F about the runge of the picture. Runge Philip Otto

F. O. Runge. Morning (small version). Oil. 1808. (See appendix 63). In the 1800s, the German romantic Philipp Otto Runge worked on the series The Times of the Day. First, drawings appeared, then on the basis of them four engravings "Morning", "Day", "Evening" and "Night" were published twice. Then the artist intended to create large picturesque panels based on these motives. Runge proceeded from the idea of ​​the proximity of all the arts, especially painting, literature and music. Its idea is easier to understand from the author's own commentary, since in the images traditional allegorical figures were combined with images generated by the artist's imagination, and each element, including any flower or blade of grass, had a symbolic meaning. Moreover, in the picturesque panels it was assumed that the colors would also have a certain symbolic meaning. Runge's program testified that he understood the times of the day not just as a change of morning and day, evening and night, but as a reflection of the divine Universe, its perfection, all-pervading and creative power. Thus, the paintings had a certain "iconic" beginning, it was necessary to stand before them and prayerfully listen to the mysterious sounds coming from the higher, heavenly spheres.

The main layer of allegories is the resurrected images of ancient myths, which Winckelmann spoke about. Where one allegory has appeared, another must be expected. The winged young man is depicted with his eyes tied with a ribbon, at his feet a cornucopia. It is Benevolence, the offspring of happiness and beauty. The word "favor", that is, favor, is masculine in Latin, and therefore this allegory is represented by the figure of a youth. The cornucopia indicates wealth, and blindfolds are a sign that favor can be blind. The young nymph is crowned with flowers, winged, her pink chariot is pulled by Pegasus, in her hands are roses and a dying torch. We see Aurora - the deity of the beginning of the day...

The situation with symbols is even more difficult. Their world is much wider. These are plants, animals, objects, flowers, letters and numbers. The folds of clothes, posture, facial expression can be symbolic. Here are some examples. Anemone is a flower of sadness and death. His image appeared in the legend of Adonis, who died on a bed of anemones, on the petals of which red spots appeared by themselves. In the scenes of the crucifixion of Christ, this is a sign of the grief of Mary, his mother. The number one is the source of other numbers, a symbol of unity. Two - a hint at the human and divine nature of Christ, an indication of the female sex, which is divisible, that is, reproduces offspring.

Symbols often appear in those epochs when the idea of ​​dual worlds is spreading. So it was in romanticism, symbolism. Allegories appear in the Renaissance, classicism. Be that as it may, they are an essential part of our cultural heritage. For a long time in our society, they were treated with disdain or suspicion. It seemed that they contradict the need for a realistic reflection of reality, they lead consciousness into worlds alien to us. In fact, both symbols and allegories are a different way and a different level of comprehension of reality, and masters of various eras willingly turned to them.

The color body of O. Runge is a globe, along the equator of which there is a 12-part color circle.

F.O.Runge Runge's family home in Wolgast, now a museum.

Born in a large family of shipbuilders in Western Pomerania, which was at that time under the control of Sweden. His school teacher was Ludwig Kosegarten. Since 1799, with the financial support of his brother (subsequently, articles, letters and notes of the artist were published through his efforts), he studied painting with Jens Yuel at the Copenhagen Academy. In 1801, in Dresden, he became close friends with K. D. Friedrich and Ludwig Tieck, delved into the mystical treatises of Boehme, to which Tieck drew his attention. In 1803, he met and became friends with Goethe, with whom he shared an interest in the problems of color - the natural-philosophical and natural-science searches of both, eating from different sources, went in a similar direction: Goethe, who was always more than reserved about romanticism, spoke with unchanging approval about creativity and theorizing Runge. In 1804 he married and moved to Hamburg. In 1810 he published a treatise on color separation and color classification The Color Sphere (Goethe's Doctrine of Color appeared in the same year). In recent years, he worked on a large mystical and philosophical pictorial idea Four times of the day, the work remained unfinished. Died of tuberculosis.

Philipp Otto Runge (1777-1810), an outstanding painter of the Romantic school, was a contemporary of Goethe. He made a significant contribution to the doctrine of color. He understood that the whole variety of colors could not be represented as a color wheel or a strip of the spectrum and proposed a system for arranging colors that resembled a globe in appearance.

Runge color ball.

On the equator line, Runge applied the pure colors of the color wheel. At the north pole, he placed white, and at the south - black. On the meridians (using degrees of longitude) he was able to represent all the colors that result from mixing pure colors with white and black. All cloudy colors were systematically located inside the ball. Runge for the first time in history linked the arrangement of colors in space with their aesthetic and artistic use.

Schematic representation of the Runge color solid

As an artist, he was interested in the use of low-saturated colors (with a more or less significant admixture of gray) when depicting color perspective. He used in his system as typical color ranges the so-called ranges of colors for the background. These are transverse lines that run along the longitudinal section of the color globe from pure colors on the surface of the ball to gray colors in the region of the achromatic axis. The placement of colors in space, proposed by Runge, subsequently underwent a number of improvements, but the basic principle of placing the entire variety of colors in a three-dimensional system was recognized as correct and borrowed by all his followers.

From the correspondence between Runge and Goethe, it can be seen that their views on the effect of color on a person coincided.

A contemporary of Goethe, the artist Otto Runge was the first to build a color body. I know that his theory appeared simultaneously with Goethe's, that they corresponded and discussed a number of issues. I can’t say for what reason Runge included a circle based on blue-red-yellow in the basis of his model. Interestingly, according to the Runge scheme, a mixture of these three colors also gives gray. My own mixing experience is similar, as is the production of gray from cyan-magenta-yellow. But Runge assigns a completely different role to black and white colors, turning a flat color circle into a three-dimensional ball.

The model is no longer built on six colors, but on 12, i.e. Runge uses 3 primary colors, their mixtures of the 1st order and pairwise mixtures of 6 colors of the already familiar circle, which form new 6 colors of the 2nd order. The Runge ball is sometimes referred to as the "globe".

If in the spherical Runge body the color wheel is the “equator”, then the black and white points are two poles, in the directions towards which new shades of spectral colors are obtained. Moving towards the white pole, the colors gradually lighten, whiten, losing their original brightness (upper left ball). Approaching black, they thicken, darken (upper right ball).

The lower figures illustrate what is happening in the center of the ball. To do this, it is cut along the equator, as a result of which we again fall into a flat circle. In a horizontal section along the equator, pairs of opposite (complementary, complementary) colors, rushing towards each other (mixing in different proportions), lose their color saturation and in the center, with equal proportions in the mixture, form gray. If you cut the ball vertically, from pole to pole, then the polar colors (black and white), approaching (or mixing), will give the same gray in the center. The model thus reflects a universal principle and can be considered as a sufficiently holistic law of color harmony.

The same equatorial dissection operation can be performed using the CMY computer model with the same result:

Sections of the color ball along the equator

In the picture there are two projections of the ball, from which quarters are cut out. On the left is the view from above (from the side of the white pole), on the right is the view from below (from the side of the black), which is fixed in the left semicircles of both projections. The right semicircles in black frames are sections, "insides" of the ball, where you can see a gray "dot" in the very center and a gradual "fading" (loss of chromaticity) of color from the equator to this core. All mixtures are actually obtained mathematically, since the possibilities of computer color modeling are fully used in this process.

Both in the Runge ball and in the computer model, the spectral pairs, mixing with each other, form gray. It should also be taken into account that in the computer model the colors practically coincide with the spectral ones, in contrast to the colors used by Goethe, Runge, and many other color researchers. And if this is taken into account, then -

In my opinion, two conclusions can be drawn:

Or computer CMY was created in such a way that “by design” mixtures of primary colors add up to gray, and not to black. Then, however, it is not clear why a widely used model should obviously contradict the theory on which it is built?

Or black of the three primary colors cannot be obtained at all, and the theory still does not quite correspond to practice. And this version sounds much more convincing to me.

- (Runge) (1777-1810), German painter, graphic artist and art theorist. One of the founders of romanticism in German painting. He studied at the Academy of Arts in Copenhagen (1799-1801) and Dresden (1801-03). In the symbolic and allegorical compositions The times of the day ... ... Art Encyclopedia

- (Runge) (1777 1810), German painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, which are characterized by close attention to nature, combined with latent emotionality (“We Three”, 1805); V… … encyclopedic Dictionary

Runge, Philip Otto- Philipp Otto Runge. Portrait of children Huelsenbeck. RUNGE (Runge) Philip Otto (1777 1810), German painter and graphic artist, art theorist. representative of early romanticism. Sharp portraits (“We are three”, 1805), allegorical compositions ... ... Illustrated Encyclopedic Dictionary

Runge Philipp Otto (July 23, 1777, Wolgast, Mecklenburg - December 2, 1810, Hamburg) was a German painter, graphic artist and art theorist. He studied at the Copenhagen (1799‒1801) and Dresden (1801‒1803) Academy of Arts. One of the founders of romanticism in German ... ...

- (1777 1810) German painter and graphic artist, art theorist. representative of early romanticism. Truthful, pointed portraits (We three, 1805), allegorical composition Morning (1808) ... Big Encyclopedic Dictionary

Surname Runge, Karl (1856 1927) German mathematician and physicist Runge, Boris Vasilyevich (1925 1990) actor of the Moscow Theater of Satire Runge, Vladimir Fedorovich (born 1937) Soviet and Russian designer. Runge, Friedlib Ferdinand (1794 ... Wikipedia

Runge- Philipp Otto (Runge, Philipp Otto) 1777, Waolgast, Pomerania 1810, Hamburg. German painter, draftsman. He studied in 1799 1801 at the Copenhagen Academy of Arts under N. Albigor, then in Dresden (1801 1803). From 1804 he worked in Hamburg. In the early... ... European Art: Painting. Sculpture. Graphics: Encyclopedia

- (runge) Philipp Otto (1777, Wolgast, Mecklenburg - 1810, Hamburg), German painter, graphic artist, poet and art theorist; representative of romanticism. He received a commercial education, then studied at the Copenhagen (1799-1801) and Dresden academies ... Art Encyclopedia

- (Runge) Philipp Otto (7/23/1777, Wolgast, Mecklenburg, 12/2/1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799 1801) and Dresden (1801 1803) Academy of Arts. One of the founders of Romanticism in German ... ... Great Soviet Encyclopedia

Runge F. O.- RUNGE (Runge) Philip Otto (17771810), German. painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, in which close attention to nature was combined with latent emotionality (We three, 1805); V… … Biographical Dictionary

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• Classicism and Romanticism. Architecture. Sculpture. Painting. Drawing 1750 - 1848 , This book is dedicated to the fine arts and architecture of the era of classicism and romanticism. The richness and diversity of artistic creation in the period between Rococo and Realism, of course, ... Category:

Germany at the beginning of the 19th century experienced a socio-political upsurge, resistance to the conquests of Napoleon and the liberation war of 1813 made German patriotism universal, and the subjects of three hundred German dwarf states recognized themselves as a single people.

In a fragmented country, almost every city was a capital or university center. German sovereigns often sought to make up for their political weakness by patronizing the sciences and arts.

The most enthusiastic and generous of these patrons on the throne was the Bavarian king Ludwig I.

In those years, there was a strong passion for the Middle Ages in Germany, and interest in national history and culture increased. In Nuremberg, festivities were periodically held in memory of the German Renaissance master Albrecht Dürer. The Boisseret brothers - Sulpicius (1783-1854) and Melchior (1783-1859) - collected monuments of ancient art. Their gallery in Stuttgart numbered over two hundred works of the 14th-16th centuries, most of which in 1826 joined the collection of the Munich Pinakothek (now this museum is called the Old Pinakothek, in contrast to the New, which stores paintings of the 19th-20th centuries).

Germany played an exceptional role in the history of romanticism - a trend in European culture of the late 18th - first half of the 19th centuries. It was German writers and critics who were its first theorists. The book of Wilhelm Heinrich Wakenroder (1773-1798) "The hearty outpourings of a monk - an art lover" (1797) became a manifesto of romanticism in the visual arts: it proclaimed a decisive rejection of any "rules of beauty" and declared sincere feeling to be the basis of creativity. The term "romanticism" itself was introduced by Friedrich Schlegel (1772-1829), a German critic, philosopher and writer.

PHILIP OTTO RUNGE

(1777-1810)

Philip Otto Runge can be called one of the most prominent representatives of romanticism in German painting in the first half of the 19th century.

The artist was born in Wolgast (a city on the territory of modern Poland) in the family of a shipowner. At the age of eighteen, he came to Hamburg to study trading, but he felt a penchant for painting and began to take private drawing lessons. In 1799-1801. Runge studied at the Academy of Fine Arts in Copenhagen, then moved to Dresden, where he entered the local Academy of Fine Arts and met the poet and thinker Johann Wolfgang Goethe. Returning to Hamburg in 1803, he painted and at the same time worked in the trading company of his older brother Daniel.

Most of Runge's creative legacy is made up of portraits. The meticulous attention to detail, the rigidity of the lines and the unsophisticated purity of the colors of some of his works are reminiscent of the creations of self-taught painters. These are the portraits of the children of the Huelsenbeck family (1805) and the artist's parents with their grandchildren (1806).

The painting “The Three of Us” (1805, died in a fire in 1931) depicted the artist together with his bride and brother Daniel. Each of them is immersed in his own thoughts, but this does not divide the young people: they do not need words to understand each other's experiences. This mood of "silent brotherhood" enhances the forest landscape, painted in a clear, dry manner; the heroes of the picture are as inseparable as the trees of the same forest.

Back in 1802, Runge conceived a pictorial cycle depicting the times of the day. Morning, afternoon, evening and night, replacing each other, were for the romantics a symbol of both human life and earthly history; they embodied the eternal law, according to which everything in the world is born, grows, grows old and goes into oblivion - to be reborn again. Runge deeply felt this universal unity, as well as the inner kinship of different types of art: he intended to exhibit The Times of the Day in a specially designed building, accompanied by music and poetic text.

Runge did not have enough life to realize his plan: of the four paintings, only one was completed, "Morning" (1808). She is naive and bright, like a fairy tale. A baby lying on a yellow-green meadow symbolizes a newborn day; a female figure against the background of a golden sky and lilac distances - the ancient Roman goddess of the morning dawn, Aurora. In terms of freshness of colors and lightness of tonal transitions, this picture is much superior to the previous works of the artist.

“Sometimes,” Runge wrote, “color excites with its pallor, and sometimes attracts with its depth. When does the green of a meadow, the richness of the color of dewy grass, the delicate foliage of a young beech forest, or a transparent green wave attract you more? Then, when they are in the sparkling rays of the sun or in the peace of the shade? In the variety of colors, in the complex ratios of color, light and shadow, the artist saw the key to the secrets of the Universe, the revelation of the World Spirit - this is how some romantics called God, who seemed to them dissolved in nature. “We are not able to express how each color touches us,” noted Runge’s friend, the German romantic writer Ludwig Tieck, “for colors speak to us in a more gentle language. This is the World Spirit, and he rejoices that he can give a concept of himself in a thousand ways, while hiding from us ... But a secret magical joy embraces us, we know ourselves and remember some ancient, immeasurably blissful spiritual union.

Runge died of tuberculosis at the age of thirty-three: all his work falls on the last seven years of his life. In his pictorial myths, he embodied the multifaceted unity of God, the world and man - the main idea of ​​German romantic philosophy.

Runge Philip Otto

(Runge) (1777-1810), German painter, graphic artist and art theorist. One of the founders of romanticism in German painting. He studied at the Academy of Arts in Copenhagen (1799-1801) and Dresden (1801-03). In symbolic and allegorical compositions, The Times of the Day (1802-03, the version of Morning, 1808, Kunsthalle, Hamburg) sought to embody the idea of ​​the mystical spirituality of nature, of the merging of the artist-creator with the universe. In portraits, he combined close attention to nature with deep emotionality hidden under the external contemplation of images (self-portrait, "My Parents" - both 1806, Kunsthalle, Hamburg).

Compositions: Hinterlassene Schriften, Tl 1-2, Hamb., 1840-41; Briefe und Schriften, V., 1981. Literature: Bisanz R. M., German romanticism and Ph. O. Runge and De Kalb, 1970; Betthausen P., Ph. O. Runge, Lpz., 1980.

(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)

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