable, frozen, stylized?
8. How are the details of the figures? Do they look more natural or ornamental? What techniques are used to transmit figures?
9. Look, if possible, inside the subject. Is there an image and ornaments there? Describe them above the above scheme.
10. What are the main and optional colors are used in building ornaments and figures? What is the tone of the clay itself? How does it affect the character of the image - makes it more ornamental or, on the contrary, more natural?

Lyrics:

Analysis of the work is a complex work of intelligence requiring many knowledge and skills.

There are many approaches, techniques, analysis methods, but they all fit into several complex actions:

1. 1) decoding information concluded in the tissue of the work itself,
2. 2) Analytical study of the process and circumstances of creating a work of art that helps deepen and enrich its understanding,
3. 3) studying the historical dynamics of the artistic image of the work in individual and collective perception.

In the first case, work is underway with the work of claims - "text"; In the second, we consider the text in the context, detecting in the artistic traces of the effect of external pulses in the third - we study changes in the artistic image, depending on how his perception changes to various epochs.

Each artwork by virtue of the originality dictates its way, its logic, its analysis techniques.

Nevertheless, several general principles of practical analytical work with the work of art would like to draw your attention and give a few tips.

"Eureka!" (Analysis Intrigue). The first and most important thing: the work of art suggests itself, on what paths can be penetrated into the depths of the meaning of the artistic image. There is a kind of "hook", which captures the consciousness that arose suddenly the question. Search for a response to PA - in the internal monologue, in communicating whether with employees or students - often leads to insight (Eureka!). Therefore, conversations of this kind - you must learn to lead them with a group - are called heuristic. Analytical work in the museum or architectural environment is usually beginning with such issues - "decoding" information laid in the art "text".

Ask a question often much more difficult than finding the answer to it.

- Why does the "Naked Boy" of Alexander Ivanova such a tragic face?

"Why is the figure of a young man who is relaxed in the painting" Phenomena "of the same Ivanov, dressed in the clothes of Christ?

- Why empty Kyot in the picture K.S. Petrova-Vodkina "Mother" in 1915?

- Why pd Fedotov in the second version of the painting "Major's wovenness" removes Lastra - the item he was looking for so long?

- Why in the sculptural bust of S.I. Maelson Schubin Marble is polished to a fatty gloss, while in most cases "skin" persons on his portraits seems matte?

Such questions can be remembered, all of them - evidence of a unique, personal vision inherent in each person. I intentionally I do not give answers here - try to find them yourself.

In analytical work with the work of art, it will help you not only the ability to see it with a fresh eye, perceive directly, the software and the ability to abstract, silent those or other moments of perception and element of the form and content.

If we are talking about plastic arts, it is composite, schemes, analytical sketches, color "layouts", analysis of spatial construction, "playing" accessories, etc. All these and other means can be used in operation. But one thing should be remembered: any analytical reception is, first of all, a way to interfere with the elements of the form, their comprehension. Measure, lay out, draw the diagrams, but not for the sake of these schemes themselves, and in the name of the understanding of their meaning, because in the true artistic image there is no "void" - and the material itself, and size, and the format right up to the invoice, i.e. the surface of the subject Arts are made of meaning. In other words, we are talking about the language of art.

Despite its uniqueness, uniqueness, the works of art are amenable to typology, they can be grouped, naturally, above all by art of art.

The problem of typologicalization will be the subject of studying for you in the course of the theory of art and aesthetics, and at the beginning of training we would like to pay attention to those of its aspects that play an important role in the analysis, especially the interpretation of art. In addition, we get the opportunity to specify the meaning of the fundamental concepts (the significance of this work mentioned above).

So, the work of art can belong to one of the specieswhich are divided into: single-maintenance (monostructural), synthetic and technical.

• Single-line - painting, graphics, sculpture, architecture, literature, music, decorative and applied art.
• Synthetic - theatrical and spectacular arts.
• Technical - movies, television, computer graphics.

Single arts are divided, in turn, on:

• spatial (architecture, painting, graphics, decorative and applied art)
• temporary (literature, music),

as well as pictorial (painting, graphics, sculpture) and nonsense (architecture, decorative and applied, literature, music).

Since there are various points of view in the classification of arts and since all these definitions are not absolute, but relative in nature, and first let's stop - very short on the problem of space and time in art, for it is not so simple as it may seem on First look, and very significant when analyzing the work.

First of all, we note that the separation of arts into spatial and temporary is very conditional and relies on the features of the existence of the work: the material carriers of the spatial arts are really subject, occupy a place in space, and in time they are only aging and destroyed. But because material carriers of musical and literary works also occupy a place in space (notes, plates, cassettes, finally, performers and their tools; manuscripts, books, magazines). If we talk about artistic images, they "occupy" a certain spiritual space and develop in time in all arts.

Therefore, we will try, noting the existence of these categories as classifications, to talk about them from the standpoint of analytical, for us - in this case - more important.

Above, we noted that any product of art as a material and ideal phenomenon exists in space and time, and its material basis is somehow connected primarily with space, but an ideal one - over time.

However, the artwork agrees with space and other aspects. The natural space and his experience of a person have a tremendous influence on the artistic image, generating, for example, in painting and graphics, various spatial constructions systems, determining the features of solving spatial tasks in architecture, image of space in the literature. In all arts, the "space of things", "human space", "Socyur space", natural - earthly and cosmic - space, and finally, the space of the highest spiritual reality is the absolute, God.

The vision of the world is changing, behind him - a system of artistic thinking; This movement from the old system to the new is marked with changes in the spatial concept. Thus, the transfer of the center of attention from the highest spiritual reality - God, the mountain world in the XVII century per person in the Russian art of the XVII century as if narrowed the horizon of the artist, and the infinity of the reverse perspective was replaced by the limited straight line.

Also moving and multifaceted time.

This is the real time of the material carrier, when the notes are yellowing, the films are migrated, the filthy boards are blackboard, and the time of the artistic image, an infinitely developing, almost immortal. This and time is the illusory, existing inside the artistic image, the time in which the depicted thing and person live, society, humanity as a whole. This is the time of creating a work, a historical era and a period of life, finally, the author's age is, this time is the length of action and the time "pause" - interruptions between the episodes depicted. Finally, this is the time of preparation for perception, perceptions in contact with the work, experience and comprehension of a perceived artistic image.

In each of the arts, space and time are displayed in different ways, and about it - in subsequent chapters, each of which is devoted to a special type of art with the artistic image inherent in it.

It is not at all by chance that I wrote "displayed", and not "depicted" because we need to breed and these concepts.

Displaying - it means to find the figurative equivalent to the phenomenon of reality, it is to have it in the artistic image fabric, to portray - create a visual - visible, verbal - verbal or sound - an audible analogue of the thing. Arts are divided, as mentioned above, on the visual and intense, not because in music it is impossible to portray, for example, the noise of the train or a rooster cry (and the whole bird courtyard), and in the literature - to describe almost any visible or audible object. And in music and in the literature it is possible: in the first case, we are dealing with sound resistance, in the second - with a description. Moreover, a talented author, deeply surviving contact with the work of painting, sculptures, music, can find such words that his description will be a full-fledged and highly artistic verbal (verbal) analogue of the work of visual or musical art.

Architectural works (not speaking of their parts: the lotus columns of the Egyptian temples, the barks, the atlas, relief and other decorative sculptural elements), too, can be the image: so, in the 1930s, in the Soviet Union, it was fashionable to build houses in the form of cars or other items. In Leningrad, a school in the form of a sickle and hammer was even built, although it is possible to see it only from a bird's eye view. And various vessels in the shape of birds, fish, human figures, etc. In the intense - decorative and applied art!

And on the contrary, the works of the visual art often "do not depict anything," like abstract painting and sculpture.

So this classification feature is relative. And yet it exists: there is visually, i.e. the vision of the perceived "fine arts", which is based on the image of the phenomena of the world, and inactive, verbal and musical.

Art is always conditionally and cannot (not to mention what should not) create a complete similarity of this or that phenomenon of living life. The artist does not double the existing reality, it creates artistic and figurative models of the world or its elements, simplifying and transforming them. Even painting, the most illusory of the arts would seem to be able to catch and transfer all the wealth of the multi-lies in the world on the canvas, has extremely limited way to imitate the breed.

I love KS very much. Petrova-Vodkina. At one of his exhibitions, "Our Lady - the linger of evil hearts" - the radiance of pure scarlet, blue and gold - was placed in the hall of the Russian Museum on the wall next to the window.

For many years, the picture was hidden in the storey, and now, when she was in the hall, it was possible to sit and look at her, it seemed to be infinity. Cosmmatically deep, piercingly clean light of the celestial depths shine background, shaping along with the scarlet Maphorus Beautiful meek faces of Our Lady ...

I spent a long time, on the street Stemnel, the winter evening gone in the window - and what a shock for me was a quiet glow of the modest winter St. Petersburg twilight in the window - they looked next to the blue on Petrova-Vodkina painting, like a shining sapphire next to a blue piece of paper Match boxes. That's when you had a chance did not know, but see and feel like really limited to the possibilities of art in imitating life, if you judge it, based on the favorite criterion of the naive viewer: it looks like or does not look like an image on the original. And not at all its strength to reproduce the phenomena of life as much as possible, extremely mimetically.

Artistic image is not a simple repetition of life, and his plausibility - verbal or visual - not at all important quality. Art is one of the ways to master the world: his knowledge, evaluation, transformation by man. And every time in an artistic image - differently in different kinds of art and in different artistic systems - the phenomenon (what is perceived by the feelings of a person, revealed to him) and the essence (essence of the phenomenon, the totality of its essential properties), to reflect the art .

Each system of artistic thinking forms its method of knowledge of the entity - the creative method. At school, you have already met such concrete European creative methods as Baroque, classicism, sentimentalism, romanticism, realism, symbolism, modernism, socialist realism, surrealism, etc. You, of course, remember that each method was created in the name of understanding, evaluation, Transformation of the person and the world as a whole and their individual qualities. Remember how consistently "going" knowledge about a person: Baroque studies and displays the world of stormy, unbridled senses of man; Classicism is its all measuring balanced mind; Sentimentalism approves human right to privacy and sublime, but purely personal feelings; Romanticism is the beauty of the free development of the person's "in a good or evil party", its manifestations in the "fatal moments" of the world; Realism displays the social foundations for the formation and life of a person; Symbolism again rushes into the mysterious depths of the human soul, and surrealism is trying to penetrate into the depths of the subconsciousness, etc. So each of the named creative systems has its own subject of the image that is replenished in a single object - a person. And their own functions: approval of the ideal, study, exposure, etc.

In accordance with this, a method of transforming an object, allowing to identify its current content: This is the idealization of the object - the transformation, the artistic liberation of "imperfect reality from its imperfection", the likeness of its ideal (brief philosophical encyclopedia. M., 1994) in such methods as Baroque, classicism, romanticism, which are based on the fact that the ideal itself is understood in different ways; This is typification, characteristic of realism, and symbolization that used humanity at different stages of the artistic development of the world.

Looking at the history of the development of art at a very high level of generalization, it can be said that it develops between the two poles of the artistic and figurative modeling of the world: from the desire to create it extremely, to the illusion, plausible reproduction for limit generalization. These two methods can be correlated with the work of two hemispheres of the brain: the left analytical, dismembering the phenomenon on the part in the name of its knowledge, and the right-handed, generalizing, imagineer, creating holistic images (not necessarily artistic) with the same purpose.

On Earth there are zones in which people with a noticeable advantage in the development of one of the hemispheres prevail. It can be even, of course, it is very conditional, to say that the concepts of "East", the "man of the East" - are associated with the relaxing - immudy (figurative) thinking, while the "West", "West Man" with a leaf-haired, analytical, scientific.

And here we are faced with a visible paradox.

Recall: the left hemisphere oversees abstract logical, verbal, analytical thinking; Right - concrete, figurative, non-verbal, generalizing.

At first glance, it is easy to determine that more specifically: a portrait that transmits the appearance and character of a certain person or, say, a little man on the light-up lantern is an extremely generalized designation of a person, a grape cluster, written in a Dutch still life, or an endless vine in an east ornament, consisting of Sets of conditional, brought to the level of elements of the ornament of leaves and covers.

The answer is obvious: the mimetic images are a portrait, still life - specific, ornamental generalizations are more abstracted. In the first case, the concepts of "this person" are needed, "this bunch", the second is sufficient - "man", "bunch".

It is somewhat harder to understand that the portrait and still life, being artistic images, at the same time more analytic - "left-half-half" than elements of the ornament. In fact, imagine how many words will need to describe the portrait - the verbal "translation" of this image will be sufficiently long and more or less boring, while the vine in the ornament is determined by one, in extreme cases, three words: ornament of the climbing vine. But, having sketching a lot from nature, the author of the ornament repeated this image more than once, seeking a limit generalization that allows whether the level of the symbol containing is not one, but many values.

If you want to learn more about Western - analytical (mimetic, imitative) and oriental generalized (ornamental) ways to create a visual image, read the beautiful book L.A. Lelekova "Art of Ancient Russia and East" (M., 1978). Correcting two systems of artistic thinking, the author opposes two rows of statements.

The first belongs to Socrates: "Painting is an image of what we see."

The second - Buddha: "The artist prepared paints in order to create a picture that cannot be seen in color."

In an ancient legend, about the competition of two skillful painters - Zeewaxis and Parracia - it tells about how one of them wrote a grape branch and how the birds flown to this picture to shove the berries shown on it - so great was the illusion of a filling life. The second deceived the eye of his fellow, portraying the curtain on the canvas, which the picture was supposedly covered with such an art that he asked to take her back soon. Creating an illusion - imitating visible - for each of the opponents was a higher goal.

A completely different goal says Buddha: a visible image written by paints is only a carrier of an image that is born in the soul of man. Buddha ends the Christian philosopher John Damaskin: "Every image is a revelation and testing of the hidden."

In fact, the vine that adorns the pillars of iconostasis is a symbol of life and fertility, a paradise garden (Vertograd Christ), a symbol of eternity.

This is how L.A. The cellets about another ornament: the interweaving of the alternating fetus and the flower, very common in the ornaments of the East, denote "the concepts of unity of causal conditionality and the eternity of being, the themes of creation and incessant renewal of life, the relationship of the past and the future, collision of the opposites" (ibid. S. 39).

But both between the relatively few groups of pronounced "Levels" - scientists and "Rightphans" - artists, there is a largest transitional type in the number of transitional types and between naturalistic - equal to itself, self-concrete and not hated meaning, illusory image of visibility (phenomena) and clean The ornament containing a lot of meanings is a vast space occupied by the images of a mixed type, - about them we said above.

Maybe the most harmonious among them - the image is realistic when the artist strives for the embodiment of the entity of the phenomenon, to the symbolization of the visible. So, al. Ivanov, opening the laws of the Plenäer and developing the method of embodying the internal properties and personal qualities in its appearance, filled its creations in a deep symbolic meaning.

Artists-abstrasts of the 20th century, spreading, distributing their paintings, abandoning the creation of the "second", illusory reality on the canvas, turned to the sphere of human superconsciousness, tried to catch the image in his primacy, in the depths of human soul or, on the contrary, designed it.

Therefore, in the analysis you will have to follow the intrigue that has arisen the first to think about what the "spatial-temporable continuum" of the artistic image of the work, the subject of the image, the method and means of converting an object. And one more important question arises in front of you: What is the elemental composition and communication - the structure of the artistic image.

The artistic image of the work is integrity, and as any integrity can be presented, described as a system consisting of elements (each of which, in turn, is also intended and can be represented as a system) and their links between themselves. Structure and sufficient number of elements ensure the functioning of an artistic image as integrity is similar to how the presence of the necessary parts and their faithful assembly - communication, structure, provide a move and timely ringing of the alarm.

What can be labeled as elements of an artistic image? Rhyme, harmony, color, volume, etc.? These are form elements. Subject image, object, essence, phenomenon? These are the elements of the content. Logically arguing, it should be obviously recognized that the elements of the artistic image of the work are also images: a person in the entire range from the simplest iconic image in petroglyphs to a psychological portrait; Related world in the innumerable manifold of man-made things, whose totality is often referred to as civilization or "second nature"; social ties, starting with family and ending with universal; Nature of non-manifaceless in all its manifestations and forms: Animate world of animals, inanimate world - Middle, planetary and cosmic; Finally, the highest spiritual order that is present in all artistic systems and which sages of different eras are called differently: the highest mind, Absolute, God.

Each of the named images is in different ways is realized in different arts and has a supervised, generic character.

Combined concreteness within the artwork, such an image can be included as component in a system of more complex whole (for example, images of Nature occupy an important place in the Romans of Turgenev, and in Roman-Korsakov operations, and in Repin's paintings). One of the images may take a central place, subjidening the rest (those monostructural genres of fine art are portrait, landscape, etc.), and may also form an extensive reservoir of artistic works - from the series in the work of one master (for example, Petriada in . And Serov) I to such giant formations as Leninian in Soviet art.

So in the process of analyzing the work, you can select figurative elements and establish links between them. Often, such work helps more deeply figure out the author's idea, and give yourself a report in communicating with the work of feelings, it is better to understand and interpret the artistic image.

Summing up this small section dedicated to analysis of artwork as self-sufficient integrity of "Text", Note the most important thing:

1. 1) An analysis is only one of the operations included in the work system with the work of art. One of the most important issues to which you must answer in the process of analytical work sounds as follows: how, how and what means the artist was able to achieve exactly that impressions that you experienced and realized in the do-name communication with an artistic way?
2. 2) Analysis as an overall operation for part (although the impositional elements of the synthesis) is not an end in itself, but a method of deeper penetration into the semantic core of an artistic image;
3. 3) Each work of art is unique, unique, therefore methodically correctly - and for the teacher it is very important to find "intriguing analysis" - a key question that will entail, especially when collective work, chain, or rather, a system of questions, answers to which and Collapse in a holistic picture of the analysis;
4. 4) Any work of art is an artistic and figurative model of the world, which reflects the actual faces, parts, aspects
   The world and its main elements: man, society, civilization, nature, God. These facets, parts, aspects of being make up the substantive basis - the subject of the image, which, on the one hand, already objective reality, because it is only part of it, and on the other it is initially richer, because it carries the author's attitude, enriched and creative process The increment of knowledge about the world in an object form, in the work of art, and finally, is updated in the process of creativity. In analytical work, you must answer questions: What is the object of the image in this work? What is the subject of the image? What's new we learn about the world by assimilating the artistic image of the work?
5. 5) Each artistic work belongs to one of the types of art, in accordance with which a method for converting an image of an image, formation of an artistic image, a specific language of art is formed.
6. 6) Art as a whole and a separate work as a phenomenon of the material world exist in space and time. Each era, each aesthetic system develops its artistic concept of time and space, respectively, to its understanding of these realities and its goals. Therefore, the analysis of the features of the embodiment of space and time in the work is a necessary analytical operation;
7. 7) The artistic and figurative model of the world may be visual (visual) or inactive (audible, verbal or visual-structural). Imitation of life (up to the desire to create an illusion - "deceiving") or, on the contrary, the full "distribution" of the image, as well as all intermediate forms, does not exist in itself, it is always meaningful, serves as an embodiment of the goal-setting, opened in the analysis. At the same time, the relationship between phenomenon and the essence, comprehension and the development of which ultimately is one of the main functions of art. So, in the analysis process, it is necessary to understand what phenomenon underlies the artistic image (object object), which properties, quality, aspects of the object were interested in the artist (the subject of the image), how which method was the conversion of the subject and what is the structure - the elemental composition and The structure - appeared as a result of an artistic image. Answering these questions, it is possible to understand quite well in the sense of the work of art, in the fact that the essence, translucent through the fabric of the artistic image.

Before completing the conversation about the analysis and its place in working with the work of art, allow you to give you two councils.

The first concerns the meaning of the analysis. Regardless of which, close or internally alien to you, this or that work of art, analysis - interpretation will help you understand the author, and in a conversation about the work justify your assessment. In relations with the art "Like - I don't like" better replace with other wording:

"I understand and accept" or "I understand, but I do not accept!" And at the same time always to be ready to justify your opinion.

The second board is especially useful to you if you have to work at the exhibition of contemporary art or visiting the artist - in his workshop.

For any normal person, the author's presence is a detection factor, therefore, at the exhibition of contemporary art, always work as if the author stands nearby, is quite a real opportunity.

But the main thing: once and forever, discharge from the idea that there is "right" and "wrong" art, "good" and "bad". The work of art shall be evaluated: after all, its creator can be a master, and may be a chowl-dilent amateur, a super adaptive conjunctover, speculator.

But in the hall of the exhibition, you should not hurry to act as a prosecutor, it is better to try to understand why the work caused you instead of the expected joy of such irritation: in that matter, that you intuitively felt the disharmony of the image, its overall destructive power, the negative energy, which goes From him, or in the fact that, due to the characteristics of his personality, you did not fall into the "resonance" with those figuratively expressing, the vibrations that caused an artistic image.

As far as we all perceive art in different ways - and in his elements, and in general - I felt completely unexpectedly near the TV screen. ... I love Kolomenskoye - with his calm white church of the Kazan Mother of God, rapidly ascended over the Moscow-River Slender Shatter of the Church of the Ascension of Christ, the gilded Machoves of the Cathedral of John the Forerunner in Dyakov on the Mountain of the Rhossom, with flowers of trees, vintage pillars and cherished stones in thick green Grass. For many years, a member of the history of art, I tell students about these wonderful creations of the XVI-XVII centuries. But a small plot in the "Traveler Club" on television was revealed for me. The clergyman - the master showed and proved that the metric and architectural ensemble embodied in natural and architectural forms of the icon of Sofia - the wisdom of God. I never, a person with the established rational consciousness, would not, would have managed to see this miracle. But now, of course, with reference to the original source, I will offer students among others and this interpretation.

Literature:

Völdlin

Yantson Kh.V., Yantson E.F. Basics of art history - find. Found. Lay. And Hombrich too.

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Analysis of architectural work House Pashkov

"The task of the artist with the help of the form to destroy the material", - f. Schiller, from B.R. book Vipper "Introduction to the historical study of art." And indeed, the most important task of architecture is to reincarnate the material, modify it and subjugate to its artistic goals. And, as a result, create a single composition based on an expressive combination of volume and space. Architects are also called upon to link three sides in a harmonious composition of the building: on the one hand - convenience and benefits (functional task); On the other hand, strength and efficiency (constructive and feasibility of economic task); With the third - the beauty of the forms (aesthetic task). And in the end, the purpose of the composition becomes - the achievement of unity of the form and content. And it is not so easy to achieve. Consider one of the most prominent houses of Moscow. What properties, what architectural techniques have determined the high assessment of this building?

pashkov architectured house

Pashkov House was built in 1784-1786. In the second half of the XVIII century. Vasilya Bazhenovo commissioned by the rich landowner Pashkov. It was a time when the noble simplicity and the restraint of classicism rushed with the juicy generosity of Baroque. A recognized master of that time, Vasily Bazhenov - managed to create a style of Moscow classicism, organically combining the principles of baroque and classicism here. This is confirmed by favorite methods of these styles. For example, a long facade overlooking the Moss Street is made in a classic style, which is characterized by uniformity, consistency and emphasized the right order. His composition clearly symmetrically unfolds relative to the axis of the central building. Two single-storey galleries are departed to the right and left from it, which are completed by two-storey identical filties. At the House of Pashkov, two main facades - one looks at the roadway and has a palace, solemn character, the other - oriented to the courtyard and has a more cozy, estate. The cylindrical Belvedere rises (Bazhenov, he was made as a through rotunda, surrounded by paired columns with a dome, topped with a sculpture of the Greek goddess Minerva), in combination with two bottoms, she formed a clear anceder triangle. These are the techniques of classicism style, which in Latin literally means "exemplary". The baroque shades are clearly visible in the design of the architectural decor, in particular the warrant of the center of the central building, on the one hand, the strict classic, on the other hand, made in its details (vases on balustrades, sculptures, stucco details of the decor) with greater freedom and originality compared to ordinary classic canons.

The house was not preserved to the present day in its original form, he was repeatedly rebuilt. In particular, in 1812 the house was destroyed by fire. Architects tried to restore the house on the images of the XVIII century, as it was created initially.

View of the architectural typology of the building

Pashkov's house is a palace type of architecture, the type that emphasizes a certain image (type) of life. In this case, Bazhenov develops the type of Russian urban gown manor and builds Pashkov's house as an architectural complex, consisting of a three-story main building topped with a rotunda-belvedere, and two-story flibers connected to one-story galleries.

At first, looking at the building, it seems that the house is small. But it seems more than it is, thanks to the stretched along the street on one straight gallery and filties adjacent to the main building. They, as if complete along the edges, a common architectural composition. Such a three-part composition consisting of a central building, transition galleries and fluekels, not a whim - it is justified by the then life. The main house housed residential rooms and the owner's front halls. In the outgames there was a kitchen, a servant lived and guests stayed. Galleries' transitions allowed to go from the outbel to the house without going out, which was especially important in rainy weather or in winter.

Place in space

The architectural space of the composition of the house is organized. Its location is clearly thought out. And not only in the city ensemble, but also inside the composition itself. The impressive view of the building is due to the place of its construction. Pashkov House stands on a high Vagankan hill, as if continuing the line of his lifting, on the open corner of two descending streets.

The urban architectural ensemble of the house can be described as panoramic. The sublime position of the site and its foreseeability from all parties contributed to the best identification of the volume and high-altitude nature of the composition of the structure, organically entered into the ensemble of the Kremlin's environment.

The mass of the building in visual perception depends on the visual assessment of the amount of material of the overall architectural form. The mass here is dismembered with quite free location. Slender pyramid Saluing Pashkov's house, underlined by side filties, the desire to the top of his middle corps, as well as its relief thanks to Rotunde-Belveder - all this, rather, goes back to the traditions of the folk architecture of ancient Russia. The so-called organic growth in the mass of the Bazhenov building here reaches a high force of expression.

Type of construction

Design - feather-beam. The building is distinguished by a clear layout, and organized tectonic scale.

Architectural decor

In general, the architectural decor of the house can be called - plastic. But he is so rich that it needs to be stopped in more detail.

a) the principle of arc. Dekora

The location of the architectural decor at Pashkov's house on the principle of adding, such a principle is just characteristic of the palace architecture. Orders and elements of the architectural decor alternate and follow the slender rows.

The gallery of the ground floor, as it were, balances the main building with the fluegles and, following the law of the target, extends to the entire length of the facade.

The location of the architectural decor - determines the composition of the building.

b) composition

The solemn and rich composition of Pashkov's house is a wonderful example of composite skill Bazhenova and his wide town planning approach to a separate building as part of the city ensemble.

The entire architectural complex can be described as the deep-spatial look of the composition, as it includes the main house, the outbreak, the front accessory, the garden and a variety of service buildings. What requires traffic deep into the entrance. But if you consider Pashkov's house separately, then its length and predominance of sizes in height over the size of depth - tells us that the composition of the house is clearly frontal. The construction is solved mainly in facade planes, here is the main sense and aesthetic architectural load. Moreover, on the face of the domination of symmetry. Two-storey fluels, as it were, balance the building relative to the central axis of the main facade. There is also a version that the facade from the Kremlin is not at all the parade, and the park and on the reverse side is an extensive courtyard, conceived by Bazhenov, just as a parade.

c) warrant system

Hardware systems at home is very rich, it is assumed to know his design. In the contrast with the horizontal rushed ground floor there are two main floors of the central facade building. The Corinth composite order is used in a serving portica, which combines both floors and visually increasing the scale of the building. The same order decorates pilasters on the walls of the central body.

On the sides of the four-column portication are the statues set on the base columns. A complex ionic order with four-sided diagonal capitals was used in the columns and pilasters of the flibels. They emphasize the artistic autonomy and the role of flibels in the composition of the facade.

Balustrade, framing the roof of the central body, carries a lush vases on the pillars, softening the transition from frieze and eaves to the rotunda, finalizing the central volume. It uses an invoice ionic order (restored later as a replacement for the same Corinthian). Thus, the architects would seem to have lost the house by formulation of a heavier order over easier. But the Rotunda Belvedere is generally not such a static form and emphasizes the aspiration of the upstream of the whole composition, facilitating the overall impression of the building.

As in other types of art, the rhythm plays a crucial role in architecture. It is his primacy that allows you to talk about architecture as about the art of a carefully rhythmic space. That is why it is often called the architecture of "frozen music." After all, in musical art, rhythm is also the main compositional agent

The elements of the rhythm of the house Pashkov can be called: both colonnade, and arcade, and the rust of the ground floor, and frieze, and numerous rhythmically repeated decor elements.

However, the rhythm of any work of art is not a simple alternation. This is a certain unity in which many rhythmic rows are fused. So here and here the rhythmic ripple of the colonnade grouped into three is completely the same in its size and number of the portico columns, accurately verified rhythm of the parts of the vertical column (the difference only in the order), whimsical rhythms of the design of frieze, dynamic rustry, pilasters - all this is carefully thought out and merged with architect in a single harmony.

With the help of the architectural rhythm of Bazhenov lines the perception of the viewer both in space and in time. Rhythm is very important. Indeed, regarding the structure, the viewer may remain immobile and then the main role in his perception is played by spatial rhythms. But since the viewer soon begins to bypass the building or, especially, enter it, he lives the rhythm in time. So the perception of architectural ensembles reminds the character of the perception of a musical or literary work, where the form is deployed consistently, fragment per fragment. Moreover, the architecture today is customary to determine as the art of building the space of human existence. And architect, building the space itself, makes it rhythmically pulsed in the perception of the viewer

Fundamental destination of the building

The fundamental destination of the building is administrative. Having conceived initially as the illusion of harmony and the rationality of the monarchy, the politicians of the enlightened absolutism, it turns into the construction of public appointments.

Today Pashkov's house is one of the buildings of the Russian State Library named after in I. Lenin. It is guarded by the state and remains one of the most beautiful buildings of Moscow. Unfortunately, recently, it is almost closed from the eye of casual visitors, we can only admire it from the Mokhovaya Street.

Conclusion

From the point of view of the formospring fantasy, the superiority of architecture over other areas of art is obvious. What is this phenomenon? And in the fact that the architectural forms have no direct analogies in kind, it does not reproduce and does not imitate someone else's language, but speaks his own. Thus, we can once again say that architecture is a certain synthesis of arts embodied in space. Monumentality, decorative, applied art, so peculiar and sculpture, and painting, and got the name - architecture.

Posted on Allbest.ru.

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Questions worthwhile by analyzing the picturesque work
In order to abstract from plotting perception, remember that the picture is not a window into the world, and the plane on which the illusion of space can be created by picturesque means. Therefore, first analyze the basic parameters of the work:

1) What is the size of the picture (monumental, machine, miniature?

2) What is the picture format: a rectangle stretched horizontally or vertical (possibly with a rounded end), a square, a circle (tido), oval?

3) In what technique (temperature, oil, watercolor, etc.) and on what basis (wood, canvas, etc.) is the picture?

4) from what distance does it be best perceived?

I. Image analysis.

4. Is there a plot in the picture? What is depicted? In which environment is the depicted characters, items?

5. Based on the image analysis, you can conclude about the genre. Which genre: portrait, landscape, still life, nude, household, mythological, religious, historical, animalist, - belongs to the picture?

6. As you think, what task the artist is decisted - fine? expressive? What is the degree of convention or naturalism of the image? Is the conditionality to idealization or expressive distortion? As a rule, the composition of the painting composition is associated with the genre.

7) What components make up the composition? What is the ratio of an object of the image and background / space on the pattern of the picture?

8) How close to the picture plane are the objects of the image are placed?

9) What an angle of view chose an artist - from above, from below, in short with the objects depicted?

10) How is the position of the viewer determined - is it involved in interaction with the picture shown in the picture, or does he be given the role of a suspended contemplator?
11) Is it possible to call the composition balanced, static, or dynamic? If there is a move, how is it directed?

12) How is the picture space built (flat, vaguely, the spatial layer is silent, a deep space is created)? Due to what is achieved by the illusion of spatial depth (the difference in the size of the figures depicted, the show of the volume of objects or architecture, using color gradations)? The composition is developed by means of drawing.

13) As far as expressed in the painting linear start?

14) underlined or scratzen contours, excluding individual items? What means is this effect achieved?

15) What extent is the volume of objects expressed? What techniques are created by the illusion of volume?

16) What role does the light play in the picture? What is it (smooth, neutral; contrast, pushing volume; mystical). Is the source / direction of light read?

17) Are the silhouettes of depicted figures read? How expressive them are valuable in themselves?

18) How detailed (or is generalized) image?

19) Is the variety of textures of depicted surfaces (leather, fabric, metal, etc.) are transmitted? Coloring.

20) What role plays the color of the flavor (subordinate to the figure and volume or vice versa subdues his drawing and builds the composition himself).

21) Is the color just a painting volume or something big? Is it optically reliable or expressive?

22) Local colors prevail in the picture or tonal flavor?

23) Are the boundaries of color spots are distinguishable? Do they match the borders of the volumes and objects?

24) the artist operates in large masses of color or small stains-smears?

25) How are warm and cold colors written, does the artist use the combination of additional colors? Why does he do it? How are the most illuminated and concealed places are transmitted?

26) Are there glare, reflexes? How are the shadows (deaf or transparent, are they colored)?

27) Is it possible to highlight the rhythmic reasons in the use of any color or combination of shades, is it possible to trace the development of any color? Is there a dominant color / combination of colors?

28) What is the texture of a picturesque surface - smooth or pasto-old? Are individual strokes are distinguishable? If so, what are they small or long, liquid, thick or almost dry paint applied?

06.08.2013

Ministry of Transport of the Russian Federation

Federal State Budgetary Educational
Establishment of higher recruitment
"Russian University of Transport"
Ruth (Miit)
Russian open academy of transport

Faculty of "Vehicles"

Department "Philosophy, Sociology and History"

Practical work

by discipline

"Culturalology"

I've done the work

student of the 1st Course

zSA-192 groups

Nikin A.A.

CIFR 1710-C / SDS-0674

Moscow 2017-2018 g

Practical lesson number 1

Task: Give a meaningful analysis by the work of the architecture of your city (village, District)

Monument to railway workers, 2006 Sculptor I. Dikunov

I come from the city of Lisky Voronezh region. My city is the largest railway node. Starting from 1871, the history of the city is intertwined with the development of the railway. In our city, every sixth resident is closely connected with the railway profession, so when the question arose about the place of installation of the monument in honor of the 140th anniversary of the South-Eastern Railway, the choice fell on our city. The opening of the monument to railway workers was in 2006

This is one of the few copyrights in the city, made by the famous Voronezh sculptor Ivan Dikunov in co-authorship with his wife Elsa Pak and Sons Maxim and Alexei. They are the authors of the Busts of the Heroes of the Soviet Union and Russia on the Alley of Glory, as well as fairy-tale characters adorning the city park in our city.

Dikunov Ivan Pavlovich - Honored Artist of the Russian Federation, Honored Art Worker, Laureate of the State Prize 1990. Active Member of the Petrovskaya Academy of Science and Art, Professor.

Ivan Pavlovich was born in 1941 in the village of Petrovka Pavlovsky district of the Voronezh region. His childhood accounted for difficult postwar years. Despite the difficulties, he found time for creativity, he liked to draw, and even more sculpt. Already then his talent was visible. Ivan Dikunov graduated from the Leningrad Art School named after Serov in 1964, then the Institute of Painting, Sculpture and Architecture. I.E. Repin in 1970. In 1985 He arrived in Voronezh and went to work in the Voronezh State Architectural and Construction Institute, where he taught 20 years. From 1988 to 1995, Dikunov Pedagogue of the Voronezh Art School.

In the cities of Voronezh and Lipetsk regions in the Commonwealth with colleagues Vgasu, Ivan Pavlovich created a number of significant monuments, which are unique images of the formation of the architectural medium and are a combination of monumental sculpture and architecture. He spoke by the author of the projects and the head of the creative groups on the creation of Voronezh monuments with an outstanding Russian personality - M.E. Pyatnitsky (1987), A.S. Pushkin (1999), A.P. Platonov (1999) and others. Ivan Pavlovich constantly participates in regional, zonal, republican, all-union, All-Russian and foreign exhibitions.

Dikunov told that the work on the monument to railway workers took place for three years and his main thought was to show the idea of \u200b\u200bthe railway in motion. There is a monument at the entrance to the city of Liski and is a business card of our city.

The monument to railway workers is a monument that affects us a complex composition, deep meaning and symbolism. At the initial plan, the monument was an image of diverging from the column in different directions of railway workers. But subsequently, the sculptors came to the composition in which both figures walk along the platform in one direction. This was asked as the aspiration forward and the unity of the inseparable communication of the generations of railway workers.

To create a monument used stone and metal. There are many symbolic details in it that, with attentive consideration, fold in the capacious, solid image of the railway. In the center, the composition is a high column of an elegant form on a square pedestal decorated with images of working tools on the background of diverging rays. She crowned the emblem of the railway and the inscription "" Liski ". Figures 3.5 meters high are two generations of railway workers - a pathway with a lantern and a long hammer, an image of the 19th century and a modern driver in a shaped suit with a portfolio in hand. They seem around the train around the platform.

Details of clothing and inventory were chosen with special care: kept shape, recreated subtleties on museum paintings and exhibits. In kind of sculptors served by the workers of the Liskinsky railway site. On the edge of the slab passes the inscription: "" is dedicated to railroad workers to the warriors-heroes 140 years Yev railway

I have a sense of pride in my city, for ordinary people of workers, whose difficult, responsible profession is immortalized in the monument. And two figures of different generations suggest that the railway in its development moves forward, improves every year.

Practical task number 2

Task: Give a meaningful analysis of the artist painting from your city (village, district)

My countryman was the famous Russian artist Kramskaya Ivan Nikolaevich (May 27, 1837. - March 24, 1887). He was born in the city of Ostrogozhsk Voronezh province (this is 30 km from my native city of Liski) in the family of a small official.

He studied at the St. Petersburg Academy of Arts (1863-1868) in 1863. He was awarded a small gold medal for the picture "Moses exudes water from the cliff." Kramskaya was the initiator of the "Bunta of Fourteen", which ended with access from the Academy of Arts of its graduates who organized artel artists. Also, one of the creators in 1870 "Association of mobile art exhibitions". Influenced by the ideas of Russian democrats-revolutionaries, Kramskaya defended his opinion on the high public role of the artist, the fundamental principles of realism, the moral essence of the art and its national affiliation. In 1869, he taught in a drawing school of the public promotion of artists. In 1869, Kramskaya received the title of academician.

The 1970-80 years of the 19th century were for Ivan Nikolayevich by the period when one of the most famous works were written, this is the "Hollowman", "Mina Moiseeva", "Peasant with a bridle" and others. Increasingly united the artist in his works portrait and household topics ("Stranger", "Rezazynaya Mount").

Many canvas of Kramsky are recognized as a classic of Russian painting, he was a master of portrait, historical and genre scenes.

I would like to dwell on the analysis of his paintings "Christ in the desert", which occupies a very special place in the creative biography of I. Kramsky.

Christ in the desert.

Canvas, oil.

180 x 210 cm.

The main idea of \u200b\u200bthe Kramsky Three years, which he strongly engaged in him is the tragedy of the lives of those high natures who voluntarily refused all personal happiness, the best, most purely, which the artist could find to express his idea, was Jesus Christ.

Kramskaya was thought of his canvas for a decade. In the early 1860s, still being at the Academy of Arts, he makes the first sketch, in 1867. - the first version of the picture that did not satisfy it. The first picture option was a vertical canvas format, and the artist decided to write a picture on the canvas horizontal and sitting on the stones of a larger man. The horizontal format made it possible to present the panorama of the endless rocky desert, according to which there is a lonely man in his silence and night. Only under the morning it was tired and exhausted on the stone, he still did not see anything in front of him. Footprints of painful and deep experiences are visible on his tired, a dimple face, the severity of the spirit as if he lay on his shoulders and bowed her head.

The plot of the paintings is associated with described in the New Testament by the forty-day post of Jesus Christ in the desert, where he retired after his baptism, and with the temptation of Christ the Devil, which happened during this post. According to the artist, he wanted to capture the dramatic situation of moral choices, inevitable in the life of every person.

In the picture depicted Christ sitting on a gray stone located on the hill in the same gray rocky desert. Kramskaya uses cold colors to portray early morning - dawn just started. The horizon line passes rather low, dividing the picture approximately in half. At the bottom there is a cold rocky desert, and in the upper part - the predestrous sky, the symbol of light, hope and future transformation. As a result, the figure of Christ, dressed in Red Hiton and the dark-blue cape dominates the picture of the picture, but dwells in harmony with the surrounding harsh landscape. In a lonely figure depicted among cold stones, not only sorrowful thoughtfulness and fatigue, but also "willingness to take the first step on a rocky path leading to Calvary".

Hands of Christ (fragment painting)

Restraint in the image of the clothing allows the artist to give the main value to the face and the hands of Christ, which create psychological persuasiveness and humanity of the image. Firmly compressed hand brushes are practically in the very center of the canvas. Together with the face of Christ, they are a semantic and emotional center of the composition, attracting the attention of the viewer. Coupled hands, located at the level of the horizon line, "in a convulsive volitional tension, seem to be tried to tie, like a castle stone, the whole world is the sky and the earth - together." Bosy feet of Christ wedged from long walking along sharp stones. But meanwhile, the face of Christ expresses the incredible power of will.

There is no action in this work, but the life of the Spirit is shown visibly shown. Christ in the picture is more like a person, with his sufferings, doubts than in God, t this makes his image of a clear and close viewer. This person makes some important step in life, and the fate of people who believe in him depend on his solution, we see the burden of this responsibility on the face of the hero.

Looking at this picture, you realize that the temptation is part of a person's life. Often people stand in front of the choice: to come honestly, rightly or, on the contrary, to do something illegal, reprehensible. Absolutely all pass through this test. This picture tells me that no matter how great temptation was, it is necessary to find strength to fight him.

Today, this picture is located in the Tretyakov Gallery in Moscow.

Bibliography:

1. (Electronic resource) Monument to railway workers in leaves. - Access mode: https: // yandex.ru / search /? text \u003d Monument to railway workers in the leaves (date of handling 23 .11.2017)

2. (Electronic resource): Dikunov Ivan Pavlovich Sculptor VRNSH.ru\u003e? Page_ID \u003d 1186 (Date of handling 23.11.2017)

3. The life of outstanding people. 70 famous artists. Fate and creativity. A. Ladvinskaya Donetsk - 2006. 448 pp.

4. 100 great paintings. Moscow. Publishing House "Veche" - 2003, 510 pp.