What are the types of painting? Styles and directions of painting

Types of fine arts.

Painting

Painting is one of the oldest forms of art associated with the transmission of visual images by applying paints to a solid or flexible base. The most common works of painting are made on flat or almost flat surfaces, such as canvas stretched on a stretcher, wood, cardboard, paper, treated wall surfaces, etc. In a narrow sense, the term painting is opposed to works created on paper, for which the term is used - graphic arts .

Irina Shanko
"March, on the coast of the Gulf of Finland"
canvas, oil
33/58
2011

Classification.

Also, painting can be divided into easel and monumental. Here is an approximate division into these types, although almost any easel painting material can be used in monumental painting. Easel painting includes "small" works that can be placed on an easel or several. Monumental, painting the basis of which is usually not tolerated - wall, ceiling, etc.

easel:

Oil painting, a technique that uses paints with vegetable oil as the main binder. Oil paints are made up of dry pigments and drying oil.

Shanko Irina, "Sleeping boats", canvas/oil, 50/60, 2014

Tempera painting, the binder is the yolk of a chicken egg.

This type of painting got its name from the name of the paint - tempera. At the heart of this word is the Latin temperare, which means "to mix." The technology for the production of this paint was approximately as follows. The pigments were triturated with water and dried. Then they were mixed with an egg, diluted with glue, vinegar, wine or beer.

Tempera painting technique consisted in successive application of several layers. A light coat of paint was applied to the prepared surface. First, the artists outlined the contours, depicted the environment, nature, clothes. Images of people were drawn on final stage. At the same time, in tempera painting it was very important that each of the layers dry well, otherwise the subsequent ones could blur. Fortunately, the structure of the paints allowed them to dry very quickly. Therefore, the work of the artist on the image was almost continuous.

Andrei Rublev, "Trinity", 1411 or 1425-27, wood, tempera, 142/114 cm, state Tretyakov Gallery, Moscow.

_____________________________________________________________________________________________________

Adhesive painting, based on animal glue. A technique in which the pigment binder is glue: animal (fish, skin, bone, casein) or vegetable (starch, gum, tragacanth).

Paints in glue painting are opaque, opaque, the painting surface is matte. With a high content of glue in the paint, the surface becomes glossy, and the color becomes more intense.

Mary with the sleeping Jesus, 1455.

_____________________________________________________________________________________________________

Encaustic, wax painting.

Encaustic (from other Greek ἐγκαυστική - [art] burning) is a painting technique in which wax is the binder of paints. Painting is done with paints in molten form (hence the name).

Apostle Peter (n. VI century)

_____________________________________________________________________________________________________

Monumental:

Fresco, one of the wall painting techniques characterized by writing on wet plaster.

Fresco (from Italian fresco - fresh), affresco (Italian affresco) - painting on wet plaster is one of the wall painting techniques, the opposite of "A secco" (dry painting). When dried, the lime contained in the plaster forms a thin transparent calcium film, which makes the fresco durable.

At present, the term "fresco" can be used to refer to any wall painting, regardless of its technique (and secco, tempera, oil painting, acrylic paint, etc.). Sometimes they write tempera on an already dry fresco.

Roman fresco, 40-30 BC e.

_____________________________________________________________________________________________________

And secco, as opposed to fresco, is painting on dry plaster.

And secco is also called casein and silicate painting (Mineral painting is a technical kind of monumental painting based on the use of soluble glass as a binder.) on dried plaster. It is used to perform work both on the internal and external surfaces of buildings. The technique allows subsequent adjustments with tempera and rinsing with clean water.

Leonardo da Vinci. The Last Supper.1498

_____________________________________________________________________________________________________

Sgrafito, wall painting, the essence of which is the multi-level application of paint.

Sgraffito (Italian sgraffito) or graffito (Italian graffito) - a technique for creating wall pictures, the advantage of which is their great durability.

The simplest case of two-color sgraffito is the application of one layer of plaster on the wall, which differs in color from the base. If in some places the layer is scratched, the lower one, of a different color, will be exposed and a two-color pattern will be obtained. To obtain a multi-colored sgraffito, several layers of plaster of different colors are applied to the wall (the plaster is painted with different pigments); the plaster is then scraped off at varying depths to expose the desired color layer.

Such murals are very laborious, they are difficult to correct, therefore, a stencil is often used to perform murals in this technique in order to avoid mistakes.

Two-tone sgraffito, Březnice, Czech Republic

_____________________________________________________________________________________________________

Acrylic, water-based paints.

Acrylic paints become darker when dry. They can also be used as an alternative to oil paint with commonly used renowned technicians. They dry very quickly - this is their advantage over other paints. It can be applied both in a very liquid, diluted state (diluted with water), and in a pasty state, thickened with special thickeners used by artists, while acrylic does not form cracks, unlike oil paints. The paint is laid with an even film, it shines a little, it does not require fixing with fixatives and varnishes, it tends to form a film that is washed off after drying only with special solvents.

Acrylic paints and varnishes can be used on any non-greasy base.

Fresh acrylic paint can be easily removed from objects with water, but requires special solvents when it dries.

_____________________________________________________________________________________________________

Painting - view of the depiction of the island, depiction on the plane; pr-e art-va, made with paints applied to any surface. Advantage: the image of a person in his diverse connections with the environment. Zh-s is able to convey volume and space on the plane, it is difficult to reveal. the world of human chuv-in and har-ditch. The pictorial approach is the depiction of an object in relation to its surrounding spatial light and air environment, in the finest gradation of tonal transitions.

Types of painting destination: monumental (the oldest type) and monumental-decorative, easel, miniature, icon painting, theatrical-decorative, decorative-applied. Icon painting and miniature (illustration of a handwritten book) - medieval art. Easel painting - the Renaissance.

Views by technique. Monumental painting techniques: fresco(the technique of painting with water-based paints on wet plaster; wall painting); panel(image for decorating a wall or ceiling); mosaic(an image or a pattern of particles that are homogeneous or different in material: from stone - pebbles, from smalt - an alloy of glass, from ceramic tiles); stained glass windows(colored glass compositions); grisaille(creating the illusion of relief). Easel painting techniques: other equipment encaustics(wax painting, performed in a hot way, with melted paints); tempera(basic icon painting - paints on egg yolk); oily well (material tangibility of the image - the Renaissance); pastel(with dry, soft colored pencils without rims); watercolor(well, water-based paints that require fast, accurate work); gouache(Well, with water-based paints with the addition of glue and white, the tones lighten when dried).

Well, according to topics: religious-mythological and secular. The system of genres in secular journalism in the 17th century: portrait- individual, pair and group, ceremonial and intimate, psychological and genre, outside the environment and in the environment. environment, self-portrait. The art of the portrait goes back to an ancient ritual n-tu (Fayum n-t). Scenery- as an independent genre appeared in Egyptian paintings. Heyday - art of the 19th century: romantic and realistic - national landscape (lyric and epic), plein air, mood, philosophical. Rural and urban (Veduta - Venetian urban m-f 18th century - Canaletto, Guardi) ms, marine. Still life- depicting inanimate objects and natural forms - fruits, flowers, dishes. The heyday of the genre: Flemish (genre of shops), Dutch (genre of breakfasts or vanita- "vanity of vanities", depicted with a skull) and the Spanish well of the 17th century. → in avant-garde art. animalistic genre - depiction of living things, birds, fish (historical, allegorical, battle, everyday genres). nude- depiction of a naked body: goes back to the mythological f-si. Impressionism is a mixture of genres.

Express. Wed w-si: drawing (line), color (color), chiaroscuro, composition. coloring- color system pr-i, character of the relationship of color elements. There are warm-cold, light-dark, calm-tense colors. Painting- easel pr-e w-si, which has an independent value. Eastern type paintings - the traditional form of a freely hanging unrolled silk scroll (horizontal or vertical). The picture consists of a base (linen canvas, wooden board, cardboard), a primer is applied to the cat - it will prepare. special layer. composition (adhesive, oil, emulsion) and paint layer. W-s m / b single-layer and multi-layered. By texture (har-ru on top of the colorful layer is distinguished valeric And pasty well. Valer is a tonal nuance, a subtle difference of the 1st color in lightness, conveys the relationship of figures, objects with light and air (D. Velasquez, Jan Vermeer Delftsky, J. B. Chardin, C. Corot, V. Surikov). Pastose oil - work with dense layers, texture, relief, volume of oil (Titian, Rembrandt, W. van Gogh). Composition of the painting: division into near, medium and distant plans, pyramidal composition (classicism); diagonal (baroque, romanticism, realism); division into major and minor elements or the absence of this division (impressionism). Staffage- secondary elements of the pictorial composition - depicting small figures of people or animals that do not play a plot role.

Painting- a type of fine art associated with the transmission of visual images by applying paint to a solid or flexible surface. There are two types of painting: easel and monumental. Easel painting includes works that exist regardless of the place of creation. Basically, these are paintings created on an easel (that is, a machine tool) of an artist. In easel painting, works made with oil paints predominate, but other dyes (tempera, acrylic paints, etc.) can also be used. Pictures are painted mainly on canvas stretched over a frame or pasted on cardboard, on cardboard, in the past wooden boards were widely used, any flat materials can be used. Monumental painting is carried out directly on the walls and ceilings of buildings and other structures. In the past, painting with water-based paints on damp plaster (fresco) prevailed. In Italy, until the beginning of the 16th century, tempera was used to paint details on a dried “clean fresco”. The technique of “pure fresco” requires special skill from the artist, so other technologies were also used, for example, not so stable painting on dry plaster - secco, later paintings were made with oil paints that were not very suitable for monumental painting. Colored images on paper (watercolour, gouache, pastel, etc.) are formally (for example, according to their place in the collection) referred to graphics, but these works are often considered as picturesque as well. All other color imaging methods are graphics, including images created using computer technology. The most common paintings are made on flat or almost flat surfaces, such as stretched canvas, wood, canvas, treated wall surfaces, etc. There is also a narrow interpretation of the term painting as works made with oil paints on canvas, cardboard, hardboard and other similar materials. Russian word painting indicates the realism of this art in the Baroque era, when Western-style paintings began to be painted in Russia, mainly with oil paints. In iconography, the verb “to write” is used, just as in Greek. At the same time, “painting” can be understood as an energetic, original manner of writing, that is, as a kind of writing. In connection with painting and writing, semioticians also see a certain manner of creating signs. History of painting develops and wanders precisely in these two senses: in figurativeness, realism and - symbolism: from the icon (image) to abstraction. Techniques and directions of painting: oil; tempera; enamel; gouache (since the artist uses paper as the main material, which is typical for graphic types of fine art - it is also classified as graphics; this is also evidenced by the use of the latter to create monochrome works); pastel (to this technique, a remark similar to that made regarding the previous one is valid); ink (and in this case, as in the previous two, it cannot be unequivocally attributed to graphics; in the East, for example, calligraphy, which mostly uses this material, is traditionally considered painting, as , however, and academic Chinese painting mainly used ink - an achromatic scale); painting on plaster: fresco and a secco; sfumato glue painting; wax painting: encaustic, wax tempera and cold method (wax paints on turpentine); painting with ceramic paints; painting with silicate paints; watercolor painting (the technique of watercolor is different, some techniques are closer to painting, some to graphics; therefore, it is no coincidence that such a phrase is present in the thesaurus: “draw with watercolor”) dry brush; acrylic; mixed media;Painting techniques are almost inexhaustible. Everything that leaves any trace on something, strictly speaking, is painting: painting is created by nature, time and man. This was already noted by Leonardo da Vinci. Traditional techniques paintings: encaustic, tempera (with egg), wall (lime), glue and other types. Since the 15th century, oil painting has become popular; in the 20th century, synthetic paints appeared with a binder made of polymers (acrylic, vinyl, etc.). Paints can be prepared from natural and artificial pigments. Gouache, watercolor, Chinese ink and semi-drawing technique - pastel - are also referred to as painting. Painting can be done on any basis: on stone, plaster, canvas, silk, paper, skin (including the body of an animal or human - tattoos), metal, asphalt, concrete, glass, ceramics, etc. etc., etc. Painting meets and coexists with the plastic arts, including architecture and sculpture; it can participate in the formation of the artificial and natural environment. Painting, like other visual arts, is illusory: it is an imitation of three-dimensional space in a plane, achieved through linear and color perspective. But its visual and, moreover, color aspect (the eye perceives almost infinite information in an instant) determines the exclusive place of painting among all the visual arts. At the same time, the development of art, visual methods and means of expression, has long gone beyond the understanding of its main tasks - "reproduction of reality". More Plotinus says: "Do not copy nature, but learn from it"; and this principle has guided many artists over the centuries. Therefore, the tasks of painting imply not only such an organization of space on a plane, which is guided and limited by the reconstruction of a three-dimensional environment on it, moreover, individual methods have long been perceived as “dead ends” on the path of art development (in the context of understanding and rethinking the adequacy of perception). The plane, like color, has an independent integrity and value, together they dictate their conditions in the synthesis of forms and on the plane as such, and in interaction with three-dimensional-temporal space. The artist can no longer be satisfied with a set of illusory techniques (“illusionism”), he follows the needs of a new understanding of beauty, abandoning irrelevant methods of self-expression and influencing the viewer, looking for new forms of such, dialectically returns to the best of the rejected, and thus comes to an understanding and realization of new values. Such an understanding of the methods and technical, expressive tasks of art was cultivated among other theorists and masters V. A. Favorsky and Fr. Pavel Florensky, and later independently developed by V. A. Favorsky himself. Of course, this is not the only "correct" way of development. contemporary art and painting, however, many provisions of such a vision are very convincing and productive. Regarding the fallacy of the strict exclusion of painting from the plastic arts, even the theory of "orthodox" art history has also long since reassessed. Here is what is said not in some intricate conceptual study, but in the Popular Art Encyclopedia: “Plastic arts are divided, in turn, into pictorial and non-pictorial. The former include painting, sculpture, graphics, monumental art… The non-pictorial ones include architecture, arts and crafts, and artistic design… The boundaries between fine and non-fine arts are not absolute…” The functions of painting. Like other art forms, painting can perform cognitive, aesthetic, religious, ideological, philosophical, socio-educational or documentary functions. However, the main and primary expressive and meaningful value in painting is color, which in itself is the bearer of the idea (including due to psychological factors of influence and perception). This is very convincingly explained and shown, for example, by the theory of I. Itten. It is no coincidence that there is such a thing as "literary" when painting, for one reason or another, not having sufficient plastic and expressive qualities, draws a purely narrative, "literary" component into its arsenal. Nevertheless, evolving together with man and with the whole world, painting has acquired both a new interpretation and a new understanding of tasks. So, initially possessing clear signs of independent plastic characteristics (it is no coincidence that one of the main parameters separating pictorial technique from graphic is a brushstroke, which provides a wide range of plastic possibilities - to the greatest extent, of course, the most common form - oil painting, but also, of course, , - many of its new types and techniques, implying the synthesis of forms). The idea of ​​the ways and tasks of painting, as well as all the means and ways of self-expression, art history and the creative environment, have been clearly influenced by the development of the general cognitive process, but naturally they themselves influenced him, touching on many aspects of the worldview and human activity. The rethinking of the functions of painting, as, indeed, of all creativity, went through the denial of its expediency as such (“Only realizing that it is completely meaningless, you can start creating,” says R.-M. Rilke); - through the realization that "this is a deep irrational process" - not only the same R.-M. Rilke and correctly perceived, well understood by him, P. Klee, but also many artists and philosophers; moreover, their very development prepared a new understanding of art and its tasks: it was impossible to fit the fullness of fleeting life, technical and technological, and finally - social and moral transformations - into the Procrustean bed of ideological and academic dogmas and clichés, priestly isolating art from the very development of life, reducing precisely to the “well-understood and long-known” functions of this deep creative process itself. Paintings created by people who, to varying degrees, inadequately perceive the surrounding reality, in whose works there are no attempts to get closer to its realistic display, stand apart. In some cases, such canvases are created by persons with mental deviations from the generally accepted norm, and even by patients of medical institutions. genres of painting. Portrait. A portrait is an image of a person or a group of people who exist or have existed in reality. "The portrait depicts the external appearance (and through it the inner world) of a specific, real person who existed in the past or exists in the present." [The boundaries of the portrait genre are very mobile, and often the portrait itself can be combined in one work with elements of other genres. historical portrait - depicts some figure of the past and created according to the memories or imagination of the master. Posthumous (retrospective) portrait- made after the death of the depicted people according to their lifetime images or even completely composed. portrait-painting- the person portrayed is presented in a semantic and plot relationship with the world of things surrounding him, nature, architectural motifs and other people. Portrait walk- the image of a walking person against the backdrop of nature originated in England in the 18th century and became popular in the era of sentimentalism Portrait-type - collective image, structurally close to the portrait Costumed portrait- a person is presented as an allegorical, mythological, historical, theatrical or literary character. self-portrait- It is customary to single out a separate subgenre. religious portrait (donor's or ktitor's) - ancient form portrait, when the person who made the donation was depicted in the picture (for example, next to the Madonna) or on one of the altar doors (often kneeling). By the nature of the image: Ceremonial portrait- as a rule, involves showing a person in full growth. semi-front- has the same concept as the formal portrait, but usually has a waist or generational cut and fairly developed accessories. chamber portrait- waist, chest, shoulder image is used. The figure is often given on a neutral background. Intimate portrait - is a rare variety of chamber music with a neutral background. Expresses a trusting relationship between the artist and the person being portrayed. small-format and miniature portraits, done in watercolor and ink. Scenery- a genre of painting in which the main subject of the image is the primordial, or to one degree or another, nature transformed by man. It existed since antiquity, but lost its importance in the Middle Ages and reappeared in the Renaissance, gradually becoming one of the most important painting genres. Marina- a genre of fine art depicting a sea view, as well as a scene of a sea battle or other events taking place at sea. It is a kind of landscape. As an independent type of landscape painting, the marina stood out at the beginning of the 17th century in Holland. Historical painting - a genre of painting that originates in the Renaissance and includes works not only on the plots of real events, but also mythological, biblical and gospel paintings. Depicts the events of the past that are important for an individual nation or all of humanity. Battle painting - a genre of fine art devoted to the themes of war and military life. The main place in the battle genre is occupied by scenes of land, sea battles and military campaigns. The artist seeks to capture a particularly important or characteristic moment of the battle, to show the heroism of the war, and often to reveal the historical meaning of military events. still life - representation of inanimate objects in the visual arts. Originated in the 15th - 16th centuries, but how independent genre took shape only in the 17th century in the work of Dutch and Flemish artists. Since then, it has been an important genre in painting, including in the work of Russian artists. Genre painting is a part household genre in the visual arts. domestic scenes since ancient times have been the subject of painting, but as a separate genre genre painting It took shape only in the Middle Ages, having received a particularly strong development in the era of social changes in the New Age. Architectural painting. Painting, the main theme of which was not the natural, but the architectural landscape. Includes not only the image of architectural structures, but also the image of interiors. Animal painting This is a painting, the main plot for which is the image of animals. Furry art is an image of anthropomorphic animals. Decorative painting. Monumental painting is a part of monumental art, painting on buildings and structures. Theatrical and decorative painting is scenery and costume designs for theatrical performances and movies; sketches of individual mise-en-scenes. Decorative painting - ornamental and plot compositions created by means of painting on various parts of architectural structures, as well as on products of decorative and applied arts.

There are works of art that seem to hit the viewer on the head, dumbfounded and amazing. Others drag you into reflection and in search of semantic layers, secret symbolism. Some paintings are covered with secrets and mystical mysteries, while others surprise with an exorbitant price.

We carefully reviewed all the major achievements in world painting and selected two dozen of the strangest paintings from them. Salvador Dali, whose works completely fall under the format of this material and are the first to come to mind, were not included in this collection intentionally.

It is clear that “strangeness” is a rather subjective concept, and for everyone there are amazing paintings that stand out from a number of other works of art. We will be glad if you share them in the comments and tell us a little about them.

"Scream"

Edvard Munch. 1893, cardboard, oil, tempera, pastel.
National Gallery, Oslo.

The Scream is considered a landmark expressionist event and one of the most famous paintings in the world.

There are two interpretations of what is depicted: it is the hero himself who is seized with horror and silently screams, pressing his hands to his ears; or the hero closes his ears from the cry of the world and nature sounding around him. Munch wrote four versions of The Scream, and there is a version that this picture is the fruit of a manic-depressive psychosis from which the artist suffered. After a course of treatment at the clinic, Munch did not return to work on the canvas.

“I was walking along the path with two friends. The sun was setting - suddenly the sky turned blood red, I paused, feeling exhausted, and leaned against the fence - I looked at the blood and flames over the bluish-black fjord and the city. My friends went on, and I stood, trembling with excitement, feeling the endless cry that pierces nature,” Edvard Munch said about the history of the painting.

“Where did we come from? Who are we? Where are we going?"

Paul Gauguin. 1897-1898, oil on canvas.
Museum of Fine Arts, Boston.

At the direction of Gauguin himself, the picture should be read from right to left - the three main groups of figures illustrate the questions posed in the title.

Three women with a child represent the beginning of life; middle group symbolizes the daily existence of maturity; in the final group, according to the artist’s intention, “an old woman approaching death seems reconciled and indulged in her thoughts”, at her feet there is a “strange White bird...represents the futility of words."

Deep philosophical picture post-impressionist Paul Gauguin was written by him in Tahiti, where he fled from Paris. At the end of the work, he even wanted to commit suicide: "I believe that this canvas is superior to all my previous ones and that I will never create something better or even similar." He lived another five years, and so it happened.

"Guernica"

Pablo Picasso. 1937, oil on canvas.
Reina Sofia Museum, Madrid.

Guernica presents scenes of death, violence, atrocities, suffering and helplessness, without specifying their immediate causes, but they are obvious. It is said that in 1940 Pablo Picasso was summoned to the Gestapo in Paris. The conversation immediately turned to the painting. "Did you do that?" - "No, you did it."

The huge fresco "Guernica", painted by Picasso in 1937, tells about the raid of the Luftwaffe volunteer unit on the city of Guernica, as a result of which the six thousandth city was completely destroyed. The picture was painted in just a month - the first days of work on the picture, Picasso worked for 10-12 hours, and already in the first sketches one could see the main idea. This is one of the best illustrations the nightmare of fascism, as well as human cruelty and grief.

"Portrait of the Arnolfinis"

Jan van Eyck. 1434, oil on wood.
London National Gallery, London.

The famous painting is completely filled with symbols, allegories and various references - up to the signature "Jan van Eyck was here", which turned the painting not just into a work of art, but into a historical document confirming the reality of the event, which was attended by the artist.

The portrait supposedly of Giovanni di Nicolao Arnolfini and his wife is one of the most complex works Western school of painting of the Northern Renaissance.

In Russia, in the past few years, the painting has gained great popularity due to Arnolfini's portrait resemblance to Vladimir Putin.

"Demon Seated"

Mikhail Vrubel. 1890, oil on canvas.
State Tretyakov Gallery, Moscow.

"Hands Resist Him"

Bill Stoneham. 1972.

This work, of course, cannot be ranked among the masterpieces of world art, but the fact that it is strange is a fact.

Around the picture with a boy, a doll and palms pressed against the glass, there are legends. From "because of this picture they die" to "the children in it are alive." The picture looks really creepy, which gives rise to a lot of fears and conjectures in people with a weak psyche.

The artist assured that the picture depicts himself at the age of five, that the door is a representation of the dividing line between the real world and the world of dreams, and the doll is a guide that can lead the boy through this world. The hands represent alternative lives or possibilities.

The painting gained notoriety in February 2000 when it was listed for sale on eBay with a backstory that said the painting was "haunted". "Hands Resist Him" ​​was bought for $1,025 by Kim Smith, who was then inundated with letters with creepy stories and demands to burn the painting.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Hosted at http://www.allbest.ru/

1. Painting

2. Types of painting

3. Color science

Conclusion

Bibliography

1. Painting

The word "painting" is formed from the words "live" and "write". “Painting,” explains Dahl, “to depict correctly and vividly with a brush or with words, with a pen.” For the painter, to depict correctly means the exact transfer of the external appearance of what he saw, its most important features. It was possible to convey them correctly by graphic means - line and tone. But it is impossible to convey vividly with these limited means the multicolor of the surrounding world, the pulsation of life in every centimeter of the colored surface of an object, the charm of this life and constant movement and change. Painting, one of the types of fine arts, helps to truly reflect the color of the real world.

Color - the main pictorial and expressive means in painting - has tone, saturation and lightness; it seems to fuse into a whole everything that is characteristic in the subject: both what can be depicted by a line, and what is inaccessible to it.

Painting, like graphics, uses light and dark lines, strokes and spots, but unlike it, these lines, strokes and spots are colored. They convey the color of the light source through glare and brightly lit surfaces, sculpt a three-dimensional form with object (local) color and color reflected by the environment, establish spatial relationships and depth, depict the texture and materiality of objects.

The task of painting is not only to show something, but also to reveal the inner essence of the depicted, to reproduce "typical characters in typical circumstances." Therefore, a true artistic generalization of the phenomena of life is the basis of the foundations of realistic painting.

painting floristry drawing watercolor

2. Types of painting

Monumental painting is a special kind of paintings large scale decorating the walls and ceilings of architectural structures. It reveals the content of major social phenomena that have had a positive impact on the development of society, glorifies them and perpetuates them, helping to educate people in the spirit of patriotism, progress and humanity. The loftiness of the content of monumental painting, the significant size of its works, the connection with architecture require large masses of color, strict simplicity and laconism of composition, clarity of contours and generalization of plastic form.

Decorative painting is used to decorate buildings and interiors in the form of colorful panels, which, with a realistic image, create the illusion of a wall breakthrough, a visual increase in the size of a room, or, on the contrary, deliberately flattened shapes confirm the flatness of the wall and the isolation of space. Patterns, wreaths, garlands and other types of decor that adorn the works of monumental painting and sculpture link together all the elements of the interior, emphasizing their beauty, consistency with architecture.

Theatrical scenery painting (scenery, costumes, make-up, props, made according to the sketches of the artist) helps to reveal the content of the performance more deeply. The special theatrical conditions for the perception of the scenery require taking into account the many points of view of the public, their great distance, the impact of artificial lighting and colored highlights. The scenery gives an idea of ​​the place and time of the action, activates the viewer's perception of what is happening on the stage. The theater artist seeks to sharply express the individual character of the characters, their social status, the style of the era, and much more in sketches of costumes and make-up.

Miniature painting was greatly developed in the Middle Ages, before the invention of printing. Handwritten books were decorated with the finest headpieces, endings, and detailed miniature illustrations. By the painting technique of miniatures, Russian artists of the first half of XIX centuries skillfully used to create small (mainly watercolor) portraits. The pure deep colors of watercolors, their exquisite combinations, the fineness of the painting distinguish these portraits, full of grace and nobility.

Easel painting, performed on an easel, uses wood, cardboard, paper as a material basis, but most often a canvas stretched on a stretcher. An easel painting, being an independent work, can depict absolutely everything: factual and fictional by the artist, inanimate objects and people, modernity and history - in a word, life in all its manifestations. Unlike graphics, easel painting has a richness of color, which helps to emotionally, psychologically multifaceted and subtly convey the beauty of the surrounding world.

By technique and means of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, pastel. These names were derived from the binder or from the method of using material and technical means.

Oil painting is done with paint erased on vegetable oils. Thick paint, when oil or special thinners and varnishes are added to it, liquefies. oil paint you can work on canvas, wood, cardboard, paper, metal.

Tempera painting is done with paint prepared on egg yolk or casein. Tempera paint dissolves with water and is applied pasty or liquid on the wall, canvas, paper, wood. Tempera in Rus' created wall paintings, icons and patterns on household items. In our time, tempera is used in painting and graphics, in arts and crafts and in art and design.

Fresco painting decorates the interiors in the form of monumental and decorative compositions applied on wet plaster with water-based paints. The fresco has a pleasant matte surface and is durable in indoor conditions.

Wax painting (encaustic) was used by artists ancient egypt, as evidenced by the famous "Fayum portraits" (I century AD). The binder in encaustic is bleached wax. Wax paints are applied in a molten state to a heated base, after which they are cauterized.

Mosaic painting, or mosaic, is assembled from individual pieces of smalt or colored stones and fixed on a special cement ground. Transparent smalt inserted into the ground under different angles, reflects or refracts light, causing color to flash and flicker. Mosaic panels can be found in the subway, in theatrical and museum interiors, etc. Stained glass painting is a work of decorative art designed to decorate window openings in any architectural structure. The stained-glass window is made up of pieces of colored glass fastened with a strong metal frame. The luminous flux, breaking through the colored surface of the stained-glass window, draws decoratively spectacular, multi-color patterns on the floor and walls of the interior.

3. Color science

Color science is the science of "color, including knowledge of the" nature of color, basic, composite and " additional colors, basic color characteristics, color contrasts, color mixing, coloring, color harmony, color language and "color culture.

Color is one of the “properties of the objects of the material world, perceived as a conscious visual sensation. One or another color is “assigned” by a person to objects in the “process of their” visual perception. "dangerous situations, decrease with fatigue.

In the "overwhelming majority of cases, a color sensation arises as a result of exposure to" the eye of electromagnetic radiation flows from the "wavelength range in which this radiation is perceived by the eye (visible range" - wavelengths from "380 to" 760 "nm). Sometimes color the sensation arises without the influence of the radiant flux on the "eye" - with pressure on the "eyeball, shock, electrical stimulation, etc., and also by" mental association with "other. Sensations "- sound, heat, etc. D., and "in" the result of the work of the imagination. Various color sensations are caused by differently colored objects, their "differently illuminated areas, as well as light sources and" the lighting they create. At the same time, color perceptions can differ (even with the same relative spectral composition of radiation fluxes) depending on "whether it hits" "eye radiation from" sources of light or from "non-luminous objects. In "human language, however, the same" terms are used to denote the color of these two different types objects. The main proportion of objects that cause color sensations are non-luminous bodies that only reflect or transmit light emitted by sources. In the "general case, the color of an object is determined by the following factors: its color and" the properties of its surface; optical properties of light sources and "the medium through which light propagates; properties of the visual analyzer and "features of the still insufficiently studied psychophysiological process of processing visual impressions in the" brain centers.

Basic concepts in color science.

Achromatic colors differ from each other only in one way - in lightness (light gray or dark gray). Chromatic colors, in addition to differences in lightness, are characterized by two more main features - hue and saturation.

Hue is what is defined by the words "red", "yellow", etc., and what most distinguishes one color from another. But red can be pure red or mixed with achromatic, such as gray. However, it will still remain red - an admixture of gray will not change its color tone. If we take a gray of the same lightness, then the lightness of the new “mixed” red will not change either. However, the color will still become different: its third feature will change in it - saturation. From the admixture of achromatic, the chromatic color became less saturated.

So, all chromatic colors are characterized by three parameters - lightness, hue and saturation.

Chromatic colors are conventionally divided into warm and cold. Warm is the yellow-red part of the spectrum, and cold is blue-blue. These groups of colors received their name of warm and cold: some - by association with the color of the sun and fire, others - by association with the color of the sky, water and ice. Violet and green colors occupy an intermediate position and in various specific cases, depending on the combination, can be attributed either to warm or to cold.

If the spectral band where everything neighboring colors, gradually changing, they pass one into another, take and bend into a ring, then this ring will not close, because, as already noted, between the extreme colors - red and purple - there is a lack of transitional - red-violet (purple).

If you add them, the circle will close. Such a color wheel will help us understand a lot about colors.

4. Gouache technique. watercolor technique

Watercolor painting technique

In the old days, watercolors were written on bleached leather parchment, on thin ivory plates, which are still used for miniatures, on bleached linen fabrics, and much later - on paper. Now watercolors are mostly written only on paper.

Antique paper has been made from flax fibers since the 14th century and was of very good quality. Starting from the 17th century, cotton began to be used for its manufacture, which is largely inferior to linen, and the quality of paper from that time began to decline.

Nowadays they produce a large number of paper grades. It is made not only from cotton and linen, but also from materials that were not previously used for these purposes: from wood coniferous trees, straw. But the most valuable materials still remain linen and cotton. In addition to vegetable fiber, many types of paper include: gypsum, spar, chalk, kaolin, aqueous alumina, white lead, and also to mask it yellow color blue colors: ultramarine and Prussian blue.

The paper mass is glued with flour paste, starch, animal glue, gelatin (the last 2 are always combined with alum), rosin. In the old days, only flour paste was used, the most suitable material for these purposes. Now more and more often use gelatin. Paper glued with gelatin, under the influence of dampness, quickly blooms and becomes stained. Many chemicals are used in the manufacture of paper, traces of which often remain in the finished paper and affect the ink that covers it in a negative way.

Watercolor needs very good paper. Wood and straw-derived papers quickly turn brown and blacken in the light, so they are completely unsuitable for watercolor painting. Cotton paper does not have this negative property, but it is poorly washed and scraped, and the paint does not lie on it evenly.

The only suitable paper for watercolor painting technique is linen paper, which has an impeccable whiteness. It should not quickly absorb water, it should not contain impurities of chemicals used in its manufacture. On such paper, the paint lays down evenly and acquires brightness, it can be washed off and scraped off.

On the surface of the paper very often there are traces of grease, which prevents the ink from being evenly distributed. Therefore, before use, the paper should be washed with distilled water with a few drops of ammonia. Yellowed good linen paper can be easily bleached if washed with hydrogen peroxide.

The technique of painting in watercolor in its complexity approaches tempera and even fresco. For a long time the existence of this technique, techniques and methods have appeared by themselves that facilitate the work. Since any paper, when wetted, warps, becomes covered with waves, which interferes with painting, in order to avoid this, it is customary to stretch the paper on cardboard, a board, and also use an “eraser”.

Painting in pure watercolor

Pure watercolor can only be considered that in which all the resources of this technique are used: the transparency of colors, the translucent white tone of the paper, the lightness and at the same time the strength and brightness of colors. In the technique of pure watercolor, white is completely unacceptable, their role is played by the paper itself. This makes it necessary to carefully preserve its whiteness in places allocated to highlights, etc., since the recorded places on the paper cannot be restored using white, which is always distinguishable from the tone of the paper. There are a number of approaches to alleviate this difficulty. One of them consists in scraping the recorded places on the paper with a special scraper (“grattoire”) or a knife. Such an operation can only be carried out on dry paper of good quality.

Another method is to apply a liquid solution of rubber in gasoline to the areas to be saved. After drying, the rubber is easily removed from the surface of the paper with an eraser.

Thinly applied watercolor paints change to about one-third of their original strength after drying, and this must be taken into account. During operation, for easier shading of neighboring colors, it is useful to moisten the paper from below. The French call this method of work “travailler dans l"eau” (working in water).

To slow down the drying of paints, you can use watercolor or watercolor. For the same purposes, honey or glycerin is added to the water with which paints are diluted. However, a large amount of these substances can adversely affect watercolors. Ideally, a watercolor drawing is best done separately, and then transferred so as not to spoil the surface of the paper. Greasy paper makes it difficult to apply paint.

Watercolor paints can also play a service role, for example, in underpainting for oil painting. On adhesive and emulsion primers, watercolor paint lays down evenly and well, and in such a thin layer that it does not change the texture of the primer at all and does not interfere with subsequent oil painting.

Gouache painting.

This ancient method of painting, representing one of the varieties of watercolor, was first developed in the works of the artist Paolo Pino (1548). Painting with gouache is close in appearance to painting made with gum arabic tempera, but its paint layer is looser. Gouache is devoid of transparency, since its paints are applied in a thicker layer than in pure watercolor, and, moreover, are mixed with white. Gouache painting is performed either with special paints, or the work is carried out according to the gouache method with ordinary watercolors with white added to them. In both cases, pasty writing is not permissible, since a thick layer of gouache easily cracks when it dries.

Materials for watercolor painting technique

Palettes and brushes.

Palettes for watercolors are made of white porcelain or faience and are given a smooth, shiny surface. Serves for this purpose and metal, covered with white enamel. Often there are also plastic palettes. To prevent the oily surface of the plastic palette from collecting paint in puddles, you can rub it lightly with garlic juice to degrease it.

Brushes for watercolor painting are applicable only from soft and elastic hair. The brush should be soft and elastic at the same time. These are kolinsky, squirrel, ferret brushes. The brush should have a round shape, and when wetted, take the form of a cone with a perfectly sharp end.

Boards and erasers.

When sticking paper on the board, you should bend the sheet 2-3 cm along the edges in the opposite direction to its front side so that it looks like a paper trough. Then the front side, on which the painting will be, should be moistened with water, and the folded edges should be left dry. Do not wet the side that will be adjacent to the board with water, as the glue can flow through the water to the opposite side and stick the sheet to the tablet, which will make it difficult to remove the finished work from the board. The bent edges are smeared on the inside with wheat paste, more often with PVA glue, and the paper is laid on the board, and the edges are glued to its sides. Air should not be allowed to get under the paper, otherwise it will warp when it dries. Also, one should not stretch the wet paper too much, since when it dries it stretches on its own, and the waves disappear by themselves; but overstretched wet paper may crack. It is necessary to carefully glue the edges to the tablet, without making gaps. Otherwise, there will be a wave in these places. For small works, erasers are used, which are of two types. One of them is an ordinary board, which is inserted into a wooden frame. The paper is superimposed on the board and folded around the edges, after which the board is inserted into the frame. You don't have to use any kind of glue.

The second type is two wooden frames that fit one into one, like an embroidery hoop. The paper is superimposed on a smaller frame and pressed against a larger one.

Saving watercolors.

Thin layers of watercolor paint are easy to discolor, and the binder does not protect them well. Most translucent paints are not durable on their own.

However, they attract with their beauty, and therefore it is difficult for artists to part with them. Watercolor is afraid of light. In the light, the colors fade, and the paper loses its whiteness. Watercolors must be stored in rooms with moderate light and dry air. Keeping watercolors in heavily lit rooms is a natural barbarism. They are kept under glass (the painting should not touch the glass), where they are to a certain extent protected from external influences from the front side, but remain unprotected from the inside.

To better preserve watercolors, methods have been proposed that are difficult to implement in practice.

One of them is to place the watercolor between two sealed glasses.

This does protect fast fading inks, but blackening inks blacken even faster.

It is also proposed to pump out air from the space between two sealed glasses, of course, this method will give the best result, but it is difficult to implement in practice.

Sometimes watercolors are varnished with white shellac in alcohol or water. Varnish really protects watercolor from dampness, gives brightness to paints, however, watercolor coated with varnish takes on an unusual look.

5. Drawing from nature of a group of objects. Still life in color

Drawing from life develops observation skills and develops drawing skills in a child. After all, drawing from life objects of various sizes, colors and shapes, the child is practicing in building compositions.

You can draw from nature with a pencil, felt-tip pen and paints.

The first stage of drawing from life is setting the subject for drawing.

In order to make it more convenient to draw, the object must be placed in front of you at a distance of three of its sizes.

The second step is to sketch these general shapes of the subject on a piece of paper, that is, their correct placement.

The third stage is the shadow hatching of the depicted object. For artists, this stage is called elaboration. When covering the background and subject with color, do not forget about the shadow.

Drawing from life should start with simple objects. Let's try to draw a box from nature. Take a rectangular box and put it on the table in front of you.

Let's see how many of its sides we see - one side or also a cover? Let's draw the box as we see it from our place.

Now let's finish the drawing by "tying" the box with ribbon.

When drawing from life, from time to time it is necessary to check the correctness of the image, moving away from the drawing by 2-3 meters.

Still life in color.

Still life is considered one of the most difficult genres. However, the same can be heard about all other genres. But the fact that still life is the most creative genre, no doubt. To shoot or paint still lifes, you need inspiration. Because, unlike others, in a still life there is initially no object for shooting. Simply put, there is nothing to shoot or draw until you yourself come up with a plot in your imagination, and then create it in reality. It is necessary to select “participants”, build a composition out of them, think over lighting options and set the light, while taking into account such nuances as the environment in which the composition is located, the interaction of objects with each other and the environment, their compatibility in color, texture, size, and, well, a lot more. Those. the process of creating a still life includes not only photography as such, but also the creation of a plot. Therefore, the genre of still life can be safely called creativity in the square.

Conclusion

In conclusion, let's summarize the above:

Painting is divided into monumental, decorative, theatrical and decorative, miniature and easel.

By technique and means of execution, painting is divided into oil, tempera, fresco, wax, mosaic, stained glass, watercolor, gouache, pastel.

In modern painting, there are the following genres: portrait, historical, mythological, battle, everyday life, landscape, still life, animalistic genre.

history painting- these are images of certain historical moments, as well as figures public life of the past.

Battle painting aims to capture battles, battles and wars. Mythological painting depicts events described in myths, epics and legends.

Everyday (genre) painting is an image of scenes of real life, its realities and attributes.

Landscape (landscape) painting is an image of natural nature or any area.

Portrait painting is an artistic depiction of a person. A specific type of portrait is the self-portrait.

Still life is an image of various inanimate objects, for example, fruits, flowers, household items, utensils, placed in a real household environment and compositionally organized into a single group.

Bibliography

1. Batrakova SP Artist of the XX century. and the language of painting. M., 1996.

2. Vipper B.R. Introduction to the historical study of art. M., Visual arts, 1985

3. Western art of the XX century. Classical heritage and modernity. M, 1992.

4. History of foreign art. M., Visual arts, 1984

5. History of world art. 3rd edition, Academy Publishing House, M., 1998.

6. From constructivism to surrealism. M., 1996.

7. Polyakov V.V. History of world art. Visual arts and architecture of the XX century. M., 1993.

8. Sadokhin A.P. Culturology: theory and history of culture: Tutorial. -- M.: Eksmo, 2007.

9. Contemporary Western art. XX century: problems and trends. M., 1982.

10. Suzdalev P. On the genres of painting. // Creativity, 2004, No. 2, 3. P. 45-49.

Hosted on Allbest.ru

Similar Documents

Short review encaustic history. Consideration of the features of this painting technique in Egyptian, Greek and Roman ancient art. Encaustics in the modern world. The use of electricity for the development of monumental and easel wax painting.

abstract, added 01/22/2015


The study of the features of Khokhloma, decorative painting on wood products. Palekh is a type of Russian folk miniature painting on papier-mâché lacquerware. Decorative oil painting on metal trays. Execution of Gorodets painting.

presentation, added 11/29/2016


Study of representatives of the Italian school of painting. Characterization of the features of the main types of fine arts: easel and applied graphics, sculpture, architecture and photography. Study of techniques and methods of working with oil paints.

term paper, added 02/15/2012


Analysis of the historical aspects of the emergence and development of lacquer miniature painting in Russia. The main themes of the hunting genre. Stages of work on creating a composition on the theme "Duck hunting". Development of a technological sequence for painting a box.

thesis, added 07/29/2012


The history of the development of watercolor in Europe and Russia. Materials, equipment and tools of watercolor painting, characteristics of its main techniques: "wet" work, "A La Prima" technique, single-layer "dry" watercolor, multi-layer watercolor (glazing).

abstract, added 06/09/2014


The study of the historical development and formation of engraving. Features of design techniques and methods of printing in the middle of the XVIII century. Descriptions of monumental, easel and decorative engravings. Analysis of the work of Russian engravers M. Makhaev, I. Sokolov.

control work, added 11/09/2014


Formation of drawing skills from nature. Learning to draw maple autumn leaf wet watercolor. Stages of conducting work in color. General search and refinement of the composition. Elaboration of the main volumes of the forms of the subject. Working on details.

lesson development, added 06/11/2016


The study of the features of the development of Chinese painting of the Song Dynasty. Characteristics of the painting of the Northern and Southern Song periods. Reflection ideological principles Chan Buddhism on landscape painting of this period. The influence of Confucian teachings on Sung painting.

term paper, added 05/27/2015


Determination of the features of the Renaissance. Consideration of the characteristics of painting, architecture and sculpture of this era, the main authors. The study of a new look at a man, a woman in art, the development of the power of thought and interest in the human body.

abstract, added 02/04/2015


Rafael Santi and his creative endeavors. The concept of monumental painting as a genre of fine arts. Comparative analysis of the works of monumental painting by Raphael Santi. Painting methods on the example of the frescoes "Disputation about the Communion" and "The School of Athens".

The number of styles and trends is huge, if not endless. The key feature by which works can be grouped according to styles are common principles. artistic thinking. The change of some ways of artistic thinking by others (alternating types of compositions, techniques of spatial constructions, features of color) is not accidental. Our perception of art is also historically changeable.
Building a system of styles in a hierarchical order, we will adhere to the Eurocentric tradition. The largest in the history of art is the concept of an era. Each era is characterized by a certain "picture of the world", which consists of philosophical, religious, political ideas, scientific ideas, psychological characteristics worldview, ethical and moral standards, aesthetic criteria of life, according to which they distinguish one era from another. These are the primitive era, the era ancient world, Antiquity, Middle Ages, Renaissance, New time.
Styles in art do not have clear boundaries, they smoothly pass one into another and are in continuous development, mixing and opposition. Within the framework of one historical artistic style, a new one is always born, and that, in turn, passes into the next. Many styles coexist at the same time and therefore there are no “pure styles” at all.
in the same historical era multiple styles can coexist. For example, Classicism, Academicism and Baroque in the 17th century, Rococo and Neoclassicism in the 18th century, Romanticism and Academicism in the 19th century. Such styles as, for example, classicism and baroque are called great styles, since they apply to all types of art: architecture, painting, arts and crafts, literature, music.
It should be distinguished: artistic styles, trends, currents, schools and features individual styles individual masters. Within one style, there can be several artistic directions. The artistic direction is made up of both signs typical of a given era and peculiar ways of artistic thinking. The Art Nouveau style, for example, includes a number of trends from the turn of the century: post-impressionism, symbolism, fauvism, and so on. On the other hand, the concept of symbolism as an artistic movement is well developed in literature, while in painting it is very vague and unites artists who are so different stylistically that it is often interpreted only as a worldview that unites them.

Below are the definitions of eras, styles and trends that are somehow reflected in modern fine and decorative arts.

	- art style, formed in the countries of Western and Central Europe in the XII-XV centuries. It was the result of the centuries-old evolution of medieval art, its highest stage and at the same time the first pan-European, international art style in history. It covered all kinds of art - architecture, sculpture, painting, stained glass, book design, arts and crafts. The basis of the Gothic style was architecture, which is characterized by lancet arches soaring upwards, multi-colored stained-glass windows, visual dematerialization of the form. Elements of Gothic art can often be found in modern design interiors, in particular, in wall painting, less often in easel painting. Since the end of the last century, there has been a gothic subculture, clearly manifested in music, poetry, and fashion design.
	(Renaissance) - (French Renaissance, Italian Rinascimento) An era in the cultural and ideological development of a number of countries in Western and Central Europe, as well as some countries in Eastern Europe. Main distinctive features Renaissance culture: secular character, humanistic worldview, appeal to the ancient cultural heritage, a kind of "revival" of it (hence the name). The culture of the Renaissance has the specific features of the transitional era from the Middle Ages to the new time, in which the old and the new, intertwined, form a peculiar, qualitatively new alloy. Difficult is the question of the chronological boundaries of the Renaissance (in Italy - 14-16 centuries, in other countries - 15-16 centuries), its territorial distribution and national characteristics. Elements of this style contemporary art quite often used in wall paintings, less often in easel painting.
	- (from the Italian maniera - technique, manner) a trend in European art of the 16th century. Representatives of mannerism moved away from the Renaissance harmonious perception of the world, the humanistic concept of man as a perfect creation of nature. A sharp perception of life was combined with a programmatic desire not to follow nature, but to express the subjective "inner idea" of the artistic image that was born in the artist's soul. Most clearly manifested in Italy. For Italian Mannerism 1520s. (Pontormo, Parmigianino, Giulio Romano) are characterized by the dramatic sharpness of the images, the tragedy of the worldview, the complexity and exaggerated expression of postures and movement motifs, the elongation of the proportions of the figures, coloristic and light and shade dissonances. Recently, it has been used by art historians to refer to phenomena in contemporary art associated with the transformation of historical styles.
	- historical art style, which was originally distributed in Italy in the middle. XVI-XVII centuries, and then in France, Spain, Flanders and Germany in the XVII-XVIII centuries. More broadly, this term is used to define the ever-renewing tendencies of a restless, romantic worldview, thinking in expressive, dynamic forms. Finally, in every time, in almost every historical artistic style, one can find its own "baroque period" as a stage of the highest creative upsurge, tension of emotions, explosiveness of forms.
	- artistic style in Western European art XVII - early. XIX century and in Russian XVIII - early. XIX, referring to the ancient heritage as an ideal to follow. It manifested itself in architecture, sculpture, painting, arts and crafts. Classicist artists considered antiquity to be the highest achievement and made it their standard in art, which they sought to imitate. Over time, it was reborn into academism.
	- a trend in European and Russian art of the 1820s-1830s, which replaced classicism. Romantics brought individuality to the forefront, opposing the ideal beauty of the classicists to "imperfect" reality. Artists were attracted by bright, rare, extraordinary phenomena, as well as images of a fantastic nature. In the art of romanticism, a sharp individual perception and experience plays an important role. Romanticism liberated art from abstract classicistic dogmas and turned it towards national history and images of folklore.
	- (from lat. sentiment - feeling) - a direction of Western art of the second half of the 18th century, expressing disappointment in a “civilization” based on the ideals of “reason” (the ideology of the Enlightenment). S. proclaims feeling, solitary reflection, the simplicity of the rural life of the “little man”. J. J. Rousseau is considered to be the ideologist of S..
	- a direction in art that strives to display both the external form and the essence of phenomena and things with the greatest truth and reliability. How creative method combines individual and typical features when creating an image. The longest time of existence direction, developing from primitive era to the present day.
	- direction in European artistic culture late 19th-early 20th centuries Arising as a reaction to the domination of the norms of bourgeois "sanity" in the humanitarian sphere (in philosophy, aesthetics - positivism, in art - naturalism), symbolism first of all took shape in French literature of the late 1860s and 70s, and later became widespread in Belgium, Germany , Austria, Norway, Russia. Aesthetic principles symbolism in many respects went back to the ideas of romanticism, as well as to some doctrines idealistic philosophy A. Schopenhauer, E. Hartmann, partly F. Nietzsche, to creativity and theorizing German composer R. Wagner. Symbolism contrasted the living reality with the world of visions and dreams. A symbol generated by poetic insight and expressing the otherworldly meaning of phenomena, hidden from ordinary consciousness, was considered a universal tool for comprehending the secrets of being and individual consciousness. The artist-creator was considered as an intermediary between the real and the supersensible, everywhere finding "signs" of world harmony, prophetically guessing the signs of the future as in contemporary phenomena as well as past events.
	- (from French impression - impression) a trend in art of the last third of the 19th - early 20th centuries, which arose in France. Name has been entered art critic L. Leroy, who scornfully commented on the exhibition of artists in 1874, where, among others, the painting by C. Monet “Sunrise. Impression". Impressionism asserted the beauty of the real world, emphasizing the freshness of the first impression, the variability of the environment. The predominant attention to solving purely pictorial problems reduced the traditional idea of ​​drawing as the main component of a work of art. Impressionism had a powerful impact on the art of European countries and the United States, aroused interest in subjects from real life. (E. Manet, E. Degas, O. Renoir, C. Monet, A. Sisley, etc.)
	- a trend in painting (synonymous with divisionism), which developed within the framework of neo-impressionism. Neo-Impressionism originated in France in 1885 and also spread to Belgium and Italy. Neo-Impressionists tried to apply in art latest achievements in the field of optics, according to which painting made by separate points of primary colors in visual perception gives a fusion of colors and the whole gamut of painting. (J. Seurat, P. Signac, K. Pissarro).
	post-impressionism- conditional collective name of the main directions of French painting to. XIX - 1st quarter. 20th century The art of post-impressionism arose as a reaction to impressionism, which fixed attention on the transfer of the moment, on the feeling of picturesqueness and lost interest in the form of objects. Among the post-impressionists are P. Cezanne, P. Gauguin, V. Gogh and others.
	- style in European and American art at the turn of the XIX-XX centuries. Art Nouveau rethought and stylized the features of the art of different epochs, and developed its own artistic techniques based on the principles of asymmetry, ornamentality and decorativeness ty. Natural forms also become the object of stylization of modernity. This explains not only the interest in vegetative ornaments in the works of Art Nouveau, but also their compositional and plastic structure itself - an abundance of curvilinear outlines, floating shchix, uneven contours, reminiscent of plant forms. Closely connected with modernity is symbolism, which served as the aesthetic and philosophical basis for modernity, relying on modernity as a plastic implementation of its ideas. Art Nouveau had different names in different countries, which are essentially synonymous: Art Nouveau - in France, Secession - in Austria, Jugendstil - in Germany, Liberty - in Italy.
	- (from French modern - modern) common name a number of areas of art of the first half of the 20th century, which are characterized by the denial of traditional forms and aesthetics of the past. Modernism is close to avant-gardism and opposed to academicism.
	- a name that unites the range of artistic movements that were widespread in the 1905-1930s. (Fauvism, Cubism, Futurism, Expressionism, Dadaism, Surrealism). All these areas are united by the desire to renew the language of art, to rethink its tasks, to gain freedom of artistic expression.
	- direction in art to. XIX - present. 20th century, based on creative lessons French artist Paul Cezanne, who reduced all forms in the image to the simplest geometric figures, and color - to contrasting constructions of warm and cold tones. Cézannism served as one of the starting points for cubism. To a large extent, cezannism also influenced the domestic realistic school of painting.
	- (from fauve - wild) avant-garde trend in French art n. 20th century The name "wild" was given contemporary critics a group of artists who performed in 1905. In Paris Salon independent, and was ironic. The group included A. Matisse, A. Marquet, J. Rouault, M. de Vlaminck, A. Derain, R. Dufy, J. Braque, K. van Dongen and others. color solutions, the search for impulses in primitive creativity, the art of the Middle Ages and the East.
	- deliberate simplification visual means, imitation of the primitive stages of the development of art. This term refers to the so-called. naive art of artists who did not receive special education, but involved in the overall artistic process of the XIX - early. XX century. The works of these artists - N. Pirosmani, A. Russo, V. Selivanov and others are characterized by a kind of childishness in the interpretation of nature, a combination of generalized form and petty literalness in details. The primitivism of the form by no means predetermines the primitiveness of the content. It often serves as a source for professionals who borrowed forms, images, methods from folk, essentially primitive art. N. Goncharova, M. Larionov, P. Picasso, A. Matisse drew inspiration from primitivism.
	- a direction in art that has developed on the basis of following the canons of antiquity and the Renaissance. It existed in many European schools of art from the 16th to the 19th centuries. Academism turned classical traditions into a system of "eternal" rules and regulations that fettered creative searches, tried to oppose imperfect living nature with "high" improved, extra-national and timeless forms of beauty brought to perfection. Academism is characterized by a preference for subjects from ancient mythology, biblical or historical themes plots from contemporary life to the artist.
	- (French cubisme, from cube - cube) direction in the art of the first quarter of the XX century. The plastic language of cubism was based on the deformation and decomposition of objects into geometric planes, the plastic shift of form. The birth of cubism falls on 1907-1908 - the eve of the First World War. The undisputed leader of this trend was the poet and publicist G. Apollinaire. This trend was one of the first to embody the leading trends in the further development of the art of the twentieth century. One of these trends was the dominance of the concept over the artistic value of the painting itself. J. Braque and P. Picasso are considered the fathers of cubism. Fernand Léger, Robert Delaunay, Juan Gris, and others joined the emerging current.
	- a trend in literature, painting and cinema that arose in 1924 in France. It contributed greatly to the formation of consciousness modern man. The main figures of the movement are Andre Breton, Louis Aragon, Salvador Dali, Luis Bunuel, Juan Miro and many other artists from all over the world. Surrealism expressed the idea of ​​existence beyond the real, especially important role here they acquire absurdity, the unconscious, dreams, daydreams. One of the characteristic methods of the surrealist artist is the removal from conscious creativity, which makes him a tool that in various ways extracts bizarre images of the subconscious, akin to hallucinations. Surrealism survived several crises, survived the second world war and gradually, merging with mass culture, intersecting with the transavant-garde, entered postmodernism as an integral part.
	- (from lat. futurum - future) literary and artistic movement in the art of the 1910s. Assigning itself the role of a prototype of the art of the future, futurism as the main program put forward the idea of ​​dissolving cultural stereotypes and offered instead the apology of technology and urb anism as the main signs of the present and the future. An important artistic idea of ​​futurism was the search for a plastic expression of the swiftness of movement as the main sign of the pace of modern life. The Russian version of futurism bore the name kybofuturism and was based on a combination of the plastic principles of French cubism and European general aesthetic settings futurism.