In the history of Russian art, the 17th century was a period of struggle between two painting schools and the formation of new genres. Orthodox Church still had a huge impact on cultural life person. Artists also experienced some restrictions in their activities.

iconography

At times late Middle Ages the center of concentration in Russia of artists and artisans was the Kremlin, or rather the Armory. The best masters of architecture, painting and other types of creativity worked there.

Despite the rapid development of art throughout Europe, painting in Russia in the 17th century had only one genre - icon painting. Artists were forced to create under the vigilant supervision of the church, which strongly opposed any innovations. Russian icon painting was formed under the influence of the painting traditions of Byzantium and by that time had clearly formed canons.

Painting, like culture in Russia in the 17th century, was rather self-contained and developed very slowly. However, one event led to a complete reformation of the icon-painting genre. In a fire in 1547 in Moscow, many ancient icons burned down. It was necessary to restore the lost. And in the process, the main stumbling block was the dispute over the nature of the faces of the saints. Opinions were divided, adherents of the old traditions believed that the images should remain symbolic. While the artists of more modern views were in favor of giving the saints and martyrs more realism.

Split into two schools

As a result, painting in Russia in the 17th century was divided into two camps. The first included representatives of the "Godunov" school (on behalf of Boris Godunov). They sought to revive the icon-painting traditions of Andrei Rublev and other medieval masters.

These masters worked on orders for the royal court and represented the official side of art. characteristic features for this school there were canonical faces of saints, simplified images of a crowd of people in the form of many heads, golden, red and blue-green tones. At the same time, one can notice the attempts of artists to convey the materiality of some objects. The Godunov school is best known for its wall paintings in the chambers of the Kremlin, in the Smolensky Cathedral, the Trinity Cathedral.

The opposing school was "Stroganov". The name is associated with the merchants Stroganovs, for whom most of orders and who acted as "sponsors" in the development of painting in Russia in the 17th century. It was thanks to the masters from this school that the rapid development of art began. They were the first to make miniature icons for home prayers. This contributed to their spread among ordinary citizens.

The Stroganov masters more and more went beyond the church canons and began to pay attention to the details of the environment, the appearance of the saints. And so the landscape slowly began to develop. Their icons were colorful and decorative, and the interpretation of biblical characters was closer to the images. real people. The most famous of the surviving works are the icons "Nikita the Warrior", "John the Baptist".

Yaroslavl frescoes

Unique monument in the history of painting of the 17th century in Russia are the frescoes in the Church of the Prophet Elijah in Yaroslavl, on which artists from the Armory worked. A feature of these frescoes are scenes from real life that prevail over biblical stories. For example, in the scene with healing, the main part of the composition is occupied by the image of peasants during the harvest. It was the first monumental image in the domestic genre.

Among these frescoes one can find fabulous and mythological scenes. They strike with their bright colors and complex architecture.

Simon Ushakov

At every stage cultural development countries appear their significant faces. The person who promoted painting in Russia in the 17th century in a new direction and contributed to its partial liberation from religious ideology was Simon Ushakov.

He was not only a court painter, but also a scientist, teacher, theologian, man open-minded. Simon was addicted Western art. In particular, he was interested in a realistic image human face. This is clearly seen in his work "The Savior Not Made by Hands".

Ushakov was an innovator. He was the first Russian artist to use oil paint. Thanks to him, the art of engraving on copper began to develop. Being the chief artist of the Armory for thirty years, he wrote many icons, engravings, as well as several treatises. Among them is "A word to a lover of icon painting", in which he outlined his thoughts that the artist should, like a mirror, truthfully display the world. He followed this in his writings and taught it to his students. In his notes there are references to an anatomical atlas, which he wanted to write and illustrate with engravings. But, apparently, it was not published or was not preserved. Main merit masters in that he laid the foundations portrait painting 17th century in Russia.

Parsuna

After significant transformations in icon painting, began to take shape portrait genre. At first, it was performed in the icon-painting style and was called "parsuna" (from the Latin - person, personality). Artists are working more and more with living nature, and parsoons are becoming more realistic, the faces on them are gaining volume.

Portraits of Boris Godunov, tsars Alexei Mikhailovich, Fyodor Alekseevich, tsarinas Evdokia Lopukhina, Praskovya Saltykova were painted in this style.

It is known that foreign artists also worked at the court. They also greatly contributed to the evolution of Russian painting.

book graphics

Printing also came to Russian lands rather late. However, in parallel with its development, engravings, which were used as illustrations, also gained popularity. The images were both religious and domestic in nature. The book miniature of that period is distinguished by complex ornamentation, decorative letters, and portrait images are also found. Masters of the Stroganov school made a great contribution to the development of book miniatures.

Painting in Russia in the 17th century turned from a highly spiritual into a more secular and close to the people. Despite opposition church leaders, artists defended their right to create in the genre of realism.

Name: History of Russian painting - XVIII century.

The rapid development of Russia during the Petrine era partly makes it related to Western Europe the Renaissance. The art of portraiture began to develop rapidly; by the middle of the century, thanks to the general rise in culture, Russian fine arts become professional. After Peter, still lifes and desudeportes became a popular subject of painting. Classicism became the symbol of Catherine's reign in art. Historical painting develops, and the art of portraiture ceases to be elitist. At the end of the century, the birth household genre and highlighting the landscape in a separate direction.

Name: The history of Russian painting - the first half of the XIX century.

Name: The history of Russian painting - the first half of the 19th century.

For fine arts, the first decade XIX century - the beginning of the golden age. It was at this time Russian artists reached the highest skill, which allowed them to stand on a par with the best masters European art. The works collected in this volume reflect the rise of classicism, the spread of romanticism and the birth of realism in all aspects. Russian painting.

Name: The History of Russian Painting - The Turn of the 19th and 20th Centuries.

The alignment of forces went into oblivion artistic life Russia second half of XIX century: on the one hand - the routine art of the Academy of Arts, on the other - the Wanderers.
IN late XIX century, young artists began to look for their own ways in painting. At the same time, the Abramtsevo circle was formed, which put forward new tasks that were not inherent in the program of the Partnership. And then - in the 1900s - for the first time in Russian artistic life, an abundance of various associations arose: they all came out with their programs, manifestos, platforms.

There are few hours in a man's life that are more pleasant than the time devoted to afternoon tea.
Henry James, American writer

You should never refuse a cup of tea under the following circumstances: if it is hot outside; if it is cold outside; if you are tired; if someone thinks you are tired; if you feel uneasy; before leaving the house; if you are not at home; if you have just come home; if you want a seagull; if you do not really want a seagull, but you could; if you have not drunk tea for a long time; if you have just intercepted a cup.
George Mikes (Hungarian journalist)

"How to be British"
Tea raises muscle tone, making the body strong. It helps with headaches and dizziness, improves mood and drives away spleens. Tea cleanses the kidneys of stones and sand, if taken with honey instead of sugar, it makes breathing easier for colds. This drink helps improve eyesight. Tea relieves fatigue, making a person cheerful.
Thomas Harvey, owner of England's first tea house

Makovsky K.E. For tea.

The Russian word "tea" comes from the Chinese word "cha" or "tea" - in the northern, Beijing pronunciation, while English word"tea" (tea), as well as, respectively, French, Italian, German, Danish, etc., comes from the Chinese word "te" (tea) - in the southern, Fujian pronunciation.

In 1638, the Russian ambassador Starikov brought from Mongol Khan as a gift to Sovereign of Moscow Mikhail Fedorovich four pounds of tea. At first, the tsar and the boyars did not like the tart and bitter drink. However, it was noticed that he "turns away from sleep" during long church services and tiring sitting in the Boyar Duma.

Bogdanov-Belsky N.P. Tea drinking.

When the entire supply of donated tea was drunk and the taste of it was already forgotten at the Moscow court, diplomats again played their role: our ambassador, the Greek Sappharius, brought tea from China. Now tea was welcomed in Moscow like an old acquaintance, and in 1679 an agreement was concluded with China on the supply of dried Chinese grass to Russia.

Kustodiev B.M. Moscow tavern.

Vasnetsov V.M. Tea in a tavern.

IN early XVIII century, tea entered Russian life and became our national drink. Tea drinking itself has become not just a thirst quencher, but a kind of manifestation of public life. Over tea, family matters were resolved, trade deals and marriage alliances were concluded, it seems that not a single serious issue was discussed without a cup of tea.
Gilyarovsky left great description old Moscow taverns. Somewhere in "Kolomna" or "London" cabbies warmed themselves over tea, and big businessmen made deals worth tens and hundreds/thousands of rubles. Actors, writers, artists had favorite taverns. Meetings at the tea table at Leo Tolstoy's Yasnaya Polyana and Khamovniki entered the history of Russian culture. IN " explanatory dictionary of the living Great Russian language "V. Dahl, the verb" tea "means" lay for tea, drink it in expanse.

Kustodiev B.M. Merchant for tea.

The ubiquity of tea in early XIX century led to the emergence in Rus' of a peculiar and colorful ritual of tea drinking. Since tea in those days was not cheap, it was very important, in addition to the ability to brew delicious tea, also the ability to “not sleep tea”, that is, not less. pour it in such a way that each of those present at the tea party receives their portion of tea of ​​the same strength, and plus, the hostess would not allow a large consumption of dry tea leaves.

What is a samovar? The Dictionary of the Russian Language (M., 1981, v.4) says: "A samovar is a metal appliance for boiling water with a firebox inside, filled with coals." In the Explanatory Dictionary of the Living Great Russian Language V.I. Dahl (St. Petersburg-M., 1912, vol. 4) says: "The samovar is a water-heating vessel for tea, mostly copper with a pipe and a brazier inside."
Deaf longing for no reason
And doom is a haunting frenzy.
Let's prick the splinter -
Let's inflate our samovar!
For loyalty to the old order,
To live slowly!
Perhaps, and steam out the torment
Soul sipping tea!

B. Kustodiev. Cab drivers. 1920

Champanov Sergey Tea drinking.

What is the attractive power of the samovar, why it has remained the most stable attribute of home comfort, can only be understood by understanding the peculiarities of the Russian tradition - tea drinking.
It is well known that tea came to Russia from the East. This does not mean that before that Russia drank only vodka. Strong drinks were held in high esteem in Russia, its inhabitants brewed mash, sbiten. Tea also had its own: from leaves, fruits, herb roots, in a huge assortment of collected, dried and harvested for various purposes - medicinal and tonic.
For example, Ivan-tea inflorescences, cherry, mint, currant leaves, etc. were used as tea leaves.
But, most importantly, the new thing that came from the East along with tea as tea leaves is a special ritual action, a kind of holiday. The introduction and distribution of tea in Russia took place on prepared ground, and the main feature, the reason for the popularity of tea, was in the ceremony itself, however, adapted to the psychology of a Russian person.

B. Kustodiev. On the terrace. 1906

Pereverzeva A. K. Interior. North.

Makovsky K.E. Alekseich.

Popov A. A. Artisan for tea.

Korovin K.A. At the tea table.

The oriental tea ceremony is basically aimed at the very deepening of a person, communication with his inner world. She seems to pull him out of the everyday hustle and bustle. The methods of brewing tea itself and serving it to the table are preparing the ground for removing everything vain.
The Russian tea ceremony is aimed at obtaining an absolutely opposite effect - the unification spiritual world people gathered at the table, the disclosure of each individual soul to society, family, friends, the acquisition of new knowledge. Tea drinking creates the conditions for intimate conversation.

B. Kustodiev. Autumn in the province. Tea drinking. 1926

A frank conversation directly with the interlocutor, and even more so with several interlocutors, is always psychologically difficult. This is aggravated by the fact that there are, as a rule, several age groups from children to great-grandparents. Children are restrained by the tradition of respect for adults, their parents - by honoring their parents. A careless remark, a clash of two opinions, sometimes destroys the confidence of the conversation, and the speaker falls silent and withdraws into himself. To create the spirit of democracy, a certain "silent interlocutor" was needed, looking at which, and turning to which, one could express the most intimate, without fear of being misunderstood. This role is assigned to the samovar in Russian tea drinking.

B. Kustodiev. Tea drinking. 1913

It was getting dark. On the table, shining
The evening samovar hissed,
heating chinese teapot
A light steam swirled under him ...
A.S. Pushkin

Such an item on the table was necessary for the Russian tea ceremony. And it was invented at the turn of the 18th century by Russian masters. The samovar entered every house. The samovar has become a symbol of kindness and home comfort. Children received knowledge, absorbed traditions, learned to speak and listen at the samovar. This subject entered the classics of Russian literature and art as an indispensable attribute of family peace. He himself became an object artistic interest, and a number of masters of arts and crafts took part in the creation of its decorative decoration.
What is a samovar? The Dictionary of the Russian Language (M., 1981, v.4) says: "A samovar is a metal appliance for boiling water with a firebox inside, filled with coals." In the Explanatory Dictionary of the Living Great Russian Language V.I. Dahl (St. Petersburg-M., 1912, vol. 4) says: "The samovar is a water-heating vessel for tea, mostly copper with a pipe and a brazier inside."
His device is simple, like all ingenious. It consists of a seamless thin-walled vessel. It is vertically pierced by a pipe starting from the bottom of the firebox and ending with a burner. The latter serves both to install a teapot on it for tea leaves, and to carry out air flow when the burner is closed with a lid.

I. Grabar. For a samovar. 1905

From other devices for boiling water, known long before the appearance of the samovar and which people use now, the samovar differs primarily in that it combines the entire practical experience humanity to save energy.
All the heat rising through the pipe is given off to the surrounding water. The large pipe surface quickly brings water to a boil and maintains the temperature. The natural current of warm air upwards creates ideal draft in a fire chamber. The firebox is attached from below to the vessel (body) of the samovar at the required distance from the surface of the table on which the samovar is placed. This distance is adjusted by the legs of the samovar, which give it stability and fire safety.
The pipe, being a structural core, serves as the basis for the cover of the vessel put on it, the burner, the cover of the pipe itself. Fuel is poured through the pipe and the samovar is ignited. The fuel is Pine cones, branches, chips, Their consumption is minimal.

K. Korovin. For tea. 1888

To pour water, the lid of the vessel is removed. To fill the glass there is a convenient tap with ground surfaces. The faucet is located at some distance from the bottom of the samovar, which makes it possible not to get suspended matter into the cups.
Elements such as a tap (branch), a handle for carrying a samovar, legs on which it stands are made using casting and soldered to the vessel. These elements have a variety of shapes and decorative ornaments. Their remoteness from the heat source keeps soldering for centuries. Samovars were used both for making tea and for making soup, porridge, and sbitnya. In such samovars, the vessels were divided into two or three compartments and the dishes were cooked at the same time.
Even a child can use the samovar - water is poured, fuel is put in and a piece of wood on fire is lowered into the pipe. In wet weather or with raw fuel, the samovar needs to be inflated. This is done either through holes in the walls of the furnace, or in a "peasant" way - with the help of a boot put on the pipe, which performs the function of fur in a blacksmith's forge. When water boils, a teapot, ceramic or porcelain, is installed on the burner, depending on the taste, habit or viability of the brewer. The draft slows down, and the samovar slowly brings the water to a boil, brewing tea with high quality. Tea from a samovar is usually drunk as a bite, that is, sugar is served separately.

V. Nesterenko. Sweets, lamb. 1997

The samovar is always in the center of the table. He is kind - in his image, in roundness of forms. He puffs good-naturedly on smoke and gurgles with boiling water. It reflects in its sides the people around it and nature, giving some unreality to what is happening.

Emperor of white cups
Chainikov Archimandrite,
Your deep murmur is heavy
Those who give evil to the world.
(N. Zabolotsky)

A. Gerasimov. Family portrait

Breakfast of a Russian landowner of the 19th century - this is, as it were, a combination of the first and second breakfasts accepted in France at that time. “After drinking tea, they start breakfast: they will serve beaten meat with sour cream, a pan of mushrooms or porridge, warm up yesterday’s roast, make semolina soup for children - everyone will find something to their taste” (Goncharov I.A. "Frigate" Pallada ").
Tea was served with refined sugar (sand was bought only for the kitchen - it made tea cloudy), biscuit, English crackers, buns, kalachi and strawberry, strawberry or raspberry jam. Sometimes they took brioches (French crispy bun in the form of a bagel) and Reval bread (pecked bread with caraway seeds). A silver samovar was placed on the table, a silver teapot, a strainer, tweezers in a sugar bowl, and, in addition, a tea caddy - "crystal in a silver frame and with it a special-shaped spoon for laying tea" (E. Avdeeva "The Complete Household Book") .

I. Grabar. Morning hour, snowdrops. 1939

I.A. Goncharov tells in detail about what kind of tea they drank in Russia at that time: “We call delicate, fragrant flower teas good. The aroma and bouquet of this tea is not available for every nose and tongue: it is too thin. These teas are called ... pekoe (Pekoe flower). good tea, yes, just tea (they have one), they call a special kind of coarse black or a mixture of it with green, the mixture is very narcotic. From tea they demand the same as from Indian soy and peppers, that is, something like poison "(" Frigate "Pallada"). By flower tea, of course, we do not mean tea from flowers (Goncharov calls the Chinese way of putting jasmine in black tea, and in yellow rose petals "a consequence of satiety"), but a tea variety made from the apical bud of a plant - with a particularly delicate and refined aroma .

Modern painting. Long Olga Petrovna.

Trisha Hardwick. Still lifes.

Tea drinking in Russian differed not only in the variety and quality of the tea used. Of course, eccentrics and originals in Russia drank tea with cloves on japanese manner, and in Chinese with flowers, and green tea the way real Americans drink. However, drinking Russian tea meant drinking brewed tea (the British, as Goncharov notes, "brew it in their usual way, like cabbage") and with sugar - for a foreigner, Russian tea is "some kind of sugary drink."
Dumas père, the author of a culinary dictionary, wrote: "The best tea is drunk in St. European countries only Russia can import tea overland directly from China. At that time, it was China, where tea had been known since prehistoric times, that was the main supplier of tea, while tea was brought to India and Ceylon only in 1865. "Customs are strange in Russia, so that foreigners find them unusually shocking when they first meet," Dumas wrote in his dictionary. So, for example, he finds it surprising that "men drink tea from glasses, while women use cups of Chinese porcelain."

Deaf longing for no reason
And doom is a haunting frenzy.
Let's prick the splinter -
Let's inflate our samovar!
For loyalty to the old order,
To live slowly!
Perhaps, and steam out the torment
Soul sipping tea!
A. Blok, Russian poet

The history of Russian painting begins with Kievan Rus. True, like many other phenomena, painting did not become a native Russian achievement. The appearance of painting in Rus' is associated with the name of Prince Vladimir and Byzantium. Together with Christianity, the Russian prince brought to Russia the traditions of painting. The first works of fine art were associated with temples. These are the traditional ones that decorated the walls of churches.

The heyday of Russian painting falls on the 15th century. This is exactly the time when it appears. This type of creativity is inextricably linked with the heritage of Russia and the names of many original masters. Many creators have remained unknown, but the name of the great icon painter Andrei Rublev has become a standard in the technique of painting icons for many centuries.

The first realistic canvases appear in Russia in the seventeenth century. Russian artists, as well as European painters, are beginning to turn to certain genres -,. This was played by the activities of Peter I, who opened the "window to Europe" and made European traditions available in Russia.

Peter the First

The history of the Russian people is full of heroic and bright social events. The Russian soul was distinguished by its special sensitivity, susceptibility, and fantasy. Therefore, in Russian painting, there is a variety of themes, plots, and images. Russian artists were progressive people, and in their works one can find a reflection of all the changes taking place in society.

Russian painters have achieved outstanding results in depicting a man and his internal state. On canvases very often there are scenes from life ordinary people, their sufferings, hopes and aspirations. Russian nature in all its splendor was also the subject of inspiration for Russian artists. Moreover, if at first landscapes were simply an image of natural beauties, then later artists learned to convey their feelings through nature.

Marc Chagall

At the beginning of the 20th century, modernism came to Russian painting. Here, Russia also did not concede to other countries in anything, giving the world bright works of avant-garde artists - Wassily Kandinsky, Marc Chagall, Kazimir Malevich.

It is difficult to list all the outstanding Russian artists, but the most famous names these are I. Shishkin, V. Savrasov, I. Repin, V. Surikov, K. Bryullov and many others. They are the pride of Russian painting, their works have received worldwide recognition.

- this is one of the main types of fine art; represents artistic image objective world colored paints on the surface. Painting is divided into: easel, monumental and decorative.

- mainly represented by works performed oil paints on canvas (cardboard, wooden boards or bare). Represents the most mass view painting. It is this form that is usually applied to the term " painting".

is a technique of drawing on walls in the design of buildings and architectural elements in buildings. Especially common in Europe fresco - monumental painting on wet plaster with water-soluble paints. This drawing technique has been well known since antiquity. Later, this technique was used in the design of many Christian religious temples and their vaults.

decorative painting - (from Latin word from decoro - to decorate) is a way of drawing and drawing images on objects and interior details, walls, furniture and others. decorative items. Refers to arts and crafts.

Possibilities pictorial art easel painting reveals itself especially vividly from the 15th century, from the moment of the mass use of oil paints. It is in it that a special variety of content and deep elaboration of form is available. At the heart of the picturesque artistic means lie colors (the possibilities of colors), in inseparable unity with chiaroscuro, and the line; color and chiaroscuro are developed and developed by painting techniques with a fullness and brightness inaccessible to other art forms. This is due to the inherent realistic painting perfection of volumetric and spatial modeling, lively and accurate transmission of reality, the possibility of realizing the plots conceived by the artist (and methods of constructing compositions) and other pictorial virtues.

Another difference in the differences in the types of painting is the technique of execution according to the types of paints. Not always enough common features for determining. The boundary between painting and graphics in each individual case: for example, works made in watercolor or pastel can belong to both areas, depending on the approach of the artist and the tasks assigned to him. Although drawings on paper are classified as graphics, the application various techniques drawing with paints sometimes blurs the distinction between painting and graphics.

It should be taken into account that the semantic term "painting" itself is a word of the Russian language. It was taken for use as a term during the formation of fine arts in Russia during the Baroque era. The use of the word "painting" at that time applied only to a certain kind of realistic depiction with paints. But originally it comes from the church icon painting technique, which uses the word "write" (referring to writing) because this word is a translation of the meaning in Greek texts (here are such "translation difficulties"). Development in Russia own art school and the inheritance of European academic knowledge in the field of art, developed the scope of the Russian word "painting", inscribing it into educational terminology and literary language. But in the Russian language, a feature of the meaning of the verb "write" was formed in relation to writing and drawing pictures.

Genres of painting

In the course of the development of fine arts, several classical genres of paintings were formed, which acquired their own characteristics and rules.

Portrait- This is a realistic image of a person in which the artist tries to achieve resemblance to the original. One of the most popular genres of painting. Most of the clients used the talent of artists to perpetuate their own image or, wanting to get an image loved one, relative, etc. Customers sought to obtain a portrait resemblance (or even embellish it) leaving a visual embodiment in history. Portraits of various styles are the most massive part of the exposition of most art museums and private collections. This genre includes such a kind of portrait as self-portrait - an image of the artist himself, written by himself.

Scenery- one of the popular pictorial genres in which the artist seeks to display nature, its beauty or peculiarity. Different kinds nature (the mood of the season and weather) have a bright emotional impact for any viewer psychological feature person. The desire to get an emotional impression from landscapes has made this genre one of the most popular in artistic creation.

- this genre is in many ways similar to the landscape, but has a key feature: the paintings depict landscapes with the participation of architectural objects, buildings or cities. special direction - street views cities that convey the atmosphere of the place. Another direction of this genre is the image of the beauty of the architecture of a particular building - its appearance or images of its interiors.

- a genre in which the main plot of the paintings is historical event or its interpretation by the artist. Interestingly, this genre includes a huge number of paintings on biblical theme. Since in the Middle Ages, biblical scenes were considered "historical" events and the church was the main customer for these paintings. "Historical" biblical scenes are present in the work of most artists. Second birth history painting takes place during neoclassicism, when artists turn to famous historical subjects, events from antiquity or national legends.

- reflects scenes of wars and battles. A feature is not only the desire to reflect a historical event, but also to convey to the viewer the emotional exaltation of feat and heroism. Subsequently, this genre also becomes political, allowing the artist to convey to the viewer his view (his attitude) on what is happening. We can see a similar effect of a political accent and the strength of the artist's talent in the work of V. Vereshchagin.

is a genre of painting with compositions from inanimate objects, using flowers, products, dishes. This genre is one of the latest and was formed in Dutch school painting. Perhaps its appearance is due to the peculiarity of the Dutch school. The economic heyday of the 17th century in Holland led to a desire for affordable luxury (paintings) in a significant number of the population. This situation attracted to Holland a large number of artists, causing intense competition among them. Models and workshops (people in appropriate clothes) were not available to poor artists. Drawing paintings for sale, they used improvised means (objects) to compose paintings. This situation in the history of the Dutch school is the reason for the development of genre painting.

Genre painting - the plot of the paintings are domestic scenes Everyday life or holidays, usually with the participation of ordinary people. As well as still life, it became widespread among the artists of Holland in the 17th century. During the period of romanticism and neoclassicism, this genre takes on a new birth, the paintings tend not so much to reflect everyday life how much to romanticize it, to add to the plot certain meaning or morality.

Marina- a kind of landscape that depicts sea views, coastal landscapes overlooking the sea, sunrises and sunsets on the sea, ships, or even naval battles. Although there is a separate battle genre, but naval battles still belong to the marina genre. The development and popularization of this genre can also be attributed to the Dutch school of the 17th century. He was popular in Russia thanks to the work of Aivazovsky.

- a feature of this genre is the creation realistic paintings depicting the beauty of animals and birds. One of interesting features This genre is the presence of paintings depicting non-existent or mythical animals. Artists who specialize in images of animals are called animalists.

History of painting

Need in realistic image existed since ancient times, but had a number of shortcomings due to the lack of technology, a systematized school and education. In antiquity, one can often find examples of applied and monumental painting with the technique of painting on plaster. In antiquity, more importance was attached to the talent of the performer, artists were limited in the technology of making paints and the opportunity to receive a systematic education. But already in antiquity, specialized knowledge and works (Vitruvius) were formed, which will be the basis of a new flowering of European art in the Renaissance. Decorative painting received significant development during Greek and Roman antiquity (the school was lost in the Middle Ages), the level of which was reached only after the 15th century.

Painting of a Roman fresco (Pompeii, 1st century BC), an example of the state of the art of ancient painting:

The "Dark Ages" of the Middle Ages, militant Christianity and the Inquisition lead to bans on the study artistic heritage antiquity. The vast experience of ancient masters, knowledge in the field of proportions, composition, architecture and sculpture are banned, and many artistic values destroyed because of their dedication to ancient deities. The return to the values ​​of art and science in Europe occurs only during the Renaissance (revival).

Artists early renaissance(revival) have to catch up and revive the achievements and level of ancient artists. What we admire in the works of artists early renaissance, was the level of the masters of Rome. A clear example of the loss of several centuries of development of European art (and civilization) in the period " dark ages"Middle Ages, militant Christianity and the Inquisition - the difference between these paintings of the 14th century!

The emergence and spread of the technology of making oil paints and the technique of drawing them in the 15th century gives rise to the development easel painting And special kind artists' products - colored oil paintings on primed canvas or wood.

Painting received a huge leap in the qualitative development in the Renaissance, largely due to the work of Leon Battista Alberti (1404-1472). He first laid out the foundations of perspective in painting (the treatise "On Painting" in 1436). To him (his works on systematization scientific knowledge) the European art school owes the appearance (revival) of realistic perspective and natural proportions in the paintings of artists. The famous and familiar drawing by Leonardo da Vinci "Vitruvian Man"(human proportions) of 1493, dedicated to the systematization of Vitruvius's ancient knowledge of proportions and composition, was created by Leonardo half a century later than Alberti's treatise "On Painting". And the work of Leonardo is a continuation of the development of the European (Italian) art school of the Renaissance.

But painting received a bright and massive development, starting from the 16-17 centuries, when the technique became widespread. oil painting, various technologies for making paints appeared and schools of painting were formed. It is the system of knowledge and art education (drawing technique), combined with the demand for works of art from the aristocracy and monarchs, that leads to the rapid flowering of fine arts in Europe (Baroque period).

The unlimited financial possibilities of European monarchies, aristocracy and entrepreneurs have become excellent ground for further development painting in the 17th-19th centuries. And the weakening of the influence of the church and the secular way of life (multiplied by the development of Protestantism) allowed the birth of many subjects, styles and trends in painting (baroque and rococo).

In the course of the development of fine arts, artists have formed many styles and techniques that lead to the highest level realism in works. By the end of the 19th century (with the advent of modernist trends), interesting transformations began in painting. The availability of art education, massive competition and high demands on the skill of artists from the public (and buyers) give rise to new directions in the ways of expression. art is no longer limited only by the level of performance technique, artists strive to bring into the works special meanings, ways of "look" and philosophy. What often goes to the detriment of the level of performance, becomes speculation or a way of outrageous. The variety of emerging styles, lively discussions and even scandals give rise to the development of interest in new forms of painting.

Modern computer (digital) drawing technologies are related to graphics and cannot be called painting, although many computer programs and equipment allow you to completely repeat any painting technique with paints.