Painting- a work of painting that has a complete character (as opposed to a sketch and sketch) and an independent artistic value. It consists of a base (canvas, wooden or metal board, cardboard, paper, stone, silk, etc.), a primer and a paint layer. The painting is one of the types of easel art. Pictures come in various genres. Creating a picture, the artist relies on nature, but creative imagination plays an important role in this process. The end of the 19th century was marked throughout Europe by a new, dynamic view of the world. The artist of the turn of the century had to correspond to the constantly changing life: not so much to reflect the world around him (photography and cinema are now doing this), but to be able to express his individuality, his inner world, his own vision in the picture. The pinnacle of art has been reached in the paintings of outstanding painters. In the diverse currents of modernism, there is a loss of plot and a rejection of figurativeness, thereby the concept of a picture is significantly revised. Some artists belonging to different schools of painting have moved away from depicting the world (people, animals, nature) as we see it. On their paintings, the world appears deformed, sometimes completely unrecognizable, because the artists are guided more by their imagination than by the visual perception of the phenomena around us.
Painting plays an important role in the development of painting.
A reproduction can also be called a painting, if in the relevant context it does not matter whether it is a copy or an original work.
A picture in a figurative or more general sense is any complete, integral work of art, including a lively and vivid description, oral or written, of a view of nature.
Painting is the art of the plane and one point of view, where space and volume exist only in illusion. Painting, thanks to the complexity of visual means, is able to create on a plane such a depth of illusory space and a multidimensionality of artistic reality that is not subject to other methods of depiction. Each picture performs two functions - pictorial and expressive-decorative. The language of the painter is quite understandable only to those who are aware of the decorative-rhythmic functions of the plane of the picture.
In aesthetic perception, all the functions of the picture (both decorative, planar, and pictorial, spatial) must participate simultaneously. To correctly perceive and understand a picture means to simultaneously, indivisibly see the surface, and depth, and pattern, and rhythm, and image.
The aesthetic perception of a painting is greatly enhanced when it is placed in an appropriate frame that separates the painting from the surrounding world. The oriental type of painting retains the traditional form of a free-hanging unfolded scroll (horizontal or vertical). The picture, unlike monumental painting, is not rigidly connected with a certain interior. It can be taken off the wall and hung differently.
The depth of the illusory space of paintings
Professor Richard Gregory described the "strange properties of paintings": "Paintings are a unique class of objects, because they are both visible in themselves and as something quite different from just a sheet of paper on which they are drawn. The pictures are paradoxical. No object can be in two places at the same time; no object can be both two-dimensional and three-dimensional at the same time. And that's how we see pictures. The picture has a very definite size, and at the same time it shows the true size of a human face, building or ship. Pictures are impossible objects.
The ability of a person to respond to absent, imaginary situations presented in pictures is an important stage in the development of abstract thinking.
How paintings are made
A painting is the artist's spiritual world, his experiences and feelings expressed on canvas or paper. It is difficult to explain how paintings are created - it is better to see it for yourself. It is impossible to convey in words how the artist paints over the canvas, with what brush he touches the canvas, what paints he chooses. During the work, everything becomes one: the artist, the brush and the canvas. And already after the first stroke of the brush in the workshop, the special magic of painting begins to work.
Pictures are not just a painted canvas, they affect feelings and thoughts, leave a mark on the soul, awaken forebodings.
How is a painting created?
It would seem, paints, brushes, on canvas. There may be another universal answer: in different ways.
Methods of working on a painting have constantly changed throughout the history of art. The artists of the Italian Renaissance worked in a completely different way than Rembrandt or the "little Dutch" of the 17th century, the romantics worked differently than the Impressionists, Abstractionists, contemporary realist artists. Yes, and within the same era and even one direction, you can find a great variety.
Realist artists of the past and present (if we understand realism in the broad sense of the word) are united by the following:
The creation of a full-fledged work, in this case a painting, portrait or landscape, is impossible without a deep study of life, an active attitude of the author towards it. The means of artistic knowledge of life are work from nature, visual impressions, analysis and synthesis of life phenomena.
The creation of a painting is a complex, labor-intensive creative process, the results of which are determined not by the time spent, but by the measure of the talent, skill of the artist, the strength and effectiveness of the original figurative solution. The most important milestones in this process are the origin and concretization of the idea, direct observations, sketches, sketches from nature, the actual writing of the picture with the indispensable creative, active processing of life material.
And when a viewer approaches a painting in a museum or at an exhibition, before making his own judgment about it, he must remember that behind it there is always a living person, an artist who has invested a piece of his life, heart, nerves, talent and skill in the work. It can be said that the painting is an artist's dream come true.
G. S. OSTROVSKII
Completeness of the picture
In life, a lot happens by chance - in the picture there can be no such accidents, everything in it must be completed, logically. At what point is a painting considered complete?
The virtuoso Rembrandt's impasto pictorial stroke, so highly valued later and in our time, caused only bewilderment among Rembrandt's contemporaries and gave rise to ridicule and witticisms at his expense. Objecting to his critics, Rembrandt disputed the correctness of their understanding of the completeness of a painting, opposing them with his own understanding of it, which he formulated in this way: the picture should be considered complete when the artist said everything he wanted in it. In order not to hear the questions that bothered him about the “incompleteness” of his paintings, Rembrandt stopped allowing naive visitors to his studio to come close to them, who looked with great curiosity at the bravura strokes of his painting, frightening them with the fact that the paintings should not be approached too close, since smelling their paints is unhealthy.
Matisse on his painting:
"I just try to put on the canvas those colors that express my feeling. The necessary proportion of tones can make me change the shape of the figure or change the composition. Until I have reached this proportion in all parts of the picture, I look for it and continue to work. Then the moment comes, when all parts take on their final proportions, and then I cannot touch the picture without redoing it all over again.
Beginning approximately with the Impressionists, the categories of drawing, form and color are closely connected, grown together, seem to be a continuous process: drawing and color, modeling and composition, tone and line appear and develop as if at the same time. The process of painting a picture can, so to speak, continue indefinitely, the moment of completion of the work is somewhat arbitrary: anywhere on the canvas, the artist can continue it, applying new strokes to similar ones, but lying below. The most striking and consistent representative of this system is Cezanne. In letters and recorded conversations, he repeatedly formulated this mixed or, more correctly, undifferentiated method of painting. At any time, work on a painting can be interrupted, but the work will not lose its aesthetic value. At any moment the picture is ready.
The connection of the pictorial space of the picture with the real space
The artist and art theorist V. A. Favorsky, in the course of the theory of composition, emphasized that a truly artistic work has a dual existence from birth: as an object in the surrounding space and as a relatively closed world with its own spatio-temporal relations. In painting, this goal is achieved by coordinating the internal structure of the picture with the frame, in sculpture - with the surrounding space (a classic example: a statue in a niche).
To connect the pictorial space with the real space in which the viewer is located, a picture frame is used. Artists also play with multiple "reproduction of the frame" in the image itself, visual rhymes, repetitions of verticals and horizontals. One of the characteristic techniques that allows you to visually "strengthen" the image within the boundaries of a rectangular format is the "beveled corner". The separation of painting from architecture gave rise to a certain system of perception of the easel painting. The main content of the picture is the expression of a holistic view of space. The composition is transformed into an exposition in which the viewer faces the transformed world of spatio-temporal relations and sees himself in it as in a mirror. So the transparent glass of the Renaissance turned into a mirror of the Classical and Baroque eras. The art of the post-Renaissance era is characterized by playing with reflections in the mirror, the introduction of figures-mediators into the composition of the picture, persons who, by their position, gaze or hand gesture, indicate the action taking place in the depths of the picture, as if inviting them to enter it. In addition to the frame, in such compositions there is a proskenium - the front part of the stage, backstage, then the middle ground, in which the main action takes place, and the background - the "backdrop".
The artist usually places the main figures in the middle plane of the picture, setting them on a mental horizontal line as on a pedestal. The depth of the "spatial layer" depends on the position of this reference horizontal line (in planimetric terms - above or below the lower edge of the picture frame). Postponing the horizontal many times up, the painter creates a certain rhythm of movement into the depths of the imaginary space. Thanks to this, even on a small canvas, you can depict a space of any length with any number of figures and objects. In such an exposition, one has to specifically draw the viewer's attention to the fact that some objects are closer, while others are further away. To do this, "pointers" are used: perspective reduction, the introduction of large-scale landmarks (small figures of people in the background), overlapping plans, tonal contrast, falling shadows from a light source inside or outside the picture. Another reference point for the viewer's mental movement in the space of the picture is the diagonals, the main one being the "entrance diagonal" (usually from left to right).
Picture in picture
Picture in picture
Picture in Picture can be used in a special composition function. A similar hierarchical organization is presented in the case of depicting a picture within a picture (as well as frescoes in wall paintings, etc.).
"Picture in a picture" is a compositional technique found in the art of classical painting of the 16th-17th centuries. A picture within a picture can be endowed with a special hidden meaning.
The compositional technique "picture in picture" can perform several tasks:
- express an idea
- explain the plot
- to oppose or create harmony
- be a detail of the situation (interior)
Very often, the image of a background in a painting can be understood as a kind of picture in a picture, that is, an independent image built according to its own special laws. At the same time, the image of the background, to a greater extent than the image of the figures on the main plane, is subject to purely decorative tasks, we can say that it is often not the world itself that is depicted here, but the scenery of this world, that is, not the image itself is presented, but the image of this image.
For the Dutch, a geographical map, a tapestry, a picture, an open window as an image included in the picture expand the boundaries of the world or serve to develop the allegorical meaning of the main plot. Vermeer, opening the veil of the workshop, becomes a guide on three levels of reality: the space of the viewer, the space of his workshop, the space of the work of art (the canvas that stands on the easel), likening these metamorphoses to swimming in the oceans, marked on a geographical map or flying over the land marked on the map .
The overflow of reality - art - myth can also be observed in Velazquez, who willingly resorts to the “picture in picture” technique, an example of which can be Meninas and Spinners.
“Picture in picture” is also in “Venus in front of a mirror” by Velasquez, but the foggy mirror only reflects the shadow of the goddess of love.
Painting and frame
Any image created by the artist, with the exception of ancient rock paintings, has a frame. Framing is a necessary and important part of the composition, it completes it, gives unity. The frame may be on the same plane as the pictorial or graphic composition itself. It can also be created specifically as a kind of relief form with the help of decorative, sculptural and architectural elements. Most often there are frames of a rectangular shape, somewhat less often - round and oval.
The frame helps to distinguish the painting from the environment as something special and worthy of attention, but at the same time connects it with the environment. So, if the style of the frame coincides with the artistic appearance, structure and character of the interior where the picture is located, this contributes to the integrity of the ensemble. Depending on the color, saturation with decorative and sculptural details, the frame significantly affects the overall impression of the pictorial image. All this allows us to talk about the unity of the picture and the frame, where the framing performs, of course, not the main, but a very necessary function.
The development of easel painting was complex. What a bright milestone in its history was the transition from the Middle Ages to the Renaissance! The most significant in it was the desire to get away from the stiffness and abstraction of the icon image that dominated the Middle Ages. Approximately in the XIV century, a painting in the modern sense of the word was born, and with it a frame appeared, still dressed in the lace of a Gothic scenery.
The first frames were not completely opposed to the whole image and were not separated from it; the materials of both were similar, the conditional gilding of the background, for example, of an ancient Russian or Byzantine icon, passed to the frame, and the image itself often “splashed” onto it. Then the boundaries between the picture and the frame became more and more clearly recognized. Nevertheless, as a kind of memory of previous centuries, the frame retained its golden color. When the golden background, denoting the world of the divine, disappeared from the painting, the gilding of the frame began to be perceived conditionally, in other words, as a necessary attribute of the frame, which helped to highlight the picture in the room, attract the viewer's eye to it.
In the Renaissance, the idea of painting as a look at the world through a window dominated, the frame, with its forms, very clearly alluded to the prevailing idea and responded to it. These magnificent, solemn frames were made according to the drawings of artists in special workshops or by the artist's assistants who worked in his workshop.
During the Renaissance, painting was constantly compared to a mirror that reflects reality, and the frame, created like an ornamental mirror frame, emphasized this comparison even more strongly. This frame could be made not only from wooden slats and plaster, but also from precious materials, including silver, ivory, mother-of-pearl, etc. The preciousness of the materials seemed to match the preciousness of the painting, reinforcing it.
The old masters were very attentive to the frame, taking into account its impact in the process of work, sometimes they even painted in a finished frame, taking into account a certain tone and decorative rhythm of the frame. Therefore, the compositions of the old masters often benefit greatly in the original frames.
Observations on the frames of old masters allow us to establish another principle - the correspondence between the profile and width of the frame and the size of the picture: for example, Dutch painters used to insert their small paintings into large frames with deep, sheer profiling, which, as it were, leads the eye to the center of the picture and isolates it from any influence of the environment
At the beginning of the 20th century, voices began to be heard calling for the abandonment of frames altogether, as something too material, "grounding" the spirituality of art. Various avant-garde artists, having taken such calls, began to exhibit their works without frames. However, as a result of this innovation, their works themselves ceased to be paintings in the narrow sense of the word. These were some kind of "objects", "spots", often devoid of a clear meaning.
Although now there is no one style in the design of frames, as it once was, but there is more than before, the correspondence of the frame to the individual style of the artist.
Recently at art exhibitions, one can notice that the inertia in relation to the design of frames (let them be, but what is not so important), which manifested itself in the past with our artists, is beginning to be overcome. The frames are painted in various colors, small additional images and inscriptions are often placed on them, sculptors help the painters - frames with rich plastic motifs appear.
Picture format
There are, however, two specific elements of the picture, which seem to create a transition from the plane to the image, at the same time belonging to the reality of the picture and its fiction - the format and the frame. It may seem that the format of the picture is only an artist's tool, but not a direct expression of his creative concept: after all, the artist only chooses the format. Meanwhile, the nature of the format is most closely connected with the entire internal structure of a work of art and often even points the right way to understanding the artist's intention. As a rule, the format is chosen before the start of the painter's work. But a number of artists are known who liked to change the format of the picture while working, either cutting off pieces from it, or adding new ones (Velasquez did this especially willingly).
The most common format for a picture is quadrangular, with a pure square being much rarer than a quadrilateral more or less elongated upward or in breadth. Some eras appreciate the round format (tondo) or oval. The choice of format is not random, the format usually reveals a deep, organic connection both with the content of the work of art, with its emotional tone, and with the composition of the picture, it equally clearly reflects the individual temperament of the artist and the taste of an entire era. We feel the hidden causal relationship between the format and the artist's intention before each picture, from which the charm of a true work of art comes. There are paintings whose content is so fused with the nature of the format that the slightest shift in proportions, it seems, should upset the stylistic and ideological balance of the picture.
The horizontal, elongated format, in general, is certainly more suitable for narrative composition, for the sequential unfolding of movement past the viewer. Therefore, artists who are epic in mood, striving for active composition, for action, willingly turn to this format, for example, Italian painters of the 14th and first half of the 15th century (especially in fresco compositions). On the contrary, a square format or one in which the height somewhat prevails over the width, as if immediately stops the dynamics of the action and gives the composition the character of a solemn representation - it was this type of format that the masters of the High Renaissance preferred for their altar paintings ("Sistine Madonna"). In turn, with a significant predominance of height over width, the composition again acquires dynamics, strong traction, but this time up or down; such a narrow format was especially to the liking of aristocratic, decorative (Crivelli) or mystical (Mannerist, Greco) artists, who sought to embody certain emotions and moods.
The connection of the format with the individual temperament of the artist is also undoubted: the sensual, dynamic fantasy of Rubens requires a larger format than the restrained and spiritualized fantasy of Rembrandt. Finally, the format is directly dependent on the pictorial technique. The wider, freer the brushstroke of the artist, the more natural is his desire for a large format.
1) An easel painting that has independent significance. Unlike a study and a sketch, a painting is a complete work, the result of a long work, a generalization of observations and reflections on life. Pictures come in various genres. The picture embodies the depth of intent and figurative content. Unlike a fresco or book miniature, a painting is not necessarily associated with a particular interior or a particular decoration system.Creating a picture, the artist relies on nature, but creative imagination plays an important role in this process. The concept of a painting is applied primarily to works of a plot-thematic nature, the basis of which is the image of important historical, mythological or social events, human actions, thoughts and emotions in multi-figure complex compositions. Therefore, in the development of painting, the picture plays a leading role.
The painting consists of a base (canvas, wooden or metal board, plywood, cardboard, pressed board, plastic, paper, silk, etc.), on which a primer and a layer of paint are applied. The aesthetic perception of a painting is greatly improved when it is placed in an appropriate frame (baguette) that separates the painting from the surrounding world. The oriental type of painting retains the traditional form of a free-hanging unfolded scroll (horizontal or vertical). The picture, unlike monumental painting, is not rigidly connected with a certain interior. It can be taken off the wall and hung differently.
The heights of art have been reached in the paintings of outstanding painters. In the diverse currents of modernism, there is a loss of plot and a rejection of figurativeness, thereby the concept of a picture is significantly revised. An ever wider range of pictorial works of the 20th century. called pictures. The painting is one of the most typical types of easel art. Johann Wolfgang Goethe wrote: "Pictures are not just a painted canvas, they affect feelings and thoughts, leave a mark on the soul, awaken forebodings."
A reproduction or copy of an original painting may also be called a painting if it is not important in the relevant context whether it is a copy or an original work. For example, “There were several paintings hanging in the corridor.”
2) In a figurative or more general sense - any complete, integral work of art, including - a lively and vivid description, oral or written, a beautiful view of nature.
3) In a musical and theatrical work - a part of the act, separated not by an intermission, but by a short pause, during which the curtain falls briefly.
4) In music - the designation of instrumental-symphonic works, which are characterized by special concreteness, visualization of musical images; sometimes such works belong to the genre of program music.
5) In construction, a roofing element whose edges are prepared for a seam connection. Are applied in folded roofs. Depending on the technology, it is made by manual or machine methods. There are paintings for an ordinary coating, as well as paintings for cornice overhangs, wall gutters, gutters, valleys, etc.
“Art is the same need for a person as eating and drinking. The need for beauty and creativity, embodying it, is inseparable from man,” wrote F. M. Dostoevsky.
Indeed, history testifies that man has always been inseparable from art. In the mountains, in the caves of different countries of the world, ancient rock paintings have been preserved. These expressive drawings of animals and hunters were made back in the days when people could not write.
Monuments of art tell us what great importance it had in the life of man and human society. The ancient Greeks created a beautiful myth about the Muses - eternally young sisters, personifying the arts and sciences. Melpomene - the muse of tragedy, Thalia - comedy, Terpsichore - dancing, Clio - the muse of history ... The myth says that when the god Apollo - the patron of art, poetry and music - appeared accompanied by the muses, then all nature listened to their singing ... Music, the museum - these words come from the word Muse.
The poetic myth of the sister muses has not lost its meaning. Each type of art has its own expressive means: in music it is sound, in fine arts it is color, line, etc., in literature it is the word. But the related essence of all kinds lies in the fact that art is one of the forms of social consciousness, which is based on a figurative reflection of the phenomena of reality.
Visual arts related to visual perception include: painting, graphics and sculpture. These arts create an image on the plane (painting and graphics) and in space (sculpture).
A picture, drawing, print, sculpture that has an independent meaning, that is, is not associated with any artistic ensemble or with a purely practical purpose, we call easel works. This definition comes from the word “machine” (in this case, an easel), on which a canvas is placed when a picture is painted. And even the fact that the picture is necessarily inserted into the frame emphasizes the independence, that is, the isolation of easel painting from the environment. The frame separates the picture, creates the opportunity to perceive it as an independent artistic whole. Some easel paintings are reproduced in the book.
Unlike machine monumental painting by its purpose and character it is connected with the architectural ensemble. Frescoes, mosaics, panels, stained-glass windows organically enter the architecture, complementing and enriching the decoration of the interior or the entire building. Excellent examples of monumental painting are the frescoes of Raphael in the Vatican Palace, the paintings by Michelangelo in the Sistine Chapel. Monumental painting reached its highest level in Byzantine and Old Russian art.
In our time, monumental painting is widely used in palaces of culture, clubs, theaters, metro stations, railway stations, etc. Many of you have seen mosaics in the metro, created according to sketches by P. Korin, A. Deineka and other Soviet masters. Interior murals of the Bus Station and the Museum of the Armed Forces in Moscow (artist Yu. Korolev), murals of the Tsiolkovsky Museum in Kaluga (a group of artists led by A. Vasnetsov), stained-glass windows by Lithuanian masters, chased panels by Georgian artists adorned many new buildings in our cities.
The monumental art of modern Mexico has won international fame. The mosaics of Siqueiros and other major artists reflect the heroic struggle of the Mexican people for their independence.
It is not always possible to draw a sharp line between an easel and a monumental work of art. This is explained by the fact that easel painting often has the quality of monumentality. And monumental works sometimes have an independent meaning, being perceived as finished easel paintings.
There is still a very large area of decorative and applied arts. These are artistically made furniture, dishes, clothes, fabrics, carpets, embroideries, jewelry, etc. However, some types of arts and crafts (tapestry, chasing, decorative sculpture) can also be considered as independent works. Painting, which is intended to decorate or reveal the design and purpose of an object and does not have a clearly independent meaning, is called decorative.
Thus, painting is divided into easel, monumental and decorative.
CARICATURE(it. caricatura, from caricare - to load, exaggerate) - a genre of fine art that uses the means of satire and humor, grotesque, caricature to critically assess any social, political and domestic phenomena or specific individuals and events. The comic effect of a caricature image is created by exaggeration and sharpening of characteristic features, unexpected comparisons, similes, metaphors, a combination of the real and the fantastic. Caricature is used mainly in newspaper and magazine graphics, but it also finds a place for itself in satirical painting and small plastic art, in posters and even in monumental painting. Caricature can be seen in folk art, especially in lubok. Outstanding cartoonists were J. Effel (France), X. Bidstrup (Denmark), Kukryniksy (M. Kupriyanov, P. Krylov, N. Sokolov - Russia).
PAINTING- easel work of painting, which has an independent value. Unlike a study and a sketch, a painting is a complete work, the result of a long work by the artist, a generalization of observations and a depth of intent and figurative content. Creating a picture, the artist relies on nature, but creative imagination plays an important role in this process. The concept of a painting is applied, first of all, to works of a plot-thematic nature, the basis of which is the depiction of important historical, mythological or social events, human actions, thoughts and emotions in multi-figure complex compositions. Therefore, in the development of painting, the picture plays a leading role. The painting consists of a base (canvas, wooden or metal board, plywood, cardboard, pressed board, plastic, paper, silk, etc.), on which a primer and a layer of paint are applied. The aesthetic perception of a painting is greatly improved when it is placed in an appropriate frame (baguette) that separates the painting from the surrounding world. The oriental type of painting retains the traditional form of a free-hanging unfolded scroll (horizontal or vertical). The picture, unlike monumental painting, is not rigidly connected with a certain interior. It can be taken off the wall and hung differently. The pinnacle of art has been reached in the paintings of outstanding painters. In the diverse currents of modernism, there is a loss of plot and a rejection of figurativeness, thereby the concept of a picture is significantly revised. An ever wider range of pictorial works of the 20th century. called pictures.
PICTURE GALLERY- an art museum, which exhibits exclusively or mainly works of painting. An art gallery is also called the sections of painting in large museums and palace halls intended for collections of paintings. In ancient Greece, the repository of paintings was called the Pinakothek, and later large collections of paintings, that is, art galleries, were called that. Many of the largest art museums in the world are art galleries and bear the name of galleries, including the National Gallery in London, the National Gallery of Art in Washington, the State Tretyakov Gallery in Moscow, and others.
BRUSH- an artist's tool, mainly a painter, which is a pen with a pile at the end. Brushes for painting are usually used from hair: bristle (from white pig bristle), kolinsky (from the hair of a red marten - a column), squirrel, ferret, etc. For watercolor painting, brushes made of thin and soft hair are suitable for working on small details, for example squirrel. For painting with gouache, tempera, oil paints, hard bristle brushes are chosen. In the old days, artists used a badger brush called a flute, with which they smoothed the surface of the paint, destroying the scratches left on the paint by a bristle brush. Brushes are round and flat, with short and long pile, hard and soft. On each brush there are pifra (1, 2, 3, etc.). The larger the number, the larger the brush. The ends of the hair in the brush must be pointed, not cut off. The hair should be styled so that it lies parallel and not sticking out to the sides. A good brush retains its shape even after washing with water, and a bad one bristles even if it is dipped in paint. Such a brush is not suitable for painting at all. Recently, artists prefer flat brushes that give a more defined brushstroke. At present, a wide and flat brush is called a flute. It is used for painting large surfaces and priming canvases. Brushes are also used in graphics and calligraphy.
KITSCH(German Kitsch - letters, hack, bad taste) - pseudo-artistic products that meet low artistic taste and undeveloped aesthetic needs. Kitsch is characterized by loudness of color, eclecticism, redundancy of decor, fakes of precious materials. Manifestations of kitsch are possible in all types of plastic arts, but most often they are found in mass art production, the souvenir industry, in mass printed graphics, and some types of art crafts.
CLASSIC(from Latin classicus - exemplary) - in the history of art, the era of the highest rise of ancient art in the 5th-4th centuries. BC e. Classical art - the art of ancient Greece and ancient Rome during their heyday, as well as the art of the European Renaissance and classicism, which was directly based on ancient traditions. In the era of the classics, the main architectural orders were formed, regular city planning was developed, monumental sculpture, inextricably linked with architecture, and decorative art flourished. Images of harmonious people, endowed with both physical and spiritual beauty, were created by the greatest sculptors Myron, Poliklet, Phidias, Praxiteles, Skopas. Painting (Polygnotus) was highly developed in classical art. In the 5th century BC e. the most perfect architectural works of Ancient Greece were created - the temples of the Parthenon (architects Iktin and Kallikrat) and the Erechtheion, located on the Acropolis in Athens, marked by the artistic unity of the whole and all architectural and sculptural details. Classical art is associated with the flourishing of Athens and other city-states in which there was a system of slave-owning democracy.
CLASSICISM(from Latin classicus - exemplary) - the artistic style of European art of the 17th-19th centuries, one of the most important features of which was the appeal to ancient art as the highest model and reliance on the traditions of the high Renaissance. The art of classicism reflected the ideas of the harmonious structure of society, but in many respects lost them in comparison with the culture of the Renaissance. The conflicts of the individual and society, ideal and reality, feelings and reason testify to the complexity of the art of classicism. The artistic forms of classicism are characterized by strict organization, balance, clarity and harmony of images. The architecture of classicism is characterized by an order system inspired by antique samples, clarity and geometric correctness of volumes and layout, porticos, columns, statues, and reliefs that stand out on the surface of the walls. An outstanding masterpiece of architecture, combining classicism and baroque into a single solemn style, was the palace and park ensemble in Versailles - the residence of the French kings (second half of the 17th century). In painting, the logical unfolding of the plot, a clear balanced composition, a clear transfer of volume, the subordinate role of color with the help of chiaroscuro, the use of local colors (N. Poussin, K. Lorrain) have acquired the main importance. A clear delimitation of plans in landscapes was also revealed with the help of color: the foreground had to be brown, the middle one - green, and the far one - blue. 
§№5. Spatial arts. Painting.
Repeat questions?
- What is graphics?
- What means of expressiveness of graphics do you know?
- What is the meaning of the terms:
- lithography,
- woodcut,
- print,
- engraving,
- splint?
Painting- one of the oldest types of fine arts, associated with the transmission of visual images by applying paints on a solid or flexible base; creating an image using digital technology; as well as works of art made in such ways.
The origins of painting.
Images of animals and people made in the era of primitive society on the walls of caves have survived to our times. Since then, many millennia have passed, but painting has always remained an invariable companion of the spiritual life of man. In recent centuries, it is undoubtedly the most popular of all types of fine art.
Painting Functions:
- Cognitive
- aesthetic
- religious
- ideological
- Social and educational
- emotive
Adrian van Ostade. Artist's workshop. 1663. Dresden.
Types of painting:
Classification of painting according to the material used:
Classification of painting by technique:
- A la Prima (Alla Prima)
- Grisaille
- Glaze
- Pointillism
- Dry brush
- Sgraffito
Painting techniques are almost inexhaustible. Everything that leaves any trace on something, strictly speaking, is painting: "painting is created by nature, time and man." Leonardo da Vinci.
Easel painting.
easel painting - a kind of painting, the works of which have an independent meaning and are perceived regardless of the environment. Literally - painting, created on the machine (easel).
The work of easel painting - a picture - is created on a non-stationary (as opposed to monumental) and non-utilitarian (as opposed to decorative) basis (canvas, cardboard, board, paper, silk), and implies an independent and not conditioned by the environment perception.
Monumental and decorative painting.
monumental painting - painting on architectural structures and other stationary bases.
Monumental painting is the oldest type of painting, known from the Paleolithic (paintings in the caves of Altamira, Lasko, etc.). Thanks to the stationarity and longevity of works of monumental painting, numerous samples of it have remained from almost all cultures that created developed architecture, and sometimes serve as the only type of surviving paintings of the era.
The main techniques of monumental painting:
- murals
- Fresco on wet plaster
- Fresco a secco
- wax painting
- Mosaic
- stained glass
BUT. 
B. 
AT. 
A. Saved by the Almighty. Painting on the dome of the Church of the Transfiguration of the Savior on Ilyina Street in Veliky Novgorod. Theophanes the Greek. 1378 year. B. Marc Chagall. Paintings of the Jewish theater in Moscow. W. Marc Chagall. Ceiling painting of the Paris Opera.
Miniature painting.
Miniature(from lat. minium - red paints used in the design of handwritten books) - in the visual arts, small-form paintings, sculptures and graphic works, as well as the art of their creation.
miniature painting also common in the east. In India, during the Mughal Empire, the Rajasthani miniature became widespread. It was a synthesis of joint creativity of Indian and Persian masters.
Painting genres:
- Animalistic - images of animals, birds, insects and other fauna.
- Abstract - the image of non-objective compositions.
- Battle - images of military operations and battles.
- Household - the image of everyday scenes.
- Historical - the image of historically famous persons and events.
- Marina - seascape.
- Mystic-fantastic - compositions of surreal content.
- Still life (dead nature) - an image of household items.
- Portrait - images of people.
- Landscape - an image of wildlife.
- Religious - compositions of religious content.
Practical task:
- In the literature, find paintings that correspond to each of the listed genres.
- Make a description of these works in the form of a table:
| Genres | The name of the painting, mosaic, stained glass ... | Belonging to the type of painting | Belonging to a style or historical era. |
|
| animalistic | ||||
| Abstract | ||||
| Battle | ||||
| Domestic | ||||
| Historical | ||||
| Marina | ||||
| mystic-fiction | ||||
| Still life | ||||
| Portrait | ||||
| Landscape | ||||
| Religious |
