Political portrait as a genre. Typological characteristic

The most important criterion for portraiture is the similarity of the image with the model (original). It is achieved not only by the faithful transmission of the external appearance of the person portrayed, but also by the disclosure of his spiritual essence, the dialectical unity of individual and typical features that reflect a certain era, social environment, and nationality. At the same time, the attitude of the artist to the model, his own worldview, aesthetic credo, which are embodied in his creative manner, a method of interpreting a portrait, give the portrait image a subjective-authorial coloring. Historically, a wide and multifaceted typology of the portrait has evolved: depending on the technique of execution, purpose, and features of the image of the characters, easel portraits (paintings, busts, graphic sheets) and monumental (frescoes, mosaics, statues), ceremonial and intimate, bust, full-length, full face, in profile, etc. There are portraits on medals (see Medal art), gems (see Glyptics), portrait miniatures. According to the number of characters, the portrait is divided into individual, double, group. A specific genre of portraiture is the self-portrait. The mobility of the genre boundaries of the portrait makes it possible to combine it with elements of other genres in one work. Such are the portrait-picture, where the person being portrayed is presented in relationship with the world of things around him, with nature, architecture, other people, and the portrait-type - collective image, structurally close portrait. The possibility of identifying in the portrait not only the high spiritual and moral qualities of a person, but also the negative properties of the model led to the appearance of a portrait caricature-caricature, a satirical portrait. In general, the art of portraiture is able to deeply reflect the most important social phenomena in the complex interweaving of their contradictions.

Born in ancient times, portrait reached a high level of development in ancient Eastern, especially in ancient Egyptian sculpture, where he played mainly the role of a "double" portrayed in afterlife. Such a religious and magical purpose of the ancient Egyptian portrait led to the projection onto the canonical type of image of the individual features of a certain person. In ancient Greece, during the classical period, idealized sculptural portraits of poets, philosophers, and public figures were created. From the end of the 5th century BC e. The ancient Greek portrait is more and more individualized (the work of Demetrius from Alopeka, Lysippus), and in Hellenistic art it tends to dramatize the image. The ancient Roman portrait is marked by a clear transmission of the individual features of the model, the psychological reliability of the characteristics. In Hellenistic art and in ancient Rome, along with portrait, sometimes mythologized busts and statues, portraits on coins and gems were widespread. The picturesque Faiyum portraits (Egypt, I-IV centuries), largely associated with the ancient Eastern magical tradition of the "twin portrait", were created under the influence of ancient art, carried a pronounced resemblance to the model, and in later samples - a specific spiritual expressiveness.

The era of the Middle Ages, when the personal principle was dissolved in impersonal corporatism, religious catholicity, left a special imprint on the evolution of the European portrait. Often it is an integral part of the church art ensemble (images of rulers, their entourage, donors). For all that, some sculptures of the Gothic era, Byzantine and Old Russian mosaics and frescoes are characterized by a clear physiognomic certainty, the beginnings of a spiritual individuality. In China, despite being subject to a strict typological canon, medieval masters (especially of the Song period, X-XIII centuries) created many brightly individualized portraits, often emphasizing features of intellectualism in models. expressive portrait images medieval Japanese painters and sculptors, masters of portrait miniatures of Central Asia, Azerbaijan, Afghanistan (Kemaleddin Behzad), Iran (Reza Abbasi), India came from living observations.

Outstanding achievements in the art of portraiture are associated with the Renaissance, which affirmed the ideals of a heroic, active and effective personality. The sense of wholeness and harmony of the universe, characteristic of Renaissance artists, the recognition of man as the highest principle and center of earthly existence determined the new structure of the portrait, in which the model often appeared not against a conditional, unreal background, but in a real spatial environment, sometimes in direct communication with fictional (mythological) and gospel characters. The principles of the Renaissance portrait, outlined in the Italian art of the trecento, were firmly established in the 15th century. (painting by Masaccio, Andrea del Castagno, Domenico Veneziano, D. Ghirlandaio, S. Botticelli, Piero della Francesca, A. Mantegna, Antonello da Messina, Gentile and Giovanni Bellini, statues by Donatello and A. Verrocchio, easel sculpture by Desiderio da Settignano, medals Pisanello). The masters of the High Renaissance Leonardo da Vinci, Raphael, Giorgione, Titian, Tintoretto deepen the content of portrait images, endow them with the power of intellect, consciousness of personal freedom, spiritual harmony, and sometimes inner drama. Greater in comparison with the Italian portrait of spiritual sharpness, object accuracy of the image was distinguished by the portrait work of the Dutch (J. van Eyck, Robert Campen, Rogier van der Weyden, Luke of Leiden) and German (A. Dürer, L. Cranach the Elder, H. Holbein the Younger) masters. The hero of their portraits often appears as an inseparable particle of the universe, organically included in its infinitely complex system. Renaissance humanism permeated pictorial, graphic and sculptural portraits French artists of this era (J. Fouquet, J. and F. Clouet, Corneille de Lyon, J. Pilon). In the art of the Late Renaissance and Mannerism, the portrait loses the harmonious clarity of Renaissance images: it is replaced by the intensity of the figurative structure and the emphasized dramatic spiritual expression (works by J. Pontormo, A. Bronzino in Italy, El Greco in Spain).

The Crisis of Renaissance Anthropocentrism in the Conditions of Socio-Political Shifts at the Turn of the 16th and 17th Centuries. determined the new character of the Western European portrait. Its deep democratization, the desire for a multilateral knowledge of the human personality in the 17th century. received the most complete embodiment in the art of Holland. Emotional saturation, love for a person, comprehension of the innermost depths of his soul, the subtlest shades of thought and feeling are marked by portraits by Rembrandt. full of life and movement portraits by F. Hals reveal multidimensionality and variability mental states models. The complexity and inconsistency of reality are reflected in the work of the Spaniard D. Velazquez, who created a gallery full of dignity, spiritual wealth of images of people from the people and a series of mercilessly truthful portraits of the court nobility. Bright, full-blooded natures attract the Flemish painter P. P. Rubens, the subtle expressiveness of the characteristics marks the virtuoso portraits of his compatriot A. van Dyck. Realistic trends in art of the 17th century. also appeared in portrait art S. Cooper and J. Reil in England, F. De Champaigne, the Le Nain brothers in France, V. Gislandi in Italy. A significant ideological and substantive renewal of the portrait, expressed, in particular, in expanding its genre boundaries (development of a group portrait and its development into a group portrait-painting, especially in the works of Rembrandt, Hals, Velazquez; wide and diverse development of easel forms of self-portrait by Rembrandt, van Dyck, French artist N. Poussin, etc.), was accompanied by the evolution of his means of expression which gave the image more vitality. At the same time, many portraits of the XVII - first half of XVIII centuries did not go beyond the boundaries of purely external impressiveness, demonstrated a falsely idealized, often "mythologized" image of the customer (works French painters P. Mignard and I. Rigaud, Englishman P. Lely).

Fresh realistic tendencies appeared in the portrait of the 18th century, associated with the humanistic ideals of the Enlightenment. Life truthfulness, accuracy social characteristics, sharp analyticity are characteristic of the works of French portrait painters (painting and easel graphics M. K. de Latour and J. O. Fragonard, plastic arts of J. A. Houdon and J. B. Pigalle, "genre" portraits of J. B. S. Chardin, pastels of J. B. Perronneau) and painters of Great Britain (U Hogarth, J. Reynolds, T. Gainsborough).

In the conditions of economic and cultural growth of Russia in the XVII century. Here, portraits-parsunas, which were still conditionally icon-painting in nature, became widespread. Intensive development of secular easel portrait in the XVIII century. (paintings by I. N. Nikitin, A. M. Matveev, A. P. Antropov, I. P. Argunov) by the end of the century raised him to the level of the highest achievements of the modern world portrait (painting by F. S. Rokotov, D. G. Levitsky, V. L. Borovikovsky, plastic arts by F. I. Shubin, engravings by E. P. Chemesov).

The Great French Revolution of 1789-94, the national liberation movements of the first half of the 19th century. contributed to the formulation and solution of new tasks in the portrait genre. The essential aspects of the era are vividly and truthfully reflected in a whole gallery of portraits marked with features of classicism by the French artist J. L. David. Elevated romantic, passionately emotional, and sometimes grotesque satirical images created in his portraits by the Spanish painter F. Goya. In the first half of the XIX century. along with the development of romanticism tendencies (painting portraits by T. Gericault and E. Delacroix in France, O. A. Kiprensky, K. P. Bryullov, partly V. A. Tropinin in Russia, F. O. Runge in Germany) a new vital The traditions of the portrait art of classicism were also filled with content (in the work of the French artist J. O. D. Ingres), significant examples of the satirical portrait appeared (graphics and sculpture by O. Daumier in France).

In the middle and in the second half of the XIX century. the geography of national schools of portraiture is expanding, many stylistic trends are emerging, whose representatives solved the problems of socio-psychological characteristics, displaying the ethical merits of a contemporary (A. Menzel and W. Leibl in Germany, J. Matejko in Poland, D. Sargent, J. Whistler, T Aikins in the USA, etc.). In the psychological, often socially typified portraits of the Wanderers V. G. Perov, N. N. Ge, I. N. Kramskoy, I. E. Repin, their interest in the representatives of the people, in the Raznochinsk intelligentsia as socially significant, full of spiritual nobility, was embodied .

The achievements of the French masters of impressionism and artists close to them (E. Manet, O. Renoir, E. Degas, sculptor O. Rodin) led in the last third of the 19th century. to the renewal of the ideological and artistic concepts of the portrait, which now conveys the variability of the appearance and behavior of the model in an equally changeable environment. Opposite tendencies found expression in the work of P. Cezanne, who sought to express the stable properties of the model in a monumental and artistic image, and in dramatic, nervously tense portraits and self-portraits of the Dutchman W. van Gogh, which deeply reflected the burning problems of the moral and spiritual life of modern man.

In the pre-revolutionary era, Russian realistic portrait received a new quality in the acute psychological works of V. A. Serov, in the spiritually significant portraits of M. A. Vrubel filled with deep philosophical meaning, in the life-filled portraits-types and portraits-paintings of N. A. Kasatkin, A. E. Arkhipov, B M. Kustodieva, F. A. Malyavina, in the hidden drama of picturesque and graphic portraits K. A. Somov, in the sculptural works of Konenkov S. T., P. P. Trubetskoy and others.

In the XX century. in the portrait genre, complex and contradictory trends in modern art appeared. On the basis of modernism, works arise that are devoid of the very specifics of a portrait, deliberately deforming or completely abolishing the image of a person. In contrast to them, there are intensive, sometimes contradictory searches for new means of expressing the complex spiritual essence of modern man, reflected in the graphics of K. Kollwitz (Germany), in the plastic arts of C. Despio (France), E. Barlach (Germany), in the painting of P. Picasso, A. Matisse (France), A. Modigliani (Italy). The painters R. Guttuso in Italy, D. Rivera and D. Siqueiros in Mexico, E. Wyeth in the USA, the sculptors V. Aaltonen in Finland, J. Manzu in Italy, and others have creatively developed and are developing the traditions of realistic portraiture. portrait painters of the socialist countries: J. Kisfaludi-Strobl in Hungary, F. Kremer in the GDR, K. Dunikovsky in Poland, K. Baba in Romania, etc.

The Soviet multinational art of portraiture is a qualitatively new stage in the development of world portraiture. Its main content is the image of the builder of communism, marked by such social and spiritual qualities as collectivism, revolutionary purposefulness, and socialist humanism. Soviet portraits-types and portraits-paintings reflected hitherto unseen phenomena in the working and social life of the country (works by I. D. Shadr, G. G. Rizhsky, A. N. Samokhvalov, S. V. Gerasimov). Based on the classical traditions of Western European and Russian realistic portraiture, creatively mastering the best achievements of portrait art of the 19th-20th centuries, Soviet masters created life-like portrait images of workers, collective farmers, and soldiers. Soviet army(plastic art by E. V. Vuchetich, N. V. Tomsky, painting by A. A. Plastov, I. N. Klychev and others), representatives of the Soviet intelligentsia (painters K. S. Petrov-Vodkin, M. V. Nesterov, P. D. Korin, M. S. Saryan, K. K. Magalashvili, T. T. Salakhov, L. A. Muuga, sculptors Konenkov, S. D. Lebedeva, V. I. Mukhina, T. E. Zalkaln , graphics V. A. Favorsky, G. S. Vereisky). Soviet group works (works by A. M. Gerasimov, V. P. Efanov, I. A. Serebryany, D. D. Zhilinsky, S. M. Veyverite) and historical-revolutionary works ("Leniniana" by N. A. Andreev) are marked by innovative features. , works by I. I. Brodsky, V. I. Kasiyan, Ya. I. Nikoladze and others) portraits. Developing in line with the unified ideological and artistic method of socialist realism, the Soviet portrait art is distinguished by the richness and variety of individual creative solutions, the bold search for new expressive means.

Lit .: The art of the portrait. Sat. Art., M., 1928; M. V. Alpatov, Essays on the history of the portrait, [M.-L.], 1937; V. N. Lazarev, Portrait in European art of the 17th century, M.-L., 1937; Essays on the history of Russian portraiture in the second half of the 19th century, ed. Edited by N. G. Mashkovtseva. Moscow, 1963. Essays on the history of Russian portraiture late XIX- beginning of the XX century, ed. Edited by N. G. Mashkovtsev and N. I. Sokolova. Moscow, 1964. Essays on the history of Russian portraiture in the first half of the 19th century, [ed. I. M. Schmidt], M., 1966; L. S. Singer, On the portrait. Problems of realism in the art of portraiture, [M., 1969]; his, Soviet portrait painting 1917 - early 1930s, M., 1978; V. N. Stasevich, Art of a portrait, M., 1972; Problems of a portrait, M., 1973; M. I. Andronikova, On the art of the portrait, M., 1975; Portrait in European painting of the 15th - early 20th centuries. [Catalog], M., 1975; Waetzoldt W., Die Kunst des Portrdts, Lpz., 1908; Zeit und Bildnis, Bd 1-6, W., 1957.

Portrait Portrait

(French portrait, from obsolete portraire - to depict), an image (image) of a person or group of people that exists or existed in reality. Portrait - one of the main genres of painting, sculpture, graphics. The most important criterion for portraiture is the similarity of the image with the model (original). It is achieved not only by the faithful transmission of the external appearance of the person portrayed, but also by the disclosure of his spiritual essence, the dialectical unity of individual and typical features that reflect a certain era, social environment, and nationality. At the same time, the attitude of the artist to the model, his own worldview, aesthetic credo, which are embodied in his creative manner, the way of interpreting the portrait, give the portrait image a subjective-authorial coloring. Historically, a wide and multifaceted typology of the portrait has developed: depending on the technique of execution, purpose, and features of the image of the characters, easel portraits (paintings, busts, graphic sheets) and monumental (frescoes, mosaics, statues), front and intimate, bust, full-length, full face, profile, etc. There are portraits on medals ( cm. medal art), gemmah ( cm. Glyptic), portrait miniature. According to the number of characters, the portrait is divided into individual, double, group. A specific genre of portraiture is self-portrait. The mobility of the genre boundaries of the portrait makes it possible to combine it with elements of other genres in one work. Such are the portrait-picture, where the person being portrayed is presented in connection with the world of things around him, with nature, architecture, other people, and the portrait-type is a collective image, a structurally close portrait. The possibility of identifying in the portrait not only the high spiritual and moral qualities of a person, but also the negative properties of the model led to the appearance of a portrait caricatures, a satirical portrait. In general, the art of portraiture is able to deeply reflect the most important social phenomena in the complex interweaving of their contradictions.

Having originated in ancient times, the portrait reached a high level of development in ancient Eastern, especially in ancient Egyptian sculpture, where it mainly served as a "double" of the person being portrayed in the afterlife. Such a religious and magical purpose of the ancient Egyptian portrait led to the projection onto the canonical type of image of the individual features of a certain person. AT Ancient Greece during the classical period, idealized sculptural portraits of poets, philosophers, and public figures were created. From the end of the 5th century BC e. The ancient Greek portrait is more and more individualized (the work of Demetrius from Alopeka, Lysippus), and in Hellenistic art it tends to dramatize the image. The ancient Roman portrait is marked by a clear transmission of the individual features of the model, the psychological reliability of the characteristics. in Hellenistic art and Ancient Rome along with portrait, sometimes mythologized busts and statues, portraits on coins and gems became widespread. The picturesque Faiyum portraits (Egypt, 1st-4th centuries), largely associated with the ancient Eastern magical tradition of the "double portrait", were created under the influence of ancient art, bore a pronounced resemblance to the model, and in later samples - a specific spiritual expressiveness.

The era of the Middle Ages, when the personal principle was dissolved in impersonal corporatism, religious catholicity, left a special imprint on the evolution of the European portrait. Often it is an integral part of the church art ensemble (images of rulers, their entourage, donors). For all that, some sculptures of the Gothic era, Byzantine and ancient Russian mosaics and frescoes are characterized by a clear physiognomic certainty, the beginnings of a spiritual individuality. In China, despite being subject to a strict typological canon, medieval masters (especially of the Song period, the 10th-13th centuries) created many brightly individualized portraits, often emphasizing features of intellectualism in models. The portrait images of medieval Japanese painters and sculptors are expressive, the masters of portrait miniatures of Central Asia, Azerbaijan, Afghanistan (Kemaleddin Behzad), Iran (Reza Abbasi), India came from living observations.

Outstanding achievements in the art of portraiture are associated with the Renaissance, which affirmed the ideals of a heroic, active and effective personality. The sense of wholeness and harmony of the universe, characteristic of Renaissance artists, the recognition of man as the highest principle and center of earthly existence determined the new structure of the portrait, in which the model often appeared not against a conditional, unreal background, but in a real spatial environment, sometimes in direct communication with fictional (mythological) and gospel characters. The principles of the Renaissance portrait outlined in Italian art trecento, firmly established themselves in the 15th century. (painting by Masaccio, Andrea del Castagno, Domenico Veneziano, D. Ghirlandaio, S. Botticelli, Piero della Francesca, A. Mantegna, Antonello da Messina, Gentile and Giovanni Bellini, statues by Donatello and A. Verrocchio, easel sculpture by Desiderio da Settignano, medals Pisanello). Masters of the High Renaissance Leonardo da Vinci, Raphael, Giorgione, Titian, Tintoretto deepen the content of portrait images, endow them with the power of intellect, consciousness of personal freedom, spiritual harmony, and sometimes inner drama. Greater in comparison with the Italian portrait of spiritual sharpness, object accuracy of the image was distinguished by the portrait work of the Dutch (J. van Eyck, Robert Campen, Rogier van der Weyden, Luke of Leiden) and German (A. Dürer, L. Cranach the Elder, H. Holbein the Younger) masters. The hero of their portraits often appears as an inseparable particle of the universe, organically included in its infinitely complex system. Renaissance humanism permeated the pictorial, graphic and sculptural portraits of French artists of this era (J. Fouquet, J. and F. Clouet, Corneille de Lyon, J. Pilon). In the art of the Late Renaissance and Mannerism, the portrait loses the harmonious clarity of Renaissance images: it is replaced by the intensity of the figurative structure and the emphasized dramatic spiritual expression (works by J. Pontormo, A. Bronzino in Italy, El Greco in Spain).

The Crisis of Renaissance Anthropocentrism in the Conditions of Socio-Political Shifts at the Turn of the 16th and 17th Centuries. determined the new character of the Western European portrait. Its deep democratization, the desire for a multilateral knowledge of the human personality in the 17th century. received the most complete embodiment in the art of Holland. Emotional saturation, love for a person, comprehension of the innermost depths of his soul, the subtlest shades of thought and feeling marked the portraits of Rembrandt's work. Full of life and movement, portraits by F. Hals reveal the multidimensionality and variability of the mental states of the model. The complexity and inconsistency of reality are reflected in the work of the Spaniard D. Velazquez, who created a gallery full of dignity, spiritual wealth of images of people from the people and a series of mercilessly truthful portraits of the court nobility. Bright, full-blooded natures attracted the Flemish painter P. P. Rubens, the subtle expressiveness of the characteristics marked the virtuoso portraits of his compatriot A. van Dyck. Realistic trends in art of the 17th century. also appeared in the portrait work of S. Cooper and J. Reil in England, F. De Champaigne, the Le Nain brothers in France, and V. Gislandi in Italy. A significant ideological and substantive renewal of the portrait, expressed, in particular, in expanding its genre boundaries (development of a group portrait and its development into a group portrait-painting, especially in the works of Rembrandt, Hals, Velazquez; wide and diverse development of easel forms of self-portrait by Rembrandt, van Dyck, the French artist N. Poussin, and others), was accompanied by the evolution of his expressive means, which gave the image greater vitality. At the same time, many portraits of the 17th - first half of the 18th centuries. did not go beyond the boundaries of purely external impressiveness, demonstrated a falsely idealized, often "mythologized" image of the customer (works by the French painters P. Mignard and I. Rigaud, the Englishman P. Lely).

Fresh realistic tendencies appeared in the portrait of the 18th century, associated with the humanistic ideals of the Enlightenment. Truthfulness of life, accuracy of social characteristics, sharp analyticity are characteristic of the works of French portrait painters (painting and easel graphics by M. K. de Latour and J. O. Fragonard, plastic art by J. A. Houdon and J. B. Pigalle, "genre" portraits of J. B. S. Chardin, pastels J. B. Perronneau) and British painters (W. Hogarth, J. Reynolds, T. Gainsborough).

In the conditions of economic and cultural growth of Russia in the XVII century. Here, portraits-parsunas, which were still conditionally icon-painting in nature, became widespread. Intensive development of secular easel portrait in the XVIII century. (paintings by I. N. Nikitin, A. M. Matveev, A. P. Antropov, I. P. Argunov) by the end of the century raised it to the level of the highest achievements of the modern world portrait (painting by F. S. Rokotov, D. G. Levitsky, V. L. Borovikovsky, plastic art by F. I. Shubin, engravings by E. P. Chemesov).

The Great French Revolution of 1789-94, the national liberation movements of the first half of the 19th century. contributed to the formulation and solution of new tasks in the portrait genre. The essential aspects of the era are vividly and truthfully reflected in a whole gallery of portraits marked with features of classicism by the French artist J. L. David. Elevated romantic, passionately emotional, and sometimes grotesque satirical images were created in his portraits by the Spanish painter F. Goya. In the first half of the XIX century. along with the development of romanticism tendencies (painting portraits by T. Gericault and E. Delacroix in France, O. A. Kiprensky, K. P. Bryullov, partly V. A. Tropinin in Russia, F. O. Runge in Germany) a new vital The traditions of the portrait art of classicism were also filled with content (in the work of the French artist J. O. D. Ingres), significant examples of the satirical portrait appeared (graphics and sculpture by O. Daumier in France).

In the middle and in the second half of the XIX century. the geography of national schools of portraiture is expanding, many stylistic trends are emerging, whose representatives solved the problems of socio-psychological characteristics, displaying the ethical merits of a contemporary (A. Menzel and W. Leibl in Germany, J. Matejko in Poland, D. Sargent, J. Whistler, T Aikins in the USA, etc.). In the psychological, often socially typified portraits of the Wanderers V. G. Perov, N. N. Ge, I. N. Kramskoy, I. E. Repin, their interest in the representatives of the people, in the Raznochinsk intelligentsia as socially significant, full of spiritual nobility, was embodied .

The achievements of the French masters of impressionism and artists close to them (E. Manet, O. Renoir, E. Degas, sculptor O. Rodin) led in the last third of the 19th century. to the renewal of the ideological and artistic concepts of the portrait, which now conveys the variability of the appearance and behavior of the model in an equally changeable environment. Opposite tendencies found expression in the work of P. Cezanne, who sought to express the stable properties of the model in a monumental and artistic image, and in dramatic, nervously tense portraits and self-portraits of the Dutchman W. van Gogh, which deeply reflected the burning problems of the moral and spiritual life of modern man.

In the pre-revolutionary era, the Russian realistic portrait received a new quality in the acutely psychological works of V. A. Serov, in the spiritually significant portraits of M. A. Vrubel filled with deep philosophical meaning, in the life-filled portraits-types and portraits-paintings of N. A. Kasatkin, A. E. Arkhipova, B. M. Kustodiev, F. A. Malyavin, in the hidden drama of the pictorial and graphic portraits of K. A. Somov, in the sculptural works of Konenkov S. T., P. P. Trubetskoy and others.

In the XX century. in the portrait genre, complex and contradictory trends in modern art appeared. On the basis of modernism, works arise that are devoid of the very specifics of a portrait, deliberately deforming or completely abolishing the image of a person. In contrast to them, there are intensive, sometimes contradictory searches for new means of expressing the complex spiritual essence of modern man, reflected in the graphics of K. Kollwitz (Germany), in the plastic art of Ch. Despio (France), E. Barlach (Germany), in the painting of P. Picasso, A. Matisse (France), A. Modigliani (Italy). The painters R. Guttuso in Italy, D. Rivera and D. Siqueiros in Mexico, E. Wyeth in the USA, the sculptors V. Aaltonen in Finland, J. Manzu in Italy, and others have creatively developed and are developing the traditions of realistic portraiture. portrait painters of the socialist countries: J. Kisfaludi-Strobl in Hungary, F. Kremer in the GDR, K. Dunikovsky in Poland, K. Baba in Romania, and others.

The Soviet multinational art of portraiture is a qualitatively new stage in the development of world portraiture. Its main content is the image of the builder of communism, marked by such social and spiritual qualities as collectivism, revolutionary purposefulness, and socialist humanism. Soviet portraits-types and portraits-paintings reflected hitherto unseen phenomena in the working and social life of the country (works by I. D. Shadr, G. G. Rizhsky, A. N. Samokhvalov, S. V. Gerasimov). Based on the classical traditions of Western European and Russian realistic portraiture, creatively mastering the best achievements of portrait art of the 19th-20th centuries, Soviet masters created life-like portrait images of workers, collective farmers, soldiers of the Soviet Army (plastic art by E. V. Vuchetich, N. V. Tomsky, painting by A. A. Plastov, I. N. Klychev and others), representatives of the Soviet intelligentsia (painters K. S. Petrov-Vodkin, M. V. Nesterov, P. D. Korin, M. S. Saryan, K. K. Magalashvili, T. T. Salakhov, L. A. Muuga, sculptors Konenkov, S. D. Lebedeva, V. I. Mukhina, T. E. Zalkaln, graphic artists V. A. Favorsky, G. S. Vereisky) . Soviet group works (works by A. M. Gerasimov, V. P. Efanov, I. A. Serebryany, D. D. Zhilinsky, S. M. Veyverite) and historical-revolutionary works ("Leniniana" by N. A. Andreev) are marked by innovative features. , works by I. I. Brodsky, V. I. Kasiyan, Ya. I. Nikoladze and others) portraits. Developing in line with the unified ideological and artistic method of socialist realism, Soviet portrait art is distinguished by the richness and diversity of individual creative solutions, and by the bold search for new means of expression.

F. Hals. "The Banquet of the Officers of the Rifle Company of St. George". 1616. F. Hals Museum. Harlem.

"I. E. Repin. "Portrait of L. N. Tolstoy. 1887. Tretyakov Gallery. Moscow.

D. D. Zhilinsky. "Gymnasts of the USSR". Tempera. 1964. Art Fund of the USSR. Moscow.
Literature: The art of the portrait. Sat. Art., M., 1928; M. V. Alpatov, Essays on the history of the portrait, (M.-L.), 1937; V. N. Lazarev, Portrait in European art of the 17th century, M.-L., 1937; Essays on the history of Russian portraiture in the second half of the 19th century, ed. Edited by N. G. Mashkovtseva. Moscow, 1963. Essays on the history of Russian portraiture in the late 19th - early 20th centuries, ed. Edited by N. G. Mashkovtsev and N. I. Sokolova. Moscow, 1964. Essays on the history of the Russian portrait of the first half of the 19th century, (under the editorship of I. M. Schmidt), M., 1966; L. S. Singer, On the portrait. Problems of realism in the art of portraiture, (M., 1969); his, Soviet portrait painting 1917 - early 1930s, M., 1978; V. N. Stasevich, Art of a portrait, M., 1972; Problems of a portrait, M., 1973; M. I. Andronikova, On the art of the portrait, M., 1975; Portrait in European painting of the 15th - early 20th centuries. (Catalog), M., 1975; Waetzoldt W., Die Kunst des Portrdts, Lpz., 1908; Zeit und Bildnis, Bd 1-6, W., 1957.

Source: Popular Art Encyclopedia. Ed. Field V.M.; M.: Publishing house "Soviet Encyclopedia", 1986.)

(French portrait, from the obsolete portraire - to depict), one of the main genres of fine art. Depending on the technique of execution, easel portraits are distinguished ( paintings, busts) and monumental ( statues, frescoes, mosaics). In accordance with the attitude of the artist to the person being portrayed, portraits are ceremonial and intimate. According to the number of characters, portraits are divided into individual, double, group.

One of the most important qualities of a portrait is the similarity of the image with the model. However, the artist conveys not only the appearance of the person being portrayed, but also his individuality, as well as typical features that reflect a certain social environment and era. The portrait painter creates not just a mechanical cast of a person's facial features, but penetrates into his soul, reveals his character, feelings and views on the world. Creating a portrait is always a very complex creative act, which is influenced by many factors. These are the relationship between the artist and the model, and the peculiarities of the worldview of the era, which has its own ideals and ideas about what is due in a person, and much more.

Born in ancient times, the portrait first flourished in ancient Egyptian art, where sculptural busts and statues served as a “double” of a person in his afterlife. In ancient Greece, during the classical period, idealized sculptural portraits of public figures, philosophers, and poets (a bust of Pericles by Kresilaus, 5th century BC) became widespread. AT ancient Greece The right to be imprinted in the statue was given primarily to athletes who won the Olympic and other pan-Greek games. From con. 5th c. BC e. the ancient Greek portrait becomes more individualized (the work of Demetrius from Alopeka, Lysippus). The ancient Roman portrait is distinguished by unvarnished truthfulness in the transfer of individual traits and psychological authenticity. In the faces of men and women captured in different periods the history of the Roman state, their inner world, the feelings and experiences of people who felt themselves the rulers of life at the dawn of the Roman era and fell into spiritual despair at the time of its decline, are conveyed. In Hellenistic art, along with busts and statues, profile portraits, minted on coins and gemmah.

The first pictorial portraits were created in Egypt in the 1st-4th centuries. n. e. They were tomb images made in the technique encaustics(see Art. Fayum portrait). In the Middle Ages, when the personal principle was dissolved in a religious impulse, portrait images of rulers, their entourage, donors were part of the monumental and decorative ensemble of the temple.

A new page in the history of the portrait opened italian artist Giotto di Bondone. According to J. Vasari, "he introduced the custom of drawing living people from life, which has not been done for more than two hundred years." Having acquired the right to exist in religious compositions, the portrait gradually stands out as an independent image on the board, and later on canvas. In the era Renaissance the portrait declared itself as one of the main genres, glorifying man as the “crown of the universe”, glorifying his beauty, courage and limitless possibilities. In the era of the Early Renaissance, the masters faced the task of accurately reproducing the facial features and appearance of the model, the artists did not hide the flaws in appearance (D. Ghirlandaio). At the same time, the tradition of the profile portrait was taking shape ( Piero della Francesca, Pisanello, etc.).

16th century was marked by the flourishing of portraiture in Italy. Masters of the High Renaissance ( Leonardo da Vinci, Raphael, Giorgione, Titian, Tintoretto) endow the heroes of their paintings not only with the power of intellect and the consciousness of personal freedom, but also with inner drama. Balanced and calm images alternate in the work of Raphael and Titian with dramatic psychological portraits. Symbolic (based on the plot of literary works) and allegorical portraits are gaining popularity.

In the art of the late Renaissance and mannerism the portrait loses harmony, it is replaced by emphasized drama and tension of the figurative structure (J. Pontormo, El Greco).

All R. 15th c. the rapid development of the portrait takes place in the northern countries. Renaissance humanism is imbued with the works of the Dutch (J. van Eik, R. van der Weiden, P. Christus, H. Memling), French (J. Fouquet, F. Clouet, Corneille de Lyon) and German (L. Cranach, AND. Durer) artists of this time. In England, portraiture is represented by the work of foreign masters - H. Holbein Junior and the Dutch.
The desire for the most complete and multifaceted knowledge of human nature in all its complexity is characteristic of the art of Holland in the 17th century. Emotional tension, penetration into the innermost depths human soul striking portrait images Rembrandt. Life-affirming power is full of group portraits of F. Khalsa. The inconsistency and complexity of reality was reflected in the portrait work of the Spaniard D. Velasquez, who created a gallery full of dignity images of people from the people and a series of ruthlessly truthful portraits of the court nobility. Full-blooded and bright natures attracted P.P. Rubens. The virtuosity of technique and subtle expressiveness are distinguished by the brush of his compatriot A. Van Dyck.
Realistic tendencies associated with the ideals of the era Enlightenment, characteristic of many portraits of the 18th century. The accuracy of social characteristics and acute truthfulness characterize the art of French artists (J. O. Fragonard, M. C. de Latour, J. B. S. Chardin). Heroic Spirit of the Great Age french revolution found embodiment in the portrait works of J. L. David. Emotional, grotesque satirical, and sometimes tragic images created in his portraits by the Spaniard F. Goya. Romantic tendencies are reflected in the portrait work of T. géricault and E. Delacroix in France, F.O. Runge in Germany.
In the second floor. 19th century there are many stylistic trends and national portrait schools. The Impressionists, as well as close to them E. Mane and E. Degas changed the traditional view of the portrait, emphasizing, first of all, the variability of the appearance and state of the model in an equally changeable environment.
In the 20th century The portrait revealed the contradictory tendencies of art, which was looking for new means of expressing the complex spiritual life of modern man (P. Picasso, AND. Matisse and etc.).
In the history of Russian art, the portrait occupies a special place. Compared with Western European painting, in Rus' the portrait genre arose rather late, but it was he who became the first secular genre in art, the development of the real world by artists began with it. The eighteenth century is often referred to as the "age of the portrait". The first Russian artist who studied in Italy and achieved undoubted mastery in the portrait genre was I.N. Nikitin. Artists of the second floor. 18th century they learned how to masterfully convey the diversity of the surrounding world - thin silvery lace, velvet overflows, brocade shine, soft fur, warmth of human skin. The works of major portrait painters (D. G. Levitsky, V. L. Borovikovsky, F.S. Rokotova) represented not so much a specific person as a universal ideal.
Epoch romanticism forced the artists (O. A. Kiprensky, V. A. Tropinina, K.P. Bryullov) take a fresh look at the portrayed, feel the unique individuality of each, variability, the dynamics of a person’s inner life, “the soul’s wonderful impulses”. In the second floor. 19th century in creativity Wanderers(V. G. Perov, I. N. Kramskoy, I. E. Repin) develops and reaches the heights of a psychological portrait, the line of which was brilliantly continued in the work of V.A. Serov.
Artists of the turn of the 19th–20th centuries sought to enhance the emotional impact of portraits on the viewer. The desire to capture external similarity is replaced by the search for sharp comparisons, subtle associations, symbolic overtones (M.A. Vrubel, artists associations " World of Art" and " Jack of Diamonds"). At 20 - early. 21st century the portrait still expresses the spiritual and creative searches of artists of various trends (V. E. Popkov, N.I. Nesterov, T. G. Nazarenko and etc.).

The interpretation of the genre form of a work begins with its title, which is the most important component of the text. Some memoirs dedicated to contemporaries can be distinguished from other works of memoirs only by reading the titles of the works or their table of contents. "My moon friend. About Blok”, “Obsessed. About Bryusov", "The Thoughtful Wanderer. About Rozanov” and other portraits make up the collection “Living Faces” by Z. Gippius. Berdyaev, Alexander Benois”, “Andrey Bely” are the chapters of B. Zaitsev’s book “Far”. V. Khodasevich's "Necropolis" includes the chapters "Bryusov", "Andrey Bely", "Muni", "Gumilyov and Blok"... Such a nomination of the chapters of works, of course, is not mandatory, but it is indicative.

We attribute the listed works to such a genre modification of memoirs as a literary portrait, which is an “active, widespread and productive form”, according to O. Markova.

A literary portrait is “an independent genre that gives an artistic holistic characterization real person in its individual, unique, living form.

For example, L. Ginzburg (1975), O. Kashpur (1995), A. Yarkova (2002) write about the emergence of the literary portrait genre and the history of its development.

The heyday of the genre began at the turn of the 19th-20th centuries, this trend continued in the literature of the 20th century - both Soviet and Russian foreign. In the 20-30s of the 20th century, the literary portrait, as a modification of memoirs, "becomes a noticeable phenomenon of the literary process."

The study of the literary portrait in domestic science began on specific historical and literary material, primarily on the material of M. Gorky's work. The main problems of studying the portrait as a genre were outlined in the article by E. Tager (1960) and developed by V. Barakhov (1960), V. Grechnev (1964). Summarizing works that affect the specifics of the genre belong to B. Galanov (1974), V. Barakhov (1985), O. Markova (1990), O. Kashpur (1995), A. Yarkova (2002). We can say that the literary portrait has been studied quite thoroughly, its genre features have been characterized, and the elements of the structure have been described.

But the literary portrait as a modification of memoirs has not yet been studied enough. Although many researchers recognize that a literary portrait is “an independent genre of memoir literature”, “one of the genres of memoir literature”, although in general the typological properties of a “memoir portrait” are indicated, nevertheless, in practice, the genre nomination of works that are essentially memoir literary portraits , causes difficulties, which we showed in the introduction and will confirm on the example of specific works.

(Let's make a reservation that instead of the term "genre modifications of memoirs" we will use "genre" as more economical and as equivalent within the framework of this narrative).

It is necessary to clearly define the canon of a literary portrait as a modification of memoirs in order to further reveal the individual author's originality of works.

O. Markova in her dissertation research "Modern Literary Portrait: Typology and Poetics of the Genre" defines "the general principles of portraiture in a memoir portrait". This is "an attitude towards authenticity", retrospectiveness in understanding the personality and the era, openness of the author's assessments, reliance on the author's personal impressions, ... the person being portrayed is given against the backdrop of the era, ... in conjunction with "other" heroes of the book.

O. Kashpur in his work “The Genre of a Literary Portrait in the Works of B. Zaitsev” highlights “the specific features of a literary portrait as a special genre of memoirs”, but the indicated properties are, in our opinion, characteristic of a literary portrait as a whole and do not emphasize the “recollective” nature of the memoir portrait. Thus, the researcher defines the object of the image (a person who actually existed), the task of the author of the portrait (“to reproduce the features of the real appearance of the prototype as accurately as possible”), as well as the fact that “the portrait contains the subjective ideas of the author” and conjecture of the inner features of the hero.

The problem of external similarity in a literary portrait corresponds to the problem of memoir or historical accuracy. The principle of portraiture is born from the features of realistic typification, that is, such an artistic generalization that is inseparable from the individualized image of a person.

In many memoirs one can find many portraits and sketches. But they do not have their own separate genre status, but are included as an element of the text in general description past, being only a detail of the picture and enlivening it with faces - contemporaries of the author.

In this regard, O. Markova distinguishes two types of memoir portrait in terms of structural organization - a “bound”, “non-free” portrait as part of a large memoir narrative and as an independent “free” genre formation. In our opinion, the typology proposed by the researcher does not take into account that the task of the author of a literary portrait is to "reproduce the features of the real appearance of the prototype as accurately as possible," as we have already quoted above.

The subject of narration in a literary portrait is other people, contemporaries of the memoirist. “A literary portrait synthetically generalizes all knowledge about a particular person, including his biography, works (if we are talking about a writer), the attitude of contemporaries towards him, as well as the attitude of the author,” writes A. Yarkova.

And in a literary portrait, and - more broadly - in all memoir literature, the character of the person being portrayed is "a fact of the same artistic value, like in a novel, because it is also a kind of creative construction." The difference between the author's strategy in a literary portrait and novelism lies in the fact that the author recreates the character of the hero outside of fiction. He reproduces his impressions, his vision of actions, mental characteristics, reflects the type of personality behavior, specific situations life without putting any of their creatively fictional details into the image.

Simultaneously with the description of the special character traits of the hero, the author seeks to highlight a set of typical qualities that will raise the personality to a clearly outlined type, in which important properties time. Thus, literary portraits at their best are the representation and knowledge of the era “in faces”.

"Hero" as close to real as possible historical figure, but the author also reflects on the person being portrayed, not just observing, but peering, closely examining the object that he analyzes. As A. Yarkova notes, "the author is an active principle, he sets the task not only to objectively portray a person, but to study him, to understand the essence of personality." Understanding the characteristics of the hero's character, thoughtful penetration into his worldview, active author's interpretation of the hero and all the material construct the genre of literary portrait.

Analysis Component, genre specific literary portrait, represents such a genre-forming factor as “understanding of reality”, according to M. Bakhtin, or “the formula of the world”, according to N. Leiderman.

In memoirs in general, and in literary portraits in particular, there is a subjective element - even when memories are dedicated to other persons. In any case, the author leads the story through the prism of his individual perception. Consequently, "the author's subjectivity appears to be an integral feature of any memoirs", since the memoirist "strives to designate the radius of his horizons, the chronicle of meetings, personal retrospective moods, in one way or another to justify the selection of memorable episodes."

The inevitable subjectivity of the author brings into the literary portrait a shade of incompleteness of character: it is difficult for a memoirist to create a complete integrity of the character of his contemporary. And although the author from afar, from his time, knows “the immediate and long-term consequences”, according to A. Tartakovsky, he does not set himself the task of exhaustively drawing a character, as a novelist would do, who knows everything about the hero and who creates him based on your imagination.

Conceptual, thoughtful penetration into the person being portrayed, comprehension of the image in its integrity, a deep vision of the character of the hero by the author, the measure of generalization is thus the dominant factor, an indicator of the literary portrait genre, which differs from other modifications of memoirs, which are characterized by sketchy portrait sketches, their fluency interpretation.

In order to more accurately define the canon of a literary portrait, it is necessary to distinguish between the concepts of the author's principle and subjectivity. The author's beginning includes everything that is the author's consciousness in general: this is a worldview, a system of views - political, philosophical, moral and others. Subjectivity, on the other hand, enters the field of the author's beginning as one of its components - as a direct personal assessment of certain events, as a special intonation that accompanies the vision of life.

A literary portrait is initially characterized by a free composition and the absence of a rigid plot, which make it possible to easily move from one detail to another. Hence the mosaic and fragmentation, thanks to which the image of a person appears in the most diverse aspects and labyrinths of connection with the world. Building a plot, finding causal links and transitions would noticeably bind the memoirist and hinder the ease of presentation. However, elements of the plot in the presentation of individual episodes of the meeting are quite possible, and heterogeneous details, scenes characterizing one hero, only at first glance represent a mosaic. In fact, the constituent descriptive and dynamic pictorial elements form an integral space of the portrait with its internal logic subordinated to the general plan of the portrait painter.

In a literary portrait, the author comprehends the whole through a separate, particular, individually-personal, that is, he follows the inductive path of cognition - from facts to some general statement. This tradition comes from Plutarch, who remarked: “Often some insignificant act, word or joke reveals a person’s character better than battles, ... leadership huge armies and city sieges.

The ancient tradition turned out to be so viable that in the 18th century J.-J. Rousseau admires Plutarch's style of portraiture: “Plutarch excels precisely in these details... He paints great people in small things with inimitable grace; and so successfully chooses these petty features that often one word, smile, gesture is enough for him to characterize his hero.

This tradition is also characteristic of the 20th century. “There are no trifles in the life of a real person,” said K. Paustovsky, a master of finding in “little things” the beauty of the unknown, “small drops of water in which the sun is reflected.” Successfully found household trifles add credibility and authenticity, physical tangibility to the literary portrait, since without them the contours of the face would not have received living filling and would have remained silhouettes. Therefore, the details acquire the function of a significant artistic detail. It is no coincidence that A. Herzen valued those "trifles, without which faces cease to be alive and remain in memory as large essays, profiles."

Kirillova Ekaterina Leonidovna

Speaking about the literary, journalistic form of the portrait, it is appropriate to recall some of the features of this genre in the visual arts, to which the term “portrait” (French “portrait”) originally belongs. The word "portrait" comes from the French. “portrait”, which means the image of the original “trait pout trait” - “line to line”, “line to line”.

In the theory of art history, a portrait is understood as an image of a certain specific person or group of people, in which the appearance of a person is conveyed, reproduced, his inner world, the essence of his character, is revealed. Art historian M. Andronikova in her monograph on the art of creating a portrait said: “A portrait is not born along with art, but only when a person realizes himself as an exceptional phenomenon and not like any other creature, not one other person. A portrait is one of the highest forms of art, ripening for a long time in its depths before it takes shape, separates itself and wins its own independent and unique rights in it ”M. Andronikova. On the art of portraiture. M., 1975, p. 294 ..

A real artist who creates a portrait least of all claims to be a mirror-photographic display of “nature”. A person is recreated by art not “whole”, not in all manifestations of his personality, but only in some, in selected, in certain aspects. The purpose and meaning of the artist's work on any portrait is to search for the main idea by selecting the characteristic. The task of the artist is to raise this to the power of the image while maintaining the portrait features of a particular person.

“A good portrait is a dramatized biography of a model - the disclosure of the natural drama inherent in every person,” Charles Baudelaire argued, believing that a portrait painter must have not only the ability to imitate nature, but also the power of guessing. Therefore, each portrait contains the artist's ideas about his model.

The principles of creating a pictorial portrait discussed above are in many ways strong in the journalistic one.

The interest of the press in the visual representation of a person is constant. As before, the act, character, career, fate of an individual person can be the most interesting for the reader. The essence of publications of this type is to give the audience a certain idea about the personality. Solving this problem, a journalist, as a rule, pays attention to those moments in the life of his hero that are important for every person.

Knowledge of the goals, the “meanings of life”, which the heroes of publications serve, is necessary for the readership in order to compare them with their life attitudes. To a certain extent, this helps readers navigate the world and, perhaps, correct their actions, lifestyle, and so on. In addition, a number of portrait materials can satisfy the interest of many readers in the technology of success today.

Materials, in the center of which a person, in newspaper and magazine practice are represented by two genre forms: a portrait interview and an essay.

Given that most of the works devoted to the development of the theory of genres were published before the 90s of the twentieth century, new features have been added to the content of the continuously changing concept of “genre” during this time. Gorokhov V.M. Fundamentals of journalism. Moscow, 1989;

Sterltsov B.V. Fundamentals of journalism. Genres. Minsk, 1990;

Genres of the Soviet newspaper. Moscow, 1972;

Pelt V.D. Analytical genres of the newspaper. Moscow, 1980;

Tertychny A.A. Analytical journalism. Moscow, 1986;

Styuflaeva M.I. The poetics of journalism. Voronezh, 1975;

Prokhorov E.P. The art of journalism. Moscow, 1987;

Cherepahov V.M. Essay work. Moscow, 1980 In the future, those definitions and characteristics are used in the work, the relevance of which is undeniable for recent times periodical materials.

Genre is an essential form. In this concept, signs of content and structure are merged, allowing to express it - content - most expediently and effectively. The entire mass of materials written by journalists is divided into genres based on a number of division principles.

Everyone has it specific work there is a composition of certain characteristics. Regardless of how these characteristics arise: arbitrarily (the author does not think about what his text should be) or as a result of special creative efforts of the author (determines in advance what should be reflected in the text, how exactly and for what purpose) , texts with similar qualities can be classified into separate groups - genres.

The theoretical, at first glance, task - the definition of categories of journalistic genres - follows directly from the needs of practice. "Formation of ideas about genre features journalism has a significant practical significance, since it makes it possible to consciously orient oneself in a particular cognitive situation towards the creation of a very specific type of text, to the greatest extent "adapted" for adequate coverage of the phenomenon that interested the audience and the publication. Tertychny A.A. Genres of periodicals. M., 2000, p.9.

In defining the genres of periodicals, one should always take into account the impossibility of achieving their absolute purity in creative practice. The interaction of types of journalism is an indisputable fact.

Traditionally, all journalistic genres are divided into informational (note, reportage, report, some groups of interviews and correspondence), interspecies (they include such forms as interviews and comments) and journalistic in the proper sense of the word (among them there are scientific and journalistic and artistic journalistic). Therefore, when analyzing each material, it is important to set the search for the prevailing properties of the genre.

Of course, genres differ in their specific purpose. For information genres, the main concept that largely determines the content of materials is news. In this case, this is the news that the reader not only did not know about, but also could not know, since it appeared recently and is an eventful occasion. Notes, reports, reports, correspondence, each in their own ways and means, are designed to report socially significant facts.

News in journalistic, otherwise in analytical, genres is not new in itself (in the operational sense). The communication of new facts is only a means of argumentation for creating the necessary image of reality. For these forms (essay, feuilleton, pamphlet, sketch) special meaning acquires the organization of the figurative structure of the material. By itself, the description of the material or the characteristics of an object, event or life fact is not an image. “An image in journalism is either a description that allows you to see, vividly, picturesquely imagine a certain phenomenon of life, or such a comparison, a juxtaposition that throws light on the very essence of this phenomenon, allows you to better understand, evaluate, define it.” Elsberg Ya.E. Image in journalism.//Soviet press, 1960, No. 10, p.20.

Thus, the main function of the journalistic image is illustrative. This is a kind of sensual support for the development of the thought of a publicist. " publicistic image activates the thought process, creates a more stable idea of ​​​​an object or phenomenon, accelerates the mastery of the truth. Arkhipov I.R. publicity image. Moscow, 1977, p.144

Choosing the genre forms of the portrait as a narrative, the journalist must represent the scale of the personality, take into account the reader's interest in relation to the character, and also decide in advance on his role in the material.

The peculiarity of the reflection of a person in the interspecies genre, the interview, was determined in her work “The Journalist and His Work” by M.I. Shostak: "It seems to be 'over-genre', reminiscent of a review, a reportage, a problematic article, or a portrait...". Shostak M.I. Journalist and his work. Moscow, 1998, p.66

A detailed conversation with the hero is a necessary step in working on any portrait material. Therefore, an interview can be both a method of obtaining biography facts, opinions, and a genre form that visualizes this process.

The main stimulus for writing material about a person in the form of a portrait interview is the opportunity for a journalist to bring to the fore extraordinary person interesting for everyone. The task of the interviewer is to try to create an emotional and psychological portrait of the interlocutor. In this case, the reader is shown as much as possible of the identified information about the person, and in the final literary version of the conversation, the author's questions are emphasized, aimed at the personal characteristics of the interlocutor, and his especially revealing answers. All remarks given by a journalist should look significant not only in meaning, but also as a clear evidence of the character and personality of the interlocutor. The interlocutor's judgments, which reveal his system of life views, can give a greater completeness to a portrait interview. In some cases, the information that the hero owns due to his official rank helps to maintain the interest of readers in the material.

In the process of preparing a portrait interview, the journalist formulates his questions, adapting to the situation, and sometimes asks them this way and that if the answer does not satisfy him. The author prefers to listen to the character.

A journalist assigns another role to himself if he turns to one of the forms of artistic and journalistic genres - an essay. This type of genre flourished in the 1950s and 1960s. Unforgettable images of contemporaries were created by essayists - newspapermen L. Reisner, M. Koltsov, A. Serafimovich, B. Agapov, I. Ryabov, M. Shaginyan, V. Ovechkin. This portrait chronicle was continued by A. Agranovsky, G. Radov, M. Strua, A. Sokhnin and others.

In today's journalism, the change in attitude towards the essay is obvious to everyone. Thus, the authors of the encyclopedia of the life of modern Russian journalism, V. Bogdanov and Y. Zasursky, note: “When you open a newspaper today, it is sometimes difficult to determine which genres of journalism are used on its pages. The culture of the essay is gone from our newspapers. "Dying" of the essay genre - serious problem not only newspapers. Essay assumed famous philosophy life. Today we all lack the philosophy of movement. This lack of a philosophical perspective has a detrimental effect on serious genres and leads to the fact that newspapers are dominated by petty, petty topics, and in general the sharpness of today's press, in which there is no guiding thought, cannot be compared with previous periods of our journalism, and this is ours. trouble." Bogdanov V., Zasursky Ya. Power, a mirror or a maid. M., 1998, v.2, pp.136-137

Now in the professional environment of journalists there is a process of revising views on the processing and presentation of material. Factual journalism, which was especially popular in the 1990s, the journalism of fact, which noticeably squeezed analytical forms, is becoming a thing of the past. The former head of the Kommersant publishing house, V. Yakovlev, said in an interview: “The information concept was the market leader several years ago, but now it is not. It's time for normal journalism again. The market already requires a clearly defined position, the ability to write interesting, beautiful, tasty. We need the whole range of genres - from information to a skillfully crafted essay with a reportage in the middle. Yakovlev V. // Kommersant - power, 1998

"An essay is an artistic and journalistic genre in which a certain aspect of the concept of a person or social life is solved by combining logical-rational and emotional-figurative ways of reflecting reality." Benevolenskaya T.A. Portrait of a contemporary. Newspaper essay. M., 1983 This genre combines documentary materials and artistic forms, figurative characteristics and a high degree of typification. The necessary components of the essay include factuality, analyticity, problematicity and imagery. The object of study in any essay is either a person or a problematic conflict situation. portrait essay develops a certain aspect of the concept of one person, creates an image. In each specific case, the essayist must understand the complexities of an individual character, create a psychological portrait, reveal the internal motivation of actions, the moral creed of his hero, the origins of driving force his spirituality.

As noted above, the entire volume of essay materials is represented by two types: a problematic essay and an essay-portrait. At the same time, the view of the essayist should be focused on a person or a problem situation - in such a way that in end result it turned out to be an artistic and journalistic development of a certain aspect of the concept of a person (portrait essay) or social life (problem essay).

Unlike the previous form of portrait material, the interview, the author of the essay does not just cite the most vivid remarks from the conversation that characterize the hero, but, relying on all the versatile material about a person, comprehends the originality of his personality.

If we turn to history, then the beginning of the portrait sketch was the description of customs, pictures of everyday life, characteristic and indicative of different sections of the human "anthill". The authors of these materials sought to capture the diversity of types of people.

The abundance of essay portrait materials is also characteristic of Soviet magazines and newspapers. "Unique in political passion, expressiveness psychological drawing and at the same time strictly documentary and talking about the widest circle people not only famous, but also ordinary, "invisible", essays about contemporaries occupy a special place in the arsenal of propaganda and organizational means. Benevolenskaya T.A. Portrait of a contemporary. Newspaper essay. M., 1983.

In leading publications, essay texts were accompanied by various headings: "essay", "portrait of a contemporary", "social portrait", "collective portrait", "human fate", "living in conscience". The defining formula for the genre was: to identify the typological features of the Soviet person on the basis of the life activity of one person. The method of constructing the image was focused on the disclosure of the general, typical in the personality. Thus, the task of shaping the man of the future was solved. The then journalist of Komsomolskaya Pravda, A. Egorov, ideally stated it: “The initial rigid structure of the essay was the data of the last population census. We were looking for a hero close to the most typical features. People were looking for an average, without imposing anything from themselves and without introducing anything. Styuflaeva M.I. A person in journalism. Voronezh, 1989. At the same time, the purpose of the portrait essay was defined as follows: “Registered on a newspaper sheet constantly, they serve day by day inexhaustible source to display Soviet people in all the diversity of their characters and destinies. Benevolenskaya T.A. Portrait of a contemporary. Newspaper essay. M., 1983, p.23.

The work on creating an image typical of Soviet reality in a portrait sketch went in parallel with the disclosure of the theme of self-realization, self-affirmation in the life of a working person. In the early 70s, the newspaper Sovetskaya Belorussia introduced the heading "Worker". The team of authors set out to reveal the face of the modern worker as fully as possible. The thematic focus of the journalistic search was carefully planned: “... to find typical representatives of the working class in the workplace, who are characterized by a sense of professional and moral duty, the dignity of a citizen, the desire to improve skills and broaden their horizons, high cultural demands, and a craving for acquiring engineering knowledge.” Benevolenskaya T.A. Decree. cit., p.54 Journalists found such people and created a gallery of essays.

And in 1984, the Trud newspaper published eleven essay portrait materials in just four months. Here are the names of some of them: “The planer of the Krasny Proletarian plant, Innokenty Iv. Maltsev”, “Weaver Lyubov Kondratyevna Kondratieva”, “Miner Ivan Ivanovich Strelnichenko”, “Metallurgist Vasily Ivanovich Ovsyannikov” and others.

As a rule, these materials combined general statistical information about the profession, sociological reflections on the problems associated with it, and specific life practice, the individual existence of one of the representatives of this profession. “Last year, 175,000 people sailed on fishing boats. They got six million tons of fish and seafood, in other words, 25 kilograms of fish products per capita,” L. Pleshakov wrote in his essay “Rybak”. social portrait. M., 1967, p.67. One of the one hundred and seventy-five thousand people - Ivan Vinogradov - became his hero. Another example is the essay in "Komsomolskaya Pravda" "Agronomist Ilya Chibisov" begins like this: "Why did we decide to start the story about the current suffering with an agronomist?" TVNZ. 1972, July 11 The material came out in July. In the foreground is the harvest, its pace, features and tasks. This is what determined the story about the people of the harvest, and about specific human features agronomist I. Chibisov.

The newspaper portrait essay for the first time introduced the reader to the experience of the Shchekino initiators of the Zlobin method, the Oryol uninterrupted work, innovators in any industry National economy, science, culture. Through acquaintance with a person as a bearer of progressive methods of production, the effect of approaching distant experience, the effect of the absolute reality of what is described, the effect of accessibility of what is described in the essay was achieved.

When working on a portrait essay, the question of the effectiveness of such materials was always raised: “Real workers perceive an artistic and journalistic story about themselves with excitement and doubt: “Am I really that good, right?” Doubt pushes a person to self-improvement, activates his further activity. Genres of the Soviet newspaper. M., 1972, p.200.

The further development of the form I am considering, the sketch portrait, was connected with the existing problem of the correlation in the material of the individual, personal and social, inherent in many. They appear in varying proportions in each individual publication.

To illustrate this thesis, it suffices to compare two materials. The hero of the first was the organizer of the folk museum I. Bukhanchuk: “I liked him right away - open, friendly, a little naive. By his appearance, you can’t tell that he is a former military man: for some reason, the shoulders of his jacket slide off to one side, his raincoat is wide open, he tries to shake off the ashes from a cigarette on his knees. A person does not think, does not remember himself - it is immediately evident. Gusarova A. In defense of philanthropy.// Literary newspaper, 1982, November 17.

The second one tells about the general director of the Teraspol production and clothing association V.S. Solovieva: “A woman in the economy. A talented leader with life and professional experience, which stretched across all economic doctrines from the 30s to the present day. Let's look for an answer, where did a misfire occur in our past in the "women's" industry? Could we go further? To make women's work more meaningful and happy? Makartsev Yu. Portrait of a woman from 1987. // Interlocutor, 1987, No. 34.

The 90s became the time when portrait lines of the masters of life began to pass through all publications - successful entrepreneurs, successful people. In these materials, the Soviet formula of the hero "a man in his place" merged with the Western "a man who made his own destiny." Not only the “phenomenon of personality” (personal responsibility and decency, pain and thinking about everyone), but also the “phenomenon of luck” or the “Cinderella plot” became relevant for such portraits. Directly in the description of the person, the reader's interest focused on conflicts that were not introduced from outside, but were shown as the mistakes and doubts of the hero in search of a path.

On most portrait materials published in the 1990s, the following trend can be traced: most of all, character development is given more attention, while the hero’s involvement in the “unifying socially related circle of designations” is prescribed, as a rule, in thesis.

In each portrait material, the emphasis is on a detailed disclosure of two or three qualities of the hero. And here it is in the power of the author to highlight some characteristics and highlight them in detail, others - only to name, without revealing, and completely keep silent about the third. The character of the hero in journalism is always only a version. In real life, it cannot be as complete as the only complete author's concept of material on the pages of the periodical press. Even with the most careful description of a person, there is always some fundamentally incomprehensible residue.

The appearance of any person on the pages of current newspapers and magazines is accompanied by the following approach of a journalist to work on portrait material:

• 1. The most important is conveyed through observation of the behavior of the hero;
• 2. Paradoxes of fate are noted;
• 3. Figurative associations and visual episodes are involved.

Separate among the portraits of figures is a political portrait. Having absorbed all the main features of the genre, the profile portrait of a politician has its own characteristics, due both to the practice of the existence of this form on the pages of the press, and the development of Russian political culture as a whole.

The formation of the political portrait genre began with the emergence of power relations in the history of civilization. The main feature of the perception of power by Russian people is its personification. In Russian history, personality has always played an important role. Power was personified by a person: prince, king, leader, president.

The figures of politicians are extremely important for the public, since they allow us to reduce all the complex and impersonal processes of political life to the actions of individuals.

Specific personalities acting in politics make it accessible to understanding, humane, allow people to ascribe to them responsibility for the course of events. Therefore, politicians who have made a significant contribution to history have always aroused the interest of their contemporaries and descendants. This interest has never been limited to information about their activities in the political and public arena. A well-known figure always attracts attention precisely as a person - with all his moral and intellectual appearance, motives for his actions, his insights and miscalculations.

What kind of person this or that politician is, what feelings, symbols and ideas are associated with him, is of paramount interest to the public. Materials are called upon to fully satisfy the public need for information about leaders, in the center of which is a political figure with his spiritual world, character, revealed in generally significant actions, tense, sometimes conflict situations, in biographical episodes, in thoughts, speech, and even an external portrait of the hero. . The portrait essay is considered a recognized genre capable of forming the facets of the image of a politician in the mass consciousness. It is in the power of this genre to either confirm the image of the figure that has developed among people, or completely refute it.

Another feature of the portrait of a politician is the complication of this form by the task of political forecasting. “A political forecast can be defined as an ideological image formed in the minds of people and described, including the alleged, probable direction and intensity of the actions of parties or individual people". Sergiev V. Foresight in politics. M., 1974, p.51. A forecast in a political portrait answers the question of how the appointment or non-appointment of the described politician to the proposed position will turn out for voters, or it appears in the form of clear conclusions of the author of the material about the hero’s ability to act in politics, to solve socially significant tasks.

Far from the last place among characteristic features the political portrait is usually occupied by the political intentions of the author, which are clearly visible in the material. The authors of the journalistic genre of political portrait do not try to cover up their tendentiousness, their position, they do not hide their likes and dislikes. The image of a politician always reflects a certain emotional mood publicist. The presence of this feature in journalistic materials is explained by the traditions of perception of political processes in Russia, which tend to blur the lines between political and non-political, public and personal.

“Attention drawn by politicians always carries a connotation of the irrational. In Russia, politicians are not looked at, they are devoured with their eyes, conjured, cursed, idolized. They put a piece of soul into them. Hence the mysticism of the political portrait in general and the Russian one in particular. Biological enzymes have been added to the political portrait at all times: saliva, oil, poison, sperm. It has always been correlated with one's own destiny, personal political ambitions and passions.

Expectations, hopes, spells and prophecies are easily read even in professionally presented analytical materials - this is our political portrait. Anton Katin. Portrait of a politician in the media // Net culture. App. to the magazine "Pushkin", 1998, May 1, p.23.

Russia is experiencing a boom in the use of psychological technologies in order to achieve success in elections, certain political goals. An important place among them is occupied by the technology of creating psychological portraits of political leaders. When drawing up a political portrait of a leader, one way or another, emphasis is placed on certain aspects of his life, which should correspond to the goals and objectives of portrait diagnostics. Therefore, it seems important to consider the issue of the typology of the leader's portrait characteristics.

The accumulated experience in compiling political portraits, as well as a typological assessment of the relevant materials published in special and journalistic literature, give us reason to conclude that there are at least several main types of political portraits:

Political-ideological (political-ideological) portrait;

Political and psychological portrait;

Historical portrait;

Political biography.

The political-ideological (political-ideological) portrait is the result of diagnosing the status, potential opportunities and political influence of the leader as a representative (or head) of a certain political-ideological trend in society. In this case, the life path, elements of a political, service and business career, contacts, public performance The leader will be considered through the prism of his belonging to the political (public) organization to which he is a member or which he sympathizes with, or from the standpoint of compliance or non-compliance with certain ideological postulates. With these general methodological guidelines in mind, when compiling a political and ideological portrait, it seems important to trace the main stages of a leader’s career as milestones in the institutional and political formation of his worldview position or, in the case of the leader’s ideological throwings, as a statement of a certain dissonance between his corporate affiliation and evolving political glances. At the same time, we should not forget that such a general line of portrait diagnostics of a leader can be weakened if we are dealing with a pronounced ideological pragmatism or a stable opportunistic style of political activity. This does not mean at all that we should abandon portrait diagnostics of a political and ideological nature. In this case, a thorough analysis of the contradictions and inconsistencies of the politician's public statements on ideological topics and modeling of the range of ideological (ideological) fluctuations are necessary.

When compiling a political and ideological portrait, it is most expedient to use the method of analytical interpretation of biographical data, contacts, connections, and other forms of the leader's political activity. At the same time, it is important to keep in mind in what style portrait diagnostics is carried out - in information or value.

When using the first option, we are usually talking about meeting the user's need for grouped and verified information with an emphasis on events and facts of the political activity of the leader. In this case, the commentary should be lapidary, it is necessary to focus the user's attention on the correspondence of certain actions and statements of the leader to certain models of political and ideological behavior adopted in this society.

If the second version of the portrait is used, then the user should be able to find in it a more detailed analytical interpretation of the ideological, political, artistic and aesthetic views of the leader, including his hobbies.

The latter circumstance may be essential for clarifying the details of the political and ideological portrait. For example, having determined what the circle of leisure reading of a leader is, one can get an idea of ​​the nature and direction of the evolution (correction) of his worldview.

With all the variety of possible approaches to the compilation of political and ideological portraits, it would be advisable to define a general (principal) scheme that would serve as a kind of methodological guide that simplifies both the diagnostic procedure itself and its perception by the user. The main elements of this scheme are the informational and ideological series, which are two relatively autonomous components of the described type of political portrait.

As M. Weber notes, the information series must meet the criteria of efficiency, reliability and completeness of the information that the analyst is preparing to interpret. It includes, as a rule, two elements: a description of facts and events and a commentary on them. The commentary in this article is understood as the most objective explanation of information about the political activity or behavior of the leader, concise and precise in its form. It is the commentary that is a kind of transition to the ideological series.

The ideological series is a detailed and detailed interpretation of the stated information about the leader. A whole arsenal of justification and argumentation methods can be used here: comparative characteristics, strategic analytics, expert opinions and others. This series can be either concentrated in a certain section of the political portrait, or scattered across separate information arrays.

If the compiler of a political portrait needs to supplement the leader’s characterization with value judgments (both his own and expert ones), then the described type of portrait diagnostics is usually supplemented with an axiological series in which the author tries to influence the user’s assessment of the leader.

When drawing up a political and psychological portrait of a leader, special attention is paid primarily to the relationship and mutual influence of the characteristics of the psycho-emotional warehouse, temperament, thinking style and other psychological components of the leader, on the one hand, and his political career, on the other. In this case, it is most expedient to intertwine eventual, factual information about the leader's career, his political behavior with the interpretation of the psychological archetype of the personality. Of great heuristic importance in each specific case can be an adequate identification of the political and psychological type of leadership: having determined the type of leadership, it is possible to build a political and psychological portrait in such a way that its meaningful characteristics, thanks to the initial hypothesis, would acquire a logical justification, could be conceptualized, which will be ultimately the result of the diagnosis itself.

It would be very difficult to propose for a political-psychological portrait, due to the very specifics of the initial data, any generalized scheme for its compilation. Therefore, portrait diagnostics of this type requires from the analyst not only vocational training in the field of general and political psychology, but also conceptualization skills, a certain methodological skill.

Somewhat apart from the various types of political portraits of leaders is the historical portrait. This is determined by its purpose, which is not always relevant, based on the needs of the analysis of contemporary political situations and events. In this, its diagnostic capabilities are limited by the possibilities of a comparative analysis of political portraits in order to determine the relationship of continuity. different generations politicians, searching for some characteristic features of leadership in various political systems and organizations.

At the same time, the historical portrait of the leader is very interesting if we are dealing with a retrospective political study. This type of portrait may include elements of the types of portrait diagnostics described above. However, paramount importance will be given to the chronological sequence of certain events in the political, service or business career of the leader, his contacts with other people who influenced the key moments of his life path. The same chronological approach is also characteristic of the possible political and ideological component historical portrait when we can trace the whole cycle of the evolution of the worldview and ideological preferences of the leader not only on the basis of public, sometimes opportunistic statements, but also using additional sources for analysis: memoirs of contemporaries, diaries, letters, etc.

An important characteristic of a historical portrait is that it necessarily contains an axiological series: value judgments (both the reproduced opinions of contemporaries and the judgments of the compiler) about the historical scale of the personality, the role that this leader played in the political process. Hence, a large proportion historical information background value, a general characteristic of the historical era in which this or that politician lived.

The compilation of a political biography as a method of portrait diagnostics is very common in the West. It should be emphasized, however, that this is not always politician of the past. There is a whole stratum of political biographers whose task is to interpret the political activities and behavior of leaders, to promote in the mass consciousness a certain interpretation of certain moments of their political career or political behavior. Considerations of an advertising nature are of great importance in compiling the political biography of current politicians. The structure, consistency and completeness in the presentation and interpretation of data are largely subordinated to these considerations.

It would be a mistake to believe that the above options for political portraits of leaders exhaust the whole variety of portrait diagnostics of the status, potential and influence of political leaders. Therefore, it is necessary to study this important area of ​​modern political analysis in more detail.

Before examining a specific image of a politician, one should determine those indicators by which one can judge their personal potential.

When analyzing the image of a politician, we used the three dimensions of personality accepted in psychology: attractiveness, strength, and activity.

These parameters are used both to evaluate a real politician and to describe his "ideal prototype", which should be "pleasant in every respect", strong and active. It is believed that the adoption by citizens of a decision about whether they like or dislike a politician is a kind of "fitting" an ideal prototype for one or another performer of a political role. If the living model matches the template, then the politician is accepted by the citizens.

In real life, although the assessments of this or that politician are compared with an ideal prototype, the revealed deviations, paradoxically, do not always lead to a refusal to vote.

The value system finds its expression in a socially approved set of requirements for a political leader: he must be "competent", "honest", "smart", etc. In a situation where the emotional and rational components of the attitude diverge, the respondents are guided not so much by rational considerations as by emotional preferences. The foregoing allows us to approach the understanding of the structure of the image of a leader, taking into account its real complexity. The methodology of the analysis should also serve this. We believe that it should include three elements. First, it is necessary to trace the most important trends in the rational perception of politicians. Secondly, to analyze the emotional components of the images, which are more direct in nature and testify to the unconscious tendencies of the respondents. And, thirdly, these two series of components should be compared with each other. Their coincidence indicates the integrity of the image, while the discrepancy can be explained either by the fuzziness of the image or its internal inconsistency, but in any case it gives an idea of ​​the inner structure of the politician's personality. Such an analysis scheme can be applied both for the analysis of each specific politician and for comparing them with each other.

Based on the tasks of political and psychological analysis, these indicators of attractiveness were grouped as follows:

Appearance (clothing, demeanor) and bodily characteristics (health - illness, physical constitution, fullness - thinness, bad habits, masculinity - femininity, age, temperament, physical attractiveness);

Psychological characteristics (character, individual features, speech patterns) and moral and ethical assessments of a politician;

Political, professional and business qualities (experience, political views, leadership qualities, political skills, competence).

Whatever the set of attractive qualities of a particular content leader, these qualities must also be assessed in terms of two other personality dimensions: strength and activity. Personal strength, no doubt, strengthens the attractiveness of a politician. This parameter includes such components as health, age, physical and intellectual resources, psychological stability, the ability to protect the interests of the country, and much more.

Thus, based on theoretical aspects, in the second chapter the author will try to give a political and psychological portrait of the personality of V. Zhirinovsky, the most prominent political leader of the LDPR party.